{"id":14037,"date":"2016-07-04T00:00:00","date_gmt":"2016-07-04T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=14037"},"modified":"2024-10-07T17:53:09","modified_gmt":"2024-10-08T01:53:09","slug":"triads-are-important","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/triads-are-important\/","title":{"rendered":"Top 3 Reasons Why I Think Triads Are Important"},"content":{"rendered":"<p>Do you belong to the league of musicians who DO NOT believe that triads are important?<\/p>\n<p>I&#8217;ve played the piano for almost two decades now and just like every up and coming pianist out there, I started out with triads.<\/p>\n<p>As I progressed from the beginner stage to the intermediate stage, I started longing for more. My interest in <a href=\"https:\/\/www.hearandplay.com\/main\/four-characteristics-of-phat-chords\">phat chords<\/a> made me to detest triads which are the simplest class of chords in terms of texture and harmony.<\/p>\n<p>I was progressed further to the pre-advanced level, my appreciation for triads came back and since then, I don&#8217;t take the simplicity of triads for granted.<\/p>\n<p>If you give me the next ten minutes or so, I&#8217;ll show you why triads shouldn&#8217;t be taken for granted.<\/p>\n<h2>An Overview Of Triads<\/h2>\n<p><strong>Attention:<\/strong> We&#8217;re not going to dwell so much on this overview; we&#8217;re covering only the definition of the triad.<\/p>\n<p>So, what is a triad?<\/p>\n<blockquote><p>A triad according to Jermaine Griggs &#8220;<em>&#8230;is a collection of three related notes whether it&#8217;s played or heard together (as a chord) or separately (as an arpeggio).<\/em>&#8220;<\/p><\/blockquote>\n<p>The above definition is my favorite because it highlights all the important details about triads. Let&#8217;s expound on this definition before we proceed.<\/p>\n<h3><em>&#8220;&#8230;is a collection of three&#8221;<\/em><\/h3>\n<p>The term triad literally means <em>a set of three<\/em>. (I&#8217;m sure you must have come across other words that are associated with three; words like trinity, triangle, etc.)<\/p>\n<p>In music, a collection of three or more notes forms a chord, consequently, the triad is a chord. If you define the triad as a chord of three notes, you are not wrong.<\/p>\n<h3><em>&#8220;&#8230;related notes&#8221;<\/em><\/h3>\n<p>A triad is NOT a collection of any three notes. Before a set of three notes can be considered to be a triad, there must be a relationship between the notes. There are two levels of relationship between the notes of a triad:<\/p>\n<ul>\n<li>Scale relationship<\/li>\n<li>Intervallic relationship<\/li>\n<\/ul>\n<p><em>&#8220;Don&#8217;t Worry! I&#8217;ll Explain&#8221;<\/em><\/p>\n<p><strong>Scale relationship.<\/strong> The notes of a triad must be related by a given scale. The notes C, E, and G:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;are a triad because they are related by the C major scale:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;where they belong to, as the first, third, and fifth tones. In the same vein, the notes of a triad must be related by a scale.<\/p>\n<p><strong>Intervallic relationship.<\/strong> An interval is defined by Jermaine Griggs as &#8220;<em>&#8230;the relationship between two notes [whether played or heard together or separately] in terms of the distance between them.&#8221;<\/em><\/p>\n<p><em><\/em>The notes of a triad must have intervallic relationship, which determines the distance between the notes (aka &#8211; &#8220;chord tones.&#8221;) We&#8217;ll be focusing on triads built in intervals of thirds (aka &#8211; &#8220;<a href=\"https:\/\/www.hearandplay.com\/main\/tertian-chords-and-the-secret-relationship-between-almost-every-chord\">tertian harmony<\/a>&#8220;) in this lesson. For example, C, E, and G:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;are not only related by the C major scale:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;but in third intervals.<\/p>\n<p>C:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to E:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is a third:<\/p>\n<p>C-E:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to G:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is also a third:<\/p>\n<h3><em>&#8220;&#8230;played or heard together(as a chord) or separately (as an arpeggio)&#8221;<\/em><\/h3>\n<p>In a previous lesson, we learned how the relationship between notes (aka &#8211; &#8220;<a href=\"https:\/\/www.hearandplay.com\/main\/twelve-pitch-classes\">pitches<\/a>&#8220;) can either produce <a href=\"https:\/\/www.hearandplay.com\/main\/note-relationships-melody-harmony\">melody or harmony<\/a>.