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) : think of a major 3rd as 4 frets
• Minor third = minor triad C-Eb-G or 1-b3-5 (C-D-Eb-F-G-Ab-B-C) : think of a minor 3rd as 3 frets

The examples below are meant to visually show how triads make up a large proportion of a piece’s fabric.
Triads form the foundations of chords and as Dionisio Aguado said, “guitar music is founded on chords”.

Understand triads and you understand chords. Understand chords and you’re on your way to learning the
foundations of guitar music.

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 2      4



 3 
130 34  2 3   3       
1 4 3 2 0 3 1 2

3  4 32 6
  
2

26
3 3 1 3
2 0 2 1 3 2 2 3
3 
4 3 1 3 0
1 3 2 1

6IV 
0 2
1



3
III
3 IV4 4 4 41 

VIIII4 2  4  VII4  4 344
III
 
 VIIIX
3
    1   1 2  2 2          
1
  
4
 V  
1

           3 
IV
         63
4 4

 0    4      3 1 

2  4
 
444
     3
3 II II
 
4III IV III IV 44 3
3
  
IV

4 1
          
 4 
 4 4 1 4  
24 1 2 31 
 
II
 1         
6
  
33  10423 1 4 432
4
 3       
2 2 1
 
1
     0  3 
1

 3  31
II
13 3 0  13   11314  3 3  
3 4 II

101  13 3
0 3 4 2 4 0

4 
4 4 3 2 4
43
4 2 4 4 2 2 2

 
0
3 1 4 3 4 4 1 0 0


3
 0
4 4 2 2 2 3
F# Minor    

3 4

III  3  31
2 2 1

3  1 3 
4 1 4 2
4 3 1 43 
  3 1  4 III 
3 03

     2
  1  1 2 I 6
0 3 13  0 13 0

IX6 
1
0

0 1 3 
1  VII I 6
31
321 2
  
2

1 4  
3

 1 1  II 1 
0
 
4  4 
VI 4
IV 4
  24 2          
   23   1 1   4  3 42  2 4
1
4 2 6
  1       
323    1 02   3
3 IV

 2  4
   3
 3  1  III 2
3

2 1
 0   12 4     
2
3 
2 3

 1VIII VIII III  4  22

4
 2    43 
3

   
 
1 33
3 3 3 3 4 2 3


4
41

3 3 4 3 2

1VIII 2

3 4 4 4 
  
3

 4   VIII 4 
4

 3   4  
6 3
4          
II II II
0  0 34  3    2 3  3 3  30 1 33  
3

   3   133  
4 3 3 4



4

1
VIII
  3 1 2 4 4  1 14     
4


1  0 1 2 10  619

21 3 2
4 1 1 1 1 4 4 4



2 VI 2  
1 1 1  123
 1 0  0  43   4 4  4 0  
      

0
   4  
2
2   
0 2  VI   3
2
4 4
2
4
   XI

 
  0 
6 1 2 2 1

 3 1 1
4

  214 
III 3 2

   3  V4 
4 4 1 2   1 
2 2

       
VII3
      3
3 3


1
43
  II6 6   
3 3 4 2 3 2 1 2 4
3 2
3 6
4 II 4 II
I 4 I


Prelude BWV 999 - Bach: download

3
 Doubling
G Major (1-3-5) G Minor (1-b3-5) G Diminished (1-b3-b5) G Augmented (1-3-#5)
- 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-CDisMajor
still C(1-3-5)
Major) D Minor (1-b3-5) D Diminished (1-b3-b5) D Augmented (1-3-#5)

& ∑ ∑ ∑ ∑

A Major (1-3-5) A Minor (1-b3-5) A Diminished (1-b3-b5) A Augmented (1-3-#5)

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) ∑

Subtracting
E Major (1-3-5) E Minor (1-b3-5) E Diminished (1-b3-b5) E Augmented (1-3-#5)
- You can subtract notes from a triad, most commonly the 5th above the bass (‘G’ in a C Triad). While this can
sometimes make identifying a triad quite tricky, the context should give you enough information to know
& ∑ ∑ ∑ 2 what the
∑
triad is.

COMMON UNCOMMON VERY UNCOMMON

& w
w w
w w
w
C Major without the 5th (missing G) C Major without the 3rd (missing E) C Major without the root (missing C)

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
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

4
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. Notice that the notes are ‘out of order’ in open position, however it’s still a C Major triad.

