1. Hear what changes a chord’s quality
Purpose: recognize a triad by its root, third, and fifth before learning many keyboard positions. A triad stacks two thirds. Changing one chord tone changes its quality even when the root remains C.
| Quality | Notes | Semitones above the root |
|---|---|---|
| Major | C–E–G | 0, 4, 7 |
| Minor | C–E♭–G | 0, 3, 7 |
| Diminished | C–E♭–G♭ | 0, 3, 6 |
| Augmented | C–E–G♯ | 0, 4, 8 |
Play one hand at a time. Name the notes, prepare the shape, and listen to the change before moving on. The notation uses E♭ and G♭ for stacked thirds in the diminished chord, rather than the enharmonic D♯ and F♯.
The printed 1–3–5 RH and 5–3–1 LH fingers are starting suggestions for these isolated placements. Move the hand toward the black keys as needed instead of twisting a finger toward them. Release between shapes; this is not a legato stretching drill.
Try it: play C major, lower only E, and compare C minor. Restore C major, raise only G, and compare C augmented. Return to C minor and lower G to make C diminished. Isolating one change helps the ear connect the label with its sound.
Checkpoint: you can build and name each quality without relying on a memorized drawing. The next chapter, Chord Colors on One Root, carries this comparison into suspended, added-note, seventh, and selected jazz chords.
2. Use triads in a short progression
The progression I–IV–V–I in C major uses C, F, G, and C major. Its RH chooses nearby shapes while LH supplies the roots. The G harmony uses B–D–G in RH; because LH plays G beneath it, the complete sonority is root-position V.
Name each chord before playing. Observe the RH upper line G–A–G–G. Keep it audible without letting the bass dominate. Practice the RH alone, then add the bass on the same beat.
First rehearse I–IV: C remains while E moves to F and G moves to A. Then IV–V: C moves to B, F to D, and A to G. Finally V–I returns B to C and D to E while G remains. Common tones help explain the route; they do not require a forced legato grip.
At first, sound each chord for two beats and use the next two to prepare the following shape. Then sustain the full written values. Add pedal only after the attacks and changes are clear without it.
Transfer chord knowledge
Build G major, G minor, G diminished, and G augmented away from the score. Spell the notes as root, third, and fifth before finding them. G augmented uses G–B–D♯. Repeat with another root only when the four qualities remain distinct to both eye and ear.
Do not repeat a full inversion sequence here. The next chapter carries the same chord into different positions; Block Chord Technique concentrates on attack and release, while Cadences later develops harmonic function and phrase endings.
Checkpoint: chord quality remains recognizable when the voicing changes, and every progression change arrives in time. If a bass note arrives late, isolate that change rather than repeating the whole progression.