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Primary triads in C Play ⓘ. In music, a primary triad is one of the three triads, or three-note chords built from major or minor thirds, most important in tonal and diatonic music, as opposed to an auxiliary triad or secondary triad. Each triad found in a diatonic key corresponds to a particular diatonic function.
The concept of harmonic function originates in theories about just intonation.It was realized that three perfect major triads, distant from each other by a perfect fifth, produced the seven degrees of the major scale in one of the possible forms of just intonation: for instance, the triads F–A–C, C–E–G and G–B–D (subdominant, tonic, and dominant respectively) produce the seven ...
Functional harmony tends to rely heavily on the primary triads: triads built on the tonic, subdominant, and dominant degrees. [8] The roots of these triads are the first, fourth, and fifth degrees (respectively) of the diatonic scale, and the triads are accordingly symbolized I, IV, and V. Primary triads "express function clearly and ...
Thus, one of the most common secondary chords, the dominant of the dominant, is written "V/V" and read as "five of five" or "the dominant of the dominant". The major or minor triad on any diatonic scale degree may have any secondary function applied to it; secondary functions may even be applied to diminished triads in some special circumstances.
Diatonic function; Eleventh chord; Extended chord; Jazz chord; Lead sheet; List of musical intervals; List of pitch intervals; List of musical scales and modes; List of set classes; Ninth chord; Open chord; Passing chord; Primary triad; Quartal chord; Root (chord) Seventh chord; Synthetic chord; Thirteenth chord; Tone cluster; Triad (music ...
The "counter parallel" or "contrast chord" is terminology used in German theory derived mainly from Hugo Riemann to refer to (US:) relative (German: parallel) diatonic functions and is abbreviated Tcp in major and tCp in minor (Tkp respectively tKp in Riemann's diction). The chord can be seen as the "tonic parallel reversed" and is in a major ...
Sheila Romeo explains that "[i]n theory, any chord from any mode of the scale of the piece is a potential modal interchange or borrowed chord. Some are used more frequently than others, while some almost never occur." [1] In the minor mode, a common borrowed chord from the parallel major key is the Picardy third.
This E ♭ major triad is what would be called the upper structure. Considered in relation to the root C, the notes of this E ♭ major triad function, respectively, as the sharpened ninth (the root of the E ♭ major chord), fifth, and seventh in relation to that root.