Harmonic and Melodic Equivalence V19H Two Triad Pair

This course works with a Two Triad Pair consisting of a minor triad and augmented triad 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 V19H 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 V19H Two Triad Pair*

*Harmonic and Melodic Equivalence V19H Two Triad Pair*

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

“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 which are also called a two triad pair or trichord pair. Any three note group of notes is often referred to as a “trichord.”

These exercises 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 minor triad and an augmented triad a half step apart. An example of that would be C, Eb, G and Db, F, A. There are many ways to think about this six note grouping but one of the common ways is to think of it as six notes from a Bb melodic minor ascending scale. This makes this combination a great resource for applying to any scale or chord found within the modes of that scale. Charts are included to show you how these notes function in all 12 keys as well as many other charts showing other distinctions found within this two triad combination.

## Unique Aspect of These Two Triad Pair Books

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.

## Harmonic and Melodic Equivalence Series

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 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.

## 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 V19H Two Triad 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 V19H Two Triad 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 V19H 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 �cales 5th Rotation

MP3 example

Atomic Scales 6th Rotation

MP3 example

*TOC in the Harmonic and Melodic Equivalence V19H Two Triad Pair Course: *

*TOC in the Harmonic and Melodic Equivalence V19H Two Triad Pair Course:*

- How to Use This Course
- Harmonic/Melodic Possibilities of an 037 and 048 combination.
- Chord Possibilities of this 037 and 048 combination
- Two triad pairs rotations Starting on Every Eighth Note
- How to think of these an 037 and 048 combinations that are used in this course
- The 037 and 036 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, Eb, G and Db, F, A 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 V19H Two Triad Pair Today!

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

Additional Information for Harmonic and Melodic Equivalence V19H Two Triad Pair:

- Digital Edition 978-1-59489-349-0
- 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 MetroDrone®

## What people are saying:

*Here is my report on working with this book. Since this augmented and minor triad combination can work with the diatonic chords of melodic minor ascending I got to work applying them. Two applications really stuck out as super hip. Using the combinations over tonic 7th chord which is 5,b7,2 and b6,1,3 and superimposing that combination but thinking of it in a major key center. For the dominant combination it’s like playing notes from a mixolydian b6 scale minus the 4th and with the superimposition over a major key center it’s notes would be 2,4,6 and b3,5,7 which is basically like playing six notes from a melodic minor ascending scale. Both of these are super easy to hear and there are so many other applications that I’m really digging this combination. Finally the advanced reharmonization section blew my mind! Extending the use of this two triad pair into common chord progressions gives me so many ideas on how to apply this information. Thanks!! J. Ogland*

*Hello Muse Eek, I just wanted to drop you a line and show appreciate for all your hard work with this new series of books. Not only is it getting my triads together but it’s introducing me to a whole new world of sound. I appreciate your mention in an email that you need to think of all of these relationships in the key of the moment. I wasn’t doing that and now that I am I’m hearing things much quicker. Thanks! K. Rollings*

*Great books guys! I’m using the 19H two triad pair over blues changes and it is really awesome. Maybe not for everyone’s taste but I love pushing the envelop! Can’t wait for the next book in the series W. McConnell*

*Hi Mr. Arnold, just wanted to drop you a note of appreciation on all the fine books you are releasing. This new series has really showed me the importance of getting the basics together. I had no idea how hip a simple triad could be until I started working with these books G. Nieberg*