A Modern Method for Keyboard Study Volume Two A COMPREHENSIVE PROGRAMMED KEYBOARD METHOD IN FOUR VOLUMES James ProgrisForeword A Modern Method For Keyboard Study provides controlled, pro- gressive instruction in the fundamentals of keyboard technique. All musical examples are original. They have been composed to achieve specific goals; . the ability to read at sight the development of technical facility an awareness of musical structure a knowledge of the principles of harmonic motion, effect- ive chord voicing, and patterns of contemporary chord pro- gression. The Music Education Supplement, available with each book of this Series, includes additional studies in transposition, ac- companiment technique, the reading of open score, and the mas- tery of standard public school repertory. The harmonic mater- ials of the Music Education Supplement are in accordance with the predominately triadic textures of traditional Baroque and Early Classical styles.Table of Contents Page LESSON I - Technical studies: mixed intervals larger than a fifth, finger displacement, RH arpeggios (major triads), preparatory exer- cises for scale studies in C minor, legato articulation. Reading material: change of signature, ledger-line and change of clef studies; rhythm studies, chorales inC major, C minor, A minor. Modern chord studies: tension exercises (resolving and unresolved) and melodic variations on U-V-I (major). LESSON Deteeeeree 22 Technical studies: mixed intervals, finger displacement, LH arpeggios (major triads), scale studies in C major, C minor, legato-staccato articulation. Reading material: change of signature, ledger-line and change of clef; rhythm studies, chorales in G major, G minor, & minor. Modern chord studies: tension exercises on V of V (unresolved) and U-V-I (resolving). LESSON III +--+ ee aT Technical studies: interval of the sixth, finger displacement, RH arpeggios (minor triads), preparatory exercises for scale studies in A minor, continued articulation exercises. Reading material: change of signature, ledger-line and change of clef rhythm studies, chorales in F major, F minor, D minor. Modern chord studies: melodic variations onII-V-I (minor), U-V sequences. LESSON IV sreeeeeeeee ie 64 Technical studies: interval of the third, finger displacement, LH arpeggios (minor triads), preparatory scale exercises in D minor, scale studies in A major, A minor; continued ar- ticulation studies. Reading material: change of signature, change of clef, ledger-line and rhythm studies, chorales in D major, D minor, B minor. Modern chord studies: melodic variations on I-V sequences.LESSON Vivereseees i839 Technical studies: finger displacement, arpeggios (major