Learning Objectives

Learn how to identify different types of triads.

Triads V: Identifying Triads

Identifying Triads

The guidelines that we learned for spelling triads can also help us to identify triads, although the procedure is slightly different. Here are the steps for identifying a triad:

Identifying Triads

1. Determine the quality of the white key triad that shares the same root as the triad you want to identify
2. Use the triad transformation rules to determine how the triad has been altered from its natural white-key state

For example, if you were given the triad shown below (D–F#–A), you would (1) think of the quality of the white-key triad on D: D–F–A is D minor; (2) ask yourself: "how has this triad been altered from D minor?" The third has been raised. If you raise the third of a minor triad, you have a major triad (transformation rule 2). So this is a D major triad. Click "Show Me" in the example below to see this illustrated.

Identifying D-F#-A

To identify the triad B–D–F#, (1) think of the quality of the white-key triad on B: B–D–F is B diminished; (2) ask yourself: "how has this triad been altered from B diminished?" The fifth has been raised. If you raise the fifth of a diminished triad, you have a minor triad (transformation rule 3). So this is a B minor triad. Click "Show Me" in the example below to see this illustrated.

Identifying B–D–F#

To identify the triad E–G#–B#, (1) think of the quality of the white-key triad on E: E–G–B is E minor; (2) ask yourself: "how has this triad been altered from E minor?" The third has been raised and the fifth has been raised. If you raise the third of a minor triad, you have a major triad (transformation rule 2). And if you raise the fifth of a major triad, you have an augmented triad (transformation rule 1). So this is an E augmented triad. Click "Show Me" in the example below to see this illustrated.

Identifying E–G#–B#

Let's try one more. To identify the triad C–E♭–G♭, (1) think of the quality of the white-key triad on C: C–E–G is C major; (2) ask yourself: "how has this triad been altered from C major?" The third has been lowered and the fifth has been lowered. If you lower the third of a major triad, you have a minor triad (transformation rule 2). And if you lower the fifth of a minor triad, you have a diminished triad (transformation rule 3). So this is a C diminished triad. Click "Show Me" in the example below to see this illustrated.

Identifying C–E♭–G♭

Identifying Triads with an Accidental on the Root

As with spelling, identifying triads with an accidental on the root is a bit more complicated. Again, we can use our new transformation rule 4 to resolve the issue, by adding three identical accidentals to our reference triad (rather than using a white-key triad).

For example, suppose you were asked to identify the triad A#–C#–E (as shown below). (1) We know that A–C–E is a minor triad and that if we add a sharp to every note, the quality remains the same. So A#–C#–E# would also be a minor triad. (2) Ask yourself "how has this triad been altered from an A-sharp minor triad?" The fifth has been lowered. When you lower the fifth of a minor triad, you have a diminished triad (transformation rule 3). So this is an A-sharp diminished triad. Click "Show Me" to see this illustrated.

Identifying A#–C#–E

Let's try one more example. If you were asked to identify the triad G♭–B♭–D, you would (1) think of the quality of the white-key triad on G: G–B–D is G major, so G♭–B♭–D♭ would also be major; (2) ask yourself: "how has this triad been altered from G-flat major?" The fifth has been raised to G-natural. If you raise the fifth of a major triad, you have an augmented triad (transformation rule 1). So this is a G-flat augmented triad. Click "Show Me" in the example below to see this illustrated.

Identifying G♭–B♭–D

Summary

You have now seen a number of examples illustrating how to spell and identify triads. But you will need to practice this skill on your own in order to truly master it. Remember that triads are the building blocks of harmony—most of the chords in Western tonal music (and in many other types of music) are either triads or are based on triads. In the activity that follows, you will be able to practice spelling different kinds of triads.