Keyboard Harmony: Triads in Cycles


Cycle of 4ths

Here is a lesson on practicing major triads through the cycle of 4ths. The pattern of chords ascending by perfect 4ths (two whole-steps and one half-step) is fundamental to tonal harmony, and is sometimes called “strong root motion.” Practicing these patterns helps us learn to find these chords in all 12 keys, and in an order they often appear.

This cycle can start with any root, since all of them will appear in this cycle. Here it is starting with C:

C    F   Bb   Eb   Ab   Db   Gb   B   E   A   D   G  

It may appear that Gb to B is an odd spelling for a perfect 4th. This is because somewhere in the cycle we must respell in order to make the transition from flats to sharps, and this is as good a place as any; If we had used F# instead, the jump from Db to F# would have been just as bad. This issue only occurs when we build a cycle that covers all 12 keys.

The key to this is the pattern of inversions as we follow the cycle : Root, 2nd, 1st. When we move in 4ths, these inversions are the closest connection between the chords.

Retrograde

Another cycle that is helpful is the reverse of the above cycle, which could be thought of as a cycle of 5ths, or as a descending 4ths cycle. This pattern can sound modern and interesting; it is a bit less “traditional” than the above pattern, but gets a lot of use in contemporary progressions. Here it is, again starting on C.

C   G   D   A   E   B   F#   Db   Ab   Eb   Bb   F   C

In this case, the pattern of inversions is reversed (along with everything else) Root, 1st, 2nd.

Tips:

1. Practice the patterns starting with the first chord in each of the inversions. This means the cycles need to be practiced three different ways. This allows us to play every chord in every position.

2. Start with a different chord each time you practice these; this will prevent C from being the only comfortable starting point.

3. Look at and say the names of these chords. this will keep this exercise from becoming mindless muscle memory, and will build the association between the triad names and the hand positions.

4. Practice with left hand as well as right. I generally believe it makes more sense to play these separately, since when we play hands together, the left hand tends to “copy” the right and doesn’t get full attention.

5. While reading the notes on the staff is helpful to learn this, it is important to read the chord names as well; make a chord chart and use this to look at.

6. Learn to play these cycles without looking at your hands; the connections are all steps, so it is quite possible.

This ability to connect triads will definitely help in all styles of music, and is a good way to “know your way around” on the keyboard.

(click image to enlarge)