Guitarists – Muse Eek https://muse-eek.com Bruce Arnold Innovation in Music Education Mon, 05 Oct 2026 03:03:44 +0000 en-US hourly 1 https://muse-eek.com/wp-content/uploads/2020/08/cropped-Muse-eek-logo-512X512-300dpi-32x32.jpg Guitarists – Muse Eek https://muse-eek.com 32 32 Sonic Single https://muse-eek.com/sonic-single/ Mon, 05 Oct 2026 03:03:44 +0000 https://muse-eek.com/?page_id=1432738 Continue reading →]]>  

Sonic_Single_Cover by bruce arnold for muse eek publishing inc.

Sonic Single

Trichord Superimposition Over Common Chord Progressions

By Bruce Arnold — Muse Eek Publishing Inc. — ISBN 978-1-59489-181-6

Every trichord. Every chord type. Every key.

Sonic Single is an upper structure triad course on steroids. If covers every three note possibility that can be used over 8 common chord types! Also, Sonic Single is the complete systematic method for superimposing the twelve trichord prime forms over the most common chord progressions in jazz and modern music — across all twelve keys, with full étude files for every combination.

What’s included with the book

🎶
Melodic Études
34 progressions × 12 trichords × 12 keys — constant eighth-note lines

🎹
Chord Études
Voiced three-note chords for pianists and guitarists, all progressions and keys

🎼
Études With Rests
Same material with rests — tests internalization, develops phrasing

🎵
Position Files
All valid trichord positions per chord type, all keys — the complete reference

Purchase
What Is a Trichord?
The System
Compositions
Example Files
Downloads
Practice Path
Ear Training
Companion Volumes
FAQ

Sonic Single — Complete Book + Downloads

The full book in PDF, with access to all downloadable files: melodic études, chord études, études with rests, and individual position files — for all twelve trichords, all 34 progressions, all twelve keys. Everything linked directly from inside the text.

$29.95

Add to cart — $29.95

What Is a Trichord?

A trichord is any combination of three notes considered as a pitch-class set — defined by the intervals between the notes rather than by the specific pitches used. There are twelve trichord types, called prime forms, that cover all possible three-note interval structures. Every three-note group you have ever played belongs to one of these twelve families.

In standard pitch-class set theory, each prime form is labeled by its interval content in integer notation. The twelve trichords are:

Prime Form Notes from C Interval Structure Common Name
012 C Db D half step + half step Chromatic cluster
013 C Db Eb half step + whole step —
014 C Db E half step + minor third —
015 C Db F half step + major third —
016 C Db Gb half step + tritone —
024 C D E whole step + whole step Whole-tone fragment
025 C D F whole step + minor third —
026 C D Gb whole step + tritone —
027 C D G whole step + perfect fifth Sus2 fragment
036 C Eb Gb minor third + minor third Diminished trichord
037 C Eb G minor third + major third Minor triad
048 C E Ab major third + major third Augmented triad

Each trichord has two structures: Structure 1 (S1) is the prime form as shown; Structure 2 (S2) is its inversion — the same interval content read bottom to top in reverse. For trichords where S1 and S2 produce the same interval content (like 036 and 048), there is effectively one structure. For all others, S1 and S2 are distinct and both are covered in the étude files.

The Sonic Single System

Sonic Single is built on one question: for a given trichord, which positions of that trichord are available over a given chord type, and how do you develop the speed and ear to use them at performance tempo?

The answer requires three things: knowing which positions are available (the reference material), hearing what they sound like against the chord (the listening practice), and training the fingers to execute them automatically (the étude practice). Sonic Single provides all three for every trichord over every chord type in every key.

Eight Chord Types

The available positions for each trichord are determined by which notes of the trichord qualify as available tones over the chord — chord tones and recognized tensions that sound consonant rather than wrong. Sonic Single covers eight chord types:

Chord Type Symbol Available Degrees
Major 7 Δ7 1, 2, 3, #11, 5, 6, 7
Minor 7 -7 1, 2, b3, 4, 5, 6, b7
Dominant 7 7 1, b2, 2, b3, 3, #11, 5, b6, 6, b7
7sus4 7sus4 1, b2, 2, b3, 3, 4, 5, b6, 6, b7
Minor/Major 7 -Δ7 1, 2, b3, 4, #11, 5, 6, 7
Minor 7b5 -7b5 1, 2, b3, 4, b5, b6, b7
Diminished 7 °7 1, 2, b3, 4, b5, b6, bb7, 7
Major 7#5 Δ7#5 1, 2, 3, #11, 5, #5, 7

34 Progressions

The étude files cover 34 chord progressions drawn from the most common harmonic sequences in jazz and modern music — ii-V-I, blues, Rhythm Changes, modal vamps, and more. Each progression is notated at the top of the score with Roman numeral analysis and chord symbols. The progressions increase in complexity, from single-chord vamps (progressions 1–8) through two-chord alternations and finally through multi-chord sequences that require the ear to track position changes across the bar line.

Trichords in Practice: Compositions

The fastest way to hear a trichord is to listen to music built from it. The compositions below were written using specific trichords as their primary pitch source. Follow the score while you listen — notice how the same three-note shapes appear in different inversions and transpositions throughout the piece. This is the sound you are working toward in the étude practice.

012 — Chromatic Reasoning
▶ Score (PDF)
🎵 Listen

Trichord 012 is the most chromatic of all twelve prime forms — three consecutive half steps. Over the available tones of a dominant 7 or 7sus4 it finds six positions; over most other chord types it has none. Chromatic Reasoning shows what a composition built entirely from this concentrated, half-step-saturated structure sounds like over a moving progression.

013 — 013 Blues in B
▶ Score (PDF)
🎵 Listen

Trichord 013 is one of the most versatile in the system — it works over all eight chord types. 013 Blues in B places both structures over a blues progression. Art of the Blues contains twelve versions of a blues progression using the 013 trichord with different approaches on each.

014 — Numbers
▶ Score (PDF)
🎵 Listen

Trichord 014 spans a half step and a major third — an interval combination that sits slightly outside familiar triadic shapes while remaining firmly inside the available tones of the chord. Numbers uses both structures of 014 over a standard jazz progression.

015 — Entanglement, SpiderWeb, and Tangible
Entanglement:
▶ Score (PDF)
🎵 Listen
SpiderWeb:
▶ Score (PDF)
🎵 Listen
Tangible:
▶ Score (PDF)
🎵 Listen

Three compositions using trichord 015 are included because 015 is the central example throughout this book. Entanglement and Tangible use Rhythm Changes; SpiderWeb uses the changes to “Back Home in Indiana.” In all three, available chord tones and tensions determine which 015 positions appear.

016 — Smoke
▶ Score (PDF)
🎵 Listen

Trichord 016 contains a tritone — a half step and a tritone in either order. This gives it an edgy, suspended quality that sits particularly well over dominant 7 chords, where it yields eight valid positions. Smoke makes full use of that range.

024 — Grey and Brown
▶ Score (PDF)
🎵 Listen

Trichord 024 is built from two whole steps — the most symmetric of the non-symmetric-feeling trichords, immediately connected to pentatonic and major scale sounds. Grey and Brown isolates that sound and makes it the entire language of the piece.

025 — Beauty Queen
▶ Score (PDF)
🎵 Listen

Trichord 025 spans a whole step and a perfect fourth — a combination that gives it a spacious, open quality. It works over all eight chord types. Beauty Queen shows 025 in a context where that openness is foregrounded.

026 — Derivative
▶ Score (PDF)
🎵 Listen

Trichord 026 combines a whole step and a tritone. Like 016 it yields eight positions over the dominant 7 chord. Derivative works through both structures across a progression that highlights the different colors each structure brings.

027 — A Day in the Badlands
▶ Score (PDF)
🎵 Listen

Trichord 027 — a whole step and a perfect fifth — is the most naturally resonant of all twelve trichords. It appears in every diatonic scale family and both pentatonic scales. A Day in the Badlands shows what that accessibility sounds like when developed into a complete musical statement.

Example Files

Each file below is a representative example of one of the four étude types included with Sonic Single. The score shows the first page of the notation; the audio plays a rendered version of the file. The full library contains 34 progressions per trichord across all twelve keys — these examples show the format so you know what to expect when you open the files.

Note for media library upload: The PDF and MP3 files below need to be uploaded to your WordPress media library. The filenames and suggested upload folders are noted with each entry.

Melodic Étude — Trichord 013, Progression 28

E-7   Eb°7   D-7   G7   (III-7  bIII°7  II-7  V7)

▶ Score (PDF)
🎵 Listen (MP3)
⇓ MIDI

The melodic étude is the foundation of Sonic Single practice. Constant eighth notes cycle through all valid positions of the trichord over the chord progression, transposed through all twelve keys. Structure S1 appears first, then S2. The goal is even, automatic execution — drilling the trichord positions into muscle memory and ear simultaneously.

This example uses trichord 013 over a minor turnaround (III-7 bIII°7 II-7 V7), Progression 28. The two structures of 013 — a half step plus a minor third (S1) and a minor third plus a half step (S2) — appear in all their valid positions over the minor 7, diminished 7, minor 7, and dominant 7 chords. The audio plays the first key; the full file covers all twelve.

Chord Étude — Trichord 027, Progression 16

C-7   EbΔ7   AbΔ7   G7   (I-7  bIIIΔ7  bVIΔ7  V7)

▶ Score (PDF)
🎵 Listen (MP3)
⇓ MIDI

The chord étude presents each trichord position as a voiced three-note chord rather than a melodic line — for pianists, guitarists, and anyone working with harmony. The rhythm is a characteristic jazz comping figure. This example uses trichord 027 — a whole step and a perfect fifth — over a minor progression with major 7 substitutions. The open, resonant quality of 027 is especially effective in a chordal context.

Étude With Rests — Trichord 037, Progression 10

CΔ7   Eb7   Ab7   Db7   (IΔ7  bII7  bVI7  bII7)

▶ Score (PDF)
🎵 Listen (MP3)
⇓ MIDI

The étude with rests uses the same trichord positions as the melodic étude but breaks up the constant eighth-note stream with rests. This creates more conversational phrasing — and reveals whether you have truly internalized the material. If the rests feel like interruptions you are fighting against, the underlying étude needs more practice. This example uses trichord 037 (the minor triad) over a descending whole-step progression.

Individual Positions — Trichord 025, Structure S1

All valid positions of 025 S1 over each chord type — keys of C and F shown

▶ Score (PDF)
🎵 Listen (MP3)
⇓ MIDI

The positions file is a reference document as much as a practice file. Rather than running the trichord over a progression, it isolates each valid position of one structure over one chord type at a time, in all twelve keys. This gives you a direct view of the available tones — exactly which notes of the trichord align with which scale degrees over each chord. Where a chord type shows no positions, the trichord has no available placement over that chord.

Sonic Twins Preview Examples

The following two examples are from Sonic Twins — the companion course to Sonic Single. Where Sonic Single works with one trichord at a time, Sonic Twins works with pairs: two trichords that share a symmetric or asymmetric relationship, used together over a chord progression.

Sonic Twins — Trichord 026, Symmetric Pairs, Structure S2

026 [0,4,6] — all valid symmetric pairs over each chord type

▶ Score (PDF)
🎵 Listen (MP3)
⇓ MIDI

A symmetric pair is two transpositions of the same trichord that together produce a symmetrical pitch-class set. For trichord 026 S2 — a major third plus a whole step — the symmetric pairs are transpositions where the two 026 trichords share a tritone relationship. The file works through all valid symmetric pairs of 026 S2 over each chord type, in all twelve keys.

Sonic Twins — Trichord 037, Asymmetric Pairs

037 [0,3,7] — all valid asymmetric pairs over each chord type

▶ Score (PDF)
🎵 Listen (MP3)
⇓ MIDI

An asymmetric pair uses two different transpositions of the trichord that do not form a symmetrical set. For trichord 037 — the minor triad — the asymmetric pairs produce a wider range of harmonic colors. 037 is one of the most harmonically active trichords in the Sonic Twins system because the minor triad appears in so many chord types and scale families.

What’s Included With Purchase

Every downloadable file is linked directly from inside the book — no login, no download portal. Purchase the book and every link below becomes available from the page where it is discussed.

File Type What You Get Format
Melodic Études All 12 trichords × 34 progressions × 12 keys. Constant eighth notes through all valid positions, S1 then S2. PDF + MIDI
Chord Études All 12 trichords × 34 progressions × 12 keys. Voiced three-note chords with jazz comping rhythm. PDF + MIDI
Études With Rests All 12 trichords × 34 progressions × 12 keys. Same as melodic étude with rests added. PDF + MIDI
Individual Position Files All valid positions of each trichord structure over each chord type, all 12 keys. Reference and practice. PDF + MIDI
Sonic Twins Preview Symmetric and asymmetric pair files for selected trichords — a preview of the companion course. PDF + MIDI

Recommended Practice Path

  1. Listen first. Before playing a file, listen to the audio version while following the score. Let the ear hear the pattern before the hands play it.
  2. Sing it. Use solfeggio syllables and sing the melody against a drone before touching your instrument.
  3. Play slowly. Work through the first key at a tempo where every note is deliberate and in tune. Speed comes from accuracy, not from pushing tempo.
  4. Transpose in circle-of-fourths order. C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G — each new key is a fourth away from the last. This is the most musically natural transposition order.
  5. Use a drone. Every étude is designed to be practiced against a drone on the key center. Without a drone you are training fingers without training ears.
  6. One trichord at a time. Complete one trichord across all 34 progressions before moving to the next. The system is cumulative — the later trichords will make more sense once the earlier ones are in your ear.

Ear Training Path

Everything in this book depends on one ability: hearing pitches in relationship to a key center. This is a trained skill, not a natural one. Three levels of training are recommended, practiced concurrently:

Level Resource What It Builds
1 Ear Training One Note Complete Identify any of the twelve chromatic pitches against a key center — by ear, not by counting intervals.
2 Contextual Ear Training Hear pitches in context of real chord progressions — how harmonic function changes what a note sounds like.
3 — Critical SerialEar Hear all twelve trichords — every inversion, every transposition — against a drone. This is what makes the étude material audible rather than mechanical.

Not sure where to start? The free Ear Training Guided Tour maps the full curriculum.

Recommended Companion Volumes

Book How It Relates
Sonic Twins The direct sequel. Where Sonic Single works one trichord at a time, Sonic Twins works with pairs — two trichords combined into a six-note hexachord, used together over a chord progression. Complete Sonic Single first.
Sonic Resource Guide The complete reference: every possible use of every three-note combination across every chord type and musical context. The theoretical foundation behind the Sonic Single system.
SerialEar Trains the ear to hear all possible three-note structures in every inversion and transposition against a drone. Essential for making the Sonic Single étude material truly audible.
Ear Training One Note Complete The foundational ear training course. Work through this before or alongside Sonic Single.
My Music The theoretical and historical foundation for working with trichords in jazz — compositional lineage, twelve-tone techniques, and the harmonic rhythm principle.
MetroDrone® Combined drone and metronome essential for key-center ear training. Every étude in this book is designed to be practiced against a drone.

Sonic Single — Complete Book + Downloads

The full book in PDF, with access to all downloadable files linked directly from inside the text.

$29.95

Add to cart — $29.95

Frequently Asked Questions

Do I need to know music theory to use this book?

You need to be able to read standard music notation and understand basic chord symbols (Maj7, -7, 7, etc.). The book explains pitch-class set theory from scratch in the introduction, so no prior knowledge of that is required. A working understanding of chord tones and tensions for the eight chord types covered is helpful; Chapter 5 of the book documents all of them.

How long does it take to complete the system?

This is entirely dependent on how much you practice and at what depth. Some students spend a year on a single trichord, going deep on all 34 progressions in all twelve keys. Others move faster through more material at shallower depth. The honest answer is that the system is large enough to support years of serious practice — and the ear training that makes the material meaningful takes as long as it takes.

What instrument is this written for?

The book is instrument-agnostic. All études are notated in treble clef in standard notation. The chord étude files are most directly useful for pianists and guitarists, but any pitched instrument can use all the files. The MIDI files work with any DAW or MIDI playback setup.

Is this related to Sonic Twins?

Yes. Sonic Single is the prerequisite to Sonic Twins. Complete Sonic Single — or at least develop a solid foundation with several trichords across multiple progressions — before starting Sonic Twins. The Sonic Twins examples in Chapter 4 of this book give you a preview of where the system goes.

Do the MIDI files require a specific software setup?

Any MIDI player or DAW will open the files. The files are standard General MIDI, so any soundfont or software instrument will play them back. For the best results, use a high-quality piano or instrument sound that responds to velocity, so the musical phrasing of the étude is clear.

A Three-Century Pedagogical Lineage

The principle of hearing music from a tonal center was passed forward through three centuries of teaching. The core chain runs: Scarlatti → Porpora → Haydn → Beethoven → Czerny → Vengerova → Madame Chaloff → Banacos → Bruce Arnold.

Bruce Arnold studied with Charlie Banacos and Jerry Bergonzi. That training — the insistence on hearing every note in relationship to a single key center — is the foundation on which the entire Sonic Single system is built.

  • Alessandro Scarlatti (1660–1725)
  • Nicola Porpora (1686–1768)
  • Joseph Haydn (1732–1809)
  • Ludwig van Beethoven (1770–1827)
  • Carl Czerny (1791–1857)
  • Isabelle Vengerova (1877–1956)
  • Madame Chaloff (1900–1977)
  • Charlie Banacos (1946–2009)
  • Bruce Arnold (1955–present)

View Full Genealogy Chart

Questions? sales@muse-eek.com — muse-eek.com

]]> Superscales https://muse-eek.com/superscales/ Tue, 22 Sep 2026 16:28:29 +0000 https://muse-eek.com/?page_id=1432666 Continue reading →]]>  

SuperScales

Symmetrical Harmony, Subsets, and Modular Scale Applications for Modern Improvisation

By Bruce Arnold — Muse Eek Publishing Inc. — ISBN 978-1-59489-178-6

A discovery with no precedent in the chord-scale literature.

Of all possible seven-note scales, exactly one has all twelve of its chromatic transpositions functioning over real chords in real chord progressions. That scale is Melodic Minor Ascending — and this book is the complete system built on that finding.

Every resource links directly from inside the book.

No download portal. No login. No hunting through folders. Click a link and get exactly what you need.

🎶
MMA Chord Charts
All 12 transpositions in all 12 keys — download as zips, practice immediately

🎹
Subset Exercises
4-, 5-, and 6-note subsets in PDF — 21 files linked from Chapter 5

🎼
MIDI Practice Files
Drone and accompaniment MIDIs in all 12 keys — 864 files total

🎵
Trichord Pair Études
2,521 étude files covering every MMA trichord pair combination

Purchase
Why Learn MMA?
What Is a SuperScale?
The MMA System
Subsets & Catalog
Downloads
Practice Path
Ear Training
Recommended Companion Volumes
FAQ

SuperScales — Complete Book + Downloads

The full book in PDF, with access to all downloadable files: chord charts, subset PDFs, MIDI études, modal sequencing files, and trichord pair exercises — linked directly from inside the text. Everything you need to work through the complete MMA system in all twelve keys.

$29.95

Add to cart — $29.95

Why Learn MMA? The Argument Most Students Never Hear

Most students who encounter Melodic Minor Ascending hit the same wall. They look at the seven diatonic chords of the scale and see three chord qualities that don’t show up in their everyday playing:

MMA Mode Chord Quality Common reaction
Mode I — MMA itself C-Δ7 (minor-major 7) “I use this sometimes”
Mode II — Dorian ♭2 D7sus4♭9 “I almost never see this”
Mode III — Lydian ♯5 E♭Δ7♯5 “When would I use this?”
Mode IV — Lydian Dominant F7♯11 “Yes, this I know”
Mode V — Mixolydian ♭13 G7♭13 “Yes, this too”
Mode VI — Locrian ♮2 A-7♭5add9 “Half-diminished add 9? Skip.”
Mode VII — Altered B7alt “This I definitely need”

The conclusion most students reach: “I only need Lydian Dominant, Mixolydian ♭13, and the Altered scale. I can skip the rest — and maybe skip MMA altogether.”

This is the single most common reason students abandon MMA before it has a chance to work. And it is based on a fundamental misreading of what the system is showing.

The misunderstanding: those “rare” chord qualities aren’t home chords. They’re keys to secondary dominants.

When you learn the MMA transposition rooted on E♭ — whose home chord is E♭Δ7♯5 — you are not learning a scale for E♭Δ7♯5 chords specifically. You are learning a transposition whose seven diatonic chords include a Lydian Dominant, an Altered dominant, a Mixolydian ♭13, and a half-diminished — all the sounds you already use, now available from one new key center.

Secondary Dominants: Where This System Actually Lives

Secondary dominants — dominant-function chords borrowed to tonicize scale degrees other than the tonic — appear in roughly 90% of Western tonal music. Jazz standards, blues, pop, country, classical harmony: the secondary dominant is everywhere. In any key, there are twelve dominant-function chords: the V7 of the key, plus the secondary dominant of every other scale degree.

