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Major chord
View on Wikipediafrom Wikipedia
 | This article needs additional citations for verification. (July 2025) |
| Component intervals from root | |
|---|---|
| perfect fifth | |
| major third | |
| root | |
| Tuning | |
| 4:5:6 | |
| Forte no. / | |
| 3-11 / |
In music theory, a major chord is a chord that has a root, a major third, and a perfect fifth. When a chord comprises only these three notes, it is called a major triad. For example, the major triad built on C, called a C major triad, has pitches C–E–G:
In harmonic analysis and on lead sheets, a C major chord can be notated as C, CM, CΔ, or Cmaj. A major triad is represented by the integer notation {0, 4, 7}.
A major triad can also be described by its intervals: the interval between the bottom and middle notes is a major third, and the interval between the middle and top notes is a minor third. By contrast, a minor triad has a minor third interval on the bottom and major third interval on top. They both contain fifths, because a major third (four semitones) plus a minor third (three semitones) equals a perfect fifth (seven semitones). Chords that are constructed of consecutive (or "stacked") thirds are called tertian.
In Western classical music from 1600 to 1820 and in Western pop, folk and rock music, a major chord is usually played as a triad. Along with the minor triad, the major triad is one of the basic building blocks of tonal music in the Western common practice period and Western pop, folk and rock music. It is considered consonant, stable, or not requiring resolution. In Western music, a minor chord "sounds darker than a major chord", giving off a sense of sadness or somber feeling.[1]
Some major chords with additional notes, such as the major seventh chord, are also called major chords. Major seventh chords are used in jazz and occasionally in rock music. In jazz, major chords may also have other chord tones added, such as the ninth and the thirteenth scale degrees.
Inversions
[edit]A given major chord may be voiced in many ways. For example, the notes of a C major triad, C–E–G, may be arranged in many different vertical orders and the chord will still be a C major triad. However, if the lowest note (i.e. the bass note) is not the root of the chord, then the chord is said to be an inversion: it is in root position if the lowest note is the root of the chord, it is in first inversion if the lowest note is its third, and it is in second inversion if the lowest note is its fifth. These inversions of a C major triad are shown below.
The additional notes above the bass note can be in any order and the chord still retains its inversion identity. For example, a C major chord is considered to be in first inversion if its lowest note is E, regardless of how the notes above it are arranged or even doubled.
Major chord table
[edit]In this table, the chord names are in the leftmost column. The chords are given in root position. For a given chord name, the following three columns indicate the individual notes that make up this chord. Thus in the first row, the chord is C major, which is made up of the individual pitches C, E and G.
Chord Root Major third Perfect fifth C C E G C♯ C♯ E♯ (F) G♯ D♭ D♭ F A♭ D D F♯ A D♯ D♯ F 
(G)
A♯ E♭ E♭ G B♭ E E G♯ B F F A C F♯ F♯ A♯ C♯ G♭ G♭ B♭ D♭ G G B D G♯ G♯ B♯ (C) D♯ A♭ A♭ C E♭ A A C♯ E A♯ A♯ C (D)
E♯ (F) B♭ B♭ D F B B D♯ F♯
Just intonation
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Most Western keyboard instruments are tuned to equal temperament. In equal temperament, each semitone is the same distance apart and there are four semitones between the root and third, three between the third and fifth, and seven between the root and fifth.
Another tuning system that is used is just intonation. In just intonation, a major chord is tuned to the frequency ratio 4:5:6.
This may be found on I, IV, V, ♭VI, ♭III, and VI.[2] In equal temperament, the fifth is only two cents narrower than the just perfect fifth, but the major third is noticeably different at about 14 cents wider.
See also
[edit]References
[edit]- ^ Kamien, Roger (2008). Music: An Appreciation (6th brief ed.). McGraw-Hill Education. p. 46. ISBN 978-0-07-340134-8.
- ^ Wright, David (2009). Mathematics and Music. American Mathematical Soc. pp. 140–141. ISBN 978-0-8218-4873-9.
