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Both major and minor chords are examples of musical triads, which contain three distinct notes. Triads are often introduced as an ordered triplet: the root; the third, which is above the root by either a major third (for a major chord) or a minor third (for a minor chord);
Similar to a D minor symphony ending in D major, as with Beethoven's Symphony No. 9, a D major symphony can have for its allegro first movement a slow introduction in D minor. Robbins Landon wrote that "Tonic minor Adagio introductions, especially in the key of D minor, were very popular with English composers of the year 1794", and Joseph ...
The following open-tunings use a minor third, and give a minor chord with open strings. To avoid the relatively cumbersome designation "open D minor", "open C minor", such tunings are sometimes called "cross-note tunings". The term also expresses the fact that, compared to Major chord open tunings, by fretting the lowered string at the first ...
A typical sequence of a jazz or rock song in the key of C major might indicate a chord progression such as C – Am – Dm – G 7. This chord progression instructs the performer to play, in sequence, a C major triad, an A minor chord, a D minor chord, and a G dominant seventh chord.
The irregularity has a price. Chords cannot be shifted around the fretboard in the standard tuning E–A–D–G–B–E, which requires four chord-shapes for the major chords. There are separate chord-forms for chords having their root note on the third, fourth, fifth, and sixth strings. [2]
A major triad has a major third (M3) on the bottom, a minor third (m3) on top, and a perfect fifth (P5) between the outer notes. In harmonic analysis and on lead sheets, a C major chord can be notated as C, CM, CΔ, or Cmaj. A major triad is represented by the integer notation {0, 4, 7}.
More tunings of the minor chord are also available in various equal temperaments other than 12-TET. Rather than directly from the harmonic series, Sorge derived the minor chord from joining two major triads; for example the A minor triad being the confluence of the F and C major triads. [13] A–C–E = F–A–C–E–G. Given justly tuned ...
For orchestral works in A major, the timpani are typically set to A and E a fifth apart, rather than a fourth apart as for most other keys. Hector Berlioz complained about the custom of his day in which timpani tuned to A and E a fifth apart were notated C and G a fourth apart, a custom which survived as late as the music of Franz Berwald .
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