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 (think of it as the smallest - to
diminish)

Augmented triad = 1-3-#5 (C - E - G#): or major triad with augmented 5th (think of it as the largest - to
augment)
3

& bbw
w m3 d5
#w
w M3 A5
w w
Diminished Triad (minor 3rd + diminished 5th) Augmented Triad (major 3rd + augmented 5th)

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Summary of Triads

Below is a summary of the four triad types in C. Since diminished and augmented triads are relatively rare in
music, you will not practice them on the guitar. But it is useful to understand their structure.
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fill out the triads in the given keys on the next page.

C Major (1-3-5) C Minor (1-b3-5) C Diminished (1-b3-b5) C Augmented (1-3-#5)

4
&4 w
w
w bw
w
w bbw
w
w #w
w
w
G Major (1-3-5) G Minor (1-b3-5) G Diminished (1-b3-b5) G Augmented (1-3-#5)
5
& ∑ ∑ ∑ ∑
 Write out the triads (in closed spacing and root position) as indicated below.


Identifying triads has a lot to do with your ability to stack notes into thirds and see the interval structure.
Writing these triads out below in root position is a good preliminary test for your fluency with triad
understanding and recognition.
C Major (1-3-5) C Minor (1-b3-5) C Diminished (1-b3-b5) C Augmented (1-3-#5)
4
&4 w
w
w bw
w
w bbw
w
w
#w
w
w
G Major (1-3-5) G Minor (1-b3-5) G Diminished (1-b3-b5) G Augmented (1-3-#5)

& ∑ ∑ ∑ ∑

D Major (1-3-5) D Minor (1-b3-5) D Diminished (1-b3-b5) D Augmented (1-3-#5)

& ∑ ∑ ∑ ∑

A Major (1-3-5) A Minor (1-b3-5) A Diminished (1-b3-b5) A Augmented (1-3-#5)

& ∑ ∑ ∑ ∑

E Major (1-3-5) E Minor (1-b3-5) E Diminished (1-b3-b5) E Augmented (1-3-#5)

& ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Summary of triads

• Triad = three notes stacked in 3rds (C-E-G)

• Interval structure defines quality: C-E-G = Major (Major 3rd b/w C-E). C-Eb-G = Minor (Minor 3rd b/w C-E)
•
& Doubling: You can double (or triple, or quadruple!) any note of a triad
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
• Subtracting: You can take out a note of the triad. The 5th is most common to subtract (G in a C-E-G)
• Inversions and Figured Bass: Numbers represent intervals above the bass and tell you the inversion of the triad.
5/3 = root. 6/3 = 1st inversion. 6/4 = second inversion.
• Spacing: the notes of a triad can be distributed either close together (closed position) or far apart (open
position)
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
• Other types of triads: Diminished = Minor 3rd + Diminished 5th (C-Eb-Gb). Augmented = Major 3rd +
&
Augmented 5th (C-E-G#). These triad qualities are determined by the 5th above the bass.

6
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
 

Practice the moveable major and minor triads below.
Say the chord
C Major (1-3-5) name
C Minor and inversion
(1-b3-5) as you play
C Diminished eachCone.
(1-b3-b5) Augmented (1-3-#5)
4 (Short term - play it now!)
&4 w
w
w bw
w
w bbw
w
w #w
w
w
G Major (1-3-5) G Minor (1-b3-5) G Diminished (1-b3-b5) G Augmented (1-3-#5)
A moveable chord is a chord shape that can be moved up and down the fretboard. Learning
∑ ∑ ∑ ∑
chords this way has several advantages, probably the greatest of which is that you can learn
&
many chords very quickly by just learning one.
D Major (1-3-5) D Minor (1-b3-5)
Keep in mind that when playing a chord in first position, an open string will be present.
D Diminished (1-b3-b5) D Augmented (1-3-#5)

& Once the chord is shifted up, the open string will be substituted with the first finger
∑ ∑ ∑ ∑
(sometimes as a barre).

This method for learning chords is by(1-b3-5)

no means newAorDiminished
revolutionary. You can find moveable (1-3-#5)
A Major (1-3-5) A Minor (1-b3-b5) A Augmented
chords being taught in method books from the 1800s.
& ∑ ∑ ∑ ∑
The triads below are grouped into root position, first inversion and second inversion. The root
note of the chord has been indicated by arrows for the first chord, but it’s your job to think of
the root note for the remaining chords.
E Major (1-3-5) E Minor (1-b3-5) E Diminished (1-b3-b5) E Augmented (1-3-#5)
∑ ∑ ∑ ∑
Each “shape” is the same starting on 6-5-4 as it is on strings 5-4-3, meaning that with just one
&
chord shape, you’re able to play about 20 chords by shifting it up and across.

