Lesson Notes By Weeks and Term v3 - Senior Secondary 2
Triads
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Triads
Download the Lessonotes Mobile Nigeria 2025 app for faster lesson access on Android and iPhone.
Subject: Music
Class: Senior Secondary 2
Term: 1st Term
Week: 1
Theme: Theory Of Music I
This page supports the lesson note with a companion video and a short classroom-ready summary.
For class groups and homework, share this lesson page so learners also get the summary, objectives, and full lesson context.
Students should be able to build a secondary triad on a given root. identify the triad when played and he able to sing its note, melodically.
This section provides a detailed explanation of triads, focusing on secondary triads, their construction, and identification.
A. Definition of a Triad: A triad is a three-note chord built by stacking two superimposed thirds above a root note. These three notes are the root, the third (a third above the root), and the fifth (a fifth above the root, or a third above the third). Triads are the simplest form of chords and are the foundation of Western harmony.
B. Types of Triads (by Quality): Triads are classified by their intervallic structure (the quality of the third and fifth above the root).
Major Triad: Consists of a major third and a perfect fifth above the root. (e.g., C-E-G)
Minor Triad: Consists of a minor third and a perfect fifth above the root. (e.g., C-Eb-G)
Diminished Triad: Consists of a minor third and a diminished fifth above the root. (e.g., C-Eb-Gb)
Augmented Triad: Consists of a major third and an augmented fifth above the root. (e.g., C-E-G#)
C. Scale Degrees and Triads: In a major key, a triad can be built on each degree of the scale. The quality of these triads is consistent across all major keys. I (Tonic) - Major ii (Supertonic) - minor iii (Mediant) - minor IV (Subdominant) - Major V (Dominant) - Major vi (Submediant) - minor vii° (Leading-note) - diminished
D. Primary vs.
Secondary Triads: Primary Triads: These are the triads built on the 1st (Tonic), 4th (Subdominant), and 5th (Dominant) degrees of the scale (I, IV, V). They are the most stable and functionally strong chords in a key.
Secondary Triads: These are the triads built on the 2nd (Supertonic), 3rd (Mediant), 6th (Submediant), and 7th (Leading-note) degrees of the scale (ii, iii, vi, vii°). While less stable than primary triads, they add colour, provide harmonic variety, and often lead to primary chords. This lesson focuses specifically on these secondary triads.
E. Building Secondary Triads (Step-by-Step Method): To build a secondary triad on a given note in a major key:
1. Identify the Root
Note: This is the note on which the triad is built (the 2nd, 3rd, 6th, or 7th degree of the scale).
2. Determine the Major Scale: Identify the major key in which this root note resides (e.g., if asked for the ii triad in C Major, the root is D).
3. Stack a Third Above the Root: Count up three scale degrees from the root to find the second note of the triad.
4. Stack a Third Above the Second
Note: Count up three scale degrees from the second note (which will be a fifth above the root) to find the third note of the triad.
5. Confirm the Quality: Based on the major scale, the quality of each secondary triad is fixed: ii triad: Always a minor triad (e.g., D-F-A in C major). iii triad: Always a minor triad (e.g., E-G-B in C major). vi triad: Always a minor triad (e.g., A-C-E in C major). vii° triad: Always a diminished triad (e.g., B-D-F in C major).
Worked Examples (C Major Key): Building the ii triad in C Major:
1. Root note: D (the 2nd degree of C Major scale)
2. Third above D: F (D-E-F)
3. Fifth above D (or third above F): A (F-G-A)
4. Notes: D-F-A.
5. Quality: From D to F is a minor third. From D to A is a perfect fifth.
Therefore, D-F-A is a D minor triad (ii).
Building the iii triad in C Major:
1. Root note: E (the 3rd degree of C Major scale)
2. Third above E: G (E-F-G)
3. Fifth above E (or third above G): B (G-A-B)
4. Notes: E-G-B.
5. Quality: From E to G is a minor third. From E to B is a perfect fifth.
Therefore, E-G-B is an E minor triad (iii).
