diatonic triads / major tonality

In analyzing the seven diatonic triads of the major scale, three of the four types of triads available within equal temper are found diatonically. The major triads are found on One, Four, and Five scale degrees. The minor triad on the Two, Three, and Sixth degrees. The diminished triad is diatonically created on the Seventh scale degree. We could say this diminished triad is "doubly" minor, with it’s minor third and diminished fifth intervals above the root. This distinction between the two types of diatonic minor chords, creates two unique minor chordal colors within the major scale. Lets arpeggiate the seven diatonic triads and then examine each of their intervalic structures. Example 1.

One Two Three Four Five Six Seven 1 / 8
C maj triad D min triad E min triad F maj triad G maj triad A min triad B dim. triad C maj triad

diatrimaj1.TIF (8662 bytes)

Here is a chart describing the pitches and intervals of the diatonic triads created from the major scale as in the music above. Example 1a.

measure # triad intervals / pitches
1 C major triad
C up to E is a major third E up to G is a minor third
2 D minor triad
D up to F is a minor third F up to A is a major third
3 E minor triad
E up to G is a minor third G up to B is a major third
4 F major triad
F up to A is a major third A up to C is a minor third
5 G major triad
G up to B is a major third B up to D is a minor third
6 A minor triad
A up to C is a minor third C up to E is a major third
7 B diminished
B up to D is a minor third D up to F is a minor third
8

C major triad
C up to E is a major third E up to G is a minor third

So, not to complex eh, but potentially very important to the improvising, creative artist. No diatonic augmented triad, mmm... Can we create these diatonic triads from all of the major keys within equal temper? Sure can. How? Well, in the same manner as we did above with C major but simply change the pitches / key signatures. Really? Sure why not? Here is the above chart recreated in the key of D major, a whole step up from C. First the music. Example 1b.

One Two Three Four Five Six Seven 1 / 8
D major triad E minor triad F# minor triad G major triad A major triad B minor triad C# dim. triad D major triad

diatrimaj2.TIF (9142 bytes)

Here is the chart spelling out the pitches. Example 1c.

measure # triad intervals / pitches
1 D major triad
D up to F# is a major third F# up to A is a minor third
2 E minor triad
E up to G is a minor third G up to B is a major third
3 F# minor triad
F# up to A is a minor third A up to C# is a major third
4 G major triad
G up to B is a major third B up to D is a minor third
5 A major triad
A up to C# is a major third C# up to E is a minor third
6 B minor triad
B up to D is a minor third D up to F# is a major third
7 C# diminished
C# up to E is a minor third E up to G is a minor third
8

D major triad
D up to F# is a major third F# up to A is a minor third

Cool with this? The idea of taking one theory principle and applying it to all 12 tonal centers of equal temper makes the learning that much easier. Are you cool with spelling out the letter names of the chords? Click spelling chords for a review of this important ability for the emerging artist. 

Try executing the above music on your chosen instrument and at a piano if available. The diatonic triads for C major are created exclusively from the white keys yes? Once comfortable, try to run the diatonic triads through all 12 keys, following the cycle of fourths. Can you think of any melodies you know which are created primarily with the major triad?  How about "When The Saints Go Marching In." Look to the melodic permutations and artistic filters discussion for more ideas about triads.

Beginning to wonder about the 7th, 9th, 11th,13th and 15th chord degrees associated with diatonic harmony? These upper structure extensions to the basic triad help to color the chord and provide composers and players with a vast array of harmonic color to articulate their artistic statement. Look at chord families to begin to explore these upper structure components. The various styles of music in our world could in a sense be defined by just how much of the upper structure an artist employs. Folk and rock music generally is triadic in nature. Blues players commonly extend into the 7th and 9th of a given chord, using the dominant harmony color created on the fifth scale degree as its tonal center. A jazz players harmony would potentially encompass the whole range of diatonic and non-diatonic possibilities, through all of the 12 major and 12 minor keys.

As with any artform, the expansion of the potential resources can be traced historically back through the influential contributors. So our study of musical resources could and should include the reading of biographies of the recognized master craftsmen who have come before us. It is in the study of their work that we can see the gradual historical expansion of the resources. Perhaps start with the influential players who play the instrument you have chosen, to gain a sense of the history of your instrument and how it has developed, noting major influential players. Perhaps make a chronological listing of the major innovators, find their recordings and hear the evolution of your chosen instrument within the styles of music you dig. Click disco / bib for help getting started in this research.

Other links within this text for diatonic triads? How about taking a look at common ways of creating chord progressions for many of the songs of American music we love?

Where to next?
review new ideas
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I not only use all the brains I have, but all I can borrow. Woodrow Wilson