Triad |

lat. trias, germ. Dreiklang, English. triad, French triple accord

1) A chord of three sounds, which can be arranged in thirds. There are 4 types of T.: two consonant – major (also large, “hard”, trias harmonica maior, trias harmonica naturalis, perfecta) and minor (small, “soft”, trias harmonica minor, trias harmonica mollis, imperfecta) and two dissonant – increased (also “excessive”, trias superflue, abundans) and reduced (trias deficiens – “insufficient”). Consonant T. arise as a result of dividing the perfect consonance of a fifth according to the ratio of proportions – arithmetic (4:5:6, i.e. major third + minor third) and harmonic (10:12:15, i.e. minor third + major third ). One of them – major – coincides with the study of tones in the lower part of the natural scale (tones 1:2:3:4:5:6). Consonant tones are the basis of the chord in the major-minor tonal system that prevailed in the 17th and 19th centuries. (“The harmonic triad is the basis of all consonance…”, wrote I. G. Walter). Major and minor T. are the center. elements of Chapter 2. frets european. music bearing the same names. To a large extent, consonant tones have retained their significance in the music of the 20th century. Stand apart 2 “inharmonious.” T. – increased (from two large thirds) and reduced (from two small ones). Not adding up to the consonance of a pure fifth, both of them are devoid of stability (especially the diminished one, which contains the dissonance of a diminished fifth). Muses. theory in accordance with the practice of contrapuntal. letters originally considered polyphony, including T., as a complex of intervals (for example, T. as a combination of a fifth and two thirds). G. Tsarlino gave the first theory of T. (1558), calling them “harmonies” and explaining major and minor T. with the help of the theory of numerical proportions (in the lengths of strings, major T. – harmonic proportion 15:12:10, minor – arithmetic 6 :5:4). Subsequently, T. was designated as a “triad” (trias; according to A. Kircher, T.-triad is one of the three types of musical “matter” along with sound-monad and two-tone-diad). I. Lippius (1612) and A. Werkmeister (1686-87) believed that “harmonic.” T. symbolizes St. Trinity. N. P. Diletsky (1679) teaches “concordances” (consonances) using the example of T. with a doubling of prima, in the correct arrangement (wide or close); he defines two modes according to T.: ut-mi-sol – “merry music”, re-fa-la – “sad music”. J. F. Rameau separated the “correct” chords from combinations with non-chord sounds and defined T. as the main. chord type. M. Hauptmann, A. Oettingen, H. Riemann, and Z. Karg-Elert interpreted minor T. as a mirror inversion (inversion) of major (the theory of dualism of major and minor); Riemann tried to substantiate the dualism of T. by the theory of untertons. In Riemann’s functional theory, consonant temporality is understood as a monolithic complex, the basis for all sorts of modifications.

2) Designation of the main. kind of a tertian three-sound chord with a prima in the bass, in contrast to its inversions.

References: Diletsky Nikolay, Idea of ​​the grammar of Musikiy, M., 1979; Zarlino G., Le istitutioni harmonice, Venetia, 1558 (facsimile in Monuments of music and music literature in facsimile, 2 series, NY, 1965); Lippius J., Synopsis musicae novae omnino verae atque methodicae universae, Argentorati, 1612; Werckmeister A., ​​Musicae mathematicae hodegus curiosus, Frankfurt-Lpz., 1686, reprinted. Nachdruck Hildesheim, 1972; Rameau J. Rh., Traité de l’harmonie…, P., 1722; Hauptmann M., Die Natur der Harmonik und der Metrik, Lpz., 1853, 1873; Oettingen A. von, Harmoniesystem in dualer Entwicklung, Dorpat, 1865, Lpz., 1913 (under title: Das duale Harmoniesystem); Riemann H., Vereinfachte Harmonielehre, oder die Lehre von den tonalen Funktionen der Akkorde, L.-NY, 1893 his, Geschichte der Musiktheorie in IX. — XIX. Jahrhundert, Lpz., 1901; Hildesheim, 1898; Karg-Elert S., Polaristische Klang- und Tonalitätslehre, Lpz., 1961; Walther JG, Praecepta der musicalischen Composition (1931), Lpz., 1708.

Yu. H. Kholopov