For more advanced players - feel free to add arpeggio patterns!

& w w w
w
w w
p i m i. p m i m. m i p i. m p i p. p i m a m i. a m i p i m.
3 3 3 3
& or or or or or
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ

& ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

7
Moveable triad shapes
There are some fundamental triad shapes that can be moved both horizontally and vertically on the fretboard. This
Moveable Major and Minor Triads
means that you can learn hundreds of triads in a relatively short amount of time.

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



8
9
6
“Completely pure. Its character is
innocence, simplicity, naïvety and
children's talk.”Practice thePractice
triads and inversions in the following keys.
option #1: Say the name of each note

 Practice option #2: Say the name and inversion of each chord
I recommend choosing the same keys that the pieces you’re playing are in
“State of nature, virginal chastity
https://www.danielnistico.net/triads-from-fundamental-harmony.html
and purity, lovely innocence of
youth.”
Roman numerals indicate the fret to barre and small numbers to the right indicate the number of strings to barre. The ‘h’ indicates a hinge bar.

A Minor Chords and Rotations (Long term - do it later!)

L’Innocence - William-Adolphe Bouguereau
”Pious womanhood and tendernessC Major (1825-1905)
of character” 3 3

3
VIII VIII

1

   1 
   2
 10  womanly 2 4 0
3 3 1 1
4

 2  02  of102tender, 0 0 0
 
0
 2 2 

4
“Expressive 2
feeling.
  sentiment of Northern 
3 

4 
2
Most 3 effective
3
for exhibiting the quiet 4
3
4 melancholy

3
V3
1 2 1
V
nations.II A minor also expresses     
4 1 II 4
0  32  with3  32   01 
1 1 1
 1       3 3 
0 
sentiments of devotion mingled

  

  
 0   2  
      2 
0 
4 
3 4
    
3 4 4 1
pious resignation.”
0 0 0 0
2 3 2

 
4 4


2 2
  

2 1 1 0


  Chords and Rotations  4

4


1 1 1 1 1

3 3

  0
3 2 2 3 2
4
0
2
Harmonized Scale
VIII 4 (Rule
3
VIIIof the Octave)
3

 3 
X
III 4 4  2 4 41 2  42  III 1
V3 V33
0 4 0
1 1   Mourning1 1
31 4

 6 2  
 2III 4  1 23  221    413  0   
 
 
   0  0  Virgin
0 

 

 1 2  302  2 4 
  
3

4 003 20  000 
4  (c.1433-194)
14
 2  43 24  
3 3
The - 0Hans Memling
VIII
2 23

0 3 III

3 0
4 3
 

0

42 0 3  2   
0 1
 0 
 
  
2 1 2 2
 
3
 

12 0 3 1        03   
3
 A Minor  
 
  


 
 
3 2


3

1 0

31 3 2

II 
3 3

 
0 1 3 2 0 0 0 3
0 Harmonized 0
Scale (Rule of the 3 Octave)
2 2 1 0 1
1
3 3 2
1  1
0 2 V V
  
3 h4 324  
4
II 4
1
0
1   4 32  34XII 
2
 01  1
VIII      4  4 3 0  3   VIII
  240  2 2  4 0 00   2432 230443 24  23III04  3 24 400  0  024 2 0 
      
 
 
     1

 
   
3

 
4

  223
2
4
3 3 4 4


0 1 1


6 3 III
VII 1 1
     
1 III




3 4
   
1 2 1 1 2 1
 
1

 2    40 
0
 0    40  0 1 0 
1 1
    
13  0 3 1  0  300 0  102
 

        

 0    
1 
       
    
01  
    
 2   1  0 
3 3 3

1  
1 1 1 2 1 4


4 0 4
  
4 2 2 4 3

 3 
0
 
3

2 3 1 3 1 3

32 10 3 3 2 2 1 2

2
2 2 2 0


0 2 22 20 0 0 1 0 1 1

 
3 00 3 0
2 0 0
4
X
4
V3 V3
 34   III44 3

3 4
 4 0    4 02  11 
VIII VII
1   3 3   
41  
 2     33
III III
 2   
 
1
 
 3 3 02   003 30 12  34 2 3 4142 21 3 3   
3
 1
2

02 

42 
1 1
3
1 
4 3 3  0 3 0 3

0120 0102 00  3 02  II 10  1 12 110  II02  

4

 2 2  00  
0

2

 
2
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
4 0
1 4

0
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02401  0 00123
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 
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

