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

Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence Series

The Harmonic and Melodic Equivalence Series is a series of books that looks at over 70 different two triad pairs or two trichord pairs that are great to play as a scale or create other patterns for improvisation. These books include treble and bass clef exercises and can be purchased as individual books or as a bundle. These books are great for learning advanced improvisational ideas but they are also excellent for ear training and sight singing to improve your key retention. You do not need to start from the beginning of this series to use it. Each book looks at an interesting two triad pair or two trichord pair that I have used in my compositions and improvisation. You can hear some of the application of these combinations by exploring the Recordings Section of this website. You can find a detailed list of the three note pairs that I’ve used by checking out the Bruce Arnold Composition Compilation. By following the links below to each book you can hear and see examples from each course.  Click on book cover to hear examples or follow the highlighted links for each volume.

Each two triad pair course also includes 12 MetroDrone® MP3s so that you can hear each exercise in the correct key center. There are also multiple exercises that apply the three note pairs to technical and musical situations. Each course has a PDF that gives you background on each combination and shows you how to apply these ideas to various chord types in all keys. Every combination has its strong points and through the years of using these combinations you find out crucial information that will save you years of research. This series is unique and comprehensive, there is no other series like this currently available.

Many students don’t realize the importance of sight singing the exercises found in the books below. First, these wouldn’t be the first books I would recommend for sight singing because they are incredible difficult but will greatly increase your key retention ability because of the nature of these two triad pairs or two trichord pairs. All books in this series can be used to tackle specific problems that occur in the development of your ear training ability. Here is an example: Harmonic and Melodic Equivalence V19B covers two major triads a whole step apart. Because they are major triads it is often hard for a student to hear these two triads in the over key center. They usually have the problem that they want to hear one or both of the triads in their own key centers. By singing through the exercises presented in the over key center you develop the ability to stay in a key center when you are hearing two major triads built on any degree.

Below is a list of the books in the Harmonic and Melodic Equivalence Series. Only those that are completed have links

Closer Look at the Harmonic and Melodic Equivalence Series

The numbers listed after each title refer to the pitch class set used to form the 2 three note pairs. A number like 037 refers to the intervals found in each 3 note group. These three note combinations are two triad pairs but each three note group is also referred to as a trichord. The two triad pairs in the 037-037 series concentrate on traditional major and minor triads and is an excellent place to start with this series. You will hear the 037-037 combinations used extensively in all styles of music and can really interject new life into your improvisations. Volume 21A is also highly recommended because it looks at a new way of combining a Blues Scale into two trichords. That said, all combinations will give you very intriguing sounds and shouldn’t be overlooked.

Each book in the Harmonic and Melodic Equivalence Series contains over 300 pages of exercises along with extensive information on how each combination works with all chords in all keys as well as lists showing which scales contains the 2 three note pair combinations. A three page section on how to apply these trichord pairs to various practice regimens is also included. If you click on the book cover image for any book or follow the links you will be able to hear and see examples for each course.

A special note for ear training students. All the trichord combinations found in this series are excellent for sight singing and will seriously improve your key retention which is crucial to mastering Two Note Ear Training and ultimately Hearing Chord Progressions.


Harmonic and Melodic Equivalence Bundle

Harmonic-and-Melodic-Equivalence-Series-BUNDLE-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc-222X300

Harmonic and Melodic Equivalence Series Bundle

Get All 43 courses of the Harmonic and Melodic Equivalence Series for a limited time as a digital download for one low price! This will give you the most comprehensive understanding of use two three note pairs in music. With over 21K pages of exercises no other course like this exists anywhere! All exercises have MP3s and Midi Files and each book comes with an 11 page PDF showing you a deep analysis of how to use each combination. These books are not just a theoretical exercise for me. They have been used in many of the compositions that I’ve written since 1990. A wide range of compositions are represented in this collection. Jazz, Funk, Rock, Metal, Country and Blues can all be found within these compositions. The Bruce Arnold Composition Compilation gives you charts and MP3s for 90 compositions where I’ve use various three note pairs that can be found in this Harmonic and Melodic Equivalence Series.

A Closer Look at The Harmonic and Melodic Equivalence Series

Let’s take a look at a quick synopsis of each book. Click on the cover or follow the links to find out more


Harmonic and Melodic Equivalence V1 by Bruce Arnold for Muse Eek Publishing Inc.-Harmonic and Melodic Equivalence Series

Harmonic-and-Melodic-Equivalence-V1

Harmonic and Melodic Equivalence Volume One looks at the two 013 combination. Extremely useful combination because it is also part of a symmetrical diminished scale. I written over 50 compositions with this combination. You can hear some examples of it’s use in a jazz style on the CD Art of the Blues. This combination is also good for other styles too. Check out the composition Multiplicity from the Heavy Mental CD for an example of a rock/heavy metal application.

Harmonic and Melodic Equivalence Series do quite a few things for your musicianship:

  • Explore a new sound to breath some new ideas into your improvisation
  • The course gives you exercises to get this idea under your fingers and into your head
  • It is a rich resource for developing your key retention which is crucial to good ear training skills
  • Give you insight via music theory analysis of new ways to improvise

Harmonic and Melodic Equivalence V1


Harmonic-and-Melodic-Equivalence-V2-by Bruce Arnold for Muse Eek PUblishing Inc.-Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence V2

Volume Two of the Harmonic and Melodic Equivalence Series is a great one for finding new ways to use elements from a Symmetrical Diminished scale. Symmetrical Diminished is one of the most used scales and is found in everything from Heavy Metal to Blues to Jazz. If you are a blues person and dig Robben Ford’s playing then this is one of the key elements to getting that sound. Do you like Joe Satriani and Steve Vai? They use this scale too often to count. Of course all the great jazz players have an abundance of the Symmetrical Diminished in their improvisations. Volume Two of the Harmonic and Melodic Equivalence gives you some cool ways to use this scale by disguising it within a six note grouping divided into two 3 note parts. This is an easy one to start applying right away!

This book concentrates on:

  • The 2nd important 013 combination that is so useful in improvisation
  • Developing the technical skills needed to apply this awesome sound to your own music
  • Understanding all the possible applications of this sound to various chord types.