Building the vi triad in C Major:
1. Root note: A (the 6th degree of C Major scale)
2. Third above A: C (A-B-C)
3. Fifth above A (or third above C): E (C-D-E)
4. Root note: E (the 3rd degree of C Major scale)
2. Third above E: G (E-F-G)
3. Fifth above E (or third above G): B (G-A-B)
4. Notes: E-G-B.
5. Quality: From E to G is a minor third. From E to B is a perfect fifth.
Therefore, E-G-B is an E minor triad (iii).
Building the vi triad in C Major:
1. Root note: A (the 6th degree of C Major scale)
2. Third above A: C (A-B-C)
3. Fifth above A (or third above C): E (C-D-E)
4. Notes: A-C-E.
5. Quality: From A to C is a minor third. From A to E is a perfect fifth.
Therefore, A-C-E is an A minor triad (vi). Building the vii° triad in C Major:
1. Root note: B (the 7th degree of C Major scale)
2. Third above B: D (B-C-D)
3. Fifth above B (or third above D): F (D-E-F)
4. Notes: B-D-F.
5. Quality: From B to D is a minor third. From B to F is a diminished fifth.
Therefore, B-D-F is a B diminished triad (vii°).
F. Identifying Triads by Ear and Singing Melodically: Aural Identification: Teachers play the three notes of a triad simultaneously (harmonically) or sequentially (melodically). Students listen for the overall quality (minor, diminished) and try to identify the root note, then the full triad.
Melodic Singing: After identifying the triad, students sing the notes one by one (e.g., for D minor: D-F-A, then A-F-D). This reinforces their understanding of the individual pitches and intervallic relationships within the triad. This section outlines practical activities for effective lesson delivery in a Nigerian classroom.
A. Teacher Activities: Introduction and Review (10 minutes): Begin by reviewing major scales and identifying scale degrees in different keys (e.g., C Major, G Major). Briefly revise intervals, specifically major/minor thirds and perfect/diminished fifths, as they are crucial for triad construction. Introduce the concept of a "triad" as a three-note chord built on thirds, demonstrating on a keyboard or guitar. Explanation of Secondary Triads (15 minutes): Define primary and secondary triads, emphasizing the focus on ii, iii, vi, vii°. Explain the consistent quality of secondary triads in a major key (ii minor, iii minor, vi minor, vii° diminished). Demonstrate step-by-step how to build each secondary triad in C Major on the whiteboard or staff paper, showing the root, third, and fifth clearly. Use visual aids like musical staff, note cards, or keyboard diagrams.
Building Triads Practice (20 minutes): Guide students through building secondary triads in another simple major key (e.g., G Major or F Major). Work through one triad together, step-by-step, ensuring all students follow. Provide scaffolded examples and check student understanding after each step. Circulate around the classroom, providing individual assistance and correcting misconceptions. Aural Identification and Singing Practice (15 minutes): Play various secondary triads (harmonically and melodically) on a keyboard or guitar. Ask students to identify the triad (e.g., "Is it ii, iii, vi, or vii°?" "What are the notes?"). Encourage students to sing the notes of the identified triads melodically, first individually then as a class. Start with simple triads and progress to more challenging ones. Use familiar call-and-response techniques common in Nigerian classrooms to engage students.
Wrap-up and Homework (5 minutes): Summarize the key takeaways regarding building and identifying secondary triads. Assign independent practice questions as homework.
B. Student Activities: Active Participation in Review: Students identify scale degrees and intervals when prompted by the teacher.
Note-taking: Students take detailed notes on the definitions, types of triads, and the step-by-step method for building secondary triads.
Whiteboard/Staff Paper Practice: Students actively engage in building secondary triads on mini-whiteboards or staff paper as guided by the teacher.
Group/Pair Work: Students work in small groups or pairs to build specific secondary triads and compare their answers.
Aural Response: Students listen attentively to triads played by the teacher and attempt to identify them.
Melodic Singing: Students practice singing the individual notes of triads identified during the aural exercises, focusing on pitch accuracy.
Questioning: Students ask questions to clarify any areas of confusion during the lesson. The teacher should guide students through these questions, providing immediate feedback and explanations.
Question 1: Build the ii triad in the key of G Major.
Solution: The G Major scale is G-A-B-C-D-E-F#-
G. The 2nd degree (supertonic) of G Major is
A. This is the root of the ii triad.
Stack a third above A: B (A-B-C).
