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ap music theory unit 3 study guides

triads and seventh chords

3.0

Unit 3 Overview: Music Fundamentals III (Triads and Seventh Chords)

3.1

Triad and Chord Qualities (M, m, d, A)

3.2

Diatonic Chords and Roman Numerals

3.3

Chord Inversions and Figures: Introduction to Figured Bass

3.4

Seventh Chords

3.5

Seventh Chord Inversions and Figures

unit 3 review

Triads and seventh chords form the backbone of harmony in Western music. These chords, built from stacked thirds, create distinct sounds and emotions in compositions. Understanding their structure, types, and inversions is crucial for analyzing and creating music. Chord progressions using triads and sevenths drive harmonic movement in songs. By studying common progressions and chord functions, musicians can grasp how composers create tension, resolution, and emotional impact through harmony. This knowledge enhances both analysis and composition skills.

What Are Triads?

  • Triads are chords consisting of three notes stacked in thirds
  • The bottom note is called the root, the middle note is the third, and the top note is the fifth
  • Triads are built on a specific scale degree and use notes from that scale
  • Can be played in root position or inverted (more on inversions later)
  • Triads are the foundation of harmony in Western music
  • Triads have a distinct sound based on the quality of the intervals between the notes
    • Major triads have a bright, happy sound (C Major: C-E-G)
    • Minor triads have a darker, melancholic sound (A Minor: A-C-E)

Types of Triads

  • There are four main types of triads: major, minor, diminished, and augmented
  • Major triads consist of a major third and a perfect fifth above the root (C-E-G)
  • Minor triads have a minor third and a perfect fifth above the root (A-C-E)
  • Diminished triads contain a minor third and a diminished fifth above the root (B-D-F)
    • Diminished triads have a tense, unstable sound
  • Augmented triads have a major third and an augmented fifth above the root (C-E-G#)
    • Augmented triads have a bright, but slightly unsettling sound
  • The quality of a triad is determined by the intervals between the root, third, and fifth

Triad Inversions

  • Triads can be played in three different positions: root position, first inversion, and second inversion
  • Root position has the root note as the lowest note (C-E-G)
  • First inversion has the third as the lowest note (E-G-C)
    • First inversion triads are often used to create smooth voice leading
  • Second inversion has the fifth as the lowest note (G-C-E)
    • Second inversion triads are less stable and often used as passing chords
  • Inversions are labeled with figured bass symbols (root position: 5/3, first inversion: 6/3, second inversion: 6/4)
  • Inverting a triad changes the bass note but maintains the quality of the triad

Introduction to Seventh Chords

  • Seventh chords are created by adding a seventh above the root of a triad
  • There are five main types of seventh chords: major seventh, dominant seventh, minor seventh, half-diminished seventh, and fully-diminished seventh
  • Seventh chords add more complexity and tension to harmony compared to triads
  • The quality of the seventh (major, minor, or diminished) determines the overall sound and function of the chord
  • Seventh chords are commonly used in jazz, but also appear in classical, pop, and rock music
  • Seventh chords can be resolved to other chords to create harmonic progression

Types of Seventh Chords

  • Major seventh chords consist of a major triad with a major seventh above the root (Cmaj7: C-E-G-B)
    • Major seventh chords have a bright, jazzy sound and often serve as tonic chords
  • Dominant seventh chords have a major triad with a minor seventh above the root (C7: C-E-G-Bb)
    • Dominant seventh chords create a strong pull towards the tonic and are used in authentic cadences
  • Minor seventh chords contain a minor triad with a minor seventh above the root (Cm7: C-Eb-G-Bb)
    • Minor seventh chords have a dark, complex sound and often serve as ii or vi chords in a progression
  • Half-diminished seventh chords have a diminished triad with a minor seventh above the root (Bø7: B-D-F-A)
    • Half-diminished seventh chords have a tense, unresolved sound and often function as vii chords in minor keys
  • Fully-diminished seventh chords consist of a diminished triad with a diminished seventh above the root (Bdim7: B-D-F-Ab)
    • Fully-diminished seventh chords have a very tense, unstable sound and are often used as passing chords

