Circulation of a triad: types of appeals, how are they built?

Circulation of a triad is a change in the original structure of a chord, in which a new kindred chord is produced from the same sounds. Handling can not only triad (chord of three sounds), but any other chords, as well as intervals.

The principle of treatment (or if you want to rotate around) is the same in all cases: all sounds that are in this source chord remain in their places except for one — the top or bottom. This upper or lower sound is mobile, it moves: the upper one goes down an octave, and the bottom one - on the contrary, goes upwards an octave.

As you can see, the technique of performing chord inversion is the simplest. But we are mainly interested in the results of the trivia treatment. So, as a result of the treatment, as we have already noted, a new kindred chord is formed - it consists absolutely of the same sounds, but these sounds are differently arranged. That is, in other words, the structure of the chord is changing.

Let's take a look at an example:

The pre-major triad was given (from do, mi and salt), this triad consisted, as expected, of two thirds, and the extreme notes of this chord were separated from each other by a clean fifth. Now let's indulge in appeals, we will get only two of them:

The lower sound (before) we moved up by an octave. What happened? All sounds remained the same (the same before, mi and salt), but now the chord (mi-sol-do) does not consist of two thirds anymore; now it consists of the third (mi-salt) and quarts (salt-do). Where did the quart (salt-up) come from? And she took from the inversion of that quint (do-salt), which "minted" our original pre-major triad (according to the rule of inversion of intervals, quints turn into quarts).
We twirl our already “spoiled” chord again: we will move its lower note (s) up to an octave. Got a chord sol-do-mi. It consists of a quart (sol-do) and terc (do-mi). The quarter remained with the previous treatment, and the new third was built from the fact that we turned the note around do, as a result of the sixth (me-do), which was composed of the extreme sounds of the previous chord, was replaced by the third (before the time): the intervals (and all chords, as you know, consist of some intervals), the sexts turn into third.

What happens if we try to reverse the last chord we received again? Nothing special! Of course, we will shift the lower salt upward by an octave, but as a result we will have the same chord as it was at the beginning (d-mi-salt). That is, in this way, it becomes clear to us that There are only two calls from the triadfurther attempts to draw lead us to where we left off.

What are the names of triad calls?

The first appeal is called sekstakkordom. I remind you that the sekstakkord consists of thirds and quarts. The sekstakkord is designated by the number "6", which is added to the letter designating the function or type of chord, or to the Roman numeral, according to which we can guess at what level the original triad was built. For example, T6, or B6, or III6.

The second treatment of the triad is called quartext chord, its structure is formed by quart and third. Quartesektakkord denoted by the numbers "6" and "4". For example, K64, or d64, or M64, or VI64.

Different triads give different appeals.

As you probably know triad - 4 types: large (or major), small (or minor), enlarged and reduced. Different triads give different appeals (that is, they are the same sekstkkordy and kvsekstekstaktkordy, only with small, but significant changes in the structure). Of course, this difference is reflected in the sound of the chord.

To understand the structural differences, let's turn again to an example. There will be built 4 types of triad from the note "re" and for each of the four triads their references will be written out:

The major triad (B53) consists of two tertiaries: one large (D and F-sharp), the second - Small (F-sharp and A). His sekstakkord (B6) consists of a minor third (F-sharp) and a clean quarte (la-re), and kvartsekstaktakkord (B64) - from a clean quart (the same la-re) and big third (re and F sharp) .

The minor triad (M53) is also formed from two third, only the first will be small (re-fa), and the second - large (fa-la). Sekstakkord (M6), respectively, begins with a large third (F-la), to which the net quart (la-re) then joins. Minor quarteksaktakkord (M64) consists of a net quart (la-re) and minor third (re-fa).

Increased triad (UV53) is obtained by adding two large third (1st - D and F-sharp; 2nd - F-sharp and A-sharp), sekstakkord (UV6) make up the large third (F-sharp and A-sharp ) and reduced quart (A-sharp and re). The next appeal is an enlarged quarteksektakkord (Uv64) of a quart and a third are interchanged. It is curious that all appeals of increased triad due to its composition also sound like increased triads.

The reduced triad (Umm53) consists, you guessed it, of two minor third (re-fa - 1st; and fa with a-flatus - 2nd). The diminished sekstakkord (Um6) is formed from the minor third (fa and a-flat) and the increased quarte (a-flat and pe). Finally, the quartekstektakkord of this triad (Uv64) begins with an increased quart (a-flat and re), above which a small third (re-fa) is built.

Let's summarize our practical experience in several formula schemes:

Is it possible to build appeals from sound?

Yes, knowing the structure of any conversion, you can easily build all the chords you have learned about today from any sound. For example, let's build from mi (already without comments):