Stack a third above B: C (B-C-D). Correction from initial thought process - this is wrong, should be A-C-E for a ii triad in G Major. Let's re-do carefully. Correct notes by stacking thirds within the key of G Major: Root: A (2nd degree of G Major)
Third above A (in G Major): C (A-B-C) Fifth above A (in G Major, or third above C): E (C-D-E)
Notes: A-C-
E. Quality: From A to C is a minor third. From A to E is a perfect fifth.
Answer: A-C-E (A minor triad).
Commentary: Emphasize that all notes must belong to the given major key (G Major in this case). The 'C' is natural, 'E' is natural, as found in the G Major scale.
Question 2: Build the vi triad in the key of F Major.
Solution: The F Major scale is F-G-A-Bb-C-D-E-F. The 6th degree (submediant) of F Major is
D. This is the root of the vi triad.
Stack a third above D (in F Major): F (D-E-F). Stack a third above F (in F Major, or fifth above D): A (F-G-A).
Notes: D-F-
A. Quality: From D to F is a minor third. From D to A is a perfect fifth.
Answer: D-F-A (D minor triad).
Commentary: Remind students to pay attention to the key signature (Bb in F Major) when determining notes.
Question 3: Identify the following triad when played on a keyboard (harmonically or melodically): E-G-
B. What is its specific name and its Roman numeral in C Major?
Solution: Listen to the notes: E, G,
B. Identify the root:
E. Identify the intervals: E to G is a minor third. E to B is a perfect fifth.
Quality: Minor. In C Major (C-D-E-F-G-A-B), E is the 3rd degree. The triad built on the 3rd degree in a major key is the iii triad, which is minor.
Answer: E minor triad (iii).
Commentary: Encourage students to first identify the individual notes, then determine the root, and finally the quality and Roman numeral based on the C Major scale.
Question 4: Build the vii° triad in the key of Eb Major.
Solution: The Eb Major scale is Eb-F-G-Ab-Bb-C-D-Eb. The 7th degree (leading-note) of Eb Major is
D. This is the root of the vii° triad.
Stack a third above D (in Eb Major): F (D-Eb-F). Stack a third above F (in Eb Major, or fifth above D): Ab (F-G-Ab).
Notes: D-F-Ab.
Quality: From D to F is a minor third. From D to Ab is a diminished fifth.
Answer: D-F-Ab (D diminished triad).
Commentary: Emphasize the diminished fifth for the vii° triad and the importance of using the correct notes from the Eb Major scale (including Ab).
Understanding triads extends beyond the classroom, providing practical skills and deeper appreciation for music within Nigerian contexts. Analyzing Nigerian Gospel and Contemporary Music: Many Nigerian gospel artists (e.g., Tope Alabi, Mercy Chinwo) and contemporary musicians (e.g., Wizkid, Davido, Burna Boy) utilize Western harmonic structures alongside African rhythms. Students can analyze the chord progressions in popular songs, identifying how secondary triads are used to create tension, color, and smooth transitions within the music, especially in choruses or bridge sections. For instance, the common ii-V-I progression is built upon a secondary triad (ii). This understanding allows students to appreciate the harmonic sophistication often taken for granted in popular Nigerian music.
Hymnody and Church Music: Triads are the foundational chords in traditional Christian hymns and modern praise and worship songs commonly sung in Nigerian churches. Students can apply their knowledge by analyzing the harmony of familiar hymns (e.g., "Baba Ose," "Oluwa Etobi," or local Nigerian language hymns) to understand how secondary triads (like ii and vi) often lead to more stable primary chords, creating the rich, satisfying harmonic movement typical of congregational singing. This practical application can enhance their participation in church choirs and deepen their spiritual connection through music. Composition and Arrangement for School/Local Ensembles: For students interested in composing or arranging music for school bands, church groups, or local theatre productions in Nigeria, understanding secondary triads is crucial. They can use these triads to create more interesting and varied harmonic accompaniments for melodies, moving beyond just primary chords. For example, using a vi chord instead of a I chord can provide a 'sadder' or 'more reflective' feel to a phrase, which could be useful in incidental music for a Nollywood-style play or a school drama exploring social issues.