example 2 b jœ # ∫ w # j œ. single chromatic approach ... play the following rhythm example...

Note: Double accidentals are also possible, but are rarely used. A doublesharp (‹) raises the pitch by one whole step, a double flat (∑∑) lowers thepitch by one whole step.

5 Natural sign: A written musical character used to cancel previouslyindicated accidentals.

Note: Double natural signs are necessary to cancel double sharps or doubleflats.

5 Enharmonic spelling: Two ways of notating the same pitch, e.g., E∂ = F,A∑ = G∂, D∑∑ = C, F∂∂ = G, etc.

5 Clefs: Signs written at the beginning of each staff designating the pitches(or note names) of the lines and spaces. The treble clef (also called the Gclef) indicates the second line of the staff is the note G above middle C.The bass clef (also called the F clef) indicates the fourth line of the staff isthe note F below middle C.

· 23 ·

Part 1

wb

J

œ‹

œ#

.˙b

w∫j

œ#

˙b œn

.œ#

J

œn

w∫ n œn

&w#

ww#

wb

w∫w

w‹w

E# F G# Ab D∫ C F‹ G= = = =

&R

wR

wR

wR

wR

E F G A B C D E F

?

Rw

Rw

Rw

Rw

R

G A B C D E F G A

Lines Spaces

Treble clef

Bass clef

Example 2

Example 3

Example 4

Example 5

Four-Part Chords

A four-part chord can be constructed by adding one note (i.e., the major 7th,or the minor 7th, or the major 6th degree) to a conventional triad form asfollows:

The most common and therefore most important four-part chord types(together with the recommended order of root tones to learn them on) are asfollows:

major 7 C, F, G, B∑, E∑, A∑, D, D∑, A, E, B, G∑

dominant 7 G, C, D, F, B∑, E∑, A, A∑, E, B, F∂, D∑

minor 7 D, G, A, C, F, B∑, E, E∑, B, F∂, C∂, A∑

minor 6 C, D, G, A, F, B∑, E, B, E∑, A∑, D∑, F∂

minor 7∑5 D, E, A, B, G, C, F∂, C∂, F, B∑, E∑, A∑

diminished 7 C (E∑, G∑, A), C∂ (E, G, B∑), D (F, A∑, B)

dominant 7sus4 G, C, D, F, B∑, E∑, A, A∑, E, B, F∂, D∑

Exercises and Drills

1. See back to Triad Exercises and Drills, page 42. Substitute four-partchords for triads, observing necessary changes or additions.

2. Also see 8. Chord-Tone Soloing, pages 166 thru 171; Chord-Tone Solo,pages 174 and 175; and How to Improvise: Lower Structure Triads and

Chord-Tone Soloing, pages 71-80, for more exercises.

5 Record and critique your practice daily.

· 43 ·

Part 1

&Rwww

CΔ

Rwwwb

C7

Rwww

C6

&Rwww

b

C7sus

&Rwww#

C +Δ

Rwwwb

#

C+7

Rwww#

C+6

&Rwwwbb

CoΔ

Rwwwb

bb

C ø (C –7 b5)

Rwwwbb

Co7

&Rwwwb

C –Δ

Rwwwb

b

C –7

Rwwwb

C –6

major(root, M3, P5)

minor(root, –3, P5)

diminished(root, –3, o5)

augmented(root, M3, +5)

sus4(root, P4, P5)

M7–7M6

M7–7M6

M7–7

o7(M6)

M7–7M6

–7

major 7thdominant 7th

major 6th

minor/major 7thminor 7thminor 6th

diminished/major 7thminor 7∑5

diminished 7th

augmented/major 7thaugmented/dominant 7th

augmented/major 6th

dominant 7sus4

Cmaj7, CΔ, CΔ7C7

Cmaj6, C6

Cmin/maj7, C–ΔCmin7, C–7Cmin6, C–6

Cdim/maj7, CoΔC–7∑5, Cø, Cø7

Cdim7, Co7

Caug/maj7, C+Δ, Cmaj7(∂5)Caug7, C+7

Caug/maj6, C6(∂5)

C7sus4, C7sus, C7s4

Triad type Note added Resulting four-part chord Common chord symbols Chord notation(above root) (root position)

Example 41

Note: The term subdominant is also commonly applied to the perfect 4thdegree of the scale because it is located a perfect 5th below (sub) the tonic.