Before knowing about the SuperScale property, the practical case for MMA was already strong: all seven MMA modes function over secondary dominants. That includes Dorian ♭2, Lydian ♯5, and Locrian ♮2 — the three modes students assume are too rare to bother with. Every one of those transpositions is the scale you need over a secondary dominant that appears constantly in real repertoire.

A concrete example: In the key of C, the chord E7 is V/vi — the secondary dominant of A minor. The correct MMA transposition is B MMA (starting from the fifth of E). That transposition’s home chord is B-Δ7 — another “rare” chord quality. But B MMA over E7 gives you the Altered sound, one of the most useful colors in jazz. You weren’t learning a scale for B-Δ7 chords. You were learning what to play over E7 — a chord that shows up in hundreds of standard tunes.

The SuperScale discovery takes this further: not just “all seven modes are useful” but “all twelve chromatic transpositions cover all twelve dominant-function chords in a single key center, verified computationally.” That is the deeper reason to learn every MMA transposition — including the ones whose home chord you think you’ll never encounter. You’re not learning it for the home chord. You’re learning it for the six other chords inside that transposition, several of which you use every time you play a standard.

If you skip this transposition… You lose access to these secondary dominants in C
E♭ MMA (home: E♭Δ7♯5) A♭7♯11, B♭7♭13, C-7♭5, D7alt — all common in jazz standards
D MMA (home: D-Δ7) G7♯11, A7♭13, B-7♭5, D♭7alt — V7 of G, V7 of A, and more
A♭ MMA (home: A♭-Δ7) D♭7♯11, E♭7♭13, F-7♭5, G7alt — tritone subs and secondary dominants throughout

This is why the book covers all twelve transpositions, and why the practice materials are organized to build fluency in each one from a single key center. Skipping the “unfamiliar” home chords means skipping the secondary dominant vocabulary that appears in almost every song you will ever play.

What Is a SuperScale?

Music theory classifies scales by their internal interval structure — the pattern of whole steps and half steps that gives a scale its characteristic sound. This book is concerned with a different property entirely: not how a scale sounds in isolation, but how its twelve chromatic transpositions relate to the harmonic world around them.

A SuperScale is a pitch-class collection meeting two conditions simultaneously:

  1. All twelve of its chromatic transpositions must each form a recognized, musically usable scale.
  2. Each of those twelve transpositions must function over a real chord in an actual chord progression — confirmed computationally, not assumed theoretically.

Both conditions must be met. The bar is high. That is precisely why the catalog of SuperScales is small — and why the seven-note result is so striking.

Why this matters for improvisation: Jazz harmony, as most commonly taught, is organized chord by chord. Each chord generates its own scale universe. The improviser follows the changes, switching scale thinking with each new chord symbol. The SuperScale property offers an alternative: a single scale family that covers all twelve dominant-function chords in a key — reducing cognitive load and keeping the ear anchored while the harmony moves underneath.

The Melodic Minor Ascending System

Of all possible seven-note scales, exactly one — Melodic Minor Ascending (set class 7-34, interval pattern W-H-W-W-W-W-H) — passes both SuperScale conditions for all twelve transpositions. Every other seven-note scale fails at least one condition for at least one transposition.

In the key of C, all twelve dominant-function chords — the tonic dominant plus all eleven secondary dominants — map precisely onto the twelve chromatic transpositions of MMA. The book includes the complete reference table for this mapping, with every chord, its corresponding MMA transposition, and its relationship to the key center. It is the core reference of the entire system, and it is immediately playable: every entry is a real chord from real repertoire paired with the MMA transposition that serves it.

There is a simple interval relationship that locates the correct transposition for any dominant chord, and it is explained in full in Chapter 2. But as the book makes clear, knowing the relationship and hearing the relationship are two different things — and only one of them works at performance tempo.

12 transpositions × 7 diatonic chords each = 84 distinct chord–scale relationships covered by one scale family, from one key center, without switching harmonic frameworks. That is before counting the subset scales within each transposition or the trichord pair applications.

The Banacos connection: Charlie Banacos taught that you should hear as much as possible from one tonal center — reduce cognitive load, let the ear stay anchored while the harmony moves. The MMA discovery is a Banacos question: it could only have been asked by someone trained to hear that way. His influence runs through every chapter of this book.

The MMA Subsets — Three Tools, Three Sounds

The full seven-note MMA scale is the Rosetta Stone of the system. But the subsets drawn from it — the 4-, 5-, and 6-note collections that live inside MMA — are where many players will spend most of their time. Each size has a distinct musical character and a distinct set of applications. They are not simplified versions of the full system. They are different tools.

6-Note Subsets — Hexatonics
10 confirmed SuperScales • Chapter 5

The six-note subsets of MMA are the sound of modern jazz harmony. Six notes leave six chromatic pitches unplayed — enough open space to avoid sounding scale-like, enough density to imply clear harmonic color. This is the sweet spot for sophisticated jazz improvisation: the hexatonics give you a contemporary, intervallic sound that sits comfortably over dominant and altered dominant chords without telegraphing every note of the underlying scale.

If you have worked through any of the Sound Cells series, you already know the hexatonic world. The MMA hexatonics are the subset of that world that maps directly onto the MMA key-center system — the same interval structures, now organized by transposition and confirmed computationally to function over real harmonic situations.

Best for: Jazz improvisation • Modern harmony • Post-bop and contemporary styles • Players already familiar with hexatonic superimposition who want a systematic key-center framework

5-Note Subsets — Pentatonics
12 confirmed SuperScales • Chapter 5

Pentatonics are universal. Every player knows the minor pentatonic. Most know the major pentatonic. The MMA system gives you 21 five-note subsets — all the pentatonic scales that live inside Melodic Minor Ascending, organized by key center and confirmed to function over real chords.

For rock and metal players especially, this is the most immediately actionable part of the book. You already think in pentatonics. The MMA pentatonic subsets hand you a systematic way to move beyond the minor and major boxes into sounds that are fresh without being foreign — still pentatonic in feel, but with interval structures you have not heard from your fingers before. Over a static dominant chord or a drone, these are immediately striking. They do not require a jazz context to work.

The full reference for all 38 pentatonic prime forms and their modes is documented in the Sonic Resource Guide (available separately). The MMA pentatonic subsets are the subset of that catalog confirmed to function within the MMA key-center system.

Best for: Rock and metal players • Any style where pentatonics are already the primary vocabulary • Players who want fresh sounds without abandoning the pentatonic feel • Immediate application over drones and static harmony

4-Note Subsets — Arpeggios & Chords
16 confirmed SuperScales • Highest richness in the catalog • Chapter 5

Four notes leave eight chromatic pitches unplayed. That open space is not emptiness — it is harmonic freedom. The four-note subsets have the highest average richness values in the entire SuperScale catalog, meaning they fit over the widest range of chords with the fewest conflicts. They are the most harmonically flexible material in the system.

In practice, four-note collections are the natural language of arpeggios and chord voicings. Every four-note subset in Chapter 5 is directly applicable as an arpeggio pattern — a complete melodic gesture that implies harmony without spelling it out note by note. For chord-melody players, composers, and anyone working with voicing-based improvisation, the four-note subsets give you a systematic library of arpeggio shapes drawn from the MMA system, each confirmed to function over real chord changes.

They are also the easiest entry point into the system. Fewer notes means less to track mentally, and the high richness means even a beginner with the MMA system will hear these land correctly over the MIDI drone files from the first practice session.

Best for: Arpeggio-based playing • Chord voicing and chord-melody • Composers working with intervallic harmony • Beginning the MMA system • Highest harmonic richness of any subset size

The complete SuperScale catalog by size — trichords through octatonics, with richness values and prime forms for every confirmed SuperScale — is documented in Appendix B of the book. The octatonic SuperScales are referenced there; the full octatonic practice framework is the subject of SuperScales III (forthcoming).

What’s Included With Purchase

Every downloadable file is linked directly from inside the book — no login, no download portal, no hunting through folders. Purchase the book and every link below becomes available to you from the page it is discussed on.

Category What You Get Chapter
MMA Chord Charts All 12 MMA transpositions in all 12 keys, with diatonic chord labels and scale degree numbers. Standard notation and Roman numeral versions. 4 chart packages. 4
Subset PDFs 4-, 5-, and 6-note subsets of MMA in standard notation and Roman numerals, plus subset comparison charts. 21 PDF files total. Includes pentatonics (rock and metal), hexatonics (modern jazz), and 4-note collections (arpeggios and chord voicings). 5
Trichord Pair Études 2,521 étude files covering every MMA trichord pair combination in all 12 keys. 6
Progression Études & Accompaniment MIDIs 864 accompaniment MIDI drone files and 2,521 étude files with rests — complete practice materials for all MMA transpositions over real chord progressions in all 12 keys. 7
Modal Sequencing Files Modal sequencing files for 4-, 5-, and 6-note subsets and full MMA in all 12 keys. 7

Recommended Practice Path

Read Chapters 8–10 before beginning the exercises. They give you the mental, physical, and rhythmic tools that make every exercise more efficient and less likely to result in injury or wasted repetition.
  1. MMA Chord Charts in C — Begin with the twelve MMA transpositions in the key of C. Work slowly, singing each scale against the drone in the MIDI file. One transposition at a time, until the sound is in your ear before moving to the next key.
  2. 4-Note Subsets — Move to the subset exercises only after the full MMA transpositions feel secure. Start with four-note subsets, which offer the highest harmonic density. The five- and six-note subsets build on that foundation.
  3. Trichord Pair Études — The advanced layer. Work these only after the chord charts and subset exercises feel solid. Start with pairs that use familiar trichord types — 027 pairs are a natural entry point — and build toward less common prime form combinations.
  4. Modal Sequencing — Use the modal sequencing files to develop fluency in hearing each transposition as a continuous melodic gesture across all twelve keys.

The most common mistake: practicing without a drone. Every exercise in this book is designed to be practiced against a drone. Without one, you are training your fingers without training your ear. The MIDI drones are included in every download package for exactly this reason.

Ear Training Path

Everything in this book depends on one ability: hearing pitches in relationship to a key center rather than as isolated notes or intervals. This is a trained skill, not a natural one. The recommended path is sequential — each level makes the next possible — but all three levels should be practiced concurrently once begun.

Level Resource What It Builds
1 Ear Training One Note Complete Hear a single pitch against a key center and identify which of the twelve chromatic degrees it is — not by counting intervals but by recognizing the specific sound of that degree.
2 Contextual Ear Training Hear pitches in the context of real chord progressions — understanding not just what a note is, but how it functions given what is happening harmonically around it.
3 — Critical SerialEar Hear all possible three-note structures (every trichord, every inversion, every transposition) against a drone in a key-center context. This is the step that makes the twelve MMA transpositions audible as twelve different colorings of one key center rather than twelve separate things to memorize.

Not yet sure where to start? The free Ear Training Guided Tour explains the difference between interval-based and key-center hearing and maps the full curriculum.

Recommended Companion Volumes

Book How It Relates
Scale Analysis
ISBN 978-1-59489-431-2		 The practical companion to SuperScales. Applies the key-center approach to real chord progressions — twelve-bar blues, minor blues, and Rhythm Changes — across all 12 keys. Covers 28 prime forms including all seven MMA modes. If SuperScales is “why it works,” Scale Analysis is “how to hear it.”
My Music
ISBN 1-890944-11-4		 The theoretical and historical foundation for the MMA Trichord Pairs system in Chapter 6. Traces the compositional lineage from Stravinsky and Banacos through McCoy Tyner, and presents the harmonic rhythm principle — pivoting between two trichords in groups of 2, 3, or 4 eighth notes — that underlies the pivot exercises in the download package.
Sound Cells, Vols. 1–78 (forthcoming) Covers all 78 possible trichord pair combinations, one per volume. Students who want to extend the trichord pair work in Chapter 6 beyond MMA — applying it to other hexatonic collections and harmonic contexts — will find the Sound Cells series the natural next step.
SuperScales II (forthcoming) Takes the 84 diatonic chords across the 12 MMA transpositions as harmonic destinations in their own right. The compositional language of Wayne Shorter, Herbie Hancock, Bartók, and the broader post-functional harmony tradition — built on the aural foundation developed in this book.
SuperScales III (forthcoming) Covers the eight-note SuperScale catalog in full — a complete practice framework parallel to the one in this volume, centered on the octatonic candidate C, D♭, E♭, E, G♭, G, A, B♭.

SuperScales — Complete Book + Downloads

The full book in PDF, with access to all downloadable files: chord charts, subset PDFs, MIDI études, modal sequencing files, and trichord pair exercises — linked directly from inside the text.

$29.95

Add to cart — $29.95

Frequently Asked Questions

Do I need to know all 12 MMA transpositions before the system is useful?

No. The system is modular. Begin with the key of C, work through each transposition until the sound is in your ear, then move to one adjacent key. Even a partial command of the system — two or three keys — expands the harmonic vocabulary available from a single tonal center.

Is there a formula for finding the right MMA transposition over a dominant chord?

Yes, there are a few ways to formulate a reference to the correct MMA transposition, and they are shown in the book. But understand what this is: a crutch. At performance tempo, any calculation disappears. The goal is direct recognition — you know where you are in the key, you know the degree, and you hear the MMA sound that belongs there. The formula tells you where to go. Ear training is what makes you stop needing directions.

Can I use this system over non-dominant chords?

This volume concentrates on the twelve-transposition property specifically for dominant-function chords. There are also sections where each MMA transposition’s seven diatonic chords are covered — several of which are non-dominant qualities (minor-major 7, major 7 sharp 5, half-diminished add 9) — as part of each transposition’s harmonic universe. Overall the book concentrates on the use of the 12 dominant chords via the transpositions of the MMA scale. The subset exercises in Chapter 5 further extend the system’s reach into non-dominant territory.

Does the system require abandoning chord-by-chord scale thinking?

No — it offers an alternative, not a replacement. The chord-by-chord approach is powerful and widely used. The MMA system works best where music gives it room: on dominant chords held long enough to be heard, or on fast-moving changes where the ear stays in one key naturally. Learning to sense when the ear is staying and when it is moving is itself a musical skill that develops through the same practice as everything else in this book.

What instrument is this book written for?

The book is pitch-based and instrument-agnostic. The chord charts and subset exercises are written in treble clef in standard notation and apply equally to any pitched instrument. The MIDI practice files work with any DAW or MIDI playback setup. The trichord pair études are notated in standard treble clef notation. There are no bass clef notation examples in this book.

A Three-Century Pedagogical Lineage

The principle of hearing music from a tonal center was not invented by Charlie Banacos. It was passed forward through three centuries of teaching. The core chain runs: Scarlatti → Porpora → Haydn → Beethoven → Czerny → Vengerova → Madame Chaloff → Banacos → Bruce Arnold.

Bruce Arnold studied with Banacos for five years. That training made the MMA discovery musically meaningful rather than merely mathematical. By working through the material in this book, you join that lineage.

  • Alessandro Scarlatti (1660–1725)
  • Nicola Porpora (1686–1768)
  • Joseph Haydn (1732–1809)
  • Ludwig van Beethoven (1770–1827)
  • Carl Czerny (1791–1857)
  • Isabelle Vengerova (1877–1956)
  • Madame Chaloff (1900–1977)
  • Charlie Banacos (1946–2009)
  • Bruce Arnold (1955–present)

View Full Genealogy Chart

Questions? Contact us below

]]> The Trichord Pairs Series | Muse Eek Publishing https://muse-eek.com/trichord-pairs-a-scientific-approach-to-melodic-and-harmonic-mastery/ Thu, 27 Aug 2026 08:40:08 +0000 https://muse-eek.com/?page_id=1430401 Continue reading →]]>  

 



Trichord_Pair_Series by Bruce Arnold for Muse Eek Publishing Inc.

The Trichord Pairs Series

Unlock a modern, fluid improvisational sound with this comprehensive three-book series on trichord pairs. Designed to help you break free from standard scales and predictable chord shapes, this step-by-step system shows you how to split six-note structures into powerful three-note groups (trichords) to create fresh melodic and harmonic substitutes. Across the series, you’ll master modes of the Major, Melodic Minor Ascending, Harmonic Major, and Harmonic Minor scales, along with three essential Symmetrical scales. By incorporating dynamic sweeps and cascading patterns, you’ll transform complex scale theory into a seamless, distinctive modern technique.
Trichord Pairs
Trichord Pairs 2
Trichord Sequencing
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Book Scales Covered Combinations Price
Trichord Pairs Major (all 7 modes), Melodic Minor Ascending (all 7 modes) 70 total (28 + 42) $24.95
Trichord Pairs 2

Harmonic Minor, Harmonic Major, Whole-Half Diminished, Half-Whole
Diminished, Whole Tone		 47 total (2 + 7 + 16 + 16 + 6) $24.95
Trichord Sequencing Major (all 7 modes), Melodic Minor (all 7 modes) 70 total (28 + 42) $24.95
SAVE $24.86

Get All Three — The Complete Trichord Pairs Bundle

All three books, 187 combinations across every scale family in the series —
Major, Melodic Minor, Harmonic Minor, Harmonic Major, and the three symmetric scales
— plus seven different practice-file formats across the series, from the Overview
and Sequence formats every book shares, to the Sweeps and Pair Sweeps unique to
Trichord Pairs 2, to the Six-Sweep and Cascade Sweep sequencing formats unique to
Trichord Sequencing.

$74.85 separately $49.99 bundled

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book cover for Trichord Pairs by Bruce Arnold for Muse Eek Publishing Inc.

Trichord Pairs (also known as Triad Pairs)

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for immediate download.

Trichord Pairs — A Scientific Approach to
Melodic and Harmonic Mastery

This course covers a specific group of trichord pairs (also known as triad pairs) that
get used often when improvising. They are very useful as chords and melodic
replacements for the modes of major and melodic minor ascending. This course lists all
the possible 027-016 and 027-026 trichord pair combinations. What that means is you
have easy-to-play structures that will sound super modern but are also very harmonious
in any musical situation. These aren’t abstract strange sounds — they are core
structures used when playing a jazz standard or even rock, metal, and blues.

You also don’t need knowledge of pitch class sets or other special music theory
constructs. You just have a very useful sound laid out for you either as a scale, two triad
pairs, or awesome sequences that give you head-turning attention when you play them!
But if you do want to dig deeper there is an Appendix that covers in-depth the music
theory concepts found in this book. That material is from the Sonic Resource
Guide, a go-to reference used often.

Why a whole step and fifth (027) matched against either a half step and a tritone
(016) or a whole step and tritone (026)? The 027 is often used as a fourth voicing, and
melodies moving in fourths or dominant chords are often voiced with an 016 or 026 in
the upper three notes. So these combinations play sounds that aren’t going to upset
more conservative musicians, but moving between them creates a pretty unique sound
that tends to land well with most listeners. These combinations are also not difficult to
play, voice-lead well, and are easier to get into your playing fast — as opposed to
012, 013, 014, and similar sets, which are awesome sounds but take a while to get used
to.

For as long as musicians have had scales, most reach for the same handful of them
over every mode of major and melodic minor — and the same handful of chords
underneath. Trichord Pairs identifies something more specific: the exact
combinations of a 027 trichord matched against a 026 or 016 trichord that sound
genuinely striking as replacements for that default vocabulary, worked out
independently for every mode of both scales, in every key.

Naming the harmony is the easy part. This book pairs that system
with the mental practice method, physical technique, and rhythmic tool you need to
actually get it into your ear and your hands — without the repetitive-strain grind
that ends so many promising technical projects.

What This System Gives You:

  • Every Valid Combination, Both Scales: All 28 valid 027-016
    combinations across the seven modes of major, and all 42 valid 027-026 combinations
    across the seven modes of melodic minor ascending — each independently
    verified, not just relabeled from mode to mode.
  • A Synopsis of the Mental Practice Method:
    Build a stable virtual instrument, fire the same motor pathways as live performance
    below the threshold of movement, and use the ten minutes before sleep to hardwire a
    combination into permanent memory.
  • Long Line Rhythm™ Applied Directly: The macro-pulse, anchor-point method that keeps an eighteen-bar sequence or
    a two-octave scale run from turning into a note-by-note grind. Read about the MetroDrone and Long Line Rhythm for more
    information.
  • Technique That Won’t Cost You Your Hands: The Home
    Base principle, forearm-driven mechanics, and the specific hand position that lets you
    practice this material for years without injury. See the Guitar Physiology
    and Technique Course     for the full treatment with video.
  • Full PDF and MIDI Practice Files: Every combination,
    voiced eighteen ways, run through all twelve keys — plus a two-octave
    ascending-and-descending scale run for every combination, ready to read and to
    hear.

