Easy music theory fun TRIADS sweet tone

Discussion in 'Education' started by MMJ2017, Sep 22, 2019.

  1. MMJ2017

    MMJ2017 Audiosexual

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    Hello my friends ,

    I would like to share with you a fun KEY
    Navigation , which uses Melody and harmony in an easy yet creative way .

    This system can bring you endless ideas and can be used with any key or harmonized scale. Enjoy.
     
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  3. MMJ2017

    MMJ2017 Audiosexual

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    Let's begin in the KEY of C major for now to make this easier .
    C major KEY CDEFGABC.

    Next the TRIADS .

    1.CEG.... Cmajor
    2.DFA.... Dminor
    3.EGB.... Eminor
    4.FAC.....Fmajor
    5.GBD....G dominant
    6.ACE....Aminor
    7.BDF.....Bdim


    Now , we are going to use this TRIADS representing the KEY .

    The way which we use them is to start on a triad.

    ACE ...........Amin

    Next we change 1 note stepwise forward direction .

    ACF............Fmajor

    Next we change 1 note stepwise forward direction

    ADF..............Dmin

    Next we change 1 note stepwise forward direction

    BDF...............Bdim

    Next we change 1 note stepwise forward direction.

    BDG............Gdominant

    Next we change 1 note stepwise forward direction .

    GBE............Eminor

    Next we change 1 note stepwise forward direction

    GCE..............Cmajor

    Next we change 1 note stepwise forward direction.

    ACE.............Aminor


    We now have arrived back where we started covering all 7 TRIADS in the KEY.
     
  4. MMJ2017

    MMJ2017 Audiosexual

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    Let's see this forward stepwise navigation

    ACE..ACF..ADF..BDF..BDG..BEG..CEG..ACE..


    What we have is a consonant motion which every new triad shares 2 common tones with the previous triad .

    Let's now look at the backwards motion.

    For this we start with our triad .

    ACE........Aminor

    Next we change 1 note stepwise motion backward.

    GCE...........Cmajor

    Next we change 1 note stepwise motion backward

    GBE...........Eminor

    Next we change 1 note stepwise motion backward.

    GBD..........Gdominant

    Next we change 1 note stepwise motion backward .

    FBD.......Bdim

    Next we change 1 note stepwise motion backward

    ADF........Dmin

    Next we change 1 note stepwise motion backward

    ACF........FMajor

    Next we change 1 note stepwise motion backward

    ACE.......Aminor

    We now have arrived back where we started covering all 7 TRIADS in the key .
     
  5. MMJ2017

    MMJ2017 Audiosexual

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    To create a visual chart for this technique which includes the forwards and backwards motion .
    We want to think of our starting triad in the center point .

    FBD.....GBE....GCE.....ACE..... ACF..... ADF..... BDF
    Bdim...Emin..Cmaj....Amin....Fmaj....Dmin...Bdim
     
  6. MMJ2017

    MMJ2017 Audiosexual

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    That's it!
    That's how easy it really is!

    Now let's see this being used to make music.

    We will create a loopable pattern.

    Let's start with A min for now .

    Play

    ACEA....GCEG....ACEA....GCEG....

    GBEG....GBDG.... FBDF.... GBDG...



    Let's try another .

    ACE...ACF...AD...

    BDF... BDG... BE..


    Let's try another.


    ACF..ACE..GC..

    GBE..GBD..FB..



    How about changing things up a little this time?

    We play descending

    ECA...ECA...FCA...FDA...

    FDB...GDB....EBG...ECG...


    Try those to start with :D !

    Can you see all the possibilities starting to wash over you with endless creativty yet ?
     
