SUPERIMPOSITION OF TRIADS 1 - Theory - Armando Alonso - FREE

SUPERIMPOSITIONSOF TRIADS 1

5 LESSONS & 5 EXERCISES

by Armando AlonsoPractical and dynamic work methodology for the self-taught

student as well as for the teacher in classserie20y20.com.ar

Major / Minor / Diminished / Augmented

15 lessons and 15 remaining exercises

Circle of Fifths & Repertoire

232 Audios & Backing Tracks

Printable Book (without watermark)

FREE VERSION

(does not contains)

MUSICIAN FRIEND

You’ve just downloaded the Free Version of this Ebook:

Superimposition of Triads 1 - Theory for all instruments by Armando Alonso

If you wish, you can purchase for a very low cost the complete version, which includes a greater number of exercises, assignments, backing, tracks, etc. with the objective of securing the addressed concepts.

As an independent publishing house, we will be so thankful with your purchase, because in this way you are helping us to create even more teaching material.

From Buenos Aires, Argentina, we send you the best wishes for your musical career.

Néstor Crespo Serie20&20 Director

www.serie20y20.com.ar

ARMANDO ALONSO ( Professor - Guitar Player - Composer )

Armando Alonso is a guitar player born in Buenos Aires,

Argentina.

He develops a solid educational trajectory, both in

the private sphere as in important institutions in Argentina,

like "Esccuela de Musica Popular de Avellaneda".

He has given numerous workshops on Improvisation and Functional Harmony in

prestigious universities and schools all over the country.

He has done different work books: Functional Harmony (applied to Blues), Impro-

elementos I and II, Arrangements and transcriptions for guitar, -Triads and slash-chords, concepts of reharmonization and superimposition on improvisation and comping.

He has played both in his groups and as a guest with the most important jazz musicians

in the country.

In 1984 he lives in Freiburg, Germany, sharing important jazz clubs and clubs with

Thomas Fichter (bass) and Tillman Gluenter (piano).

Between 1985 and 1992 he joined the group of bandoneonist and composer Dino

Saluzzi, playing in turn as guests important Argentine and European musicians such as:

Enrico Rava, Arto Tuncboyaci, Gustavo Bergalli and others.

Record the CD "Mojotoro" for the prestigious ECM label (Germany).

Throughout his artistic career he recorded more than 9 CD with its different

formations as well as invited guitarist.

He currently teaches guitar, harmony and improvisation and leads different jazz

groups.

armandoalonsomari@gmail.com/ www.armandoalonso.com.ar / www.armandoalonso.com.ar/blog

CONSIDERATIONS ABOUT THE FREE VERSION

You have downloaded the FREE VERSION which contains only:

* 5 Lessons and 5 Exercises * 2 Practice Tracks

The FREE VERSION does not contain:

* 15 Lessons and 15 Exercises (remaining)

* 232 Practice Tracks (corresponding to lessons and exercises)

* 5th cycle and repertoire

* Printable Book (without watermark)

If you wish you can get at a low price the Complete Ebook buying the Paid Version: www.serie20y20.com.ar

OBJETIVOS Y PROPÓSITOS The book of Theory / Superposition of Triads 1, for all instrumentalists, includes the following triads: Major, Minor, Diminished and Augmented, my idea is to generate a form of musical thinking from use and overlap of triads, either from the formation of the

seventh chord to the application of tensions.

From a simple unit such as the triad we will be able to easily handle different harmonic textures, for example, by superimposing the triad of Em on Cmaj7 we generate: 3, 5 and 7 of the chord, instead if we superimpose the triad of D Major we will be

generating: 9, # 11 and 6.

In the future, the management of this concept will allow us not only to use the different triads when improvising but also to

think of other harmonies which will be superimposed on the original ones to be used in the form of chords

CONTENTS

The book has 20 lessons with all the details of the application of the triads and 20 exercises which include different specific

harmonic progressions to apply the different overlays. It also contains the superposition of the different triads on Circle of 5th (8 chord species) and 4 Standards, major and minor blues.

The information is organized according to the functional harmony both in the major mode and in the minor mode, including:

diatonic substitutions, secondary dominant, substitutes, second relative minor, etc.

The Synthesis tables and summaries do not give the possibility of having all the information organized for quick and easy

permanent consultation.