Table of Contents for Trichord Pairs:

  1. Front Matter: Acknowledgments, About the Author,
    Foreword, Preface: How to Use This Book.
  2. Chapter 1: Introduction — What Are Trichord Pairs?
  3. Chapter 2: Mental Practice
    • The Virtual Instrument: Building the Internal Map.
    • Sub-Threshold Motor Firing and the Both-Hands Rule.
    • Cognitive Endurance: Managing Mental Fatigue.
    • Aural Proofing: The Key Center Prerequisite.
    • The Pre-Sleep Routine and Neurological Consolidation.
  4. Chapter 3: Technique and Physiology
    • Home Base — The Core Principle.
    • Let the Big Muscles Do the Heavy Lifting.
    • The Middle Radius Constraint.
    • Left Hand Basics; Right Hand and Picking.
    • No Pain Is Gain.
  5. Chapter 4: Long Line Rhythm
    • Locating the Anchor Points.
    • Building Tiers.
    • Applying This to the Trichord Pair Material.
  6. Chapter 5: The Trichord Pairs System
    • Understanding the Trichords; How These Combinations Were
      Found.
    • Melodic Minor — 027-026 Combinations (All 7 Modes).
    • Major — 027-016 Combinations (All 7 Modes).
  7. Chapter 6: Practice Materials and Application
    • What’s Included with This Book.
    • How to Practice; Practicing as Chords.
    • Frequently Asked Questions.
  8. Chapter 7: Troubleshooting, Context, and Consistency
  9. Conclusion
  10. Appendix A: The Muse Eek Ear Training Curriculum
  11. Appendix B: Pitch Class Sets, Chord Tones, and Available
    Tensions

Examples of Exercises Found in Trichord Pairs

There are three types of files found in this course: hexatonic scales played
ascending and descending through 2 octaves, a simple listing of the trichord pairs in
every key center for quick lookup, and 18 permutations of each trichord pair through all
12 keys — with MIDI files for all of these exercises so you can check your
accuracy.

 

 

This first example shows a Lydian scale (minus the 7th) played two octaves
ascending and descending. Guitarists should play these scales in all 6 positions.

  • Example from Trichord Pairs book: Two_Octave_Hexatonic_Scale_Lydian.1
  • Slow Tempo:
  • Faster Tempo:

 

 

The example below shows the 4 trichord pairs using 027-016 that can be used for a
Locrian scale.

  • Trichord Pairs Book example: TrichordPairsLocrian.1
  • Trumpet Example:
  • Rock Guitar Example:

 

 

The example below shows a trichord sequencing pattern using a Phrygian scale. 18
different patterns are presented for every trichord pair combination!

  • Example from Trichord Pairs Book: PhrygianSequencing.1
  • Piano Example:
  • Rock Guitar Example:

 

 

ISBN: 978-1-59489-297-4

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book cover for Trichord Pairs 2 for Muse Eek Publishing Inc.

Trichord Pairs 2 (Harmonic Minor, Harmonic Major & the Symmetric Scales)

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Trichord Pairs 2 — Harmonic Minor,
Harmonic Major, and the Symmetric Scales

Trichord Pairs covered major and melodic minor ascending —
the two scales where the 027-016 and 027-026 pairing system produces the richest set
of combinations, four to six per mode. Trichord Pairs 2 takes the same
method into different territory: harmonic minor, harmonic major, and the three symmetric
scales, where the underlying interval structure changes the math entirely.

Harmonic minor and harmonic major both contain an augmented second —
and that interval narrows the valid 027-026 pairing down to exactly one combination per
mode, rather than several. This book includes both of harmonic minor’s most commonly
used modes (the tonic harmonic minor sound, and the fifth mode’s Phrygian Dominant
— the classic altered-V7 sound), and all seven modes of harmonic major.

The symmetric scales — Whole-Half Diminished, Half-Whole Diminished,
and Whole Tone — work differently again. These scales repeat their own interval
pattern around the octave, so there’s no single 027 trichord anchoring every
combination the way there is in major or melodic minor. Instead, every combination in
this section pairs two 026 trichords against each other, and because the diminished
scales are eight notes rather than seven or six, there’s substantially more valid
combinations to work through — sixteen each for the two diminished scales, six
for whole tone, where every note of the scale is used with nothing left over.

Beyond the reference charts, this edition adds two new practice formats built for
taking a single trichord to the instrument. Sweeps takes each individual
trichord in the book through its three inversions, each swept up two octaves and back
down in a register built specifically to be playable on guitar. Pair Sweeps
links a combination’s two trichords into one continuous gesture — one trichord
sweeping up, the other sweeping back down — cycling through all three
inversions of both.

The complete mental practice, technique, and Long Line Rhythm system from
Trichord Pairs carries over unchanged — this book assumes you’re
either working through it alongside the original or have been through that material once
already.

What This System Gives You:

  • Harmonic Minor, Fully Covered: The tonic Harmonic Minor
    sound and the Phrygian Dominant (mode 5) — the two modes of harmonic minor
    musicians reach for most.
  • Harmonic Major, All 7 Modes: One verified 027-026
    combination per mode — the single valid pairing this scale’s own interval
    structure allows.
  • All Three Symmetric Scales: 16 combinations from WholeHalf Diminished, 16 from Half-Whole Diminished, and 6 from Whole Tone — 38
    combinations total from scales most trichord-pair material never touches.
  • Sweeps and Pair Sweeps: Every individual trichord in the
    book taken through its three inversions in a guitar-practical register, plus every
    combination linked into a continuous ascending-and-descending Pair Sweep.
  • The Same Complete Practice System: Mental practice,
    Home Base technique, and Long Line Rhythm, applied directly to this new material.
  • Full PDF and MIDI Practice Files: Five kinds of files
    — Overview, Sequence, Scale-Run, Sweep, and Pair Sweep — every
    combination voiced eighteen ways and run through all twelve keys.

Table of Contents for Trichord Pairs 2:

  1. Front Matter: Acknowledgments, About the Author,
    Foreword, Preface: How to Use This Book.
  2. Chapter 1: Introduction — What’s In This Volume.
  3. Chapter 2: Mental Practice (full method, as in
    Trichord Pairs)
  4. Chapter 3: Technique and Physiology (full method,
    as in Trichord Pairs)
  5. Chapter 4: Long Line Rhythm (full method, as in
    Trichord Pairs)
  6. Chapter 5: The Trichord Pairs System
    • Harmonic Minor — 027-026 Combinations (2 Modes).
    • Harmonic Major — 027-026 Combinations (All 7 Modes).
    • The Symmetric Scales — 026-026 Combinations.
    • Whole-Half Diminished — 16 Combinations.
    • Half-Whole Diminished — 16 Combinations.
    • Whole Tone — 6 Combinations.
  7. Chapter 6: Sweeps — Individual trichords, three
    inversions, two-octave sweeps in a guitar-practical register.
  8. Chapter 7: Pair Sweeps — Linking a combination’s
    two trichords into one continuous ascending-and-descending gesture.
  9. Chapter 8: Practice Materials and Application
  10. Chapter 9: Troubleshooting, Context, and Consistency
  11. Conclusion
  12. Appendix A: The Muse Eek Ear Training Curriculum
  13. Appendix B: Pitch Class Sets, Chord Tones, and Available
    Tensions     — including a Trichord Usability Reference showing every chord
    each trichord shape can be played over.
  14. Harmonic and Melodic Equivalence Volume 11B is Included in this book a 19.99 value that gives indepth information on a Harmonic Major Scale Trichord

Examples of Exercises Found in Trichord Pairs 2

There are four types of exercise found in Trichord Pairs 2 Course. There are PDFs and MIDI files for all exercises. Below is a list of the exercise types:

1. Overview Exercises show you the all possible trichords for a given scale type.
2. Scale Run Exercises in all Harmonic Major, 2 modes of Harmonic Minor and 3 Symmetrical Scales.
3. Sweep Exercise in all Modes of Major, Melodic Minor Ascending, Harmonic Major, 2 modes of Harmonic Minor and 3 Symmetrical Scales Ascendig and Descending
4. Sweep Pairs Exercise shows you two trichords played ascending and descending.

This first example shows Overview Exercise for a Mixolydian b2b6 (5th Mode of Harmonic Minor) in All Keys

 

Overview Mixolydian b2b6 in All Keys:

 

 

This is the 2nd example shows Overview Exercise for a Symmetrical Diminished Scale (half step/whole step scale) in Key of C only.

 

HalfWholeDiminished_Overview-1 from Trichord Pairs 2 Course by Bruce Arnold for Muse Eek Publishing Inc.

Overview Example Symmetrical Diminished:

 

 

This example shows Scale Run Exercise using a Harmonic Major Scale in the Key of C only.

 

Scale Run Harmonic Major Scale:

 

 

This example shows Sweep Exercise using a Major Scale in All Keys

 

Sweep Pattern Major Scale All Keys:

 

 

This example shows Sweep Pairs Exercise using a Melodic Minor Scale in All Keys

Sweep Pairs Melodic Minor Scale All Keys:

 

 

ISBN: 978-1-59489-296-7

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Trichord Sequencing (Major and Melodic Minor, with Six-Sweep and
Cascade Sweep)

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for immediate download.

Trichord Sequencing — The Major Scale and
Melodic Minor, with Six-Sweep and Cascade Sweep

Trichord Sequencing takes the same major and melodic minor material as
Trichord Pairs — all seven modes of each — and adds two
brand-new sequencing formats built specifically around linking a pair’s two trichords
into a single continuous line.

The harmonic groundwork is identical to Trichord Pairs: major keeps its
full seven-mode, twenty-eight combination treatment, and melodic minor keeps its own
full seven-mode treatment too — forty-two combinations, the same complete
dataset as Trichord Pairs, not a narrower root-form-only version.

What’s new here is Six-Sweep and Cascade Sweep
— two ways of linking a combination’s two trichords into one unbroken line. Six-
Sweep draws on all three inversions of both trichords — six sweeps in total
— and links them into a single, continuous, ever-climbing line that alternates
ascending and descending until every inversion of both trichords has been played.
Cascade Sweep takes a different approach: it merges a pair’s two trichords into the six-
note scale their combined pitches form, then walks up that scale a step at a time,
adding the next note of whichever trichord that scale degree belongs to as a second
note at every step.

Seventy combinations in total, all provided across all twelve keys, in four practice
file formats — and the same complete mental practice, technique, and Long Line
Rhythm system as the rest of the series.

What This System Gives You:

  • The Complete Major Scale System: All 28 valid 027-016
    combinations across all seven modes — identical to Trichord Pairs.
  • The Complete Melodic Minor System: All 42 valid 027-026
    combinations across all seven modes — identical to Trichord Pairs, not a
    narrower root-form-only treatment.
  • Six-Sweep: Every combination’s two trichords swept through
    all three inversions each, chained into one continuous, ever-climbing line —
    found only in this volume.
  • Cascade Sweep: Every combination’s two trichords woven
    together, one note at a time, into a single ascending-and-descending line —
    found only in this volume.
  • The Same Complete Practice System: Mental practice,
    Home Base technique, and Long Line Rhythm, unchanged from Trichord Pairs.
  • Full PDF and MIDI Practice Files: Four kinds of files
    — Overview, Sequence, Six-Sweep, and Cascade Sweep — all
    70 combinations, voiced across all 12 keys.

Table of Contents for Trichord Sequencing:

  1. Front Matter: Acknowledgments, About the Author,
    Foreword, Preface: How to Use This Book.
  2. Chapter 1: Introduction — What’s In This Volume.
  3. Chapter 2: Mental Practice (full method, as in
    Trichord Pairs)
  4. Chapter 3: Technique and Physiology (full method,
    as in Trichord Pairs)
  5. Chapter 4: Long Line Rhythm (full method, as in
    Trichord Pairs)
  6. Chapter 5: The Trichord Pairs System
    • Major — 027-016 Combinations (All 7 Modes).
    • Melodic Minor — 027-026 Combinations (All 7 Modes).
  7. Chapter 6: Six-Sweep — Linking all six inversions of
    a pair’s two trichords into one continuous, ever-climbing line.
  8. Chapter 7: Cascade Sweep — Weaving a pair’s two
    trichords together two notes at a time up their combined six-note scale.
  9. Chapter 8: Practice Materials and Application
  10. Chapter 9: Troubleshooting, Context, and Consistency
  11. Conclusion
  12. Appendix A: The Muse Eek Ear Training Curriculum
  13. Appendix B: Pitch Class Sets, Chord Tones, and Available
    Tensions

Examples of Exercises Found in Trichord Sequencing

There are four types of exercise found in Trichord Pairs Sequencing Course. There are PDFs and MIDI files for all exercises. Below is a list of the exercise types:

1. Overview Exercises in all Modes of Major, Melodic Minor Ascending, Harmonic Major, 2 modes of Harmonic Minor and 3 Symmetrical Scales.
2. Sequencing Exercises for all Modes of Major and Melodic Minor Ascending.
3. Extended Trichord Sweep Patterns which shows all six patterns in all modes of Major and Melodic Minor Ascending.
4. Cascade Sweep Patterns in all modes of Major and Melodic Minor Ascending.

This first example shows Overview Exercise for a Dorian in Key of C Only

 

Mode2_Dorian_Overview For Trichord Sequencing book by Bruce Arnold for Muse Eek Publishing Inc.

Overview Dorian Key of C Only:

 

 

Sequencing Exercise for a Major Scale in Key of C only.

 

Mode1_Ionian_(Major)_Pair1_1_2_5_-_3_4_7-1 For Trichord Sequencing book by Bruce Arnold for Muse Eek Publishing Inc.

Sequencing Exercise for a Major Scale:

 

 

Sweep Exercise using a Melodic Minor Ascending Scale in Key of C Only

 

Mode1_Melodic_Minor_Ascending_Pair2_1_2_5_-_b3_4_7_SixSweep-1 For Trichord Sequencing book by Bruce Arnold for Muse Eek Publishing Inc.

Sweep in Three Inversions:

 

 

This example shows Sweep Cascade Exercise using a C Dorian Scale Only

Mode2_Dorian_Pair1_1_2_5_-_b3_6_b7_CascadeSweep-1 For Trichord Sequencing book by Bruce Arnold for Muse Eek Publishing Inc.

Sweep Cascade Key Of C Dorian:

 

 

ISBN: 978-1-59489-298-1

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Course Prerequisites & Recommendations:
You don’t need good ear training skills for any book in this series, but a foundation in
contextual, key-center-based hearing is highly recommended — Appendix A in
every book lays out the ear-training curriculum this material depends on. For optimum
results, work through the combinations alongside a key-center-producing device like the
MetroDrone® app.

Chapter 3 in every book gives you enough physical technique to
work safely through this material, but it isn’t a complete guitar method — pair it
with Guitar Technique and Physiology for the full treatment, and see The Sonic Resource Guide for the deepest treatment of pitch class set theory.

book cover for Trichord Sequencing for Muse Eek Publishing Inc.

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Frequently Asked Questions

There are a lot of technical exercises in this book. How do I make music out of them?

Trichord Pairs Series has a lot of technical exercises in it and my recommendation is to take each new technical idea and apply it to static chord progressions and then expand into whole chord progressions. I would also highly recommend writing song based on these technical patterns. That way you can see and hear them used in real music and get away from the technique side of things. Getting any new sound into your playing is a task. Be patient with this part of the work. It takes a long time for these ideas to become second nature to you but steady practicing and application to real music will get your there over time.

What’s the difference between the three books?

Trichord Pairs covers all seven modes of major and all
seven modes of melodic minor — the widest coverage of the two richest scales
for this system. Trichord Pairs 2 covers different territory entirely: harmonic
minor, harmonic major, and the three symmetric scales, plus two practice formats built
around a single trichord’s own inversions — Sweeps and Pair Sweeps, which draw
on trichords from across the whole series. Trichord Sequencing takes the
same major and melodic minor material as Trichord Pairs and works it into two
sequencing formats found nowhere else in the series, Six-Sweep and Cascade Sweep,
which link a pair’s two trichords into one continuous line rather than treating them as
separate practice units.

Do I need to buy them in order, or own Trichord Pairs before
the others?

No. Each book stands completely on its own and includes the full
mental practice, technique, and rhythm system in Chapters 2 through 4, so you don’t
need any of the other books to use any one of them. If you already own one and know
that method well, you can move through those chapters quickly in the others.

Is the bundle a one-time purchase or a subscription?

One-time purchase. The bundle unlocks all three digital books, along
with their full PDF and MIDI practice file sets, for immediate download — no
subscription or recurring charge.

What other books do you recommend using alongside this
series?

A few that pair naturally with the material in these books: Mental Practice for Musicians for a deeper treatment of the mental practice method used throughout, Guitar Technique and Physiology for the full hand-position and picking curriculum, The Sonic Resource Guide for the complete pitch class set theory behind each book’s Appendix B, and Ear Training One Note Complete and Contextual Ear Training to build the key-center hearing this whole system depends on.

What should I use to improvise over these combinations?

Get a looper if you can, and build loops using the two trichords as a
scale to solo over. If a looper isn’t an option, Jam Tracks Volume One, available on the Muse
Eek Publishing website, works well for this.

How much should I practice these trichord pairs each day?

As a starting point, spend about 30 minutes playing and memorizing a
single combination through one key. Then spend another 15 minutes improvising with
the scale, and with the chords if you play a chordal instrument. That’s a good baseline
— build up from there as it becomes comfortable.

Do I need to already know pitch class set theory to use these
books?

No. Appendix B in every book is a complete primer — prime
form, integer notation, and chord tones, tensions, and avoid notes worked out for every
common chord type — written for musicians with ordinary theory background and
no prior exposure to post-tonal thinking.

Any advice on how to make these examples actually sound
good?

Be very conscious of keeping the velocity even across each example
— very little change in loudness or attack from note to note. This isn’t easy to do
but will really help make them sound good. Chapter 7 in Trichord Pairs, and Chapter 9 in
Trichord Pairs 2 and Trichord Sequencing, cover this in more depth.

How do you recommend getting these sweeps and cascades into my
playing?

First I would highly recommend writing music that incorporates these
ideas and writing out solos to play over the music. Not that you want to verbatim play
the solos, but they will help you develop a style with these sounds and give you the
chops you need to execute these ideas in real time.

Could you point me to any examples of you using these sweeps
and cascades?

Yes, I would check out some of my latest recordings. The Cancelwood
Sessions is a good place to start, but I’ve been using these ideas for quite some time so
you will hear them every once and awhile in many recordings and live gigs. Check
youtube.com under my name for more examples.

Could you give me some idea on how to practice sweeps and
cascades?

I would start slow, because you can really hurt yourself if you do too
much too early in your development. If you are a guitarist, be very conscious of your
little finger on your fretting hand — that can get inflamed quite easily from the
stretches used in the sweeps and cascades.

Where is a good place to start with this book?

You can really start anywhere, but my recommendation is to work through each book in order that way you are slowly adding on more material and mastering parts of it as you go.”

A Proven Educational Lineage

The methods found on muse-eek.com are part of a historical musical
lineage stretching back to the 18th-century masters.

By using Muse-Eek books and courses, you are now a part of this
lineage—a tradition of excellence passing through legends like Charlie
Banacos and Jerry Bergonzi.

    • Historically Validated
    • University-Level Pedagogy
    • Professionally Proven

VIEW THE LINEAGE CHART

Still not sure where to start? Feel free to contact us for a personalized recommendation based on your goals.

© 2026 Muse Eek Publishing Inc. All
Rights Reserved | Dedicated to the pedagogical insights of Charlie Banacos.
]]> Blues Outside The Box https://muse-eek.com/blues-outside-the-box/ Wed, 12 Aug 2026 12:14:46 +0000 https://muse-eek.com/?page_id=1430492 Continue reading →]]>  

 

book cover for Blues Outside the Box by [Author Name] for Muse Eek Publishing Inc.

Blues Outside the Box

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Blues Outside the Box — A Trichord-Pair Approach to Superimposing the Blues Scale

Most improvisers meet the blues scale the same way: as one fixed six-note shape, dropped over a dominant chord and left there. Blues Outside the Box starts from a different question — if a six-note scale is really just two three-note cells stacked together, how many genuinely different ways can the blues scale be split? The answer is a clean, closed number: ten. Not a curated subset — every single way to divide its six notes into two trichords, worked out in full and verified against real chord tones and tensions rather than assumed by habit.

Naming the harmony is the easy part. This book pairs that system with a complete mental practice method, physical technique, and macro-pulse rhythmic approach — the same complete-system philosophy behind the trichord-pair approach to major and melodic minor — so the material actually gets into your ear and your hands instead of sitting on the page.

Blues Outside the Box also tackles a question most blues-scale material never addresses directly: the scale’s built-in run of three consecutive half steps. This book shows you exactly when that run should be heard as a chromatic approach-note pattern — the same device bebop scales are built around — rather than three notes each needing to individually justify itself against the chord underneath.

