Symmetrical Trichord Pairs

Symmetrical Trichord Pairs

ISBN: 978-1-59489-432-9

847 Page PDF

“Symmetrical Trichord Pairs” explores the formation of 2 three-note (trichord) groups with the exact same structure. Eleven different structures are explored and general recommendations are made on how to use each one. Since the use of these structures will be in an improvisational setting, their relationship to various chord types will be of paramount importance. This book only looks at symmetrical structures. There are, of course, many other possible combinations when you consider non-symmetrical trichord structures. Each symmetrical trichord pair is sequenced up one octave to help the student see a melodic application.. This sequence also aids in the mastering of these structures and is presented in all keys. Rather then start on page 1 with the 012 symmetrical trichord pairs, which while being a cool sound, are only possible on two chord types it is recommended that you choose a structure that can be used on multiple chord types and has many possible combinations. This will allow you to get more use out of each structure as you learn. In general I would approach this book as a reference guide for finding interesting symmetrical structures from the 574 possible combinations. I would then apply them to various chord types.

How to Use This Book

There are many possible ways to interact with this book. Since there are 574 total symmetrical trichord pairs, an improviser needs some guidance on how to approach and organize all these combinations. Symmetrical trichord pairs are only possible within a limited number of chord structures. This course does not take into consideration “modal situations” where avoid notes could be used. It only concentrates on trichord pairs that contain a combination of chord tones and available tensions. This allows you to stop on any note and not worry about resolving avoid notes.

Who Uses This Stuff?

Jazz musicians have traditionally used the “0, 2, 7” structure because of the number of 4ths contained it. Musicians such as Thelonious Monk frequently used the “0, 1, 4” or “0, 1, 6” structure. John Coltrane made use of “0, 1, 3” in many of his late recordings, and McCoy Tyner used “0, 3, 7” symmetrical structures a lot in his improvisations. I’ve recorded many heavy metal oriented CDs using “”0, 2, 7” and “0, 2, 5.” I’ve even done some more rock oriented compositions with “0, 1, 3” – but this is stretching the limits a bit. The bottom line, is all symmetrical trichord pairs sound great; it just depends on your personal preference and the idiom in which you apply them.

How to Use Symmetrical Trichord Pairs

There are a number of ways to judge the usefulness of a symmetrical trichord pair. Below is a list of some possible considerations::

• Look at the overall number of symmetrical pairs for any trichord. The more combinations the more diversity you can derive from that structure.
• When a trichord chord pair functions on multiple chord types it makes it more useful in a chord progression that contains many different chord types.
• Certain types of songs such as a Blues mostly use dominant chords so structures that have many possibilities on that chord type will be a good choice.
• Selection of a trichord pair can also be made based on the preponderance of a certain interval or group of intervals used in a particular piece of music and match that up with an appropriate pitch class set.

Get Symmetrical Trichord Pairs Today!

Symmetrical Trichord Pairs

ISBN: 978-1-59489-432-9

847 Page PDF

What people are saying:

• The melodies found in the reference book are awesome! Thanks for calculating all of these possibilities it is really giving my improvisation a new sound G. Newman
• Hey Bruce just wanted to give you a shout out about this new course. Really hip idea! I’ll be working out of this book for a long time. W. Edwards
• This concept of two different triads put together to form a melodic sequence is really cool. I’ve been transcribinh a lot of McCoy Tyner lately and this is definitely part of his sound and will be part of mine soon.A. Oliver
• Really dug this video! Really helps me to understand how I would musically use this information. This is definitely a book that I’ll be keeping on my Ipad and shedding for a long time. Love the whole concept. Basically it’s pitch class theory but written in a way that a jazz musician can understand and apply F. Hawthorne

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