Spread triad chords are widely used in ambient guitar songs. When using delays and reverbs (sometimes multiple), full chords can get a bit “muddy”.
A spread triad chord is a type of chord where the notes of a basic triad are spread out across the keyboard or fretboard. In a triad, the notes are the root (the first note of the scale), the third (the third note of the scale), and the fifth (the fifth note of the scale). Instead of playing these notes close together, they are spaced out over a wider range.
For example, in a C major triad (C-E-G), the root is C, the third is E, and the fifth is G. Instead of playing these notes close together like C-E-G, a spread triad might place the C (root) in one octave, the E (third) an octave higher, and the G (fifth) yet another octave higher. This creates a more open and airy sound.
When you play an open C chord on a guitar, you are effectively playing a combination of both a triad and additional octave notes. The standard open C chord configuration spreads the notes of the triad across several strings and octaves, contributing to its rich and full sound. The same principle holds for other open chords: you play the root, third, and fifth in different octaves.
Here is an example of how a spread triad might be constructed:
Spread triads are often used in various genres of music to create a fuller, more expansive harmonic texture. They can also be particularly useful in ensemble settings, where different instruments or voices might play the different notes of the triad, spread out across their ranges.
In ambient music, it is also common to just play the root and the third, skipping the fifth in between.
The third in a triad is crucial because it determines the chord’s quality, distinguishing between major and minor chords. A major triad consists of a root, a major third, and a perfect fifth, creating a bright and stable sound, while a minor triad, with a root, minor third, and perfect fifth, produces a darker and tenser sound. Spread triads, which involve moving the third an octave, are particularly pleasing because they create an open and airy sound by widening the intervals between the notes. This separation reduces clashing and highlights the third, making the chord’s quality more pronounced. For instance, in a C major triad (C-E-G), spreading the notes to C (root), G (fifth an octave higher), and E (third an octave above G) results in a more resonant and harmonically rich sound, enhancing the chord’s major quality.
Harmonization involves arranging chords to support a melody, ensuring they sound cohesive and pleasing together. For example, when we play the chords Em – Bm – D – A as spread triads, they sound good together because they follow a common harmonic progression, often found in the key of G major or E minor (relative minor: each key has a major and a relative minor scale that share the same notes).
Here’s a quick breakdown of the chords:
These chords fit well together because they belong to the same key and maintain a consistent harmonic structure. The key of G major (or E minor) includes these chords naturally, which ensures they sound harmonically related.
If we write out all the notes that we play in the four triads we have:
Now compare this to the G major scale:
And the E minor scale:
The chords Em, Bm, and D are diatonic (involving only notes proper to the prevailing key) to both G major and E minor. The A major chord, although not diatonic to either key, is often used as a secondary dominant to provide temporary modulation or tension that resolves back to the tonic. This shared harmonic foundation ensures that the chords Em – Bm – D – A sound pleasing together.