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INDEX
Principles of The Random Triadic Approach..... p. 1
Principles of The Random Chromatic Approach p. 4
Triadic Chromatic Approach Exercise Examples... p. 6
Preparatory Exercises.. p. 8
Lead Sheets of Music
Standard Chord Progression I (Concert, Bb, Eb)............
p. 9
p. 16
-1-
After playing C E G ascending, play either one half-step up to Ab (Ex. 1a) or one halfstep down to Gb (Ex. 1b) as starting notes of the next triad.
Example 1a
Example 1b
The next triad can be any triad except Ab Major Root Position (Ex. 2a) if Ab was chosen
as the starting note or Gb Major Root Position (Ex. 2b) if Gb was chosen as the starting
note. Please also see the next section on Displaced Permutation.
Example 2a
Example 2b
-2-
Appropriate triad choices are given in Examples 3a and 3b. It is suggested that the best
result could be achieved by using a triad that goes in a different direction then the
preceding one. Notice that Example 3a uses a Displaced Permutation of the Db Major
triad. For more on Displaced Permutation, see the next section.
Example 3a
Example 3b
Db Major Triad
Gb Major Triad
Displaced Permutation
The sound of a triad can be affected by a Displaced Permutation of that triad. This idea is
illustrated by using the C Major triad (C E G) in Examples 4a and 4b.
Example 4a
Example 4b
Examples 4a and 4b are both considered starting root positions of C Major as they both
begin with the root of the chord and contain the notes from the C Major triad. However,
the sound of the C Major triad is affected in Example 4b (C G E) as the third (E) and fifth
(G) do not sound in the traditional order that we see in Example 4a. Example 4b (C G E)
is described as a C major triad root position with displaced permutation. Once the triad
is permutated, it is treated as a different inversion in this concept. Therefore the same
inversion can be repeated back to back as long as one of the two triads uses a displaced
permutation.
-3-
The following examples illustrate the improper method of the random triadic approach
(Ex. 5a) and the proper method of the random triadic approach (Ex. 5b). Due to the
chromatic nature of this concept, please note that if an example has no time signature, all
notes are natural unless there is a sharp or flat.
So far, all the examples have dealt with major triads. Please know that the Random
Triadic Approach applies to minor, diminished and augmented triads as well.
-4-
Within that major 3rd exists 5 notes: C C#(Db) D Eb(D#) E (enharmonic spellings may be
used). Any of these notes may serve as a starting point (Ex. 6a).
Example 6a
The note C has been chosen as the starting point. The next note can be any one of the
notes that exist within the major 3rd; D has been chosen for Example 6b.
Example 6b
-5-
Since the interval between C and D is a whole step, the next note cannot ascend using a
whole step up to the note E. In Example 6c, Eb has been chosen as the next note, and Db
after that. Notice that the intervals are not the same consecutively.
Example 6c
While it is possible for the note to descend a whole step to C, this creates the likelihood
of the melody becoming locked out of using that interval (whole step in this case) again
because a pattern has been created by going back to the original starting note; if the
choice to descend a whole step is made, then the next interval cannot be a whole step up
or else a pattern will start to emerge; Example 6d shows how with the addition of 2 more
notes of different intervals help to avoid the line becoming too pattern-like.
Example 6d
Please see Examples 6e and 6f for proper and improper methods of the Random
Chromatic Approach. For an example of combining the Random Triadic and
Chromatic Approaches (i.e. the Triadic Chromatic Approach), please see Have You
Met Miss Jones on pp. 13-16.
Example 6e Improper Method
-6-
b b b
#
b
#
b
&
# b b
b
b b
b
&
b
Continue...
b
b
b #
b b
& b b
&
b b b b #
#
b
#
Continue...
& b b b # b # b # b
Continue...
& # # # b b # b # #
Continue...
-7-
Free Random Chromatic Movement Over the Octave, Not Larger Than a Major 3rd.
& # # b b b # # # b
&
b b b
b b
#
#
Continue...
# b
& b b # # # # b b
CMaj7
a)
b b b # b # #
&
G+7
b)
Continue...
