Harmonic and Melodic Equivalence V14E Two Triad Pair

Harmonic and Melodic Equivalence V14E Two Triad Pair by Bruce Arnold

Harmonic and Melodic Equivalence V14E Two Triad Pair is part of a series of books on Pitch Class Set Improvisation called Harmonic and Melodic Equivalence.  The hexatonic scale formed by the V14E Trichord Pairs is 1, b2, 2, 3, b5, b6 and works over a 7th and 7sus4 chords. The usual Pitch Class Set Improvisation 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.

All the topics listed above are crucial for developing a deeper understanding of music and how the Harmonic and Melodic Equivalence Series is organized.

Two Trichords

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 beginning in the study of Pitch Class Set Improvisation.

Harmonic and Melodic Equivalence V14E Trichord Pair

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Background Information on a Two Triad Pair or Two Trichords

“Harmonic and Melodic Equivalence Two Triad Pair” is a series of books on Pitch Class Set Improvisation 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 exercises found in this course use many different types of harmonic and melodic ideas that are common in Pitch Class Set Improvisation and can be superimposed over common chord progressions, scales and other musical situations. This course concentrates on the 026-016 combinations. An example of that would be C, E, Gb and Db, D, Ab. It works over 7th and 7sus4 and is extremely useful for an improvising musician looking for some new fresh sounds. There are also many charts included in this course to show you how these notes function in all 12 keys.

Unique Aspect of These Two Trichord Books

The two trichord books introducting one aspect of Pitch Class Set Improvisation 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.

Harmonic and Melodic Equivalence Series

This Pitch Class Set Improvisation 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.

Harmonic and Melodic Equivalence Exercises

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 Pitch Class Set Improvisation 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:

• Closed position studies.
• 1st inversion studies.
• 2nd inversion studies.
• Random combinations of closed position along with 1st and 2nd inversion.
• Random combinations of closed position along with 1st and 2nd inversion with rhythmic displacement.
• Atomic Scales Exercise 1
• Atomic Scales Exercise 2
• Atomic Scales Exercise 3
• Atomic Scales Exercise 4
• Atomic Scales Exercise 5
• Atomic Scales Exercise 6

Explanation of 2nd Set of Exercises in Harmonic and Melodic Equivalence V14E Two Triad Pair 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.

• Three octave sequences that move back and forth between the two 3 note groups in the ABC sequence
• Three octave sequences that move back and forth between the two 3 note groups in the ACB sequence
• Three octave sequences that move back and forth between the two 3 note groups in the BAC sequence
• Three octave sequences that move back and forth between the two 3 note groups in the BCA sequence
• Three octave sequences that move back and forth between the two 3 note groups in the CAB sequence
• Three octave sequences that move back and forth between the two 3 note groups in the CBA sequence

1st Set of Exercises in Harmonic and Melodic Equivalence V14E Two Triad Pair Course

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

2nd Set of Exercises in Harmonic and Melodic Equivalence V14E Two Triad Pair Course

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

TOC in the Harmonic and Melodic Equivalence V14E Two Triad Pair Course:

• How to Use This Course
• Harmonic/Melodic Possibilities of 026-016 combination.
• Chord Possibilities of this 026-016 combination
• Two triad pairs rotations Starting on every eighth note
• How to think of these an 026-016 combinations that are used in this course
• The 026-016 combination Daily Exercise-Atomic Scales
• Thinking of these two triad pairs as applications to Modes
• Thinking of these two triad pairs as one scale
• C, E, Gb and Db, D, Ab as one scale in all keys
• Forming chord progressions with two triad pairs
• Forming extended chord progressions with two triad pairs
• Choosing chord progressions from two triad pairs
• Additional practice ideas

Get Harmonic and Melodic Equivalence V14E Two Triad Pair Today!

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

Additional Information for Harmonic and Melodic Equivalence V14E Two Triad Pair:

• Digital Edition 978-1-59489-272-1
• One 14 page PDF explaining exercises, 5 different types of exercises, 328 pages of exercises in PDF format in treble and bass clef.
• Information and examples of forming extended chord progressions with this two triad pair.
• MP3’s and Midi files for all exercises.
• 12 MP3s from Tuba MetroDrone®

What people are saying:

Just a quick email to let you know my thoughts on this course. I was very intrigued by the idea of using these trichords in a passing diminished situation. This has really got me thinking about how to replace all the regular drop 2 chord voicings I use with trichords. That will take a minute but I think it will produce some interesting new sounds. J. Ogland

I’m impressed with this Harmonic and Melodic Equivalence Series. It seems like every new volume contains yet another way to apply these two 3 note pairs to another aspect of music. I also love all the charts and graphs. They make it really easy for me to see relationships quickly and the exercises give me direct access to the information on my instrument. Bravo! and keep up the good work. H. Dalquin

I’m have to let you know that this 026-016 series is really opening up a whole new sound for me. I’ve always been a fan of the tritone sound and all it’s applications as a dominant chord. These books really show me a ton of new ways to apply this to my music. R. Weller