These numbers represent the interval between the lowest note of the chord and the note in question. E augmented 7th chord. These note interval qualities are diminished, minor, major, perfect and augmented. It divides the octave into 3 equal parts, major 3rds C-E-Ab-C. Now, if we continue dividing the those intervals, we end up with 6 major 2nds, the whole tone scale. In the same way, the figured bass 4 symbol represents note E, from the B#-4th interval. the C Augmented contains all the same notes as the E and A♭ Augmented) 1. To count up a Whole tone, count up by two physical piano keys, either white or black. Db = F = A Augmented 3. So the second note of the 1st inversion - note B# is now the note with the lowest pitch for the 2nd inversion. The staff diagrams and audio files contain each note individually, ascending from the root, followed by the chord containing all 3 notes. For example, the 6 represents note E, from the G#-6th interval, since the lowest (bass) note of the chord - now inverted, is G#. The audio files below play every note shown on the piano above, so middle C (marked with an orange line at the bottom) is the 2nd note heard. Triad chords exist in four different chord qualities, which are major, minor, augmented, and diminished. The figured bass notation for this triad in 1st inversion is 6/3, with the 6 placed above the 3 on a staff diagram. Each chord quality name is the name of the entire chord as a whole, not its individual notes (which will be covered later). The figured bass symbols for this chord inversion are 6/4, so the chord is said to be in six-four position. The Augmented Scale (a.k.a. A#/Bb: A#, C#, D, E#, F#, A, A# E: E, G, Ab, B, C, D#, E These note names are shown below on the treble clef followed by the bass clef. To count up a Half-tone (semitone), count up from the last note up by one physical piano key, either white or black. To invert a chord, simply take the first note of the chord to be inverted (the lowest in pitch) and move it up an octave to the end of the chord. The figured bass notation for this triad in 2nd inversion is 6/4, with the 6 placed above the 4 on a staff diagram. The tonic note (shown as *) is the starting point and is always the 1st note in the major scale. Middle C (midi note 60) is shown with an orange line under the 2nd note on the piano diagram. E+, E aug, E Augmented Notes: E, G♯, B♯ E+, E aug, E Augmented (1st inversion) For a quick summary of this topic, have a look at Triad chord. C-flat, E etc). The note order of this triad can also be changed, so that the root is no longer the lowest note, in which case the triad is no longer in root position, and will be called an inverted triad chord instead. We will look into ways this is commonly used and some theoretical ideas that make putting it into practice simpler. For a 2nd inversion, take the first note of the 1st inversion above - G#, and move it to the end of the chord. The name of the scale is based on the fact that it is built upon two augmented chords. For this chord, this is explained in detail in E-maj-3rd and E-aug-5th, but the relevant adjustments for this augmented chord quality are shown below: E-3rd: Since the 3rd note quality of the major scale is major, and the note interval quality needed is major also, no adjustment needs to be made. F#/Gb: F#, A, Bb, C#, D, E#, F# ie. Each note interval quality (diminished, minor, major, perfect, augmented) expresses a possible adjustment ie. The music theory term triad chord means that 3 or more notes played together, or overlapping. It is these variations of the 3rd and 5th notes that give each one a distinctive sound for any given key (eg. 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