\n
\n…if we assign the root to C:
\n
\n…the third and fifth tones of the C major scale would be E and G (respectively):
\n
\nSo, when the notes “C-E-G”:
\n
\n…are played (or heard) together, that’s a triad.<\/p>\n
If you’re interested in upgrading those triads with whole-step and half-step prefixes ,this lesson is for you.<\/p>\n
This approach is actually a top secret that a lot of top and advanced players know but don’t care to share because it’s actually a trick that can help you shortcut your way to any seventh chord using the four main triads — major triad, minor triad, diminished triad, and augmented triad.<\/p>\n
But I’m going to show you how this works for free and that’s because I am so much interested in your growth as a musician and most importantly, I want to be a part of your success story as a musician.<\/p>\n
Triads are three-toned chords consisting of a root note, a third, and a fifth.<\/p>\n
Using the C major scale:
\n
\n…if we assign the root to C:
\n
\n…the third and fifth tones of the C major scale would be E and G (respectively):
\n
\nSo, when the notes “C-E-G”:
\n
\n…are played (or heard) together, that’s a triad.<\/p>\n
Attention:<\/strong> You can also call a triad a chord because all triads are chords but NOT all chords are triads. Any chord that has more than three notes is NOT a triad.<\/p>\n The first, third, and fifth tones of the major scale, when played or heard together, produces the major triad and just like the just learned a few moments ago, the first, third, and fifth tones of the C major scale: Submission:<\/strong> There are so many other ways to define and form the major triad and they vary from simple to advanced. But we’re going with this simple and easy way.<\/p>\n The minor triad is a three-toned chord built off the minor scale.<\/p>\n Playing the first, third, and fifth tones of the minor scale produces the minor triad and if we use the C minor scale (as our reference): If you already know your major triad, you can form the augmented triad by raising the fifth tone of the major chord by a half-step.<\/p>\n So, if you want to form the C augmented triad, you’ll use the C major triad as your template, and then you raise its fifth tone (which is G): The formation of the C diminished triad can be associated with the C minor triad: “Here’s What To Do…”<\/em><\/p>\n Lower the fifth tone of the C minor triad: So, here are the four main triads (starting from C):<\/p>\n C major: Now that we’re done reviewing them, let’s learn how they can be enhanced using whole-step and half-step prefixes.<\/p>\n I know I’m no expert in the study of English language but I know that a prefix is added before a word to slightly alter its meaning.<\/p>\n For example, the prefix “un” can be added to a variety of words like:<\/p>\n do<\/p>\n follow<\/p>\n learn<\/p><\/blockquote>\n …etc., to form words like:<\/p>\n undo<\/p>\n unfollow<\/p>\n unlearn<\/p><\/blockquote>\n I’m going to show you prefixes that you can add to the triads you are already familiar with to enhance them.<\/p>\n The whole-step prefix is a note that is a whole-step below the root of a given triad.<\/p>\n For example, if you’re given the C major triad: 1. The Dominant Seventh Chord<\/strong><\/p>\n Playing the major triad with a whole-step prefix produces the dominant seventh chord. The C major triad: When the minor triad is played with the whole-step prefix, this produces the minor seventh chord. The C minor triad: Playing the augmented triad with a whole-step prefix produces the augmented seventh chord. The C augmented triad: 4. The Half-diminished Seventh Chord<\/strong><\/p>\n When the diminished triad is played with the whole-step prefix, this produces the half-diminished seventh chord. The C diminished triad: So, what is a half-step prefix?<\/p>\n The half-step prefix is a note that is a half-step below the root of a given triad.