10Trichord pairs — every possible split of the blues scale, no leftover note
4Practice file types — Overview, Sequencing, Scale-Run, and Exercise files
12Keys — every combination fully transposed and ready to read and hear
8Chord types checked note-for-note against every blues transposition

What This System Gives You:

  • Every Valid Combination — All Ten: Because the blues scale has no leftover note, this isn’t a curated selection — it’s the complete, closed set of every way to split its six notes into two trichords, each with its own contour and color.
  • A Full Superimposition Analysis: A working appendix checks all twelve transpositions of the blues scale against the chord tones and available tensions of eight common chord types — CMaj7, Cm7, C7, Cm7b5, C7sus4, C-Maj7, Cdim7, and CMaj7#5 — so you know exactly which key to borrow from, and exactly which single note to treat as a passing tone when you don’t get a perfect fit.
  • The Chromatic-Run Reframe: A clear, practical explanation of why the blues scale’s built-in half-step run is an approach-note pattern rather than a liability, with the bebop-scale connection that makes the idea click.
  • A Complete Mental Practice Method: Build a stable virtual instrument, fire the same motor pathways as live performance below the threshold of movement, and use the minutes before sleep to hardwire a combination into permanent memory.
  • Macro-Pulse Rhythm Applied Directly: The anchor-point method that keeps an eighteen-bar sequence, a twenty-four-bar exercise line, or a two-octave scale run from turning into a note-by-note grind.
  • Technique That Won’t Cost You Your Hands: A resting reference position, forearm-driven mechanics, and the specific hand position that lets you practice this material for years without injury.
  • Full PDF and MIDI Practice Files: All ten combinations run through all twelve keys, in four different formats — ready to read and to hear.
What’s different from a standard blues-scale resource: most blues-scale material gives you one shape and a handful of licks. This book gives you the complete, closed set of every way that shape can be split into two smaller melodic cells, plus the exact chord-by-chord, key-by-key data on where each transposition actually belongs — not general advice, but a checked-and-verified reference you can act on immediately.

Table of Contents for Blues Outside the Box:

  1. Front Matter: Acknowledgments, About the Author, Foreword, Preface: How to Use This Book.
  2. Chapter 1: Introduction — What Is Blues Outside the Box?
  3. Chapter 2: Mental Practice
    • Building an Internal Map of the Instrument.
    • Engaging Both Hands, Not Just Your Inner Ear.
    • Working Within Your Mental Fatigue Limit.
    • Hearing Before You Practice: The Key-Center Test.
    • Practicing in the Minutes Before Sleep.
  4. Chapter 3: Technique and Physiology
    • A Resting Reference Position.
    • Let the Larger Muscles Do the Work.
    • Staying Within a Comfortable Range of Motion.
    • Fretting-Hand and Picking-Hand Basics.
    • Stop at the First Sign of Pain.
  5. Chapter 4: Macro-Pulse Rhythm
    • Finding Anchor Points.
    • Building Tiers.
    • Applying This to the Blues Outside the Box Material.
  6. Chapter 5: The Blues Outside the Box System
    • Why the Blues Scale Is Different.
    • The Ten Trichord Pairs.
    • The Chromatic Run: An Approach-Note Pattern, Not a Liability.
    • Bebop Scales: The Same Idea, Built Into the Parent Scale.
  7. Chapter 6: Practice Materials and Application
    • What’s Included: Four File Types.
    • How to Practice; Practicing as Chords.
    • Frequently Asked Questions.
  8. Chapter 7: Troubleshooting, Context, and Consistency
    • Common Pitfalls in Mental Practice.
    • Understanding Context.
    • Consistent Note Production.
  9. Conclusion
  10. Appendix A: Contextual Ear Training
  11. Appendix B: Pitch Class Sets, Chord Tones, and the Blues Scale Superimposition Analysis
  12. Appendix C: Original Compositions using Blues scale divided in Trichord Pairs

Superimposing the Blues

Really the core of this course is superimposing the blues scale in various ways. One being the use of trichord pairs (triad pairs) to split the blues scale in half and the other is using the blues scale and superimposing it over other key centers.

Advanced Blues Scale

You could think of the melodies found in this course more like SRV meets John Scofield or Mike Stern for tea. Also reminds me Robbin Fords playing. All these great players were pushing the limits and you can too with the melodies contained in this course.

Examples of Exercises Found in Blues Outside The Box

There are four types of files found in the Blues Outside The Box

  • Blues Scale Runs
  • Simple List of 10 Trichords Pairs in All Keys
  • Blues Trichord Pair Exercises
  • Trichord Sequencing for Blues Scale
  • Other Exercises found in Harmonic and Melodic Equivalence 21A Course. The whole course is included in this course.

Rather than show you PDFs of the exercises I thought it might be of more value to hear what these exercises sound like in real music. This first example you can hear three of type of exercises presented found in this course. You will hear these lines played by guitar over a bass vamp. I highly recommend you permutate the rhythm within these examples when you add them to your vocabulary.

The 2nd example let’s you hear what all 12 blues scales sound like over an F bass vamp. I only give you the first page of the example because it’s quite long. I think you can hear from this example that blues scales in any key can work over a one key vamp. By using some of the additional techniques recommended in the book. i.e. Approach Notes in particular allows you to resolve the melodies in awesome ways.

Course Prerequisites & Recommendations:
You don’t need a strong understanding of contextual ear training to start this course, but a foundation in contextual, key-center-based hearing is highly recommended — Appendix A lays out the ear-training approach this book depends on. For optimum results, work through the combinations in Chapter 5 alongside a key-center-producing drone tool. Chapter 3 gives you enough physical technique to work safely through this material, but it isn’t a complete method — pair it with Guitar Technique and Physiology for the full treatment, and see The Sonic Resource Guide for the deepest treatment of pitch class set theory. If you already own Trichord Pairs, this book stands on its own but shares the same underlying practice method, so the two reinforce each other directly.

ISBN: 978-1-59489-299-8

Add digital copy to cart — $19.95

Status: In stock. Digital book available for immediate download.

Frequently Asked Questions

Do I need to already own Trichord Pairs to use this book?

No. Blues Outside the Box is a complete, standalone system built specifically around the blues scale. It uses the same mental practice, technique, and rhythm approach as Trichord Pairs, so if you already know that method, Chapters 2 through 4 will feel familiar — but nothing in this book assumes you own or have read the other title.

What other books do you recommend using alongside this one?

Guitar Technique and Physiology for the full hand-position and picking curriculum, The Sonic Resource Guide for the complete pitch class set theory behind Appendix B, and Ear Training One Note Complete and Contextual Ear Training to build the key-center hearing this whole system depends on.

What should I use to improvise over these combinations?

Get a looper if you can, and build loops using one of the ten trichord pairs as a scale to solo over. If a looper isn’t an option, Jam Tracks Volume One, available on the Muse Eek Publishing website, works well for this — the pairs in Chapter 5 sit especially naturally over static or slow-moving dominant vamps.

How much should I practice these trichord pairs each day?

As a starting point, spend about 30 minutes playing and memorizing a single pair through one key. Then spend another 15 minutes improvising with it — melodically, and with the chords if you play a chordal instrument. That’s a good baseline — build up from there as it becomes comfortable.

Do I need to know pitch class set theory to use this book?

No. Appendix B is a complete primer — prime form, integer notation, and a full chord-tone-and-tension breakdown for eight common chord types — written for musicians with ordinary theory background and no prior exposure to post-tonal thinking.

How is the superimposition analysis in Appendix B actually useful in practice?

It tells you, chord by chord, exactly which key’s blues scale sits entirely inside that chord’s tones and tensions (four such matches exist), and for every chord where no perfect match exists, exactly which single note is the outlier — almost always the b5 — so you know precisely what to treat as a passing tone rather than guessing.

Any advice on how to make these examples actually sound good?

Be very conscious of keeping the velocity even across each example — very little change in loudness or attack from note to note. This isn’t easy to do but will really help make them sound good. Chapter 7 covers this in more depth.

A Proven Educational Lineage

The methods found on muse-eek.com are part of a historical musical lineage stretching back to the 18th-century masters.

By using Muse-Eek books and courses, you are now a part of this lineage—a tradition of excellence passing through legends like Charlie Banacos and Jerry Bergonzi.

    • Historically Validated
    • University-Level Pedagogy
    • Professionally Proven

VIEW THE LINEAGE CHART

Still not sure where to start? Feel free to contact us for a personalized recommendation based on your goals.

© 2026 Muse Eek Publishing Inc. All Rights Reserved | Dedicated to the pedagogical insights of Charlie Banacos.
]]> Mental Practice for Musicians https://muse-eek.com/mental-practice-for-musicians/ Tue, 28 Jul 2026 13:51:33 +0000 https://muse-eek.com/?page_id=1430277 Continue reading →]]>  

 

book cover for Mental-Practice for Musicians by Bruce Arnold for Muse Eek Publishing Inc.

Mental Practice for Musicians

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Mental Practice — The Ultimate Operational Manual for Mind-Only Rehearsal

For decades, the dominant music pedagogy has pushed a destructive myth: that mastery requires physical suffering. Musicians lock themselves away for six to eight hours a day, mindlessly repeating scales until their joints inflame. This high-tension physical grinding causes an unspoken epidemic of career-ending repetitive stress injuries.

Your instrument is completely incapable of initiating music on its own. It is a passive interface. It can only execute the precise neurological blueprints sent to it by your brain. If the blueprint in your mind is fuzzy, hesitant, or rooted in straining, your live performance will replicate that chaos.

Mental Practice shifts the bulk of your technical development straight into your mind. By firing your exact motor paths below the threshold of physical movement, you completely eliminate physical wear and tear. This is a highly disciplined, systematic program designed to clean your internal blueprints of all hesitation, allowing your hands and feet to execute music with absolute lightness and ease.

What This Systematic Mental Practice Accomplishes:

  • Builds the Virtual Instrument: Clear instructions to stabilize a blurry internal canvas into a razor-sharp, hyper-realistic internal map of your specific instrument geometry.
  • Activates Sub-Threshold Motor Firing: Teaches you to seamlessly coordinate the mechanics of both hands simultaneously using micro-gestures beneath the threshold of physical muscle contraction.
  • Leverages the Sleep Consolidation Window: Explains how to use strategic 10-to-15 minute pre-sleep rehearsal sessions to force your brain to hardwire complex phrases into long-term memory overnight.
  • Integrates Essential Prerequisite Filters: Seamlessly combines your mental workouts with Bruce Arnold’s signature Long Line Rhythm™ macro-pulse feel and core laws of musculoskeletal instrument physiology.
  • NEW – 4-Limb Drum Set Framework: A dedicated technical module built specifically to help percussionists map four-way coordination and independence entirely in the mind without a drum kit present.

Table of Contents for Mental Practice for Musicians:

  1. Introduction: The Alternative to the Grind & The Epidemic of Repetitive Stress Injuries.
  2. Chapter 1: The Mechanics of the Mental Engine
    • The Virtual Instrument: Building the Internal Map.
    • Sub-Threshold Motor Firing and Hand Synchronization (The Both-Hands Rule).
    • The Execution Sequence: Fingerings First, Rhythm Second.
    • Cognitive Endurance: Managing Mental Fatigue (The 15-Minute Ceiling).
    • Aural Proofing: The Key Center Prerequisite.
  3. Chapter 2: The Pre-Sleep Routine and Neurological Consolidation
    • The Overnight Optimization Window & REM Memory Replay.
    • Navigating the Sleep Barrier: Treating Insomnia with Focus.
    • Step-by-Step Pre-Sleep Execution Guide.
    • The 7-Day Mental Experiment: Visualizing Speed.
  4. Chapter 3: The Supporting Pillars – Rhythm Feel and Instrument Physiology
    • Pillar I: Long Line Rhythm™ – Feeling Macro Pulses vs. Counting Micro Notes.
    • The Law of Anchor Points (9-Beat & 17-Beat Trajectories).
    • Pillar II: Universal Instrument Physiology (The Home Base Technique).
    • The Forearm Law & The Middle Radius Constraint (Straight Wrist Axis).
  5. Chapter 4: Troubleshooting, Real-World Application, and Conclusion
    • Resolving the “Ghost Note” Phenomenon & Micro-Movement Freezing.
    • Moving from the Bedroom to the Bandstand: Jam Tracks & Applied Improvisation.
    • The Waking & Bedtime Daily Framework Blueprint.
  6. Chapter 5: The Invisible Filter: Understanding Context
    • The Acoustics Matrix and Sound System Interfacing.
    • The Psychological Shift: Stop Blaming Yourself.
  7. Chapter 6: The Velocity Killer
    • Consistent Note Production.
    • The Professional Approach.
  8. Appendix I: The Muse Eek Ear Training Curriculum Matrix
  9. Appendix II: Mental Practicing for the Drum Set (Four-Way Coordination Mapping)

Course Prerequisites & Recommendations:
While you do not need perfect pitch or a flawless ear to start, a solid foundation in contextual hearing is highly recommended. For optimum results, this text should be used alongside a key-center producing device like the MetroDrone® app or Long Line Rhythm, and matched with the basic aural skills found in Ear Training One Note Complete and Contextual Ear Training.

ISBN: 978-1-59489-399-5

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Status: In stock. Digital book available for immediate download.

Frequently Asked Questions

What Books do you recommend that I use with this mental practice book?

There are a lot of different books you could use here is a sampling:

Basically any book that has a lot of technical exercises in it. But really you can use this for any aspect of playing music. Memorizing lyrics, stepping through a sequence of guitar pedals, dance steps literally anything!

Is there any correspondence between how much you practice mentally and physically?

Mental practice is exponentially more effective than physical practice so 10 minutes of mental practice is like an hour of physical practice when done correctly.

I read somewhere that you use to do mental practice as you walked between classes at Berklee?

Yes i certainly did and walking is great especially if you do the exercises in your head to the rhythm of your walking pace. Not something you will be able to do right away but getting your mind to work with a physical rhythm that your body is doing is very good. That’s why drummers have such good rhythm skills!

I’m a beginner at guitar. How can I use mental practicing?

well most likely you won’t be able to do the rhythm side of mental practicing for awhile. But if you are learning a scale or a chord imagine what those notes look like on the guitar will greatly improve your progress!

Can mental practice work for anything not just music?

There was a famous Russian study where they had a group of people shoot free throw baskets with a basketball and then another group that laid down at the free throw line and imagined throwing free throw baskets. The people that laid down and imagined did far better when both groups where tested. Yes mental practicing works for anything you want to learn!

You say in the book that it will take time to master the mental practicing. In your experience how long does it take?

Students notice their ability improves in about a week but to get so you are really productive would be about a month of doing it everyday. As you can see from the book there are many other aspects like ear training, rhythm skills that go along with this so if you are deficient in these areas it could take longer.

Greatly appreciate your section in this book on “Context.” I’ve have beaten myself up for years for some of the things that are just context. I actually feel a lot of relief and wish I would have had this book years ago.

Charlie Banacos use to say that learning to play an instrument is like doing 10 years of psycho therapy :). Many problems we hide and don’t reach out to find answers. I’m glad some of the content of this book has helped you. I was lucky to have great teachers as I developed. Of course, wish I would have had them when I was a kid but better late than never!

A Proven Educational Lineage

The methods found on muse-eek.com are part of a historical musical lineage stretching back to the 18th-century masters.

By using Muse-Eek books and courses, you are now a part of this lineage—a tradition of excellence passing through legends like Charlie Banacos and Jerry Bergonzi.

    • Historically Validated
    • University-Level Pedagogy
    • Professionally Proven

VIEW THE LINEAGE CHART

Still not sure where to start? Feel free to contact us for a personalized recommendation based on your goals.

© 2026 Muse Eek Publishing Inc. All Rights Reserved | Dedicated to the pedagogical insights of Charlie Banacos.

Below is a link to my Blog where you can find out more information about this course and other courses:

Bruce Arnold's BlogRead more at Bruce Arnold’s Blog.

]]> Speed Demon https://muse-eek.com/speed-demon/ Fri, 24 Jul 2026 18:39:08 +0000 https://muse-eek.com/?page_id=1430191 Continue reading →]]> Speed Demon: Music Patterns for Extreme Technique | Muse Eek Publishing




Book cover for Speed Demon: Music Patterns for Extreme Technique by Bruce Arnold for muse-eek.com

Speed Demon: Music Patterns for Extreme Technique

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Speed Demon — Forming New Playing Patterns and Unlocking Intervallic Logic

For years, contemporary instrumentalists have been trapped by visual geometry. Fingers default to the same predictable scale boxes, familiar arpeggio grips, and step-wise linear runs that look neat on the instrument but sound completely uninspired to the listener. Speed Demon changes that by introducing a rigorous, non-linear mathematical permutation system heavily inspired by the legendary jazz educator Charlie Banacos.

By anchoring an unwavering pivot root note (“1”) and relentlessly scrambling the surrounding scale degrees through wide, angular jumps and directional waves, the visual illusions of your instrument dissolve. This course systematically uncovers your technical blind spots and replaces them with an iron-clad, physical map under your fingers.

Seven Levels of Advanced Harmonic and Structural Density

This course spans seven distinct structural layers, systematically pushing your technique through increasing levels of complexity:

  • Level 1: Diatonic Major Core. Grounds your technique inside the universal major scale template, establishing the initial physical grid.
  • Level 2: Melodic Minor Shift. Lowers the 3rd scale step to compress your layout and expand modern jazz options over altered dominants.
  • Level 3: Augmented Second Stretch. Navigates the wide, irregular three-semitone gap of the Harmonic Minor scale at blistering tempos.
  • Level 4: Hybrid Dark Layer. Blends a bright major triad with a dark minor sixth, challenging your muscle-memory adaptability.
  • Level 5: Octatonic Interlock. Symmetrical eight-tone diminished layout that completely shifts traditional numbered scale-degree index assumptions.
  • Level 6: Floating Grid. Symmetrical six-tone Whole Tone profiles that eliminate perfect fourths and fifths, creating smooth, anchorless terrain.
  • Level 7: Blues Grid – Another six note scale with incredible potential because it is based by key not by chord.

The Banacos Legacy: Built-In 3-Note Pickups

True to the pedagogical philosophy of Charlie Banacos, these exercises are built for metric flexibility and real-world improvisation. Every key signature utilizes an intentional 3-note pickup structure (consisting of an eighth-note rest followed by the last three notes of the pattern) leading directly into the core pattern. This layout forces you to navigate off-beat phrasing, maintain rock-solid rhythm, and accent smoothly across the bar line at high velocities.

How to Use This Course

The practice routine demands absolute cognitive engagement. Dedicate 15 minutes, twice a day, to these exercises. This tightly focused 30 minutes is enough to make profound progress without physical burnout. Work through every pattern across all 12 keys following the strict Circle of 5ths order, training your ears to achieve perfect key retention against the unwavering root anchor.

Example of a Blues Scale in Bb

This example uses a Bb Blues scale and repeats the 2nd measure four times. There are midifiles included that play the 2nd measure 2X or just the single 2 measure one time. This gives you a lot of flexibility. Because you can use a DAW such as Garage Band you can change the type of instrument playing the midi file and also the feel. i.e. making it a swing or straight eighth rhythm.

Keep in mind this is one page of 6 because the sequence is started on all notes of the scale. This gives you a massive amount of examples to get your blues chops screaming fast! If your reading skills are not great memorize the pattern A-M. Start slow, there are midi files so you can control the tempo at all times.

Curated PDF Workbooks & Companion MIDI Files Included

Every single level section features autonomous code infrastructure output assets:

  • Pristine Portrait PDFs: Tightly formatted vertical workbook sheets presenting exactly four measures of 2/4 per line (two keys side-by-side) with a professional “4x” or “2x” loop bracket around the core pattern.
  • Native Unfolded MIDI Files: Standard MIDI files (`.mid`) that programmatically unfold the repeat loops, yielding an exact 4x or 2x tracking sequence for every single key center.
  • Centered Publishing Footers: Every printable page includes centered publishing notation metadata matching standard library editions.

Table of Contents:

  • Foreword: The Banacos Legacy of Permutation
  • Preface: Breaking the Fret board Box
  • Introduction: What is a Speed Demon?
  • The Critical Prerequisite: Knowing Your Scales Inward and Out
  • The Practice Routine: Metronome and Improvisational Challenges
  • Level 1 to Level 6 Course Workbooks
  • Frequently Asked Questions

Contents of This Course:

  • Speed Demon Complete Method PDF (Portrait, letter-size)
  • MIDI files for all exercise permutations. 4X or 2X and single files.

Additional Content:

ISBN: 978-1-59489-294-3

Add digital copy to cart — $29.99

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Frequently Asked Questions

I picked up your speed demon course. I am wondering about daily practice routine. I would think to be systematic and cover the entire instrument for phase 1:

  • 1. play through the exercise at a slow tempo with a drone and play along with the midi file. start with ionian. work out the fingerings and picking. Find gaps and problems and fix those in isolation.
  • 2. cycle through the 7 3NPS positions
  • 3. cycle through the 7 modes of the current key
  • 4. cycle keys

Do I have this correct?

Yes that seems like a good approach. I didn’t mention in the book that articulation can also be applied. Like hammer ons, pulloffs or slides on a guitar or tonguing on a wind instrument etc. That said, many people that play fast have very little articulation unless it allows them to play the line faster. Blues guitarists commonly have hammer ons, pulloffs or slides to make a line easier to play.