1 1


2 3 0

    
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0


 132 3  2  
   1  4  0 4    3
 0 0 2  3 2 13  3 
    
     
3 1


0
4

 
1 3 1


0

 4

4 
3 h4 3

 4  0  4  13  41 2 4 2  2341 4 134 0  4 

2 2 3 2 3 3 2 2
1
0 2 1 1 2 XII 1 1 2 0

4 4

0 3  0
2


      1
4 010
1 
4


1 1 3
 0  0    VII  3  VII VII 23 0  0 3
3



 V0213 021 30  02 0 II3 0  31  2 2VII 2 3 0  0 II30  0 0
 0  0
  V
4 0    1  0 
  
3 3

0 0 4 1  4 1 
1 2 04 2 2
4
 00 calm02meditation,  1

 quiet

  
V V
    
2
of
4 faith, II
4
love, simple 3
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

  
2   24 
 
4

3

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

 0 3
      
4 2

0
 13Harmonized 0  2  20  of the 0 
 
4


2

2
0 
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   01
4

2 4
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0
   03

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2 1 1 1
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1
Scale (Rule 1
Octave)
0
3
0  
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2 The 0rustic dinner 0-2 Samuel Palmer
 G Major 

1
3 2 3 4
0 (1805-1881) 3

1
3
III6 III 3 III 4
3 4  4
4
3
III3
  VIII

        V 3 43   
X
 1         1 
3 4

               23
V
 0  00    2   Chords and  
Rotations     
 

1 0 4 3 4 3 1


4
   
 
 11 00 02  0 1  0 0
4

 2 12
1
  
1 2

  24  2
0 2

2
 1
3 0 2 4 3 4 2 2 2 0 2

   
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
3 3 V
 4  0 3  43

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
2

E Minor
 0  23 0  1
3  3  0 1 3 
1
3  
3 3 2 2

2 2  03
  
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 
0 1

0  VIII
03 0

 2 1 1  12 
3

34
1 1
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0


1 3 1 2 0 3

 4  III
VIII
3 4 1
2

VIII VII
 3  131 4 0 
2
 2
4
          3 
        3 2    243   001  
3
 
4
“Effeminate, amorous, grief,
 0   1  0 1  2 3   1  0
2 2h4


    
0


2 4 XII
    
 4   3  433
21 32  21 2  restlessness” 2 02  0  0
3 1


0

2 0 1 00
 
202  20
0
1 0 4
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1
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0
3

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2 0
mournfulness, 0
3

4  4
0 0 0


1

0 
0
4
2

3 1 3 1 4
V 4 2 0 2
1 2
1 3
   
4 4
      
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0
     0   4  3 0
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3 4

4    0  10 1
4
0 1 

0 mournfulness   
0

0 2

3

3 3 3


II 
4
 
 21 II 4 2  0
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
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2
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0


1 2 2
1
“Grief, 3
and restlessness
1 V3 of 1 3 2
1 2 1
2 0 1 V
    
14 0 3
spirit.” 0  32  3  01 
1  1
 1   3 3 3 3  1V3
 4
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4

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
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2

 4 2


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
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2 0 II 1  1 3   10 4 II  2
      
2 2
 4  painful    3 1 1 
34 4 3

  1
2

12 passion, palpitation 1 

04 42 01and 1  10  0 0 3
0 13
4 4 4

 10 3  3
  1 0 0 2 2 4        
“Full   
0
 
0 0


0

    4041   
0 4 2 3

 213 30 13  30 2  400 3 
 400006 3202 Contemplative 
1 1

 
1

0
3 2 

1
4 2 4 
1

 
0 1 
 
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 
2 2


3 4

 
0 2

2 2


 0

2
impetuousness. 21
2 12

 
0
4 
1 1
3


3   0 

 2 autumn.
   
0 III

3
3

01     1
III 4 2 2
character,  Falling  leaf and 0 the  


1
 
3

   4  3 1X 4  23
4 4

  2
3 3


V 
  
2 3 0

4 1


0 3

4 2 2 III VII2

1
bare-coming branches.”


