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A major triad has a major third (M3) on the bottom, a minor third (m3) on top, and a perfect fifth (P5) between the outer notes. In harmonic analysis and on lead sheets, a C major chord can be notated as C, CM, CΔ, or Cmaj. A major triad is represented by the integer notation {0, 4, 7}.
The above definitions spell out the interval of each note above the root. Since triads are constructed of stacked thirds, they can be alternatively defined as follows: major triads contain a major third with a minor third stacked above it, e.g., in the major triad C–E–G (C major), the interval C–E is major third and E–G is a minor third.
Whereas a major triad, such as C–E–G, contains a major third (C–E) and a minor third (E–G), with the interval of the fifth (C–G) being perfect, the augmented triad has an augmented fifth, becoming C–E–G ♯. In other words, the top note is raised a semitone. H.R. Palmer notes:
C – Am – Dm – G 7. This chord progression instructs the performer to play, in sequence, a C major triad, an A minor chord, a D minor chord, and a G dominant seventh chord. In a jazz context, players have the freedom to add sevenths, ninths, and higher extensions to the chord. In some pop, rock and folk genres, triads are generally ...
Another variation of the major triad changes the order of the notes: For example, the C-major triad is often played as (C,G,E), where (C,G) is a perfect fifth and E is raised an octave above the perfect third (C,E). Alternative orderings of the notes in a triad are discussed below (in the discussions of chord inversions and drop-2 chords).
When the symbol "9" is not preceded by the word "major" or "maj" (e.g., C 9), the chord is a dominant ninth. That is, the implied seventh chord is a dominant seventh, i.e. a major triad plus the minor seventh, to which the ninth is added: e.g., a C 9 consists of C, E, G, B ♭ and D. C dominant ninth (C 9) would usually be expected to resolve ...
A "common chord" may also be defined simply as a triadic chord [2] (e.g., C–E–G), as one of the most commonly used chords in a key (I–IV–V–vi–ii–iii), [3] more narrowly as a triad in which the fifth is perfect (i.e., a major or minor triad), in which sense it is alternatively referred to as a "perfect chord" [4] [5] or, more ...
In some conventions (as in this and related articles) upper-case Roman numerals indicate major triads (e.g., I, IV, V) while lower-case Roman numerals indicate minor triads (e.g., I for a major chord and i for a minor chord, or using the major key, ii, iii and vi representing typical diatonic minor triads); other writers (e.g., Schoenberg) use ...