Harmonic and Melodic Equivalence V19D Two Triad Pair

This course works with a Two Triad Pair consisting of a major and diminished triad 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 V19D 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 V19D Two Triad Pair*

*Harmonic and Melodic Equivalence V19D 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. These exercises are also great for singing and rhythm studies so don’t over look 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, E, G and D, F, B are a 037 and 036 pitch class set. The 037 is a major triad and contains a minor third (descending from the 5th to the 3rd of the chord) and a 5th which is the 5th down to the root. The 036 has a minor third (descending from the 5th to the third) and a tritone (descending from the 5th to the root) within their interval structure. This is a great sequence because it forms a V7 to I cadence and 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 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 V19D 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 V19D 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 V19D 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

*TOC in the Harmonic and Melodic Equivalence V19D Two Triad Pair Course: *

*TOC in the Harmonic and Melodic Equivalence V19D Two Triad Pair Course:*

- How to Use This Course
- Harmonic/Melodic Possibilities of the 037 and 036
- Chord Possibilities of the 037 and 036
- Rotations Starting on Every Eighth Note
- How to Think of the 037 and 036 used in this course
- The 037 and 036 Daily Exercise-Atomic Scales
- Thinking of the Two Triad Pair as Modes
- Thinking of the Two Triad Pair as One Scale
- C, E, G and D, F, B 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 V19D Two Triad Pair Today!

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Additional Information for Harmonic and Melodic Equivalence V19D Two Triad Pair:

- 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 MetroDroneĀ®

## What people are saying:

*Hello Bruce, this is a fascinating course. It’s slightly different from the others in this series because it works with a two triad pair that is also part of a common chord progression. I’m instantly hearing melodic lines with this combination and is really giving my playing a more harmonic backdrop. Thanks J. Ogland*

*I got this course of Mr. Arnold’s recommendation. I’m pretty much a scale improvisor and wanted to get into a more harmonic approach. According to Mr. Arnold this combination was given to him by the great music guru Charlie Banacos. In any case, it is really helping me to get a V I cadence in my playing. I haven’t dug into the advanced reharmonization studies in this course but I can see that studying these two triad pair can really open up a whole new side of superimposing melodies over various chord progressions. Mr. Arnold recommend I place it before any major chord which is really getting me to think more harmonic in my playing. Highly recommend this volume in the series. S. Wells*

*Hey Muse Eek this course is really getting me to hear simple chord progressions in my playing. Like Bruce said you can put a V7 in front of any chord so working with these exercises has really helped me to get the idea under my fingers. E. Young*

*Just wanted to drop you guys a note to let you know I’m recommending this course to a lot of musicians. It has really helped me to get out of the scale rut and into hearing harmonically. Thanks! A. Tuenge*