In the book the triads are presented in a closed position which does not prevent anyone who wishes to investigate them in an

open position (Néstor Crespo Spread Triads 1 and 2 –www.serie20y20.com.ar)

AUDIOS (232 Audios & Backing Tracks) In order to appreciate the sound generated by the superimposition of triads, listening to the audios included in each of the lessons is essential.

This Book of Theory 1 also includes the audios corresponding to the exercises in a modal way, the harmonic progressions,

Standard and Blues major and minor themes.

contacto@armandoalonso.com.ar / www.armandoalonso.com.ar / www.serie20y20.com.ar

MAJOR MODE

LESSON 1

• Major Seventh Chord ( I - Tonic Function)

• Major Seventh Chord ( IV - Subdominant Function )

Exercise 1

• Major Seventh Chord ( I - Tonic Function)

• Major Seventh Chord ( IV - Subdominant Function )

• Progression: I – IV

LESSON 2

• Minor Seventh Chord ( II - Subdominant Function )

• Minor Seventh Chord ( III & VI - Tonic Function)

Exercise 2

• Minor Seventh Chord ( II - Subdominant Function )

• Minor Seventh Chord ( III & VI - Tonic Function)

• Progression: I - II, VI - II y III - II

LESSON 3

• Dominant Seventh Chord ( V - Dominant Function )

• Dominant Seventh sus4 Chord ( V7sus4 - Subdominant Function)

• Half diminished Chord ( VII - Dominant Function)

Exercise 3

• Dominant Seventh Chord ( V - Dominant Function )

• Dominant Seventh sus4 Chord. ( V7sus4 - Subdominant Function)

• Half diminished Chord. ( VII - Dominant Function)

• Progression: I - V, I - V7sus4 y I - VII

LESSON 4

• Secondary Dominants V/ IV - V/ V ( 1st Option )

• Secondary Dominants V/ IV - V/ V ( 2nd Option)

Exercise 4

• Progression: I - V/IV - IV - V & I - V/V - II - V

contacto@armandoalonso.com.ar / www.armandoalonso.com.ar /www.serie20y20.com.ar

LESSON 5

• Secondary Dominants V/ II - V/ III - V/ VI ( 1st Option )

• Secondary Dominants V/ II - V/ III - V/ VI ( 2nd Option)

Exercise 5

• Secondary Dominants V/ II - V/ III - V/ VI ( 1st Option )

• Secondary Dominants V/ II - V/ III - V/ VI ( 2nd Option)

• Progression: I - V/II - II - V, I - V/III - IV, I - V/VI - VI - II - V

LESSON 6 (Only in paid version)

• Substitutes Dominants (Dominants with non-scale root)

Exercise 6

• Substitutes Dominants. (Dominants with non-scale root)

• Progression: I - SubV/II - II - SubV/I

LESSON 7(Only in paid version)

• Final Synthesis 1 (Table according to chord)

• Final Synthesis 2 (Table according to type of triad)

• Final Synthesis 3 (Secondary dominant table and substitutes)

Exercise 7

• Progression: II - V - I, III - V/II - II - V, I - SubV/II - SubV/V - SubV/I

• Final Synthesis 4. (Table according to structure)

Exercise 8

• I, II, III, IV, V, VI, VII, V7sus4

LESSON 8a (Only in paid version)

• IIø (Subdominant function Modal interchange)

Exercise 8a

• IIø - V - I

LESSON 8b (Only in paid version)

• V7sus4/b9 (Subdominant function Modal interchange)

Exercise 8b

• V7sus4/b9 - V - I

MINOR MODE

• Perfect Minor Chord. I ( I - Tonic Function)

• Major Seventh with #5 ( bIII - Tonic Function)

Exercise 9

• Perfect Minor Chord. ( I - Tonic Function)

• Major Seventh with #5 ( bIII - Tonic Function)

• Progression: II - V - I, II - V - bIII

• Half diminished Chord ( VI - Tonic Function)

Exercise 10

• Half diminished Chord ( VI - Tonic Function)

• Progresión: I - VI - II – V

• Minor Seventh Chord ( IV - Subdominant Function)

• Half diminished Chord ( II - Subdominant Function)

Exercise 11

• Minor Seventh Chord ( IV - Subdominant Function)

