Harmonic and Melodic Equivalence V19F Two Triad Pair by Bruce Arnold
Harmonic and Melodic Equivalence V19F Trichord Pairs is part of a series of books on Pitch Class Set Improvisation called Harmonic and Melodic Equivalence. V19F Trichord Pairsworks with a Two Triad Pair consisting of two diminished 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 V19F 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” 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 Pitch Class Set Improvisation 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 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, Gb and Db, E, G are two 036 pitch class sets. The 036 is a diminished triad and contains a two minor thirds. The numbers indicate the number of half steps so C = 0, Eb = 3, Gb = 6. The 3 an 6 are indicated that they are 3 and 6 half steps above “C.” This is a great sequence because it forms part of a diminished scale but also can be used to outline dominant chords among other applications.
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.
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.
This course is divided up into two sets of Pitch Class Set Improvisation 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 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.
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
Atomic Scales 6th Rotation
MP3 example
Additional Information for Harmonic and Melodic Equivalence V19F Two Triad Pair:
Hey Muse Eek, I’m very intrigued by each new volume in this series. Some like the Harmonic and Melodic Equivalence V19E Two Triad Pair seems to be lend itself to a more melodic scale like application and volumes like this volume can also be used as a way to outline common harmonic situations. I appreciate that through your emails, blogs and website information that you point these things out. It hasn’t always been obvious to me but I’m starting to see the bigger picture. Thanks! J. Ogland
Hey Bruce I just wanted to personally thank you for making all these books available for us at such a reasonable cost during the pandemic. I sure I’m not alone in my appreciation. I’ve been taking each new book and spending about 15 minutes a day exploring the combination presented. While that won’t make me an expert on the subject it has really expanded my understanding of the topic but also has given me some pretty cool licks that I can use straight away. Keep up the good work! H. Armstrong
Just wanted to drop you guys a note about your new Harmonic and Melodic Equivalence series. I’m finding the books in the 19 series to be the most readily adaptable to my current ability. I’ve been trying to find ways to help me learn the basic triads all over the guitar neck and these books have really helped me to see outside the box.
Before getting started with these books I just literally used a major triad or a major chord with the same process going for minor, diminished and augmented. These books have helped me see a whole other world that exists in the application of basic triads. The inclusion of ways to use two triad pairs as an extended chord progression really opened up a lot of new ideas for me. Thanks for all the hard work you are putting into this. E. Emerson
I’ve added these triad pairs into my daily routine. I found initially that they were very difficult but also made me realize how weak I was at physically playing triads. Now that I’ve been at it through multiple volumes I’m recognizing the triad shapes and that is really speeding up the process. With your recommendation I’ve been spending a little time applying each combination to jam tracks which has been hard but these combinations are beginning to be more second nature to me so they are making more sense when I improvise. W. Reagen
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