Dominant chords D Subdominant chords SD

V7 II–7VIIø IVΔ

Tonic Chords

The tonic functioning chords yield two levels of harmonic stability, with theIΔ and VI–7 chords being the most stable because they each contain the rootof the key, and the III–7 chord being the least stable because it does not con-tain the root of the key.

· 51 ·

Part 1

&wwww

SD

(4)

wwRw

wwww

SD

(4)

wwwR

D

(4)

(7)

RwRw

wwww

D

(4)

(7)

wRwR

IΔ II –7 III –7 IVΔ V7 VI –7 VIIø

&

(4)

(7)

w

w

1

w

1

wb

1

wbw

tritone

&

T

wwww

SD

wwww

T

wwww

SD

wwww

D

wwww

T

wwww

D

wwww

IΔ II –7 III –7 IVΔ V7 VI –7 VIIø

&wwwR

wwRw

IΔ VI –7

&

wwww

III –7

Tonic: stable – contains root of key

Tonic: less stable – does not contain root of key

Example 53

Example 54

Nondiatonic Harmony

Most of the nondiatonic chords in standard song chord progressions arerelated in some functional or logical way to the primary key of the song (or ofthe moment). Such nondiatonic chords include the following:

5 Chromatically Altered Diatonic Chords

The common chromatically altered diatonic chords from major key har-mony are:

1. ∑VIIΔ – which is the VIIø chord with the root lowered by 1/2 step; itusually resolves to the VI minor chord or I major chord.

2. ∂IVø – which is the IVΔ chord with the root raised by 1/2 step; it usuallymoves to the IV major or IV minor chord.

3. I7 – which is the IΔ chord with the major 7th lowered by 1/2 step; itusually appears as the tonic dominant 7th chord in blues progressions.

4. IV7 – which is the IVΔ chord with the major 7th lowered by 1/2 step; itusually appears as the IV dominant 7th chord in blues progressions.

READY, AIM, IMPROVISE!

· 66 ·

111

& wwwR

B ø

!1/2

wwwRb

BbΔ(VIIø) (bVIIΔ)Key: C

&

n1/2

wwwR

FΔ

wwwR#

F#ø(IVΔ) (#IVø)Key: C

&

!1/2Rwww

CΔ

Rwww

b

C7(IΔ) (I7)Key: C

&

!1/2Rwww

FΔ

Rwww

b

F7(IVΔ) (IV7)Key: C

Example 80

Example 81

Example 82

Example 83

4. Practice playing the following solo at various tempos using swing feel withoccasional even feel (staccato) and double-time feel (legato) for effect.

Note: First practice the notes and rhythms of the solo with even feel (legato) only, then with swing feel only, and finally with different rhythmicfeels.

5. (CD 1)

Practice applying different rhythmic feels to scale pattern exercises andarpeggio pattern exercises played in 8th notes as in the exercise above.



· 98 ·

111

&c .

.

œœ

œœ

œ

>

œbœ œb

CΔ

œœ

Œ Œ

œ

œ

>

œ œœb

œœb

( )

œœ

>

F –7

œ}œ

>œ

œb( )

œb

>

Œ

Bb7

&

5

Œ ‰

j

œ}œN

>œ

‰

j

œ

CΔ

‰ j

œ}

‰

j

œœ

œ

>

œœ œb

œ} œnœ

œb

>

œœ

Bb–7œ>

œ œb

ŒœN

œ>

Eb7

&

9

œœ

œb( )

œb

¸

œbœ}

AbΔ

œ

¸

œb( )

œb Œ ‰

J

œN

>

œœ

.

} œ

>œ

(

œ)

œ

>

A –7

œ

œ}œ

>œ} œ#

>

Œ

D7

&

.

.

13

‰

j

œ‰

j

œbœ}

œœ

œ>

D –7

œ#( )

œ>

œnœ

œ œb

>

œ

œ}

G7

œ

>

œ

œ} œb

>

˙

CΔ EbΔ

œ ‰ j

œ}œ

œb

>

œœ

AbΔ DbΔ

&

17

œ

Œ Ó

CΔ

Example 116

Even feel 8th notes (two to several) with either staccato or combinations ofstaccato and legato articulation can be frequently interspersed among swingfeel 8ths to enhance the shading.

