Etude 28- Triad Pairs Formed From Two Scales Over V7-I

There are so many ways you can use triad pairs to create interesting tension and release moving from dominant to tonic chords. Take a look at the example below:

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Here I use two different minor/augmented triad pair combinations extracted from two different melodic minor scales. In the first measure, I use the D minor scale to form the E minor triad and the F Augmented triad (which have a nice voice-leading connection from the “E” to the “F”).  In the second measure I use the Bb minor scale to form the C minor/Db Augmented triad pair. So the second measure is the first measure transposed down a major 3rd. (Because of this symmetrical relationship between D and Bb, they share the augmented chord: F Augmented in the first measure and Db Aug in the second).

The altered tension from this these triads are Db/C# (flatted 5th/Raised 11th) and  Eb (flatted 13th). The pattern resolves to the 3rd of C major and then I use more of a chromatic bebop language to finish the line. It has a beautiful, somewhat unpredictable, yet melodic sound. Click the link below do download the pdf, which has the pattern transposed in all twelve keys. If you’d like to explore more deeply how melodic minor scales can be used to fundamentally expand your harmonic vocabulary, consider my eBook, Melodic Minor Scale Jazz Studies: Tonal Organizations and Applications Over Dominant 7th Chords. 

Click the links below to download a pdf of this etude and to hear a midi version:

Triad Pairs Formed From Two Scales Over V7-I pdf

Triad Pairs Formed From Two Scales Over V7-I midi