So take that into consideration but overall start slow figure out how you want to play the line then start speeding it up. One thing you will probably find is as you speed up some of the ways you play something might not work so you will have to adjust along the way

Your productivity always amazes me! Do you think that this course would work well for bass too?

Yes I think it is important for bass players to read treble clef because if you are asked to play the melody to a piece of music it is often given to you in treble clef. I was thinking about making a bass clef version but just short on time right now. If you get the treble clef version I’ll send you the bass clef for free once I make it and of course that is “IF” I make it. Can’t promise right now :)

Why does this course engrave a repeat sign starting at the second bar instead of the first?

This mirrors Charlie Banacos’ exact layout rules. The first measure functions as a 3-note pickup to establish the tempo and physical trajectory off the downbeat. The second measure contains the core four-note speed demon pattern, which repeats exactly 4 times before the double-sided repeat signs move your hands to the next key signature along the wheel.

I don’t know if I have two 15 minutes slots everyday to practice Speed Demon. Do you have any recommendations for someone in my situation?

One of the best things you can do is use my Mental Practice Course. Charlie Banacos always told me to do as much mental practice as I can. You don’t need your instrument you just need to imagine the instrument in your mind and in this case practice the melodies but Mental Practicing can be used for pretty much anything.

So check out the Mental Practicing for Musicians Book, but remember, like anything you practice, it takes time to get good at it. You should find within a week or so you will see progress. I often give this idea to my students where I’d give them a hard melody and have them go home for a week and practice it, but only in their head. Then when they came for their next lesson I’d had them play it for the first time on their instrument. Many reported that they could play the melody faster than anything they had ever played and they could recall it weeks later so it was deeply embedded. Mental practicing is powerful stuff and all the great musicians I know do it everyday!!

I’m a beginner. Can I dive straight into Level 5 Symmetrical Diminished or Level 6 Whole Tone?

It is highly recommended that you master the levels in sequential order. Symmetrical layouts completely alter your finger placement choices because they break away from traditional seven-note major scale spacing. Level 1 Major and Level 2 Melodic Minor build the foundational muscle memory and relative pitch strength required to navigate those advanced grids safely. That said, if you are a more advanced player or let’s say just a blues player and that is all you want to play then by all means jump right to what interests you the most or fits into your style.

Why are there no audio mp3 play-alongs included in this version of the book?

By providing high-fidelity, unfolded Type-1 standard MIDI files instead of static audio tracks, you gain total freedom. You can import these custom MIDI patterns directly into any DAW or software sampler (like Kontakt) to instantly pick your own favorite instrument sounds, apply custom swing adjustments, and scale the playback speed to any tempo that fits your immediate practice needs. I should also mention there are a ton of midi to mp3 conversion programs out there so if you prefer an mp3 then they are pretty easy to make. Just remember it will be at one tempo only so you would have to make multiple mp3s to slowly speed up the lines.

Does this book include guitar tablature staves underneath the standard music notation?

No. This course is strictly note and interval-agnostic, using clean treble-clef notation to ensure it functions perfectly for guitarists, pianists, saxophonists, and violinists alike. Removing specific instrument finger-shapes forces you to learn the actual layout of the pitches across your entire instrument, effectively shattering your reliance on visual geometric box patterns. That said, I certainly can understand if you seldom have to sight read on the guitar you will have difficulty getting started with this course. I would still recommend you get the course and take time to figure out and memorize each melody. They are short so it should take too long to get it into your memory. Then start using the 4x midi files and build from there. It will work it just takes a little extra time for you to memorize each melodic line

I’m not sure I understand if you just practice the written parts with metrodrone and gradually speed the exercises up or do you always play with the midi file and speed that up. Also does matter what strings sets you plays on or is ok to play them in random positions the neck, ex. Around 3rd fret area etc. ?

You could approach this in multiple ways:

  • 1. Use only a Metrodrone and speed up the exercise over time
  • 2. Use the midi file and speed that up over time. This is good because it helps you hear if you are making a mistake.
  • 3. For a guitarist there will obviously be many places to play the exercise. I would pick just one and speed that up then move to another position over time.
  • 4. For guitarists I wouldn’t pick a position that is very low on the neck because it is more common to play in higher positions when soloing.
  • 5. Try to play through the entire exercise as a goal.
  • 6. Use the Mental Practice course so that you can also do this in your mind.

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    Hexatonic and Trichord Resource Guide Index

    Click any title below to jump directly to that course deep-dive.

    Beginning Methods (0 Theory)

    Theory & Reference

    Improvisational Studies

    Technique

    Guitar Studies

    Ear Training

    Composing

    Hextonic and Trichord Resource Guide by Bruce Arnold for Muse-eek.com

    Hexatonic and Trichord Resource Guide

    The Comprehensive Guide to Modern Melodic and Harmonic Mastery

    Welcome to the Hexatonic and Trichord Resource Guide, your definitive portal for mastering the “New Path” to modern improvisation. Whether you are diving deep into pitch class set theory or looking for specialized trichord ear training, this page organizes over 30 years of pedagogy into a clear, actionable roadmap.

    For a deep dive into the underlying theory, please refer to our pillar resources:
    Hexatonic and Pitch Class Set Improvisation | Hexatonics Scales the Complete Guide

    Beginning Methods

    Modern sound doesn’t have to be complicated. These courses are designed for musicians who want to start using exotic colors and contemporary textures immediately, with zero prior knowledge of Pitch Class Set theory required.

    Chord Voicings MP3 Samples Included Midi Files Included

    Applying Chord Voicings to Traditional Harmony

    Applying Chord Voicings to Traditional Harmony

    Applying Chord Voicings to Traditional Harmony

    “Applying Pitch Class Set Chord Voicings to Traditional Harmony” provides a student interested in modernizing their chord playing with four pitch class sets that effective create a new and intriguing sound for playing traditional harmony. Common jazz standards are used to give you a fresh new sound. These voicings of course could be applied to any idiom.

    Course Highlights:

    • Examples of using these pitch class set is shown through common chord progressions.
    • A Direct Application Course spending most of the time directly apply these pitch class set chords.
    • Common re-harmonization principles have been avoided so the student will find this to be a quick method in applying pitch class sets to traditional harmony
    • With marginal practice should find with that their ability to complete this book will only take a few months.

    Midi Files Included MP3 Jam Tracks Included For Piano or Guitar

    Applying 013 Chord Voicings

    Applying 013 Chord Voicings-Application of pitch class sets to traditional harmony by Bruce Arnold for Muse Eek Publishing Company Applying Pitch Class Set Chord Voicings

    Applying 013 Chord Voicings

    Applying 013 Chord Voicings bridges the gap between abstract pitch class sets and practical performance. Through 12 comprehensive études (one in every key), this course demonstrates how to apply 013 voicings to the standard II7–V7–I-7–VI7 progression. Perfect for guitarists, pianists, and composers, these lessons focus on sophisticated voice leading and re-harmonization techniques to create smooth, modern movement within traditional harmonic frameworks.

    Course Highlights:

    • Real-World Application: Master 12 detailed études (one in every key) that apply 013 voicings to the essential II-V-I-VI progression, bridging the gap between theory and performance.
    • Expert Voice Leading & Re-harmonization: Overcome the “013 challenge” with clear examples of smooth voice leading and modern tension combinations that sound professional, not just dissonant.
    • Instrument-Specific Tools: Includes specialized charts with guitar chord diagrams for easy fretting and grand staff notation for pianists, ensuring playability regardless of your primary instrument.
    • Complete Practice Suite: Train with versatile audio assets, including MIDI files for tempo adjustment and MP3s featuring bass and cymbal accompaniment for a full ensemble feel.

    Theory & Reference

    The architecture of the method. These resources provide the mathematical and structural maps for all 924 hexatonic scales and their internal trichord relationships, serving as the definitive reference for the modern improviser.

    Lists All Possible Scales Table to Find Any Scale Chord and Scale Application

    Sonic Resource Guide

    “The Sonic Resource Guide is the definitive roadmap for modern improvisation, distilling all possible pitch combinations into 220 manageable scales. This essential reference empowers musicians to derive every possible chord from any scale and master “outside” playing through advanced concepts like symmetric differences and subset groupings. Whether you are seeking new structural approaches or looking to enrich your harmonic vocabulary, this guide provides the deep technical insights needed to transform your improvisational voice.

    Course Highlights:

    • Comprehensive Scale Encyclopedia: Master all 220 possible pitch class combinations, each detailed with note names, prime forms, scale degrees, and related jazz chords for every key.
    • Advanced Improvisational Tools: Unlock “hidden” relationships within scales, including 3 and 4-note subsets and “Symmetric Difference” sets for sophisticated outside playing.
    • Bridges Theory and Performance: Translates complex mathematical set theory into user-friendly musical concepts, perfect for Jazz, Progressive Rock, and Contemporary Classical musicians.
    • Dynamic Compositional Resource: Easily create and analyze new scales on the fly using the included simplified set list index, allowing for a truly unique and varied harmonic palette.

    All Possible Chords 012 Jam Tracks and Études Chord and Scale Application

    Ultimate 3 Note Chord Lexicon Volume One “012”

    Ultimate 3 Note Chord Lexicon: Volume One, 012

    Ultimate 3 Note Chord Lexicon Volume One “012”

    The Ultimate 3 Note Chord Lexicon series moves beyond traditional chords built in 3rds to explore all 11 alternative ways to construct 3-note structures. These compact voicings are incredibly versatile, offering more substitution possibilities than larger chords across any musical style. Each volume provides specialized piano and guitar voicings, practical application charts, and études to help you master these modern sounds. (Note: Guitarists are encouraged to pair this with our Guitar Technique and Physiology course for optimal execution.)

    Course Highlights:

    • Genre-Defying Études: Master “012” pitch class sets through diverse musical styles, including Funk, Swing, and Shuffle, to see how these modern sounds work in any groove.
    • Multi-Tempo Training: Every exercise includes three progressively faster MP3s and MIDI files, allowing you to develop fluency from a slow crawl to high-speed musicality.
    • Comprehensive Ear Training: Use the included rhythm section tracks to ingrain new sounds into your “inner ear” through sight-singing, transcription, and focused listening.
    • Flexible Study Tools: Includes 12-key chord cycles for piano and guitar, bass charts for most exercises, and count-offs that establish a clear key center for every practice session.

    All Possible Chords 013 Jam Tracks and Études Chord and Scale Application

    Ultimate 3 Note Chord Lexicon Volume Two “013″

    Ultimate 3 Note Chord Lexicon: Volume Two "013"

    Ultimate 3 Note Chord Lexicon Volume Two “013″

    Volume Two: The 013 Chord Lexicon is an essential resource focusing on what is arguably the most versatile structure in modern music. Historically significant and used extensively by John Coltrane, the 013 pitch class set can replace any chord type, functioning as both a consonant and dissonant texture depending on its voicing. Because it is found within Major, Melodic Minor, Harmonic Minor, and Diminished scales, the 013 is an easy-to-play yet powerful substitution tool for every improviser.

    Course Highlights:

    • 18 Powerful Modal Frameworks: Master advanced chromatic combinations (like 027-016 and 026-026) to add modern, sophisticated “color” to any song or progression.
    • The Ultimate Chord Substitute: Learn how the “013” can replace nearly any chord type, serving as a powerful tool to modernize “tired” progressions like the I-vi-ii-V turnaround.
    • Seamless Scale Integration: Discover how to use 013s as natural substitutions for Major, Melodic Minor, and Symmetrical Diminished scales to create sophisticated, Coltrane-inspired textures.
    • Diverse Practice Études: Master seven sets of musical études covering everything from Funk to Symmetrical Diminished dominant harmony, all with included bass charts and transposition options.
    • Complete Audio Mastery: Develop fluency with three-speed MP3s and MIDI files for every exercise, allowing you to focus on ear training, transcription, or high-speed performance at your own pace.

    Midi Files Included MP3 Jam Tracks Included For Piano or Guitar

    Ultimate 3 Note Chord Lexicon Volume Three “014″

    Ultimate 3 Note Chord Lexicon: Volume Two "013"

    Ultimate 3 Note Chord Lexicon Volume Three “014″

    Volume Three: The 014 Chord Lexicon explores one of the most evocative and “edgy” structures in music. Famous for its heavy use in Thelonious Monk’s dissonant textures and Anton Webern’s compositions, the 014 is a powerhouse for modern Jazz and Heavy Metal. While primarily used as a striking dominant 7th substitute, it also functions perfectly as a Diminished 7 or Minor-Major 7 chord, making it an essential tool for creating sophisticated hexatonic scales and Symmetrical Diminished harmonies.

    Course Highlights:

    • Modernize Your Harmony: Use the “014” structure to replace tired dominant chord voicings with a sharp, evocative sound reminiscent of Thelonious Monk and Anton Webern.
    • Versatile Modal Tools: Master five sets of études that demonstrate how 014s function as Diminished 7th or Minor-Major 7th substitutes, perfect for Jazz, Blues, and Heavy Metal.
    • Integrated Skill Building: Beyond standard chord diagrams, these études are designed for ear training, sight-reading, and transcription, helping you internalize these dissonant sounds in any key.
    • Pro Practice Assets: Includes rhythm section MP3s at three different tempos and MIDI files for every exercise, plus specialized bass charts and transposed piano p

    Midi Files Included All Keys Represented Treble and Bass Clef

    COMING SOON: 924 Hexatonic Scales in All 12 Keys

    924-Hexatonic-Scales-in-all-keys

    924 Hexatonic Scales in All 12 Keys

    Finding the specific hexatonic scale you need shouldn’t be a hurdle to your practice. We’ve organized all 924 scales into a streamlined, searchable reference designed for the modern improviser. By focusing on the 50 Prime Forms, you’ll learn to see the underlying architecture behind every scale.

    Course Highlights:

    • Architectural Organization: Simplifies the massive library of 924 hexatonic scales by grouping them into 50 Prime Forms, helping you understand the underlying structure and hidden relationships between scales.
    • Comprehensive Coverage: Includes 720 permutations per scale with all 12 keys fully represented to ensure total fretboard or keyboard mastery.
    • Detailed Theoretical Analysis: Provides a deep dive into each scale with Scale Degrees, Forte numbers, and harmonic possibilities for advanced melodic organization.
    • Practical Subset Mapping: Organizes scales as subsets of common structures—such as Major, Melodic Minor, Harmonic Minor/Major, Diminished, and Whole Tone—for easier integration into your vocabulary.

    < !-- 5th THEORY AND PRACTICE: 5th THEORY AND PRACTICE BOOK-->

    Midi Files Included All Keys Represented Treble and Bass Clef

    COMING SOON: 36 Atomic Scale Permutations

    36 Atomic Scale Permutations by Bruce Arnold for Muse-eek.com

    36 Atomic Scale Permutations

    “Atomic Scales” is the definitive term for Charlie Banacos’ specialized patterns for hexatonic mastery. This course is crucial for internalizing scales by dividing them into two distinct trichords (triad pairs), providing a clear, systematic path to fluid execution.

    Course Highlights:

    • The “Atomic Scales” Method: Master Charlie Banacos’ specialized hexatonic patterns by breaking scales into two distinct trichords (triad pairs) for a systematic approach to fluid execution.
    • Comprehensive Drill Library: Includes 36 permutations per scale, meticulously transposed across every key to ensure total technical internalization.
    • In-Depth Theoretical Analysis: Gain a deeper understanding of your melodic tools with detailed breakdowns of Scale Degrees, Forte numbers, and Harmonic possibilities.
    • Universal Accessibility: Designed for all instrumentalists with complete Treble and Bass clef compatibility for every exercise.

    Midi Files Included All Keys Represented Treble and Bass Clef

    COMING SOON: 9240 Trichord Permutations

    9240 Trichord Permutations by Bruce Arnold for Muse-eek.com

    9240 Trichord Permutations

    Explore the full spectrum of 36 trichord pair permutations derived from all 924 possible hexatonic combinations. Scales are categorized into seven harmonic families (Major, Melodic Minor, Harmonic Minor, etc.) for targeted practice. Available in Treble and Bass clef with full MIDI support.

    Course Highlights:

    • Total Trichord Spectrum: Explore a massive library of 9,240 trichord pairs derived from all 924 possible hexatonic combinations, offering unparalleled melodic variety.
    • Harmonic Categorization: All scales are organized into seven primary harmonic families (including Major, Melodic Minor, and Harmonic Minor) for highly targeted and efficient practice.
    • Systematic Patterns: Features 36 distinct permutations per hexatonic scale, providing a structured path to internalizing complex interval relationships.
    • Modern Digital Integration: Includes full Treble and Bass clef compatibility for all instruments, plus complete MIDI support for seamless integration into your digital workflow.

Midi Files Included All Keys Represented Treble and Bass Clef

COMING SOON: 10 Trichord Pairs for 924 Hexatonic Scales

10-Trichord-Pairs-for-924-Hexatonic-Scales by Bruce Arnold for Muse-eek.com

10 Trichord Pairs for 924 Hexatonic Scales

A streamlined, essential listing of the 10 specific trichord pairs that comprise each of the 924 hexatonic scales. This is a vital resource for players looking to break down complex scales into manageable, “grippable” three-note cells across all keys.

Course Highlights:

  • Modular Scale Breakdown: Master the essential 10 trichord pairs for each of the 924 hexatonic scales, turning complex structures into manageable, three-note “cells.”
  • Precise Pitch Mapping: Includes detailed Pitch Class Designations and Scale Degrees for every combination to ensure exact melodic accuracy.
  • Advanced Structural Insights: Access a comprehensive technical profile for each scale, including Prime Forms and Forte numbers for deeper harmonic analysis.
  • Full Key & Digital Support: Fully transposed across all 12 keys and includes MIDI files, making it easy to practice or integrate into your digital workstation.

Midi Files Included All Keys Represented Treble and Bass Clef

COMING SOON: 924 Hexatonic Scales Grouped by Prime Form

924-Hexatonics-Grouped-by-Prime-Form by Bruce Arnold for muse-eek.com

924 Hexatonic Scales Grouped by Prime Form

Master the internal architecture of melody. By grouping all 924 scales into their 50 parent Prime Forms, this course reveals the hidden relationships between seemingly unrelated scales, allowing you to organize your harmonic vocabulary more efficiently.

Course Highlights:

  • Architectural Mastery: Master the internal structure of melody by grouping all 924 scales into their 50 parent Prime Forms, revealing the hidden relationships between seemingly unrelated sounds.
  • Efficient Vocabulary Organization: Grouping scales by shared Prime Forms allows you to categorize and internalize your harmonic vocabulary more systematically.
  • Comprehensive Technical Profile: Provides deep analytical insights for every scale, including Scale Degrees, Forte numbers, and Prime Form designations.
  • Universal Practice Tools: Every scale is represented in all 12 keys and includes MIDI files for seamless practice and digital integration.

Midi Files Included All Keys Represented Treble and Bass Clef

COMING SOON: Hexatonic Chords: Root, 1st, and 2nd Inversions

Hexatonic-Chords-Root-1st-2nd-Inversions by Bruce Arnold for muse-eek.com

Hexatonic Chords: Root, 1st, and 2nd Inversions

A complete guide to the vertical application of hexatonic scales. Learn to voice and play every possible three-note chord derived from the hexatonic system across all 12 keys and inversions.

Course Highlights:

  • Vertical Harmonic Mastery: A comprehensive guide to the vertical application of hexatonic scales, teaching you to voice and play every three-note chord possible within the system.
  • Complete Inversion Library: Master 9,240 patterns covering Root, 1st, and 2nd inversions for every trichord pair, ensuring total fretboard or keyboard fluency.
  • Structured Chord Groupings: Organizes the 924 hexatonic scales into 10 specific trichord pair groupings per scale, transposed across all 12 keys.
  • Precision Practice Tools: Includes MIDI files for every key to ensure accurate pitch representation and a streamlined practice experience.

Midi Files Included All Keys Represented Treble and Bass Clef

COMING SOON: Hexatonic Modal Sequencing of Trichords

Hexatonic-Modal-Sequencing-of-Trichords by Bruce Arnold for muse-eek.com

Hexatonic Modal Sequencing of Trichords

The first level of Charlie Banacos’ “Double Mambos” concept. This course presents six essential sequencing patterns across all keys and harmonic categories. It is the perfect entry point for musicians seeking to move past simple scale runs into sophisticated modal shapes.

Course Highlights:

  • Intro to “Double Mambos”: Master the first level of Charlie Banacos’ legendary concept, using six essential sequencing patterns to move beyond simple scale runs into sophisticated modal shapes.
  • Comprehensive Modal Permutations: Includes 6 specific modal sequencing patterns per scale, fully transposed across all 12 keys for total technical command.
  • Harmonic Framework: Scales are strategically organized by their relationship to common seven-note scales, making it easier to apply these shapes to familiar chord progressions.
  • Universal Compatibility: Written with complete Treble and Bass clef support, ensuring accessibility for all instrumentalists looking to expand their melodic vocabulary.

