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Transcript of SUPERIMPOSITION OF TRIADS 2 - Theory - Armando Alonso - FREE
SUPERIMPOSITIONSOF TRIADS 2
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
sus4 / Phrygian / Lydian
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 2 - 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.
[email protected]/ 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 2, for all instrumentalists, includes the following triads: sus4, Phrygian and Lydian, as well as in Theory 1, 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 Esus4 on Cmaj7 we generate: 3, 6 and 7 of the chord, instead if we superimpose the triad of C Lidia We will be
generating: T, # 11 and 5.
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 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 2 also includes the audios corresponding to the exercises in a modal way, the harmonic progressions,
Standard and Blues major and minor themes.
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INDEX
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
• Secondary Dominants V/ IV - V/ V ( 1st Option )
• Secondary Dominants V/ IV - V/ V ( 2nd Option)
• Progression: I - V/IV - IV - V & I - V/V - II - V
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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
LESSON 8 (Only in paid version)
• 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 minor Modal interchange)
Exercise 8a
• IIø - V - I
LESSON 8b (Only in paid version)
• V7sus4/b9 (Subdominant minor Modal interchange)
Exercise 8b
• V7sus4/b9 - V - I
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MINOR MODE
LESSON 9 (Only in paid version)
• 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
LESSON 10 (Only in paid version)
• Half diminished Chord ( VI - Tonic Function)
Exercise 10
• Half diminished Chord ( VI - Tonic Function)
• Progresión: I - VI - II – V
LESSON 11 (Only in paid version)
• 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
LESSON 12 (Only in paid version)
• Dominant Seventh Chord ( IV7 - Subdominant Function – Blues sound)
Exercise 12
• Dominant Seventh Chord ( IV7 - Subdominant Function – Blues sound)
• Progression: I - IV7
LESSON 13 (Only in paid version)
• 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
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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
LESSON 15 (Only in paid version)
• 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)
LESSON 16 (Only in paid version)
• Secondary Dominants V/ IV - V/ V ( 1st Option )
• Secondary Dominants V/ IV - V/ V ( 2nd Option)
Exercise 16
• Secondary Dominants V/ IV - V/ V ( 1st Option )
• Secondary Dominants V/ IV - V/ V ( 2nd Option)
• 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)
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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
LESSON 20 (Only in paid version)
• Final Synthesis 8. (Table according to structure)
LESSON 20 (Only in paid version)
• 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)
• m
• 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)
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LEGAL
Alonso, Armando José
Superimposition of Triads 2 / Armando José Alonso.
1st bilingual edition - Chivilcoy: Armando José Alonso, 2020.
EBook, DXReader
Spanish-English Edition
Digital Archive: download online
1. Music. I. Title.
CDD 780
ISBN 978-987-42-4797-1
