Trichord 027 - A Fresh, New Old Piece of Musical Language
As I hinted in last month's post, a new book on the subject of the 027 Trichord, conceived with the improvising musician in mind, might soon be forthcoming.
Well, you can now stop holding your breath (you've got your mask on, right?!), 'cause here it is!
With the straightforward, no nonsense title "Trichord 027", this new volume features all of 111 pages of introductory to advanced exercises, sequences and melodic lines, based on combinations and permutations of this familiar, contemporary sound.
The close relationship of the 027 Trichord with both the interval of a Perfect 4th and the Pentatonic Scale is highlighted in this volume, as is its symmetry within a 12-Tone Row.
Well, you can now stop holding your breath (you've got your mask on, right?!), 'cause here it is!
With the straightforward, no nonsense title "Trichord 027", this new volume features all of 111 pages of introductory to advanced exercises, sequences and melodic lines, based on combinations and permutations of this familiar, contemporary sound.
The close relationship of the 027 Trichord with both the interval of a Perfect 4th and the Pentatonic Scale is highlighted in this volume, as is its symmetry within a 12-Tone Row.
Here's a section-by-section breakdown:
Ex. 1 – Ascending 027 Trichord from C, in Prime, 1st & 2nd Rotations (12 transpositions)
Each Trichord has 3 expressions known as rotations and likened to inversions in a traditional triad. They are:
Prime 1st Rotation 2nd Rotation
Ex. 1 – Ascending 027 Trichord from C, in Prime, 1st & 2nd Rotations (12 transpositions)
Each Trichord has 3 expressions known as rotations and likened to inversions in a traditional triad. They are:
Prime 1st Rotation 2nd Rotation
Any 3-note grouping can be ordered in 6 unique ways - known as permutations. Changing a note's octave - as well as a trichord's direction - can further expand the number of possibilities.
Ex. 2 – 027 Melodic Permutations and Retrograde from C (12 transpositions)
Ex. 2 – 027 Melodic Permutations and Retrograde from C (12 transpositions)
In "Trichord 027", each rotation is organized according to four interval cycles – Semitone, Whole-Tone, Minor 3rd, and Major 3rd. Each rotation's cycle sequence is presented in 8 possible directions. A few partial examples:
Ex. 3 - Semitone Cycle - Ascending direction 027 trichords in Prime Form.
All cycle exercises throughout the book are presented in Retrograde, as well.
All cycle exercises throughout the book are presented in Retrograde, as well.
Ex. 4 - Semitone Cycle - Ascending direction, alternating descending / ascending 027 trichords in 1st Rotation.
Ex. 5 - Semitone Cycle - Ascending direction, alternating ascending / descending 027 trichords in 2nd Rotation.
The section of 027 Whole-Tone Cycle sequences (not shown) uses the exact same format, as do the remaining cycle sequence exercises. A pair of 027s a whole step apart form a pentatonic scale (CDG + DEA = CDEGA = C Pentatonic).
The Minor 3rds Cycle is unique in that any rotation of 027 as a full cycle results in a 12-tone row (see Ex. 10 & 11, as well as 6 & 7 below).
The Minor 3rds Cycle is unique in that any rotation of 027 as a full cycle results in a 12-tone row (see Ex. 10 & 11, as well as 6 & 7 below).
Ex. 6 - Minor 3rds Cycle (12 Tone Row)
Ascending direction 027 trichords in Prime Form.
Ascending direction 027 trichords in Prime Form.
Ex. 7 - Minor 3rds Cycle (12 Tone Row)
Ascending direction 027 trichords in 1st Rotation.
Ascending direction 027 trichords in 1st Rotation.
Any pair of 027 Trichords a minor 3rd apart, forms a traditional min7 11 chord, when expressed in 3rds (DEA & FGC = D-F-A-C-E-G = D min7 9 11).
There follows a section detailing the 027 Major 3rds Cycle, again using the same format.
Any pair of 027 Trichords a Major 3rd apart, forms a traditional Maj7 #11 chord, when expressed in 3rds (CDG & E-F#-B = C-E-G-B-D-F# = C Maj7 9 #11).