External links
[edit]
Media related to Major chords at Wikimedia Commons- Major triads explained on a virtual piano
- Major chords explained on a virtual piano
Major chord
View on Grokipediafrom Grokipedia
A major chord, also known as a major triad, is a fundamental three-note chord in Western music theory, constructed by stacking a major third above the root note and a perfect fifth above the root.[1] This interval structure—spanning four semitones from the root to the third and seven semitones from the root to the fifth—creates a consonant, stable harmony that is one of the building blocks of tonal music.[2] Major chords are typically notated with an uppercase letter representing the root (e.g., C for C major) or with a capital letter followed by "maj" (e.g., Cmaj), and they form the basis of major keys, where the tonic chord is major.[3]
In terms of acoustic properties, the major chord approximates the lower partials of the harmonic series, contributing to its perceived consonance and lack of beating or roughness when sounded simultaneously.[4] This consonance leads to associations with positive emotions, often described as bright, happy, or uplifting in listener responses, contrasting with the more tense or somber quality of minor chords.[5] Historically, the major triad gained prominence during the Renaissance and Baroque periods as thirds became accepted as consonant intervals, evolving from earlier modal practices where such stacked thirds were less common or treated as dissonant.[6]
Major chords play a central role in harmonic progressions, serving as the tonic (I) in major keys and the dominant (V) in both major and minor keys, providing resolution and structural stability in compositions across genres from classical to popular music.[7] They can be extended into seventh chords (e.g., major-major seventh) or inverted for varied voicings, but the basic triad remains essential for establishing tonality and emotional contrast.[8][9]
Fundamentals
Definition and Components
A major chord, also known as a major triad, is a foundational three-note chord in Western music theory, constructed from a root note, a major third interval above the root, and a perfect fifth interval above the root.[10] The root functions as the primary pitch that defines the chord's identity and tonal center, providing a stable base for harmonic progression.[10] The major third imparts the chord's distinctive bright and uplifting sonority, distinguishing it from minor chords with their darker quality.[11] Meanwhile, the perfect fifth acts as a reinforcing anchor, enhancing overall harmonic consonance and resolution.[10] The conceptual origins of the major chord's intervals lie in ancient Greek music theory, particularly through Pythagoras's exploration of simple frequency ratios that produced consonant sounds, such as the perfect fifth at a 3:2 ratio.[12] These interval principles were integrated into the developing polyphonic practices of medieval European music starting around the 9th century, where early organum introduced parallel fifths and octaves as vertical sonorities.[13] By the 13th to 15th centuries, major triads had emerged as recognizable entities in polyphonic compositions, solidifying their role in harmonic structure.[14] From an acoustic perspective, the major chord aligns closely with the natural overtone series generated by a vibrating fundamental frequency, in which the perfect fifth corresponds to the second overtone and the major third approximates the fourth overtone above the octave, fostering a sense of inherent stability and resonance.[15] This physical basis underscores the chord's consonance, as the partials of its notes overlap harmonically when sounded together.[15]Characteristic Intervals
The major chord, or major triad, is characterized by two primary intervals stacked above its root note: a major third and a perfect fifth. These intervals define the chord's distinctive bright and stable sonic profile in Western music theory. The major third extends from the root to the third note, spanning 4 semitones, which corresponds to 400 cents in equal temperament—a unit where the octave is divided into 1200 equal parts, with each semitone equaling 100 cents.[16] This interval contributes to the chord's consonant and uplifting quality, as the major third aligns closely with harmonic overtones that promote a sense of resolution and positivity.[17] The perfect fifth forms the interval from the root to the fifth note, encompassing 7 semitones or 700 cents in equal temperament.[18] Known for its inherent stability, the perfect fifth provides a foundational anchor, evoking completeness and often serving as a point of harmonic rest due to its near-pure frequency ratio approximation in tempered systems.[19] Together, these intervals create the major triad through simple stacking: starting from the root, add the major third to reach the third, and add the perfect fifth from the root to reach the fifth. In interval notation, this can be expressed as: The resulting triad spans a combined interval of 7 semitones from root to fifth, fully encompassed within a single octave of 12 semitones, allowing the notes to fit compactly while maximizing consonance. This structure yields a harmonious blend where the interval between the third and fifth—a minor third of 3 semitones—further reinforces the chord's overall coherence.