{"id":720,"date":"2020-03-28T00:18:06","date_gmt":"2020-03-28T03:18:06","guid":{"rendered":"http:\/\/serie20y20.com.ar\/armando-alonso\/?post_type=product&p=720"},"modified":"2022-06-08T11:20:00","modified_gmt":"2022-06-08T14:20:00","slug":"theory-superimposition-of-triads-2-free-version","status":"publish","type":"product","link":"https:\/\/serie20y20.com.ar\/armando-alonso\/en\/product\/theory-superimposition-of-triads-2-free-version\/","title":{"rendered":"THEORY \/ SUPERIMPOSITION OF TRIADS 2 – FREE VERSION"},"content":{"rendered":"

If you wish you can purchase the Complete Book by<\/strong> CLICKING HERE<\/strong><\/a><\/span><\/h3>\n
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Practical and dynamic work methodology for the self-taught student as well as for the teacher in class<\/strong><\/p>\n

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CONTENTS<\/strong><\/p>\n

The Free Version<\/strong><\/span> (PDF with 25 pages \u2013 12.5 MB)\u00a0<\/strong><\/span>\u00a0only contains:<\/strong><\/span><\/p>\n

\u00a0 *<\/strong> <\/span><\/span>5 Lessons & 5 Exercises<\/span><\/strong><\/p>\n

\u00a0 * 2 Backing Tracks<\/span><\/strong><\/p>\n

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The FREE VERSION<\/strong> does not contain:<\/span><\/p>\n

\u00a0\u00a0\u00a0 * 15 Lessons and 15 Exercises<\/span><\/strong> (remaining)<\/em><\/p>\n

\u00a0\u00a0\u00a0 * 232 Audios & Backing Tracks<\/span><\/strong>\u00a0(corresponding to lessons and exercises)<\/em><\/p>\n

\u00a0\u00a0<\/b>\u00a0 * 8 exercises\u00a0with circle of 5th & 4 songs\u00a0\u00a0<\/b>(Jazz\u00a0Standards, Major & Minor Blues)<\/em><\/span><\/span><\/span><\/p>\n

\u00a0\u00a0\u00a0 * Printable Book<\/span><\/strong> (without watermark)<\/em><\/p>\n

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OBJECTIVES AND PURPOSES<\/strong><\/p>\n

The book of Theory \/ Superposition of Triads 2, for all instrumentalists<\/strong>, includes the following triads: sus4, Phrygian and Lydian,<\/strong> 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.<\/p>\n

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<\/strong>, instead if we superimpose the triad of C Lidia we will be generating: T, # 11 and 5.<\/strong><\/p>\n

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<\/p>\n

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CONTENTS<\/strong><\/p>\n

The book has 20 lessons<\/strong> with all the details of the application of the triads and 20 exercises<\/strong> 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.<\/strong><\/p>\n

The information is organized according to the functional harmony<\/strong> both in the major mode and in the
\nminor mode, including: diatonic substitutions, secondary dominant, substitutes, second relative minor, etc.<\/p>\n

The Synthesis tables and summaries<\/strong> do not give the possibility of having all the information organized
\nfor quick and easy permanent consultation.<\/p>\n

In the book the triads are presented in a closed position<\/strong> which does not prevent anyone who wishes to investigate them in an open position (N\u00e9stor Crespo Spread Triads 1 and 2<\/strong> \u2013www.serie20y20.com.ar<\/strong>)<\/p>\n

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AUDIOS (<\/strong>232 Audios & Backing Tracks)<\/em>
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In order to appreciate the sound generated<\/strong> by the superimposition of triads, listening to the audios included in each of the lessons is essential.<\/strong><\/p>\n

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.<\/p>\n

In the exercises it is convenient to first play<\/strong> each of the triads (in fundamental state and\u00a0<\/em>their investments)<\/em> in the form of a chord<\/strong> devoid of any rhythm in order to concentrate solely on the generated sound<\/strong>, once this stage is over we can apply the same triads in a melodic way.<\/p>\n

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For more information please contact to the author:\u00a0contacto@armandoalonso.com.ar<\/a>\u00a0<\/span><\/p>\n

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Related Books<\/strong><\/h2>\n

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