triads) with accompaniment, preparatory scale exercises in E major, scale studies in D major, D minor; articulation studies. Reading material: change of signature, change of Clef, ledger-line and rhythm studies, chorales in A major, A minor, F sharp minor. Modern chord studies: resolving tensions on II-V-I in minor, melodic variations on mixed chord patterns. LESSON VI -- pees 1106) Technical studies: finger displacement, arpeggios (minor triads) with accompaniment, preparatory scale exercises in F minor, scale studies in E major; articulation studies. Continued reading material, including chorales in E major, E minor, C sharp minor. Modern chord studies: melodic variations on mixed chord patterns. ee 2a LESSON VII «+--+ Technical studies: arpeggios with accompaniment, prepara~ tory scale exercises in B flat major, A flat major, scale studies in F major, F minor; articulation studies. Continued reading material, including chorales in B major, B minor, G sharp minor. Modern chord studies: mixed tension patterns on V of V, arpeggios (RH, LH) on I-V-I. + 139 LESSON VII-++ Technical studies: arpeggios with accompaniment, scale studies in B flat major, A flat major; articulation studies. Reading material, including chorales in B flat major, flat major G minor. Modern chord studies: arpeggios (RH, LH) on II-V and V7 of V sequences.LESSON 1 TECHNICAL STUDIES EX. 1 deor dean (var. ) * ? , PF) UPC War.) sas sas r - & - Ff. oe (er) 545 sas * wer r FC War) saa saa sia sae Geng rf ro FCEX. 2 tso2 deat wari f og (var. ) lang ete te (var) STs sans 545 64S ere (ar) STs sas (One Beat Of The Metronome Is Equivalent To A Dotted Quarter Note. } EX, 3oo deere Je os EX. 5(a) oO ° 3 ab(b) EX. 9 1 a4 dea dea J 14 a2 o> 4 ¢>LEGATO 1. To be played as smoothly as possible. 2, Indicated by a curved line (slur) which is written above or below two or more tones. 3. The slur (legato-phrase-mark) may be of any duration. 4, In legato playing a key is not raised until the next key is struck. 5. At the end of a slur mark lift the hand from the keyboard slightly. EX. 10 dere d+ 02 J=120 (For All Examples) (b) (a)READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE —) € Lydian © Dorian C Locrian EX. 1 J=2 (For All Examples)LEDGER LINE STUDY dem dso CHANGE OF CLEF STUDY (One Beat On The Metronome Is d. = 80 Equal To A Dotted Half-note)RHYTHM STUDIES [od EX. 1 denEX.6 § d= 120 . 10EX. 11 2 uFOUR PART CHORALE STUDIES Fingering has not been included in any of the Chorale studies since the slow tempo and long note-durations will allow sufficient time to determine which fingers to use. 1. The soprano and alto voices (treble clef notes) are played by the right hand. 2. ‘The tenor and bass voices (bass clef notes) are played by the left hand. 3. Occasionally the soprano, alto, and tenor voices must be played by the right hand because of the distance between tenor and bass voices (indicated by a bracket). 