In general (or wherever rhythmic activity permits), a single measure of musicshould be played using predominantly legato articulation but with one ormore staccato attacks for effect.

(See How to Improvise: Time Feel and Articulation for more informa-tion and exercises on articulation.)

ImportantThe articulations used in the following exercises should be over exaggeratedin practice sessions to ensure the control and use of shading in performances.

Articulation PatternsPractice the articulation patterns shown in the example below by combiningvarious suggestions from the list below:

5 First play at a slow tempo, then at medium and faster tempos.

5 First play with consecutive even feel 8th notes played in phrases separatedby rest, and then with swing feel 8th notes played in phrases separated byrest.

5 First play using a single pitch, then with scale and arpeggio patterns, andfinally with improvised melodies over chord changes.

· 111 ·

Part 2

&c œ

>

œœ

œ œ#

>

œbœ

.

œ#

.

CΔ A7

œ

>

œ}

œ

>

œ}

3

œœ œ#

œ

>

œ}

D –7 G7

œ-

œ

.œ-

œ.

œ-

œ.

œb

-

CΔ A7

.œ. œ

-.

œ.

œ œb-

œ

.

œb

-

œb.

D –7 G7

w

CΔ

swing even swing even

- - - -œ œ œ œ

. - . - - - . . . - - .

. . . . - . - . - . . . - . . -

- - -

3

œ œ œ- . . . . - - . - . - .

3

œ œ œ

3

œ œ œ

. . . . - . . - - . - . - . -

3

œ œ œ

3

œ œ œ

Apply to consecutive 8th notes using swing or even feel.

Apply to consecutive 8th-note triplets.

* These articulations create a “2 against 3” feel.

Example 128

Example 129

1. 3. 5. 7.

2. 4. 6. 8.

1. 3. 5. 7.*

2. 4. 6. 8.*

Chromatic and Diatonic Approach Techniques

· 129 ·

Part 2

&

!

œb

≈, ∫, ≈ ≈ ≈3

)(

w

!

œw

!

œbw

!

œw

!

œbw

n

œ

*w

n

œ#w

n

œ#w

n

œ#w

n

œw

CΔ

&

!

œb

≈, ∫, ≈ ≈ ≈3

)(

w

n

œw

!

œw

n

œ#w

!

œbw

n

œ#w

etc.

œw

œ#w

œb

*w

œw œ

wœ#w

œbw

œ#w

œnw

œ#w

œbw

œw

CΔ

&

n

œw

!

œbw

n

œ#w

!

œw

n

œ#w

!

œbw

etc.

œ#w

œw œ

*w

œbw

œ#w

œw

œ#w

œbw

œ#w

œnw

œw

œbw

CΔ

&

.

...

n

œw

!

œw

!

œbw

!

œw

!

œb*

w

n

œ#w

n

œ#w

n

œ#w

CΔ

n

œw

&

.

...

!

œbw

n

œ#w

n

œ#w

n

œ#w

n

œ

*w

!

œw

!

œbw

!

œnw

CΔ

!

œbw

&

.

...

!

œbw

n

œ#w

!

œbw

n

œ#w

!

œb*w

n

œ#w

!

œbw

n

œ#w

CΔ

!

œbw

&

.

...

n

œw

!

œw

n

œ#w

!

œw

n

œ

*w

!

œw

n

œ#w

!

œnw

CΔ

n

œw

&

!

œ

!

œb

≈, ∫, ≈ ≈ ≈3

)(

w

etc.

œbœ

w

œ œbwn

œbœ

wœn œb

w

n

œ#

*

n

œw

etc.

œn œ#w

œ œ#w

œn œ#w

œ#œ

w

CΔ

1. Single Chromatic Approach (to chord-tone targets)

2. Combining Downward and Upward Resolution, Single-Chromatic Approach

3. Double-Chromatic Approach (to chord-tone targets)

Also:

* May begin exercise here also.

a)

b)

c)

d)

e)

f)

Example 146

Play the following rhythm example using a single note only, then usingthe chord tones (root, 3rd, 5th, 7th) from any single chord, then the chordtones from any two or three-chord grouping (four beats each chord), thenchord-scale notes from any single chord scale, etc.


· 147 ·

Part 2

&c œ

.

œ

.

œ

.

œ

.

œ

.

œ

-

œ

.

œ œ

.

œ œ

.

œ œ

-

œ

.

œ

.