• Half diminished Chord ( II - Subdominant Function)

• Progression: I - V & I - II

• Dominant Seventh Chord ( IV7 - Subdominant Function – Blues sound)

Exercise 12

• Dominant Seventh Chord ( IV7 - Subdominant Function – Blues sound)

• Progression: I - IV7

• Major Seventh Chord ( bVI - Subdominant Function)

• Major Seventh Chord ( bVII - Subdominant Function)

Exercise 13

• Major Seventh Chord ( bVI - Subdominant Function)

• Major Seventh Chord ( bVII - Subdominant Function)

• Progression: I - bVI, I - bVII

LESSON 14 - Minor Mode (Only in paid version)

• Dominant Seventh Chord ( V - Dominant Function – 1st Option )

• Dominant Seventh Chord ( V - Dominant Function – 2nd Option )

Exercise 14

• Dominant Seventh Chord ( V - Dominant Function – 1st Option )

• Dominant Seventh Chord ( V - Dominant Function – 2nd Option )

• Progression: II - V - I

• Diminished Chord. (VII - Dominant Function )

• Dominant Seventh Chord sus4 with b9 (V7sus4/b9 - Subdominant Function)

Exercise 15

• Diminished Chord. (VII - Dominant Function )

• Dominant Seventh Chord sus4 with b9 (V7sus4/b9 - Subdominant Function

• Progression: I - VII, I - V7sus4(b9)

Exercise 16

• Progression: I - V/IV - IV - V, I - VI - V/V – V

LESSON 17(Only in paid version)

• Substitutes Dominants (SubV/ I - SubV/ II - SubV/ IV - SubV/ V)

Exercise 17

• Substitutes Dominants (SubV/ I - SubV/ II - SubV/ IV - SubV/ V)

• Progression: I - SubV/II - II - SubV/I, I - SubV/IV - IV - V, I - SubV/V - V

LESSON 18 Major & Minor Mode (Only in paid version)

• Minor Seventh Chord ( II relative minor)

• Half diminished Chord ( II relative minor)

Exercise 18

• Minor Seventh Chord ( II relative minor)

• Half diminished Chord ( II relative minor)

• Progression: II - V - II - SubV/II, I - VI - II - SubV/I (in C Major)

• Progression:: VI - V/V - IV - bVI (in C Minor)

LESSON 19 Minor Mode (Only in paid version)

• Final Synthesis 5. (Table according to chord)

• Final Synthesis 6. (Table according to type of triad)

• Final Synthesis 7. (Secondary dominant table and substitutes)

Exercise 19

• Final Synthesis 5, 6 y 7

• Progression: I - bVI - IV7 - IV, II - V - I - VI, I - bVII - bIII - V, bVI - VII - I - VI

• Final Synthesis 8. (Table according to structure)

LESSON 20

• Final Synthesis 8

• I - II - bIII - IV - IV7 - V - bVI - VI - bVII - VII - V7sus4(b9)

Final Synthesis 9 – Major & Minor Mode (II relative minor. Secondary & Substitute Dominants)

CIRCLE OF FIFTHS (Only in paid version)

• maj7 (a), (b)

• 7 (a), (b), (c)

• m7

• m7(b5)

• maj7(#5)

• 7sus4

• 7sus4(b9)

REPERTOIRE (Only in paid version)

• All the things you are (a), (b), (c), (d), (e)

• Stella by Starlight (a), (b), (c), (d), (e)

• Major Blues (a), (b), (c)

• Minor Blues (a), (b), (c)

My gratitudes goes to:

My wife Laura y my sons Sofía and Amadeo

Those who inspired my self on writting this first book :

Walter Malosetti, William G. Leavitt, George VanEps and James Tobias

My workteam:

Néstor Crespo: layout and edition, Edi Vallarino: art work and Federico Palmero: audio tracks

Armando Alonso

JON DAMIAN'S WORD

"Armando Alonso, a wonderful guitarist, has produced a

new book about the subject of triadic superimposition.

He has created a thorough look at this interesting subject;

and gives the readers opportunities to try their own

responses. Bravo Armando and the best to you with this

wonderful project."

armandoalonsomari@gmail.com/ www.armandoalonso.com.ar /

and gives the readers opportunities to try their own

wonderful project."