1 0 0
V3
 V
3 3

  4 3 4 11 
3 0 3 VII 33 1

  
3
   
       
4 III
          3 4 0 

3 1   1 0  II31 2  2 1  4   32  4 0
4
 
4
         1
12    
 2 00 3 0021 20 012 2343 441 24  3 4 1 43  3 04  24Amorous
  
VII VII 0
        
0
 32343Couple 
3 3 4 3 4 4 4 3 4 0

 00  
3 1III2  1 242  0 23   3 II1    E 1Minor  
1 1



 01 
II
2  - Peter
2


 01 aLandscape
 
  
0
  
2 1 1 2 2
 3Lely  2 20124 3 102
2 1 1 2

 3   0 2
0 2

3  02
3  42 0  
1

in
 
0
 0 21 
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0
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0
4 0 0

  2  
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   
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 3 3 
 1 3 0  1  0 
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
 
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02
 0 h4 42   
10
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
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 XII 
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 1 2  4 2 h4 23  1
1
0 3 3 0
4 2
1 1
0 0   0 0
3

 2  6 02  4 02   0  4 VII   3 0 0 0
 1 3 II  4   3  V 1  3  1  13 VII 43 V 4 4  2II344 21  213III
3

13 III
 1 3 1 0  3 01  0 

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3
2 XII 3 2

235
3

00
34 4

  0  24 42  0 4 4 3  2442

   
        
3  0 0  122  02 
 0013 33  2 00  
  
 2  1 23  1
3   
 3 3  013 
1 2  1 1 2   2  
 2 

  3
 
2


1 2 1

 14 1   0 

0 0

 
 
3 1 4 1

 
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
3


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 
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302 
    1 
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   
14 0
401 4 1  
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 
 
3 0

0 0 0 0 0


3 3

 
0

1

  
1

  
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
3 1

4 2 1II 41  1 23 3 243  

III 4 3
II 2 2

2 0 3 0
2 II 3 3
   1  3
4

   40 
0 3 3 II
         0
4
     
4
4II
 0 3 21  13 0 2 2 2 32 0 4 310 1 132    0 0
 1 3  233 13 31 11  4   
 
2

11

 1113  1  133
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40     30

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0 1 1

1
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000
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2 42 0   
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VII VII VIIVII
2

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  4  3 2  4  12 4  2  
II
 2 4 1 2
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        4 1  4 4 1 II3430  012  32 4 12  2 0110

  02 6 12 3  12  II33  12  4  VII
00    0 0
 3 
0 0 
0

0
2
3 4  
4

 2101  2
VII
II00 4 0  3 
 2  
     1

  1  4 1         
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  2  3 02   002   00   32  3     

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3 3 0 0

II 4
1 1  
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4 123  13 41 

3
4 V3 3

  4  0  4 
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 4 0
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 1 00 30  132  00  13  31   2 2 31  13 of the 0  name 

4

3  0of  Jesus -0Giovanni

3

2

2 1 
    4  
   2 4 
2  2   12 
2 Triumph Battista
4 4

 0 21  
4 2
D34 Major
4
0 0

  1 0
Gaulli (1639-1709) 1

 1  1  1
0 0 0

 2   2  41  213  41 

2
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 3 4
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3
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B Minor 
0 30 3

0 0
II 2II 2

 2
3

2
4

  0  2  13 0  13  4   41 3 3   13  0  13  2 

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40    0 3 0 4
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 01  
key0of patience, 0  
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2  as it were, V
  4 43  3 4 43  4343  1   3 
3 III 3
4 4 4

1
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“B minor, is,
3
2the
1 3


III
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ofthe silent expectation

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2V

   1 2and  of the 2VII 

1 1 1

0 0  2 1 2   
  of 2fate,
 3  2  00  1  00  2 0 
1  
01    
0 VII
2 01 012to the0 2divine  3 decree. 3  Therefore,
 14  3
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1

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submission
32    VII VII4 2
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2 4
2 
its complaint without ever
4 4
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
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2
   3   4
2

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breaking  
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1 4
  2 3    3
 0 
4

 2 1  02 0  002   0    0  0  0 

1 h4 1
XII
 2 
3

 4

whimpers.”
0 0
13  13  4   43  13 
1 2 
2


 4
0 0 3 2 0
  4
0 0 0

3 0  II430   0 
1 1  
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
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3
  
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4

 0
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1
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and patient
1 

V32
3 4 3
  X6

 2
1V

  VII      1 
h4

0 II 3 XII 3

 123  hope.  It has 4 4

0 0
VII
4
1
expectation been
4
 23 

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2

   2 
4  1
3

 31 that 

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  1  31 

3
32   
2 4
4
0 
observed nervous persons will
4
sooner 2

  4
V
 3  0
1 II

be    
 II3 4   43 2  423
 
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1
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  0   0 3
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  2 0  
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4 0 3 0
affected 0 4 by that 2
key than by any
3
other”