<\/p><\/blockquote>\n If you’re given the C major triad:<\/p>\n …and you go ahead and add a half-step prefix; that would be a note that is a half-step below C: 1. The Major Seventh Chord<\/strong><\/p>\n Playing the major triad with a half-step prefix produces the major seventh chord. The C major triad: When the minor triad is played with the half-step prefix, this produces the minor major seventh chord. The C minor triad: Playing the augmented triad with a half-step prefix produces the augmented major seventh chord. The C augmented triad: When the diminished triad is played with the half-step prefix, this produces the diminished major seventh chord. The C diminished triad: In a subsequent lesson, we’ll be narrowing these chords down to a few of them that are relevant to the major key (aka – “diatonic chords”) and you’ll be able to understand how chords with whole-step and half-step prefixes can be applied in the major key.<\/p>\n Until then, keep practicing what we’ve covered so far in all the keys.<\/p>\n I want to specially appreciate our founder and president, Jermaine Griggs for the opportunity given to me to share these tricks with you. I don’t take it for granted.<\/p>\n See you in the next lesson.<\/p>\n","protected":false},"excerpt":{"rendered":" Using the whole-step and half-step prefixes we’ve covered in this lesson, you’ll shortcut your way from triads to a variety of seventh chords.<\/p>\n","protected":false},"author":9,"featured_media":21976,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[252,25,416,350,9],"tags":[17,188,2360,2931,2246,192,187,2929,2930],"class_list":["post-20556","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-beginners","category-chords-progressions","category-experienced-players","category-music-etc","category-piano","tag-basic-songs","tag-half-steps","tag-half-step","tag-half-step-prefix","tag-seventh-chord","tag-seventh-chords","tag-whole-steps","tag-whole-step","tag-whole-step-prefix","post-wrapper","thrv_wrapper"],"yoast_head":"\nA Short Note On The Major Triad<\/h3>\n
\n
\n…which are C, E, and G:
\n
\n…produces the C major triad.<\/p>\nA Short Note On The Minor Triad<\/h3>\n
\n
\n…the first, third, and fifth tones would be “C-Eb-G”:
\n
\n…and that’s the C minor triad.<\/p>\nA Short Note On The Augmented Triad<\/h3>\n
\n
\n…by a half-step (to G#):
\n
\n…and you’ll have the C augmented triad:
\n
\n…consisting of C, E, and G#.<\/p>\nA Short Note On The Diminished Triad<\/h3>\n
\n
\nSo, if you know your C minor triad, you can\u00a0easily<\/em> form the C diminished triad.<\/p>\n
\n
\n…which is G:
\n
\n…by a half-step (to Gb):
\n
\n…and you’ll have “C-Eb-Gb”:
\n
\n…and that’s the C diminished triad.<\/p>\nSummary<\/h3>\n
\n
\nC minor:
\n
\nC augmented:
\n
\nC diminished:
\n<\/p><\/blockquote>\n
Prefixes: Whole-step Vs Half-step<\/h2>\n
The Whole-Step Prefix<\/h3>\n
\n
\n…a whole-step prefix would be a note that is a whole-step below C:
\n
\n…and that’s Bb:
\n
\nSo, adding the whole-step prefix (Bb):
\n
\n…to the C major chord:
\n
\n…produces the C dominant seventh chord:
\n
\n“Here’s The Whole-Step Prefix Combination With The Four Triad Types…”<\/em><\/p>\n
\n
\n…with the whole-step prefix (Bb):
\n
\n…produces the C dominant seventh chord:
\n
\n2. The Minor Seventh Chord<\/strong><\/p>\n
\n
\n…with the whole-step prefix (Bb):
\n
\n…produces the C minor seventh chord:
\n
\n3. The Augmented Seventh Chord<\/strong><\/p>\n
\n
\n…with the whole-step prefix (Bb):
\n
\n…produces the C augmented seventh chord:
\n
\n…which is rarely played but an amazing altered dominant chord.<\/p>\n
\n
\n…with the whole-step prefix (Bb):
\n
\n…produces the C half-diminished seventh chord:
\n<\/p>\n
The Half-Step Prefix<\/h3>\n
\n
\n…and that’s B:
\n
\nTherefore, adding the half-step prefix (B):
\n
\n…to the C major chord:
\n
\n…produces the C major seventh chord:
\n
\n“Here’s The Half-Step Prefix Combination With The Four Triad Types…”<\/em><\/p>\n
\n
\n…with the half-step prefix (B):
\n
\n…produces the C major seventh chord:
\n
\n2. The Minor Major Seventh Chord<\/strong><\/p>\n
\n
\n…with the half-step prefix (B):
\n
\n…produces the C minor major seventh chord:
\n
\n3. The Augmented Major Seventh Chord<\/strong><\/p>\n
\n
\n…with the half-step prefix (B):
\n
\n…produces the C augmented major seventh chord:
\n
\n4. The Diminished Major Seventh Chord<\/strong><\/p>\n
\n
\n…with the half-step prefix (B):
\n
\n…produces the C diminished major seventh chord:
\n<\/p>\n
Final Words<\/h2>\n