Harmonic and Melodic Equivalence V19E Two Triad Pair

This course works with a Two Triad Pair consisting of two major triads a tritone 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 V19E 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 V19E Two Triad Pair*

*Harmonic and Melodic Equivalence V19E 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 which can really help your ability to hear these advanced melodic ideas. 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 Gb, Bb, Db are two 037 pitch class sets. 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. This is a great sequence because it forms part of a diminished scale and you will find a ton of useful applications which are discussed in the course.

## Unique Aspect of These Two Triad Pair Books

All of Mr. Arnold’s books have a sharp focus on the ear training aspect of any technique or idea. “Harmonic and Melodic Equivalence” Series is no different. Each example is always relating the idea of how you would hear this in real music. This book includes a section where the two triad pair are put into common chord progressions but more importantly are shown 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 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 two triad pair 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 two triad pair 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 V19E 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 V19E 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 V19E 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

*TOC in the Harmonic and Melodic Equivalence V19E Two Triad Pair Course: *

*TOC in the Harmonic and Melodic Equivalence V19E Two Triad Pair Course:*

- How to Use This Course
- Harmonic/Melodic Possibilities of the two 037s.
- Chord Possibilities of the two 037s
- Two triad pair rotations starting on every eighth note
- How to think of the two 037s used in this course
- The two 037s 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 Gb, Bb, Db 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 V19E Two Triad Pair Today!

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Additional Information for Harmonic and Melodic Equivalence V19E Two Triad Pair:

- Digital Edition 978-1-59489-346-9
- 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 Bruce, so this major chord with a pair a tritone away was originally the only combination I knew for triad pairs. Learned it many years ago as a great substitution for a dominant chord. I am enjoying reading through the études with different rhythms especially the 12/8 bonus exercises are giving me some new ideas on how to use this combination. It’s funny how the addition of different rhythms in an exercise changes everything. All other books that I’ve ran into don’t have this feature so really appreciate you adding this to your exercises! J. Ogland*

*I just wanted to send an email and express my appreciation for this new series of books. I’m taking a different book every week and working on a different key each day. That only takes me through a little more than half of the book but gives me a good sense of the three note pair and whether it’s a sound I want to continue to use in the future. I partial to the non-tertian combinations but these triad combinations are also getting more use. I find the triads also work well with rock and blues so I’m incorporating them in those styles. Y. Lansing*

*Bruce I just wanted to drop you a line and tell you that this new series is the bomb! I’m using the étude examples as part of my sight reading everyday and I just about get through the whole book in a week. I sight read one hour a day on your recommendation. Been at it for over two years now and I’m getting to the point that I can read many of the classical scores you have in the member’s area at tempo! So I’m playing them along with the MP3s. This makes the process much more enjoyable and I’m learning a lot about each composers techniques by getting inside the composition via sight reading. Thanks again for your guidance! S. Newman*

*Awesome courses! If you are looking for some new sounds to play I would highly recommend these new courses. Each new one I explore gives me new revelations on how to change up my soloing palette. The advanced reharm information is giving me tons of additional ways to apply these two triad pair and to my knowledge is the only course on this subject that offers this type of information. Thanks for making these available. K. Edwards*