Harmonic and Melodic Equivalence V2


Harmonic-and-Melodic-Equivalence-V3-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc.-Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence V3

Harmonic and Melodic Equivalence V3 covers the pitch class set 014 and is great if you are a Thelonious Monk fan. 014 is a great choice for a dominant chord which I personally use quite often. The two 014 groupings in this course are great substitutions for the kind of V7 to I7 context you would find in a blues progression. Very Monk! You can hear a composition that uses this combination by listening to “Numbers” from my CD “A Few Dozen.”

This book concentrates on:

  • Learning melodic phrases through targeted exercises.
  • Understanding how this 014 combination can be used in music.
  • Targeted “Atomic Scale” exercise that helps you learn this new sound quickly.

Harmonic and Melodic Equivalence V3


Harmonic-and-Melodic-Equivalence-V4-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence V4

Volume Four of the Harmonic and Melodic Equivalence Series is a great one for finding new ways to use elements from a Symmetrical Diminished scale. Symmetrical Diminished is one of the most used scales and is found in everything from Heavy Metal to Blues to Jazz. If you are a blues person and dig Robben Ford’s playing then this is one of the key elements to getting that sound. Do you like Joe Satriani and Steve Vai? They use this scale too often to count. Of course all the great jazz players have an abundance of the Symmetrical Diminished in their improvisations. Volume Four of the Harmonic and Melodic Equivalence gives you some cool ways to use this scale by disguising it within a six note grouping divided into two 3 note parts. This is an easy one to start applying right away!

This book concentrates on:

  • Understanding the second 014 combination that is so useful in improvisation.
  • Exercises to built up technical ability with the two 014 combination.
  • Giving you many practice tips on how to apply this combination to your instrument and ear training.

Harmonic and Melodic Equivalence Volume Four


Harmonic-and-Melodic-Equivalence-V5-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence Volume Five

The Harmonic and Melodic Equivalence Volume Five examines the application of an 015 pitch class set in various melodic situations. It explores the only 015 combination that can be used over a major and minor chord so these melodies are super useful when improvising over those two chord structures. The course also gives you a list of the other 015 combinations in case you want to dig deeper into this sound. You can hear four compositions that use the 015 pitch class set by listening to the four “Variations” from the CD “Blue Eleven.”

This book concentrates on:

  • A beautiful sound that can be used in any idiom.
  • Understanding the possible combination of 015 that can be found in music.
  • Targeted exercises to master this combination.
  • Information on how you can apply this combination to chords and scales.

The Harmonic and Melodic Equivalence Volume Five


-Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence Volume Six

Harmonic and Melodic Equivalence Volume 6 enters the part of this book series where all volumes henceforth will be easy to apply to common harmonic and melodic situations. This is the part of the series that I’m most excited about because the melodic lines sound very modern but also fit perfectly as a replacement for common chords and melodies you use everyday. This course concentrates on the 015-027 which is a pleasing sound that works over major and minor chords. I often use this sound both melodically and harmonically to replace the chords and scales associated with the major modes. It also works very well in any idiom by creating a memorable sound that is sweet yet complex enough to give you a distinctive palette. You can hear an example of soloing with 015-027 in the middle of “Hobroken” from the CD “Blue Eleven.”

This book concentrates on:

  • Applying this classic combination to various exercises
  • Charts to show you all the applications of this sound to various chords in all keys
  • Targeted information for practicing this very useful combination.
  • Études with rhythmic complexity to help you apply this combination.

Harmonic and Melodic Equivalence Volume Six


Harmonic-and-Melodic-Equivalence-V7-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence Volume Seven

Harmonic and Melodic Equivalence Volume Seven concentrates on two 016s. This is an incredible useful and cool sounding combination. Directly applicable to many chord types such as minor, dominant and diminished but more important can be used in a blues and sounds awesome. 016 is one of the most important pitch class sets because it contains a tritone. This means it will be an excellent replacement for a dominant chord. This is a very easy combination to hear and you should be using it in no time. As I mentioned all the upcoming books in this series will all be very useful and a quick study to implement in your playing.

This book concentrates on:

  • Understanding the importance of the 016 combination in music.
  • Charts to help you see the implementation of 016s in various situations.
  • Exercises that built technique with 016s.
  • Practicing tips to get you hear and use this combination quickly

Harmonic and Melodic Equivalence Volume Seven


Harmonic-and-Melodic-Equivalence-V8-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence Volume Eight

Harmonic and Melodic Equivalence Volume Eight examines another two 016s. Again, an incredible useful and cool sounding combination. Directly applicable to many chord types such as dominant and diminished. It can also be used anywhere that you use a symmetrical diminished scale. 016 is a very versatile pitch class sets because of it’s many applications to various chord types. One 016 is commonly used as a replacement for a dominant chord but can also be used on a minor and diminished to name a few. This is a very easy combination to hear and you should be using it in no time. A very useful and a quick study to implement an 016 in your playing.

This book concentrates on:

  • Learn a classic application of the 016 pitch class set to improvisation.
  • See all the applications of an 016 in all keys.
  • Classic exercises that help you gain proficiency with 016s.
  • Three pages of exercise tips to help you learn.

Harmonic and Melodic Equivalence Volume Eight


Harmonic and Melodic Equivalence V9 Trichord Pair -by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence V9 Two Trichords

Harmonic and Melodic Equivalence Volume Nine concentrates on another two 024s. This is a combination that I’ve used often and you can hear some examples of this in the compositions “Ingenue” and the video “024 Alap.” A hauntly beautiful sound that works well in any idiom. It is also easy to hear and implement so I highly recommend this as a must own volume. It is also a good place to start if you just want to develop some melodic and harmonic ideas with a very useful and beautiful sound.

This book concentrates on:

  • Targeted exercises to get the 024s under your fingers.
  • Charts that show you the applications of the 024 sound in all keys.
  • Awesome reharmonization ideas to make this combination even more useful.
  • Exercise tips on how to organize your practice with this idea.

Harmonic and Melodic Equivalence V9 Two Trichords


Harmonic-and-Melodic-Equivalence-V9B-by-bruce-arnold-for-muse-eek-publishing-inc--Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence V9B Two Trichords

Harmonic and Melodic Equivalence V9B uses two 024 pitch class sets a half step apart. C, D, E and Db, Eb, F would be an example of this pair.

