Primary triad

Primary triads in C Play (help·info).

In music, a primary triad is one of the

three triads, or three-note chords built
from major or minor thirds, most
important in tonal and diatonic music, as
opposed to an auxiliary triad or secondary
triad.

Each triad found in a diatonic key

corresponds to a particular diatonic
function. Functional harmony tends to rely
heavily on the primary triads: triads built
on the tonic, subdominant, and dominant
degrees.[1] The roots of these triads begin
on the first, fourth, and fifth degrees
(respectively) of the diatonic scale,
otherwise symbolized: I, IV, and V (again,
respectively). Primary triads, "express
function clearly and unambiguously."[1] The
other triads of the diatonic key include the
supertonic, mediant, sub-mediant, and
leading-tone, whose roots begin on the
second, third, sixth, and seventh degrees
(respectively) of the diatonic scale,
otherwise symbolized: ii, iii, vi, and viio
(again, respectively). They function as
auxiliary or supportive triads to the primary
triads.

Diatonic functions in hierarchical order in C

In C major these are:

IC
 VG
IV F
vi Am
iii Em
ii Dm
viio Bdim

In a minor key triads i and iv are minor

chords, but in chord V the leading note is
generally raised to form a major chord.[2]
For example, in A minor the primary triads
are Am, Dm and E. Chord v (minor) in a
minor key may be considered a primary
triad, but its use is rare in common
practice harmony.
Subdominant and subdominant parallel in C major: FM
(IV) and Dm (ii) chords Play (help·info).

Auxiliary chords may be considered

parallel and contrast chords derived from
the primary triads. For example the
supertonic, ii, is the subdominant parallel,
relative of IV (in C: a d minor chord is the
subdominant parallel, the subdominant is
an F major chord). Being a parallel chord in
a major key it is derived through raising the
fifth a major second (C of F–A–C rises to
D → F–A–D, an inversion of D–F–A).
Alternatively, secondary triads may be
considered ii, iii, and vi.[3] In C major these
are:[3]

ii Dm
iii Em
vi Am

In A minor these are:[3]

iio Bdim
III C
VI F

See also
Subsidiary chord
Sources
1. Harrison, Daniel (1994). Harmonic
Function in Chromatic Music: A Renewed
Dualist Theory and an Account of its
Precedents, p.45. ISBN 0-226-31808-7.
Cited in Deborah Rifkin. "A Theory of
Motives for Prokofiev's Music", p.274,
Music Theory Spectrum, Vol. 26, No. 2
(Autumn, 2004), pp. 265-289. University of
California Press on behalf of the Society for
Music Theory
2. Eric Taylor (2009). Music Theory in
Practice Grade 4, p.22. ISBN 978-1-86096-
945-4. ABRSM
3. Lancaster & Renfrow (2008). Alfred's
Group Piano for Adults: Student Book 2,
p.77. ISBN 0-7390-4925-9.

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