A major triad uses root, four semitones, seven semitones. A minor triad lowers the middle note by one semitone.
Major triad
Sounding pitches: D4 · F#4 · A4
Listen to the complete three-note sonority, then follow the middle chord member. Major and minor keep the same root and fifth.
Major triad: root D4, bass D4; sounding notes D4, F#4, A4. Semitone offsets: 0, 4, 7.
Minor triad
Sounding pitches: D4 · F4 · A4
The comparison changes the third by a semitone. Try to hear that internal change rather than relying on the chord’s register.
Minor triad: root D4, bass D4; sounding notes D4, F4, A4. Semitone offsets: 0, 3, 7.
For aural examples, sounding pitch names are a listening reference. Written-note exercises preserve the displayed spelling.
Check the idea: Major offsets are 0–4–7; minor offsets are 0–3–7 semitones.
Choose major or minor, then play both comparison choices to locate the third you heard.
Identify quality as roots change. A low major chord still has major structure; a high minor chord still has minor structure.
Recognize the quality of new chords without matching their absolute pitches to the lesson.
Each session starts with two guided questions, then your chosen practice set, followed by two new questions at a different tempo. First answers, same-question retries, and the final check have separate results.
Begin this lesson90 quarter-note BPM · 4/4 · With guidance
Major triad, Minor triad
Practice this level95 quarter-note BPM · 4/4 · Fewer hints
Major triad, Minor triad
Practice this level100 quarter-note BPM · 4/4 · Fewer hints
Major triad, Minor triad
Practice this levelThe teacher pack includes 10 fixed questions, replay controls, a student sheet, and a separate answer key. The printed key and downloaded JSON use the same questions.
Original synthesized audio · A4 = 440 Hz · mono, 48 kHz WAV.
These references explain the underlying definitions. The examples and practice sequences here are generated for Earstep.