SUPERIMPOSITIONS

OF TRIADS 1
Major / Minor / Diminished / Augmented

5 LESSONS & 5 EXERCISES

FREE VERSION
(does not contains)

15 lessons and 15 remaining exercises

Circle of Fifths & Repertoire
232 Audios & Backing Tracks
Printable Book (without watermark)

by Armando Alonso
Practical and dynamic work methodology for the self-taught
student as well as for the teacher in class
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MUSICIAN FRIEND
You’ve just downloaded the Free Version of this Ebook:

Superimposition of Triads 1 - 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

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 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.

armandoalonsomari@gmail.com/ 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 1, for all instrumentalists, includes the following triads: Major, Minor, Diminished
and Augmented, 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 Em on Cmaj7 we generate: 3, 5 and 7 of the chord, instead if we superimpose the triad of D Major we will be
generating: 9, # 11 and 6.

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
th
harmonic progressions to apply the different overlays. It also contains the superposition of the different triads on Circle of 5
(8 chord species) and 4 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 1 also includes the audios corresponding to the exercises in a modal way, the harmonic progressions,
Standard and Blues major and minor themes.

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 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
• Secondary Dominants V/ IV - V/ V ( 1st Option )
• Secondary Dominants V/ IV - V/ V ( 2nd Option)
• 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

LESSON 7(Only in paid version)

• 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

LESSON 8 (Only in paid version)

• 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 function Modal interchange)

Exercise 8a
• IIø - V - I

LESSON 8b (Only in paid version)

• V7sus4/b9 (Subdominant function Modal interchange)

Exercise 8b
• V7sus4/b9 - V - I

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MINOR MODE

LESSON 9 (Only in paid version)

• 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

LESSON 10 (Only in paid version)

• Half diminished Chord ( VI - Tonic Function)

Exercise 10
• Half diminished Chord ( VI - Tonic Function)
• Progresión: I - VI - II – V

LESSON 11 (Only in paid version)

• 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

LESSON 12 (Only in paid version)

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

Exercise 12
• Dominant Seventh Chord ( IV7 - Subdominant Function – Blues sound)
• Progression: I - IV7

LESSON 13 (Only in paid version)

• Major Seventh Chord ( bVI - Subdominant Function)
• Major Seventh Chord ( bVII - Subdominant Function)

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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

LESSON 15 (Only in paid version)

• 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)

LESSON 16 (Only in paid version)

• Secondary Dominants V/ IV - V/ V ( 1st Option )
• Secondary Dominants V/ IV - V/ V ( 2nd Option)

Exercise 16
• Secondary Dominants V/ IV - V/ V ( 1st Option )
• Secondary Dominants V/ IV - V/ V ( 2nd Option)
• Progression: I - V/IV - IV - V, I - VI - V/V – V

LESSON 17(Only in paid version)

• 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

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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

LESSON 20 (Only in paid version)

• Final Synthesis 8. (Table according to structure)
LESSON 20
• 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)

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 My gratitudes goes to:

My wife Laura y my sons Sofía and Amadeo

Those who inspired my self on writting this first book :

Walter Malosetti, William G. Leavitt, George VanEps and James Tobias

My workteam:

Néstor Crespo: layout and edition, Edi Vallarino: art work and Federico Palmero: audio tracks

Armando Alonso
JON DAMIAN'S WORD

"Armando Alonso, a wonderful guitarist, has produced a

new book about the subject of triadic superimposition.

He has created a thorough look at this interesting subject;

and gives the readers opportunities to try their own creative
responses. Bravo Armando and the best to you with this
wonderful project."

Your brother

Jon Damian
www.jondamian.com
Berklee College of Music
Professor - Guitar Department

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serie20y20.com.ar
THOMAS FICHTER'S WORDS

My friendship with Armando Alonso goes back to 1984.

Armando visited Germany for several months, and he

stayed with me in the city of Freiburg for some months.

There was a vibrant Jazz Club scene at the time, and it was
easy to travel to France and Switzerland for a day trip.

We played numerous concerts together.

Armando was an inspiration to me as a player, but he also taught me theoretical

concepts.

Now, 33 years later, Armando poured a lifetime of experience as a player and as a

teacher into a wonderful book about Jazz theory.

I wish this publication many curious readers.

Thomas Fichter
www. thomasfichter.com
Double bass player
Freiburg - Germany

armandoalonsomari@gmail.com/ www.armandoalonso.com.ar / www.serie20y20.com.ar

 LEGAL

Alonso, Armando José

Superimposition of Triads 1/ Armando José Alonso.

1st bilingual edition - Chivilcoy: Armando José Alonso, 2017.