Midi Files Included All Keys Represented Treble and Bass Clef

COMING SOON: Hexatonic Modal Sequencing with 2-Note Approach Patterns

Hexatonic-Modal-Sequencing-of-Trichords-with-Approach-Notes by Bruce Arnold for muse-eek.com

Hexatonic Modal Sequencing with 2-Note Approach Patterns

An advanced fusion of two classic Banacos techniques. By adding approach notes to the Level 1 Atomic Scales, this course builds the “Post-Bebop” vocabulary used by icons like John Coltrane and Eric Dolphy. Gain complete control over chromaticism and scale-degree targeting.

Course Highlights:

  • Advanced Technique Fusion: Combines two legendary Banacos methods by adding chromatic approach notes to Level 1 Atomic Scales, creating a sophisticated “Post-Bebop” vocabulary.
  • Iconic Melodic Vocabulary: Master the chromaticism and scale-degree targeting techniques used by jazz icons like John Coltrane and Eric Dolphy.
  • Extensive Pattern Library: Features 12 trichord patterns utilized as approach note figures, with 6 distinct permutations for every scale to build fluid control.
  • Universal Instrumental Support: Provides complete Treble and Bass clef compatibility, making these advanced concepts accessible to all musicians.

Midi Files Included All Keys Represented Treble and Bass Clef

COMING SOON: 924 Hexatonic Triples

924-Hexatonic-Triples by Bruce Arnold for muse-eek.com

924 Hexatonic Triples

This course divides each scale into three distinct 2-note patterns. This unique approach opens up a new melodic universe, offering intervals and contours that standard scale-wise playing cannot achieve. Includes PDF and MIDI for all 12 keys

Course Highlights:

  • New Melodic Horizons: Discover a unique “Triples” approach that divides each hexatonic scale into three distinct two-note patterns, unlocking intervals and contours beyond standard scale-wise playing.
  • Extensive Permutation Library: Master 60 permutations per scale, organized into structured two-note groups to help you navigate a “new melodic universe.”
  • In-Depth Theoretical Breakdown: Includes detailed analysis of Scale Degrees, Forte numbers, and harmonic possibilities for every scale combination.
  • Full Digital & Notation Support: Features complete Treble and Bass clef compatibility, high-quality PDFs, and MIDI files for all 12 keys.

Improvisational Studies

Transform theory into melody. This section features our extensive series of études and application guides, teaching you how to use specific pitch class sets to navigate modern jazz, modal, and chromatic environments.

Midi Files Included All Keys Represented Treble Clef Études in 3/4,4/4,5/4,6/4,7/4

Time Transformation

Time Transformation by Bruce Arnold for Muse Eek Publishing Company

Time Transformation

Time Transformation is designed for students ready to move beyond conventional melodic and rhythmic patterns. This course explores a new frontier of improvisation based on contemporary pitch class sets, asymmetrical phrasing, and time-level superimposition. By utilizing 027 trichords and 12-tone aggregates, students will develop the technical and conceptual tools required for modern performance.

Course Highlights:

  • Contemporary Melodic Theory: Explore hexatonic scales and trichord-based melodic construction.
  • Advanced Rhythmic Concepts: Learn time-level superimposition and improvising across different rhythmic levels.
  • Complex Phrasing: Break away from standard patterns with targeted etudes in 3/4, 4/4, 5/4, 6/4, and 7/4 time signatures.
  • Sight Reading: Develop proficiency with etudes covering all key centers.
  • Interactive Audio Study: Practice with downloadable MP3s featuring modal vamps and superimposed metronome clicks (3 to 7 clicks per measure).

Midi Files Included All Keys Represented Treble Clef Études in 3/4,4/4,5/4,6/4,7/4

Set Theory for Improvisation Ensemble Method: Hexatonic 027 027

Set Theory for Improvisation 027 027 by Bruce Arnold for Muse Eek Publishing Company

Set Theory for Improvisation Ensemble Method: Hexatonic 027 027

The Set Theory Ensemble Book series provides a roadmap for musicians looking to break free from traditional patterns. By focusing on non-tertial melodic lines that weave in and out of tonal centers, this course teaches you the backbone of modern improvisation. Through 12 targeted etudes using 027 027 pitch class sets, you will discover fresh melodic possibilities for Major 7, Minor 7, and Dominant 7th sus4 chords.

Course Highlights:

  • Modern Melodic Construction: Develop hexatonic melodies using contemporary music theory constructs.
  • 12 Key Mastery: Includes 12 etudes (one in every key) that progress from highly diatonic to advanced non-diatonic structures.
  • Versatile Application: Learn to apply these lines over various chord types to control and explore different levels of dissonance.
  • Comprehensive Concept Study: Each etude explores unique combinations of note groupings, rhythmic density, and melodic range.
  • Foundational Learning: Perfect for students seeking a focused deep-dive into the concepts expanded upon in Time Transformation.

Midi Files Included All Keys Represented Treble Clef Études in 3/4,4/4,5/4,6/4,7/4

Set Theory for Improvisation Ensemble Method: Hexatonic 027 016

Set Theory for Improvisation 027016 by Bruce Arnold for Muse Eek Publishing Company

Set Theory for Improvisation Ensemble Method: Hexatonic 027 016

Ready to develop a groundbreaking approach to your solos? The Set Theory Ensemble Book series teaches you to build modern, hexatonic melodies using non-tertial lines that move fluidly in and out of the key center. By focusing on 027 016 pitch class sets, this volume provides the essential tools for creating sophisticated melodic lines over complex chord structures.

Course Highlights:

  • Targeted Chord Mastery: Discover highly effective melodies specifically designed for Dominant 7th, Minor 7b5, and Minor 6th chords.
  • 027 016 Pitch Class Exploration: Master 12 etudes that utilize this specific set theory construct to expand your harmonic vocabulary.
  • Progressive Difficulty: Studies range from diatonic foundations to high-level non-diatonic examples, allowing you to control the level of dissonance.
  • Dynamic Musicality: Every etude explores unique combinations of rhythmic density, metric levels, and melodic range across all 12 keys.
  • Modern Melodic Backbone: Shift away from traditional scales toward the “modern sound” used by contemporary improvisers.

Midi Files Included All Keys Represented Treble Clef Études in 3/4,4/4,5/4,6/4,7/4

Tertial Intervallics Volume One

Tertial Intervallics Volume One by Bruce Arnold for Muse Eek Publishing Company

Set Theory for Improvisation Ensemble Method: Hexatonic 027 016

Tertial Intervallics Volume One teaches you to harness the power of repetitive intervals to create cohesive, modern melodic lines. By utilizing consistent four-note structures (7th chords) over varying harmonic backgrounds, your ear begins to perceive the “pattern” as the primary logic, allowing for sophisticated movement through any key center.

Course Highlights:

  • Comprehensive Chord Coverage: Master intervallic patterns for 13 essential structures, including Δ7, -7, 7sus4, -7b5, °7, Δ7#5, Δ7#11, and more.
  • Pattern-Based Logic: Learn how to use interval repetition to make complex or “outside” melodic lines sound musically sensible to the listener.
  • Multifaceted Application: A versatile resource perfect for improving sight reading, understanding chordal relationships, and developing a contemporary intervallic vocabulary.
  • Ear Training Integration: Optimized for use with drones and vamps to help you internalize the relationship between intervallic lines and tonal centers.

Included Materials:

  • 200-Page PDF: Extensive written exercises and conceptual guides.
  • Audio & MIDI Suite: 18 MP3s and 18 MIDI files to hear patterns at various tempos and harmonic settings.
  • Rhythm Tools: Includes “Long Line Rhythm” PDF and Video to help master phrasing.
  • MetroDrone: Specialized MP3 to facilitate the recommended “drone-based” practice method.

Midi Files Included All Keys Represented Treble Clef Études in 3/4,4/4,5/4,6/4,7/4

013 Hexatonic Études: Pitch Class Set Exercises for Dominant 7th Key Center

Ultimate 3 Note Chord Lexicon

Set Theory for Improvisation Ensemble Method: Hexatonic 027 016

Unlock a modern, sophisticated sound with 013 Hexatonic Études. This course focuses on the “pivot” technique—alternating between two three-note groups (013 pitch class sets) to create fresh, non-traditional melodies. Designed specifically for Dominant 7th chords, these exercises help you break out of common patterns and master one of music’s most essential harmonic structures.

Course Highlights:

  • 336 Comprehensive Études: Explore 28 unique hexatonic scales across all 12 keys, providing a massive library of modern sounds.
  • Advanced Melodic “Pivoting”: Learn to alternate between two 013 pitch class sets (half-step and minor third intervals) for a cutting-edge improvisational feel.
  • Multi-Speed Learning: Each étude is recorded at three different tempos, making the material accessible for everyone from beginners to advanced professionals.
  • Ear Training & Key Recognition: Use these exercises to improve your ability to identify hexatonic intervals and strengthen your dominant key center recognition.
  • Sight Reading Mastery: All études are written at a 16th-note metric level, serving as an excellent daily tool for improving rhythmic reading speed.

Included Materials:

  • Digital PDF: 336 pages of exercises (one page per étude).
  • High-Quality MP3s: Audio examples for every étude at three different speeds.
  • MIDI Files: Total flexibility to practice at any tempo using your favorite software.
  • Pitch Class Set Guide: A clear explanation of how to think in and apply pitch class sets to your playing.

Midi Files Included All Keys Represented Treble Clef Études in 3/4,4/4,5/4,6/4,7/4

Symmetrical Trichord Pairs

Symmetrical-Trichord-Pairs by Bruce Arnold for Muse Eek Publishing Company Symmetrical Trichord Pairs

Symmetrical Trichord Pairs

Symmetrical Trichord Pairs is an 847-page exhaustive reference guide exploring the formation of two three-note groups with identical structures. By focusing on chord tones and available tensions (avoiding “avoid notes”), this book provides a roadmap for “safe” yet highly sophisticated modern improvisation. From the 027 structures favored by modern jazz and metal players to the dissonant 013 sets used in avant-garde rock, this book helps you find your personal sonic identity within 574 possible combinations.

Course Highlights:

  • 847-Page PDF Reference: An immense library exploring 11 different symmetrical structures across all 12 keys.
  • Iconic Sound Analysis: Learn the structures used by legends: 014 and 016 (Thelonious Monk), 013 (John Coltrane), and 037 (McCoy Tyner).
  • Practical Sequencing: Every pair is sequenced up one octave to help you visualize and execute fluid melodic lines immediately.
  • Targeted Chord Application: Focuses strictly on “tension-free” improvisation, ensuring every note you play fits perfectly over your chosen chord type.
  • Strategic Learning Path: Includes guidance on choosing structures that work across multiple chord types to maximize your practice time.

How to Master Symmetrical Pairs:

  • Versatility Training: Identify pairs that function over Major, Minor, and Dominant chords for seamless soloing.
  • Genre Adaptation: Discover which pitch class sets best fit your style, from Blues-based Dominant structures to Heavy Metal quartal (027) sounds.
  • Interval Consistency: Match specific trichords to the internal interval logic of the music you are performing.

Midi Files Included All Keys Represented Treble Clef Études in 3/4,4/4,5/4,6/4,7/4

Trichord Sweep Pairs Guitar Instrumentalist Sweep Arpeggios

Trichord Sweep Pairs Guitar Instrumentalist Sweep Arpeggios by Bruce Arnold for Muse Eek Publishing Company

Trichord Sweep Pairs Guitar Instrumentalist Sweep Arpeggios

Trichord Sweep Pairs is the ultimate resource for guitarists and instrumentalists looking to master modern sweep picking. By stacking two identical 3-note structures (trichords), this course moves past basic triads into 2,440 pages of unique, cutting-edge sweep patterns. Whether you play Jazz, Metal, or Fusion, these patterns provide a logical, mathematical approach to mastering the entire fretboard.

Course Highlights:

  • 2,440 Pages of Patterns: An exhaustive exploration of every possible sweep combination based on 12 essential pitch class sets.
  • Guitar-Specific Diagrams: Includes optimized fretboard diagrams and suggested fingerings to help guitarists implement these sweeps immediately.
  • Pitch Class Set Logic: Organized by “Prime Form” (012 through 048), allowing you to understand the internal interval relationships of every sweep.
  • Video Masterclasses: Includes 80 minutes of video, featuring live performances and demonstrations of 012, 013, 014, 015, and 016 sets.
  • Multi-Genre Application: Master the “027” and “037” sounds common in Metal and Jazz, or explore the “013” sounds used in avant-garde compositions.

What’s Included:

  • Technical PDFs: Divided into “Diagrams” (choice patterns) and “Suggested Fingerings” (all possible structures) for focused study.
  • 12 Études: Musical studies designed to help you read and apply these sweeps in real-world situations.
  • Audio Suite: 6 MP3s of professional recordings demonstrating these concepts in action.
  • Theory Guide: Simple, slow-paced video explanations of Pitch Class Set Theory—no prior theory knowledge required.

Midi Files Included All Keys Represented Treble Clef Études in 3/4,4/4,5/4,6/4,7/4

Tertial Octatonics

Tertial Octatonics by Bruce Arnold for Muse Eek Publishing Company

Tertial Octatonics

Are you ready to move past tired arpeggio patterns? Tertial Octatonics provides a modern alternative by exploring the full potential of eight-note scales. By using two tetrads (4-note chords) as a vehicle, this course teaches you how to create cutting-edge sounds over Dominant 7th and Dominant 7sus4 key centers, expanding your harmonic palette far beyond the standard diminished scales.

Course Highlights:

  • Tetrad Combination Mastery: Learn every possible way to combine two 7th chords to form unique octatonic scales.
  • 29 Octatonic Scales: Explore a vast library of scales that serve as professional alternatives for modern improvisation and composition.
  • Enhanced Chord Knowledge: Use “two tetrad” combinations to master your 7th chords while simultaneously building complex melodic lines.
  • Practical Application: Get specific hints and exercises on applying these structures to real-world chord progressions for a “modern” sound.
  • Comprehensive Reference: Detailed coverage of combinations for 11 common 7th chords, including Major 7th, Minor 7b5, Diminished 7th, and Major 7#11.

What You’ll Receive:

  • Extensive Exercise Library: Over 250 pages of possibilities and targeted exercises across all major chord types.
  • Aural Training: Specialized information on how to hear and internalize these advanced eight-note structures.
  • Practice Strategies: Clear, step-by-step guidance on how to practice and implement these scales into your playing.
  • Theoretical Foundation: Background information on the origin and construction of each octatonic scale.

Midi Files Included All Keys Represented Treble and Bass Clef

COMING SOON: 924 Hexatonics with 24 Aggregate Patterns

924-Hexatonics-with-Aggregate-Patterns by Bruce Arnold for muse-eek.com

924 Hexatonics with 24 Aggregate Patterns

Using the concept of “Symmetrical Difference,” this course presents all hexatonic scales as part of 12-tone aggregate lines. The result is a collection of melodic phrases of immense complexity and modern beauty.

Course Highlights:

  • The Symmetrical Difference Concept: Experience a modern approach that presents all hexatonic scales as part of 12-tone aggregate lines, resulting in melodic phrases of immense complexity and beauty.
  • Extensive Aggregate Library: Master 24 aggregate permutations per scale, fully transposed into every key to build a truly modern melodic vocabulary.
  • Detailed Analytical Profile: Gain deep structural insights with detailed breakdowns of Scale Degrees, Forte numbers, and Set Class listings for every scale.
  • Digital Practice Integration: Includes MIDI files for every exercise, ensuring total pitch accuracy and an efficient workflow for mastering these complex lines.

Technique

Bridging the gap between the mind and the fingers. These technical manuals focus on the physical mechanics required to execute 3-note and 6-note groupings with speed, clarity, and rhythmic precision.

Midi Files Included Technical Studies No book just exercise

ChopBusters

ChopBusters

ChopBusters

The ChopBuster series is a comprehensive collection of 18 specialized volumes designed to bridge the gap between abstract set theory and fluid physical execution. By focusing on specific pitch-class sets (such as 013, 027, and 013679) and structured “Pyramid” or “Rotation” routines, these exercises provide a systematic path to mastering modern improvisational shapes. Whether you are navigating diatonic chords of the major modes, symmetrical diminished structures, or complex trichord sequences, the series offers a rigorous workout for all instrumentalists looking to expand their technical and harmonic range.

Course Highlights:

  • Comprehensive Pitch-Class Mastery: A rigorous 18-volume series dedicated to internalizing advanced structures like 013, 025, 027, and complex hexatonic sets through targeted technical drills.
  • Multi-Dimensional Study Patterns: Features a wide variety of exercise types, including Ascending/Descending sequences, “Pyramid” routines, rotations, and octave displacements for total fretboard and keyboard fluency.
  • Harmonic & Melodic Versatility: Designed for all instrumentalists, these exercises cover everything from closed-position chord voicings for chordal instruments to sophisticated “sweeps” and modal sequences for melodic players.
  • Deep Modal Integration: Systematically explores every key and mode—including Major, Symmetrical Diminished, and more—to ensure you can apply modern intervals naturally in any musical context.
  • Integrated Digital Practice Tools: Every volume is supported by MIDI files and multi-tempo MP3s, allowing students to verify pitch accuracy, develop their ear, and progressively build speed from a crawl to professional tempos.

44 specific two-triad/trichord combinations All (Treble and Bass clef included) MetroDrone® MP3s for all 12 keys

Improvisation, Composition, Ear Training, Sight Singing

Harmonic and Melodic Equivalence

Harmonic-and-Melodic-Equivalence-Series-BUNDLE-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc-Harmonic-and-Melodic-Equivalence-Series-Series

Harmonic and Melodic Equivalence

The Harmonic and Melodic Equivalence Series is a groundbreaking collection of courses dedicated to the art of Pitch Class Set Improvisation. By isolating and exploring 44 unique two-triad and two-trichord pairs, this series provides a systematic bridge between abstract set theory and practical application. These combinations are selected specifically for their modern melodic contours and harmonic depth, reflecting the sophisticated vocabulary used by advanced composers and improvisers.

More than just a technical manual, this series serves as a high-level ear training and sight-singing resource. By working through these exercises against a fixed key center (supported by MetroDrone® technology), musicians learn to internalize complex structures without losing their harmonic anchor. Whether you are a composer looking for new textures or a performer aiming for “Post-Bebop” fluency, this series offers a unique and comprehensive path to mastery that is currently unmatched in contemporary music education.

Course Highlights:

  • Advanced Pitch Class Set Improvisation: A groundbreaking series of books exploring 44 unique two-triad and two-trichord pairs, offering a comprehensive roadmap for modern melodic and harmonic development.
  • Holistic Musical Development: While designed for advanced improvisation, these exercises serve as a powerful tool for sight singing and ear training, specifically engineered to improve key retention and intervallic awareness.
  • Systematic Key Center Mastery: Each course includes 12 MetroDrone® MP3s and specific technical exercises to help you internalize complex structures within a stable key center.
  • Practical Application & Background: Every volume includes a detailed PDF providing theoretical background and clear instructions on applying these shapes to various chord types in all 12 keys.
  • Versatile Learning Formats: Available as individual volumes or a complete bundle, each course features treble and bass clef exercises and MIDI support for all instrumentalists.

Midi Files Included Technical Studies No book just exercise

Trichord Pairs: Scale & Prime Form Reference

Trichord-Pairs-Scale-and-Prime-Form-Reference by Bruce Arnold for muse-eek.com

9240 Trichord Pairs: Scale & Prime Form Reference

This massive resource provides a “birds-eye view” of the entire 12-tone system by organizing a vast collection of trichord pairs under their respective parent scales and Prime Forms. By understanding the “parent” structure of a trichord pair, musicians can better organize their practice and see the hidden connections between different melodic shapes. This course is essential for players who want to simplify complex harmonic relationships and develop a more structured approach to modern improvisation across the entire chromatic spectrum.

Course Highlights:

  • Comprehensive Trichord Mapping: A massive library of trichord pairs systematically grouped by their parent scales and Prime Forms for a structured view of the 12-tone system.
  • Universal Harmonic Relationships: Includes all 12 trichords, meticulously categorized by their specific relationships to eight common 7th chord types to ensure practical application.
  • Detailed Structural Analysis: Features an in-depth breakdown for every combination, including precise Scale Degrees and Prime Form designations for advanced study.
  • Optimized Practice Tools: Every exercise is presented in Treble Clef and includes high-quality MIDI files to help you master these complex shapes with total pitch accuracy.

Midi Files Included Technical Studies No book just exercise

COMING SOON: Trichord Harmonic Analysis

Trichord-Harmonic-Analysis by Bruce Arnold for muse-eek.com

Trichord Harmonic Analysis

This course provides a systematic map of every three-note subset hidden within Charlie Banacos’ legendary chord tone and tension lists. Designed to help musicians “mushroom” their existing vocabulary, the system shows you how to take a simple melodic idea and transpose it onto sophisticated harmonic structures to create cutting-edge colors with ease. By bridging the gap between basic shapes and complex tensions, this resource allows you to navigate modern jazz and contemporary fusion harmonies with total confidence and a refined sonic palette.