Date of registration: 02/24/2020
SUPERIMPOSITION OF TRIADS 2
VOLUME 2
1st edition
© Armando José Alonso, 2020
www.armandoalonso.com.ar
www.serie20y20.com.ar
Date of publication: June 2020
Replication Date: June 2020
The deposit established by Law 11.723
EDITED IN ARGENTINA
Graphic Design: Edgardo Vallarino
The backing tracks belong 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.
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� ����3
Cmaj7
Triads with root on:
��� ��� ���3 6 7
Root Position 1rst. Inversion 2nd. Inversion
Esus4
C�(6)
Generating sound:
Major Mode
� ����5��� ��� ���5 T 9
Gsus4
C�(9)
� ����6��� ��� ���6 9 3
Asus4
C�(9)
� ����9 ��� ��� ���Dsus4
9 5 6
C� (6 / 9)
� ����T
Cmaj7
���� ��� ����T #11 5
C Lydian
C�(#11)
� ����3 ��� ��� ���3 6 7
Esus4
C�(6)
� ����5��� ��� ���5 T 9
Gsus4
C�(9)
� ����6��� ��� ���6 9 3
Asus4
C� (6 / 9)
� ����7 ���� ��� ���Bsus4
7 3 #11
C�(#11)
� ����7 ���� ��� ���B Phrygian
7 T #11
C�(#11)
� ����9 ��� ��� ���Dsus4
9 5 6
C� (6 / 9)
LESSON 1
Major Seventh Chord
(IV) Subdominant function
( I ) Tonic function
Major Seventh Chord
(Armando Alonso)
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Major Mode
Cmaj7
& œœœEsus4
a
1
& œœœGsus42
& œœœAsus43
& wwwwCmaj7
& œœœ#C Lydian1
a
Lydian
& œœœ
Lydian
2 Esus4 3 Gsus4 4 Asus4 5 Bsus4 6 B Phrygian Dsus47
& œœœ & œœœ & œœœ# & œœœ# &œœœ
& 44 .. ..|Cmaj7
( Two measures per chord )
|Fmaj7
& 44 |Esus4
a |F Lydian
1
|Asus4
2
|Csus4
3
|Dsus4
4
|Esus4
5
E Phrygian
6
|Gsus4
7
& 44 |Gsus4
b |F Lydian
1
|Asus4
2
|Csus4
3
|Dsus4
4
Esus4
5
|E Phrygian
6
|Gsus4
7
& 44 |Asus4
c |F Lydian
1
|Asus4
2
|Csus4
3
|Dsus4
4
Esus4
5
|E Phrygian
6
|Gsus4
7
EXERCISE 1(Armando Alonso)
Major Seventh Chord
( I ) Tonic Function
Major Seventh Chord
(IV) Subdominant Function
Progression: I - IV
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Audio: 1a
Audio: 1b
Audio: 2
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� ������T
Cm7 Triads with root on:
��� ��� ���T 11 5
Root Position 1rst. Inversion 2nd. Inversion
Csus4
Cm7 (11)
Generating sound:
Major Mode
� ������5��� ��� ���
5 T 9
Gsus4
Cm7 (9)
� ������b7 ����� ���� �����b7 b3 11
Bbsus4
Cm7 (11)
� ������9 ��� ��� ���9 5 13
Dsus4
Cm7 (9 / 13)
� ������11���� ���� ����
11 b7 T
Fsus4
Cm7 (11)
� ������T ��� ��� ���T 11 5
Csus4
Cm7 (11)
� � ������b7 ����� ���� �����b7 b3 11
Bbsus4
Cm7 (11)
� ������5 ��� ��� ���T 11 5
Csus4
Cm7 (11)
� ������5��� ��� ���
5 T 9
Gsus4
Cm7 (9)
� ������b7 ����� ���� �����Bbsus4
Cm7 (11)
b7 b3 11
LESSON 2
Minor Seventh Chord
( III ) Tonic Function
( II ) Subdominant Function
Minor Seventh Chord
(Armando Alonso)
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Minor Seventh Chord( VI ) Tonic Function
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& 44 wwwwbb
Major Mode
Cm7
& œœœCsus4
a
1
& œœœGsus42
& œœœbbBbsus43
& œœœDsus44
& œœœbFsus45
& 44 .. ..|Cmaj7
( two mesaures per chord )
|Dm7
& 44 |Gsus4
a |Dsus4
1
|Asus4
2
|Csus4
3
|Esus4
4
|Gsus4
5
& 44 .. ..|Am7
( two mesaures per chord )
|Dm7
& 44 |a
1
Asus4
|Esus4
2
|3
Gsus4
|4
Dsus4
|Dsus4
& 44 .. ..|Em7
( two mesaures per chord )
|Dm7
& 44 |Esus4
a
1
|Dsus4
2
|Dsus4
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EXERCISE 2(Armando Alonso)
Dominant Seventh Chord
( II ) Subdominant function - ( VI ) Tonic function
( III ) Función Tónica
Progression: I - II
Progression: VI - II
Progression: III - II
( III ) Función Tónica
Audio: 3a
Audio: 4
Audio: 5
Audio: 6www.arman
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nso.c
