A major triad is built from three notes: a root, a major third above it, and a perfect fifth above that. The interval from root to third spans four half steps, and from third to fifth spans three half steps. C major triad, for example, is C-E-G. Other common major triads include G major (G B D), F major (F A C), D major (D F♯ A), and B♭ major (B♭ D F). The G major triad contains a major third from G to B and a minor third from B to D, forming a perfect fifth from G to D. The F major triad, F-A-C, is the IV chord in the key of C major. B♭ major (B♭ D F) appears frequently in jazz, classical, and wind instrument music.
A minor triad uses the same three-note structure but with a minor third between root and third, then a major third between third and fifth. A minor triad, for instance, is A-C-E, with three half steps from A to C and four half steps from C to E, the reverse of the major triad construction. E minor triad is E-G-B, where E to G is a minor third and G to B is a major third; E minor is the relative minor chord of G major.
A chord inversion reorders the notes of a triad so that a note other than the root sits in the bass (lowest) position. First inversion puts the third in the bass; second inversion puts the fifth in the bass. The first inversion of C major is E-G-C, with E as the lowest note and the root C moved up an octave; first inversion chords tend to have a lighter, less grounded sound than root position. The second inversion of C major is G-C-E, with G in the bass; second inversion chords often function as passing chords or as the cadential 6/4 chord in classical harmony. Inversions create smoother voice leading between chords.
A dominant seventh chord is a major triad with an added minor seventh above the root. G7, for instance, is G-B-D-F. It creates strong harmonic tension that resolves naturally to the tonic chord, so G7 resolves to C major. An arpeggio is a chord whose notes are played one at a time in succession rather than simultaneously; the word comes from the Italian arpeggiare, meaning to play on a harp. Arpeggios are fundamental to both technique and musical expression. The standard right-hand fingering for a C major arpeggio is 1-2-3-1-2-3-5 over two octaves, or 1-2-3-5 for one octave, with the thumb tucking under after finger 3 on E, similar to scale technique. Broken chord patterns differ from arpeggios by playing chord tones in various arrangements, such as the Alberti bass pattern (C-G-E-G), which is commonly used as a left-hand accompaniment pattern in Classical-era music. Arpeggios should be practiced slowly, hands separately at first, focusing on smooth thumb crossings and even tone, gradually increasing speed. They build finger independence, hand coordination, and keyboard geography, and appear constantly in piano literature from Chopin études to pop accompaniments.