4, If the three upper voices remain constantly in close position (within an octave) it is possible to play all three voices with the right hand leaving the left hand to play the bass voice omly. 5, If difficulty is encountered, practice Slowly from one beat to the next. NEVER PRACTICE HANDS ALONE. EX. 1 d260 ¢=72 (For All Examples) C(MAJ7) F (MAS7) G ¢ (MAJ7) Dm G7 c fr Trif T P RP RP RP RP. RP RP R EX. 2 Cm (7) Ab(MAJ7) Fm G7 cm G7 cm wzEX. 3 Am G#* Am Am E (7) Am E7 Am P RP. RP RP RP——RP-RP. RP- R EX. 4 EX. 5 io} eee ee nee P—RP-RP-RP—RPRP—RP—R Continue Using Same Pedaling Procedure ‘Throughout All Chorale Studies. (NOTE: C is equivalent to $) 13MODERN CHORD STUDIES When playing four part chords in the left hand follow these general principles. a. The thumb is always used on the highest note of the chord. b. The fifth finger is almost always used on the lowest note of the chord. c. The usual fingering from the highest to the lowest note is 12 35. d. When the bottom two notes of the chord form an interval of a second 1 2 3 4 is generally used. e. When the lowest chord tone moves from a white key to a black key, 4 is usually used on the black key. 4aN EX. 1 ||11m7 v7 | mmag7 16|| PROGRESSION (Tensions Used In The Top Voice And Harmonization) (9) (13) (9) D-7 G79) C(MAg7) C6 Chord Function In Melody ———> 9 13 9 1 Js 00 (Minimum Tempo To Be Mastered) 5 5 5 5 2 2 2 3 i i i 1 (9) (13) (9) (9) (13) (9) D-7 G7(9) C(MAJ7) Cé Ab-7 _Db7(9) Gb(MAJ7) Gb6 (9) 3) (9) (9) (3) (9) G-7 — C7(9) F(MAJ7) F6 7 F#7(9) —-B(MAJ7) B6 15(9) (13) (9) (13) (9) (9) C-7— -F7(9) Bb(MAS7) Bb6é FR? B79) E(MAJ7) E6 (9) (13) (9) (9) (13) (9) B-7 Bb7(9) Eb(MAJ7) Eb6 B-7 ET (9) A(MAJ7) A6 (13) (9) (3) (9) Bb-7(9) B57 (9) -Ab(MAJ7) Ab6 E-7(9) A7 (9) D(MAJ7) Dé (9) (13) (9) (9) (13) (9) Eb-7 Ab7(9) — Db(MAJ7)_Dbé A-7 — -D7(9) G(MAJ7) G6 16EX. 2 MELODIC VARIATIONS ON [] m7 v7 | 1mag7 16 \| PROGRESSION 402 (Minimum Tempo To Be Mastered) D-7 (G7 C MAJ7 Cé Ab-7 Dbz G> MAJ7 Gbe 1 ba G7 c? FMAJT F ca-7 FST BMAJ’ B6 c-7 FT BbMAJ7 Bb FR-T BT EMAJ7 E6 5 wvF-7 Bb7 EbMAJ7 Eb6 B-7 ET AMAJ7 A6 Bb-7 ET AbMAJT Ab6 E-7 Aq DMAJ7 Dé Eb-7 Ab7 DbMAJ7 Db6é AT D7 GMAJ7 G6 18CHART OF BASIC TENSIONS USED IN BOOK II FOR REFERENCE PURPOSES ONLY This is not a complete listing of all tensions or harmonization possibilities. It is provided as a reference guide to be used with those examples where harmonizations are not indicated.stescidaeelas CHORD 7 Seventh jominant Minor (Lowered TYPE——» Major