In the 3rd part I’ll have a look at some of the possibilities you have when making your lines from a pair of triads without common notes. Again the idea is to use the strong melody that a triad is by itself and choose triads that fit the chord in this song.
First it might be useful to have an overview of all possible triad combinations:
I have given the combinations and also a suggestion to the kind of scale or chord sound that it might be used for.
Triads without common notes
halfstep apart:
C Db F harmonic Min
C Db+ F harmonic Maj
Cm Db F aeolian
Cm Dbm Ab harmonic Maj
Cm Db+ G gypsy Min
Cdim Db Db major
Cdim Dbm Db harm/mel min
Cdim Dbdim C7 dim
Cdim Db+ G gypsy min
C+ Db+ Db augmented
Whole step apart:
C D G major
C Dm C major
C Ddim C harm min/F mel minor
C D+ G mel minor
Cm D G harm min/maj
Cm Dm G aeolian
Cm Ddim Eb major
Cm D+ G harm min
Cdim Dm D7 dim
Cdim Ddim D7 dim
C+ D A mel min
C+ Dm A harm min
C+ D+ C whole tone
Minor third apart:
C Ebm C7 dim
C Ebdim C7 dim
C+ Eb C augmented
C+ Ebm Ab harm maj
C+ Ebdim Db harm min
C+ Eb+ (= C+ Db+)
Major third apart:
Cm E C augmented
Cdim E E harm maj
Cdim Em E harm min
Cdim Edim C7 dim
Fourth apart:
C Fdim C harm maj/F gypsy
Cm Fdim C harm min
Cdim Fdim F7 dim
Tritone apart:
C F# C7 dim
C F#m C7 dim
C F#+(= C D+)
Cm F# (= C F#m)
Cm F#m C7 dim
Cm F#+ (= Cm D+)
C+ F# (= C F#+)
C+ F#m (= Cm F#m)
C+ F#+ (= C+ D+)
38 combinations
When I write C augmented, I am referring to this symetric scale: C Eb E G G# B