Professor

armandoalonsomari@gmail.com/ www.armandoalonso.com.ar / www.serie20y20.com.ar

and gives the readers opportunities to try their own creative

Your brother

Jon Damian

www.jondamian.com

Berklee College of Music

Professor - Guitar Department

serie20y20.com.ar

THOMAS FICHTER'S WORDS

My friendship with Armando Alonso goes back to 1984.

Armando visited Germany for several months, and he

stayed with me in the city of Freiburg for some months.

There was a vibrant Jazz Club scene at the time, and it was

easy to travel to France and Switzerland for a day trip.

We played numerous concerts together.

Armando was an inspiration to me as a player, but he also taught me theoretical

concepts.

Now, 33 years later, Armando poured a lifetime of experience as a player and as a

teacher into a wonderful book about Jazz theory.

I wish this publication many curious readers.

Thomas Fichter www. thomasfichter.com

Double bass player

Freiburg - Germany

armandoalonsomari@gmail.com/ www.armandoalonso.com.ar / www.serie20y20.com.ar

Alonso, Armando José

Superimposition of Triads 1/ Armando José Alonso.

1st bilingual edition - Chivilcoy: Armando José Alonso, 2017.

EBook, DXReader

Spanish-English Edition

Digital Archive: download online

1. Music. I. Title.

CDD 780

ISBN 978-987-42-4797-1

Date of registration: 06/24/2017

SUPERIMPOSITION OF TRIADS 1

VOLUME I

1st edition

armandoalonsomari@gmail.com

www.armandoalonso.com.ar

Date of publication: June 2017

Replication Date: June 2017

The deposit established by Law 11.723

EDITED IN ARGENTINA

Graphic Design: Edgardo Vallarino

The backing tracks belongs to the author of the work.

The content and originality of this document is the sole responsibility of its author.

The content and originality of this document is the sole responsibility of its author. No part of this

publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means,

electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the

publisher. editor.Your violation is punishable by laws 11,723 and 25,446.

contact@armandoalonso.com.ar / www.armandoalonso.com.ar / www.serie20y20.com.ar

� ��3

�� 3 5 7

� ��5�� 5 7 9

C�(9)

� ��6

�� 6 T 3

C�(6)

� ��3

Cmaj7 �� 3 5 7

� ��5�� 5 7 9

C�(9)

� ��6

�� 6 T 3

C�(6)

� ��7

�� Bm

7 9 #11

C� (9 / #11)

� ��9 �� D

9 #11 6

C� (6 / 9 / #11)

� ��#11�� F#°

#11 6 T

C� ( 6/ #11)

(IV) Subdominant

1(Armando Alonso)

& 44 wwww

Major Mode

& œœœEm

& œœœG2

& œœœAm3

& 44 wwwwCmaj7

& œœœEm

& œœœG2 Am

Bm4 D5 F#°6

& œœœ3

& œœœ# & œœœ# & œœœ#

Lydian Sound

& 44 .. ..|Cmaj7

( Two chords per messaures )

|Fmaj7

& 44 |Em

Lydian Sound

& 44 |G

& 44 |Am

EXERCISE 1(Armando Alonso)

Major Seventh Chord

( I ) Tonic Function

Major Seventh Chord

(IV) Subdominant Function

Progression: I - IV

Audio: 1a

Audio: 1b

Audio: 2

� ��b3

�� b3 5 b7

� ��5�� 5 b7 9

Cm7 (9)

� ��b7

�� b7 9 11

Cm7 (9 / 11)

� ��b3

Cm7 �� b3 5 b7

� ��b3

Cm7 �� b3 5 b7

� ��5�� 5 b7 9

Cm7 (9)

� ��b7

�� b7 9 11

Cm7 (9 / 11)

( III )

( II ) Subdominant

2(Armando Alonso)

( VI )

& 44 wwwwbb

Major Mode

& œœœbbEb

1 & œœœbGm2 & œœœbBb3 & œœœbbEb4

& 44 .. ..|Cmaj7

( Two messaures per chord )