With 9 and 9B I’ve included a section of diad pairs which is something that I use often. Diad pairs are interesting in that they can also form two notes of chords and thus can be harmonic reharmonizations expressed in a melody. This is something that advanced improvisers use often. McCoy Tyner was one of the first to use this and it’s a great technique. I recommend putting on a simple one chord vamp or I VI II V and then playing through some of the diad exercises in the book. They sound great and will expand you concept of playing harmonically generated lines over simple chord progressions. In this case you are not using simple triads to outline the harmony but a pair of 024s.

This book concentrates on:

  • The common exercises found in these courses but addition diad pair exercises.
  • Charts that show you the use the two 024s to make extended chord progressions.
  • Detailed information on how to apply these two 024s.
  • Three pages of exercise tips on how to organize your practice using 024s.

Harmonic and Melodic Equivalence V9B Two Trichords


Harmonic-and-Melodic-Equivalence-V9C-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence V9C Two Trichords

Harmonic and Melodic Equivalence V9C works with a trichord pair consisting of a two 024 pitch class sets a minor 3rd apart. Two trichords which unlike a two triad pair are not build in thirds. The Two 024 trichords pair used in this book are unusual for this series in that they don’t work over any traditional chord. They do work as a chordal superimposition and you will find this to be a common sound that advanced improvisors use in their playing.

This book teaches you how to pivot back and forth between these two trichords in various ways. You will get 328 pages of exercises in all keys with MP3 and Midi files that show you various ways to accomplish this task. Harmonic and Melodic Equivalence V9C Trichord Pair also contains examples of how you could use these two trichords in extended harmonic reharmonizations. These aspects make this the definitive study of this two trichord pair

This book concentrates on:

  • The common exercises that lay a foundation for this type of improvisation.
  • Charts of different possible extended chord progressions that can be formed from these two trichords.
  • A complete study of the possible ways to apply these two 024s.
  • Multiple pages of exercise tips on how to organize your practice using 024s.

Harmonic and Melodic Equivalence V9C Two Trichords


Harmonic-and-Melodic-Equivalence-V9D-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence V9D Two Trichords

Harmonic and Melodic Equivalence V9D uses a trichord pair consisting of a two 024 pitch class sets an augmented 4th apart. This is one of the rare occasions where the combination of two three note pairs is a common scale. In this case it is a whole tone scale. The exercises presented in this volume are a case in point to show how cycling back and forth between two three note groups can breath new life into a super common scale.

This book teaches you how to pivot back and forth between these two 024s in various ways. You will get 328 pages of exercises in all keys with MP3 and Midi files that show you various ways to accomplish this task. Harmonic and Melodic Equivalence V9D Trichord Pair also gives you a lot of information on how to take a scale like whole tone or diminished and make it less obvious that you are playing a common scale. This advanced improvisational advise is priceless and hard to find but is contained in this book!

This book concentrates on:

  • Exercises that breath new life into a whole tone scale.
  • Vital information for making common scales more interesting.
  • Exercises and Études to help you master not only the two 024s but a whole tone scale.
  • Multiple pages of exercise tips on how to organize your practice using 024s.

Harmonic and Melodic Equivalence V9D Two Trichords


Harmonic-and-Melodic-Equivalence-V10A-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence V10A Two Trichords

Harmonic and Melodic Equivalence V10A consists of a two 025 trichord pair. This will be one of your most useful combinations of a two three note pair because it contains six notes of a major scale. 025s create a beautiful sound which is similar to a pentatonic scale. You can hear examples of using it as a composition and improvisation device on the “Lavadura” recording. It is a gorgeous sound that works extremely well as a replacement for a major or pentatonic scale and sounds great as a replacement for a major or minor chord. A must own course in my opinion!

This book teaches you how to pivot back and forth between these two 025s in various ways. You will get 328 pages of exercises in all keys with MP3 and Midi files that show you various ways to accomplish this task. Harmonic and Melodic Equivalence V10A Trichord Pair also gives you information on how to superimpose this sound to create chord progressions.

This book concentrates on:

  • Exercises that help you develop dexterity with this two three note pair.
  • Information on the possible combinations of the 025 pitch class set.
  • Exercises and Études to help you master this trichord pair in all keys
  • Three pages of exercise tips on how to organize your practice using 025s.

Harmonic and Melodic Equivalence V10A Two Trichords


Harmonic-and-Melodic-Equivalence-V10B-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence V10B Two Trichords

Harmonic and Melodic Equivalence V10B works with a trichord pair consisting of a two 025 pitch class sets an augmented 4th apart. These six notes are also part of a diminished scale so they can be used anywhere that you might apply a diminished or symmetrical diminished scale. This makes them extremely useful for an improvising musician.

This is one of the must own courses from this series. The number of times an improvising musician uses any of the three diminished scales is high. This course gives you a new way to organize six notes from these diminished scales and that is a hard to find situation so take advantage of this cool combination

This book concentrates on:

  • Three note pair exercises and études to help you master this combination.
  • Background on 025s and how they can help you find new sounds to use in your improvisation and composition.
  • Exercises and Études in all keys to help you master this idea.
  • Three pages of exercise tips on how to organize your practice using 025s.

Harmonic and Melodic Equivalence V10B Two Trichords


Harmonic-and-Melodic-Equivalence-V10C-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence V10C Two Trichords

Harmonic and Melodic Equivalence V10C contains a trichord pair consisting of a two 025 pitch class sets that form part of a diminished scale. This of course means that you can use this combination anywhere that you might use a diminished or symmetrical diminished scale. This makes them extremely useful for an improvising musician.

Again, this is one of the must own courses from this series. The number of times an improvising musician uses any of the three diminished scales is high. In addition the combinations found in this book are a great resource for any blues player that wants to expand their horizons a bit. Just give a listen to Robin Ford and you will hear similar ideas used as is found in this course!

This book concentrates on:

  • Three note pair exercises and études to help you build up your advanced blues vocabulary.
  • Great exercises to built up massive chops with this new sound!
  • Études that are very musical with licks you can directly transfer to your playing.
  • Three pages of exercise tips on how to organize your practice the ideas found in this course.

Harmonic and Melodic Equivalence V10C Two Trichords


Harmonic-and-Melodic-Equivalence-V10D-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence Series V10D

Harmonic and Melodic Equivalence V10D again involves the use of a trichord pair consisting of a two 025 pitch class sets that form part of a diminished scale. This means that you can use this combination anywhere that you might use a diminished or symmetrical diminished scale. This makes them extremely useful for an improvising musician.