Any pair of 027 Trichords a Major 3rd apart, forms a traditional Maj7 #11 chord, when expressed in 3rds (CDG & E-F#-B = C-E-G-B-D-F# = C Maj7 9 #11).
The Major Scale Matrix (which includes the Dorian, Phrygian and Aeolian minor modes), hosts five 027 trichords (in C Maj, prime form: CDG – DEA – FGC – GAD – ABE).
The use of 027s with any of the aforementioned cycles creates a sense of temporary key modulation – or “inside / outside / inside” melodic and harmonic movement.
Examples of practical usage are presented as 4-bar sequences, with a target resolution usually within the final two measures. As no chord symbols are given, the resolution could be to any quality chord within that defined tonality.
A description of the 027s used in the two lines below is labeled in prime under each example, along with its rotation - 1 or 2 (x = permutation).
As the relationship between 027, the interval of a perfect 4th and the Pentatonic Scale is interwoven and inseparable, actual and overlapping pentatonics are noted in parentheses.
Ex. 8 – Four-bar 027 Sequence resolving to C (#1)
The use of 027s with any of the aforementioned cycles creates a sense of temporary key modulation – or “inside / outside / inside” melodic and harmonic movement.
Examples of practical usage are presented as 4-bar sequences, with a target resolution usually within the final two measures. As no chord symbols are given, the resolution could be to any quality chord within that defined tonality.
A description of the 027s used in the two lines below is labeled in prime under each example, along with its rotation - 1 or 2 (x = permutation).
As the relationship between 027, the interval of a perfect 4th and the Pentatonic Scale is interwoven and inseparable, actual and overlapping pentatonics are noted in parentheses.
Ex. 8 – Four-bar 027 Sequence resolving to C (#1)
Eb F Bb 1 B C# F# 1 A B E 1 F# G# C#x C F Gx G#A#D#2 F#G#C#2 Bb C F2 A B E2
(A & E Pentatonics) (G#, D# & F# Pentatonics)
(A & E Pentatonics) (G#, D# & F# Pentatonics)
Listen
The combined cycle relationships between the trichords which comprise the line in Ex. 8 (above) turn out to be as follows:
Maj 3rd – Whole-Tone – min 3rd – tritone – Maj 3rd - Whole-Tone – Maj 3rd – semitone - (tritone)
And in Ex. 9 (below):
min 3rd – min 3rd – min 3rd – Maj 3rd – semitone – min 3rd – (min 3rd).
Ex. 9 – Four-bar 027 Sequence resolving to C (#2)
C D G Eb F Bb1x Gb Ab Db2x A B E1 Db Eb Ab C D G2 Eb F Bb2x
(Bb & Eb Pentatonic) (E & A Pentatonic)
(Bb & Eb Pentatonic) (E & A Pentatonic)
Listen
As mentioned, 027 in a complete Minor 3rds Cycle always results in a 12-tone Row (Ex. 10).
The interval distance (in brackets, between trichords) in which the first note of each trichord is spaced is known as its steering. There are 3 basic steerings for 027: 1+2, 2+4 and 3+3
.
Ex. 10 – 027 Rows & Steerings: Row I (2+5, 5+2), Steering 1+2
The interval distance (in brackets, between trichords) in which the first note of each trichord is spaced is known as its steering. There are 3 basic steerings for 027: 1+2, 2+4 and 3+3
.
Ex. 10 – 027 Rows & Steerings: Row I (2+5, 5+2), Steering 1+2
The above example depicts a basic 027 Row with Steering 1+2. The numbers 2+5 and 5+2 describe the semitone distances within each trichord.
Ex. 11 – Lines from the Row
Ex. 11 – Lines from the Row
The above graphic illustrates but one melodic possibility from the Row in Ex. 10, utilizing various rotations and permutations of each trichord. The order of trichords is the same (A. B. C. D.), but can be juxtaposed in any order.
The 027 Trichord is a powerful tool for the improviser. Command of it will take one into fresh territory not realized through triadic harmony and “scale running” alone.
B. Stern
The 027 Trichord is a powerful tool for the improviser. Command of it will take one into fresh territory not realized through triadic harmony and “scale running” alone.
B. Stern
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