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)

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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.

[email protected] / www.armandoalonso.com.ar / www.serie20y20.com.ar

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



• 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


• 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


• 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


MINOR MODE


• 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


• Half diminished Chord ( VI - Tonic Function)

Exercise 10

• Half diminished Chord ( VI - Tonic Function)

• Progresión: I - VI - II – V


• 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


• Dominant Seventh Chord ( IV7 - Subdominant Function – Blues sound)

Exercise 12

• Dominant Seventh Chord ( IV7 - Subdominant Function – Blues sound)

• Progression: I - IV7


• 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


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


• 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)




Exercise 16



• Progression: I - V/IV - IV - V, I - VI - V/V – V


• 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)


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


• Final Synthesis 8. (Table according to structure)


• 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)


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

[email protected]

www.armandoalonso.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.


� ��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)


www.arman

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nso.c

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& wwww

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


Audio: 1a

Audio: 1b

Audio: 2

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� ��T

Cm7 Triads with root on:

�� T 11 5


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)


Minor Seventh Chord( VI ) Tonic Function

www.arman

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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


|Dm7

& 44 |a

1

Asus4

|Esus4

2

|3

Gsus4

|4

Dsus4

|Dsus4

& 44 .. ..|Em7


|Dm7

& 44 |Esus4

a

1

|Dsus4

2

|Dsus4



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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� ��5

C7


�� 5 T 9


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


( V7sus4 ) Subdominant Function

( V ) Dominant Function

Dominant Seventh sus4 Chord

(Armando Alonso)


Half-Diminished Chord( VII ) Dominant Function

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& 44 wwwwb

Major Mode

C7

& œœœGsus4

a

1

&œœœDsus4

2 3 Asus4 A Phrygian4

& œœœ & œœœb

& 44 .. ..|Cmaj7


|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


|G7sus4

& 44 |a

Gsus4 |Gsus4

& 44 |b

Gsus4

|Dsus4

& 44 |c

Gsus4 |Asus4

& 44 |d

Gsus4

|Csus4

EXERCISE 3a(Armando Alonso)


Progression: I - V

Progression: I - V7sus4

( V ) Dominant Function

Dominat Seventh sus4 Chord ( V7sus4 ) Subdominant function


Audio: 7a

Audio: 8

Audio: 9

Audio: 10

www.arman

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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


Audio: 11a

Audio: 12

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� ��5

C7


�� 5 T 9


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)


(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



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


�� 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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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


EXERCISE 5a(Armando Alonso)

Secondary Dominants

Progression: I - V/ II - II - V


Audio: 7c

Audio: 15

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Major Mode

C7

& œœœba

1 C Phrygian

& œœœbbb2

Dbsus4


& œœœbbb4 Ebsus4



& 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


EXERCISE 5b(Armando Alonso)

Secondary Dominants

Progression: I - V/ III - III - IV


Audio: 7d

Audio: 16

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& 44 wwwwb

Major Mode

C7

& œœœba

1 C Phrygian

& œœœbbb2 Dbsus4


& œœœbbb4 Ebsus4



& 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


& 44 |Asus4

d |Gsus4


& 44 |Asus4

e |G Phrygian


& 44 |Asus4

f |C# Lydian


& 44 |g

Asus4

|C# Phrygian


& 44 |h

Asus4 |Csus4



EXERCISE 5c(Armando Alonso)

Secondary Dominants

Progression: I - V/ VI - VI - II V


Audio: 7a

Audio: 17

www.arman

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nso.c

om.ar

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Superimposition of Triads 2 - Theory for all instruments by Armando Alonso

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From Buenos Aires, Argentina, we send you the best wishes for your musical career.

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Printed in Argentina.

February 2020

SUPERIMPOSITION OF TRIADS 2 - Theory - Armando Alonso - FREE

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