Every major and minor scale has seven special triads, called diatonic triads, which are formed from that scale's notes.
（每一个大调和小调都各有七个特殊的三和弦，叫做全音三和弦，它们由调内的音符构成）

To discover the diatonic triads, a three step process must be used.
（全音三和弦的构成需要三步）

First, construct the scale. We will be using the C major scale for our first example.
（第一步，建立音阶，我们使用C大调来举个例子）

Next, stack two generic thirds on top of each note.
（下一步，在每一个音的上方叠加两个音，三个音各相距三度）

Finally, analyze the resulting triads.
（最后，分析得到三和弦）

The first triad is C–E–G, a major third and a perfect fifth. Therefore, the triad is major.
（第一个三和弦是C-E-G，大三度加一个纯五度，所以，它是个大三和弦） |

The second triad is D–F–A, a minor third and a perfect fifth. Therefore, it is minor.
（第二个三和弦是D-F-A，小三度再加一个纯五度，所以它是小三和弦） |

The third triad is E–G–B, a minor third and a perfect fifth. Therefore, it is also minor.
（第三个三和弦是E-G-B，小三度再加一个纯五度，所以它也是小三和弦） |

The fourth triad is F–A–C, a major third and a perfect fifth. Therefore, it is major.
（第四个三和弦是F-A-C，大三度再加一个纯五度，所以它是大三和弦） |

The fifth triad is G–B–D, a major third and a perfect fifth. Therefore, it is also major.
（第五个三和弦是G-B-D，大三度再加一个纯五度，所以它也是大三和弦） |

The sixth triad is A–C–E, a minor third and a perfect fifth. Therefore, it is minor.
（第六个三和弦是A-C-E，小三度再加一个纯五度，所以它是小三和弦） |

The seventh triad is B–D–F, a minor third and a diminished fifth. Therefore, it is diminished.
（第七个三和弦是B-D-F，小三度再加一个减五度，所以它是减三和弦）） |

The eighth triad is a repetition of the first (C–E–G), making it major.
（第八个三和弦是第一个和弦（C-E-G）的重复，它是大三和弦） |

The first triad of a major scale will always be major, the second and third triads will always be minor, etc.
（大调的第一个三和弦一定是大三和弦，第二个肯定是小三和弦）

Next, we will uncover the diatonic triads of the C Natural Minor scale.
（接下来，我们来看一下C的自然小调的全音三和弦）

First, the scale is constructed. Notice that we are using a key signature rather than placing the accidentals by each note.
（首先建立音阶。注意，我们使用了调号，而不把变音记号加在每个音上）

Again, stack two generic thirds.
（然后，每个音上叠加两个三度）

Finally, let's analyze the resulting triads.
（最后我们来分析一下三和弦）

The first triad is C–E-flat–G, a minor third and a perfect fifth. Therefore, the triad is minor.
（第一个三和弦是C-降E-G，一个小三度加一个纯五度，所以它是小三和弦） |

The second triad is D–F–A-flat, a minor third and a diminished fifth. Therefore, it is diminished.
（第二个三和弦是D-F-降A，一个小三度加一个减五度，所以它是减三和弦） |

The third triad is E-flat–G–B-flat, a major third and a perfect fifth. Therefore, it is major.
（第三个三和弦是降E-G-B，一个大三度加一个纯五度，所以它是大三和弦） |

The fourth triad is F–A-flat–C, a minor third and a perfect fifth. Therefore, it is minor.
（第四个三和弦是F-降A-C，一个小三度加一个纯五度，所以它是小三和弦） |

The fifth triad is G–B-flat–D, a minor third and a perfect fifth. Therefore, it is also minor.
（第五个三和弦是G-降B-D，一个小三度加一个纯五度，所以它是小三和弦） |

The sixth triad is A-flat–C–E-flat, a major third and a perfect fifth. Therefore, it is major.
（第六个三和弦是降A-C-降E，一个大三度加一个纯五度，所以它是大三和弦） |

The seventh triad is B-flat–D–F, a major third and a perfect fifth. Therefore, it is also major.
（第七个三和弦是降B-D-F，一个大三度加一个纯五度，所以它是大三和弦） |

The eighth triad is a repetition of the first (C–E-flat–G), making it minor.
（第八个三和弦重复第一个三和弦（C-降E-G），所以它是小三和弦） |

Next, we will discuss the diatonic triads of harmonic minor.
（接下来我们看一下和声小调的全音三和弦）

To convert natural minor to harmonic minor, the seventh tone is raised a half step. Therefore, each B-flat (the seventh tone of C minor) is raised to a B.
（把自然小调的第七音向上抬一个半音即可得到和声小调，把降B（C小调的第七个音）向上抬一个半音得到B）

Since the third, fifth, and seventh chords have been altered, they need to be reanalyzed.
（第三个、第五个和第七个和弦有了变化，重新分析一下）

The third triad is now E-flat–G–B, a major third and an augmented fifth. Therefore, it is augmented.
（第三个三和弦变成了降E-G-B，大三度加上一个增五度，所以它是增三和弦） |

The fifth triad is now G–B–D, a major third and a perfect fifth. Therefore, it is major.
（第五个三和弦变成了G-B-D，大三度加上一个纯五度，所以它是大三和弦） |

The seventh triad is now B–D–F, a minor third and a diminished fifth. Therefore, it is diminished.
（第七个三和弦变成了B-D-F，小三度加上一个减五度，所以它是减和弦） |

Finally, we will discuss the diatonic triads of melodic minor.
（最后，我们来看一下旋律小调的全音三和弦）

To convert harmonic minor to melodic minor, the sixth tone is raised a half step. Therefore, each A-flat (the sixth tone of C minor) is raised to an A.
（把和声小调的第六个音向上移一个半音即可得到旋律小调。那么所有的降A都变成了A）

Since the second, fourth, and sixth chords have been altered, they need to be reanalyzed.
（那么，第二个、第四个和第六个三和弦就发生了变化，我们重新分析一下）

The second triad is now D–F–A, a minor third and a perfect fifth. Therefore, it is minor.
（第二个三和弦是D-F-A，一个小三度加上一个纯五度，所以它是小三和弦） |

The fourth triad is now F–A–C, a major third and a perfect fifth. Therefore, it is major.
（第四个三和弦是F-A-C，一个大三度加上一个纯五度，所以它是大三和弦） |

The sixth triad is now A–C–E-flat, a minor third and a diminished fifth. Therefore, it is diminished.
（第六个三和弦是A-C-E，一个小三度加上一个减五度，所以它是减三和弦） |

Use this chart to reference the diatonic triads in each scale.
（这张表是本课中所提及的各个调性中所有的全音和弦）