Triads Jazz Piano Lesson
The triad is the basic building block of many different types of chord. Triads will more than likely be the first types of chords you come across and you should strive to learn them in all 12 keys to get a good grasp of the basics.
There are 4 different types of triads that you need to learn: major, minor, diminished and augmented. You may already be familiar with the major and minor triads but the diminished and augmented triads sound more unusual.
This lesson provides an introduction to triads and offers guidance on how to practice these essential chords in all 12 keys. We also then look at some exercises to get you familiar with triad inversions.
Downloadable Lesson Supplement
Download the triads lesson supplement containing the lesson notation and practice guidance:
What Is A Triad?
A triad is a 3 note chord stacked in third intervals. The interval of a third is the basic building block for chords. Triads are the simplest of all chords and will most likely be the first chords you will learn on the piano.
What Is A Diminished Triad?
Diminished chords are constructed by playing the root, b3rd and b5th of the major scale . So in C, we play the major triad and then flat the 3rd and 7th. We can do the same in G, major triad then flat the 3rd & 7th. Another way of looking at a diminished triad is a stack of minor thirds.
This is a very important triad to learn as you will find out when you watch the lessons of 7th chords. We use the diminished triad to build 2 different 7th chords so it’s good to have the shape firmly under your fingers.
Diminished chords use the circular symbol you can see next to the chord. They are also notated with the abbreviation ‘dim’. You should be aware that these symbols are used interchangeably.
What Is An Augmented Triad?
The augmented triad is the same as a major triad but with a sharp 5th. Sharp fifth simply means that the fifth note has been raised by half a step.
Augmented triads are the least common of the four types of triads but you do still need to understand how this chord is built.
Augmented chords use the ‘plus’ symbol you can see next to the chord. They are also notated with the abbreviation ‘aug’ and again these symbols are used interchangeably.
How To Invert Triad Chords
Next let’s look at changing the order of the notes of the triads — these are called inversions. 3 note chords can be inverted twice. When the root is on the bottom, we call this root position.
Next we have the 1st inversion. To get from root position to 1st inversion, we take the bottom note of the chord and move it to the top. Notice that this chord sounds different even though we are playing the same notes.
Next we have the 2nd inversion. To get from the 1st to the 2nd inversion, again we take the bottom note and move it to the top — again notice how this sound different. We could also find the 2nd inversion from root position by taking the top note and putting it on the bottom.
How To Arpeggiate Triads
Once you are comfortable with the inversions it’s time to start arpeggiating the triad shapes up and down the keyboard. Mastering this exercise will help you when you come to improvise.
Lesson Downloads
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Triads Notation & Worksheet File Type: pdf
Related Lessons
We have voiced minor 251 progressions with our left hand and so now it’s time to spread the notes across 2 hands to get bigger chords with more impact!
Learning and memorising all of the upper structure triads is a daunting task! This lesson introduces the upper structure cheat sheet.
Upper structure triads are complex sounding altered dominant chords. They will add texture and sophistication to your playing.
Practice Tips
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Start with major and minor triads: in the key of C and play a C major Triad. Now drop the 3rd down half a step to play a C minor triad. Now continue this exercise up the chromatic scale until you get back to C
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Mastering these exercises is a gradual process -- don't try to go through all 12 keys in 1 practice session if you are just starting out.
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The trick is to start your practice with 2 or 3 keys and then next time pick 3 different keys and keep going until you've mastered all of them.
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Also make sure you pick the right tempo to do these exercises -- if you play too fast you will lose accuracy and it becomes a pointless exercise.
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Remember to start slow and gradually build up the speed.
- Once you are comfortable with the shapes, you can experiment with inversions and arpeggios.
Hi hayden
Where can I find the pdf files of the video (triads) ?
Thank you
Hi Marc, here it is: pianogroove.com/wp-content/uploads/2016/11/Triad-Worksheet.pdf – Thanks Hayden
When arpeggiating the triads, I noticed you didn’t use your left hand at all. Should you practice this exercise with both hands or just the left hand?
Hi Chris,
I would recommend practicing with both hands. However, understand that this takes time to master in all 12 keys.
In the left hand, you need to learn and master rootless voicings which you will play much more than the basic triad shape: pianogroove.com/jazz-piano-lessons/rootless-chord-voicings/
As an example, you use these triads in your right hand in all upper structure triad voicings (that’s an intermediate/advanced topic but check it out) and many other areas of jazz and so that’s one reason I focused on the right hand here.
More information on upper structure triads can be found here: pianogroove.com/jazz-piano-lessons/upper-structure-triads/
I hope this helps.
