Harmony

I: Major and Minor Triads

 

Major and Minor Triads
Triads are one of the most fundamental building blocks of Western music. Virtually any piece composed
between 1600 to the present day (excepting 12 tone serial music) will display a strong preponderance and
reliance on triads. Having a solid understanding and fluency of triads is the equivalent of understanding
how grammar and vocabulary function in language. The better your knowledge and fluency, the better you
become at reading, writing, speaking and understanding the language.

Triad = Three
- A triad is simply when three different notes are stacked in thirds:
• C-E-G for example is a C Major triad.

Interval Structure
- The interval structure tells us what kind of triad it is. The only difference between a major and minor triad
is the interval produced from the tonic to the third (i.e. the first two notes of the triad in root position).

• Major third = major triad C-E-G or 1-3-5 (C-D-E-F-G-A-B-C)

• Minor third = minor triad C-Eb-G or 1-b3-5 (C-D-Eb-F-G-Ab-B-C)

1
 Doubling
- You can double (or triple, or quadruple, etc.) any of those three notes and that wouldn't change the chord's
label (C-E-G-C is still C Major)
Doubling
- YouWhich
can double (orRung’s
triads in triple,Choral
or quadruple, etc.) any
have doubled of those three notes and that wouldn't change the chord's label
notes?


(C-E-G-C is still C Major)

C Major with doubled tonic (C) C Major with doubled tonic C Major with tripled tonic
and fifth (C and G) and doubled fifth (C and G)

Inversions and Figured Bass

- By changing the order of those notes, you get inversions of the triad

a) C-E-G = root position

b) E-G-C = first inversion
c) G-E-C = second inversion

Figured bass: numbers that represent the intervals above the bass note.

a) 5/3 = root position

b) 6/3 (or just ‘6’) = first inversion
c) 6/4 = second inversion

2
Spacing
- Triads can be stacked (i.e. notes can be distributed) in a variety of ways, but two are commonly seen in music:
closed and open.

Other types of triads

In addition to major and minor triads, there are also diminished and augmented ones.
The quality of the third above the root note determines if the triad is major or minor. But with augmented and
diminished triads, the quality of the fifth above the root is the main factor.

Diminished triad = 1 b3 b5 (C - Eb - Gb): or minor triad with diminished 5th

Augmented triad = 1 3 #5 (C - E - G#): or major triad with augmented 5th
3

& bbw
w m3 d5
#w
w M3 A5
w w
Diminished Triad Augmented Triad

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3



Task 1

Practice these major and minor triads.

Say the inversion as you play each
one.

4
children's talk.”

“State of nature, virginal chastity

and purity, lovely innocence of
youth.” 


Chords and Rotations

A Minor 3
C Major
3
L’Innocence - William-Adolphe Bouguereau
(1825-1905)

3
VIII VIII
”Pious womanhood and tenderness
of character” 1  0   
 4
  
4 2 2 2   
1 1
 2   02    
  womanly feeling. 
0
 
4

 
1

0 1 3 3 1 0

 
0
4 
2 0 0 2 2 2
3 3 4

4
“Expressive
3 of tender, 3

Most effective for exhibiting V the quiet


3
V3
 13  2
3
1
3  0 
4
II 1 II 4
0 
melancholy sentiment of Northern
1    13   
 3 4
1
nations.  
0 

1  2  2  

4 3 4
2 2

1 
1

 0   2 of devotion
2 2 
A minor also expresses
1 1 0
0 
 
3
   1
3 4 4 1

0 0 with 0 0 
2

  
2
 2 2
 
sentiments mingled
 3 3 4

4 4


1 1 1

 3
 resignation.”
  0
2
pious4

2
0
3
Chords and Rotations
Harmonized ScaleX4(Rule of the Octave)
V3

3
 
V
  3  3   
3 3 III3

31 
III 3

0 0
VIII
    
VIII 41
 2III6 1    

   1
4 4 3

1 2112  01302  431 423  42 2  42 23  2 41   14 2   4 2 
III 4 4 VIII
23
4 00  20 0 000  2
0

 0 3    01   
 
  3
1
 
3 4

 
0   2
12 0 3 124  23    30      310  3    
 
 3  

(c. 1433-194) 
  
 


