Part of the Harmonic and Melodic Equivalence Series
Harmonic and Melodic Equivalence V11F Two Triad Pair is part of a series of books on Pitch Class Set Improvisation called Harmonic and Melodic Equivalence. V11F Two Triad Pair examines a two 3 note pair that works over a -∆7 chord. Usually the Harmonic and Melodic Equivalence Series Harmonic and Melodic Equivalence Series looks at how a six note combination is part of a common scale.
In this instance we are working with six notes that are not part of a common scale but are a combination of chord tones and available tensions for a specific chord type. Although this combination is for a more specific application it should also make your realize the importance of knowing all the chord tones and available tensions for each chord type. You can find this information in the following books:
Two 3 note pairs and also be called “two trichords.” Two trichords which unlike a two triad pair are not build in thirds. The term was coined by Milton Babbitt to distinguish a three note collection from a triad built in 3rds.
Trichords form a sound that is very useful to a modern improviser both as melodic and harmonic content. Through the Harmonic and Melodic Equivalence Series these trichords are studied in-depth. I think you will find them to be a welcome addition to your improvisational palette and a good base for learning Pitch Class Set Improvisation techniques.
“Harmonic and Melodic Equivalence Trichord Pair” is a series of Pitch Class Set Improvisation books that will help you to develop many different musical skills simultaneously. The source materials for this book are exercises that contain two 3 note groupings which are not built in thirds.
First a little background, “two triad pairs” consist of two 3 note groupings that are built in 3rds. These combinations typically use a major, minor, diminished or augmented triad and when grouped into a collection of two are called a “two triad pair.”
A trichord pair on the other hand takes any of the 9 other possible 3 note combinations and builds pairs using these pitch class sets. These include 012, 013, 014, 015, 016, 024, 025, 026 and 027. Any three note group can be referred to as a “trichord” but is more commonly used when speaking of a three note grouping not built in thirds. Trichords can also be referred to as non-tertial two triad pairs.
The Pitch Class Set Improvisation exercises found in this course use many different types of harmonic and melodic ideas that can be superimposed over common chord progressions, scales and other musical situations. This course concentrates on using a two 026 pitch class sets.
An example of that would be C, D, F# and F, A, B. Notice that these six notes work over a -∆7 chord and are part of a harmonic and melodic minor scale if you include the b5. The b5 is an available tension on a -∆7 chord therefore this combination will be super hip when applied to that chord type. This combination is extremely useful for an improvising musician and the book contains many examples of how to apply this combination to different situations. There are also many charts included in this course to show you how these notes function in all 12 keys.
The Pitch Class Set Improvisation books are unique to the Muse Eek Publishing Inc. catalog. The various non-tertial two triad pairs found in this collection are both beautiful and highly applicable to modern improvisation. They work well as a melodic and harmonic device and Mr. Arnold has written a body of work through both recordings, videos and books dedicated to these non-tertial combinations. As with all of Mr. Arnold’s books there is a sharp focus on the ear training and the “Harmonic and Melodic Equivalence Two Trichord” Series is no different.
Each exercise or chart is always relating back to the idea of how you would hear these notes within a key center. This book includes a section where the two trichord pair are put into common chord progressions but more importantly shows you how these progressions relate to the overall key center. Learning music based on how your hear it rather than relating everything to a chord by chord approach is the rosetta stone of music. This is the secret to the previously undecipherable mystery of understanding music from an aural perspective.
This course is part of the Harmonic and Melodic Equivalence Series which explores over 50 different either trichord pairs or two triad pairs. To see all volumes follow the link above to explore each volume and hear examples from each course as well as finding links to compositions that I’ve written using each combination.
This course is divided up into two sets of exercises written in treble and bass clef. The 1st set of exercises gets gradually harder but also more musical. Depending upon your musical skills you can start anywhere you want but for beginners I would recommend starting from the 1st exercise of the five. The 2nd set of exercises are called “Atomic Scales.”
These exercises are a technical exercise that really helps you to learn these ideas but also sound great as a melody right off the bat. There are 6 different types of “Atomic Scales” exercises in this course. You don’t have to play every exercise in every key. But doing this will greatly increase the likelihood of you using it in real music in the future. Below is a listing of the exercises found in this course:
Below is an explanation for each set of the 6 different atomic scale exercises found in this course. Three octave sequences that move back and forth between the two 3 note groups are presented in six different configurations. These exercises are highly melodic and can be used verbatim as melodies when soloing.
If we thought of the three notes as A,B,C then there would be six different ways to combine these notes. i.e. ABC, ACB, BAC, BCA, CAB and CBA. All exercises include MP3s as well as midi files so that you can hear and play these exercises at any tempo as well as versions in all 12 keys.
Here are a few examples from the 1st set of exercises. A complete list of the different types of exercises can also be found below.
Closed Position Exercise
MP3 example
1st Inversion Exercise
MP3 example
2nd Inversion Exercise
MP3 example
Random combinations of closed position along with 1st and 2nd inversion.
MP3 example
Random combinations of closed position along with 1st and 2nd inversion and rhythm permutation
MP3 example
Here are a few examples from the 2nd set of exercises.
Atomic Scales 1st Rotation
MP3 example
Atomic Scales 2nd Rotation
MP3 example
Atomic Scales 3rd Rotation
MP3 example
Atomic Scales 4th Rotation
MP3 example
Atomic Scales 5th Rotation
MP3 example
Atomic Scales 6th Rotation
MP3 example
Additional Information for Harmonic and Melodic Equivalence V11F Two Triad Pair:
Hey Bruce, thanks for including this course in your Harmonic and Melodic Equivalence Series. I now understand the importance of the chord tones and tensions charts that you included in Chord Workbook for Guitar Volume Two and the New York Guitar Method Volume One. If you know all your chord tones and tensions possibilities then you can really make some interesting two trichord groupings. Always a learning experience with your books and that’s why I love them! J. Ogland
Hi Bruce, I just got turned on to your “Pitch Class Set Improvisation Series.” What a deep resource for understanding and creating new melodies and chords for a contemporary sound. The Harmonic and Melodic Equivalence Series has also been a great resource for me. I love the way you give different ideas for practicing these concepts.
I’ve found other similar concepts online but never a way to organize things into a bigger picture and certainly not how to practice these ideas to make them your own. Really want to thank you for making all this stuff available to all of us!! J. Leary
Bruce just wanted to shoot you an email and tell you how much I’m enjoying your material on music education. I’m deep into your ear training studies and have found that singing through these various exercises in the Harmonic and Melodic Equivalence Series is really tough going. That said, it is really opening up my ears and mind to some great new sounds while also improving my ear training skills. W. Broom
Octatonic Chords by Bruce Arnold Diatonic Chords for 124 Eight Note Scales From the Pitch…
495 Eight Note Scales in all 12 keys by Bruce Arnold This is part of…
Segmenting Bebop Scales with Approach Notes by Bruce Arnold by Bruce Arnold 124 Eight Note…
Segmenting Bebop Scales 124 Ascending and Descending Permutations by Bruce Arnold Part of the Octatonics…
Bebop Scales 124 Bebop Scales and Their Application Add digital copy to cart - $19.99…
Octatonics and courses dealing with Octatonic Scales, Chords, Tetrads and Bebop Scales by Bruce Arnold…
