Bruce Arnold

Harmonic and Melodic Equivalence V7 Two Triad Pair by Bruce Arnold

Harmonic and Melodic Equivalence V7 Two Triad Pair

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Harmonic and Melodic Equivalence Series

Part of the Harmonic and Melodic Equivalence Series

Harmonic and Melodic Equivalence V7 Two Triad Pair is part of a series of books on Pitch Class Set Improvisation called Harmonic and Melodic Equivalence. V7 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 exercises are called “Atomic Scales.”

Harmonic and Melodic Equivalence Exercises

This Pitch Class Set Improvisation 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 pitch class set improvisation 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 V7 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 Pitch Class Set Improvisation 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 V7 Course

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

Closed Position Exercise

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MP3 example

1st Inversion Exercise

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MP3 example

2nd Inversion Exercise

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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

2nd Set of Exercises in Harmonic and Melodic Equivalence V7 Course

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

Atomic Scales 1st Rotation

• 

MP3 example

Atomic Scales 2nd Rotation

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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

TOC in the Harmonic and Melodic Equivalence V7 Course:

• How to Use This Course
• Harmonic/Melodic Possibilities of an 016-016 combination
• Chord Possibilities of an 016-016 combination
• Rotations Starting on Every Eighth Note
• 016-016 combination in Modal Playing
• How to Think of the an 016-016 combinations used in This Course
• 016-016 combination daily exercise-Atomic Scales
• Thinking of the an 016-016 combination as Modes
• Thinking of the an 016-016 combination as One Scale
• C, F#, G and Eb, A, Bb as One Scale in All Keys
• Additional Practice Ideas

Get Harmonic and Melodic Equivalence V7 Today!

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

Additional Information for Harmonic and Melodic Equivalence V7:

• Digital Edition 978-1-59489-342-1
• One 11 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, you were right this duel 016s is dope. I can plug this directly into my blues repertoire and it gives me a fresh new sound J. Ogland

Just wanted to let you guys know how much I’m digging this new 016-016 course. From reading the PDF this seems like a super important part of this whole series. As you mention 016 is a great substitute for a dominant chord among others. I using it both for melodic lines and chords. Really digging the new fresh sound! R. Gronick

Just wanted to drop you a note and tell you that I’ve picked up the Sonic Resource Guide after seeing your mention of the other 016s that can be found. What a rich resource for quickly figuring out other scales and combinations to use in music! H. Bartlett

Just wanted to let you guys know how much I appreciate this new series. It’s like a crash course on contemporary improvisation. I never realize that this two triad thing was so deep and extends into non-triadic combinations. Loving this new 016 fits right into my blues playing. P. Mann