Minor Seventh Seventh fifth) r 1 f | et i ieee CHORD MAJ7 9 MAJ7 9 9 bo. #9 13 bia 9 i n Rai oe GC ib i ke 3 aby 1 1 3 5 D3 5 5 bis b13 9 9 a b7 b7 Heo eb) 3 3 3 bz ob? bs 5 D5 CHORD FUNCTION IN MELODY+ MAJ7 9 «MAJ? 9 9 59 #9 13° 5139 u caer o 0 \ r SYMBOL~» cma cama! coum cf Peat cnt enter! catby ROOT 2 be c D ete o o & yy ow on omasy cwals) cwas) ae 3a) cats) cay) ares) Gt! Gtr oe o o © baa Om w o aay OMAN) ota) 9-6) BPs) rs) nts) vis), o Gy ow oy o AasT AMAT) A-Qaasry APB) anti) acts ane ay jo fo e o © boda my MAI? RQWAIT} B-OMAIT) ss) etbdy ens) et) myer) eT Bata oo) oy om o a MAJ? QUAI) Bequasty ee) mtb) nia) oy) wry ” oo on may rawr tout) oequasn ntl? eB welbth met) em) nny) nel re oo o 9 om ° 9 oo og on couass toma} coun ct? oft” eal colt omit) ct") cht coat —o o Goya) ty Cn) o mast roa) roman ei) elt) raf) ana Pally ba F oo may om o w BhMAIT BhOMAIT) wh-qwasTy —mh-e) by” abt) whey whan nitty ws? las ll, oy oo aan oa Eb MAST EAT} Rb-OAIT) nose) by! oath) brie) balay) bres)? bo ° oo oa ty oy f sAbmast abowas7y Ab-ownsry abst! at) abafty atts aby abit as? allt ft Ab oe o oo ee oa w Db MAST DHOKAST) Db-twas7y —oh't! ph bafsth wha) hates walter pb o ” o (a oan wy chmasT ohOUAST) ci-owasr) abel? ht? girl) obo oboy Da het char) Gb b 2 en im) a a tm ° col cht? cath cathy cof! cba! gt tha chuarr cxgmadT) ch-puasn y cb 21LESSON 2 TECHNICAL STUDIES EX. 1 Jeon Jeu 5 5 i + § (var. ) (var.) $458 545 ang Gnd (var) sas 54s 54s War.) 64a 5438 22EX, 2 deo2 Jes (var. ) (var. ) 23EX, 3 (One Beat On The Metronome Is d2s0 d=60 d= 72 Equivalent To A Half Note) (var.) (var. ) 24EX. 4 (var. ) (var. ) 25EX. 80 deo Je 12 (a) (o) 26EX. 6 ¢ MAJOR mT Ne oT oe Oe i eas ge sed, eae eels el leon si1| oleae avis tema C NATURAL MINOR Continue same fingering Continue same fingering 27EX. 6 (Cont.) HARMONIC MINOR MELODIC MINOR (TRADITIONAL) ae 28EX. 7 STACCATO 1. Means detached or separated. 2. Indicated by a dot over or under a note head, 3. Strike the key and release it immediately. 4, Note receives half it's written value, 120 J=192 (For All Examples) (a) (b) (c) 29READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE —> G Mixolydian G Lydian G Phrygian EX. 1 4=80 (For All Examples)LEDGER LINE STUDY d= 192 CHANGE OF CLEF STUDY ¢ i eauivatent to B dn (One Beat On ‘The Metronome Is Equal To A Half Note)RHYTHM STUDIES [2 » 4] EX. 1 J = 100ExX.5) d= 72 EX 6 Jeg EX. 7 Jeqe 333 EX. 9 d2e0 J=72 2 EX. 10 Je qe 34[3434] ex. 12 J260 427 Ex. 13° d= 6a 1 eeFOUR PART CHORALE STUDIES d=e0 ¢=72 (or All Examples) el G Cc D(7) Em Bm Am D7 G EX. 2Gm D Gm Cm Gm D Gm EX.3Em 5 Em Em Am(7) — B (7) EmMODERN CHORD STUDIES EX. 1 |]um7 v7 | 16|| PROGRESSION (Resolving Tensions Used In The Top Voice) D-7 G7 cé Chord Function In Melody——> 11 63 13.