Harmonic and Melodic Equivalence V14G Two Triad Pair by Bruce Arnold
Part of the Pitch Class Set Improvisation Series
Harmonic and Melodic Equivalence V14G 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 triad pair is this course is: 1, b2, 2, 3, b5, 5 and works over 7, 7sus4 and -∆7 chords. The usual exercises are included in the course but the most important aspect of this course is the discussion of these topics:
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 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 will help with your understanding of Pitch Class Set Improvisation.
“Harmonic and Melodic Equivalence Trichord 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 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, G. It works over 7, 7sus4 and -∆7 chords and 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.
The two trichord books are part of a series of books on Pitch Class Set Improvisation that 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 V14G Two Triad Pair:
As you had mentioned in a previous email the 026 and 016 trichords are really starting to become 2nd nature as I work through this 016-026 series. What use to take me weeks is now just taking a few days before I can apply this information to real music. This new book with the C, E, Gb and Db, D, G is one of my favorites. I really like the way it sounds over a -∆7 chord. J. Ogland
Just thought I’d drop you an email and let you know how much I appreciate you putting out the Harmonic and Melodic Equivalence Series. I’ve not been able to find all this information anywhere else so this is a real treasure to me. I really enjoy the various exercises that you have included in the book. I play both guitar and bass so I also appreciate you including the bass clef in these books at no additional charge. Keep up the good work! K. Eide
Hey Bruce, There are so many hidden ideas and relationships within each of these books. It is really opening my mind up to different ways to think about note relationships. Each volume you put out has some new concept to consider. These concepts of course work with any three notes but if you extract that information and apply it to other note combinations you really have a deep pool of knowledge to explore. Thanks! J. Anderson
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