{"id":14595,"date":"2016-10-15T00:00:00","date_gmt":"2016-10-15T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=14595"},"modified":"2024-10-07T15:28:54","modified_gmt":"2024-10-07T23:28:54","slug":"differences-between-primary-and-secondary-chords","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/differences-between-primary-and-secondary-chords\/","title":{"rendered":"The Structural Differences And Functional Similarities Between Primary And Secondary Chords In The Major Key"},"content":{"rendered":"

In today’s lesson we’re looking at the structural differences and functional similarities between primary and secondary chords in the major key.<\/p>\n

We dedicated previous lessons to learn what primary and secondary chords are, and now it’s time to take you a step further by learning the structural and functional differences between them.<\/p>\n

If you invest the next 15 minutes or so, you’ll be learning characteristic differences between major and minor chords in the major key.<\/p>\n

A Review On Scale-degree Triads<\/h2>\n

There are eight degrees in every major key and triads can be formed on every degree of the scale. In the key of C major:
\n
\nC is the first<\/strong> degree (aka – “the tonic”)<\/p>\n

D is the second<\/strong> degree (aka – “the supertonic”)<\/p>\n

E is the third<\/strong> degree (aka – “the mediant”)<\/p>\n

F is the fourth<\/strong> degree (aka – “the sub-dominant”)<\/p>\n

G is the fifth<\/strong> degree (aka – “the dominant”)<\/p>\n

A is the sixth<\/strong> degree (aka – “the sub-mediant”)<\/p>\n

B is the seventh<\/strong> degree (aka – “the sub-tonic”)<\/p>\n

C is the eighth<\/strong> degree (aka – “the octave”)<\/p>\n

“Check Out The Scale Degree Triads In The Key Of C Major…”<\/em><\/p>\n

On the first tone (C):
\n
\n…is the C major triad:
\n
\nOn the second tone (D):
\n
\n…is the D minor triad:
\n
\nOn the third tone (E):
\n
\n…is the E minor triad:
\n
\nOn the fourth tone (F):
\n
\n…is the F major triad:
\n
\nOn the fifth tone (G):
\n
\n…is the G major triad:
\n
\nOn the sixth tone (A):
\n
\n…is the A minor triad:
\n
\nOn the seventh tone (B):
\n
\n…is the B diminished triad:
\n
\nNow that we’re done with scale degree triads in the key, let’s look at the primary and secondary triads.<\/p>\n

A Quick Review On Primary Chords<\/h2>\n

Although there are so many ways to define a primary chord, let’s use the definition below:<\/p>\n

Primary chords are chords that share the same quality with the key.<\/p><\/blockquote>\n

In the key of C major, all the triads that have the same quality with the key are primary triads. Due to the fact that the quality of the key is major<\/em>, all major triads in the key can be considered as primary chords.<\/p>\n

In the key of C major:
\n
\n…major triads are triads of the first, fourth, and fifth degrees – which are the C major:
\n
\n…F major:
\n
\n…and G major triad:
\n
\nThese primary chords play the basic harmonic roles in the key especially the harmonization of the major scale and the accompaniment of melodies.<\/p>\n

Suggested Reading:<\/strong> An Exposition On The Primary Chords In The Key.<\/a><\/p>\n

A Short Note On Secondary Chords<\/h2>\n

Other scale degree triads that have a quality that differs from that of the key are known as secondary triads. There are three triad qualities among scale degree triads – the major triad, the minor triad and the diminished triad.<\/p>\n

The diminished triad of the seventh degree is most times considered as an incomplete dominant seventh chord because of its instability. Notwithstanding that it’s a secondary chord, we’ll be focusing on secondary triads that have a minor quality.<\/p>\n

In the key of C major:
\n
\n…minor triads are formed on the second, third and sixth degrees.<\/p>\n

“Check Them Out…”<\/em><\/p>\n

The D minor:
\n
\n…E minor:
\n
\n…and A minor triad:
\n
\nWe’ll be talking about the harmonic roles of these secondary chords in the next segment.<\/p>\n