—'5. 9 1 MAI76 J =o (Minimum Tempo To Be Mastered) gs 4g 4 p44 3 3 2 3 i i i i D-7 G7 cé Ab-7 Db7 G>MAI7 —GbéG-7 C7 F6 ch? a7 Be Comet Bb6 FR-7 B7 E6 F-7 Bb7 Eb6 B-7 E7 Ab 38Dé AT Ab6 Eb7 Bb-7 G6 pb? Db6 Ab7 Eb-7 39Ne EX. 2 \|[v7 v7 || PROGRESSION (Tensions Used In Top Voice And Harmonization) d= 0 (Minimum Tempo To Be Mastered) 5 5 Fingering —> : iH Chord Function In Meloy ——> ? bis 9 bis 9 bis (b13) (b13) (b13) Chord Symbol—=3* Eb7(9) Ab7(9) pb7(9) Gb7(9) B79) E7(9) rc 1 Seeeeeeese rm 1 9 bi3 9 b13 9 bi 9 (b13) (b13) (b13) (9) A1(9) D7 (9) G79) C7(9) F7(9) Bb7(9) — Eb(MAJ7) 40LESSON 3 TECHNICAL STUDIES EX. 1 ds ee Jeo0 J= 100 5 { t : i (var. ) (var. ) (vars), 4a 41EX. 2 dees J=00 J= 108 42(var. ) (var.) 43EX. 4 diz 00 Jez 12 J-= 84 (var. ) (var. ) 44(var. ) (var. ) 45EX. 6 dz 00 4 (var. ) (var. ) 46Fd a fa) Gbm Em Dm cm (b) Fm Ebm Dor: Bm Bm Am Gm 47EX. 8 den deus deo2 (b) 48EX, 9 den dees dene 49EX. 10 dzo2 d= 120 192 (For Both Examples) (a) (b) 50READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE ——9F Lydian F Mixolydian F Aeolian d= 4 (For All Examples)LEDGER LINE STUDY 52CHANGE OF CLEF STUDY den deo 53RHYTHM STUDIES [Pr4] BX. 1 dere d= 02 5 i 54EX. 6 4 =100 55EX. 8 400 [teor » 3494] EX. 8 ds oe EX, 10 den 56ae (fp 8] dire dizea Je = 02 (a) EX. 13 ib rd] tore disea de = 02 (a) EX, 14 for 8] deze d= se (a) : 1 \ :EX. 15 (eeer » 8] EX. 16 fereer 3] EX. 17 (tobefatatel 8] 58EX,"18 [os fin 3] we [oer og] (Practice Examples 12-19 At Least 8 Times. ) 59FOUR PART CHORALE STUDIES ¢260 ¢=72 (For All Examples) EX. 1 F Bo EF 1s F c {7) . F ——— = 2 _¢ 4¢J)j fy 7 = — = ; = EX. 2 Fm rE Fm Fm c (7) hm cz Fm Sx 3 0m A Dm Av Dm a Dm gis iild 60MODERN CHORD STUDIES a\ EX. 1 {| m7(o5) v7(b9) | Im(Mag7) Ime || 4+ 60 (Minimum Tempo To Be Mastered) 5 5 ’ 4 8 3° 3 3 2 2 2 2 i i i i D-7(b5)G7(>9) C-(MAJ7)C-6 Ab-7(55) Dbd7(29) Gb-(MAJ7)Gb-6 G-7(b5) C7(b9) F-(MAJ7)F-6 CB-7(95)P27(b9) — B-(MAJ7)B-6 C-7(b5) F7(9) Bb-(MAJ7)Bb-6 F3-7(95) B7(b9) E-(MAJ7)E-6 61F-7(b5) Bb7(b9)—-Eb-(MAJ7)Eb-6 B-7(>5) E7(9) A-(MAI7)A-6 Bb-7(b5) Eb7(b9) Ab-(MAJ7)Ab~-6 E-7(b5) A7(>9) D-(MAJ7)D-6 _ Eb-7(b5) -Ab7(b9) Db-(MAJ7)Db-6 A-7(b5) D7(b9) G-(MAJ7)G-6 ! 62NTN EX. 2 MELODIC VARIATIONS ON||IIm7 V7 | Im7 V7 | 16 || PROGRESSION 4 = 92 (Minimum Tempo To Be Mastered) E-7 AT D-7— G7 ce 5, 5 5 5 D-7 Gi C7 FT Bb6 Boi EdD6 63LESSON 4 TECHNICAL STUDIES EX. 1 desea d= 06 J = 108 a 3 a a i i i (var. ) (var. ) (var. ) 64EX. 2 Je 0a d= 00 J = 108 (var. ) (var. ) (var. ) 65(var. ) 66EX. 4 dso dso d= 12 (var. ) (var. ) 67EX, 5 dee0 ¢= 12 J= 00 cm Bbn. Abm Gbm 12458 42 1 Ebm Dbm Bm 6869EX. 7 dene dso d= 02 70EX. 8 A MAJOR A NATURAL MINOR 1 Continue same