Course Highlights:

  • Complete Harmonic Analysis: Gain a deep understanding of all 12 trichords meticulously analyzed in every key for total melodic flexibility.
  • Systematic Chord Categorization: Each of the 12 trichords is categorized by its relationship to eight common 7th chord types, making it easy to apply these shapes to standard progressions.
  • Vocabulary Expansion (Mushrooming): Learn to map simple three-note ideas onto complex tension lists to generate sophisticated, “post-bebop” melodic lines effortlessly.
  • Digital Practice Tools: Includes professional Treble Clef notation and MIDI files for every exercise to ensure absolute pitch accuracy and faster technical mastery.

Midi Files Included Technical Studies No book just exercise

COMING SOON: Turnarounds with Trichords

Turnarounds-with-Trichords by Bruce Arnold for muse-eek.com

Turnarounds with Trichords

This course is designed to bridge the gap between abstract theory and real-world performance. By applying the “mushrooming” concept to standard turnaround progressions, these etudes provide a practical path to mastering modern jazz colors. The curriculum is structured to challenge your fluency, moving from exercises with a full-measure focus to rapid, two-beat changes. This systematic approach ensures that you can navigate common harmonic shifts with the sophisticated, cutting-edge vocabulary used by today’s top improvisers.

Course Highlights:

  • Functional Progression Mastery: Bridge the gap between theory and performance by applying advanced trichord “mushrooming” techniques directly to standard turnaround patterns.
  • Progressive Rhythmic Challenges: Develop fluid execution by moving from full-measure focus to rapid two-beat changes, ensuring you can handle fast-moving harmonic environments.
  • Internalize Modern Colors: Learn to naturally weave sophisticated jazz and post-bebop colors into your improvisations through targeted, musical etudes.
  • Digital Practice Support: Includes MIDI files for every exercise, allowing you to practice at any tempo and verify your pitch accuracy in every key.

Guitar Studies

Fretboard-specific mastery. These resources translate complex hexatonic concepts specifically for the guitar, focusing on unique fingerings, arpeggio shapes, and fretboard visualization techniques.

Midi Files Included Technical Studies No book just exercise

COMING SOON: 013 Hexatonic Études for Dominant 7th

Turnarounds-with-Trichords by Bruce Arnold for muse-eek.com

013 Hexatonic Études for Dominant 7th

Unlock the potential of the most influential pitch class set in modern jazz and contemporary music. This course provides a deep dive into the 013 structure, specifically targeting its application over Dominant 7th chords to create high-level melodic vocabulary. Through a series of specialized études, you will learn to navigate these sophisticated shapes with confidence, gaining the “cutting-edge” sound used by elite modern improvisers to break away from traditional scale-based playing.

Course Highlights:

  • Contextual Application: Master the 013 pitch class set through musical études written over standard vamps and progressions, ensuring immediate real-world usability.
  • High-Level Melodic Vocabulary: Develop sophisticated lines specifically designed for Dominant 7th chords, providing you with modern “post-bebop” colors that cut through any musical mix.
  • Rhythmic Diversity: Move beyond predictable eighth-note patterns with modern phrasing and rhythmic variations that reflect contemporary improvisational styles.
  • Massive Audio Support: Includes an expansive library of over 12,000 MP3s, serving as a powerful tool for both ear training and immersive play-along practice.

Ear Training

If you can’t hear it, you can’t play it. Using the renowned Muse-Eek method, these courses train your ear to recognize modern tonal relationships and internalize the unique “colors” of every trichord and hexatonic scale.

MP3 Files Included Ear Training Studies An Important Ear Training Course

COMING SOON: SerialEar: The Tonal Relationship Method

Turnarounds-with-Trichords by Bruce Arnold for muse-eek.com

SerialEar: The Tonal Relationship Method

Inspired by the legendary Charlie Banacos, SerialEar is a transformative ear training method that moves beyond isolated intervals to teach you how to hear the fundamental three-note “DNA” of modern music. By practicing these sounds against a constant drone, you learn to map the entire 12-tone clock relative to a singular harmonic “Home.” This course functions as a daily meditation on resonance, designed to create total transparency between your ear, your mind, and your instrument. It is an incredibly rich resource that bridges the gap between pure ear training and high-level improvisation, allowing you to master every possible three-note combination found in music.

Course Highlights:

  • Beyond Interval Training: Move past “intervals in a vacuum” to internalize the 3-note DNA that forms the building blocks of modern harmonic structures.
  • Relative Pitch Mastery: Map the 12-tone clock against a fixed drone to develop a deep, visceral understanding of how every note resonates relative to a tonal center.
  • Dual-Purpose Practice: Use these files as a powerful ear training tool or as a play-along resource to improve your ability to improvise around any 3-note combination.
  • Total Musical Transparency: A “daily meditation” on sound designed to remove the barriers between what you hear in your head and what you execute on your instrument.

Advanced Identification 9240 Files

2. COMING SOON: Hexatonic One-Note Ear Training

A high-level challenge for the serious ear. You are presented with a trichord-pair key center—ranging from standard progressions to highly dissonant clusters—and asked to identify a single pitch. This builds the ability to recognize tonal centers in even the most exotic harmonic environments.

 

Composing

Beyond improvisation. Explore how to use these modern tools to craft original music, using symmetrical logic and set theory to develop a unique and sophisticated compositional voice.

MP3 Files of Compositions Composing Studies Scores for Compositions

Tools for Modern Improvisation

cover for Tools for Modern Improvisation by Bruce Arnold exploring hexatonic and pitch class set uses for composition and improvisation

Tools for Modern Improvisation

This course is a comprehensive collection of the advanced methods I’ve employed over the last 25 years to push the boundaries of improvisation. It bridges the gap between high-level theory and practical facility, providing technical exercises, scores from my original compositions, and 20 audio recordings to demonstrate these systems in rock, blues, jazz, and classical idioms.

Course Highlights:

  • 23rd Chords: A 12-tone aggregate technique learned from Charlie Banacos, including 10,368 pages of facility exercises and 12-tone combination PDFs.
  • Extensive Pitch Class Set Analysis: In-depth application and etudes for 013, 014, 015, 016, 025, 026, and 027 sets.
  • Composition Scores & Transcriptions: Full scores for “Blue Eleven,” “12 Tone Boogie,” “Blue Lotus,” and a transcribed guitar solo for “A Few Dozen.”
  • Modern Standards: Solo guitar arrangements for “Stella by Starlight” and “A Child is Born” using modern applications.
  • 12-Tone Boogie: Practical facility exercises with specific fingering included for guitarists.
  • Application Charts: Master guides showing how to apply various pitch class sets to chords in all twelve keys.
  • Advanced Scale Theory: Detailed lessons on Symmetrical Diminished scales, altered dominants, and intervallic applications.

Midi Files Included MP3 Audio of Compositions Scores for Compositions

My Music: Exploration in the Application of 12 Tone Technique to Jazz Composition and Improvisation

book cover for My Music: Explorations in the application of 12 tone techniques to jazz composition by Bruce Arnold for Muse Eek Publishing Company

My Music: Exploration in the Application of 12 Tone Technique to Jazz Composition and Improvisation

Achieve a strikingly original sound by applying late 20th-century 12-tone compositional methods to jazz improvisation. Bruce Arnold explains how to move past traditional tertial harmony using trichords to create fresh, non-standard musical structures. Whether you want to replace traditional chords entirely or find sophisticated substitutes for forms like the 12-bar blues, this book provides a highly organized roadmap for the contemporary composer and improviser.

Course Highlights:

  • Pitch Class Set Application: In-depth use of sets 013, 014, 015, 016, and 027 in live improvisational settings.
  • Trichord Harmony: Methods for using four-trichord arrays and non-symmetrical groupings to replace standard chord voicings.
  • 23rd Chords: Sophisticated 12-tone aggregate techniques applied to modern jazz composition.
  • Serial Improvisation: Techniques for creating “pseudo 12-tone improvisational fields” that move beyond typical chord charts.
  • Reimagined Standards: Applications of trichord structures to classic forms like Giant Steps and the 12-bar blues.
  • Scores & Audio: Includes full scores for all discussed compositions and accompanying audio files (MP3 for digital, CD for physical).
  • Theory Simplified: Clear explanations of Post-Tonal Theory and Integer Notation for the practical musician.

Pitch Classes used in Each Composition MP3 Audio plus some Video Scores for Compositions

Bruce Arnold Composition Compilation 2nd Edition

Book cover for Bruce Arnold Composition Compilation by Bruce Arnold for Muse Eek Publishing

Bruce Arnold Composition Compilation 2nd Edition

Spanning nearly 30 years of creative output (1990–2018), this collection features 90 compositions across a vast landscape of styles, including Jazz, Funk, Rock, Metal, Country, and Blues. This is an essential resource for any musician looking to see the real-world application of Pitch Class Set theory, with many charts including specific set listings and improvisational guides used by Bruce Arnold himself.

Course Highlights:

  • 90 Full Compositions: A massive library of music ranging from trio settings to intricate solo guitar pieces.
  • Pitch Class Integration: Most charts supply the specific sets used for construction, providing a direct roadmap for improvisers.
  • Multi-Genre Application: Demonstrates how 12-tone and serial techniques can be applied to everything from “WoodPecker Blues” to Metal and Modern Jazz.
  • Interactive Audio/Video: The Audio and Video edition includes a full live performance at the Provincetown Playhouse.
  • Cross-Referenced Study: Designed to work alongside Tools for Modern Improvisation and My Music for deep-dive technical study.
  • Comprehensive 013 Blues: Includes a complete series of 013-based Blues compositions in all twelve keys.

]]> Segmenting Bebop Scales with Approach Notes https://muse-eek.com/segmenting-bebop-scales-with-approach-notes/ https://muse-eek.com/segmenting-bebop-scales-with-approach-notes/#respond Wed, 11 Jun 2025 02:16:53 +0000 https://muse-eek.com/?p=1428435 Continue reading →]]>

Segmenting Bebop Scales with Approach Notes by Bruce Arnold

by Bruce Arnold

124 Eight Note Scales with 12 Diatonic and Chromatic Approaches

is part of the: Octatonics Courses

Add digital copy to cart – $19.99

 

Buy this course at Bruce Arnold’s Patreon Page

Segmenting Bebop Scales with Approach Notes by Bruce Arnold for Muse Eek Publishing Inc. uses the same 124 octatonic (eight note) scales as the “Segmenting Bebop Scales” course. The main difference is the inclusion of 11,904 PDFs and Midi files for the exercises and an explanation of approach notes. “Segmenting Bebop Scales with Approach Notes” will of course get you using approach notes but it will also change your ability to play over chord changes and more importantly, how it will change your phrasing.  This course is part of a series of books on octatonics

The use of approach notes with these segmented Bebop scales requires a whole new set of skills which will become apparent as you read through the course. If you haven’t worked with approach notes previously you will find this will be a pretty step learning curve especially when you start applying these figures within real music.

I spent many years working on the similar rote exercises as found in this book. I also spent a lot of time applying these figures to jazz standards. Most of the chord progressions I used were from the Bebop lexicon; songs such as “Confirmation,” “Donna Lee,” and Rhythm Changes. It is also a great idea to play these progression in all 12 keys.

You will quickly find that not only do these segmented Bebop scales with approaches gives you a strong “Jazz Sound” but they also help your understanding phrasing in a whole new way. By anticipating the segmented Bebop line you create a whole new way to phrase. More on this in the course.

With the addition of this course you now have three method books that you can use to get a deeper understanding of Bebop scales and two different ways to play them, with and without approaches.

It’s also important to do some ear training with these “Segmenting Bebop Scales with Approaches”. My teachers had me play but also sing these segmented Bebop scales with approaches all in one key. So for instance, if you were playing these over “Donna Lee” you would sing all the segmented scales in the key of Ab. This will not be easy for most musicians but will really ingrain the information and help improve your key retention.

Below is an excerpt from the Foreword of “Segmenting Bebop Scales with Approach Notes” 

“Segmenting Bebop Scales with Approach Notes” is very similar in written content to the “Segmenting Bebop Scales” course. The main difference is the inclusion of 11,904 PDFs and Midi files for the exercises and an explanation of approach notes. Although the application of Bebop scales with approaches is very similar to the directions used for the “Segmenting Bebop Scales” course, one of the crucial differences is how this course will change your ability to play over chord changes and more importantly, how it will change your phrasing.

The use of approach notes with these segmented Bebop scales requires a whole new set of skills which will become apparent as you read through the course. If you haven’t worked with approach notes previously you will find this will be a pretty step learning curve especially when you start applying these figures within real music.

I spent many years working on the similar rote exercises as found in this book. I also spent a lot of time applying these figures to jazz standards. Most of the chord progressions I used were from the Bebop lexicon; songs such as “Confirmation,” “Donna Lee,” and Rhythm Changes. It is also a great idea to play these progression in all 12 keys.

You will quickly find that not only do these “Segmenting Bebop Scales with Approach Notes” gives you a strong “Jazz Sound” but they also help your understanding phrasing in a whole new way. By anticipating the segmented Bebop line you create a whole new way to phrase.

With the addition of this course you now have three method books that you can use to get a deeper understanding of Bebop scales and two different ways to play them, with and without approaches.

It’s also important to do some ear training with these segments. My teachers had me play but also sing these segmented Bebop scales with approaches all in one key. So for instance, if you were playing these over “Donna Lee” you would sing all the segmented scales in the key of Ab. This will not be easy for most musicians but will really ingrain the information and help improve your key retention.

This course contains a lifetime of practice. Mastering 124 segmented Bebop scales will take many years. I recommend you use some of the popular Bebop scales first and then branch out over time to some of the more esoteric examples.

You can find out more information on this course at Bruce Arnold Blog

Segmenting Bebop Scales with Approach notes by Bruce Arnold

 

Table of Contents:

Segmenting Bebop Scales with Approach Notes
Common Bebop Scales
Approach Notes
Course Breakdown
124 Bebop Scales
Bebop Scales and Chords They Work Over
How to Practice with this Course
Segmenting Bebop Scales with Approaches
Conclusion

 

List of Contents for Segmenting Bebop Scales with Approach Notes Course:

 
62 Page PDF
 
Ascending Bebop Lines with 12 Different Chromatic Approaches all keys 124 Scales
 
Ascending Bebop Lines with 12 Different Diatonic Approaches all keys 124 Scales
 
Descending Bebop Lines with 12 Different Chromatic Approaches all keys 124 Scales
 
Descending Bebop Lines with 12 Different Diatonic Approaches all keys 124 Scales

Jam Tracks V1 (MP3’s of 10 chord types in all 12 keys)

ISBN: 978-1-59489-290-5

 

What people are saying:

OK I got a sneak preview of this course from Bruce.  This is a heavy weight look at the ultimate way to play Bebop Scales.  Bruce said he learned the concept from the great tenor player Jerry Bergonzi back in the day.  Bruce Arnold also said it really helped him to play over jazz tunes but also totally revolutionized his phrasing.  Highly recommend!. J. Johnson

Totally killing course.  I think this is my favorite in the Bebop Series.  I’ve worked with Bruce’s Approach Note course so this is really great to dig into some more esoteric Bebop Scales.  Love the idea of using these types of scales in a more modern way. T. Barnett

OK this is it.  If you want to get Bebop Scales into your playing this mammoth undertaking will get you there.  The hippest thing for me is taking some of these esoteric Bebop scales and applying them to dominant chords.  Holy Crap that sounds great!  A. Victors

A Proven Educational Lineage

The methods found on muse-eek.com are part of a historical musical lineage stretching back to the 18th-century masters.

By using Muse-Eek books and courses, you are now a part of this lineage—a tradition of excellence passing through legends like Charlie Banacos and Jerry Bergonzi.

  • Historically Validated
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Segmenting Bebop Scales with Approach Notes by Bruce Arnold for Muse Eek Publishing Inc.

Bruce Arnold Guitarist and Author

]]> https://muse-eek.com/segmenting-bebop-scales-with-approach-notes/feed/ 0 Octatonics https://muse-eek.com/octatonics/ https://muse-eek.com/octatonics/#respond Mon, 09 Jun 2025 18:53:58 +0000 https://muse-eek.com/?p=1428355 Continue reading →]]>

Octatonics and courses dealing with Octatonic Scales, Chords, Tetrads and Bebop Scales by Bruce Arnold for Muse Eek Publishing Inc.

Octatonics

Series

Octatonics Series is a groups of books written by Bruce Arnold dealing with Octatonic (eight note) scales.  This is a vast subject that is seldom covered by other music publishers and is long overdue.   I will be adding the various courses to this page over time.

The first series of books will cover:  Bebop Scales 124 Bebop Scales, Segmenting Bebop Scales, Segmented Bebop Scales with Approaches, Octatonic Chords and 495 Octatonic Chord Scales.

Background on Octatonic Series

Two of the most commonly used octatonic scales are the diminished and symmetrical diminished scales.  These two scales are some of the most useful scales in an improvisers toolkit.  But there are many more eight note scales such as the passing diminished scales, Bebop scales and others that are useful to create a unique sound.

There are 495 possible eight note scales.  Some of these octatonic courses deal with all 495 scales while others look at a subset (124) scales that I’ve found useful.  Bebop scales are also covered in this series.  It is common to use about 10-15 Bebop scales but if you follow the logic of Bebop scale production there are actually more like 124 Bebop scales that can be useful in improvisation and composition!

The study of the diatonic chords of octatonic scales is also a subject seldom covered.  I’ve created a book of the diatonic 3 and 4 note chord voicings covering 124 octatonic scales.  Learning these chords will really help you hear, retain and use octatonics in a more creative and musical way.

Many of the courses contain music examples written on a music staff and include midi files so you can hear the examples, while other courses just contain lists of scales either as degrees and/or pitch class sets.  See each specific course for a list of contents.

Bebop Scales 124 Bebop Scales and Their Application

Go to Order Page – $19.99

 

Purchase on Bruce Arnold’s Patreon Page

 

Bebop Scales: 124 Bebop Scales and Their Application

This course works with 124 Bebop scales but is also an overview of future courses.  Bebop scales are some of the most commonly known octatonic scales and are one of the techniques used by jazz musician to create a “Bebop Sound.”  They are used in a very specific way so they are in a special class of eight note scales. 

Most musicians are familiar with a small subset of Bebop scales.  This course looks at the common Bebop scales as well as many more. You can see from the Table of Contents below that many aspects of Bebop scales are covered as well as an introduction to some of the future courses which cover; Segmenting Bebop scales and Segmenting Bebop scales with Approaches.

The other courses mentioned above will really help you to see all the applications of Bebop scales and are very important concepts to grasp their full potentials. Overall this is a great course to get started learning Bebop Scales, understanding their use and seeing future ways that you can practice and apply them.

Table of Contents:

Bebop Scales
Common Bebop Scales
Course Breakdown
29 Octatonic Scales
Seventh Chords Continued
124 Bebop Scales
Chromatic Modes of Bebop Scales
Bebop Scales and Chords They Work Over
495 Eight Note Scales with Prime Form
How to Practice with this Course
Segmenting Bebop Scales; an introduction
Approaching Bebop Scales; an introduction
Going Beyond Bebop Scales
Diatonic Chords of Eight Note Scales; an introduction
Chord Tones and Available Tensions
Passing Diminished
Chords Derived from an Eight Note Scale; an introduction
Application of Eight Note Scales; an introduction

As you can see from the TOC this course goes explores Bebop Scales on a very deep level.  It also includes references to Pitch Class Set Theory so that you can see how all scales are related back to the 29 Eight Note Scale Prime Forms.

List of Contents for the Bebop Scale Course:

95 Page PDF

All 495 Eight Note Scales in all keys with midi files.

Jam Tracks V1 (MP3’s of 10 chord types in all 12 keys)

 

Segmenting-Bebop-Scales-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc.

Segmenting Bebop Scales 124 Ascending and Descending Permutations

Go to Order Page – $19.99

 

Purchase at Bruce Arnold’s Patreon Page

Segmenting Bebop scales is a crucial part of using these scales effectively. As you learned in the “124 Bebop Scales” course, Bebop scales are eight note scales where there is an added note, usually from a common seven note scale. When musicians apply Bebop scales they tend to gravitate towards the segment of the scale that contains the added note because otherwise the Bebop effect is lost.

In this course you will be working with the additional folders for the ascending and descending segments of each Bebop scale. These files present the segmented Bebop scale in 12 keys for all 124 Bebop Scales.  I’d recommend starting with the more common Bebop scales which are listed on page 2.  I would learn to segment two or three Bebop scales before moving on the “Segmenting Bebop Scales with Approach Notes.“

You will quickly find that not only do these segmented Bebop scales give you a strong “Jazz Sound” but they also help your understanding of time and groove. In the traditional way of using these scales you need to put the chord tones of the Bebop scale on the beat. This takes a while especially if you have never thought of playing scales this way.