EBook, DXReader

Spanish-English Edition
Digital Archive: download online

1. Music. I. Title.
CDD 780

ISBN 978-987-42-4797-1

Date of registration: 06/24/2017

SUPERIMPOSITION OF TRIADS 1

VOLUME I
1st edition

© Armando José Alonso, 2017

armandoalonsomari@gmail.com
www.armandoalonso.com.ar
www.serie20y20.com.ar

Date of publication: June 2017

Replication Date: June 2017
The deposit established by Law 11.723
EDITED IN ARGENTINA

Graphic Design: Edgardo Vallarino

The backing tracks belongs 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.

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 /(6621 1
(Armando Alonso)

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 EXERCISE 1
(Armando Alonso)

Major Seventh Chord Major Mode

( I ) Tonic Function

& 44
Cmaj7
www
w
Audio: 1a

1
œœœ
Em 2
œœœ
G 3
œœœ
Am
a & & &

Major Seventh Chord

(IV) Subdominant Function

& 44
Cmaj7
www
w
Audio: 1b

Lydian Sound

œ # œœœBm
& œœœ & œœ & # œœœ
1
œœœ
Em 2 G 3 Am D 6 F# °
& # œœœ
4 5
a & &

Progression: I - IV ( Two chords per messaures ) Audio: 2

& 44 .. | ..
Cmaj7 Fmaj7
|

Lydian Sound

1 2 3 4 5 6

& 44
Em Am C Dm Em G B°
a | | | | | | |

1 2 3 4 5 6

& 44
G Am C Dm Em G B°
b | | | | | | |

1 2 3 4 5 6

& 44
Am Am C Dm Em G B°
c | | | | | | |

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 /(6621 2
(Armando Alonso)

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b7 9 11

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 EXERCISE 2
(Armando Alonso)

Minor Seventh Chord Major Mode

4 bw
Cm7
&4 b www Audio: 3a

( II ) Subdominant Function - ( VI ) Tonic Function ( III ) Tonic Function

b œœœ b œœœ b b œœœ

b b œœœ
1 Eb 2 Gm 3 Bb 4 Eb
a & & & &

Progression: I - II ( Two messaures per chord ) Audio: 4

4 .
Cmaj7 Dm7
..
&4 . | |

4 G F
a &4 | |

b
4 G
&4 |
Am
|

4 G C
c &4 | |

Progression: VI - II ( Two messaures per chord ) Audio: 5

4 .
Am7 Dm7
..
&4 . | |

& 44
C F
a | |

& 44
Em F
b | |

& 44
G F
c | |

Progression: III - II ( Two messaures per chord ) Audio: 6

4 . ..
Em7 Dm7
&4 . | |

& 44
G F
a | |
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 EXERCISE 3a
(Armando Alonso)

Dominant Seventh Chord Major Mode

( V ) Dominant Funciton

4 b www
C7
&4 w
Audio: 7a

1
b œœœ
E° 2
b œœœ
Gm 3
œœœ
Am
a & & &
Progression: I - V ( Two messaures per chord ) Audio: 8

4 .
.
Cmaj7 G7
..
&4 | |

a
4 G
&4 |
B°
|

& 44
G Dm
b | |

& 44
G Em
c | |

Dominant Seventh sus4 Chord

( V7sus4 ) Subdominant Function

& 44
C7sus4
Audio: 9

1 Gm 2 Bb 3 Dm 4 F
a & & & &

Progression: I - V7sus4 ( Two messaures per chord ) Audio: 10

4 .
Cmaj7 G7sus4
..
&4 . | |

& 44
G Dm
a | |

& 44
G F
b | |

& 44
G Am
c | |

& 44
G C
d | |
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 EXERCISE 3b
(Armando Alonso)

Half- Diminished Chord Major Mode

( VII ) Function Dominant Function

4
& 4 b b b wwww
Cm7(b5)
Audio: 11a

b œœœ
b
b b b œœœ b œœœ
1 Ebm 2 Fm 3 Ab
a & & &

Progression: I - VII ( Two messaures per chord ) Audio: 12

& 44 .. | ..
Cmaj7 Bm7(b5)
|

a
4 G
&4 |
Dm
|

4 G Em
b &4 | |

4 G G
c &4 | |

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 /(6621 4
(Armando Alonso)

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 EXERCISE 4
(Armando Alonso)
Secondary Dominants Major Mode
(V/ IV - V/ V )

& 44
C7
b ww
ww Audio: 7b

b œœœ
E°
b œœœ
Gm 3
œœœ
Am 4 Db°
& b b ∫ œœœ
1 2
a & & &
b œœœ
# œœœ #
& # # # œœœ
F# 6 A Bb + 8 D
# œœœ
5 7
& & &
Progression: I - V/ IV - IV - V Audio: 13