This book concentrates on:

  • Many ways to apply the 025-025 two trichord pair to various musical situations.
  • Exercises to help you develop facility with these trichords.
  • Numerous lists showing you everywhere you can apply this two pair combination in all keys.
  • A three page discussion on how to practice these new technique.

Harmonic and Melodic Equivalence V10D


Harmonic-and-Melodic-Equivalence-V10E-by-bruce-arnold-for-muse-eek-publishing-inc-222X300

Harmonic and Melodic Equivalence Series V10E

Harmonic and Melodic Equivalence V10E comprises the final set that works with a trichord pair consisting of a two 025 pitch class sets that form part of a diminished scale. This is an extremely useful combination because you can use this combination anywhere that you might use a diminished or symmetrical diminished scale. This makes them extremely useful for an improvising musician.

This book concentrates on:

  • An in-depth discussion of how to use a 025-025 two trichord pair in various musical situations.
  • Targeted exercises to help you develop facility with these trichords.
  • Helpful lists showing you everywhere you can apply this two pair combination in all keys.
  • A three page discussion on practice techniques for two three note pairs.

Harmonic and Melodic Equivalence V10E


Harmonic-and-Melodic-Equivalence-V11A-by-bruce-arnold-for-muse-eek-publishing-incHarmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence Series V11A

Harmonic and Melodic Equivalence V11A incorporates a trichord pair consisting of a two 026 pitch class sets that form part of a whole tone scale. This makes them extremely useful for an improvising musician because it gives you awesome ways to play a whole tone scale and disguise it’s sound.

This book concentrates on:

  • Numerous ways to apply the 026-026 two trichord pair to various musical situations.
  • 12 different exercises to help you develop facility with these trichords.
  • Charts showing you how to use this combination with chords and chord progressions.
  • An in-depth three page discussion on how to practice these new technique.

Harmonic and Melodic Equivalence V11A


Harmonic-and-Melodic-Equivalence-V11B-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence Series V11B

Harmonic and Melodic Equivalence V11B uses two 026 pitch class sets. C, D, F# and F, A, B would be an example of this pair which is part of a diminished scale. In my opinion this is one of the most useful combinations in the whole Harmonic and Melodic Equivalence Series. This trichord pair, as mentioned, can be used over diminished but it also works over a -∆7 chord. 026s create a strong dominant sound and have many applications when playing over chord changes. You will find the information in this book gives you a clear path on how to implement these ideas in your playing. I believe that without fully understanding the 026 pitch class set you are missing some key information about how to form melodic lines in improvisation.

This book concentrates on:

  • In-depth discussion of ways to apply the 026-026 two trichord pair to various musical situations.
  • 12 highly targeted exercises to help you develop facility with these trichords.
  • Easy to read charts showing you how to use this combination with chords and chord progressions.
  • An comprehensive three page discussion on how to practice these new technique.

Harmonic and Melodic Equivalence V11B


Harmonic-and-Melodic-Equivalence-V11C-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence Series V11C

Harmonic and Melodic Equivalence V11C uses two 026 pitch class sets. C, D, F# and Eb, F, A would be an example of this pair which is part of both a diminished and harmonic major scale. There are many books in the Harmonic and Melodic Equivalence Series that I feel are important. This volume would be one that you take to a desert island . Let me just talk about one aspect of this course. If you are a musician looking for some new ways to create II V licks then this is your ticket to some awesome new ways to create that type of melody. Not only that, these melodies sound very unique and can be build out into enormous lengths to create amazing melodic pathways. You will find the information in this book gives you a clear paths to implementing this idea. As I have stated before, I believe that without fully understanding the 026 pitch class set you are missing some key information about how to form melodic lines that are highly harmonically charged in improvisation.

This book concentrates on:

  • Many ways to apply the 026-026 two trichord pair to various musical situations.
  • 12 cutting edge exercises to help you develop facility with these trichords.
  • Many charts showing you how to use this combination with chords and chord progressions.
  • A three page in-depth three page discussion on how to practice these new technique.

Harmonic and Melodic Equivalence V11C


Harmonic-and-Melodic-Equivalence-V11D-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence Series V11D

Harmonic and Melodic Equivalence V11D uses two 026 pitch class sets. C, E, F# and Eb, G, A would be an example of this pair which is part of both a diminished and harmonic minor harmony. There are many books in the Harmonic and Melodic Equivalence Series and this would be another one that I’d take to a desert island. Not only does this combination work on diminished and harmonic minor harmony but it can create II V licks that sound traditional but with a melodic modern edge to their sound. You can string multiple chains of dominant resolutions together to form really awesome melodic lines. Again, a must own book in my opinion.

This book concentrates on:

  • Multiple ways to apply the 026-026 two trichord pair to various musical situations.
  • 12 targeted exercises to help you develop facility with these trichords.
  • Multiple charts showing you how to use this combination with chords and chord progressions.
  • Three page in-depth discussion on how to practice these new technique.

Harmonic and Melodic Equivalence V11D


Harmonic-and-Melodic-Equivalence-V11E-by-bruce-arnold-for-muse-eek-publishing-inc-222X300

Harmonic and Melodic Equivalence Series V11E

The Harmonic and Melodic Equivalence V11E Trichord Pair explores two 026 pitch class sets. C, D, F# and Db, Eb, G would be an example of this pair which is part of a diminished scale. In my opinion this is one of the most useful combinations in the whole Harmonic and Melodic Equivalence Series. This combination will also give you many ways to form extended dominant progressions. With that ability you will be able to superimpose strings of this Trichord Pair over common chord progressions which makes it extremely useful for turnarounds or other places that you want to create a melody that has internal resolutions built in.

This book concentrates on:

  • Multiple ways to apply the 026-026 two trichord pair to various musical situations.
  • 12 targeted exercises to help you develop facility with these trichords.
  • Multiple charts showing you how to use this combination with chords and chord progressions.
  • Three page in-depth discussion on how to practice these new technique.

Harmonic and Melodic Equivalence V11E


Harmonic-and-Melodic-Equivalence-V11F-by-bruce-arnold-for-muse-eek-publishing-inc

Harmonic and Melodic Equivalence Series V11F

The Harmonic and Melodic Equivalence V11F Trichord Pair uses two 026 pitch class sets. C, E, F# and Eb, G, A would be an example of this pair which is part of both a diminished and harmonic minor harmony. There are many books in the Harmonic and Melodic Equivalence Series and this would be another one that I’d take to a desert island. Not only does this combination work on diminished and harmonic minor harmony but it can create II V licks that sound traditional but with a melodic modern edge to their sound. You can string multiple chains of dominant resolutions together to form really awesome melodic lines. Again, a must own book in my opinion.