The meat of this course is found in the segmentation of the Bebop scales found in the additional files with this course.  Being able to segment a Bebop scale means you know the scale in a much deeper way.   Being able to start in 4 different places within the scale will prepare you for the next course “Segmenting Bebop Scales with Approach Notes.”

 
 

Table of Contents:

Segmenting Bebop Scales
Common Bebop Scales
Course Breakdown
124 Bebop Scales
Bebop Scales and Chords They Work Over
How to Practice with this Course
Segmenting Bebop Scales Examples
Conclusion

List of Contents for Segmenting Bebop Scale Course:

 
60 Page PDF
 
124 Bebop Scales Ascending (248 pages) with midi files
 
124 Bebop Scales Descending (248 pages) with midi files
 
Jam Tracks V1 (MP3’s of 10 chord types in all 12 keys)

ISBN: 978-1-59489-289-9

Go to Order Page – $19.99

 

Purchase at Bruce Arnold’s Patreon Page

Segmenting Bebop Scales with Approach Notes

Go to Order Page – $19.99

 

Purchase at Bruce Arnold’s Patreon Page

“Segmenting Bebop Scales with Approaches” is very similar in written content to the “Segmenting Bebop Scales” course. The main difference is the inclusion of 11,904 PDFs and Midi files for the exercises and an explanation of approach notes. Although the application of Bebop scales with approaches is very similar to the directions used for the “Segmenting Bebop Scales” course, one of the crucial differences is how this course will change your ability to play over chord changes and more importantly, how it will change your phrasing.

The use of approach notes with these segmented Bebop scales requires a whole new set of skills which will become apparent as you read through the course. If you haven’t worked with approach notes previously you will find this will be a pretty step learning curve especially when you start applying these figures within real music.

I spent many years working on the similar rote exercises as found in this book. I also spent a lot of time applying these figures to jazz standards. Most of the chord progressions I used were from the Bebop lexicon; songs such as “Confirmation,” “Donna Lee,” and Rhythm Changes. It is also a great idea to play these progression in all 12 keys.

You will quickly find that not only do these segmented Bebop scales with approaches gives you a strong “Jazz Sound” but they also help your understanding phrasing in a whole new way. By anticipating the segmented Bebop line you create a whole new way to phrase. More on this in the course.

With the addition of this course you now have three method books that you can use to get a deeper understanding of Bebop scales and two different ways to play them, with and without approaches.

It’s also important to do some ear training with these segmented Bebop Scales. My teachers had me play but also sing these segmented Bebop scales with approaches all in one key. So for instance, if you were playing these over “Donna Lee” you would sing all the segmented scales in the key of Ab. This will not be easy for most musicians but will really ingrain the information and help improve your key retention.

 

Table of Contents:

Segmenting Bebop Scales with Approaches
Common Bebop Scales
Approach Notes
Course Breakdown
124 Bebop Scales
Bebop Scales and Chords They Work Over
How to Practice with this Course
Segmenting Bebop Scales with Approaches
Conclusion

 

List of Contents for Segmenting Bebop Scales with Approaches Course:

 
62 Page PDF
 
Ascending Bebop Lines with 12 Different Chromatic Approaches all keys 124 Scales
 
Ascending Bebop Lines with 12 Different Diatonic Approaches all keys 124 Scales
 
Descending Bebop Lines with 12 Different Chromatic Approaches all keys 124 Scales
 
Descending Bebop Lines with 12 Different Diatonic Approaches all keys 124 Scales

Jam Tracks V1 (MP3’s of 10 chord types in all 12 keys)

ISBN: 978-1-59489-290-5

Go to Order Page – $19.99

 

Purchase at Bruce Arnold’s Patreon Page

 

495-Eight-Note-Scales-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc.

 

495 Eight Note Scales in all 12 keys

 

Go to Order Page– $24.99

 

Buy on Bruce Arnold’s Patreon Site

 

The best way to start this course is to pick an octatonic scale and learn it on your instrument. Sing it over a drone, and explore the chord voicings for the scale. The symmetrical diminished or diminished scale will of course be on of the first scales students work on because it is so prevalent in contemporary music. It will give you a sense of improvement quickly, and that will encourage you to take things further.

On the first few pages I’ve presented a lot of ways you could approach this course and a series of lists that can help explore eight note scales and the chords that can be used with them.

This course looks at 495 octatonic scales, their internal structure, which chords they can be played over and much more information to help you organize your study. These 495 possible eight note scales can be reduced down the 29 prime forms using pitch class set theory that can be helpful when you are organizing how these octatonic scales interrelate. I’ve include references to these throughout this course. The pitch class set theory information is by no means crucial to working with this course but over time you will see its usefulness. If you want to learn more about pitch class set theory and how it can be used by an improvising musician I recommend the “Sonic Resource Guide.”

Included in this course is a list of compositions by various composers who have used octatonic scales. I highly recommend listening to this music to give you ideas and inspiration. You should also check out the music and improvisations of guitarist Alan Holdsworth. His use of octatonic scales in his compositions and improvisations is one of the reasons his music sounds so unique.

This course also contains a list of the two tetrad (4 note) chords that form the complete eight note scale. This list shows the Two Tetrad combinations for the 29 possible pitch class sets. This list comes from the “Sonic Resource Guide” which I highly recommend if you want to dig deeper into all scales. The Two Tetrad list can be used to find two four note structures that contain all the notes of an eight note scale. In any case these chord structures will help to give you the “octatonic sound” and get past some of the common pitfalls.

It’s also important to do some ear training with these segmented Bebop Scales. My teachers had me play but also sing these segmented Bebop scales with approaches all in one key. So for instance, if you were playing these over “Donna Lee” you would sing all the segmented scales in the key of Ab. This will not be easy for most musicians but will really ingrain the information and help improve your key retention.

Read More about 495 Eight Note Scales in All 12 Keys at Bruce Arnold’s Blog

495 Eight Note Scales in all 12 keys from Bruce Arnold's Blog

Table of Contents:

Composers and Musicians that have used Octatonic Scales
495 Eight Note Scales
How to Work with this Course
“Derivative” Composition
Chords and Available Tensions
Ways to Implement Diatonic Octatonic Chords
495 Eight Note Scales with Prime Form
Diatonic Chords of Eight Note Scales
Diatonic Chords of the Key of C
Conclusion

 

List of Contents for 495 Eight Note Scales Course:

 
24 Page PDF
 
“Octatonics Prime Form, Degrees, Forte Number, Chord Application” PDF 260 pages
 
495 Scales with All 12 Chromatic Modes
 
All 495 Eight Note Scales in all keys 372 Pages of PDFs with Midi Files
 
All 495 Eight Note Scales in all Keys Ascending-Descending 744 Pages of PDFs with Midi Files
 
29 Two Tetrad Combinations 29 Eight Note Prime Forms 29 Page PDF
 
Three Tetrad Combinations Page 30-58 of above PDF.

Jam Tracks V1 (MP3’s of 10 chord types in all 12 keys)

ISBN: 978-1-59489-292-9

Add digital copy to cart – $24.99
 
 
 

Octatonic-Chords-124-Diatonic-Chords-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc.

Octatonic Chords

Diatonic Chords for 124 Eight Note Scales

 

Add digital copy to cart – $24.99

 

Buy on Bruce Arnold Patreon Site

I recommend working with this course in tandem with the Bebop Scale Courses or the 475 Octatonic Scales book.  Learning to hear the harmony for eight note scales in crucial to using them musically.  I’ve also included some very useful information on how you might approach using not only the chords but the eight note scales in a musical way and some of the pitfalls that you might encounter.

This course takes a subset of the 495 possible eight note scales and looks at diatonic chords found in 124 octatonic scales. Some of these scales have been chosen because they are commonly used, like the diminished scale. Others are typical Bebop scales while others are scales that I have found interesting, but are also part of other courses I’ve created such as the series of books on Bebop scales.

This course looks at the 3 and 4 note chords derived from these 124 octatonic scales in several ways. The 3 note diatonic chords are grouped by root, 1st and 2nd inversion, while the 4 note chords are grouped by root, 1st, 2nd and 3rd inversion but also include these voicings ascending through each eight note scale. In all of these cases you will find all 3 and 4 note chord voicings in all keys so it’s a quite a large resource that makes it very easy to organize and dig into the chords quickly.

Midi Files are included for all exercises so you can listen to these chord voicings.  I would highly recommend singing through these voicings and singing the scale over these voicings as an ear training exercise.  This will really help to ingrain the sound of the chords.

Bruce Arnold's Blog

 

Read more about this book, other eight note scale and Bebop Scale books and more at Bruce Arnold’s Blog.

Table of Contents:

Composers and Musicians who have used Octatonic Scales
Diatonic Octatonic Chord Voicings
Course Breakdown
Ways to Implement Octatonic Chords
Two Trichords from an Octatonic Scale
Two Tetrads from an Octatonic Scale
29 Octatonic Scales
124 Octatonic scales Used in this Book
Bebop Scales and Chords They Work Over
495 Eight Note Scales with Prime Form
Chords and Available Tensions
Chords Derived from an Eight Note Scales
Conclusion

List of Contents for the Octatonic Chord Course:

 
73 Page PDF
 
Octatonic Chords 4 Note Ascending for 124 Scales: Root, 1st, 2nd and 3rd Inversions 1860 Pages plus Midi Files
 
Octatonic Chords All 4 Note Chords for 124 Scales: 620 pages plus Midi Files
 
3 Note Diatonic Chords for 124 Scales: Root, 1st and 2nd Inversion 372 Pages with Midi Files
 
All 495 Eight Note Scales in all keys.  372 Pages with Midi Files

ISBN: 978-1-59489-291-2

Add digital copy to cart – $24.99
 
 
 
These books are all part of the Pitch Class Set Improvisation Series

A Proven Educational Lineage

The methods found on muse-eek.com are part of a historical musical lineage stretching back to the 18th-century masters.

By using Muse-Eek books and courses, you are now a part of this lineage—a tradition of excellence passing through legends like Charlie Banacos and Jerry Bergonzi.

  • Historically Validated
  • University-Level Pedagogy
  • Professionally Proven

VIEW THE LINEAGE CHART

Octatonics by Bruce Arnold

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]]> https://muse-eek.com/octatonics/feed/ 0 Electronic Music Essentials https://muse-eek.com/electronic-music-essentials/ https://muse-eek.com/electronic-music-essentials/#respond Wed, 26 Apr 2023 17:17:08 +0000 https://muse-eek.com/?p=12857 Continue reading →]]>

Electronic Music Essentials

Status: In stock, Digital book is available for immediate access.

Electronic Music Essentials

Electronic Music Essentials is a reference book for students who want to find BASIC information on various types of gear associated with electronic music. It is not meant as a detailed study of any of the equipment listed below. Each topic below is explained in easy to understand language, in many cases settings on gear for live and studio use is given to produce different effects.

A list of current rackmount, software and pedal gear that I recommend is given for each device. Again, if you know all the gear listed below and how it all operates this is NOT the course for you. This course is meant for students who want to find out basic information on the topics below which is presented in easy to understand language with the least amount of “letters” and “numbers” that require higher knowledge on acoustics, electrical engineering etc… The topics covered include:

  • Delays.
  • Compressors and Limiters.
  • Equalizers.
  • Filter Effects.
  • Exciter.
  • Reverbs.
  • Noise Gate.
  • Loopers.
  • Pitch Shifting.
  • Synthesis.
  • Reverbs.
  • Ring Modulator.
  • Eurorack.
  • VCVRack.
  • MIRack.
  • Computer Software.
  • MIDI.
  • MIDI Controllers.
  • Mixers.
  • Digital Audio Interface.
  • Amplifiers.
  • Distortion Pedals.
  • Digital Audio Workstation (DAW).
  • 500 Series Modular Equipment.
  • Plug-ins.
  • Microphones.
  • Preamps.
  • Signal Path.
  • Cables for Audio and Video Production.
  • Data Cables.
  • Power Supplies.
  • Basic Directions for VCVRack and MIRack programs.

VCVRack and MIRack

Many of the topics listed above have audio examples that can be played using two FREE programs that you need to download separately and install on your computer (Mac or Windows) or smart device i.e. iphone/ipad. VCVRack and MIRack are the two programs to use. I’ve included multiple examples of many of the effects listed above so that you can not only hear audio examples but use them in composing, recording or live performance.

VCVRack works with both Mac and Windows and MIRack works with Iphone and Ipad only. Again, I’ve include many “patches” for these two programs that demonstrate the sound of various equipment as well as other patches. Some of the possible uses of these two programs are:

  • Hearing the sounds generated by various equipment effects and synthesizer gear.
  • Using MIDI Controllers to play various sounds for your audio productions both in the studio and live performance.
  • Using your instrument to play sounds found in VCVRack or MIRack via a Digital Audio Interface (you need to buy a Digital Audio Interface in order to do this! But there are many cheap ones nowadays.).
  • Use VCVRack as a stereo recorder or even multi-track recording. Again requires a Digital Audio Interface.
  • Create graphic videos of your audio input to post on youtube or use at your live gigs.
  • Many patches in VCVRack and MIRack include a keyboard so you can play sounds directly.

Additional Resources

I’ve also included in this downloadable package various help files to further educate you on electronic music or provide you with quick access to additional resources. These include:

  • Thousands of samples to be used with various modules that require samples such a granulators and sample based effects units.
  • A course on learning subtractive synthesis.
  • Plug-ins folder for the VCVRack examples which will save you tons of time getting started.
  • MIRack examples of many effects units, synthesizers, sequencers and other interesting sounds.
  • Basic directions for installing VCVRack are found on the last few pages of the “Electronic Music Essentials” book.

TOC in the Electronic Music Essentials Course:

  • Acknowledgments
  • About the Author
  • Foreword
  • How to Use This Book
  • Delay Effects
  • Delay Controls
  • Tape Delays
  • Analog Delays
  • Digital Delays
  • Computer Generated Delays
  • Multi-Mode Delays
  • MIDI Data Delays
  • Delay Controls
  • Additional Signal Processing Controls
  • Digital Delay Applications
  • Flanging and Phasing Shifting
  • Popular Flangers
  • Popular Phasers
  • Chorus
  • Popular Chorus Effects
  • Doubling and Trebling
  • Long Delay Effects
  • Popular Long Delays
  • Rhythmic Effects
  • Vibrato
  • Tremolo Pedals
  • Vibrato Pedals
  • Pitch Twisting Effects
  • Resonant Effects
  • Chromatic Tuned Resonances
  • Advanced Effects Pedals
  • Reverse Delay and Reverbs
  • Multi-Mode Experimental Delays
  • VCVRack Effects
  • Advanced Effects Pedal
  • Advanced Effects Pedals Units
  • Delays with Additional Functions
  • Compressors and Limiters
  • Compressor/Limiter Performance Settings
  • Types of Compressors
  • De-esser
  • Popular Compressor Units
  • Equalizers
  • Graphic Equalizers
  • Parameteric Equalizers
  • Semi and Quasi-Parametric Equalizers
  • Equalizers In Performance
  • Musical Pitch and Frequency Chart
  • Popular Equalizers
  • Filter Effects
  • Popular Filter Effect Units
  • Popular Filter Pedals
  • Exciter
  • Audio Enhancer
  • Sub-Harmonic Synthesis
  • Popular Exciter Hardware
  • Popular Exciter Plug-ins
  • Audio Enhancer Hardware
  • Audio Enhancer Plug-ins
  • Popular Sub-Harmonic Synthesis Hardware
  • Popular Sub-Harmonic Synthesis Plug-ins
  • Reverb
  • Acoustic Reverbs
  • Mechanical Reverbs
  • Digital Reverb
  • Digital Reverb Parameters
  • Reflection Characteristics
  • Absorption Characteristics
  • Special Reverb Features
  • Reverb in Performance
  • Room Simulator
  • Special Reverb Effects
  • Popular Reverb rack-mount, pedal and plug-in reverbs
  • Noise Gates
  • Expanders
  • Noise Gates in Performance
  • Popular Noise Gates
  • Noise Reduction
  • Popular Noise Reduction Systems
  • Loopers
  • Popular Loopers
  • Pitch Shifting
  • MicroPitch
  • Popular Pitch Shifting Units
  • Synthesis
  • Popular Synthesizers
  • Subtractive Synthesis
  • FM Synthesis
  • Sample-Based Synthesis
  • Wave-table Synthesis
  • Vector Synthesis
  • Additive Synthesis
  • Spectral Synthesis
  • Physical Modeling Synthesis
  • Granular Synthesis
  • West Coast Synthesis
  • Popular Synthesizers
  • Ring Modulator
  • Eurorack
  • VCV Rack
  • Computer Software
  • MIDI
  • MPE
  • MIDI Controller Messages
  • Controllers
  • Popular Controllers
  • MIDI Foot Controllers
  • Popular Controllers
  • Mixers
  • Common Controls Found on Analog and Digital Mixers
  • Popular Mixers
  • Streaming Mixers
  • Home Studio Mixers
  • Live Sound Mixers
  • High End Mixers
  • Digital Audio Interface
  • Popular Audio Interfaces
  • Amplifiers
  • Tube or Solid State
  • Speaker Sizes
  • Amp Controls
  • Bass Amplifiers
  • Modeling Amps
  • Popular Guitar Tube Amps
  • Popular Guitar Solid State Amps
  • Popular Guitar Modeling Amps
  • Popular Software Based Amps
  • Popular Bass Tube Amps
  • Popular Solid State Bass Amps:
  • Popular Keyboard Amps:
  • Popular Amps for Acoustic Instruments
  • Distortion Pedals
  • Clipping and Overdrive
  • Boost Pedals
  • Distortion Pedals
  • Fuzz Pedals
  • Power Attenuator
  • Digital Audio Workstation (DAW)
  • Popular DAWs
  • 500 Series Modular Equipment
  • Popular 500 Series Modular Modules
  • Plug-ins
  • Popular Plug-ins
  • Microphones
  • Cardioid microphones
  • Super-cardioid microphones
  • Hyper-cardioid microphones
  • Omni-directional microphones
  • Bidirectional or figure-8 microphones
  • Dynamic microphones.
  • Large Diaphragm Condenser microphones.
  • Small Diaphragm Condenser microphones.
  • Ribbon microphones.
  • Proximity Effect
  • Popular Microphones
  • Popular Lavalier:
  • Popular Shotgun:
  • Popular Wireless:
  • Electric Guitar Mics
  • Electric Dynamic Guitar Mics
  • Electric Guitar Condenser Mics
  • Electric Guitar Ribbon Mics Acoustic Guitar
  • Mics: (Often used in pairs)
  • Popular Guitar Piezo Mics
  • Mics for Acoustic Piano
  • Vocal Mics
  • Drum Mics
  • Preamps
  • Popular Preamps
  • Signal Path
  • Cables for Audio and Video Production
  • Audio Cables
  • Audio Speaker Cable
  • Data Cables
  • Video Cables

Electronic Music Essentials Today!

Status: In stock, Digital book is available for immediate access.

What’s in the book

Additional Information for Electronic Music Essentials:

  • Digital Edition 978-1-59489-358-2
  • 102 page PDF.
  • PDF course on learning subtractive synthesis.
  • Audio Plug-ins for VCVRack.
  • 1000s of samples for use with VCVRack and MIRack programs.
  • 100s of patches for hearing effects and synths discussed in this book using VCVRack or MIRack.
  • ISBN: 978-1-59489-358-2

What people are saying:

I used an earlier edition of this book back when Bruce taught the “Effects Applications in Live Performance Class” at Berklee College of Music.” A really valuable resource for quick basic knowledge on how to use various effects units and understanding the overall picture of the resources that a contemporary musician needs to know to function in contemporary music. J. Ogland

I used this book in the “Electronic Music Ensemble” that professor Arnold used at Montclair State University. I was very “green” on understanding even the fundamentals of electronic music and this book really helped me to get the big picture. It also turned me on the VCVRack and MIRack which has saved me thousands of dollars. I can now create professional sounding recordings with state of the art sounds. Awesome!!. J. Deiter

In my opinion this is a must own book for any contemporary musician. You will be called on to used much of the equipment found in this book and you need basic knowledge on what it does and how to operate it. It will also help you immensely if you are in a studio situation where you are not happy with your sound and through the knowledge contained in this book you can have an intelligent conversation with the engineer on how you might fix your sound. A. Edgars

A Proven Educational Lineage

The methods found on muse-eek.com are part of a historical musical lineage stretching back to the 18th-century masters.

By using Muse-Eek books and courses, you are now a part of this lineage—a tradition of excellence passing through legends like Charlie Banacos and Jerry Bergonzi.

  • Historically Validated
  • University-Level Pedagogy
  • Professionally Proven

VIEW THE LINEAGE CHART

Electronic Music Essentials

Bruce-Arnold-Performing-at-Provincetown-Playhouse-in-NYC-with-Music-Man-Silhouette-Guitar

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