  7. MMJ2017

    MMJ2017 Audiosexual

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    GBD.....GBE....GCE.....ACE..... ACF..... ADF..... BDF
    Gdom...Emin..Cmaj...Amin....Fmaj....Dmin...Bdim
    GBE.....GCE....ACE.... ACF..... ADF..... BDF.....BDG
    Emin...Cmaj..Amin... Fmaj... Dmin... Bdim.. Gdom
    GCE.....ACE......ACF....ADF....BDF......BDG....BEG
    Cmaj....Amin...Fmaj...Dmin...Bdim...Gdom..Emin
    ACE....ACF......ADF......BDF.....BDG....BEG....CEG
    Amin...Fmaj..Dmin....Bdim..Gdom...Emin...Cmaj
    ACF.....ADF......BDF.....BDG....BEG....CEG.....CEA
    Fmaj...Dmin...Bdim...Gdom..Emin...Cmaj..Amin
    ADF.....BDF......BDG....BEG....CEG....CEA.....CFA
    Dmin...Bdim...Gdom..Emin..Cmaj..Amin...Fmaj
    BDF......BDG.....BEG....CEG....CEA....CFA.....DFA
    Bdim...Gdom....Emin..Cmaj..Amin..Fmaj..Dmin
    BDG.....BEG.....CEG.....CEA....CFA....DFA.....DFB
    Gdom...Emin....Cmaj..Amin...Fmaj..Dmin..Bdim
     
  8. MMJ2017

    MMJ2017 Audiosexual

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    So we actually get ton uses with this simple triad system.

    Let's look at a step up in complexity .

    Say we need to represent a Dmin9 chord .
    ( From C major KEY)
    Dmin9
    DFACE
    13579


    We have this as our triad structure.

    DFA,. CFA, CEA
    FAD, FAC, EAC.
    ADF, ACF, ACE

    Let's make a music using it now.
    ( Using loopable patterns for now)

    DFA..DFA..CF...
    ACE..ACF...CF...

    Or how about this.

    DFAD...CFAC..
    CEAC...CFAC...


    How about triplet based?

    FAD.. FAC.. EAC.. FAC..
    FAD...FAC.. EAC... FAC..


    Things can get interesting in rhythmic patterns

    Forward then backward .

    FAC.. FDA...CEA...CFA.


    How about this patten
    1234123412341234
    12345R1234R12345

    So starts a 5 note group rest then 4 note then rest
    Then another 5 note group

    FAD.AC..R.
    ACEAR
    CFA..CF

    Try these out and then try your own also.
     
  9. MMJ2017

    MMJ2017 Audiosexual

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    Let's look at the few concepts contained in this triad system.

    First you have ascending
    moving forward raising a note to get to the next triad.
    Ex.
    FAC to FAD to FBD to FGB

    Second you have moving backward .

    FAC to EAC to EGC to EGB to DGB

    Third you have descending moving forward

    Ex C down A down F ( FAC high to low
    D down A down F. ( FAD high to low

    So it's like the first structure but only playing the notes high to low

    Fourth we have descending while lowering the note to next triad .

    ACE ...AFC...ADF ( high to low

    F down D down A up C down F down A etc.

    These are our 4 conceptual movements with the system

    Playing up or down TRIADS
    That change by raising a note or lowering a note.

    Once we get used to this 3 dimensional movements

    We can do other things too.

    Say ACE
    So up then down
    ACECA
    Say ACE...ACF ( up then down pattern

    ACECACFCACECACFC.

    Then we can begin to see the freedom involved in our movement directions

    Say 2 octave triad
    ACEACE slide up F now backwards CAFCA

    ACEACEFCAFCA

    If we look at 3 TRIADS

    GBD.. GBE...GCE...

    That's the structure

    We can make melody like this

    GBD slide EGB slide CEGEC

    The D slides to E
    The B slides to C
    So many things we can do
     
  10. sir jack spratsky

    sir jack spratsky Producer

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    great work MMJ another angle is what happens when you work with the upper extensions....kapow
     
  11. fiction

    fiction Audiosexual

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    I love this stuff, always happy to learn and be inspired.
    Thanks @MMJ2017 :wink:
     
  12. MMJ2017

    MMJ2017 Audiosexual

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    When you work with upper extensions , that is when you get the most options to you.

    So with the key of C major,

    There are 2 upper extension chords which can represent these grouping of notes .

    Dmin13
    DFACE..G..B
    13579.11.13

    Fmaj13#11
    FACEG.B.D
    135791113


    Now let's take one,. The Dmin13
    DFACEGB

    DFA, CFA, CEA, CEG, BEG, BDG, BFG

    You just have to decide which tones of the chord you want to hear to decide which of the triad forms to use because all the 7 TRIADS are available for this chord.


    Fmaj13#11
    FACEGBD

    FAC,FAD,FBD,GBD,GBE,GCE,ACE,ACF

    Same here all 7 TRIADS are avail to you in any direction of movement .

