Distinguish Chord Quality from Wider Claims

Supplied materials

• Paper and a pencil, typed notes or a browser scratch area. Color names can replace colored supplies; drawn figures and timelines can replace performance.
• Complete teaching inputs: A supplied chord has root 48, third 52, fifth 55; the major template is0,4,7 and minor is0,3,7. Which analysis follows? Supplied candidates: (A) The chord has no third (B) The chord proves every listener feels sad (C) major; third is 4 semitones above root (D) minor; third is 4 semitones above root.
• Independent check: A supplied chord has root 49, third 52, fifth 56; the major template is0,4,7 and minor is0,3,7. Which analysis follows? Supplied candidates: (A) The chord has no third (B) The chord proves every listener feels sad (C) major; third is 3 semitones above root (D) minor; third is 3 semitones above root.

Learn the idea

Explain why a candidate satisfies its actual constraints. Analyze a supplied chord third, retain rhythm while changing one motif pitch, separate access to a shared crossing and turn a rehearsal note into a targeted revision. A chord’s supplied third can distinguish major and minor templates. Subtract its root and compare with the complete triad offsets before making a claim about that written chord.

Reason through the supplied case: Offsets from the root are0,4,7, matching the supplied major triad template. This classifies the written pitches; it does not fix emotion or a whole piece’s mode, which needs wider melodic and harmonic context.

A major or minor chord does not establish a whole piece’s mode or every listener’s emotion. Wider context and actual performance require additional evidence beyond a text classification.

1. Read the complete teaching inputs and mark the feature, rule or constraint being tested.
2. Compare the model decision with one rejected candidate; state the visible evidence or calculation that distinguishes them.
3. Solve the independent check and the three changed-input practice cases before reading feedback.
4. Compare two triads sharing root fifty-five and fifth sixty-two, with thirds fifty-nine and fifty-eight.
5. Check your artifact against these explicit criteria: The first matches zero/four/seven and is major; the second matches zero/three/seven and is minor, without a whole-piece claim.

Check your reasoning

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Take it further

New-input analysis: A supplied chord has root 55, third 58, fifth 62; the major template is0,4,7 and minor is0,3,7. Which analysis follows? Supplied candidates: (A) The chord has no third (B) The chord proves every listener feels sad (C) major; third is 3 semitones above root (D) minor; third is 3 semitones above root. Expected relationship: minor; third is 3 semitones above root. Offsets from the root are0,3,7, matching the supplied minor triad template. This classifies the written pitches; it does not fix emotion or a whole piece’s mode, which needs wider melodic and harmonic context. Create your own artifact: Compare two triads sharing root fifty-five and fifth sixty-two, with thirds fifty-nine and fifty-eight. Completion criteria: The first matches zero/four/seven and is major; the second matches zero/three/seven and is minor, without a whole-piece claim.

Nothing here is saved to an account or sent to a teacher. The answer download includes your current choice and any checked feedback. It does not include choices from the separate More practice section. Download that section separately.