[2] In comparison, the minor triad shares the same perfect fifth but replaces the major third with a minor third of 3 semitones (300 cents in equal temperament), resulting in a narrower root-to-third interval that imparts a darker, more melancholic timbre. This contrast highlights how the major third's additional semitone elevates the major chord's emotional brightness relative to its minor counterpart, influencing its prevalent use in conveying major tonalities and affirmative resolutions in compositions.[17]Construction and Notation
Building from Scale Degrees
In the major scale, diatonic major chords are constructed on the first (I), fourth (IV), and fifth (V) scale degrees, forming the primary triads that underpin much of tonal harmony.[20][21] These chords are derived by selecting notes exclusively from the parent major scale, ensuring they align with the key's tonal center without introducing foreign pitches.[22] The standard method for building these chords involves stacking thirds, where every other note from the scale is taken starting from the root degree to form a triad. This process skips one scale degree between each chord tone, creating a root, third, and fifth that reflect the major quality on degrees I, IV, and V.[22][20] For instance, in the C major scale (C-D-E-F-G-A-B), the I chord is built as C (root), E (third, skipping D), and G (fifth, skipping F); the IV chord is F (root), A (third, skipping G), and C (fifth, skipping B); and the V chord is G (root), B (third, skipping A), and D (fifth, skipping C, which wraps around the octave).[21][20] While the focus remains on these diatonic forms, major chords can also appear non-diatonically through borrowing from parallel keys or chromatic alterations, such as a major chord on the flattened sixth degree in modal mixture, though these extend beyond the primary scale-based construction.[22]Symbolic Representation
In lead sheet notation, major chords are represented by the uppercase root name alone, such as C to denote the C major triad consisting of C, E, and G.[23] Alternatively, in many contexts, the uppercase root name alone implies a major triad, for example, C or G, without additional qualifiers.[3] This convention treats the major triad as the default quality, streamlining notation in popular and classical lead sheets. In some contexts, suffixes like "M" or "maj" (e.g., CM or Cmaj) may be used, though they are not standard and best avoided for triads.[24] In jazz notation, the delta symbol (Δ) after the root indicates a major seventh chord, as in CΔ (C, E, G, B).[25] This symbol distinguishes major qualities in dense harmonic contexts, though its use for triads alone is less common than for extended chords.[26] For full triad notation in staff music, major chords are written as the root, major third, and perfect fifth stacked vertically on the staff, such as C in the bass clef with E and G above it in root position.[10] This notational approach provides a visual representation of the chord's structure without symbolic suffixes. To distinguish major chords from minor ones, notation omits any flat symbol on the third; for instance, C or CM indicates the major third (E), whereas Cm or C- specifies the minor third (E♭) with an explicit flat.[3] This absence of alteration markers reinforces the major triad's natural, unaltered intervals in both lead sheets and staff notation.[23]Harmonic Properties
Inversions
In a major chord, inversions refer to the rearrangements of its three notes—root, major third, and perfect fifth—such that a note other than the root appears in the bass, creating distinct harmonic textures while preserving the chord's identity.[27] The first inversion places the third of the chord in the bass position, with the root and fifth above it. For example, a C major chord (C-E-G) in first inversion is voiced as E-G-C, often notated in slash chord notation as C/E to indicate the bass note.[27] The second inversion positions the fifth in the bass, followed by the root and third above. Using the same C major triad, this becomes G-C-E, notated as C/G.[27] These inversions facilitate smoother voice leading in progressions by minimizing large leaps between consecutive chords and allow for more fluid, stepwise motion in bass lines compared to root-position chords, which often require broader intervals.[28][29] The concept of chord inversions was formalized in the 18th century by French theorist Jean-Philippe Rameau in his Traité de l'harmonie (1722), where he introduced the idea of a fundamental bass underlying inverted forms to unify harmonic analysis.[30]Voicings and Spacing