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 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 B Minor  
2   4  VII 
4 4 3 3 Hayez


   
23 2 0 
4

24   

2
2
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
 
 1    342 4 
3

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 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 
       
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   
 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 
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4
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0 01
2
 3 3 
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 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 
   
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     3    
  4 
4

14 
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3 1 
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
2
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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

  
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2
4

 0 II 3
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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 12
 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   3   2  3 432 41 433V  1  2 II3 II 1 
 2  3 43 2

favourite key.”
 2   4 24 22 
 3 0  
   41 2
231  42 3  0 
0  0  30 
2 4 II1
 3
 4 1  14
2 1  4 4
2 0   2  2 4  023
0 12203 00112 32       232 
    2   
0

   0 2  01 
3  124  20 
      
02 4 
0 2

11
2 3
 
 0   1 1 
  
 0
33  1
03 1



3 2 2


 02
2


0 03

4 4 1 1

  
1 3

 
11
2 0 2 2 2
0 3
0

4
XIIh4
 1  3 1234 3 1
Idleness - John William Godward
 

0  1  4 23  A  34 0
(1861-1922)
  2 023 II00244  00  43 VII2  1  V 4 XII 1 VII 2
0 4 0
4
Major
0 0 0
 013II61 10 4 0   1   V23 4 4 II4 4  2 4  3 3 2
2 h4
 X2 
3 
33
  
1 4 
 
43 
1
 1 
6

23
1
0    

 3 

1  II  0 1 
213  0  3 21

2 3

F# Minor
0
 1 
0

 
4
 13
   1
3 2  00 
4

2
 0 3 4  12 II
40 1 VII
2
V
2     
  3   2 
3
     
3
   
2 0
 
0

        4 3
  1
14
3
 0103 31     
2  3 3  32  
21
 23 232 0 
3 
    3  1 43 
0  23  3 2  
2 1


4 4 3

key. It pulls at
2 0 1 2 3 3
 
 
2 2

4minor,
1 3  
 

0 3 1 1
“F-sharp a gloomy
4
3

 VII   40  
4 2
4

3 1  3 3  leg. V44 
 0
X6
passion as the biting dog IX at one's pants 4
 0    4 1   0 II 4 II20 
4 II
   0
3
     
4 23 12 432 43 2
     24  
4 3 6
 
2  23
2  2 0 1    12   21
II 14
      10   
3 3
1   

 
1 33 1  
     2 
2 II
Anger 
0 and discontent are its4 language.

 1         1 
 00  2it1 2does
II 0 II
 1 
2 2  12 2  1
2


3  43 4
140
3 
2
    
0

23
   
21 3
       
3

 01 12 therefore,
1
    1 2in 1 2
3 3

1   1
4 3
its32
3

3 0 3    

3 well 
1 4 12
 2  0 3 
11


1  2  3 41
    1 
 
Ordinarily, 2 not 1seem1 to 2 be


  


3 3

1 1
3 1 1 03

3 2 
3
1 0

0  0  4
2


3

3  languishes for   

0 0
 3
3 4 3 4 3 2 2 3
4 2
3 4 3
position; it always 3 1 2 0

0
 
1 3
34 3 4 0

4 
the repose of A major 3 or for theVII conquering VII3
 
3 3
II VII VII II
4    
4
blissof 6D major.” 2
 1  44 1 2  VII 4 1  3 42   0  2 
 32  1 2  21
4 1
         
