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The Triad
The previous section discussed good melodic motion, without considering chords. This section looks at
chords, and the attributes of stable, well-balanced chords, without considering melodic motion. We will
begin to combine chords with melodic motion in the next chapter.
Goal chords are the primary focus in this section. Goal chords were defined in the previous section as the
notes which act as the final goal of melodic resolution. Goal chords generally need to be reasonably stable
and they need to sound good. As you advance through the following chapters you will see other chords
which arise as a result of simultaneous melodic motion. We will call these "connecting chords".
Connecting chords primarily serve to create a good melodic connection between goal chords. They are
often unstable and some of them sound rather harsh when heard in isolation. Although this section is
primarily about goal chords, there is some discussion here as to how the issues discussed apply to
connecting chords.
The most basic type of chord is a triad. A triad is a three-note chord, consisting of a root note, a note a
third above the root and a note a fifth above the root.
The three notes are called, conveniently, "the root", "the third" and "the fifth".
There are two types of triads which can act as goal chords. The one above has a major third above the root
and a perfect fifth.
It is a "major triad". It is the tonic triad of a major scale.
The second type has a minor third and a perfect fifth.
This is called a "minor triad" and it is the triad built on the tonic of a minor scale.
There are other types of triads as well. A diminished triad has a minor 3rd and a diminished 5th
and an augmented triad has a major 3rd and an augmented 5th. These triads never act as goal
chords and will not be discussed further in this chapter.
© 2005 Andrew Hodgson
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