    Let's see another one .

    Cmaj13#11
    CEGBDF#A

    This time we have the TRIADS of Gmajor available with this chord to us.
    1.GBD
    2.ACE
    3.BDF#
    4.CEG
    5.DF#A
    6.EGB
    7.F#AC

    ACE, GCE, GBE, GBD,F#BD,F#AD,F#AC


    Let's look at one a little more complex

    G7altered

    G# A# B C# D# F G G# ( G# melodic minor

    1.G#BD#
    2.A#C#F
    3.BD#G
    4.C#FG#
    5.D#GA#
    6.FG#B
    7.GA#C


    G7 altered

    A#C#F, G#C#F, G#BF, G#BD#, GBD#, GA#D#,GA#C


    Here is what you are representing
    G7
    GBDFA...G#...A#...C#...D#
    13579.....b9...#9....b5...#5
     
  13. MMJ2017

    MMJ2017 Audiosexual

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    Let's look at another upper extension chord .

    The Lydian dominant scale
    Is the most applicable scale on any dominant chord type in a progression

    Let's take G7 Lydian b7 for example.

    The Lydian dominant is the 4th mode of melodic minor .

    In this case G7 Lydian dom is 4th mode of
    D melodic minor .
    So first look at D melodic minor .
    D melodic minor
    DEFGABC#D
    It's 4th mode is G Lydian dominant (Lydian b7
    GABC#DEFG

    Now let's say our progression is
    Dmin7,G7,Cmajor

    And we decide to use Lydian dominant for the G7

    GBDFA.C#..E
    13579#1113

    Next we want to use this triad system to play over the G7 Lydian dominant

    We map out the TRIADS first .

    G7 Lydian b7 ( Lydian dominant
    GABC#DEFG

    1.GBD
    2.AC#E
    3.BDF
    4.C#EG
    5.DFA
    6.EGB
    7.FAC#


    Next we apply our triad connection system

    AC#E,GC#E,GBE, GBD,FBD,FAD,FAC#

    And now we can use the triad system during that time where we are playing over this one chord
    G7 Lydian dominant.
     
  14. MMJ2017

    MMJ2017 Audiosexual

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    Harmonizing the Triad system.

    Let's go back to our Key of C major again for a moment .

    Now let's look at how any stepwise melodic motion
    Translates to a triad motion.

    CDEFGAB

    C to D or D to C
    Is harmonized as
    FAC..FAD(DFA..CFA)

    D to E or E to D
    Is harmonized as
    GBD..GBE(EGB..DGB)

    E to F or F to E
    Is harmonized as
    ACE...ACF(FAC..EAC)

    F to G or G to F
    Is harmonized as
    BDF..BDG( GBD..FBD)

    G to A or A to G
    Is harmonized as
    CEG..CEA (ACE..GCE)

    A to B or B to A
    Is harmonized as
    DFA..DFB ( BDF..ADF)

    B to C or C to B
    Is harmonized as
    EGB..EGC ( CEG..BEG)

    We now have a way to convert any stepwise melodic motion in a key into a harmony motion
     
  15. MMJ2017

    MMJ2017 Audiosexual

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    Using the triad system for expression .

    Say you know you are in a Dminor chord .

    DFA
    You want to add in a slide or a bend into a melodic passage.

    Well we know that a motion of
    C to D or D to C
    Is FAC..FAD..( or DFA..CFA

    So here we can see the 2 common tones
    AF then slide C to D or Bend C up to D or slide D down to C.

    This opens up lot of options for us .

    What if you on a keyboard without bends and slides
    Picture this melody .

    F..A.. half notes then C D C D Fast notes then F A slow up octave .

    So we can still create same emotional impact as a slide or a bend but in slightly different way 9n instrument without bends and slides .

    Let's try another one.

    I want to take this chord
    Cmajor9
    CEGBD

    And create an expressive melody using the triad system , what can I do?

    First map out the TRIADS

    GBD..GBE..GCE..

    Here is melody comes to mind

    B down to G down to D slide or bend up to E up G up B slide or B C B C B C down G down E.

    BGDEGBCGE
    BGDEDEGBCBCGE long ring.
     