Continue...
a)
&c
D-7
b # b
#
# # n n
& c b
D-7
b)
U
b b b n w
G7
CMaj7
Continue...
# b b b n n U
w
G7
CMaj7
Continue...
-8-
# b b # b b # # b #
&
Continue...
b)
& b b # b b # # # #
Continue...
# # b b # b b b # # #
b
&
Major Pentatonics (1, 2, b3, 5) Ascending and Descending with half-steps in between.
a)
Continue...
b)
&
# # # #
b
b b
b
Continue...
b
b b b # # b # b b
&
a)
Continue...
b)
& b # # b b b b # # b
Continue...
b
# b b b # # # b # # b b
&
Minor Pentatonics (1, 2, b3, 5) Ascending and Descending with half-steps in between.
a)
Continue...
b)
&
b
# b
b
# #
b
b
Continue...
Concert
-9-
F 7
&c
A -7
&
F 7
&
13
B b 7
&
21
&
&
29
25
A -7
D7
D -7
F #o7
D 7
F 7
&
17
&
A -7
F #o7
D -7
A b-7
F #o7
C7
G b 7
G bMaj7
C -7
G -7
F 7
C7
F7
E -7
G -7
A7
C7
C7
G -7
C7
C7
G -7
D b7
G -7
D b7
G -7
A b-7
G -7
C7
- 10 -
B-Flat
G 7
&c
B -7
&
G 7
&
B -7
&
13
C 7
&
17
E 7
G 7
29
E7
E -7
G #o7
G #o7
A -7
D7
A b 7
A bMaj7
A -7
G 7
B7
A -7
G7
F #-7
D7
D7
D7
D -7
A -7
E b7
A -7
E b7
B b-7
B b-7
A -7
E -7
25
&
&
B -7
&
21
G #o7
D7
D7
A -7
D7
- 11 -
E-Flat
&c
F #-7
&
D 7
&
F #-7
&
13
G 7
&
17
&
21
D 7
&
25
F #-7
&
29
F -7
F -7
D #o7
B -7
B7
D #o7
B -7
B 7
D #o7
E -7
A7
E -7
B b7
E -7
B b7
E -7
A -7
E b 7
E -7
D 7
A7
E bMaj7
A7
A7
D7
C #-7
F #7
E -7
A7
A7
E -7
A7
Concert
- 12 -
F #o7
F 7
G -7
C7
b #
b b
b
b
c
b
b b n n
&
D -7
G -7
b b C7
b # n
b
# b # #
#
& #
b
A -7
F #o7
F 7
G -7
C7
b b b # b n
b b b # n
&
D -7
C -7
F7
b
b # # n
# #
#
#
#
&
A -7
13
B b 7
A b-7
D b7
G b 7
b b b b # n
b
&
17
D 7
&
21
# b
F 7
A b-7
D b7
G bMaj7
b #
F #o7
b b
b b b b b
#
E -7
A7
b
b # n b b n b b
G -7
C7
C7
b b # #
b n b b b b b
b
&
G -7
25
A -7
D7
G -7
C7
F 7
G -7
C7
b b n b b
n b b n b
b
&
#
29
- 13 -
F #o7
F 7
b # b b n b b b b
b
?c
b b b n n
b b
G -7
C7
b b
b # n
b
#
?