& 44 |Ga |F

& 44 |Gb |Am

& 44 |Gc |C

& 44 .. ..|Am7

& 44 |Ca |F

& 44 |Em

& 44 |Gc |F

& 44 .. ..|Em7

& 44 |Ga |F

Minor Seventh Chord

( II ) Subdominant Function - ( VI ) Tonic Function ( III ) Tonic Function

Progression: I - II

Progression: VI - II

Progression: III - II

Audio: 3a

Audio: 4

Audio: 5

Audio: 6

� ��3

�� 3 5 7

� ��5�� 5 7 9

C7 (9)

� ��13

�� 13 T 3

C7 (13)

� ��C7sus4

5�� 5 b7 9

C7sus4 (9)

� ��b7

�� b7 9 11

C7sus4 (9)

� ��9 �� 9 11 13

C7sus4 (9 / 13)

� ��11�� F

11 13 T

C7sus4 (13)

� ��b3

�� Ebm

b3 b5 b7

� ��11�� Fm

11 b13 T

Cø (11 / b13)

� ��b13

�� Ab

Cø (b13)

b13 T b3

( V7sus4 )

3(Armando Alonso)

( VII )

& 44 wwwwb

Major Mode

& œœœbE°

& œœœbGm2 & œœœAm3

& 44 .. ..|Cmaj7

& 44 |Ga |B°

& 44 |Gb |Dm

& 44 |Gc |Em

& 44C7sus4

a &Gm1

& 44 .. ..|Cmaj7

|G7sus4

& 44 |a

& 44 |b

& 44 |c

& 44 |d

EXERCISE 3a(Armando Alonso)

Dominant Seventh Chord

Progression: I - V

Progression: I - V7sus4

( V ) Dominant Funciton

Dominant Seventh sus4 Chord

( V7sus4 ) Subdominant Function

Audio: 7a

Audio: 8

Audio: 9

Audio: 10

& 44 wwwwbbb

Major Mode

Cm7(b5)

& œœœbbbEbm

1 & œœœbFm2

& œœœbb Ab3

& 44 .. ..|Cmaj7

|Bm7(b5)

& 44 |Ga |Dm

& 44 |Gb |Em

& 44 |Gc |G

EXERCISE 3b(Armando Alonso)

Half- Diminished Chord

Progression: I - VII

( VII ) Function Dominant Function

Audio: 11a

Audio: 12

� ��3

�� 3 5 b7

� ��5�� 5 7 9

C7 (9)

� ��13

�� 13 T 3

C7 (13)

� ��b9

�� b9 3 5

C7 (b9)

� ��#11��

#11 b7 b9

C7 (b9 / #11)

� ��13

�� 13 b9 3

C7 (b9 / 13)

� ��b7

�� Bb+

b7 9 #11

C7 (9 / #11)

� ��9 �� D

9 #11 13

C7 (9 / #11 / 13)

(V/ IV - V/ V )

4(Armando Alonso)

(V/ IV)

(V/ V)

9 ( D ) 11 ( F# )

& 44 wwwwb

Major Mode

& œœœbE°

& œœœbGm2 & œœœAm3

& œœœ∫bb4 Db°

& œœœ###5 F#

& œœœ#6 A & œœœ#b7 Bb+

& œœœ#8 D

& 44 .. ..|Cmaj7 |C7

|Fmaj7 |G7

& 44 |Ga |E° |C |B°

& 44 |Gb |Gm

& 44 |G

|C |B°

& 44 |Gd |Db°

& 44 |Ge |F#

|C |B°

& 44 |Gf |A

& 44 .. ..|Cmaj7 |D7

& 44 |a

|F#° |F |B°

& 44 |G

|Am |F |B°

& 44 |

c |Bm |F |B°

& 44 |G

d |C+ |F |B°

& 44 |Ge |E

|F |B°

Secondary Dominants

Progression: I - V/ IV - IV - V

Progression: I - V/ V - II - V

(V/ IV - V/ V )

Audio: 7b

Audio: 13

Audio: 14

� ��3

�� 3 5 b7

� ��5�� 5 b7 b9

C7 (b9)

� ��b7

��

b7 b9 3

C7 (b9)

� ��b9 �� b9 3 5

C7 (b9)

� ��b13

�� b13 T 3

C7 (b13)

� ��#9

�� #9 5 b7

C7 ( #9 )

� ��#11��

#11 b7 b9

C7 (b9 / #11)

� ��b13

��

b13 T #9

C7 (#9 / b13)