fingering Continue same fingering 1EX. 8 (Cont.) A HARMONIC MINOR A MELODIC MINOR (TRADITIONAL) 72EX. 9 dtd zo J = 192 (For Both Examples) 73READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE —> __D Dorian D Lydian D Locrian EX. 1 iH 5 14LEDGER LINE STUDY den b, b, CHANGE OF CLEF STUDY door dei 75RHYTHM STUDIES [219] EX.1 4272 76EX. 5 deo JrEX. 10 dere deo Bat Fee P RP RP. RP. R EX. 11 est ~ eee 78meer [pgm 8] 7 fete vec 3 4 5 4 a a 2 EX, 13 [er in 8] i. d EX. 14 [er rer in 8] eee (Practice Examples 12-14 At Least 8 Times) 79FOUR PART CHORALE STUDIES d= 60 exe oD) A Bm A D A D d=72 (For All Examples) EX. 2 Dm Dm ce Dm A Dm A7 Dm EX, 3 Bm FR Bm Em Bm F# (7) Bm 80MODERN CHORD STUDIES MELODIC VARIATIONS ON || Im? v7| m7 v7 | 16 || PROGRESSION d=02 (Minimum Tempo To Be Mastered) C-7 F7 Bb-7 Eb? Abb F-7 Bb7 Eb-7 Ab7 Dbé 81#7 ca-7 B37 B-7 E7 Ab 82LESSON 5 TECHNICAL STUDIES EX. 1 dedeso de d= 0 (One Beat On The Metronome Is Equivalent To A Measure) 83EX.2 Ue | eas 8412 d= 68 (For All Examples) (Use Same Fingering In All Examples) fb) cB A Fe ce 85Ab ED cb (a) Eb 868788EX. 6 der dees dee D MAJOR VF tog 26 82s 2s tk 9 cee eee ee a D NATURAL MINOR Continue same fingering Continue same fingering 89D HARMONIC MINOR D MELODIC MINOR (TRADITIONAL) 90EX. 7 o2 d= 120 192 (For All Examples) 2READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE-——» A Phrygian A Dorian A Lydian EX. 1 ¢* 400 (For All Examples) 4 92LEDGER LINE STUDY der doe d= 108 ee e221 21 a 5 CHANGE OF CLEF STUDY 93RHYTHM STUDIES EX. 2 [6 f 4] ao2t a aai"s 8 aaad 8 2 a2 148 94EX. 5 de00 J=72EX. 7 den EX. 9 d= 00 96EX. 10 += 108 EX. I J =s0 EX. 12 d= oe 97EX. 13 dca d= 4 (a) EX. Jeno dee ae 98(Practice Examples 13-16 At Least 8 Times) 99FOUR PART CHORALE STUDIES d=60 ¢=72 (For All Examples) EX.2 Am E Am Dm Am E (7) Am 100EX.3 Fem Bm C#m Fm Ge cH F#m iolMODERN CHORD STUDIES oN EX. 1 |[11-7165) v7o9) | 1-6]| Progression (Resolving Tensions Used In The Top Voice) D-7(b5) G7(b9) c-6 Chord Eunction In Melody —» 11 b3 b13 5 9 1 MAJT6 J: 60 (Minimum Tempo To Be Mastered) 4 5 a 2 t 7 D-7(95) G7(b9) 6 Ab-7(05) Db7(b9)Gd-6 102G-7(95) C7(b9) F-6 7(b5) PB7(>9) B68 C-7(b5)-B7(59) Bb +6 F2-7(95) B7(39) B-6 F-7(05) B>7(95)ED-6 103Bb-7(b5) Eb7(b9) Ab-6 E-7(b5) A7(59) D-6 Eb-7(b5) Ab7(b9) — Db-6 A-7(b5) D7(b9) G-6 104EX, 2. MELODIC VARIATIONS ON CHORD PATT! cRNS 4 = 02 (Minimum Tempo To Be Mastered) ce Eb°7 D-7 a? ce 5 4 5 4 FMAJ7 D-7 4 4 4 5 c7 Fé ET Be Eb6 Eb7 Abb Ab-6 Eb6 105LESSON 6 TECHNICAL STUDIES Bx. Wem teen ois 6 106EX. 2 dedizeo de d= 00 (var.) 107EX. 3 den (Por All Examples) (@) cm Am Fm cm 123s se 124 ae Les? 1g i 7 3 3 (Use Same Fingering In All Examples) (eb) Dbm Bom Gbm Dbm 108(c) Dm Bm Gm Dm (a) Ebm cm Abm Ebm 109(e) Em Cém Am Em (@) Fm Dm Bom Fm nomEX. 