<\/p>\n<p><strong>Melody<\/strong> is the relationship between pitches that are played (or heard) separately while <strong>harmony <\/strong>is the relationship between pitched that are played (or heard) simultaneously.<\/p>\n<p>A triad is usually played (or heard) harmonically as a chord, however, its notes can also be played (or heard) separately as a broken chord.<\/p>\n<h2>3 Top Reasons Why You Shouldn&#8217;t Take Triads For Granted<\/h2>\n<p>Over the years as an up and coming pianist, I <a href=\"https:\/\/www.hearandplay.com\/main\/harmonic-upgrade-graduating-triads-sevenths\">graduated to seventh chords<\/a> and also learned several chord classes and qualities that are quite advanced (<a href=\"https:\/\/www.hearandplay.com\/gkurban.html\">especially from Gospelkeys 600 DVD course featuring Jonathan Powell<\/a>.)<\/p>\n<p>Heck, I was even featured in the Hear and Play&#8217;s <a href=\"https:\/\/www.hearandplay.com\/main\/new-series-16-chords-absolutely-must-know-2016-12-keys\">16 week chord revival program<\/a>.<\/p>\n<p>Through it all, I&#8217;ve not lost my regard for triads &#8211; not at all. If you&#8217;re losing yours, then this lesson is for you because I&#8217;ll be giving you three of the top reasons why I don&#8217;t take triads for granted and also think you shouldn&#8217;t.<\/p>\n<h3>Reason #1 &#8211; <em>&#8220;Triads Provide Basic Harmony&#8221;<\/em><\/h3>\n<blockquote><p>A chord is a <span style=\"text-decoration: underline;\"><strong>collection of three or more<\/strong><\/span> related notes [agreeable or not] that are played or heard together or separately.<\/p><\/blockquote>\n<p>The most basic level of harmony is found in triads. Remember that it takes at least three notes to form a chord, consequently, triads are first set of chords you&#8217;ll come across while stacking notes together.<\/p>\n<p><em>&#8220;I don&#8217;t play big chords all the time&#8230;&#8221;<\/em><\/p>\n<p>There are certain audiences, songs, or moments that don&#8217;t require big chords. Whenever I find myself in situations where all I&#8217;m required to do is to give a basic accompaniment to a song, I always fall back to triads.<\/p>\n<h3>Reason #2 &#8211; <em>&#8220;All Musical Orientations\/Backgrounds\/Tastes Embrace Triads&#8221;<\/em><\/h3>\n<p>There are two different <strong>musical orientations<\/strong>; people who read sheet music belong to one class, others who play by the ear belong to another class. If there&#8217;s a third class, those who do both belong there.<\/p>\n<p>Triads provide musicians with harmony irrespective of their orientation. Sheet musicians and those who play by the ear all use triads.<\/p>\n<p>Triads are also used in all <strong>musical backgrounds <\/strong><strong><\/strong>because they are adaptable to the folk music tradition in different parts of the world.<\/p>\n<p>20th century African music has evolved because of the introduction of the melodic and harmonic ideas from the western world (aka &#8211; &#8220;acculturation&#8221;), however, it is important to know that triads are mostly used in African music.<\/p>\n<p>Irrespective of your <strong>musical taste<\/strong>, you&#8217;ll love triads. If classical, jazz, gospel, etc., musicians are listening to a piece of music together, if that piece must have a general appeal, the prevalent harmony has to be derived from triads.<\/p>\n<p>This is one of the several reasons why rock music sells out fast &#8211; appeal &#8211; rock music uses triads and suspended chords, consequently, it has a higher appeal than classical, jazz, and gospel music.<\/p>\n<h3>Reason #3 &#8211; <em>&#8220;Triads Can Be Used As Upper-Structures&#8221;<br \/>\n<\/em><\/h3>\n<p>Bigger chords can be broken down into triads. The C dom 13 [#11] chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,Bb,D,Fs,A,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is one of those big chords (aka &#8211; &#8220;extended chords&#8221;.)<\/p>\n<p>In actuality, it&#8217;s not possible for me to play the C dom 13 [#11] chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,Bb,D,Fs,A,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;with one hand because it has seven notes and spans thirteen scale degrees:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,Bb,C,D,E,Fs,G,A,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;and that&#8217;s 75% times larger than the octave:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,C,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\nSo, I use the upper structure voicing technique to play the C dom 13 [#11] chord.