4

3 4

  200 II6 123 01 0  II43  2 4 4 4   

3

4 2 
II   
3
43 0  1  30 441 124  0II
 
230 40 4 212and  2 VII

 14  3 112  1 
 06
II VII II
  2  

 4 4  

 121mysterious 
3
   3  of  4  3
2

V
     20 1
II1 2

 43 14  
4

1 
“Dark,  spectral key.   1
Full   1  23 
3

3 0 0  2 3  3 3
2

 1   30  4 2 23
 3 2
3

4
  
3



4


3
 0 3
0 0


3 1
passion.” 3 1



3
3 3
0 2
h4 3
VII XII VII
4
  4  II 4  V 3II4 1  II 4
 
6
 
VII
 V 2 II  3 41  3 1  1
4
14    
4 II21 

 00
3
 
4
 2  3 3  33  
3
   
4 V

4 IV
3  4 2   
4 3
    
 
   3 
 
3  3 324
 1 1  

1

3
1  4
2
34 1 

 2 20   
4
    
32 3  1 13320
       
2Crimea -
 
2

0 The limpid 0 water. Gloomy Day.
  
1 0


2
      
2


3
4  
0

43  3 3  
3


2






2 1 1 2 1 0 0 0 4

 4
  
3 1 2 2 2Arkhip 0 2 Kuindzhi (1842-1910)
1 1
3


1


3 3
0

F# Minor

 4 43  

3 3

13
 1  
II II
2     1 14
 4
  2  24  1 2 
14 1 3
1 
2 2
  3  1
1



II 4 323
24
1 2 V
 6  34  3 3
1 
 3 
33 3

  0124
3

 3
  1
0 0

II430  0 4
2
 

2
 3 0
3 
   
2

   
1 3 1 4 10 13 3
 
3


II II
 4 32  03 
33
 
0 2

3  1
2


3 2
0  
1
 
1 3

3 3 4 1  3
24


 2  12 2
22

2 
3


3 0
1

3
3
4
4 4

4
3 VII VII 3

 II  IV 4
2
II IIII 4
 40
V6
  
4   31 
   II46
6
   
134  1  0  
II

103 
442
   3   4  
  
13141 
3 3

 3 
4


V
   
II2 2 4 II4




  3  
4

  23    
4  
3

3
1 1

  

3 33 3 03

44

0  202


2
231

21 

4 3 3
42 0

3
1

3
  4
6 3
 
II II II13
   3 21 43  
 
 
 
2
4

3

3
0

4 1
2 

43 
12 3 

12 
3
2
A Merry Party - Jan Steen
(1625-1679)
E Major
IV 3
  
IV 3
   
6 2 6
 2 2 
II 1 1 II
   
1

    

4 4

C# Minor 
3


   
0 3 3 0


0 0
  

1 0 0 1

 
3 
3 1 1 1 1 3
2 3 3 2
3
5
“Laments or repentance, intimate IX3 IX3
 
and 14the

conversations
3 
1
with God, the friend
2 2    1 
  
 1 1
4 unsatisfied  
  4 
2


1 2   
2 2
playmate of life, sighs of 4

 3 and love lie in its 

  
3
4 IX 4 4

   
1
4 
3 3 1 1

4
2 2 2 4
4  
friendship 4
circle.” 4

0 1  
3

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


0


 dignity 2  of inspiration.  2
0 0

 3  and 

1 1 1

 sad. Noble feeling, full of

0
1 1
“So full02of 2
3



Serious
4 and
depth and energy.” VII
3
VII
3

 34 

 4 4

IV IV
 II 4 1 
1 II 0  
0   4 1 23  43 2 3 41 2 0
4

2   
II6
  0  0  30 1 
II 6 

  1 
 3 1
2  
1
1 4

1 1 3 4 12    
   4
4

3 13  3 1 3  
0
 1
4
2 2

32 3  
4 1   
 4
13 1  3
1
34
  
0 0




4 

  4

1

4 0
0
13
3

3
3 2 1 2


0
4 2
2 4

2
IV 3 IV 3 6
 0  IV4
   
6

4   
  4 1
4  4 0 
6 IV II 6
   
  2
II II 5
    
1 1

12 13   3013  01    2  3 4 01 lamenting 0

4


0


4
  1  1 the13 



3

  3 I206
 IV     
0 0

4 414 
2 3 3 3
32
1 4 1 of
3 - Rembrandt
34III3 Jeremiah destruction
   3 3 2  
   4  1  2 21  4 2  4343C#IX

4  213  20  13  4 0  0 
III
6 
3
1
IV
13  
2

1 Jerusalem
41Minor
2

2
2

3 3
I3 2

2
    0 0  3  3  0 3   1 3
(1606-1669)