#
#
b
A -7
D -7
G -7
F #o7
F 7
C7
? b b b # b n b b b b # n
b
G -7
C7
b
? b b b b # # # n # b # # #
A -7
D -7
13
B b 7
C -7
A b-7
D b7
G b 7
? b b b b # n b
17
D 7
? # b
21
F 7
A b-7
D b7
G bMaj7
F7
E -7
A7
G -7
C7
b b b b b
#
b b
b # b b b
b
# n b
F #o7
? b b # # b b b n n b b b b b b
G -7
25
A -7
D7
G -7
C7
F 7
C7
G -7
C7
? b n b b
n b n b
b
b
b
b
#
29
3
- 14 -
B-Flat
G #o7
G 7
A -7
D7
b # n
b b #
b # #
c
&
A -7
b D7
E-7b b
b
#
# # n # # #
& # #
B -7
G #o7
G 7
A -7
D7
b b b
#
# b n # # #
&
D -7
G7
b
b E-7b b #
# # #
#
#
&
B -7
13
C 7
B b-7
E 7
B b-7
E b7
A b 7
b b # n # #
&
17
&
21
G 7
&
25
B -7
E b7
A bMaj7
# n # #
G #o7
F #-7
# # b n b b
b
B7
b b
# # b # n b
A -7
D7
A -7
D7
# b n b # n b
b # # #
E7
A -7
D7
G 7
A -7
D7
n b # b
n # b #
b
#
&
#
29
- 15 -
E-Flat
D 7
b
& c # b
F #-7
D #o7
# # n b n b # n
#
#
E -7
A7
b
b b
b
#
b
b b
& # n # #
B -7
E -7
D #o7
D 7
A7
b b #
&
#
# n b # # #
F #-7
E -7
A7
b # b n
b b #
#
# b
b # n b #
&
13
B -7
G 7
A -7
B b7
F -7
E b 7
b # n #
&
#
17
B 7
# #
&
21
&
25
D 7
F #-7
F -7
B b7
E bMaj7
D7
C #-7
F #7
E -7
A7
# # b n b b
b
#
# n b
b
# #
D #o7
b # # # # # # b n b # n b
B7
E -7
E -7
A7
D 7
A7
E -7
A7
& # # n n # b # n # # n # # b
29
3
Concert
- 16 -
F -7
bb
&b b c
D b 7
G7
C -7
F -7
bb
&b b
bb
&b b
A b 7
bb
&b b
13
bb
&b b
21
A -7
bb
b
& b
17
F #-7(b 5)
A -7(b 5)
D7
D7
B7
C 7
B b7
G 7
E b 7
G 7
E 7
C +7
D b 7
D b-7
C -7
B o7
B b-7
E b7
A b6
A b 7
bbb
b
&
33
A b 7
E b7
bbb
b
&
29
E b7
B b-7
F -7
bb
&b b
25
B b-7
G -7(b 5)
C7
B-Flat
- 17 -
G -7
b
&b c
E b 7
A7
D -7
G -7
b
&b
&b
B b 7
b
&b
13
B -7
b
b
&
17
&b
21
G #-7(b 5)
G -7
b
&b
25
E b 7
b
b
&
29
C -7
b
b
&
33
C -7
B -7(b 5)
E7
C #7
E7
F7
D 7
C7
A 7
B b 7
F 7
A 7
D +7
C -7
F7
B b 7
E b-7
D -7
F7
B b6
F # 7
C #o7
A -7(b 5)
D7
E-Flat
- 18 -
&b c
B b 7
&b
A -7
&b
F 7
&b
13
&b
&b
17
21
F #-7
D #-7(b 5)
D -7
&b
25
B b 7
&b
&b
29
33
G -7
G -7
E7
D -7
F #-7(b 5)
B7
B7
G -7
A 7
G7
G #7
C7
E 7
C 7
C # 7
A +7
C7
F 7
F6
E 7
C7
A -7
B b-7
F 7
G #o7
E -7(b 5)
A7
- 19 -
Concert
&
b .
b b n b .
George Garzone
n b b b n b n b .
b b b
# b n b b
#
b
b
b
&
- 20 -
?c
b
b
b .
b b n b .
?
George Garzone
n b b n b n b .
b
b b b
# b n b b
? # b b b b # n # b
- 21 -
B-Flat
b #
&c
# # .
b
&
George Garzone
# b n # n n b .
b
# # b b
#
#
&
#
b
- 22 -
E-Flat
& c # b #
&
# # .
George Garzone
# n # n # .
b #
# # b
#
# # # # # b # # # # #
&
- 23 -
Concert
C7(b 9)
George Garzone
D -7(b 5)
G7(b 9)
C 7
G 7
B b7
E b7
j
b b n .
b
& c b b n J J J
F -7(b 5)
&
G7(b 9)
F 7
&
13
[Double X]
F 7
[End Double X]
21
n b # # w
J J
G 7
A b 7
D -7(b 5)
F 7
A b-7
C 7(# 9)
b w
bF7 .
b.