This book concentrates on:

  • Multiple ways to apply the 026-026 two trichord pair to various musical situations.
  • 12 targeted exercises to help you develop facility with these trichords.
  • Multiple charts showing you how to use this combination with chords and chord progressions.
  • Three page in-depth discussion on how to practice these new technique.

Harmonic and Melodic Equivalence V11F


Harmonic-and-Melodic-Equivalence-V14A-by-bruce-arnold-for-muse-eek-publishing-inc-222X300

Harmonic and Melodic Equivalence Series V14A

The Harmonic and Melodic Equivalence Series V14A is the first in a series of books looking at the 026-016 trichord pair. In many ways the 026 and 016 are your go to trichords because they contain a tritone which makes them great substitutes for a dominant chord. But the 026-016 trichord pairs have many other tricks up their sleeves. This series is important to understanding how the 026 and 016 fit into the bigger picture. As with all the Harmonic and Melodic Equivalence books you are exploring the three and six note structures that can be used in the place of your typical triads or the 22 most used scales in music. Along the way I’m providing you with a host of other information that helps you understand not only the structures in these books, but how they fit into the bigger picture of music as a whole.

Harmonic and Melodic Equivalence Volume 14A is also important because it discusses the eight books in this series. That allows you to see every way an 026-016 trichord pair can be built and why each one is important. C, Db, G and Eb, F, A would be an example of this scale which works over all the chords that are associated with the melodic minor ascending scale.

This book concentrates on:

  • An overview of all eight 026-016 pitch class sets
  • Exercises to help you gain technical facility with these trichords.
  • Lists showing you everywhere you can apply this two pair combination in all keys.
  • Technical and ear training exercises to raise your ability.
  • Harmonic reharmonizations using the two trichords or the entire hexatonic scale

Harmonic and Melodic Equivalence V14A


Harmonic-and-Melodic-Equivalence-V14B-by-bruce-arnold-for-muse-eek-publishing-inc

Harmonic and Melodic Equivalence Series V14B

The Harmonic and Melodic Equivalence Series V14B which is the 2nd volume in a series of books looking at the 026-016 trichord pair. The 1, b2, b3, b5, 5, 6 scale discussed in this book is a subset of a diminished scale. There is an incredible amount of symmetry found within this scale and Harmonic and Melodic Equivalence Volume 14B digs deep into the details of how you can use this 026-016 trichord pair in numerous ways. The scale also works over a surprising number of chord types and a must own if you want to experiment with the sound of a diminished scale subset

This book concentrates on:

  • Applications of these two trichord pairs.
  • Exercises to help you gain technical facility with these trichords.
  • Lists showing you everywhere you can apply this two pair combination in all keys.
  • Technical and ear training exercises to raise your ability.

Harmonic and Melodic Equivalence V14B


Harmonic-and-Melodic-Equivalence-V14C-by-bruce-arnold-for-muse-eek-publishing-inc-222X300

Harmonic and Melodic Equivalence Series V14C

The Harmonic and Melodic Equivalence Series V14C which is the 3rd volume in a series of books looking at the 026-016 trichord pair. The 1, b2, 2, b5, 5, b6 and works over 7th or 7sus4 chords. It forms part of a symmetrical scale and is very useful in creating a modern sound. The scale is divided up into two trichords 026-016 and can be combined in multiple multiple ways to form to form the same pairs. The scale also has many special relationships because of its symmetrical nature. This course contains an extensive discussion of the “Modes of Limited Transposition” by Olivier Messiaen and how these seven scales fit into the 026-016 series.

This book concentrates on:

  • Various uses of these two trichord pairs.
  • Patterns to help you gain technical facility with these trichords.
  • Complete list showing you everywhere you can apply this two pair combination in all keys.
  • Technical and ear training exercises to raise your ability using these two 3 note pairs.

Harmonic and Melodic Equivalence V14C


Harmonic-and-Melodic-Equivalence-V14D-by-bruce-arnold-for-muse-eek-publishing-inc

Harmonic and Melodic Equivalence Series V14D

The Harmonic and Melodic Equivalence Series V14D which is the 4th volume in a series of books looking at the 026-016 trichord pair. The 1, 2, b3, 3, b5, 6 and works over a 7th, 7sus4 or -∆7 chords. The usual exercises are included in the course but the most important aspect of this course is the discussion of these topics:

  • How to choose closely related triads or trichords
  • Symmetry considerations when choosing triads or trichords pairs
  • Understanding chord tones and tensions and their importance in this series of books.
  • In-depth study of how the blues scale relates to the 1, 2, b3, 3, b5, 6 scale.
  • Random combinations of closed position along with 1st and 2nd inversion with rhythmic displacement.
  • All possible types of trichords and triads found in the 1, 2, b3, 3, b5, 6 scale.
  • The concept of closely related scales.
  • THe concept of approach notes in relation to a triad or trichord pair
  • How to choose non-symmetrical pairs from the six notes not contained in the 1, 2, b3, 3, b5, 6 scale.
  • How to deal with scales that are not a subset of the 22 scales most used in improvisation.
  • Forming chord progressions with the two trichord pairs.

Harmonic and Melodic Equivalence V14D


Harmonic-and-Melodic-Equivalence-V14E-by-bruce-arnold-for-muse-eek-publishing-inc

Harmonic and Melodic Equivalence Series V14E

The Harmonic and Melodic Equivalence Series V14E which is the 5th volume in a series of books looking at the 026-016 trichord pair. The 1, b2, 2, 3, b5, b6 and works over a 7th and 7sus4 chords. The usual exercises are included in the course but the most important aspect of this course is the discussion of these topics:

  • Creating an intervallic sound with the trichord pairs and their complimentary sets
  • The concept of trichord pairs and their complimentary sets
  • Reharmonization with the two trichords and their relationship to passing diminished chords
  • All possible types of trichords and triads found in the 1, b2, 2, 3, b5, b6 scale.
  • The concept of closely related scales.
  • How to choose non-symmetrical pairs from the six notes not contained in the 1, b2, 2, 3, b5, b6 scale.
  • How to deal with scales that are not a subset of the 22 scales most used in improvisation.
  • Forming chord progressions with the two trichord pairs.

