Harmonic and Melodic Equivalence V9C Trichord Pair

This course works with a trichord pair consisting of a two 024 pitch class sets a minor 3rd apart. Two trichords which unlike a two triad pair are not build in thirds. The Two 024 trichords pair used in this book are unusual for this series in that they don’t work over any traditional chord. They do work as a chordal superimposition and you will find this to be a common sound that advanced improvisors use in their playing. You can pivot back and forth between these trichords 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 V9C Trichord Pair also contains examples of how you could use these two trichords in extended harmonic reharmonizations. These aspects make this the definitive study of this two trichord pair.

*Harmonic and Melodic Equivalence V9C Trichord Pair*

*Harmonic and Melodic Equivalence V9C Trichord Pair*

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## Background Information on a Two Triad Pair or Two Trichords

“Harmonic and Melodic Equivalence Trichord Pair” is a series of books that will help you to develop many different musical skills simultaneously. The source materials for this book are exercises that contain two 3 note groupings which are not built in thirds. First a little background, “two triad pairs” consist of two 3 note groupings that are built in 3rds. These combinations typically use a major, minor, diminished or augmented triad and when grouped into a collection of two are called a “two triad pair.”

A trichord pair on the other hand takes any of the 9 other possible 3 note combinations and builds pairs using these pitch class sets. These include 012, 013, 014, 015, 016, 024, 025, 026 and 027. Any three note group can be referred to as a “trichord” but is more commonly used when speaking of a three note grouping not built in thirds. Trichords can also be referred to as non-tertial two triad pairs.

The exercises found 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. This course concentrates on using a two 024 pitch class sets. An example of that would be C, D, E and Eb, F, G. As you probably notices these six notes are half of a chromatic scale. While this combination isn’t great for playing over chords each trichord can form the sound of many typical chords and therefore it is great as a tool to superimpose chord changes. The course contains many ideas on how to implement this idea. There are also many charts included in this course to show you how these notes function in all 12 keys.

## Unique Aspect of These Two Trichord Books

The two trichord books are pretty unique to the Muse Eek Publishing Inc. catalog. The various non-tertial two triad pairs found in this collection are both beautiful and highly applicable to modern improvisation. They work well as a melodic and harmonic device and Mr. Arnold has written a body of work through both recordings, videos and books dedicated to these non-tertial combinations. As with all of Mr. Arnold’s books there is a sharp focus on the ear training and the “Harmonic and Melodic Equivalence Two Trichord” Series is no different. Each exercise or chart is always relating back to the idea of how you would hear these notes within a key center. This book includes a section where the two trichord pair are put into common chord progressions but more importantly shows you 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 either trichord pairs or two triad pairs. To see all volumes follow the link above 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 V9C Trichord 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 V9C Trichord 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

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

## 2nd Set of Exercises in Harmonic and Melodic Equivalence V9C Course

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

*TOC in the Harmonic and Melodic Equivalence V9C Trichord Pair Course: *

*TOC in the Harmonic and Melodic Equivalence V9C Trichord Pair Course:*

- How to Use This Course
- Harmonic/Melodic Possibilities of an 024 and 024 combination.
- Chord Possibilities of this 024 and 024 combination
- Two triad pairs rotations Starting on Every Eighth Note
- How to think of these an 024 and 024 combinations that are used in this course
- The 024 and 024 combination Daily Exercise-Atomic Scales
- Thinking of these two triad pairs as applications to Modes
- Thinking of these two triad pairs as One Scale
- C, D, E and Eb, F, G 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 V9C Trichord Pair Today!

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Additional Information for Harmonic and Melodic Equivalence V9C Trichord Pair:

- Digital Edition 978-1-59489-253-0
- 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:

*Hey Bruce, I’m back with my report on Volume 9C. These two trichords C,D,E and Eb,F,G really form a hybrid scale which I’m finding quite useful in a Blues situation. It’s kinda like a mix of a major pentatonic and blues scale. It seems like your main recommendation is to use these two trichords as harmonic superimpositions. I noticed there was no diad examples in this course but via your email I see the logic of forming separate courses to cover diad relationships within trichords in a more complete way. In any case keep them coming a fantastic exploration into new sounds. J. Ogland*

*I’m digging this course. I’m a blues guitarist and finding that some of these Equivalence courses are pretty cool for getting some new sounds into my blues playing. I especially like the Harmonic and Melodic Equivalence 21A. Please point out each volume that is good for using over a Blues so I can grab those as they come out. Thanks H. Stanley*

*Just thought I’d drop you an email and let you know that these Harmonic and Melodic Equivalence Books are really opening my eyes to some new sounds. I’m spending about 10 minutes a day on each new volume and just trying to do a few quick technical exercises and then applying the ideas to whatever song I’m working on. Each combination has its own signature sound and it’s really expanding my melodic ideas and certainly my understanding that small things can make big musical ideas. Keep’em coming! E. Hansen*

*Wow there are so many of these books! I really appreciate you scanning through the myriad of possibilities and picking out the combinations you find most useful. I can immediately apply the triad based books in this series but these trichord books are really opening up a whole new world. I was hip to the 027 book because I’m a big Steely Dan fan but some of the others like the 013 and 014 are quite new sounds to me. I’m into expanding my knowledge and appreciate how simple you define things in your books. Please continue to make these cutting edge courses available. It must be a lot of work on your part! T. Vanderlindee*