Most traditional harmony is taught through tertian harmony — the construction of chords by stacking thirds. Major, minor, diminished, and augmented triads all emerge from this principle.
This exercise proposes a different viewpoint: instead of building chords upward in thirds, we construct them through stacked diatonic sixths.
At first glance, the resulting structures seem unusual. Yet when the notes are reordered into close position, they reveal the same familiar triads found in conventional harmony.
The value of the exercise therefore lies not in inventing new chords, but in developing a different intervallic awareness of the same harmonic material.
