Major/Minor Chords III: Beyond the White Keys

The short answer: major chords have a happy, cheerful sound; minor chords have a sad, melancholic one — and up to this point in the Major/Minor Chords series, you've only built those sounds using white-key triads. Gitori's Major/Minor Chords III course extends both shapes onto keys that need one or more black keys.

Why this is where it gets real

Real songs aren't written in a way that conveniently avoids black keys. A player who only knows white-key triads knows six major/minor pairs out of twelve — half the available keys. This course fills in a large share of the rest, using the exact same shape logic from courses I and II (root-3rd-5th, and the half-step edit between major and minor), just applied to roots that happen to need an accidental.

What the course covers

Major and minor triads built on roots requiring black keys, worked through with the same root-position-then-inversions structure as the earlier courses in the series, so the muscle memory transfers directly instead of feeling like new material.

Before you start

Major/Minor Chords I and II — the shape logic from both is assumed, just extended to new roots.