Whispering Familiar
An 027 Trichord Transformed
An 027 Trichord Transformed
It's no big secret that the 027 Trichord (C=0, D=2, G=7, based on the number of semitones from C, in this case) has become an important musical tool for the contemporary improviser - so there's no need to be hush-hush about it.
As has often been stated in these pages, the close relationship between 027s, the interval of a Perfect 4th and the Pentatonic Scale make this an important trichord to master.
In this post we'll try to show how an 027 can be expanded, ending up with a familiar motif.
As has often been stated in these pages, the close relationship between 027s, the interval of a Perfect 4th and the Pentatonic Scale make this an important trichord to master.
In this post we'll try to show how an 027 can be expanded, ending up with a familiar motif.
Ex. 1 below shows the 2nd rotation 027 trichord in question (Eb=0, F=2, Bb=7), transposing and descending in minor thirds. The second two measures are transposed down a half-step from the first two, as does each succeeding 2-bar sequence. The audio example is actually eight bars, as compared to the 4 bars shown here. Download the pdf (link below) for the full effect.
The chord symbols indicate the intended tonality could be Major or minor. Since the 027 trichord lacks a Major or minor 3rd, it's commonly referred to as a suspended (sus) chord and it's quality (Major or minor, etc), as well as its key center is therefore ambiguous. In the example below, the first trichord - labeled Eb Maj/ min - consists of (in a descending direction) the 2nd, root and 5th scale steps of Eb (major or minor). This grouping could also be the 6th, 5th and 2nd scale steps of Ab (Maj or min) - or 5-4-1 scale of Bb (Maj or min). Get the point? For the purpose of this exercise, though - Eb it is!
Ex. 1
The chord symbols indicate the intended tonality could be Major or minor. Since the 027 trichord lacks a Major or minor 3rd, it's commonly referred to as a suspended (sus) chord and it's quality (Major or minor, etc), as well as its key center is therefore ambiguous. In the example below, the first trichord - labeled Eb Maj/ min - consists of (in a descending direction) the 2nd, root and 5th scale steps of Eb (major or minor). This grouping could also be the 6th, 5th and 2nd scale steps of Ab (Maj or min) - or 5-4-1 scale of Bb (Maj or min). Get the point? For the purpose of this exercise, though - Eb it is!
Ex. 1
In Ex. 2, the tonality becomes defined as Major with the simple addition of a Maj 3rd - as what was previously a 3-note trichord becomes a 4-note descending figure, starting on the 9th (or 2nd), followed by a Major triad in first inversion.
Ex. 2
Ex. 2
Listen
In similar fashion, Ex. 3 illustrates how the same trichord can be made to exhibit a minor quality - you guessed it - by the addition of a minor 3rd. In the case of the first chord, it means adding a Gb, creating an Eb min2. The reason I'm calling it a min 2 instead of a min 9 is that there is no 7th in between the triad and the 9th. The same holds for Ex. 2.
Ex. 3
Ex. 3
Listen
If you didn't hear it already, this leads us to the inevitable link to "Careless Whispers" - the George Michael pop classic from 1984 - which just about every saxophonist has had to encounter at one time or another, or frequently.
Bars 1 and 2 of Ex. 4 show "Careless" starting with the descending Dmin2 motif - as in the beginning of the 3rd bar of Ex. 3. The next 2 bars are covered by the Bb Maj motif shown in Ex. 2 - over G min. Thus the relationship of the first two motifs are min2 / Maj2 a Major 3rd apart - different, of course, from our previous examples.
Ex. 4
Bars 1 and 2 of Ex. 4 show "Careless" starting with the descending Dmin2 motif - as in the beginning of the 3rd bar of Ex. 3. The next 2 bars are covered by the Bb Maj motif shown in Ex. 2 - over G min. Thus the relationship of the first two motifs are min2 / Maj2 a Major 3rd apart - different, of course, from our previous examples.
Ex. 4
So now - armed with all this inside info - you too can...
Stand out in a crowd... Toot your horn anywhere... Take it straight to the people... Maybe even get arrested...
Ahh, the things we do for love!
B. Stern
Ahh, the things we do for love!
B. Stern
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