Hexatonic Triad Pairs II – Mixed Pairs
“Hexatonic Triad Pairs II – Mixed Pairs” is the second volume of exercises and sequences aimed at the improvising musician, exploring the subject and usage of triad pairs. It logically follows the concepts introduced in Vol. I, which focused exclusively on pairs of Maj & min triads derived from the Major Scale system.
Because of the strong tonal gravity of the triad itself, the use of triad pairs creates an alternate, intervallic option to the more linear method of line creation.
The formatting and layout of "Hexatonic Triad Pairs II - Mixed Pairs" is identical to Vol. I. However, the characters and scenery have changed, which alters the story line here considerably, meaning that the exercises, sequences and shapes from the previous volume have been altered to fit the construction of those in this volume.
The 4 triad pair / hexatonic configurations examined here in Vol. II - each derived from a different scale system - are:
Because of the strong tonal gravity of the triad itself, the use of triad pairs creates an alternate, intervallic option to the more linear method of line creation.
The formatting and layout of "Hexatonic Triad Pairs II - Mixed Pairs" is identical to Vol. I. However, the characters and scenery have changed, which alters the story line here considerably, meaning that the exercises, sequences and shapes from the previous volume have been altered to fit the construction of those in this volume.
The 4 triad pair / hexatonic configurations examined here in Vol. II - each derived from a different scale system - are:
- 1 Augmented & 1 Major triad a whole step apart – (ex. Eb Aug & F Maj – biii & IV from the C Melodic Minor Scale system). This is a potent device when used to express an altered dominant 7th chord.
- 1 Major Triad & 1 Minor Triad a min 3rd above – (ex. C Maj & Eb min from the C half tone / whole tone Diminished Scale system). This is but one of the several pairs derived from the octatonic diminished scale.
- 2 Major Triads a half step apart – (ex. G Maj & Ab Maj - V & VI from the C Harmonic Minor Scale system). Commonly used on tunes with alternating half step Major (I – bII) movement (ex. “Well You Needn't”, “Syeeda's Song Flute”).
- 1 Major Triad & 1 Minor Triad a Maj 3rd below – (ex. C Maj & Ab min from the C Augmented Scale system). Like #2, this is one of several pairs that are derived from this “synthetic” hexatonic scale.
Each of the above listed triad pairs / hexatonics is given a 48 page chapter and transposed to all 12 keys.
As in Vol. I, there's a final chapter of ii-V7 sequences, which illustrate combinations using all four triad pairs from the previous chapters of this volume.
The ii-V7-I examples below are from that section.
For each ii-V sequence, the main chord symbols are on top of the staff, as is usual, while the letter names of the individual triads (one pair per measure) are listed under the staff beneath each triad's contiguous note grouping.
It should be noted that the order in which each triad of the pair is stated, is only relevant according to the context in which it is used. The pair C & Eb min, for example, contains the same melodic and harmonic content as Eb min & C.
Example 1 features the Augmented Scale derived triad pair (C & Ab min) in the first 2 measures and the Harmonic Minor derived pair (G & Ab) in the third.
Ex. 1 - 1 Major Triad & 1 Minor Triad a Maj 3rd below (bars 1 & 2) + 2 Major Triads a half step apart (bar 3).
Listen
Example 2 illustrates a G ht / wt Diminished Scale derived pair (G min & E) in bar #1, a pair derived from Ab Melodic Minor (Db & B aug) in bar #2, another Diminished Scale (C#) derived pair (E min & C#) in bar #3, and a piece of the hexatonic formed from C & Eb min - absent the Bb - also derived from the octatonic Diminished Scale (C), in bar #4.
Ex. 2 - 1 Major & 1 Minor Triad a Min 3rd above (bar #1), 1 Augmented & 1 Major Triad a whole step apart (bar #2),
1 Major & 1 Minor Triad a Min 3rd above (bar #3) & 1 Maj & 1 Min Triad a Min 3rd above hexatonic fragment (bar #4).
Ex. 2 - 1 Major & 1 Minor Triad a Min 3rd above (bar #1), 1 Augmented & 1 Major Triad a whole step apart (bar #2),
1 Major & 1 Minor Triad a Min 3rd above (bar #3) & 1 Maj & 1 Min Triad a Min 3rd above hexatonic fragment (bar #4).
Listen
Even more possibilities open up when combining triad pairs from this volume with those of Hexatonic Triad Pairs, Vol. 1.
Triad pairs are yet another valuable tool to be used by the improviser in the creation of musical lines and statements.The main objective is to turn these exercises and sequences into real music.
They should be played and practiced in all directions, using rhythmic diversity (rests, triplets, etc.) to break up the constant stream of eighth notes.
In other words....Experiment!
Concepts, inversions and permutations from “Triadicisms, Vols. I & II” could be incorporated here, as well, with great effect.
B. Stern
Triad pairs are yet another valuable tool to be used by the improviser in the creation of musical lines and statements.The main objective is to turn these exercises and sequences into real music.
They should be played and practiced in all directions, using rhythmic diversity (rests, triplets, etc.) to break up the constant stream of eighth notes.
In other words....Experiment!
Concepts, inversions and permutations from “Triadicisms, Vols. I & II” could be incorporated here, as well, with great effect.
B. Stern
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