Cheers,
Hayden
am confused a bit by the definition of the dim chord in reviewing the triad lesson…dim equals root, b3 and b5th but then it skips and defines as adding a flat 3rd and the 7th…hmmm so not the b5th???,, i’m sure I will locate the answer as i follow the fingers
i get stuck often on little things
Hi Cheryl,
That’s exactly correct… pick any key/scale and play the root, b3 and b5 and that will give you the diminished triad.
At ~7:45s i mention that the diminished triad is used to construct both the -7b5 chord and the diminished 7th chord… check out the lesson on 7th chords for more information on this.
The major and minor triads are by far the most important thing you need to learn here. I cover the other triads so to give students the bigger picture but you need to be able to visualise the major and minor triads in all 12 keys and be able to play them quickly on-demand.
Also, I talk about practicing inversions. This takes a long time to get down in all 12 keys so don’t fret about it. Basically you will always be revisiting this theory, it just helps to run through the drills that i outline, but don’t feel like this should be done in the short term… it takes time to get these shapes and sounds completely memorised.
Make sure you are also enjoying the jazz standard lesson whilst studying the theory… this will keep your practice fun and enjoyable as the theory can sometimes be a little overwhelming.
I hope this helps and any other questions just let me know 🙂
Cheers,
Hayden
Thank you !
Hey Hayden,
Great and brilliant content! Really instructive!
About the exercise for learning the 12 major & 12 minor keys, could you please explain to me why there is a C#m instead of a Dbm?? and then why do we have Ebm instead of D#m and so on… ?? Is there any logical reasons or any rules regarding that?
Thank you so much.
Best,
Julian
Thanks Julian.
Good question!
Yes you are referring to ‘enharmonic equivalents’ there, which means that it’s the same note, or same chord on the keyboard, but spelt differently depending on what key you are playing in.
You will see some of these equivalents more frequently than others.
For example, F# and Gb is the most common one to see spelled differently, in different contexts. But ultimately, remember that the notes are the same, it’s simply how it’s spelled.
If you are in a ‘sharp key’ such as B Major or E Major, then that note is spelled as F#, and in same way, the triad built of that degree of the scale will be F#maj in the key of Bb, and F#m in the key of E Major.
However in a flat key, such as Db Major for example, that note is spelled as Gb, and the triad built of that note would be Gbmaj.
The Gb/F# ‘enharmonic equivalent’ is the most common one that you will see spelled differently. You may come across the others that you mention depending on the tune and the key it’s written in.
This is why I decided to include them here just so you are at least aware of this relationship.
I final important thing for you…
With lead sheets, the key signature is there to make the music easier to read and interpret. However, remember that in jazz it’s very important to learn all scales numerically and also learn chords and progressions numerically (think 251s, 1625s etc… ). . This will help free your mind from note names and get a deeper understanding of harmony.
Hope this helps, and any further questions just let me know.
Cheers!
Hayden
Hi Hayden,
Thanks for this clear explanation, it is really appreciated!
Best regards,
Julian
My pleasure Julian.
Happy to help out with any questions you may have.
Cheers,
Hayden
Thanks for the interesting content and clear explanations.
I have a question about fingering for triads. I’ve learned to play triads with the fingerings for the right hand: 135 for root position, 125 for the first inversion and 135 for the second inversion. And for the left hand: 531. 531 and 521. However, in the video I see that’s not the fingering used. What should be the correct fingering.
Regards,
JC
Hi Juan,
I’d recommend using the fingering that is most comfortable for you.
We all have different sized hands and fingers which can make certain fingering more comfortable in certain keys.
For some keys I will use 1-2-4 in my right hand, whilst in other keys, I will use 1-2-5.
The most important thing is to find a comfortable fingering and stick to it.
Hope this helps!
Cheers,
Hayden
Nice!
Hello, I have a general question about the minor scale: The natural minor scale is Aiolic. Which scale is played in harmonic and which in melodic? So I mean, what’s the scale called? I hope you understand my bad english
Hi Thorsten 👋
Good question.
There are 3 minor scales:
– Natural minor or ‘Aeolian mode’
– Harmonic minor
– Melodic minor
The Harmonic minor scale is used to create 251 progressions in minor keys. This is why it is called ‘harmonic’ because it can be used to create more interesting harmonic possibilities. We learn more about the harmonic minor scale in the upcoming lesson on the ‘Minor 251 Progression’ – pianogroove.com/jazz-piano-lessons/minor-251-progression/
The Melodic minor scale is most often used for improvisation and melodic development. The melodic minor fits very nicely under the fingers and so it is a useful scale for creating melodies. In this lesson we explore a Chet Baker line which uses the melodic minor scale over the C-7 chord: pianogroove.com/jazz-piano-lessons/chet-baker-minor-251-line/
For more information on minor scales, check out our lesson here: pianogroove.com/jazz-piano-lessons/minor-scales-for-jazz-piano/
Also read the “Comments” section of the page which has lots of common Q&As.