œ

.

œ

-

œ

-

œ

.

œ

.

œ

-

œ

.

&

5

œ œ

.

‰

J

œ

.

‰

J

œ

-

œ

.

Ó Œ œ

.

œ

-

œ

-

œ

.

œ

.

œ

-

œ

.

‰

J

œ ‰

J

œ ‰

J

œ

-

œ

.

&

9

œ

.

œ

-

œ

.

‰

J

œ ‰

J

œ ‰

J

œ

-

œ

.

œ

.

œ

.

Ó œ

.

œ

-

œ

.

‰

J

œ ‰

J

œ ‰

J

œ ‰

J

œ

-

&

13

œ

-

œ

-

œ

.

œ

-

œ

.

‰

J

œ ‰

J

œ

-

œ

.

œ

-

œ

-

œ

.

‰

J

œ ‰

J

œ ‰

J

œ

-

œ

.

œ

.

œ

-

œ

.

‰

J

œ ‰

J

œ

&b

b

c

œ

.

œ

.

œ

.

œ.

C –7

œ

.œ-

œ

.œ

œ

.

œœ

.

œœ- œ

.

œ

.

œ.

œ œ

-œ

.

œ

.

œ-

œ

.

&b

b

5

‰- J

œ.

‰J

œ

‰

J

œ-

œ.

Ó Œ

œ.

œ- œ

-

œ

. œ

.

œ

-

œ.

‰

J

œ ‰

J

œ ‰J

œ-

œ

.

&b

b

9

œ.

œ-

œ

.

‰ j

œ

‰

j

œ‰

J

œ

-

œ

.

œ

. œ

.

Ó œ. œ

-

œ

.

‰

J

œ ‰J

œ

‰ J

œ

‰J

œ-

&b

b

13

œ- œ

-

œ.

œ-

œ

. ‰

J

œ ‰

J

œ

- œ.

œ

-

œ-

œ.

‰

J

œ ‰

J

œ ‰ j

œ-

œ.

œ.

œ- œ

.

‰ J

œ

‰J

œ

Same rhythm as above but using the chord tones of C–7 (and featuring wideintervals):

Example 166a

Example 166b

Chord-Tone Soloing

Exercise 1

5 (CD 1 and/or 2) – Using chord tones only (roots, 3rds, 5ths 7ths)

Practice playing the following licks comprised only of chord tones as writ-ten in the key of C. Write in appropriate accents, ghost notes, articulation,etc. Exaggerate execution. Then select certain licks to transpose to otherkeys and practice. Practice writing out your own licks comprised of chordtones only as well. Then select certain ones to transpose to other keys andpractice.


· 168 ·

111

&c

œ

œœ

œœ

œ

œœ

œ}œ

œœ

œœ

‰

Œ

w œ

œ

&c

œœ

œœ

œ

œœ

œ

œ}œ

œ œœ

œ

‰

Œ

( )b n w œ

œœ

œ

&c œ

œœ

œœ

œœ

œœ} œœ

œœ

œ

‰

Œ

w œ

( )b n

œœ

œ

œ

&c

œœ

œœ

œœ

œœœ}

œœ

œœ

œ

‰

Œ

( )b n w œ

œœ

œ

&c

œœ

œ

œœ

œœ

œœ}œ

œœ

œ

œ

‰

‰

( )b n w œ

œœ

œ

&c

œ œœ

œœ

œ}œ

œ

œ}œ

œœ

œ

œ}

‰

Œ

( )b n œ

œ

œ

w œœ

œ

&c

œœ

œ

œœ

œ

œœ

œ}œ

œ

œœ

œœ

‰

‰

w œ

œ

œ

œ

&c œ

œ

œœ

œœ

œ

œœ}

œœ

œ

œ

œ

‰

Œ

( )b n w œ

œ

œœ

œ

œ

&c

œ œœ

œœ œ

œœ

œ}œ

œœ

œœ

‰

Œ

w œ

œ

œ

œ

&c œ œ

œœ

œ œœ

œœ}

œœ

œœ

œ

‰

Œ

w œ

œ

œ

œ

&c

œœ

œœ

œœ

œœ

œ} œ

œ

œ

œœ

‰

‰

w œ

œ

œ

œ

&c

œœ

œœ

œœ

œœ

œ} œœ

œ

œœ

‰

Œ

w œ

œ

œ ( )b n

œ

œœ

G7 or G7(∑9) C or C– (same chords through #12)

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

Example 177

optional endings

Rhythm Motives

All quarter notes in the examples below should be played with staccato arti-culation, i.e., short and detached. Play all rhythms with swing feel.

