Build major and minor triads
See this course’s project requirements
An original eight-bar melody arrangement with triads, a checked bass part, two voice-leading choices and a score or note-grid plus optional free notation playback.
Keep your working files in your own notebook or software. Save a private description, checklist, and work link in My Proof.
What to include
- Supply eight melody/chord/bass bars with explicit pitches, octaves and durations.
- Construct major/minor triads and identify root/third/fifth.
- Annotate strong-beat fit and intentional nonchord tones.
- Compare two upper-voice options with movement/common-tone evidence.
- Provide 100 word choice note and honest playback/export method.
Review and revise
Use these criteria to check your work and choose what to improve.
- Harmony: triads/membership are correctly identified.
- Parts: bass/register/duration are reproducible.
- Comparison: alternatives have exact note evidence.
- Scope: stylistic judgments and unperformed playback remain distinct.
Want more background?
The idea in everyday life
For this introductory equal-tempered note-grid exercise, a major triad uses root,+4 semitones,+7 semitones; minor uses root,+3,+7. A semitone is one adjacent step in the supplied chromatic key. Pitch names repeat each octave. You can work on paper without owning an instrument or running notation software.
Chord quality depends on intervals, not only the root name.
Build major and minor triads — worked practice
Chord quality depends on intervals, not only the root name.
Original key: C, C♯, D, D♯, E, F, F♯, G, G♯, A, A♯, B. C major=C–E–G; C minor=C–E♭–G(the E♭ pitch equals D♯ here but the chord spelling uses a third). A minor=A–C–E; F major=F–A–C. The third changes C major to C minor while root and fifth remain. Do not treat C–F–G as a C triad simply because its root is C.
1. 1.1 Build
Copy the chromatic key and count adjacent semitone steps from C to E and C to G. Label root, third, fifth.
You should see: C major offsets are 0, 4, 7.
2. 1.2 Build
Construct C major, C minor, A minor and F major using the supplied offsets. Keep the appropriate letter spelling for stacked thirds.
You should see: Four triads have correctly identified roots/thirds/fifths.
3. 1.3 Build
Check each chord by counting intervals from its root, not from whichever note happens to be lowest in a later voicing.
You should see: Root identity survives voicing changes.
4. 1.4 Build
Change a D major triad D–F♯–A to D minor by lowering the third one semitone. Record which tones remain unchanged.
You should see: D minor is D–F–A.
What to finish
A four-triad construction key and major/minor changed-third example.
Watch for this
Assuming any three notes with the same lowest letter have the stated quality.
How can I tell I understand it?
You can construct a new major/minor triad and explain its third.
Quick knowledge check
Answer all 3 questions. Get at least 2 right and the lesson completes automatically.
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Pass the check. We’ll save the progress.
Answer all 3 questions above and get at least 2 right. You can review the explanations and try again.
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Sources and further reading
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Source & access notes · checked 2026-10-01
Read institutional primary teaching text on stacked thirds, root/third/fifth and triad qualities; all melodies/chord grids here original.
Access: Public page text or PDF was opened and read through the web reader on 2026-10-01; no signup required for reading.
Reuse: Linked for further study. All LifeStarter scenarios, samples, assets and assessments are original; no source exercises or artwork are copied.
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