Triads

No, it is not a triad.

Interesting question, bichord, triad, quadriad, etc. seem to be terms not referring to a precise reference sound system, even if one usually refers to the tonal system. Obviously, the case presented by Dilettante is a harmony of inverted fourths or fifths... it is certainly a chord, certainly with 3 sounds, so why not call it a triad?

even do-re-mi could be a triad! It is an chord that falls within the scope of quartal chords consisting of solitary perfect fourths in at least three voices, or mixed with at least one perfect fourth and a tritone.

Thank you friends for the clarifications

let's put it this way. You can say whatever you want in music, the important thing is to set boundaries and specify.

If in your own home you call what others call a "prickly pear" a "fig", if you are speaking with someone who does not live in your home, it is better to call it a "prickly pear" because a "fig", for most people in the world, is something else.

The E major triad (with uppercase E) is a TONAL concept and is inconceivable without the stacking of thirds. In fact, harmonic stackings such as "fa-sol-re" or, even worse, "fa-sol" in the tonal system are not considered autonomous but reduced versions of a dominant seventh chord. Without the reduction to stacks of thirds, classical harmony does not exist.

The "si-do-fa" stacking can exist in tonal harmony, especially as polyphony resulting from the movement of parts. In tonal harmony, this stacking would make sense, even if it is not a triad. But if you consider it a quartal chord, its meaning changes.

So, I repeat. Polyphonic structures such as a si-do-fa trichord have different meanings depending on the situation in which they are found. Therefore, from my point of view, it is better not to give them misleading names. Si-do-fa is not a triad in an absolute sense; it can be a triad in an expanded harmony, but in tonal harmony, it is a harmonic or polyphonic cluster or aggregate

thallo wrote:

but in tonal harmony it is a cluster or a harmonic or polyphonic aggregate

... in a tonal harmony, the chord before and after is needed to understand what it truly is

precisely Natan

Ok, but then why is it that if I have the notes Re, Mi, Sol, Bb, I can say it's a minor triad even if I don't know the chord before and after?

Maybe there are many types of triads and there are those based on fourths... anyway, I'm not very good with definitions

actually, if you don't have a chord before and a chord after, you can't say what that stuff is. We are talking about edge cases, obviously. That said, do-mib-sol is a triad because it coincides with the definition of a triad: three sounds superimposed at intervals of thirds... the distance between the sounds is IN the definition of a triad

Do re mi is a major ninth chord; whoever proposed the example did not consider an arrangement, so reading them vertically without performing astronomical calculations makes it a pentad

... who knows in a context of half-step scales, what those 3 pitches would be

... and yet the effect would always be the same...

AbateFaria wrote:

Do re mi is a major ninth chord; whoever proposed the example did not consider an arrangement, so reading them vertically without performing astronomical calculations, it is a pentad

With si-do-fa it is more complex... but it could also be an eleventh without a fundamental, a ninth of the leading tone... but we are always there, we are talking about harmony that is not precisely tonal

An F SUS4 chord

... tonal harmony

JamSession wrote:

An F SUS4 chord

... tonal harmony

oh my god, it's not classical tonal harmony...

JamSession wrote:

An F SUS4 chord

...if there were a seventh

thallo wrote:

oh my god, it's not classical tonal harmony...

In the end, I really think that today, whether one likes it or not, with everything that is heard around, it is actually Jazz musicians who have a more classical approach... to which I add syntax like that used by Part, who after extreme experimentation, shifted towards modality, a choice that I think many will make.

The rest for me is just avant-garde, I mean in terms of approach, but modernity no longer lies in that… it is already outdated and Jazz musicians are precisely those who have carried the tradition forward, classifying everything, inventing a system more effective than the old continuo… so, setting aside the concept of classicism, I really think that the logics of the Jazz world are a toolkit that a classical musician must have… therefore a sort of fusion. This, however, might be outside the initial question; we are nonetheless in the field of tetrads