I. Non-syncopated Rhythms

II. Syncopated Rhythms


· 180 ·

111

&c

1.

Û Û Û Û Û

2.

Û Û Û Û Û

3.

Û Û Û Û Û

4.

Û Û Û Û Û

&c

1.

Û Û Û Û Û Û

2.

Û Û Û Û Û Û

3.

Û Û Û Û Û Û

4.

Û Û Û Û Û Û

5.

Û Û Û Û Û Û

6.

Û Û Û Û Û Û

&c

1.

Û Û Û Û Û Û Û

2.


3.


4.


&c

1.

Û Û ‰

J

Û ‰

J

Û ‰

J

Û

2.

‰

J

Û Û Û ‰

J

Û ‰

J

Û

3.

‰

J

Û ‰

J

Û Û Û ‰

J

Û

4.

‰

J

Û ‰

J

Û ‰

J

Û Û Û

&c

1.

Û Û Û Û ‰

J

Û ‰

J

Û

2.

‰

J

Û Û Û Û Û ‰

J

Û

3.

‰

J

Û ‰

J

Û Û Û Û Û

4.

Û Û ‰

J

Û ‰

J

Û Û Û

&c

1.

Û Û Û Û Û Û ‰

J

Û

2.

‰

J


3.

Û Û ‰

J

Û Û Û Û Û

4.

Û Û Û Û ‰

J

Û Û Û

Group A: 5 attacks per measure

Group B: 6 attacks per measure

Group C: 7 attacks per measure

Group D: 5 attacks per measure

Group E: 6 attacks per measure

Group F: 7 attacks per measure

(continued)

Example 180a

Single chords and diatonic chord patterns with the notes which can be used for single-note soloing.

· 213 ·

Part 4

&c .

...’ ’ ’ ’

CΔ

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

10x’s

|

CΔ

|

&c .

...’ ’ ’ ’

( )D –7G7

’ ’ ’ ’

* G7

’ ’ ’ ’

( )D –7G7

’ ’ ’ ’

* G7 10x’s

|

D –7

|

&c .

...’ ’ ’ ’

D –7

’ ’ ’ ’

G7

’ ’ ’ ’

* CΔ

’ ’ ’ ’

( )A –7 10x’s

|

D –7

|

&c .

...’ ’ ’ ’

A–

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

10x’s

|

A–

|

&c .

...’ ’ ’ ’

( )B øE7(b9)

’ ’ ’ ’

* E7(b9)

’ ’ ’ ’

( )B øE7(b9)

’ ’ ’ ’

* E7(b9) 10x’s

|

B ø

|

&c .

...’ ’ ’ ’

( )B øE7(b9)

’ ’ ’ ’

E7(b9)

’ ’ ’ ’

* A–

’ ’ ’ ’

( )F#ø 10x’s

|

B ø

|

Track 3 Single-notes soloing notes: C, D, E, G, A, B

Track 4 D, E, F, G, A, B

Track 5 D, E, G, A, B, (C)

Track 6 A, B, C, D, E

Track 7 B, D, E, F

Track 8 B, D, E, (A, C)

* Optional place to begin improvised phrases.

Track 1 Tuning note A

Track 2 Tuning note B∑

1 Concert Instruments



· 220 ·

111

&

#

# c ..

.

.’ ’ ’ ’

DΔ

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

10x’s

|

DΔ

|

&

#

# c ..

.

.’ ’ ’ ’

( )E –7A7

’ ’ ’ ’

* A7

’ ’ ’ ’

( )E –7A7

’ ’ ’ ’

* A7 10x’s

|

E –7

|

&

#

# c ..

.

.’ ’ ’ ’

E –7

’ ’ ’ ’

A7

’ ’ ’ ’

* DΔ

’ ’ ’ ’

( )B –7 10x’s

|

E –7

|

&

#

# c ..

.

.’ ’ ’ ’

B–

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

10x’s

|

B–

|

&

#

# c ..

.

