Harmonic and Melodic Equivalence

The Harmonic and Melodic Equivalence Series looks at the twelve possible groupings of 3 notes in various configurations. Most volumes concentrate on symmetrical pairs such as two 027’s, but there are exceptions, such as where interesting combinations the 016-027 combination for a blues scale are explored. Overall, this series as presents alternate melodic and harmonic ideas that can be substituted for the regular scales or melodies that you use in common musical situations. It’s sure to open you up to some unique sounds and put a modern spin on your improvisation.

There are many ways you could approach playing the exercises in these books, and I’d like to present some ideas that I’ve used over the years to master the exercises –and more importantly, get these sounds into my playing. Here is a list of the general categories that I’ve explored when practicing these exercises.:

Singing
Segmenting the exercise into single measure of octave displacement
Adding Embellishments
Sight Reading
Memorization
Sound Production
For Stringed Instruments:
1. Use String Sets
2. Tremolo picking
3. Fingering choices
4. Other techniques

Singing:

I put singing first because getting these melodies deep into your musical memory and making sure you actually hear how each note is functioning within the key center is crucial to making real music with these melodies. I would take at least one exercise a day (usually 12 measures) and sing through it over a drone. Singing these exercises in time would be the ultimate goal but at least get started by singing them over a MetroDrone® out of time to get you hearing each melody.

Segmenting the exercise:

I think it’s a great start to just read through each exercise in full, to find physical barriers that need adjustment within your technique. At the same time, I would also recommend taking smaller segments and applying them to real music. I often use a single measure, and look at different ways to apply this idea to multiple musical situations. In general, it is better to work on fewer exercises and spend time applying the insights you get from them to real music.

It is also a good idea to take parts of the exercise and try to play and apply these melodic fragments in different octaves on your instrument.

Adding Embellishments:

Adding embellishments to each melody or fragment is crucial to making it sound like music. All great melodies have embellishments so think about adding these to each example:

Slides
Bends
Accents
Different dynamic levels
For Stringed Instruments:
Hammer-ons
Pull-offs
Tapping

Sight Reading:

These books are great for sight reading. Each course presents a different challenge both physically and mentally. Some of these melodies can be very angular or use unusual melodic shapes; therefore they are great for developing your sight reading skills.

Memorization:

I would use smaller melodic fragments, like a measure, and memorize this sound so you can get your eye and mind away from the printed page. Once memorized, start applying this fragment to real music

Sound Production:

These exercises are great for developing a “sound” on your instrument. When working on this aspect try to keep the following in mind:

Play each note at the same dynamic level
Try to give each note a beautiful sound (timbre, texture, etc) and have that sound consistent through the rest of the notes
Accents
Have each note be the same length in time
For Stringed Instruments:
Make sure you connecting each note as seamlessly as possible so that you have a legato —but precise–sound

For Stringed Instruments:

There are some specific characteristics that a stringed instrument possesses that will facilitate the playing of each exercise, and help broaden the ways you can express each idea. Here are some suggestions for playing each exercise

Use string sets to play linearly up and down the neck
Try tremolo picking to develop picking technique
Look at different ways to finger each exercise or segment
Explore other techniques such as different bowing, tapping or other extended techniques specific to your instrument

Final Considerations

You don’t have to make the Harmonic and Melodic Equivalence Series your sole practice tool. I would just take a few of these ideas and spend a few minutes each day with them to develop the areas where you are the weakest. That said, if you want incredible musical technique, this series of books is excellent for developing amazing chops on your instrument… which of course will require hours of practice each day.

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

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