4 
 
3

 3 
  
1 03 1 0

3The Mourning Virgin - Hans Memling 2


3 00

 
A Minor
0 0
4 2
0 2 0 1 3 2 02 0 2 2 2 3
0 0 3 2 1 0 1
3
2
Harmonized Scale XII(Rule

h4 of theV 3 Octave)
4 1
3
1 1 
2 11 
V
     34   
4
41  00 01  432  423432 332 4 3 00 
3 II 4 II 4
4
 21 3 42 4  10 
VIII VII
 10 1 0 VIII3
4
  0
      4  30
1 1
   403  0 
2III
0 3 
0   
3 0 1  III 1
3
 602       
 2 0010  4 04
0   

      1 0 3 2


13 00240III3 1  2 20  2  1  21  2   22    1
1

2 0
02 1     
3


1 1 2

 
4 4 4
  
 
2 4

 
2
 02


3

 2
 
2 01
4 

  
2

30 3

3 3
 1 
3

0 
1 1 1 1 1

2
 
 20 3 3  2 
  
0 2
 
1
 
2


0


4
 
3 0 0 0
     
4
 
2 0

   
2
3 0

4 1 0 3
02
4 1 1 2 3


 00
3


1 3 2 1 0 3
3 2

X4

V3 V3 1
 344 4
  III  3 3  0 0 
3
 
4
4 00 4 III4 
1
VIII VII 44

    II0 3  11 04

3
 0  0 
    
III
 2  
4

 20    3 4 33
0 1 4 2 0  02
 
 
   
20

3
 1
4
     

2

3  122  43 2  2

 2
V
03030 12  3 
3 1 1
 04 42 3
1 1

 2   3  0 
1
  2 11 1  00
0  
2 II 4

  0
 23 
1 0  2  
4

     0 3  43 0 2  

1 2 00
   
3

0 1   10
2

 132 3  2012
03   3
1 2

2   231
 3

23
1 1
20 42   4
22 1

00     0

2  3
03
2 0 
0 1

1 
0 3 0

 4  43

3
 
1



4 2

 
1 3 1

3  3
0 



2 0

 3 


1 01 0 003


0 
1 1 1 0 2 1

1


20
h4
4 XII

1

4
123 4 432 VII1 4 3
VII VII
 3  1 2  0  4 II
3 3
   
II 4

4 00 40  00  344 32  2 33 143 32 

4VII
00  0  00  3 
 3 2 0 

V
 0
14
  
2  
0 4

 0 1 03   

4 4
02   3 2    1 4 21 00  
1 0  
2
113    021 
1 1

0
3 4

    

35
 22    2  42  
 0 23012 12  10 412 0 043  2 1241   1113 1
0 V
    
23

        
 
03

2
012    

  
0
10
  3 
111

 2  1
2 2

 3  0 3 1
4 0

4  

4

4 
2

1


0 21
  
1
 
2

1 0

  0
3 0 0 4
2 0

1 4 2 3 3 2
0
2 0
2 
00 1 3 0 2
1 2 1 2 1 2 2
2 2
 02meditation,  1

 quiet 00 Harmonized

  
V V
    
2
of
4 faith, II
4
love, calm Scale simple
(Rule
3
of the Octave) II 4
0  2  humour 3  01 
1
 and 1 1
2 1


 1  3pastoral 3  3 3  1 
3

 VII
3
grace, 1 life a certain

 2

2

6  
2   24 
 
4 4 3
3

 
2
and VIII
4brightness.”

4

2 2
  3 3  
4
  2 0 1  4  1 4   0 
III VIII
  
III
        11  
III 4 4

 0        1 23
4

0
2
 103 0  201 Chords 0   20 2 0 3 
 G Major
4 4

 43
 3 2   3 
3
  0 1

  
4 44
 
2  
0
 03


0 
  
1 and Rotations
2 1 1 1

1 3

2 1

0

4
0 
 
  2 The 0rustic dinner 0-2 2Samuel Palmer


1
 

0 3 0 2 2 3 4
(1805-1881)

E Minor
3 3
0

III 3
 43 3
4 3
4
 
3 III3
 1 
  3
3 VIII X1 VIII
VII34
 
VIII
 2  4 4 
4 V3
 0  02  2 2 1  4 2  24    4 2 1 0 
V
    2
III43
 0  amorous,     
 
       
3
   
4
“Effeminate,  grief,  12 1 0 

0143  203 4 0322 

 01  03010  1  31  
00014 0201  01
1

  
3

 2 2    
4
  2203
21 0
 2  1 2  restlessness”   3
 3 2 0  2 
 3
03




2 0 0 1 30

1 4 4 01

2 0
2 2 2

3
2
3 V

012 
 3  43 

3

3
mournfulness, 
00
43
3
0

 0  2   1
0

1

0 3
1 1
3   
0


2
12

 