Seventh Chord Inversions

  • Like triads, seventh chords can be inverted to create different voicings and bass notes
  • Seventh chords have four possible positions: root position, first inversion, second inversion, and third inversion
  • Root position has the root as the lowest note (Cmaj7: C-E-G-B)
  • First inversion has the third as the lowest note (Cmaj7/E: E-G-B-C)
  • Second inversion has the fifth as the lowest note (Cmaj7/G: G-B-C-E)
  • Third inversion has the seventh as the lowest note (Cmaj7/B: B-C-E-G)
    • Third inversion seventh chords are the least stable and often resolve to other chords
  • Inverting seventh chords can create smoother voice leading and add variety to chord progressions

Chord Progressions with Triads and Sevenths

  • Triads and seventh chords are the building blocks of chord progressions in Western music
  • Common chord progressions include I-IV-V, ii-V-I, and I-vi-IV-V
    • In the key of C, I-IV-V would be C-F-G
  • Seventh chords can be substituted for triads to add complexity and tension to a progression
    • In the key of C, I-IV-V with sevenths would be Cmaj7-F7-G7
  • Chord progressions often follow functional harmony rules, with chords serving specific roles (tonic, subdominant, dominant)
  • Cadences are specific chord progressions that provide a sense of resolution or tension
    • Authentic cadences (V-I) create a strong sense of resolution
    • Deceptive cadences (V-vi) create tension and surprise
  • Analyzing chord progressions can help understand the harmonic structure and emotional content of a piece

Applying Triads and Sevenths in Music Analysis

  • Identifying triads and seventh chords is a crucial skill in music analysis
  • When analyzing a piece, first determine the key and then identify chords based on their scale degrees
    • In the key of C, a triad built on the second scale degree (D-F-A) would be a ii chord (Dm)
  • Pay attention to chord qualities (major, minor, diminished, augmented) and how they function in the progression
  • Analyze how chord inversions are used to create smooth voice leading or highlight specific notes
  • Look for common chord progressions and cadences to understand the harmonic structure of the piece
  • Consider how the use of triads and seventh chords contributes to the overall emotional content and style of the music
    • Dominant seventh chords in a blues progression create a sense of tension and release
    • Lush major seventh chords in a jazz ballad evoke a romantic, sophisticated mood
  • Comparing the use of triads and seventh chords across different genres and time periods can provide insights into the evolution of harmony in Western music

Frequently Asked Questions

What topics are covered in AP Music Theory Unit 3 (triads and seventh chords)?

You'll study Music Fundamentals III — Triads and Seventh Chords. The unit covers triad and chord qualities (major, minor, diminished, augmented). It also covers diatonic chords with Roman-numeral labeling, chord inversions, and figured-bass notation for triads. For seventh chords you get major, dominant, minor, half-diminished, and fully diminished types, plus seventh-chord inversions (including third inversion) with figured-bass figures. The unit is about 13–15 class periods and emphasizes identifying qualities in performed and notated music, using Roman/Arabic numerals and figures to label roots and bass notes, and beginning harmonic dictation and realization of figured bass. These skills feed straight into harmonic analysis and AP free-response tasks. For details and focused review (study guide, practice questions, cheatsheets, cram videos) see the unit page (https://library.fiveable.me/ap-music-theory/unit-3) and practice hub (https://library.fiveable.me/practice/music-theory).

Where can I find AP Music Theory Unit 3 PDF notes or worksheets?

Check the Unit 3 page for PDF notes and worksheets (https://library.fiveable.me/ap-music-theory/unit-3). That page includes the Unit 3 study guide, which covers triads, seventh chords, inversions, figured bass, and Roman numerals, plus downloadable materials aligned to CED topics 3.1–3.5. For extra practice use Fiveable's large question bank (https://library.fiveable.me/practice/music-theory) and the site’s cheatsheets and cram videos to reinforce chord quality, inversions, and harmonic labeling. If you don’t see a printable worksheet PDF listed, open the study guide PDF on the unit page — it often contains practice exercises and examples that match Unit 3 objectives and can be printed for classroom or solo practice.

