Presentation on theme: "Mr. Jackson AP Music Theory"— Presentation transcript:
1Mr. Jackson AP Music Theory Unit 5 : TriadsMr. JacksonAP Music Theory
2TRIADSA TRIAD is a three-note chord (built like a snowman) made up of two intervals stacked in thirds.Tertian Harmony – built on thirds!
3TYPES OF TRIADSThere are four possible ways to combine major and minor 3rds to produce a tertian triad.
4TYPES OF TRIADS+ Major minor dim ()(Augmented)(Diminished)
5TYPES OF TRIADS (SOUND) Each triad has a different SOUND CHARACTERISTIC.SoundsSoundsSounds likeSounds like“Happy”“Sad”“Tied to Train Tracks”“Jellyfish on Animal Planet”Tritone, ‘Smaller’ soundAugmented 5th, ‘Awkward’ sound
6HOW TO BUILD A TRIADBuild the “snowman” in thirds above the root. Tertian harmony thirds will either be all lines or all spaces!Identify the quality of the lower third as major or minor.Identify the quality of the fifth (between the root of the triad and the fifth) as perfect, diminished, or augmented.You can also identify the quality of the upper third as major or minor (between the third of the triad and the fifth.)Identify the chord with a letter (the root of the “snowman”.)Identify the quality of the triad:M3 + P5 = major triad (or M3 + m3)m3 + P5 = minor triad (or m3 + M3)m3 + dim5 = diminished triad (or m3 + m3)M3 + Aug5 = augmented triad (or M3 + M3)
7HOW TO BUILD A TRIADIf you know what the major triad is, then you can easily adjust the third and the fifth to create the other chord qualities.From major, raise the fifth to create an Augmented Triad.From major, lower the third to create a Minor Triad.From major, lower the third and the fifth to create a Diminished Triad, orFrom MINOR, lower the fifth to create a Diminished Triad.
8TRIAD STABILITYA triad that is a combination of the strongest intervals is the most stable. The perfect fifth is by far the strongest interval, and this accounts for the superior stability of the major and minor triads.Major Triad Strongest and most stableMinor Triad Strong and quite stableDiminished Triad Weak and unstableAugmented Triad Weak and unstable
9TRIAD NAMESYou can construct a triad on any of the scale degrees. The triad has the same function name as the individual pitch. Both the pitch C and the C major triad are the tonic in the following figure.
10TRIAD POSITIONTriad Position identifies the note of the chord that appears as the lowest-sounding pitch of the harmony. Any of the three notes of the triad can appear as the lowest-sounding pitch.ROOT POSITION – No matter what the arrangement of the third and fifth factors, the triad is in root position if the root of the triad is the lowest-sounding pitch. All of the triads below are in root position.
11TRIAD POSITIONTriad Inversion occurs when the root is NOT the lowest-sounding pitch.FIRST INVERSION – Occurs when the third of the triad is the lowest-sounding pitch, regardless of the arrangement of pitches.SECOND INVERSION – Occurs when the fifth of the triad is the lowest-sounding pitch, regardless of the arrangement of pitches.
12TRIAD INVERSION SUMMARY FOOD FOR THOUGHT: Can you describe the difference between the BASS and the ROOT?
13HEARING TRIAD INVERSION “Stable Sound”Hear the “Mi-Re-Do” PullHear the “Sol Do” Pull
14IDENTIFYING TRIADS IN MUSIC The ability to recognize triads in music is critical to Score Analysis.What triads do you see?Keep in mind that triads may not always “line up” as they do in the Red Box.They may be arpeggiated (as displayed in the blue circle).They may also be staggered (as displayed in the green circle).
15IDENTIFYING TRIADS IN MUSIC Triads can also appear OUT OF ORDER in music as well. However, this is still an instance of an A Major Triad in Root Position.
16Introduction to Part Writing When studying harmony, we often will see a four-voiced texture called chorale style. Two goals define this style:INDEPENDENCE OF VOICES &DEFINITION OF TONALITYVoice leading controls the relationship between voices.There are rules concerning doubling and chord voicing.* What’s the point? The point is – you may see TRIADS presented in a chorale style format! Be ready!
17Part-Writing Voices/Ranges When constructing chords vertically for part writing, we use four voices.The name and ranges of these voices are derived from the four standardized singing rangesSOPRANOALTOTENORBASSSOPRANOS/ALTOS are placed on the TREBLE CLEF of athe grand staffTENORS/BASSES are placed on the BASS CLEF of the grand staffWe will discuss PART WRITING in much more detail later…