Main triads of the mode

The main triads of a mode are those triads that identify a given mode, its type and its sound. What does it mean? We have two main modes – major and minor.

So, it is by the major sound of the triads that we understand that we are dealing with a major and by the minor sound of the triads we determine the minor by ear. Thus, the main triads in major are major triads, and in minor, obviously, minor ones.

Triads in a mode are built at any level – there are seven of them in total (seven steps), but the main triads of the mode are only three of them – those built on the 1st, 4th and 5th degrees. The remaining four triads are called secondary triads; they do not identify a given mode.

Let’s check these statements in practice. In the keys of C major and C minor, let’s build triads at all levels (read the article – “How to build a triad?”) and see what happens.

First in C major:

As we can see, indeed, major triads are formed only on degrees I, IV and V. At levels II, III and VI, minor triads are formed. And the only triad on the VII step is diminished.

Now in C minor:

Here, on the I, IV and V steps, on the contrary, there are minor triads. On the III, VI and VII steps there are major ones (they are no longer an indicator of a minor mode), and on the II step there is one reduced strident.

What are the main triads of a mode called?

By the way, the first, fourth and fifth steps are called “main steps of the mode” precisely for the reason that the main triads of the mode are built on them.

As you know, all fret degrees have their own functional names and the 1st, 4th and 5th are no exception. The first degree of the mode is called “tonic”, the fifth and fourth are called “dominant” and “subdominant”, respectively. The triads that are built on these steps take on their names: tonic triad (from the 1st step), subdominant triad (from the 4st step), dominant triad (from the 5th step).

Like any other triads, triads that are built on the main steps have two inversions (sex chord and quarter sex chord). For the full name, two elements are used: the first is the one that determines the functional affiliation (), and the second is the one that denotes the type of structure of the chord (this or one of its inversions -).

At what stages are the inversions of the main triads constructed?

Everything here is quite simple – there is no need to explain anything further. You remember that any inversion of a chord is formed when we move its lower sound up an octave, right? So, this rule also applies here.

In order not to calculate each time at what stage this or that appeal is built, simply redraw the table presented in your workbook, which contains all this. By the way, there are other solfeggio tables on the site – take a look, maybe something will come in handy.

Main triads in harmonic modes

In harmonic modes, something happens with some steps. What? If you don’t remember, let me remind you: in harmonic minors the last, seventh step is raised, and in harmonic majors the sixth step is lowered. These changes are reflected in the main triads.

Thus, in harmonic major, due to a change in the VI degree, subdominant chords acquire a minor coloration and become downright minor. In harmonic minor, due to a change in the VII step, on the contrary, one of the triads – the dominant one – becomes major in its composition and sound. Example in D major and D minor:

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