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Harmonic and Melodic Equivalence V3 Two Triad Pair by Bruce Arnold

Harmonic and Melodic Equivalence V3 Two Triad Pair

Status: In stock, Digital book is available for immediate access.

Harmonic and Melodic Equivalence V3 Two Triad Pair

Part of the Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence V3 Two Triad Pair is part of a series of books on Pitch Class Set Improvisation called Harmonic and Melodic Equivalence. V3 Two Triad Pair 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 Pitch Class Set Improvisation 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 1st Set of Exercises in Harmonic and Melodic Equivalence V3 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 Pitch Class Set Improvisation 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 V3 Course

Here are a few examples from the 1st set of Pitch Class Set Improvisation exercises. A complete list of the different types of exercises can also be found below.

Closed Position Exercise

    • 01_013_Degree_1_b2_b3_6_7_9_Closed_Position_Key_C-1Harmonic-and-Melodic-Equivalence-V2 by Bruce Arnold

MP3 example

1st Inversion Exercise

    • 02_013_Degree_1_b2_b3_6_7_9_1st_Inversion_Key_F-1-Harmonic-and-Melodic-Equivalence-V2

MP3 example

2nd Inversion Exercise

    • 03_013_Degree_1_b2_b3_6_7_9_2nd_Inversion_Key_Bb-1-Harmonic-and-Melodic-Equivalence-V2

MP3 example

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

    • 04_013_Degree_1_b2_b3_6_7_9_Random_Inversions_Bass_Key_Eb-1-Harmonic-and-Melodic-Equivalence-V2

MP3 example

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

    • 05_013_Degree_1_b2_b3_6_7_9_Random_Inv_Rhy_Key_Ab-1-Harmonic-and-Melodic-Equivalence-V2

MP3 example

2nd Set of Exercises in Harmonic and Melodic Equivalence V3 Course

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

Atomic Scales 1st Rotation

    • 01_013_Degree_1_b2_b3_b5_5_6_Atomic_Scale_Ex_1_Key__C_Harmonic-and-Melodic-Equivalence-V2-72dpi

MP3 example

Atomic Scales 2nd Rotation

    • 02_013_Degree_1_b2_b3_b5_5_6_Atomic_Scale_Ex_2_Key__F_Harmonic-and-Melodic-Equivalence-V2

MP3 example

Atomic Scales 3rd Rotation

    • 03_013_Degree_1_b2_b3_b5_5_6_Atomic_Scale_Ex_3_Key__Bb_Harmonic-and-Melodic-Equivalence-V2

MP3 example

Atomic Scales 4th Rotation

    • 04_013_Degree_1_b2_b3_b5_5_6_Atomic_Scale_Ex_4_Key__Eb_Harmonic-and-Melodic-Equivalence-V2

MP3 example

Atomic Scales 5th Rotation

    • 05_013_Degree_1_b2_b3_b5_5_6_Atomic_Scale_Ex_5_Key__Ab_Harmonic-and-Melodic-Equivalence-V2

MP3 example

Atomic Scales 6th Rotation

    • 06_013_Degree_1_b2_b3_b5_5_6_Atomic_Scale_Ex_6_Key__Db_Harmonic-and-Melodic-Equivalence-V2

MP3 example

TOC in the Harmonic and Melodic Equivalence V3 Course:

  • How to Use This Course
  • Harmonic/Melodic Possibilities of Two 013’s
  • Chord Possibilities of Two 013’s
  • Rotations Starting on Every Eighth Note
  • Two 013’s in Modal Playing
  • How to Think of the 013’s Used in This Course
  • 013 Daily Exercise-Atomic Scales
  • Thinking of the Trichords as Modes
  • Thinking of the Trichords as One Scale
  • C, Db, Eb and F#, G, A as One Scale in All Keys

Get Harmonic and Melodic Equivalence V3 Today!

Status: In stock, Digital book is available for immediate access.

Additional Information for Harmonic and Melodic Equivalence V3:

  • Digital Edition 978-1-59489-333-9
  • One 8 page PDF explaining exercises, 5 different types of exercises, 328 pages of exercises in PDF format in treble and bass clef
  • MP3’s and Midi files for all exercises.
  • 12 MP3s from Tuba MetroDrone®

What people are saying:

Hey Bruce, my favorites for the Harmonic and Melodic Equivalence Series are the 013 V2 and this volume. I’ve been wanting some new sounds to use with the octatonic scale that you call Symmetrical Diminished and these two books have a lifetime’s worth of great ideas. Can’t wait for the 016 and 026 books for more ideas with Symmetrical Diminished…Thanks J. Ogland

Mr. Arnold I thought I’d let you know how much these Harmonic and Melodic Equivalence books are helping me understand reharmonization. I never could figure out why advanced musicians were playing what they were playing. It all sounded awesome to me but I had no idea how they were getting these melodic and harmonic ideas. These books have really opened up my eyes to how to create these types of sounds. Thanks so much K. Egan

Really like the angular sounds in this volume. I’m a big Monk fan so these 014’s seem to be exactly what Thelonious Monk was thinking when he played or at least if I want that sound just use 014’s. Great ideas keep in up!! Y. Lyon

OK I was a little skeptical when starting with this stuff but once you speed these melodies up they are dope. I’ve also been using these books as a sight reading course and that has really helped me because the “Atomic Scale” melodies jump through many octaves. J. Williams

Harmonic and Melodic Equivalence V3 Two Triad Pair

Bruce Arnold performing with Music Man Guitar New York City