om.ar
� �����5
C7
Triads with root on:
��� ��� ���5 T 9
Root Position 1rst. Inversion 2nd. Inversion
Gsus4
C7 (9)
Generating sound:
Major Mode
� �����9 ��� ��� ���9 5 13
Dsus4
C7 9/13
� �����13��� ��� ���13 9 3
Asus4
C7 9/13
� �����13���� ���� ����
13 b7 3
A Phrygian
C7 (13)
� �����T
C7sus4
��� ��� ���T 11 5
Csus4
C7sus4
� �����5��� ��� ���5 T 9
Gsus4
C7sus4 (9)
� �����9 ��� ��� ���9 5 13
Dsus4
C7sus4(9/13)
� �����11���� ��� ����
11 b7 T
Fsus4
C7sus4
� �������b3
Cø ������ ���� ����Ebsus4
b3 b13 b7
Cø (11)
� �������b7 ����� ���� �����Bbsus4
b7 b3 11
Cø (11)
� �������11���� ���� ����
Fsus4
11 b7 T
Cø (11)
� �������11���� ��� ����F Phrygian
Cø (11)
11 b5 T
LESSON 3
Dominant Seventh Chord
( V7sus4 ) Subdominant Function
( V ) Dominant Function
Dominant Seventh sus4 Chord
(Armando Alonso)
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Half-Diminished Chord( VII ) Dominant Function
www.arman
doalo
nso.c
om.ar
& 44 wwwwb
Major Mode
C7
& œœœGsus4
a
1
&œœœDsus4
2 3 Asus4 A Phrygian4
& œœœ & œœœb
& 44 .. ..|Cmaj7
( Two measures per chord )
|G7
& 44 |Gsus4
a |Dsus4
& 44 |Gsus4
b |Asus4
& 44 |Gsus4
c |Esus4
& 44 |Gsus4
|E Phrygian
& 44 wwwwbC7sus4
a
d
& œœœCsus41
& œœœGsus42
& œœœDsus43
& œœœbFsus44
& 44 .. ..|Cmaj7
( Two measures per chord )
|G7sus4
& 44 |a
Gsus4 |Gsus4
& 44 |b
Gsus4
|Dsus4
& 44 |c
Gsus4 |Asus4
& 44 |d
Gsus4
|Csus4
EXERCISE 3a(Armando Alonso)
Dominant Seventh Chord
Progression: I - V
Progression: I - V7sus4
( V ) Dominant Function
Dominat Seventh sus4 Chord ( V7sus4 ) Subdominant function
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Audio: 7a
Audio: 8
Audio: 9
Audio: 10
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& wwwwb
bb
Major Mode
Cm7(b5)
& œœœA
bbEbsus4
a
1
& œœœbb
Bbsus42
& œœœbFsus43
& œœœbF Phrygian4
& 44 .. ..|
Cmaj7
( Two mesures per chord )
|Bm7(b5)
& 44
|
Esus4
a |
Dsus4
& 44
|Esus4
b |Asus4
& 44
|
Esus4
c |
Esus4
& 44
|
Esus4
d |
E Phrygian
EXERCISE 3b(Armando Alonso)
Half Diminished Chord
Progression: I - VII
( VII ) Dominant function
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Audio: 11a
Audio: 12
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� �����5
C7
Triads with root on:
��� ��� ���5 T 9
Root Position 1rst. Inversion 2nd. Inversion
Gsus4
C7 (9)
Generating sound:
Major Mode
� �����9 ��� ��� ���9 5 13
Dsus4
C7 9/13
� �����13��� ��� ���13 9 3
Asus4
C7 9/13
� �����13���� ���� ����
13 b7 3
A Phrygian
C7 (13)
� �����T
C7 ���� ��� ����C Phrygian
T b9 5
C7 (b9)
� �����#11����� ���� ���F# Phrygian
#11 5 b9
C7 (b9 / #11)
� �����T
���� ���� ����C Lydian
T #11 5
C7 (#11 )
LESSON 4
Secondary Dominants
(V/ IV - V/ V )
(V/ IV - V/ V )
Secondary Dominants (Second Option )
(Armando Alonso)
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(V/ IV)
(V/ IV)
(V/ V)
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& 44 wwwwb
Major Mode
C7
& œœœa
1Gsus4
& œœœ2
Dsus4 A Phrygian
& œœœ3Asus4
& œœœb4
& œœœ#5
C Lydian
& œœœb6
C Phrygian
& œœœ##7
F# Phrygian
& 44 .. ..|Cmaj7 |C7
|Fmaj7 |G7
& 44 |Gsus4
a |Gsus4 |Asus4 |Dsus4
& 44 |Gsus4
b |Dsus4
|Asus4
|Dsus4
& 44 |Gsus4
c |Asus4
|Asus4 |Dsus4
& 44 |Gsus4
d |A Phrygian
|Asus4
|Dsus4
& 44 |Gsus4
e |C Phrygian
|Asus4 |Dsus4
& 44 |Gsus4
f |F# Phrygian
|Asus4
|Dsus4
& 44 .. ..|Cmaj7 |D7
|Dm7
|G7
& 44 |a
Asus4
|Asus4 |Asus4 |Esus4
& 44 |Asus4
|Esus4 |Asus4 |Esus4
& 44 |
b
Asus4
c |Bsus4 |Asus4 |Esus4
& 44 |Asus4
d |B Phrygian |Asus4 |Esus4
& 44 |Asus4
e |D Lydian
|Asus4 |Esus4