2
1
0 1


0



3

 
0

  II4
 
1

  
0 2 2

1  XII h4 123 

4 3
“Grief, mournfulness 2
and restlessness
3 4of
0 3  0000
0 3
3 22
V V

1 1
   0
13 II 4
 2  02  1 02 01 0 0 021
1
2 3 3
12

3 
2
 
spirit.” 0
 
3
 13  12
   3

0
  1
2 
 1 V3  

3

4 4
2

0
3
0 3  4300 0 4  
   4 1 4 2  13
2 2

10 
  41    
3
2  
 
4
    4 3 4
1 1 3 V
4 3 1  14   10 0  
1 
  0 
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 II3 4   43 2  423
 

  
1
 3  3 3 
  0   0 3
   

  2 0  

 01 3 1    1
4 0 3 0
affected 0 4 by that 2
key than by any
3
other”


3

 0  1 II0  2  0  2  10 431  1 413  41310

4 3 4
0 2 3 1 2 3

 2II300  0 
II

20
1
 0
  10 22 3 1  13  2 1 12  32  12 
 0
 13 1 43 3  432  10 
    
 0013X6 313 34  IX2 2
12
 3II4  13  301
3 0
Malinconia - 1
Francesco
 43
2
3 E Minor  
2   4  VII 
4 4 3 3 Hayez


   
23 2 0 
4

24   

2
2
V


 
 1    342 4 
3

 4 3  1  
 3
  23  4 
2 13 II3 01  
4
 
2

  21
2

3 2 2 2 1
42

1 
1 VII
1 1   1
4 1 2 3



3

43   01  2  1  0
VII VII
II  1  3 1
3
1  4 2  4
1

 3  23 2 4  2 2 3 
 0  12 2  1  3  1 
       
4 0

   
 212 4 3  II    2  
    1  1
 4  0  234 24  20  X026
0 0 4 4 4 3 44

1
1
2  3 

4 4
4
 
0 01
2
 3 3 
V

 663 
 4  1 
2
   3 23
0 0
   
1
4

 
 VII   4


4 4
2 3 VII2 1 2
II II 2 9
 4
3

 3  h4 4  4  
63
  
3
II II
  3
0 VII

II

2 
II
14  1
 
1 1
 1  3  1 1 
4

          
4 3 4

 3X36 4II4 
  3 3 3 3
XII
3    12 3  II442
02  41 34 3 14  V344143
VII 2 VII
 
1

 4 1  1  II 02 
    
3

1 1  
2

 0 
2

  2 2  120  2   23

34 V 3V

 00 1
2
 IX 4

3 
3
   3 2  2
3

3    23   0 
34

   2   2 23  0 
  13  0 6 1  3  0141013 
   



     3    
  4 
4

14 

 
3 1 
2


2

 
3 3 3 3 3 2
0 1
3
 
3
 
VII 4 II
  3 32      
II

  3 
 12 3   42  
32 3 2 
23
4 3

  


1 1
2
4

 0 II 3

1
1
1  1

2 3 2 1
II 1

  3   3  3  1  
4

     1 
 3II6 13  0  3  1   
 2 1 1 2  1 1  2 2 
2

3 3  3
3 4


   3  VII


2 4 4 3
24 24 
 0 3
1 1
4 1 2

  2421
23  3 
II

12
 3  1 
0 3

     
2
  
4 2
3


3 3 
4 3
  23 3 
3 1
0
0
II4
2

 

2 2


3
 
3
 0  4
V 7
 4 1 
  VII
4 3  4  
4

343 
 
 

0 4
3 3
II 1 62
23
4 
  
3

VII 0
VII
 42
II 3 0

 
1
4 3 3  4 
412
4
 4 1
6 3 2 II
 3  II
0 II 6
II 0 3 4
 1  12V 1  0  II3 II
  key.”  4 II0   21    4 3
favourite     2
 3  21  4 
3  
3
 2 0  4     34 40   0  
 2 23 0232  II002    4 4 4 1 4
 21 4 
202 
 4  0 2 0 X223
 13201 10 12 3 1   3 1  
4 0 2 3  2 
         