Harmonic and Melodic Equivalence V14E


Harmonic-and-Melodic-Equivalence-V14F-by-bruce-arnold-for-muse-eek-publishing-inc

Harmonic and Melodic Equivalence Series V14F

The Harmonic and Melodic Equivalence Series V14F which is the 6th volume in a series of books looking at the 026-016 trichord pair. The 1, b2, b3, 4, b5, 6 and works over all diatonic chords from a Harmonic Major Scale. The usual exercises are included in the course but the most important aspect of this course is the discussion of these topics:

  • Indepth explaining of how the distribution of trichords within a scale affects its sound.
  • The relative dissonance or consonance a scale possesses.
  • How trichord distribution can be used to gauge the character of a given scale.
  • All possible types of trichords and triads found in the 1, b2, b3, 4, b5, 6 scale.
  • Harmonic major modes structures
  • How Harmonic Major modes are used with secondary dominants.
  • How the modes of Harmonic Major Scale are used in music.
  • Choosing complimentary sets when there are no exact matches.

Harmonic and Melodic Equivalence V14F


Harmonic-and-Melodic-Equivalence-V14G-by-bruce-arnold-for-muse-eek-publishing-inc

Harmonic and Melodic Equivalence Series V14G

The Harmonic and Melodic Equivalence Series V14G which is the 7th volume in a series of books looking at the 026-016 trichord pair. The 1, b2, b3, b5, 5, 6 scale discussed in this book is a subset of a diminished scale. There is an incredible amount of symmetry found within this scale and Harmonic and Melodic Equivalence Volume 14B digs deep into the details of how you can use this 026-016 trichord pair in numerous ways. The scale also works over a surprising number of chord types and a must own if you want to experiment with the sound of a diminished scale subset

  • In-depth explaining of trichord pairs and their compliments formed by the other six notes.
  • The possible chords from the six possible trichord combinations.
  • Trichord distribution within the 1, b2, b3, 4, b5, 6 scale.
  • All possible types of trichords and triads found in the 1, b2, b3, 4, b5, 6 scale.
  • Chord progression ideas using the the 016-026 trichords found in the 1, b2, b3, 4, b5, 6 scale.
  • Which chords can work over the C, E, Gb and Db, D, G trichords.
  • Choosing complimentary sets when there are no exact matches.

Harmonic and Melodic Equivalence V14G


Harmonic-and-Melodic-Equivalence-V14H-by-bruce-arnold-for-muse-eek-publishing-inc-222X300

Harmonic and Melodic Equivalence Series V14H

The Harmonic and Melodic Equivalence Series V14H which is the last volume in a series of books looking at the 026-016 trichord pair. Harmonic and Melodic Equivalence Series V14G forms the six notes: 1, b2, 2, 3, 5, b6 and works over 7 and 7sus4 chords. The usual exercises are included in the course but the most important aspect of this course is the discussion of these topics:

  • Examples of how to divide two 3 notes groups rhythmically to form modern sounding melodies.
  • How interval vectors inform you about the sound of any group of notes.
  • Trichord distribution within the 1, b2, 2, 3, 5, b6 scale.
  • All possible types of trichords and triads found in the 1, b2, 2, 3, 5, b6 scale.
  • Chord progression ideas using the the 016-026 trichords found in the 1, b2, 2, 3, 5, b6 scale.
  • Which chords can work over the C, Db, G and D, E, Ab trichords.
  • Understanding the six note compliment to any trichord pair.

Harmonic and Melodic Equivalence V14H


Harmonic-and-Melodic-Equivalence-V15-by-bruce-arnold-for-muse-eek-publishing-inc.-Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence Series V15

The Harmonic and Melodic Equivalence Series V15 covers one of the most important combinations of the whole series. This volume uses two 027s which creates a wonderful sound reminiscent of melodies built in 4ths but with so much more to offer as you dig deeper. C, D, G and E, A, B are the two trichords which is like a major scale without the 4th but divided up into two 3 note groups. This is an incredible combination that works great for replacing a major or minor chord as a melody or a chord. You can hear a composition based on two 027s as well as improvisation using the same idea on the tune “Snap, Crackle, Bop from the CD “Blue Lotus.”

This book concentrates on:

  • The myriad of applications of this important pitch class set combination.
  • Exercises to help you gain technical facility with these trichords.
  • Lists showing you everywhere you can apply this two pair combination in all keys.
  • Technical and ear training exercises to raise your ability.

Harmonic and Melodic Equivalence V15


Harmonic-and-Melodic-Equivalence-V16-by-bruce-arnold-for-muse-eek-publishing-inc

Harmonic and Melodic Equivalence Series V16

The Harmonic and Melodic Equivalence Series V16 Trichord Pair. C, D, G and E, A, Bb would be an example of this pair which could be found in a C mixolydian or G melodic minor ascending scale. This is one of my “go to” combinations that I’ve used extensively in my music and improvisation. When considering all the books that have been released so far in the Harmonic and Melodic Equivalence Series this is a combination that I think you will find extremely useful both for melodic and harmonic content.

This book concentrates on:

  • The myriad of applications of this important pitch class set combination.
  • Exercises to help you gain technical facility with these trichords.
  • Lists showing you everywhere you can apply this two pair combination in all keys.
  • Technical and ear training exercises to raise your ability.

Harmonic and Melodic Equivalence V16


Harmonic-and-Melodic-Equivalence-V17-by-bruce-arnold-for-muse-eek-publishing-inc

Harmonic and Melodic Equivalence Series V17

The Harmonic and Melodic Equivalence V17 Trichord Pair C, D, G and E, Ab, Bb would be an example of this pair which could used over a C7 chord resolving up a 4th to a minor chord or as a sound over any of the diatonic chords of a melodic minor ascending scale. Just as The Harmonic and Melodic Equivalence Series V16 Trichord Pair was my “go to” combination for a dominant resolving up a 4th to a major chord the Harmonic and Melodic Equivalence V17 Trichord Pair is used when resolving to a minor chord up a 4th from the dominant. With these two books you now have a complete set for the most common ways a dominant chord resolves.

This book concentrates on:

  • The myriad of applications of this important pitch class set combination.
  • Exercises to help you gain technical facility with these trichords.
  • Lists showing you everywhere you can apply this two pair combination in all keys.
  • Technical and ear training exercises to raise your ability.

