Tri-Level Chords and their Progressions: A Beginning (for the lover of harmony) Ted Greene 1989.09.06 F/G a 7) €/G ae He a ow FE Kore Fo git rr a oe ' ota ieee * v f : : I * I Ab/Bh h/t a Ab/B» Bh/ch ron T t ay Keyores = [ET vite oo : , BUR 3 pes rd Fo? Gn? fba7 Now welll contrast the Ab/F 0/6 Co/Ab b/Bb p09 prior with diatonic - a 1a T harmony of a more facie ia oe b “rma varity t t wie tt i 2 Also uy “yee F/G Even an cecasonl fie id {Bb & i straight triad can be “ene ee of eae » bo tt HH tH tit “sie” dee 2 f | @ f i ¥ EF ll roe oe > we eee bolt CE F/B G/F AYE ae cA ER Te taitetie aH Ro HERB gitttE ocsiinn or » 3 co Ck He aed a new key + $ i | | 4 a 4 ie A Hl duTri-Level Chords and their Progressions, A Beginning - Ted Greene, 1989-09-06 (p.2) Now for some Harmonization of the Ascending Major Scale: rst 5 degrees) p49 fY/Bb Br/eb eye 4/8 ea ii Toot 1H 7 8 Key of Eb i = 1 » W Epas b/Bb Bb/Eb Eb/E Ab/Bb Bb/Eb ro Regular” if Gur Ara Fal/t Eb/9 coe 5 ee — 6 comparison a aes ra 2 SS T 1 — f & Gn? ‘Apa? Fol 6/9 TH TH ae Eb eo He g Gh E S SSS - ll pbs, f(D B/C eye Dyeb er/eb . &S S&S =HTri-Level Chords and their Progressions, A Beginning - Ted Greene, 1989-09-06 (p.3) PbSro3 fb/Dp BH/C G/F Di/eb €b/fbe coi ee e4 How about with the BH/Eb Co/Ds Db/Cb €b/Bb ! TH ‘minor 3rd? (as a substitute note in the soprano) fea 4) ‘ce | ee £ r A 4 § 1 i» > Try all examples backwards (!) too...some are pretty nice this way. * Tri-level Harmony = can be viewed as. 1) Triads with added "supercharging" by way of wonderful bass notes. 2) Bass notes with added resonant (and even non-resonant) triads above. ‘\well deal with these later. 3) Functional chords and/or harmony as usualVen TRI- egies wal urna A baening Ki-5 sp 0 ore i ro) fo ir DH eel ee) ea Oe ee ee ie me ae et ees gte as Z, Sees eeyek aes eee ae tory HL gh be ? cm poy “Eat Fe po 9a com] “ Age Eee He fac iif aaa boty et t é ee 4 a FFE ey seTHASDGE jo “ 10) ou at “eafiar TmRp ARC m1 HH Latta iT 4 3 T