ExAmpLEs

Ex3amplE 11 ExamplE 12 ExEamplE 13

GAE/Exa5mplE 14

Cand, here, another four-note sequence (5-1-3-5). ones available to us. next, we’re going to look at the subject of triad pairs. a In examples 7-11 we have rigorously applied variouDssmeqauj7en(ncoes5th) t/rEia5d pair is any two triads within a scale that do not share any notes. Here, we to the full lengthC# of shape#1; you oeshould also aim to do the same for the are able to provide melodic contrast in our line by alternating between various oth3er four aGed scale shapes shown in diagram 1. Musically, thisDsmoratjo7f(no inversions of a G and a triad. groundwork will probably sound like exercises; however, the aim iDstmoathj7e(nno Finally, here’s an example of how our triad-based lines can be

ts# thesoee use fragmen of flanked by other devices and approaches in spiced up by introducing passing notes. The first two triads in this example

fo&ur-note order to provide more well-balanced musical lines. For example, hDerme aEc5h start with an approach note from a semitone below (including the the sequence used in example 11 used to descend the scale pattern. chromatic e , which does not exist within a Mixolydian). note that we’re also Furthermore, we are not using the full scale-shape, so the end result doesn’t using triad pairs in this line starting off in shape#5 and then drifting up into sound so mechanical aEnd long-winFded. shape#1; also, how in bar 54, the notes on strong beats are al6l chord tones

So far, we’ve looked at the parental triad, and all of the diatonic within a, whi5ch makes th7e line relate heavily to the chord.