The Lines Are Open! - An open 027 Trichord line
Here's a basic description, with an example, of the 027 Trichord (aka 2+5, or Major & minor scale steps 1-2-5, in prime form), which will more than likely be the subject of a future book.
It's a familiar sound, becoming popular among improvisers of the 1960's, and heard in the music of John Coltrane, McCoy Tyner, Joe Henderson, Woody Shaw and many others of that period and beyond.
Because 027 (C-D-G, in C) contains the intervals of a Maj 2nd, a Perfect 4th, and a Perfect 5th, it's relationship to the Pentatonic Scale becomes apparent. Adding a pair of P4ths to either end of an 027s 1st Rotation forms a pentatonic scale in fourths (E-A-D-G-C = C Pentatonic, or D-G-C-F-Bb = Bb Pentatonic).
The structure of the 027 trichord lends itself to open, quasi “in and out”, sometimes ambiguous polytonal melodic and harmonic possibilities, especially when stringing together multiple, overlapping 027s.
It's a familiar sound, becoming popular among improvisers of the 1960's, and heard in the music of John Coltrane, McCoy Tyner, Joe Henderson, Woody Shaw and many others of that period and beyond.
Because 027 (C-D-G, in C) contains the intervals of a Maj 2nd, a Perfect 4th, and a Perfect 5th, it's relationship to the Pentatonic Scale becomes apparent. Adding a pair of P4ths to either end of an 027s 1st Rotation forms a pentatonic scale in fourths (E-A-D-G-C = C Pentatonic, or D-G-C-F-Bb = Bb Pentatonic).
The structure of the 027 trichord lends itself to open, quasi “in and out”, sometimes ambiguous polytonal melodic and harmonic possibilities, especially when stringing together multiple, overlapping 027s.
As with any trichord (defined as a non-triadic, 3-note grouping), 027 has three rotations (inversions) - Prime (root position), as well as 1st and 2nd Rotation (shown below).
Due to its 1st Rotation (2 P4ths), 027 is considered to be a unique, symmetric trichord. It's 2nd Rotation can be seen as a prime form trichord, as well (5+2 from G, see example below).
Ex. 1 - 027 trichord from C in Prime, 1st and 2nd Rotations -- horizontally and vertically.
Due to its 1st Rotation (2 P4ths), 027 is considered to be a unique, symmetric trichord. It's 2nd Rotation can be seen as a prime form trichord, as well (5+2 from G, see example below).
Ex. 1 - 027 trichord from C in Prime, 1st and 2nd Rotations -- horizontally and vertically.
As the melodic line in Ex. 2 demonstrates, 027 trichords can be overlapped to create pentatonics, partial pentatonics and P4th stacks. This gives the line its "open" quality, as the absence of a tritone keeps it from being pulled, in this case, into an easily identifiable sense of tonality until the final measure.
Starting on the 2nd eighth note of measure #1: (C-G-D-E-A) = C Maj Pentatonic. Or - looking at it as a pair of overlapping 027 trichords: C-G-D (027 - 1st inversion descending from C), then E-A-B, an 027 2nd inversion - ascending from E.
Likewise - the first 5 notes of measure #2: (Db-Ab-Eb-F-Bb) = Db Maj Pentatonic - a half step up from the pentatonic in measure #1. Or - witness the following overlapping 027s and their rotations: Db-Ab-Eb (1st), Eb-F-Bb (prime), F-Bb-C (2nd) and C-G-D (1st, into measure #3).
Starting on the 2nd eighth note of measure #1: (C-G-D-E-A) = C Maj Pentatonic. Or - looking at it as a pair of overlapping 027 trichords: C-G-D (027 - 1st inversion descending from C), then E-A-B, an 027 2nd inversion - ascending from E.
Likewise - the first 5 notes of measure #2: (Db-Ab-Eb-F-Bb) = Db Maj Pentatonic - a half step up from the pentatonic in measure #1. Or - witness the following overlapping 027s and their rotations: Db-Ab-Eb (1st), Eb-F-Bb (prime), F-Bb-C (2nd) and C-G-D (1st, into measure #3).
Ex. 2 - Line consisting of overlapping 027s, resolving to minor.
Listen
Analyzing one's own lines can be revealing - as it was in measure #3. The first 5 notes (D-A-E-Gb(F#)- B) spell out a D Maj Pentatonic - again, a half-step up from the pentatonic in the previous measure. As this line came organically off my horn, I'm surprised to see that it includes 3 chromatically ascending pentatonics. As far as overlapping 027s go in measure #3: D-A-E (Prime, permutation), E-Gb(F#)-B (Prime), and Gb-B-Db (2nd Rotation).
In measure #4, 1st Rotation 027s Ab-Eb-Bb and G-C-F (as well as C-F-Bb - jumping the bar line, back to measure #1) complete the line.
A note about the given chord changes - they work in the sense of a traditional ii-V. However the primary tonalities covered by the line are, by measure:
C |Db |D |Ab Bb |
There's no real conflict here, just a different way of looking at it.
B. Stern
In measure #4, 1st Rotation 027s Ab-Eb-Bb and G-C-F (as well as C-F-Bb - jumping the bar line, back to measure #1) complete the line.
A note about the given chord changes - they work in the sense of a traditional ii-V. However the primary tonalities covered by the line are, by measure:
C |Db |D |Ab Bb |
There's no real conflict here, just a different way of looking at it.
B. Stern
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