 124333   13
3 4 4

               
3

  
02 
   
4 
  0 1 121 02  
6


1 1
4  0
4


4 2

  2
4
1
1

0
2 3 2

4  2200 

V
3

2

2  3
2 3 3 2

 2 
3

0 2
2
 
 2 113   
0

1
0


4 2

F# Minor
0 4 1 1 0

1

0 4 2 2 4 1 1 0 4 1

    



 
    1

0


2 00

 
1 4



0 2 3 2 1 0 2 1 3
3 2
3
0 Idleness - John William Godward
“F-sharp minor, a gloomyVIIkey. It pulls A XII Major
ath4 VII3 (1861-1922)
4
3

     34  leg. V444 4

4  4 
4
4 40  31   0
X 66
passion as the biting dog at one's pants  
IX 4
 0  II  2 1  II 1   242 1 21143   02 II II2
3
0     0 4
2
4

 0and
3 4 3 II 4
 101  are 0 
1 01 0
VII

10023 3 3  3120  2 12 323 2 2  3 43321 3  43

2 4 
23
 3 
V V
 2
II 2 II 3
    034     

    
3
  
1

     0 
 00113  2it1 does13 3not 1   13  1  2
   1  0
44
Anger
 discontent its 1 language.
 
  
        
3  4  
2
  
 43 3 4  3  
  
1
  
1 1 2 3 3

 343 1 4300
2
 
4

3 2 2 2 3

   0 10

1


1 1 1 3


1 3

 
3

2

therefore, it always languishes

2
Ordinarily, 0
1seem to be well in its 2 22 3 32 0 3 0



1  
0 
3 0 3

3
position;  4
for 1 
4 4
the repose VII of A major II3 or for the conquering 
VII 3 VII3
  4 4 1   41 
3 3
3 1 4
VII VII 6
3II
4 
4

3
II
 D     21 
II
blissof  3 
II
31  1     4 3 44   2  4
11  22   4
II

4
       
4
 major.”      23 3
   
    
   
