{"id":73,"date":"2019-01-31T23:47:20","date_gmt":"2019-02-01T02:47:20","guid":{"rendered":"http:\/\/serie20y20.com.ar\/armando-alonso\/?post_type=product&p=73"},"modified":"2022-06-08T11:24:00","modified_gmt":"2022-06-08T14:24:00","slug":"theory-superimposition-of-triads-1-2","status":"publish","type":"product","link":"https:\/\/serie20y20.com.ar\/armando-alonso\/product\/theory-superimposition-of-triads-1-2\/","title":{"rendered":"THEORY\/ Superimposition of Triads 1 – 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 31 pages \u2013 12.7 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 1<\/strong>, for all instrumentalists, includes the following triads:\u00a0Major, Minor, Diminished and Augmented.<\/strong>\u00a0My 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 Em on Cmaj7<\/strong> we generate: 3, 5 and 7<\/strong>\u00a0of the chord, instead if we superimpose the triad of D Mayor <\/strong>we will be generating: 9, #11 and 6.<\/strong><\/p>\n

In the future, the management of this concept will allow us not only to use the different triads when improvising<\/strong> but also to think of other harmonies which will be superimposed on the original ones<\/strong> to be used in the form of chords\u00a0<\/strong><\/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<\/strong> to apply the different overlays. It also contains the superposition of the different triads on Circle of 5th<\/strong> (8 chord species) and Standards, Major & Minor Blues.<\/strong><\/p>\n

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.<\/strong><\/p>\n

The Synthesis tables<\/strong> and summaries do not give the possibility of having all the information organized for 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 \u2013www.serie20y20.com.ar)<\/em><\/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\u00a0 also includes the audios corresponding to the exercises in a modal<\/strong> way, the harmonic progressions<\/strong>, Standard and Blues major and minor themes.<\/strong><\/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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