There are only four triads: Major, Minor, Augmented, and Diminished.
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Read More »In the recent article Hearing in Color, we discussed how to develop the technique of hearing individual chord tones in the context of triads and 7th chords. Just as the individual chord tones in a chord have identifiable colors, the chords themselves have distinct sonorities that set them apart from one another. The key to mastering these chords is to build upon information that we already have or pieces that are manageable. Instead of trying to tackle complex chords right off the bat in your ear training practice, it’s much more efficient and beneficial to start with the building blocks of any chord – the triad. As jazz harmony has progressed, simple harmonies have evolved into some pretty complex sounds. This was accomplished by adding 7ths, b9ths, #9ths, 11ths, etc. to basic triads. At the heart of any chord lies a triad. Chords like V7#5, minor-Major 7, and Major 7#5 sound complex and look hard to figure out, but when you take away the upper chord tones, you’re left with just a triad. The trick to hearing and improvising over these chords lies in developing the ability to aurally identify the four basic triads.
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Read More »Once you have the sound of the triads ingrained aurally, meaning you can confidently identify the triad type and sing each chord tone, it’s time to move onto seventh chords. As I mentioned earlier, these four basic triads are the foundation on which the majority of the chords that we know are built. Below are examples of 7th chords that use the four basic triad types. Listen for the basic triads inside of the sound of each of the 7th chords. To stress once again, it’s important to play these triads and seventh chords at the piano to truly hear the unique color of each chord.
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