1  2   3II  1   3 2 
1 34   0  2   
 003  12313 2  1 300 3 22 
  
1
        
2  043  0  
 31 32341 1312 10 
1 
2

3
3  01  32 
  
2

6 4


2 1 4 2 2 4

0

2 VII

2and 
2

1 2 
2 1 3 1 1

3

1 
II 3
  2
2

 
  12




2
 122    2 

2 0 2

3
4 1
 
4 4

 
2 1

 1mysterious    
 
3
    
3


    3 1 
22
  3  spectral     3  
 3
  
21 1

0 4 0
“Dark,  key. Full of

4 21
 
4

 
2 2

3 3 1 1 4

343 3 2 1 2 3
0 3 2 0
0 0 0
passion.” h4
3 XII 3
VII VII
4
4 II 4 
4 4
 4 
3 3

3 VII VII
  
II II 6
  1 4
VII 6
   
4 II
 0 II  3 43  3 3  4 4 3  
3
2  44  1
3 II21 
3
V3 V6

4

 00    200  2 3 0

limpid  23Crimea
0 
II
   
4 II V


4 44 II

12
3   
4 3

3 1    
33  23  3 3 2  2 10
2 1 
3 0 2 Kuindzhi
  43 
1
 3
1 4 1

 1 13 0
43 1   3  
14
2 10   1   4 
3  3
 2  
  
0
 4   
0  2
1  
 
3

  
4 The water. Gloomy Day. -


1 0

 311 
4 2 1
 
 
1 3 1 2

43 
  43 
0 3 1 32

3 


1 3 1 0 2 0 3

 
2Arkhip 2 (1842-1910)
134

  
3

F# Minor
   IV 4
2
3 4
  1 0
V II
2     2 4 4   
  
4II 3 3
3 
         24 1  1
II
 
40
1   4 3   33 3

   
2
 1 
4



1 4


  II 2    3  0 
43
    2 4  1 2 
3

1 4 0

1
1   2   
2
  23 1 10 1
1 V 32
3  

3 2
1 2
 3 1 34   3 320
2 3  1
3


  
 043
3

12
   3
1 
0 3 4 34

12
 0  4 
  
 
0
 
2
 3 0
3 3


2
23
2

4
 


1


3
2
0

0

1 2
3 0 2
3
13
4 4

4
3 VII VII 3

   IV 4

3 II IIII 4
4  40
V6
    23 31 
  4  4 
6
  4 13  0  
3
44
IIII 6 IIII 3
23     
0 1
4

1  
II2
 
 
  1  43  11 
 
4
 41 1   
 
2 4

3

  
3 12
 3 3  
 3 34 
4

30
 
2 3
0 
 23   

3

3 3 3 0
1 2


0 2
1

 
 3 

4 2 2
4

4 3
  
3 6
4
V

II II II

 II  
 
II

 31


 4 
1 

4


6 3 3 II33
4


2 3 231 21  2
3
42 
3 1

    34 
  21 43  


    
0
 3 4 1   3

4 2  12 2
3

2 43

3 0


4 3 8
  4
3 6
4
V

II II II

 
    31 
 1 

3     3 3
4
2 231 2  4 2
3
4
2

C# Minor E Major
A Merry Party - Jan Steen
(1625-1679)

“Laments or repentance, intimate

2
IV 3 IV 3
1 and 1the
 41 
 II   
6 6
with God,0 the friend
  2 
conversations II

 1 0 0
2  
1 1 unsatisfied  

4

3  and lovelie in its circle.”

3


of life,
3   
3 3 0
playmate sighs of

0

2  

0 1

 

1 1 3
3 3 2
friendship 3
5
IX3 IX3
“So full
  14 
of dignity and of inspiration.
1
 
3 2 2  24  
4  full ofIX  
1
 1    
  4 
Serious and sad. Noble 4feeling,


1 2
1  
2 2

4

4


4 4 3

  
1
 
3 3 1 1


2
depth and energy.”2 2 4
  
4

   
3 3

0    
4 4 4 4
 1  2 2  1

1 1 1 
0 1 1 0


0 0


   2
0


3 
1 1


0 0
1
2 2 2 2
3



4
3 3
VII VII
 234 

 4 4

IV IV
 II6 II6
IV 3 IV43
II 4 1 
 4 412 
3 41 132 11     0   
II
4     4  1 23 
   0  30 1  II 6 6
   
  1 
 4
00 
5

II0
  3 1
1  
1
  
1  32
1 1 13 1013 0     4 12   0 0  
33  
4
  1
2 4 2

3  2
2
    


 4- Rembrandt 
323 34      
234

 
  1  1 34  
0 0 0 0


4

 4 2  
1 3 3

 3
0

3 Jeremiah lamenting the destruction 1 of

 3 
  
(1606-1669)
4 3
0
1 3
1

0 
3
 13
2


1 31 1 1 3 2


4 Jerusalem
0
2 2 4
C# IX Minor
4 4 3

  IX3 4   6 00   
4 3 1  IV10 4 II
3

  
IX
IV  1  
     
4

4
    1 4    01
6 0
   
4 4


  0    
  103 1  331  2 1 2  23 1  

 
0


0
   
0
   21 432  
4 0

1 0

3

 2 122  43    14 4  4 2 3 
32  
1 1 0 1

33  12 
120 13  22 
 4  
0 0 4 3 4 1
  
1

0
0 1
 
32 42 0 
4
  31 
 14 1 421  124 
2 1 1 2

 1
I3
2
1  IV  
2 3 1

4


4
  4
1
34III3 4 34 2


   4  IV1 4 2 21  4 2  433 123 43 63  4 II 6 213  20  13  4 0  0 
1

2 IV 3 III 3

 
2
 
46 26

2
3 I0

    0 0  3  3 0 3  
  1    
   1  4 3 2  1 
  2
012  1II6 
   41 1
IV 1
  3 12  3

1
  4

 2 

  
0 4 4

II4 

0


4
   
1
    
3 3 3
3
432
14 31
II
   
3 2 6
   4
1 II


3

0  3 12  VIII 
2

  IV1 6
1 4 3 2
  VII3VIII  
4 3 2 17
0
  1   IV414  1
4

112  2VIII42 34  

 
0

14
2 3 4 21 2  
 

3
   
VII 6

3 
3 41
1

1
1 IX

  14 3 01  1  01

   0  0 
4

2 
IV
 
2  443  234 4 123  3 2     
4 4 4
  4 2 1   
4
 23 4   4 1    
1    41 413 41
2 2  
   133326  4034  3 3   2   
23
   
4
 
2

3 
1

 1 4  3    1
3


0

 3  33

3 2 0 2



4 3 4 1 1

 