  16. MMJ2017

    MMJ2017 Audiosexual

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    Triadic Permutations.


    In order for us to really understand deep inside ,
    Our options and be able to call upon those options in a moment of creativty , we have to be able to visualize our connections .

    Let's start by looking at a triad .

    CEG

    Next visualize this as a center point , for which we can melodically move down or up .

    BEG...CEG.. CEA

    Next we also want to see this in our minds eye in all inversions as well

    EGB...EGC... EAC

    GBE...GCE...ACE

    We want to package CEG in our minds eye to really be

    EGB..EGC..EAC
    GBE..GCE..ACE
    BEG..CEG..CEA

    It shows us our main form from center position
    With all of direction options burned in the form .

    Now that we have our form all we have to do is create one for each of our 7 TRIADS in the KEY.

    1.CEG

    EGB..EGC..EAC
    GBE..GCE..ACE
    BEG..CEG..CEA

    2.DFA

    FAC..FAD..FBD
    ACF..ADF..BDF
    CFA..DFA..DFB

    3.EGB

    GBD..GBE..GCE
    BDG..BEG..CEG
    DGB..EGB..EGC

    4.FAC

    ACE..ACF..ADF
    CEA..CFA..DFA
    EAC..FAC..FAD

    5.GBD

    BDF..BDG..BEG
    DFB..DGB..EGB
    FBD..GBD..GBE

    6.ACE

    CEG..CEA..CFA
    EGC..EAC..FAC
    GCE..ACE..ACF

    7.BDF

    DFA..DFB..DGB
    FAD..FBD..GBD
    ADF..BDF..BDG
     
  17. MMJ2017

    MMJ2017 Audiosexual

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    Once you get comfortable with the main form you can expand this.


    Take our triad in key of C

    CEG

    We think of it as our center point .

    BEG...CEG...CEA

    Let's now visualize it in our minds eye to expand one more triad in both directions .


    BDG..BEG..CEG.. CEA.. CFA


    Now with the inversions .

    BDG..BEG..CEG..CEA..CFA
    DGB..EGB..EGC..EAC..FAC
    GBD..GBE. GCE..ACE..ACF



    And we think of it as CEG .
    ( Just expanded outward )
     
  18. MMJ2017

    MMJ2017 Audiosexual

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    ADVANCED.

    Suspended TRIADS.




    If we take a look at our main form for the CEG triad

    .BDG..BEG..CEG..CEA..CFA

    Gmaj. Emin. Cmaj. Amin. Fmaj

    You can see that at any one location center point
    Ex. BEG.. CEG.. CEA

    Emin..Cmaj.. Amin

    We are moving to a triad which is very consonant
    3 chord 1 chord 6 chord

    And you actually have to move twice in order to get
    To the IV or V chord


    GBD..GBE..GCE.. ACE.. ACF
    ..V...... III....... I...... VI.... IV

    This can work a lot of the time , but other times
    This is not how we want to move .

    We can integrate the suspended chords to the Triad system to add other motions too.

    Take our triad to start

    CEG
    135

    There are 2 sus chords .

    Sus 2 means Sliding the 3rd down

    Ex.
    CEG
    135

    Becomes Csus2 CDG

    So we can use our downward motion principle

    CDG..CEG

    Next Csus4 means

    CEG
    135

    CFG Csus4

    Now we have an upward motion .


    CDG.. CEG.. CFG

    Now let's look at the TRIADS which connect on either end of these next .

    BDG..CDG. CEG.. CFG.. CFA


    Compared to before

    BDG..BEG..CEG..CEA..CFA

    You see the suspended chords give us another way
    To get to those end chords .

    Also let's look at something.
    FAC
    135

    Fsus2 FGC .. FAC.. .. Fsus4 FBC

    Compare to CEG

    Csus2 CDG.. CEG.. Csus4.. CFG

    So Csus4 CFG and Fsus2 FGC

    Are the same exact chord .
    This connection exists with all sus chords

    And means we can create another emotion with
    Our sus triad connections

    CEG..CEA..FAC

    Compared to

    CEG.. CFG.. CFA

    The sus chord adds a unique way to get from the
    C triad to the F triad
    That sounds and feels different than the Amin triad does.
    It's whole other set of options we have to integrate in the system .
    It gives us other ways of being creative with the system .
     
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