How much of the AP Music Theory exam is based on Unit 3 material?

The College Board doesn’t publish exact exam percentages by unit, but Unit 3 (triads and seventh chords) is a core topic that appears often. The CED lists about 13–15 class periods for the unit (see the unit page (https://library.fiveable.me/ap-music-theory/unit-3)). College Board guidance describes roughly 13 sets of 4–6 questions plus ~10–12 individual multiple-choice items assessing chord ID, symbols, and figured bass tied to Units 2–4. In practice, expect several multiple-choice questions and at least one free-response task to rely on triads and seventh chords, since Unit 4 builds on Unit 3. For targeted review, use Fiveable’s Unit 3 study guide, cheatsheets, and practice questions (https://library.fiveable.me/practice/music-theory).

What are common mistakes students make on Unit 3 questions (triads and seventh chords)?

Students commonly misidentify chord quality and inversion, confuse accidentals when building diatonic triads/sevenths, and misread figured bass (see the unit guide (https://library.fiveable.me/ap-music-theory/unit-3)). Typical errors: mixing up major vs. minor third quality, forgetting to lower scale-degree 7 in minor keys, and treating diminished and half-diminished sevenths the same. Other mistakes: ignoring doubled-note rules in four-part writing, labeling non-diatonic chords with wrong Roman numerals, and misplacing chord members when writing inversions from figures. A reliable workflow: identify interval quality first, then stack thirds and reduce to root position to confirm the chord type. Practice those steps on targeted problems to build accuracy.

How should I study Unit 3: triads and seventh chords—best practice problems and flashcards?

Yes, Fiveable doesn't offer flashcards. For deeper practice beyond flashcards, Fiveable's unit study guide and practice bank are great (https://library.fiveable.me/ap-music-theory/unit-3 and https://library.fiveable.me/practice/music-theory). Focus on quick ID drills: name triad quality (M, m, d, A). Label diatonic chords with Roman numerals. Read and write figured bass to determine inversions. Identify seventh-chord qualities and inversions. Make simple flashcards yourself: “Pitch set → triad type,” “Chord in key → Roman numeral,” and “figures → inversion.” Do 10–15 minutes per day of spaced drills, then timed mixed sets to build speed. Use Fiveable’s cheatsheets and cram videos for fast reviews alongside practice questions for explanation and feedback.

Are there progress check MCQ answers available for AP Music Theory Unit 3?

Short answer: no — College Board doesn't publish official progress-check MCQ answer keys for Unit 3. Some teacher editions do include instructor answer keys, but those aren't released publicly. If you need explained multiple-choice practice, use Fiveable's practice bank (https://library.fiveable.me/practice/music-theory) and the Unit 3 study guide (https://library.fiveable.me/ap-music-theory/unit-3). Both include practice questions with explanations to help you learn triads, seventh chords, inversions, and figured bass. Try paired timed practice: do a set of questions, check explanations immediately, and note recurring errors. If your teacher has a teacher edition, it’s worth asking if they can walk through items or share selected answers in class.

What's the hardest part of Unit 3 and how can I master seventh-chord inversions?

A lot of students find applying seventh-chord inversions in diatonic contexts and reading figured bass the toughest part. Start with a clear process. First, spell the seventh chord from the scale: root, 3rd, 5th, 7th to determine its quality. Second, practice each inversion by moving the lowest chord member to the bass and label with figures: root position, 6/5, 4/3, 4/2. Third, memorize voice-leading tendencies: resolve sevenths downward and keep common tones where possible. Fourth, drill identification from bass lines and figured-bass symbols, then write the full voicing. Use short timed drills (5–10 minutes) and sing chord tones for ear training. For targeted practice and cheatsheets, check Fiveable’s Unit 3 guide (https://library.fiveable.me/ap-music-theory/unit-3) and practice bank (https://library.fiveable.me/practice/music-theory).