{"id":16822,"date":"2017-06-07T00:00:00","date_gmt":"2017-06-07T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=16822"},"modified":"2024-10-05T17:33:03","modified_gmt":"2024-10-06T01:33:03","slug":"symmetrical-triads-a-study-on-the-diminished-and-augmented-triads","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/symmetrical-triads-a-study-on-the-diminished-and-augmented-triads\/","title":{"rendered":"Symmetrical Triads: A Study On The Diminished And Augmented Triads"},"content":{"rendered":"

Our focus in today’s lesson is on symmetrical triads.<\/p>\n

Triads are the most fundamental chords in tonal music, and they are relevant to musicians of all class and creed, styles and levels.<\/p>\n

Although there are four known triads:<\/p>\n

The major triad<\/p>\n

The minor triad<\/p>\n

The diminished triad<\/p>\n

The augmented triad<\/p><\/blockquote>\n

…commonly referred to as the fantastic four<\/strong>, the diminished and augmented triads are rarely used because they are symmetrical.<\/em><\/p>\n

Let’s get started by breaking down the concept of symmetry in music.<\/p>\n

A Short Note On Symmetry In Music<\/h2>\n

The Symmetry Of The Diminished Triad<\/h2>\n

Jermaine Griggs considers the diminished triad as “a minor triad with a diminished fifth.”<\/em><\/p>\n

Therefore, using any minor triad, the diminished triad can be formed when the fifth tone is diminished <\/em>(or lowered by a half-step.)<\/p>\n

Given the D minor triad:
\n
\nLowering the fifth tone (which is A):
\n
\n…by a half-step (to Ab):
\n
\n…produces the D diminished triad:
\n
\nSo, the term\u00a0diminished\u00a0<\/em>is derived from the diminished fifth interval in the diminished triad. For example, the D minor triad:
\n
\n…and the D diminished triad:
\n
\n…have identical root and third tones (D and F):
\n
\nThe only difference is the fifth tone, A:
\n
\n…in the D minor triad:
\n
\n…and Ab:
\n
\n…in the D diminished triad:
\n
\n“Here Are All The Diminished Triads On The Keyboard…”<\/em><\/p>\n

C diminished triad:
\n
\nC# diminished triad:
\n
\nD diminished triad:
\n
\n[thrive_lead_lock id=’11374′]
\nD# diminished triad:
\n
\nE diminished triad:
\n
\nF diminished triad:
\n
\nF# diminished triad:
\n
\nG diminished triad:
\n
\nG# diminished triad:
\n
\nA diminished triad:
\n
\nA# diminished triad:
\n
\nB diminished triad:
\n
\n[\/thrive_lead_lock]<\/p>\n

The Symmetry Of The Diminished Triad<\/h3>\n

The diminished triad is symmetrical because it consists of two identical components. Let’s proceed by breaking down the diminished triad into its intervallic components.<\/p>\n

In the C diminished triad:
\n
\nC to Eb:
\n
\n…is a minor third interval.<\/p>\n

Eb to Gb:
\n
\n…is a minor third interval.<\/p>\n

From the intervallic breakdown<\/em> above, the diminished triad has two identical components – the minor third interval.<\/p>\n

Due to the fact that the diminished triad can be broken down into two minor third parts, it is said to be symmetrical.<\/p>\n

The Symmetry Of The Augmented Triad<\/h2>\n

According to Jermaine Griggs<\/strong> an augmented triad is “a major triad with an augmented fifth.”<\/em><\/p>\n

Using any known major triad, the augmented triad can be formed when its fifth tone is augmented <\/em>(or raised by a half-step.)<\/p>\n

Given the F major triad:
\n
\nRaising its fifth tone (which is C):
\n
\n…by a half-step (to C#):
\n
\n…produces the F Augmented triad:
\n
\nThe term augmented <\/em>is derived from the augmented fifth interval in the augmented triad. For example, the F major triad:
\n
\n…and the F augmented triad:
\n
\n…have identical root and third tones (F and A):
\n
\nThe only difference is the fifth tone, C:
\n
\n…in the F major triad:
\n
\n…and C#:
\n
\n…in the F augmented triad:
\n
\n“Here Are All The Augmented Triads On The Keyboard…”<\/em><\/p>\n

C augmented triad:
\n
\nDb augmented triad:
\n
\nD augmented triad:
\n
\nEb augmented triad:
\n
\nE augmented triad:
\n
\nF augmented triad:
\n
\nGb augmented triad:
\n
\nG augmented triad:
\n
\nAb augmented triad:
\n
\nA augmented triad:
\n
\nBb augmented triad:
\n
\nCb augmented triad:
\n<\/p>\n

The Symmetry Of The Augmented Triad<\/h3>\n

The augmented triad is symmetrical because it consists of two identical components. Let’s proceed by breaking down the augmented triad into its intervallic components.<\/p>\n

In the C augmented triad:
\n
\nC to E:
\n
\n…is a major third interval.<\/p>\n

E to G#:
\n
\n…is a major third interval.<\/p>\n

From the intervallic breakdown<\/em> above, the augmented triad has two identical components – the major third interval.<\/p>\n

Due to the fact that the augmented triad can be broken down into two major third parts, it is said to be symmetrical.<\/p>\n

Final Words<\/h2>\n

I believe you’ve seen the relationship between the diminished and augmented triads: symmetry, <\/em>while major and minor triads are not symmetrical, hence, they belong to a different class of triads.<\/p>\n

See you in the next lesson!<\/p>\n","protected":false},"excerpt":{"rendered":"

In this lesson, we’ll be learning more about symmetrical triads and why they are said to be symmetrical<\/p>\n","protected":false},"author":9,"featured_media":22605,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-16822","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-piano","post-wrapper","thrv_wrapper"],"yoast_head":"\nSymmetrical Triads: A Study On The Diminished And Augmented Triads - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In this lesson, we'll be learning more about symmetrical triads and why they are said to be symmetrical\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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