1  4 01  4 1 1  3 1  10 4  0 1  

 1 IX 3 4     4 34 2  1 0


   
 1 13 01  
312 1
 12
3
0
IX
3 

   3 1  2 41 42   2 
2 4
0   
4 4


1   2 3 1 
1
11 1
 43  2  1  3  12  2 
0 1 01
  
 0210 123 1222 43  4 4 VIII 3
  21 32 
0
 
0

    2 2   
1 0

4 
1 0

   4 IX
1


1
3
0
3 2 1 4 17
6 
2
 6
3 4 3

 
3
3
VIII
 VIII144 6
2

4
4

 
4


IV
    4 
 2

 
12  2  2  1
2
643   

  2   24   
 4  
II 4 1 2  
4 1

  14 30  0    0 20
 4
IV
 03 4  23
3 3   2  
1 1
     
IV 2 3

   
 112  0II6  1 II 6  3  
  1   4  
2

    33        1 
4 4 4
4
3 
0 3 4 3


42

II43
2

3 4 3 1
 
1 4 4 1

II34   3    
0

3  3
4 3 4

1

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

 IX  14 
33   
2 2 1 4 2
    
1 4 4 1 3 2 1 0

1 6 1  VII1  1  IV414
1 1

43
  4IV
0 2

 
  

2
6VII

4  
4
 3   34 34   3

4

0     2
IV

 
4

    1 1 

  2  I 
4  
 1 3  231     22 2 I 423  2 1  6 3

0
 I6
  326 434 III 3 4   3    12 43  3 
3

4III 4 3 3 34  
3 
1
  
1 2

4 4 I 
2 2
1  3 1
3 2

3

1 3

  IV  0 

VI 4 VI 4 3


  12 41  2   2  2 1 
 IV
1
2 
 2     
2 6


2 3  4 3 3
   3 IV 44
IX
 03      1 1 3 
2 34   02
 21 4   4 
1   
0

 
 
      
4

     

 423 12
2 31 2

 

1 3

   4  3 2   314
3

2

 3 2

3 2 3 3 4

 2  4
4

 1 0 0
1

4 1


4

3   3
3

III3
   1
 1 1
0 0 1


3
1 1 III III3 3
III
1
 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
2

I 2
 
6 I 6
  
III 1 III

    24  124     4 2 

3 3

2  
4 3


 4  
3 3 4 2 
III 6

D Minor  3 312
III
3
4 3 4

21  
1

 3   
2 2

 3 3

2


3 4 1 
2 4
 01

4

2 34
3


 

6  3 4

“Expresses a subdued feeling of

1 X4 
 12 
   III36 
4
melancholy,
  0 
grief,
1

anxiety,
1

and 2
solemnity.”
 
2  12   1 
3
  4

3 1

1  
3  3

1

   
2


III
4 4 0
3 3 3
  31 1  3 1 3  1  4 
3 3
4 
4 1
   

 12 3 
0
2
0  3 1   3    
4 4
 
 0  

2 4 2 2
 1    2 2
2

4
 pensive 
44
  


2 
3
“A key full
2 2 of nobility and refined 4 43
1


3 3 3
3 2 1 21 3


21 2 4

1
 
1
4 1 1 0 1
feeling.”
3 0


 III
4
 4 
III
4

   1   
4    2  4
4 4

 20      2
4 4 3

6

3   43 34
1 3 3 1 I
I
0

 1     3  1


 
0 4 0 
2 2


1 1
23    2
3
 02 13
 
12
1
  
4 0 0

1
1

 432
0


1 3 2
3 3
2

  143 
I 2
3
6 I 6

III3
4 1  1 4   1 
III
I 6

    2    2

III
 
3

  1 2 2  4 2  2 
 00
0 4    4 4 
  Czachórski
23 
3 
4

  
0

   

2
D   

2
31
1 4
 3 

2

3  1
2
 - Wladysław
0 0
3 Minor
4 0 1 4
3 2 3
Pensive 3
2
(1850-1927)
3

  
  
4
3   
X43
  0 4
33
1      124  14 
1 1

 2  3  
 
1
 2
1
 1  1 3 
2 2 2 1

4 
3

4 1 2 
3 3 3 3

1 
1


  

2 2

 012  3 

1 4 4 2

2 2
4 4 0

 4

1 0
3 1

 0
3 3
21


 
2

1
 
1
4 1 1
3 0 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
15

 
  
2  
  2 
2
4
3 1
 Identify the major and minor triads in the following example.
Include details on inversion, spacing, subtraction, doubling, etc.

Identify and label triads in the pieces you’re playing!

A process for identifying triads: think in thirds

If you spot three different notes that are close together (say in the same bar), then try to stack
them in thirds to see if they’re part of a triad.

A good method is to start from the bass and see if the notes above stack in thirds. Keep doing
this process for each note above the bass until all notes stack in thirds - if they don’t then it
might not be a triad!

Remember that there might be notes subtracted from chords, but the context should help us
know how to identify those.

Study no. 01, op. 31 - Sor

16