Harmonic and Melodic Equivalence V17


Harmonic-and-Melodic-Equivalence-V19A-two-triad-pair-by-bruce-arnold-for-muse-eek-publishing-inc.-Harmonic and Melodic Equivalence Series Two Triad Pair

Harmonic and Melodic Equivalence V19A Two Triad Pair

The Harmonic and Melodic Equivalence V19A Two Triad Pair is also a great way to work on Major and Minor triads. I’m often asked how to work on triads, and while there are many ways to master these important sounds, the idea of pivoting back and forth between the triads gives you a quick way to use the triads that sounds great!

And that’s why I’m releasing Harmonic and Melodic Equivalence V19A Two Triad Pair today! Harmonic and Melodic Equivalence V19A

Two Triad Pair

covers the highly accessible Major and Minor triad a whole step apart. This is a sound that is used by many artists usually in conjunction with a Major Pentatonic scale. Joe Zawinal of “Weather Report” is the 1st person that comes to mind; he uses a lot of Major Pentatonic in his soloing and adds in this “two triad” idea to give more interest. So you too can add this interesting sound into your playing by working on a few of the exercises.

By the way this volume can be very good for ear training. You will find that singing these two triads in various keys can be very challenging for your key retention. If you are having trouble with key retention, which most students do, this is a great book to have to fix that condition.

This book concentrates on:

  • Mastering your triadic ability
  • Understanding and applying the often used improvisation concept.
  • Exercises to built up technical skills with triads.
  • Tips to apply this combination in many ways.

Harmonic and Melodic Equivalence V19A Two Triad Pair


Harmonic-and-Melodic-Equivalence-V19B Two Triad Pair-by-bruce-arnold-for-muse-eek-publishing-inc-Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence V19B Two Triad Pair

The Harmonic and Melodic Equivalence V19B Two Triad Pair contains the use of two major triads a whole step apart. The implementation of this in jazz started with McCoy Tyner’s “Passion Dance” recording. It was picked up soon after by Charlie Banacos with his now famous “Double Mambos” exercise also known as “Bitonal Pendulums.” The two triads a whole step apart literally changed my musical life. Once I heard McCoy Tyner improvise with this concept I was totally captivated. Nowadays it is one of the signature techniques used to create a modern sound in improvisation so don’t miss this chance to get this course.

This book concentrates on:

  • Exercises to gain ability using two major triads
  • Études to help you hear what these two triad pair combinations sound like in real music.
  • Exercises that can be used for singing to help you gain key retention skills.
  • Tips on how to practice this combination.
  • Ways to apply advanced harmonic progressions using this two triad pair combination.

Harmonic and Melodic Equivalence V19B Two Triad Pair


Harmonic-and-Melodic-Equivalence-V19C-two-triad-pair-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc

Harmonic and Melodic Equivalence V19C Two Triad Pair

I recommend using the Harmonic and Melodic Equivalence Volume 19 Two Triad Pair Series of books for ear training because they can really help you with your Key Retention. First let me explain what key retention is, and why it is important. Many students tend to modulate (change keys) way too much when they are listening to music. The more you modulate the harder it is to understand and hear music. That is not to say that you shouldn’t modulate ever, but most students modulate for instance, on every chord of a chord progression. This isn’t ideal for hearing music and if you can develop the ability to not modulate as much, and to stay grounded within the key center you will find it easier to hear and play over various types of music. I originally put out a course called Key Retention Builder to address this issue, and it has helped many musicians to stop modulating so much. Think of the Key Retention Builder course as a “clinical” way help you avoid modulating at the drop of a dime (or chord change). While this two triad pair book gets you going in the right direction you also need to apply this ability to real music. To address this I released a series of direct application courses called Practice Perfect Applied Ear Training which so far contains the following series:

This book concentrates on:

  • Mastering your ability to work with two triad pairs.
  • Understanding and applying the often used improvisation concept.
  • Exercises to built up technical skills with triads.
  • Tips to apply this combination in many ways.
  • Ways to apply advanced harmonic progressions using this two triad pair combination.

Harmonic and Melodic Equivalence V19C Two Triad Pair


Harmonic-and-Melodic-Equivalence-V19D Two Triad Pair-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc-222X300-Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence V19D Two Triad Pair

The Harmonic and Melodic Equivalence Volume 19D Two Triad Pair is one of the books in this series that is a must own. The triads; C, E, G and D, F, B are used which form a V7 to I cadence. This is a great place to start developing your ability to play harmonically rather than always relying on scales. The exercises in the two triad pair course are presented in all 12 keys so you can really develop a more harmonic palette in your soloing. Beside that it really helps you to master a major and diminished triad. This is an exercise that Charlie Banacos gave me years ago to help me get out of the rut of always using scales when I improvised. It really works too. Within hours I was playing and hearing more harmonically derived melodies. Highly recommend this as a must own in the series.

This book concentrates on:

  • Getting you to hear more harmonically in your soloing.
  • Develop your ability with a major and diminished triad
  • Built up technical skills with triads on your instrument.
  • Give you practice tips to help with hearing and playing this combination.
  • Ways to apply advanced harmonic progressions using this two triad pair combination.

Harmonic and Melodic Equivalence V19D Two Triad Pair


Harmonic-and-Melodic-Equivalence-V19E-two-triad-pair-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence V19E Two Triad Pair

The Harmonic and Melodic Equivalence Volume 19E Two Triad Pair is one of the most common triad pairs. A major triad combined with a major triad a tritone apart whos part scale is a diminished scale

One thing that is worth pointing out about this combination but really all combinations in this series is the fact that each of these three note pairs forms a series of unique melodies. Most of the combinations that are explored in this series of books come from only a few scales. So really, in most cases, you are looking at a bunch of ways to make melodies with six notes from seven different scales: Major, Melodic Minor Ascending, Harmonic Minor, Harmonic Major, Diminished, Whole Tone and Symmetrical Augmented. Various combinations will work better or certain modes within these seven scales. The non tertial combinations are awesome for chord voicings, but the tertial combinations can be very interesting as chords too, if you put a different bass note underneath the triad.

