When we consider musical works we find that the triad is ever-present and that the interpolated dissonances have no other purpose than to effect the continuous variation of the triad. In popular music and 18th-century classical music, major and minor triads are considered consonant and stable, and diminished and augmented triads are considered dissonant and unstable. Three of these four kinds of triads are found in the major (or diatonic) scale. That is, a song or other vocal or instrumental piece can be in the key of C major or A minor, but a song or some other piece cannot be in the key of B diminished or F augmented (although songs or other pieces might include these triads within the triad progression, typically in a temporary, passing role). In standard tonal music, only major and minor triads can be used as a tonic in a song or some other piece of music. Major and minor triads are the most commonly used triad qualities in Western classical, popular and traditional music. Secondarily, a triad's function is determined by its quality: major, minor, diminished or augmented. The root of a triad, together with the degree of the scale to which it corresponds, primarily determine its function. Others use the term to refer to combinations apparently stacked by other intervals, as in " quartal triad" a combination stacked in thirds is then called a " tertian triad". Schillinger defined triads as "A structure in harmony of but three parts conventionally, but not necessarily, the familiar triad of ordinary diatonic harmony." The word used by other theorists for this more general concept is " trichord". Some 20th-century theorists, notably Howard Hanson, Carlton Gamer, and Joseph Schillinger expand the term to refer to any combination of three different pitches, regardless of the intervals.
Perfect fifths are the most commonly used interval above the root in Western classical, popular and traditional music. the fifth – its interval above the third being a minor third or a major third, hence its interval above the root being a diminished fifth (six semitones), perfect fifth (seven semitones), or augmented fifth (eight semitones).the third – its interval above the root being a minor third (three semitones) or a major third (four semitones).(The third or fifth can be the lowest note.) Note: Inversion does not change the root.The triad's members, from lowest-pitched tone to highest, are called: When stacked in thirds, notes produce triads. Triads are the most common chords in Western music. Without fitting into the Marxist definition of a proletariat, the farm women, who commuted to and from the factories via school buses, created a class-consciousness which related more to their rural identity than to their factory experience.In music, a triad is a set of three notes (or " pitch classes") that can be stacked vertically in thirds. This study also challenges the prevailing opinion that Southern workers were bereft of class-consciousness. The experience of the cotton mill workers and the garment company women expose Southern paternalism as a façade created and accepted by area businessmen but rejected by local workers. For the next four years, National Labor Relations Board hearings and organizing efforts by the International Ladies Garment Workers Union rocked the small town. The plant manager fired the six women identified as the organizers of a local independent union. The leaders of the strike at the garment company received little support from the majority of workers who earlier pledged allegiance. When it became clear that the operatives would not end the strike, management closed the plant indefinitely. The cotton mill owners refused to negotiate. Five days later, the women in the Tupelo Garment Company tried to initiate a strike.
In the spring of 1937, however, the cotton mill hands undertook a sit-down strike. Town boosters boasted of harmonious relations between workers and management at each of the industrial facilities. Local businessmen established a cotton mill and three clothing manufacturing companies in Tupelo, the seat of Lee County. This predominantly rural area, though, boasted some of the largest garment factories of the period. Despite a vast amount of research on Southern labor in the 1930s, historians paid little attention to Northeast Mississippi.
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