Harmonic and Melodic Equivalence V19C Two Triad Pair

This course works with a Two Triad Pair consisting of two minor triads a half step apart. Using two triads gives your melodies a very modern sound. You can pivot back and forth between these triads in various ways and this course gives you 328 pages of exercises in all keys with MP3 and Midi files to do just that. Harmonic and Melodic Equivalence V19C Two Triad Pair also contains examples of how you could use these two triad pair in extended harmonic reharmonizations. These aspects make this the definitive study of this two triad pair.

*Harmonic and Melodic Equivalence V19C Two Triad Pair*

*Harmonic and Melodic Equivalence V19C Two Triad Pair*

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## Background Information on a Two Triad Pair or Two Trichords

“Harmonic and Melodic Equivalence” is a series of books that will help you to develop many different musical skills simultaneously. The source materials for these books are exercises that contain two 3 note groupings of notes which are also called a two triad pair or trichord pair. Any three note group of notes is often referred to as a “trichord.”

The exercises contained 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. They are also great for singing and rhythm studies so don’t overlook this aspect. The three note groupings in these “Harmonic and Melodic Equivalence” course can also be thought of as pitch class sets. For instance, in this volume C, Eb, G and D, F, A are both 037 pitch class sets because they both contain a minor third and a 5th within their interval structure. This is a great sequence because it uses six notes that are find in any of the major modes therefore you will find a ton of useful applications which are discussed in the course.

## Harmonic and Melodic Equivalence Series

This course is part of the Harmonic and Melodic Equivalence Series which explores over 50 different three note pairs that I’ve used in compositions and improvisations. To see all volumes follow the link 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 two triad pair 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:

- 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 V19C 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 two triad pair 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 V19C 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

1st Inversion Exercise

2nd Inversion Exercise

Random combinations of closed position along with 1st and 2nd inversion.

Random combinations of closed position along with 1st and 2nd inversion and rhythm permutation

## 2nd Set of Exercises in Harmonic and Melodic Equivalence V19C Two Triad Pair Course

Here are a few examples from the 2nd set of exercises.

Atomic Scales 1st Rotation

Atomic Scales 2nd Rotation

Atomic Scales 3rd Rotation

Atomic Scales 4th Rotation

Atomic Scales 5th Rotation

Atomic Scales 6th Rotation

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MP3 example

https://s3.amazonaws.com/media.muse-eek.com/mp3/HandMEV19C/06_037_Degree_1_b3_5_2_4_6_Atomic_Scale_Ex_6_Key_Db.mp3*TOC in the Harmonic and Melodic Equivalence V19C Two Triad Pair Course: *

*TOC in the Harmonic and Melodic Equivalence V19C Two Triad Pair Course:*

- How to Use This Course
- Harmonic/Melodic Possibilities of Two 037s
- Chord Possibilities of Two 037s
- Two triad pair rotations Starting on Every Eighth Note
- Two 037’s in Modal Playing
- How to Think of the 037s used in this course
- 037 Daily Exercise-Atomic Scales
- Thinking of the Two Triad Pair as Modes
- Thinking of the Two Triad Pair as One Scale
- C, Eb, G and D, F, A 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 V19C Two Triad PairToday!

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Additional Information for Harmonic and Melodic Equivalence V19C:

- Digital Edition 978-1-59489-339-1
- 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:

*Hey Muse Eek, thanks for including my steady stream of comments on this series. I find the “19” series to be the most helpful in my develop of this idea. Very easy to hear and of course many of these triad pairs show up in common scales that I use so that makes using them easy. J. Ogland*

*Just wanted to reach out and tell you how much I appreciate you making these books available. I mostly use them for ear training to build my key retention. As you pointed out the Key Retention Builder book is great for building key retention but also singing these exercises shows that different types of melodies create their own set of issues. H. Darwin*

*Hey Guys really digging this new two minor triad course! Gives me a whole new way to use simple triads to create a very unique and useful sound. A. Gary*

*Hey Bruce thanks for recommending the singing of these exercises to improve key retention. I’m finding that about half of the 12 keys are totally kicking by behind. I’m really starting to hear that certain melodic combinations pull my ear out of a key center and this is making me very aware of a weak point in my aural skills. Finally, the advanced harmonic ideas of taking these two triad pairs and superimposing them to make longer chord progressions is really opening my eyes to some new ideas and sounds to explore with this course. B. Bolton*