4 .
Cmaj7
&4 . |
C7 Fmaj7 G7
..
| | |
4 G E° C B°
a &4 | | | |

b
4 G
&4 |
Gm
|
C
|
B°
|
c
4 G
&4 |
Am
|
C
|
B°
|

& 44
G Db° C B°
d | | | |

& 44
G F# C B°
e | | | |

& 44
G A C B°
f | | | |
Progression: I - V/ V - II - V Audio: 14

4 .
Cmaj7 D7 Dm7 G7
..
&4 . | | | |

& 44
G F# ° F B°
a | | | |

& 44
G Am F B°
b | | | |

& 44
G Bm F B°
c | | | |

& 44
G C+ F B°
d | | | |

& 44
G E F B°
e | | | |
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 /(6621 5
(Armando Alonso)

6HFRQGDU\'RPLQDQWV 0DMRU0RGH
(V/ II - V/ III - V/ VI )

7ULDGVZLWKURRW 5RRW *HQHUDWHG

RQWKH: 3RVLWLRQ )LUWVLQYHUVLRQ 6HFRQGLQYHUVLRQ VRXQG:
C7 E°
3 C7
3 5 b7

G°
w

5 C7 (b9)
w

5 b7 b9
w

Bb°
.a

b7 C7 (b9)
rm

b7 b9 3
an

Db°
b9 C7 (b9)
do

b9 3 5
al

Ab+
on

b13 C7 (b13)
b13 T 3
s o.

6HFRQGDU\'RPLQDQWV (6HFRQG2SWLRQ )
co

(V/ II - V/ III - V/ VI )

C7
m

Eb
#9 C7 ( #9 )
.a

#9 5 b7
r

F#
#11 C7 (b9 / #11)

#11 b7 b9

Ab
b13 C7 (#9 / b13)
b13 T #9

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 EXERCISE 5a
(Armando Alonso)

Secondary Dominants Major Mode

(V/ II - V/ III - V/ VI )

4
C7
&4 b www
w
Audio: 7c

bœ
b b œœœŒ & b b œœ
Bb°
b œœœ
E° G° 4 Db °
& b b ∫ œœœ
1 2 3
a & &

b œœœ
b
b œœœ & # # # œœœ
Ab+ Ab

b b œœœ
5 6 Eb 7 F# 8
& & &

Progression: I - V/ II - II - V Audio: 15

4 .
Cmaj7 A7 Dm7 G7
..
&4 . | | | |

a
4 G
&4 |
C#°
|
F
|
B°
|

4 G E° F B°
b &4 | | | |

4 G G° F B°
c &4 | | | |

& 44
G Bb ° F B°
d | | | |

& 44
G F+ F B°
e | | | |

& 44
G C F B°
f | | | |

& 44
G Eb F B°
g | | | |

& 44
G F F B°
h | | | |

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 EXERCISE 5b
(Armando Alonso)

Secondary Dominants Major Mode

(V/ II - V/ III - V/ VI )

4
C7
&4 b www
w
Audio: 7d

bœ
b b œœœŒ & b b œœ
Bb°
b œœœ
E° G° 4 Db °
& b b ∫ œœœ
1 2 3
a & &

b œœœ
b
b œœœ & # # # œœœ
Ab+ Ab

b b œœœ
5 6 Eb 7 F# 8
& & &

Progression: I - V/ III - III - IV Audio: 16

4 .
Cmaj7 B7 Em7 Fmaj7
..
&4 . | | | |

a
4 G
&4 |
D#°
|
G
|
C
|

4 G F#° G C
b &4 | | | |

4 G A° G C
c &4 | | | |

& 44
G C° G C
d | | | |

& 44
G G+ G C
e | | | |

& 44
G D G C
f | | | |

& 44
G F G C
g | | | |

& 44
G G G C
h | | | |

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 EXERCISE 5c
(Armando Alonso)

Secondary Dominants Major Mode

(V/ II - V/ III - V/ VI )

4
C7
&4 b www
w Audio: 7a

bœ
b b œœœŒ & b b œœ
Bb°
b œœœ
E° G° 4 Db °
& b b ∫ œœœ
1 2 3
a & &

b œœœ
b
b œœœ & # # # œœœ
Ab+ Ab

b b œœœ
5 6 Eb 7 F# 8
& & &

Progression: I - V/ VI - VI - II V Audio: 17

4 .
Cmaj7 E7 Am7 Dm7 G7
..
&4 . | | | | |

4 G G#° C F B°
a &4 | | | | |

4 G B° C F B°
b &4 | | | | |

4 G D° C F B°
c &4 | | | | |

& 44
G F° C F B°
d | | | | |

& 44
G C+ C F B°
e | | | | |

& 44
G G C F B°
f | | | | |

& 44
G Bb C F B°
g | | | | |

& 44
G C C F B°
h | | | | |

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MUSICIAN FRIEND
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Superimposition of Triads 1 - Theory

for all instruments
by Armando Alonso

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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
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From Buenos Aires, Argentina, we send you the best

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Printed in Buenos Aires , Argentina .

June2017