In general, think of each two triad pair volume in this series as a way to make chords and melodies that form a cohesive whole mostly because of the sound of the various intervals found within. The tertial combinations: major, minor, diminished or augmented chords are such common structures in all of music so when you pivot back and forth between these combination you create a very intriguing sound for the listener. While the non-tertial combinations create very modern and melodic and chords – some of them quite exotic – but all are wonderful; it just takes a bit longer to hear and implement these possibilities.

This book concentrates on:

  • Developing facility moving back and forth between two major triads.
  • Understanding all the implications of a diminished scale
  • Seeing all the internal relationships that this combination forms.
  • Tried and true practice ideas that will help master this combination.
  • Ways to apply advanced harmonic progressions using this two triad pair combination.

Harmonic and Melodic Equivalence V19E Two Triad Pair


Harmonic-and-Melodic-Equivalence-V19F Two Triad Pair-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence V19F Two Triad Pair

The Harmonic and Melodic Equivalence Volume 19F Two Triad Pair is like the Harmonic and Melodic Equivalence Volume 19D Two Triad Pair in that the two triads form a chord progressions as well as being part of a common scale. Since most students have mostly use scales when they improvise this two triad pair volume is great because it can also get you to add in a harmonic element to your improvisations.

Each volume in this series has its own strengths. Some combinations, especially the non-tertial ones make excellent chords as well as a modern melodic sound. The triadic based courses like this one can give you very interesting sounds but usually aren’t that great as stand alone chords for a pianist or guitarist. That said, of course if you add in other bass notes below these triads you get a lot of great sounds.

This book concentrates on:

  • Developing your ability to play two consecutive diminished triads
  • Helping you create interesting melodies that can function both harmonically and melodically over various chord changes.
  • Truly understanding all the possible applications that you can derive from two consecutive diminished chords.
  • Ways to practice these two triad pairs in order to use them in your improvisations.
  • Ways to apply advanced harmonic progressions using this two triad pair combination.

Harmonic and Melodic Equivalence V19F Two Triad Pair


Harmonic-and-Melodic-Equivalence-V19G Two Triad Pair-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence V19G Two Triad Pair

The Harmonic and Melodic Equivalence Volume 19G Two Triad Pair works with a diminished and minor triad a half step apart. This two triad pair combination is part of the melodic minor ascending harmonic palette and therefore has tons of uses for creating new sounds over the following chords, -∆7,7sus4, ∆7#5,three different types of 7th chords and finally -7b5. This really gives you a new fresh sound over all these chords!

This volume is crucial if you want to find some new interesting sounds over melodic minor harmony. It has tons of applications which makes practicing it particularly fruitful.

This book concentrates on:

  • Increasing your ability to apply a diminished and minor triads to various harmonic situations.
  • Adding a new sound to your harmonic and melodic palette.
  • Getting you to see the modes of melodic minor ascending in a new relationship.
  • Giving you new ideas on ways to practice this two triad pair combination.
  • Ways to apply advanced harmonic progressions using this two triad pair combination.

Harmonic and Melodic Equivalence V19G Two Triad Pair


Harmonic-and-Melodic-Equivalence-V19H Two Triad Pair-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc-Harmonic-and-Melodic-Equivalence-Series

Harmonic and Melodic Equivalence V19H Two Triad Pair

The Harmonic and Melodic Equivalence Volume 19H works with an augmented and minor triad a half step apart. This two triad pair combination is part of the melodic minor ascending harmonic palette and therefore has tons of uses for creating new sounds over the following chords, -∆7,7sus4, ∆7#5,three different types of 7th chords and finally -7b5. This really gives you a new fresh sound over all these chords!

This volume is crucial if you want to find some new interesting sounds over melodic minor harmony. It has tons of applications which makes practicing it particularly fruitful.

This book concentrates on:

  • Increasing your ability to apply an augmented and minor triads to various harmonic situations.
  • Adding another new sound to your harmonic and melodic palette.
  • Getting you to see the modes of melodic minor ascending in a new relationship.
  • Giving you new ideas on ways to practice this two triad pair combination.
  • Ways to apply advanced harmonic progressions using this two triad pair combination.

Harmonic and Melodic Equivalence V19H Two Triad Pair


Harmonic-and-Melodic-Equivalence-V19I two triad pair-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc-222X300

Harmonic and Melodic Equivalence V19I Two Triad Pair

The Harmonic and Melodic Equivalence Volume 19I Two Triad Pair is two major triads a half step apart. This two triad pair combination is part of the harmonic minor scale palette and therefore has tons of uses for creating new sounds over the following chords, -∆7, 7b13 and other common sounds associated with the harmonic minor modes. Breathe some new life into your harmonic minor sounds with this incredibly useful combination!

This volume is crucial if you want to find some new interesting sounds over harmonic minor harmony. It has many applications which makes practicing it particularly fruitful.

This book concentrates on:

  • Increasing your ability to apply an two major triads to various harmonic situations.
  • Adding another new sound to your harmonic and melodic palette.
  • Getting you to see the modes of harmonic minore in a new relationship.
  • Giving you new ideas on ways to practice this two triad pair combination.
  • Ways to apply advanced harmonic progressions using this two triad pair combination.

Harmonic and Melodic Equivalence V21A Two Triad Pair


Harmonic and Melodic Equivalence V21A Two Triad Pair by Bruce Arnold for Muse Eek Publishing Inc.-Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence Series V21A

The Harmonic and Melodic Equivalence Series V21A covers a classic combination of using the Blues Scale as a two three note pair combination. Dividing a six note Blues scale into two 3 note groups gives you some great new sounds to use with this bread and butter scale. I think you will see that this way of segmenting a Blues scale gives you some terrific -and very modern- melodies.

This book concentrates on:

  • Looking a new way to get fresh ideas into your Blues playing
  • Understanding a new way to organize a Blues scale.
  • Targeted exercises to build technique with this combination
  • Understanding the Blues scale from a different perspective.

Harmonic and Melodic Equivalence V21A


Harmonic and Melodic Equivalence Bundle

Harmonic-and-Melodic-Equivalence-Series-BUNDLE-by-Bruce-Arnold-for-Muse-Eek-Publishing-Inc-222X300

Harmonic and Melodic Equivalence Series Bundle

Get all 70 courses of the Harmonic and Melodic Equivalence Series as a digital download for one low price! This will give you the most comprehensive understanding of use two three note pairs in music. No other course like this exists anywhere!


Music Education Genealogy Chart

You might find the “Music Education Genealogy Chart” located on Bruce Arnold’s artist website interesting. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!