Here are some useful forum posts on the minor scales and the role that they play in jazz harmony and improvisation:
The Natural 6/13th Over Minor Chords – pianogroove.com/community/t/the-natural-6-13th-over-minor-chords/1572
Practicing Minor Scales – pianogroove.com/community/t/practicing-minor-scales/2423
Minors in the Practice Guide – pianogroove.com/community/t/minors-in-the-practice-guide/3005
Check out those posts and let me know if I can help further.
Cheers,
Hayden
Hi Hayden,
Thanks for the wonderful lesson!
I had a question about the fingering of the triad for both the left and the right hand. I usually use 1-2-4 fingering in the right hand and 5-2-1 fingering in the left hand.
Also how would you adjust finger positions when arpeggiating through inversions?
Thanks a lot!
Rishi
Hi Rishi,
Good question!
There is no ‘set-in-stone’ rule for this so I’d recommend using the fingering that is most comfortable for you.
I just tried it myself on the piano with my right hand, and if I am starting the arpeggio in root position, I always play 1-2-4.
However, if I start my arpeggio with the triad in 1st inversion, I play 1-2-5, for example, if I have a C triad in 1st inversion which would be E-G-C, I would then arpeggiate up the keyboard with 1-2-5.
In the upcoming course on ‘Upper Structure Triads’ – pianogroove.com/jazz-piano-lessons/altered-harmony-upper-structure-triads/ – you will see that we play triads in many different inversions and so we can start the arpeggio in any of the inversions.
When inverting the triads up the keyboard, my fingering changes between 1-3-5 and 1-2-5 depending on the inversion.
My recommendation would just be to experiment, and find the fingering that feels the most comfortable, but also gives you the most control.
I hope this helps and enjoy the lessons.
Cheers,
Hayden
Thanks again, Hayden!
Yes, thanks…
Hi Hayden,
When playing inversions we always use the same method by replacing the outer note to the other outer position, like CEG , EGC , GCE and back to CEG. This way we never encouter a G-E-C .
Is this G-E-C allowed and is it still a triad? (yes, it has 3 notes from the same scale ??)
I can see that the distance is larger: M6 and m6
And if it’s correct, where would it be used?
About practice: I now practice my 12 triads following the circle of 5ths and many triads are getting familiar by their visual picture, so to speak. It’s like I have a photo of that triad in memory. But I only do the major triads and wanna do all 4 now. Would I still keep my visual rememberance ? I don’t want to lose that because I also use it to form my dom7 chords from it by simply adding ths m7 and changing the fingering.
Thanks,
Lenny
Hi Wouter 👋🏻
Interesting question.
I can’t think of a time when I have voiced a triad like that.
The 3 inversions presented in this lesson are by far the most useful and versatile shapes to get comfortable with. In the subsequent courses we study Upper Structure Triads and you will see that it’s important to be comfortable with the 3 triad inversions in our right hand.
It’s a more advanced tutorial, but here is a nice introduction which I think you will find interesting: pianogroove.com/jazz-piano-lessons/what-are-upper-structure-triads/
The main limitation of voicing a triad as you mention is the spread on the piano which makes it difficult – or impossible for many of us! – to play the 3 notes with 1 hand.
As you will see in the lesson above, the nice thing with the regular inversions is that we can play them comfortably in 1 hand which allows us to superimpose them over different voicings in our left hand.
For your second question:
I would recommend that you prioritise the major and minor triads over the diminished and augmented. Major and minor triads are essential building blocks for extended chords incorporating 9ths/11ths/13ths and so memorising the major/minor triad shapes will be a great asset when starting the course on extended chords.
I use the diminished 7th chord a lot in my playing and so I find it important to be able to visualise. The nice thing with the diminished 7th chord is that it’s a ‘symmetrical’ voicing built from stacked minor 3rds – Stacking minor 3rd takes us back to the root – so there are only 3 diminished 7th chords, and each one covers 4 keys.
In addition, each diminished 7th chord can function as a rootless dominant b9 chord in 4 keys. For example Cdim7 can function as a rootless b9 voicing for the following 4 dominant chords:
– B7b9
– F7b9
– D7b9
– Ab7b9
Hope that helps Wouter and let me know if you have any further questions.
Cheers,
Hayden
Excellent lesson. Really well done.
Thanks John – glad you enjoyed the lesson.
Cheers!
Hayden