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triads · major, then minor

7 s · 90 bpm · C major chord into C minor

triads · major, then minor 7 s · 90 bpm · C major chord into C minor
0:00 / 0:07
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A C major triad held, then a C minor triad — only the middle note moves, down a semitone, and the whole mood flips

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One voicing, two chords

A chord here isn’t a special “chord” object — it’s an ordinary line of numbers used as a voicing:

# lines/triad — stack these scale-steps onto each note
1 3 5

Applied to a root note, 1 3 5 stacks the 1st, 3rd, and 5th scale-steps into a triad. The chord’s quality is stored nowhere — it falls out of the scale you read it against:

# major triad            |   # minor triad
scale: major             |   scale: minor
voicing_line: triad      |   voicing_line: triad

Same 1 3 5, same root. In major you get C–E–G; in minor, C–E♭–G. The middle note moves a semitone and the mood flips — but the data didn’t change at all. Only the context did.

That’s the whole thesis in one knob: the matrix is constant, the projection (here, the scale) is what produces the sound.