. b.
.
b b nw
J
J
D b7
B b7
D -7(b 5)
F -7
G7(b 9)
b b .
b. b .
J
&
F -7
25
G7(b 9)
E b 7
b n n b b b b w
E b 7
&
G b7
b b
&
17
E b-7
b b b
&
B b7(b 9)
B b7
B b7
.
J
.
J
G -7(b 5) C7(b 9)
b.
b
J
J
b
J
C -7
G -7(b 5)
. b J .
J
C7(b 9)
B7
E 7
b b
w
b J J b J
&
J
F -7
29
G -7
C7
F -7
- 24 -
G -7(b 5)
?c
C7(b 9)
G7(b 9)
F 7
? .
13
G7(b 9)
C 7
B b7(b 9)
E b-7
G 7
B b7
E b7
G b7
F 7
b b
G 7
A b-7
A b 7
D -7(b 5)
F 7
17
b. b nw
J
D b7
E b 7
D -7(b 5)
G7(b 9)
? b b .
[End Double X]
21
F -7
? b . b J .
25
B b7
B b7
.
J
.
J
G7(b 9)
F-7
b n n b b
[Double X]
C 7(# 9)
b w
bF7 .
b.
. b.
B b7
E b 7
b b w
3
G -7(b 5) C7(b 9)
b b.
J
J
C -7
G -7(b 5)
. b .
J
J
C7(b 9)
j
b
B b7
E b 7
? b b J b b b b w
J J
J
F -7
29
b b b
n b j # # w
J
D -7(b 5)
j j b b b n .
j
b
J
b
F -7(b 5)
George Garzone
G -7
C7
F -7
- 25 -
B-Flat
D7(b 9)
George Garzone
E -7(b 5)
A7(b 9)
A 7
C7
D 7
# # n b # .
& c b J
J J J
G -7(b 5)
C7(b 9)
b b
#
&
A7(b 9)
G 7
&
13
[Double X]
&
17
[End Double X]
F 7
&
21
&
25
B b 7
b.
J
G 7
A 7
B b-7
F7
# w
J # # #
J
b .
#
&
A b7
F -7
E -7(b 5)
A7(b 9)
G 7
G7
nw
J
E b7
D 7(# 9)
. .
. .
F 7
# # b n # n w
#
3
E -7(b 5)
G -7
A7(b 9)
b .
. b .
J
G -7
.
J
C7
.
J
A -7(b 5) D7(b 9)
D -7
.
J
A -7(b 5)
.
J
C7
b.
J .
D7(b 9)
G-7
C7
F 7
w
J J
J
&
J
G -7
29
C7
A -7
D7
- 26 -
E-Flat
A7(b 9)
George Garzone
B -7(b 5)
E7(b 9)
E 7
G7
A 7
# .
j j
j
& c # J # # n
D -7(b 5)
G7(b 9)
E b7
b
b # j # b n # # w
&
J
E7(b 9)
&
D 7
&
13
D 7
C -7
E 7
F 7
B -7(b 5)
D 7
E7(b 9)
C7
A 7(# 9)
# .
. #
. .
D7
#w
J
b
B7
D-7
G7
C 7
#
# n w
# #
&
3
[Double X]
17
F -7
B -7(b 5)
C 7
E7(b 9)
&
[End Double X]
21
&
D -7
25
.
J
G7
.
J
.
J
A -7
.
J
E -7(b 5)
.
J
E -7(b 5) A7(b 9)
b.
J
j
b
.
J
A7(b 9)
C 7
& J
J J
D -7
29
G7
E -7
A7
D -7
G7
- 27 -
Concert
[Modal Progression]
D -7
&c
&
..
&
&
&
&
D -7
E b-7
- 28 -
B-flat
[Modal Progression]
E -7
&c
&
..
&
&
&
&
E -7
F -7
- 29 -
E-flat
[Modal Progression]
B -7
&c
&
..
&
&
&
&
B -7
C -7