In music theory, closed voicings arrange the notes of a major chord in close proximity, typically with all chord tones spanning no more than an octave, such as the root-position C major chord voiced as C-E-G in ascending order within the same octave.[31] This clustering promotes a compact, dense harmonic texture suitable for solo instruments or dense ensemble settings where clarity is prioritized over expansiveness.[32] In contrast, open voicings distribute the notes of the major chord across a wider range, often exceeding an octave between the lowest and highest notes, for example, voicing a C major chord as C (root) followed by G (fifth) an octave higher and then E (third) above that, creating a more airy and resonant sound.[31] This spacing enhances projection in larger ensembles by allowing overtones to blend more naturally and is particularly effective when the bass-to-upper-voice interval surpasses an octave while keeping upper voices relatively close.[32] Drop voicings, such as the drop-2 variant, derive from a closed-position triad by lowering the second-highest note by an octave to produce a more spread-out arrangement, commonly used on guitar and piano for improved playability across registers; for instance, starting from a closed C-E-G and dropping the E to form C-G-E with the E lowered.[33] These voicings facilitate smoother transitions in chord progressions and are adaptable to different inversions while maintaining the major chord's intervallic structure.[33] Practical considerations in applying these voicings emphasize balance across instrument ranges to ensure even resonance and avoid strain, such as limiting soprano-to-alto and alto-to-tenor intervals to an octave in closed setups while allowing wider bass spacing in open configurations.[31] In ensemble blending, wider voicings promote integrated textures by interlocking notes between sections, adjusting for each instrument's optimal register to achieve harmonic clarity without overpowering individual timbres.[34]Tuning Systems
Equal Temperament
In equal temperament, the standard tuning system for modern Western music, the octave is divided into 12 equal semitones, with each semitone equivalent to 100 cents, where one cent is 1/1200 of an octave.[18] This logarithmic unit allows precise measurement of intervals, and the major chord is constructed from a root note, a major third spanning 4 semitones or 400 cents, and a perfect fifth spanning 7 semitones or 700 cents.[18] The intervals of the major chord in equal temperament are thus simple multiples of the 100-cent semitone: the major third at 4 × 100 = 400 cents and the perfect fifth at 7 × 100 = 700 cents.[18] However, this system compromises acoustic purity for versatility, as the major third is approximately 13.69 cents wider than the just intonation ratio of 5:4 (386.31 cents), introducing a subtle beating that gives the chord a tempered, slightly out-of-tune quality often perceived as brighter or more tense compared to purer tunings.[35] Equal temperament became prevalent in Western music from the late 18th century onward, facilitating free modulation across all keys on instruments that could not be easily retuned.[36] It is the default for fixed-pitch instruments such as keyboards (e.g., piano and organ) and fretted string instruments (e.g., guitar), as well as most contemporary music production and performance.[18]Just Intonation
In just intonation, a major chord is tuned according to simple integer frequency ratios derived from the harmonic series, providing the acoustically purest form of the triad. The root to major third interval uses the ratio 5:4, corresponding to approximately 386 cents; the root to perfect fifth uses 3:2, or about 702 cents; and the major third to perfect fifth spans a minor third of 6:5.[37] These ratios yield proportions of 4:5:6 for the chord's notes (e.g., C:E:G as 4:5:6 within an octave).[38] This tuning achieves acoustic purity because the intervals align directly with low-order partials in the harmonic series: the perfect fifth between the second and third partials (3:2), and the major third between the fourth and fifth partials (5:4). The resulting consonance is "sweet" and beat-free, as the overtones of the notes reinforce each other without interference, producing a stable, resonant sound in ideal conditions.[37][38] Just intonation major chords find applications in vocal music, such as barbershop quartets, where singers naturally adjust to these ratios for enhanced ringing overtones; in string ensembles, enabling expressive microtonal shifts for timbral depth; and in early music revivals, recreating Renaissance polyphony's intended purity. However, it poses challenges for fixed-pitch instruments like keyboards, as the ratios do not form a consistent scale across all keys without retuning.[39][40][41][42] Compared to equal temperament, which divides the octave into 12 equal semitones (major third at 400 cents, perfect fifth at 700 cents), just intonation intervals deviate slightly for greater consonance but limit modulation flexibility.| Interval | Just Intonation (cents) | Equal Temperament (cents) | Deviation (Just - ET) |
|---|---|---|---|
| Major Third | 386 | 400 | -14 |
| Perfect Fifth | 702 | 700 | +2 |