Suggested Reading:<\/strong> An Exposition On The Primary Chords In The Key.<\/a><\/p>\n

Primary Chords Vs Secondary Chords<\/h2>\n

From our review on primary and secondary chords, one can spot a quick difference in quality between both of them. Let’s go further by exploring the structural and functional differences between primary and secondary chords.<\/p>\n

Structural Differences Between Primary And Secondary Chords<\/h3>\n

The structure of a chord is a product of the intervals that make it up (aka – “its intervallic constituents”.)<\/p>\n

“Here’s The Structure Of Primary Chords”<\/em><\/p>\n

Due to the fact that primary chords have the same quality with the key, all primary chords in the major key have a major quality. Hence, we’ll be using the C major triad as a reference to understand the structure of primary chords.<\/p>\n

The C major triad:
\n
\n…can be broken down into two third intervals…<\/p>\n

C-E:
\n
\n…a major third interval.<\/p>\n

E-G:
\n
\n…a minor third interval.<\/p>\n

From our breakdown of the C major triad, we can see the structure of primary chords; a major third interval (C-E):
\n
\n…before a minor third interval (E-G):
\n
\n“Here’s The Structure Of Secondary Chords”<\/em><\/p>\n

The quality of secondary chords differ from the quality of the key. In the major key, secondary triads are minor triads. The D minor triad:
\n
\n…the chord of the second degree can be used to breakdown the structure of secondary chords.<\/p>\n

The D minor triad:
\n
\n…can be broken down into two third intervals…<\/p>\n

D-F:
\n
\n…a minor third interval.<\/p>\n

F-A:
\n
\n…a major third interval.<\/p>\n

From our breakdown of the D minor triad, we can see the structure of secondary chords; a minor third interval (D-F):
\n
\n…before a major third interval (F-A):
\n
\nNow that we have an idea of the structure of primary and secondary triads, here’s the remarkable structural difference between primary and secondary triads:<\/p>\n

In primary triads, a major third interval comes before a minor third interval, while in secondary triads, a minor third interval comes before a major third interval.<\/p><\/blockquote>\n

Irrespective of their structural differences, primary and secondary chords are functionally related. Let’s take a look at some of those similarities.<\/p>\n

Functional Similarities Between Primary And Secondary Chords<\/h3>\n

In a previous post, we learned how secondary chords can function as subsidiary chords<\/a> to primary chords.<\/p>\n

A subsidiary chord is a chord that shares two or more notes in common with a given chord.<\/p><\/blockquote>\n

There are secondary chords that share two notes in common with primary chords in the major key and they play a subsidiary role to those primary chords. An example is chord six – the A minor triad:
\n
\n…which has two notes in common with chord one – the C major triad:
\n
\nSo, chord one and chord six have two notes in common – C and E:
\n
\nBeyond having two notes in common, can chord one and chord six be used in the same harmonic situation? The answer is Yes!<\/strong><\/p>\n

“Quickly! Let Me Show You The Subsidiary Chords Of Primary Chords…”<\/em><\/p>\n

Primary chords in the key of C major are the C major triad:
\n
\n…the F major triad:
\n
\n…and the G major triad:
\n
\nEach of these primary chords have their respective subsidiary triad whose root is a minor third below the given primary chord.<\/p>\n

The root of the subsidiary triad of the F major triad:
\n
\n…is a minor third below F:
\n
\n…and that’s D:
\n
\nTherefore, the D minor triad:
\n
\n…is the subsidiary chord of the F major triad:
\n<\/p>\n

“Also…”<\/em><\/p>\n

The root of the subsidiary triad of the G major triad:
\n
\n…is a minor third below G:
\n
\n…and that’s E:
\n
\nTherefore, the E minor triad:
\n
\n…is the subsidiary chord of the G major triad:
\n<\/p>\n

“In A Nutshell…”<\/em><\/p>\n

Here’s the functional similarity between primary and secondary chords in the major key:<\/p>\n