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EXERCISE 4(Armando Alonso)
Secondary Dominants
Progression: I - V/ IV - IV - V
Progression: I - V/ V - II - V
(V/ IV - V/ V )
Audio: 7b
Audio: 13
Audio: 14
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� �����T
C7
Triads with root on:
���� ���� ����T b9 5
Root Position
1rst. Inversion 2nd. Inversion
C Phrygian
C7 (b9)
Generating sound:
Major Mode
� �����b9 ������ ������ �����b9 #11 b13
Dbsus4
C7 (b9 / #11 / b13)
� �����b9 ����� ����� ����b9 5 b13
Db Lydian
C7 (b9 / b13)
� �����#9 ������ ������ �����#9 b13 b7
Ebsus4
C7 (#9 / b13)
� �����#9 ������ ������ �����#9 3 b7
Eb Phrygian
C7 ( #9 )
� �����#11������ ������ ����
#11 T b9
F# Lydian
C7 (b9 / #11)
� �����#11����� ����� ���
#11 5 b9
F# Phrygian
C7 (b9 / #11)
� �����b13������ ������ �����
b13 b9 #9
Absus4
C7 (b9 / #9 / b13)
LESSON 5
Secondary Dominants
(V/ II - V/ III - V/ VI )
(Armando Alonso)
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& 44 wwwwb
Major Mode
C7
& œœœba
1 C Phrygian
& œœœbbb2 Dbsus4
& œœœbb3 Db Lydian
& œœœbbb4 Ebsus4
& œœœbbb5 Eb Phrygian
& œœœ###6 F# Lydian
& œœœ##7 F# Phrygian
& œœœbbb8 Absus4
& 44 .. ..|Cmaj7 |A7
|Dm7 |G7
& 44 |Gsus4
a |A Frigia |Asus4 |Esus4
& 44 |Gsus4
b |Bbsus4
|Asus4
|Esus4
& 44 |Gsus4
c |Bb Lydian
|Asus4
|Esus4
& 44 |Gsus4
d |Csus4
|Asus4
|Esus4
& 44 |Gsus4
e |C Phrygian
|Asus4
|Esus4
& 44 |Gsus4
f |Eb Lydian
|Asus4
|Esus4
& 44 |g
Gsus4
|Eb Phrygian
|Asus4
|Esus4
& 44 |h
Gsus4 |Fsus4
|Asus4
|Esus4
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EXERCISE 5a(Armando Alonso)
Secondary Dominants
Progression: I - V/ II - II - V
(V/ II - V/ III - V/ VI )
Audio: 7c
Audio: 15
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Major Mode
C7
& œœœba
1 C Phrygian
& œœœbbb2
Dbsus4
& œœœbb3 Db Lydian
& œœœbbb4 Ebsus4
& œœœbbb5 Eb Phrygian
& œœœ###6 F# Lydian
& œœœ##7 F# Phrygian
& œœœbbb8 Absus4
& 44 .. ..|Cmaj7 |B7
|Em7 |Fmaj7
& 44 |Esus4
a |B Phrygian |Esus4 |Esus4
& 44 |Esus4
b |Csus4
|Esus4
|Esus4
& 44 |Esus4
c |C Lydian
|Esus4
|Esus4
& 44 |Esus4
d |Dsus4
|Esus4
|Esus4
& 44 |Esus4
e |D Phrygian
|Esus4
|Esus4
& 44 |Esus4
f |E Lydian
|Esus4
|Esus4
& 44 |g
Esus4
|E Phrygian
|Esus4
|Esus4
& 44 |h
Esus4 |Gsus4
|Esus4
|Esus4
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EXERCISE 5b(Armando Alonso)
Secondary Dominants
Progression: I - V/ III - III - IV
(V/ II - V/ III - V/ VI )
Audio: 7d
Audio: 16
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Major Mode
C7
& œœœba
1 C Phrygian
& œœœbbb2 Dbsus4
& œœœbb3 Db Lydian
& œœœbbb4 Ebsus4
& œœœbbb5 Eb Phrygian
& œœœ###6 F# Lydian
& œœœ##7 F# Phrigian
& œœœbbb8 Absus4
& 44 .. ..|Cmaj7 |E7
|Am7 | |Dm7 G7
& 44 |Asus4
a |E Phrygian |Esus4 | |Asus4 Esus4
& 44 |Asus4
b |Fsus4
|Esus4 | |Asus4 Esus4
& 44 |Asus4
c |F Lydian
|Esus4 | |Asus4 Esus4
& 44 |Asus4
d |Gsus4
|Esus4 | |Asus4 Esus4
& 44 |Asus4
e |G Phrygian
|Esus4 | |Asus4 Esus4
& 44 |Asus4
f |C# Lydian
|Esus4 | |Asus4 Esus4
& 44 |g
Asus4
|C# Phrygian
|Esus4 | |Asus4 Esus4
& 44 |h
Asus4 |Csus4
|Esus4 | |Asus4 Esus4
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EXERCISE 5c(Armando Alonso)
Secondary Dominants
Progression: I - V/ VI - VI - II V
(V/ II - V/ III - V/ VI )
Audio: 7a
Audio: 17
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MUSICIAN FRIEND
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Superimposition of Triads 2 - Theory for all instruments by Armando Alonso
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Printed in Argentina.
February 2020