<\/p>\n<p><em>&#8220;Here&#8217;s how it works&#8230;&#8221;<\/em><\/p>\n<p>The top three notes of the C dom 13 [#11] chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,Bb,D,Fs,A,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;are D, F#, and A:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,D,Fs,A,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;and that&#8217;s for all intents and purposes the D major triad:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,D,Fs,A,,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\nIsolating the top three notes (the D major triad):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,D,Fs,A,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;of the C dom 13 [#11] chord, I&#8217;ll be left with the C dominant seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,Bb,,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\nMy next step is to simplify the C dominant seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,Bb,,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;by playing its third and seventh tones (aka &#8211; &#8220;skeleton&#8221;):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,Bb,,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;on the left hand.<\/p>\n<p>Altogether, if the D major triad:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,,D,Fs,A&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is played over the C dominant seventh chord (skeleton voicing):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,Bb,,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;.this produces the upper structure voicing of the C dom 13 [#11] chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,Bb,,,D,Fs,A&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n<em>&#8220;In a nutshell&#8230;&#8221;<\/em><\/p>\n<p>I don&#8217;t take triads for granted because triads (smaller chords) can be used to form bigger chords. Our case study in this segment is the use of the D major triad:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,D,Fs,A,,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;in the formation of the C dom 13 [#11] chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,E,G,Bb,D,Fs,A,&amp;color=3399CC&amp;size=2\" border=\"0\" \/><\/p>\n<h2>Final Words<\/h2>\n<p>Believe it or not, most piano players started their harmonic adventure with triads.<\/p>\n<p>For a variety of reasons, music teachers get their student started by showing them triads 99% [if not 100%] of the time.<\/p>\n<p><em>&#8220;Here are two common reasons why this is so&#8230;&#8221;<\/em><\/p>\n<ol>\n<li>The contain the <a href=\"https:\/\/www.hearandplay.com\/main\/active-tones-vs-stable-tones-major-scale\">stable tones<\/a> in the key and have a way of building up the sense of key (aka &#8211; &#8220;<a href=\"https:\/\/www.hearandplay.com\/main\/two-tonalities\">tonality<\/a>&#8220;.)<\/li>\n<li>They are easier to play because they are based in thirds (versus quartal chords that require a little bit more effort and stretching of the hand span.)<\/li>\n<\/ol>\n<p>Triads provide every beginner with the basic harmonic tool he\/she can get started with. I&#8217;m sure this has explained why our <a href=\"https:\/\/www.hearandplay.com\/gospel101reg.html\">Gospelkeys 101 DVD course<\/a> focuses on harmonization using triads.<\/p>\n<p>Always remember that less is more. Bigger chords are okay, however, endeavor to always keep it simple.<\/p>\n<p>For the love of triads!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Just in case you&#8217;ve left triads behind, I&#8217;m giving you top 3 reasons why I think that triads are important in this lesson.<\/p>\n","protected":false},"author":9,"featured_media":22818,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[252,25,416,9],"tags":[2145,17,1614,2144,2025,191,52],"class_list":["post-14037","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-beginners","category-chords-progressions","category-experienced-players","category-piano","tag-augmented-triads","tag-basic-songs","tag-diminished-triads","tag-importance-of-triads","tag-major-triad","tag-minor-triads","tag-triads","post-wrapper","thrv_wrapper"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - 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