(V/ II - V/ III - V/ VI )

5(Armando Alonso)

& 44 wwwwb

Major Mode

& œœœbE°

& œœœbb Œ2 G° & œœœbbb3 Bb°

& œœœ∫bb4 Db°

& œœœb5 Ab+

& œœœbb6 Eb

& œœœ###7 F#

& œœœbb8 Ab

& 44 .. ..|Cmaj7 |A7

|Dm7 |G7

& 44 |Ga |C#° |F |B°

& 44 |Gb |E°

& 44 |G

c |G°

& 44 |G

d |Bb°

& 44 |G

& 44 |Gf |C

& 44 |g

& 44 |h

EXERCISE 5a(Armando Alonso)

Secondary Dominants

Progression: I - V/ II - II - V

Audio: 7c

Audio: 15

& 44 wwwwb

Major Mode

& œœœbE°

& œœœ∫bb4 Db°

& œœœb5 Ab+

& œœœbb6 Eb

& œœœ###7 F#

& œœœbb8 Ab

& 44 .. ..|Cmaj7 |B7

|Em7 |Fmaj7

& 44 |Ga |D#° |G |C

& 44 |Gb |F#°

& 44 |G

c |A°

& 44 |G

d |C°

& 44 |G

& 44 |Gf |D

& 44 |g

& 44 |h

EXERCISE 5b(Armando Alonso)

Secondary Dominants

Progression: I - V/ III - III - IV

Audio: 7d

Audio: 16

& 44 wwwwb

Major Mode

& œœœbE°

& œœœ∫bb4 Db°

& œœœb5 Ab+

& œœœbb6 Eb

& œœœ###7 F#

& œœœbb8 Ab

& 44 .. ..|Cmaj7 |E7

|Am7 | |Dm7 G7

& 44 |Ga |G#° |C | |F B°

& 44 |Gb |B°

|C | |F B°

& 44 |G

c |D°

|C | |F B°

& 44 |G

d |F°

|C | |F B°

& 44 |G

|C | |F B°

& 44 |Gf |G

|C | |F B°

& 44 |g

|C | |F B°

& 44 |h

|C | |F B°

EXERCISE 5c(Armando Alonso)

Secondary Dominants

Progression: I - V/ VI - VI - II V

Audio: 7a

Audio: 17

MUSICIAN FRIEND

You’ve just downloaded the Free Version of this Ebook:

Superimposition of Triads 1 - Theory for all instruments by Armando Alonso

If you wish, you can purchase for a very low cost the complete version, which includes a greater number of exercises, assignments, backing, tracks, etc. with the objective of securing the addressed concepts.

As an independent publishing house, we will be so thankful with your purchase, because in this way you are helping us to create even more teaching material.

From Buenos Aires, Argentina, we send you the best wishes for your musical career.

Néstor Crespo Serie20&20 Director

Printed in Buenos Aires , Argentina .

June2017

SUPERIMPOSITION OF TRIADS 1 - Theory - Armando Alonso - FREE

Education

Transcript of SUPERIMPOSITION OF TRIADS 1 - Theory - Armando Alonso - FREE

A Short History of Superimposition

Guide to superimposition of profile radiographs by “The ...angle-society.com/case/guide.pdf · Guide to superimposition of profile radiographs by ... By superimposition of profile

Triads in Egypt

craniofacial superimposition in forensic

Diatonic Triads

forensic identification by craniofacial superimposition using soft ...

Superimposition - Elsevier · superimposition). Then do the semilandmark superimposition, and when that is done, use the method above for imputing a missing landmark (OSymm()). The

Book of triads

Unit 5 : Triads

METHOD “SUPERIMPOSITION” OF THE CZECH CUBISM AND ...

The Welsh Triads

Triads Worksheet

Contrast-modulated stimuli produce more superimposition ...

MELODIC TRIADS ROUTINE PLAN - Guitar - Armando Alonso - FREE

Sketches and Superimposition in Strawinsky's Music

Superimposition techniques

Craniofacial Superimposition in Forensic Identiﬁcation …docshare01.docshare.tips/files/16217/162172505.pdfCraniofacial Superimposition using GAs 3 the forensic experts analyze

monochrome superimposition

Triads Hong

Overview Craniofacial superimposition in forensic identification