.’ ’ ’ ’

( )C#øF#7(b9)

’ ’ ’ ’

* F#7(b9)

’ ’ ’ ’

( )C#øF#7(b9)

’ ’ ’ ’

* F#7(b9) 10x’s

|

C#ø

|

&

#

# c ..

.

.’ ’ ’ ’

( )C#øF#7(b9)

’ ’ ’ ’

F#7(b9)

’ ’ ’ ’

* B–

’ ’ ’ ’

( )G#ø 10x’s

|

C#ø

|

Track 3 Single-note soloing notes: D, E, F∂, A, B C∂

Track 4 E, F∂, G, A, B, C∂

Track 5 E, F∂, A, B, C∂, (D)

Track 6 B, C∂, D, E, F∂

Track 7 C∂, E, F∂, G

Track 8 C∂, E, F∂, (B, D)

B∑ Instruments


Track 1 Tuning note B (concert A)

Track 2 Tuning note C (concert B∑)

1 B∑∑ Instruments


· 227 ·

Part 4

&

#

#

#

c ..

.

.’ ’ ’ ’

AΔ

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

10x’s

|

AΔ

|

&

#

#

#

c ..

.

.’ ’ ’ ’

( )B –7E7

’ ’ ’ ’

* E7

’ ’ ’ ’

( )B –7E7

’ ’ ’ ’

* E7 10x’s

|

B –7

|

&

#

#

#

c ..

.

.’ ’ ’ ’

B –7

’ ’ ’ ’

E7

’ ’ ’ ’

* AΔ

’ ’ ’ ’

( )F#–7 10x’s

|

B –7

|

&

#

#

#

c ..

.

.’ ’ ’ ’

F#–

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

10x’s

|

F#–

|

&

#

#

#

c ..

.

.’ ’ ’ ’

( )G#øC#7(b9)

’ ’ ’ ’

* C#7(b9)

’ ’ ’ ’

( )G#øC#7(b9)

’ ’ ’ ’

* C#7(b9) 10x’s

|

G#ø

|

&

#

#

#

c ..

.

.’ ’ ’ ’

( )G#øC#7(b9)

’ ’ ’ ’

C#7(b9)

’ ’ ’ ’

* F#–

’ ’ ’ ’

( )D#ø 10x’s

|

G#ø

|

Track 3 Single-note soloing notes: A, B, C∂, E, F∂, G∂

Track 2 Tuning note G (B∑ concert)

Track 1 Tuning note F∂ (A concert)

Track 4 B, C∂, D, E, F∂, G∂

Track 5 B, C∂, E, F∂, G∂ (A)

Track 6 F∂, G∂, A, B, C∂

Track 7 G∂, B, C∂, D

Track 8 G∂, B, C∂ (F∂, A)


1 E∑∑ Instruments

Modulation: from Major Key to Major KeyThe modulations (up and down) and the notes which can be used for single-note soloing are indicated above each example.


· 244 ·

111

&c .

. ’ ’ ’ ’

DΔ

’ ’ ’ ’ ’ ’ ’ ’

( )* A –7

D7

’ ’ ’ ’

D7

’ ’ ’ ’

GΔ

&

.

.’ ’ ’ ’ ’ ’ ’ ’

( )* E –7

A75x’s

’ ’ ’ ’

A7

|

DΔ

|

&c .

. ’ ’ ’ ’

DΔ

’ ’ ’ ’ ’ ’ ’ ’

( )* D –7

G7

’ ’ ’ ’

G7

’ ’ ’ ’

* CΔ

&

.

.’ ’ ’ ’ ’ ’ ’ ’

( )* E –7

A75x’s

’ ’ ’ ’

A7

|

DΔ

|

&c .

. ’ ’ ’ ’

DΔ

’ ’ ’ ’ ’ ’ ’ ’

*( )G –7C7

’ ’ ’ ’

C7

’ ’ ’ ’

* FΔ

&

.

.’ ’ ’ ’ ’ ’ ’ ’

( )* E –7

A75x’s

’ ’ ’ ’

A7

|

DΔ

|

Track 3 perfect 4th or perfect 5th D, E, F∂, A, B

Track 1 Tuning note B (A concert)

Track 2 Tuning note C (B∑ concert)

Track 4 major 2nd D, E, A, B

Track 5 minor 3rd D, E, A


B∑ Instruments

2 B∑∑ Instruments

example 2 b jœ # ∫ w # j œ. single chromatic approach ... play the following rhythm example...

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