Style | Type | prime | | second | | third | fourth | | fifth | | sixth | | seventh |
English name | Natural | C | | D | | E | F | | G | | A | | B |
Sharp | | C sharp | | D sharp | | | F sharp | | G sharp | | A sharp | | |
Flat | | D flat | | E flat | | | G flat | | A flat | | B flat | | |
Symbol | Sharp | | C♯ | | D♯ | | | F♯ | | G♯ | | A♯ | |
Flat | | D♭ | | E♭ | | | G♭ | | A♭ | | B♭ | | |
Northern European name | Natural | C | | D | | E | F | | G | | A | | H |
Sharp | | Cis | | Dis | | | Fis | | Gis | | Ais | | |
Flat | | Des | | Es | | | Ges | | As | | B | | |
Dutch name (sometimes used in Scandinavia after 1990s) | Natural | C | | D | | E | F | | G | | A | | B |
Sharp | | Cis | | Dis | | | Fis | | Gis | | Ais | | |
Flat | | Des | | Es | | | Ges | | As | | Bes | | |
Byzantine | Natural | Ni | | Pa | | Vu | Ga | | Di | | Ke | | Zo |
Sharp | | Ni diesi (or diez) | | Pa diesi | | | Ga diesi | | Di diesi | | Ke diesi | | |
Flat | | Pa iphes | | Vu iphes | | | Di iphes | | Ke iphes | | Zo iphes | | |
Southern & Eastern European | Natural | Do | | Re | | Mi | Fa | | Sol | | La | | Si |
Sharp | | Do diesis | | Re diesis | | | Fa diesis | | Sol diesis | | La diesis | | |
Flat | | Re bemolle | | Mi bemolle | | | Sol bemolle | | La bemolle | | Si bemolle | | |
Variant names | | Ut | | - | | - | - | | So | | - | | Ti |
Indian style | | Sa | Re Komal | Re | Ga Komal | Ga | Ma | Ma Teevra | Pa | Dha Komal | Dha | Ni Komal | Ni |
Korean style | | Da | | La | | Ma | Ba | | Sa | | Ga | | Na |
Approx. Frequency [Hz] | | 262 | 277 | 294 | 311 | 330 | 349 | 370 | 392 | 415 | 440 | 466 | 494 |
MIDI note number | | 60 | 61 | 62 | 63 | 64 | 65 | 66 | 67 | 68 | 69 | 70 | 71 |
Octave naming systems | frequency of A (Hz) | |||
traditional | shorthand | numbered | MIDI nr | |
subsubcontra | Cˌˌˌ – Bˌˌˌ | C-1 – B-1 | 0 – 11 | 13.75 |
sub-contra | Cˌˌ – Bˌˌ | C0 – B0 | 12 – 23 | 27.5 |
contra | Cˌ – Bˌ | C1 – B1 | 24 – 35 | 55 |
great | C – B | C2 – B2 | 36 – 47 | 110 |
small | c – b | C3 – B3 | 48 – 59 | 220 |
one-lined | c′ – b′ | C4 – B4 | 60 – 71 | 440 |
two-lined | c′′ – b′′ | C5 – B5 | 72 – 83 | 880 |
three-lined | c′′′ – b′′′ | C6 – B6 | 84 – 95 | 1760 |
four-lined | c′′′′ – b′′′′ | C7 – B7 | 96 – 107 | 3520 |
five-lined | c′′′′′ – b′′′′′ | C8 – B8 | 108 – 119 | 7040 |
six-lined | c′′′′′′ – b′′′′′′ | C9 – B9 | 120 – 127 up to G9 | 14080 |
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Triad (music)
Types of triads
In music and music theory, a triad is a three-note chord that can be stacked in thirds. Its members, when actually stacked in thirds, from lowest pitched tone to highest, are called:
- the Root
- the Third (whose interval is a major third or minor third above the root)
- and the Fifth (whose interval is a major or minor third above the third, and a diminished, perfect, or augmented fifth above the root).
In the late Renaissance, western art music shifted from more "horizontal" contrapuntal approach toward chord-progressions requiring a more "vertical" approach, thus relying more heavily on the triad as the basic building block of functional harmony.
The root tone of a triad, together with the degree of the scale to which it corresponds, primarily determine a given triad's function. Secondarily, a triad's function is determined by its quality: major, minor, diminished or augmented. Three of these four kinds of triads are found in the Major (or diatonic) scale.
Beautifully done, it is easy to understand and made interesting. Keep up the great work!
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