6
4





3

 3 
 
2IX  
IV 2 
2 0

44
1 1 1 2

2
IX
    IV  3 
1 1

 
      
3
4 4

 
42 4
  423    
IV
    
6 1

  
2 2  
1 1
 
4 6

2

      4   
2 IV
 2  3 2 4 
 I60 3
1
 
3
  2
3 3 4 2
4  1    4
0 3
2

0 I4  2  1 0  2
4
 
4 4 3 1

 
  I266 41 III 4 
3

3  4 3 1  33 
3

3 4

III34
3

 1  6 
423
4 4
 3 1 III 4  1  I 12  6
1 2 I
1 
2 1

   IX 0  4 2  12 21 413  2 42 13  IV41316

3 3  I
3 3 3
2
1 III VI 4 VI

1 
   0 
 1 3 1  343 2   22 2
3

1
03  3   1  4343 1302  3  
0   
 
  
 21 3 4 1   2  1   1VIII4   3  2 41  23
1

  3  
02
3  13  9
  
   
2

       
3

 
2 2

  
2
3 4 23


3 3 2 3 4 1 2 2

4
4

4 3 4 3  4 3 3 4
 4  III 1  VIII VIII
1  III 4
 4
3

 
VI
  

V4

 
III

4

 
 32      

2

13   
 
4   
2 3 4

42
2 4 4
3 the Shoresof32 the Sea - Hans
1
21 Knöchi3
1 3
On

 (1850-1927)
F Major
D Minor
 
III
6 I


2

3
4
1 

I

2
III
6

2  4 2 
3

   24 a subdued 2   

4 3


  4  
4 2 anxiety,
III 6

 3 312
III

4 3

   
“Expresses 1
feeling of 1

 3  3 3grief,  
2
3  3 3

2


3and solemnity.”
4 1 
2 2 4
  01

4 4


2


3


melancholy, 

1



3
2 4
6 3 4

“A pensive key full of nobility and 1 X4 

refined  12 
   III36 
4

  0  1 1
  2
 
2  12   1 
3
  4

3 1

1  
3  3

1
feeling.”  
 
2


III
4 4 0
3 3 3
  31 1  3 1 3  1  4 
3 3
4 
4 1
  
 21 4 
  12 3 
0
2
0  3 1   3    
4 4
 


2 4 2 2
  1    2 2
2

4


44
 


2 
3
4 43
1


 0 3 3 3
3 2 1 21 3


22 2 4

1
 
1
1 1 0 1
3 0


 III
4
 4 
III
4 3

   1  
4    2   12  44
4 4

 20    
4 4 3
2 
6

3   4 0  31
1 3 3 I
I
0

 1     


0 4 0  
2

  III 
1 1
623     2 31 02 2
16 3

I 2
1
  
4 0 2
1 14 

1 3

 
0

 
1 I
3
3 3
  3  
2
III 3 2
3 3
 2
 2
4
2
1
2 2
2 4

4

 4 4 
 
1 4

3 3 Czachórski

 
2 2

3 3  (1850-1927)

2


4
D Minor Pensive - Wladysław

3
 1 
I 6

     
III
 
6
     
4

23  

02  
0

000 4 4
2
   
2 
1 4

1
1 4


2

1 3  3  32
0

   31
0
 2 1
3 1 4

3  3 3
3 X
 1 1   2 1 1
1

 0

4 4
1
   2 2 1

2

4   23 
4  4
1 2
4 4 0
3 3 3
4 1 2 1 1 

4
 4  0
2
3 1 3   
 012  2 2  2  21
33

1
3


3
3 1

1

0
 0 1

1 1 4
3 3

4
4 4
 
III III

 1
  1   
2 
4 4

  20  2    
4 4

   
3 3 1

0 

4 4


 
2


1 1 2

1 1
 
3 3 0
0
0 0


2
V6

  
   
43 
4
3 1
X



6

 
  2 23    2
2
 4
 2 21

3 4

  10

3 3
3

6
X 6



Task 2

Practice these moveable major and

minor triad shapes.

11
Moveable triad shapes
There are some fundamental triad shapes that can be moved both horizontally and vertically on the fretboard. This
means that you can learn hundreds of triads in a relatively short amount of time.


http://danielnistico.weebly.com/moveable-triad-shapes.html

12
5
13
6



Task 3

Identify the major and minor triads in

the following examples. Write the
triads out as block chords.

14



15



16
17