6 Jer dees d= 02 - Tegueoi4 ioeitoe t i Teer iszra set T 2 ot 2 oat? OT? 4 5 ee ee amie nzEX. 7 dso2 42120 d= 102 (For All Examples) u3READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE ———+ E Aeolian E Mixolydian E Lydian EX. 1 d= 408 (For All Examples) a 5 2 4 1 u4LEDGER LINE STUDY daa d= 100 CHANGE OF CLEF STUDY dor Jett 1 usRHYTHM STUDIES [Fg] EX.1 468 ex.4 d= 60 6EX. 5 EX, 8 Fa] d= so J 108 T 3 5 P. RP——RP- u7 RP—— RP RP——R8EX. lL (Practice Examples 10-11 At Least 8 Times. ) ngFOUR PART CHORALE STUDIES d=00 J=72 (Por All Examples) ie A E A E B E EX. 2 Em B Em 387 Em B Em EX. 3 Cé&m = C#m Be cfm GB C#m G47 C#mMODERN CHORD STUDIES MELODIC VARIATIONS ON CHORD PATTERNS 4 = 92 (Minimum Tempo To Be Mastered) Abe AT Bb-7 EST Abe . 4 GbMAJ7? Eb-7 Ab-7 — Db7 Ge be ae e? ba 121EMAJ? C#-7 F-7 BT E6 AG er B-7 E7 Ab Ge G7 A-7 DT Ge 122LESSON 7 TECHNICAL STUDIES EX. 1 dem Jess (For All Examples) (a) FR D B Fe (Use Same Fingering In All Examples) o) G Eb c G 123(c) Ge E ce ce 124EX. 2 dene Js01 Jeon 126EX. 4 den F MAJOR — CE CE sts 4% So LL yi t F NATURAL MINOR (Continue Same Fingering) = (Continue Same Fingering) 7F HARMONIC MINOR F MELODIC MINOR (TRADITIONAL) 128EX. 5 doe d= 120 J=192 (For All Examples) 129READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE —5 B Phrygian B Aeolian B Mixolydian EX. 1 Jase (For All Examples) 130LEDGER LINE STUDY Jeane 5 : 5 oo : ee ; —= 3 o 3 3 CHANGE OF CLEF STUDY 5 de ae As Ae pp 131RHYTHM STUDIES [9] EX.1 dso J=08 EX. 2 4522 EX. 3 Js 668[eet 294] d= 50EX, ea 134FOUR PART CHORALE STUDIES d=60 J=72 (For All Examples) EX. 1 B FR Gém Dam E FR B EX.2 Bm F# Bm Em Fe F# (7) Bm EX.3 G@m G&mD&7 Gm Gm Afm7(b5)D8 (7) Gem 135MODERN CHORD STUDIES co™N EX. 1 {umz v7 | magz 16 || PROGRESSION (Arpeggios In Both Hands) deo D-7 G7 cCMAJ7 C6 G-7 C7 FMAJ7 F6 5 5 BoA 123 Ba, 123 Sa2t 1285 3241 2 C-7 FT BbMAJ7 Bb6 F-7 BbT7 EbMAIT Eb6 Bb-7 Eb? AbMAJ7 Ab6 Eb-7 Ab7 DbMAJ7 D6 136Ab-7— Db7 GbMAI7 Gbé ce7 FHT BMAJ7 B6 FR-7 BT EMAJ7 E6 B-7 E7 AMAJ7 A6 E-7 AT DMAJ7 D6 A-7 D7 GMAJ7 G6 137ONT ™N EX. 2 \}v7 v7 I PROGRESSION (Tension Used In Top Voice And Harmonization) 4+ 0 (Minimum Tempo To Be Mastered) Fingering —o § 2 i a 71 a Chord Function —> 13 #9 bg 130 #9 89 13 #9 bo Chord Symbol —}B57(9) Eb7(513) Ab7(9) Db7(>13) F#-7(9) B7((b13) Sa eel 7 130-99 13, a9 b9 m ty 1 i 9) E7(9) A7(b13) D279) G7(b13) C7(b9) F7(b13) Bb (MAJ7) 138LESSON 8 TECHNICAL STUDIES EX. L den Jzss (For All Examples) 139Gm Em cr Gm, (c) Abm Fm Dbm Abm 140(e) Bbm Gm Ebm Bb 1EX. 2 Jere dees de oe See Ta a ae aiaesTeset 2s 20 Moats elas aioe!’ 4 EX. 3 dea dees J= 02 aes Tsetse Teter eee eeiGaa 3 Saag iene omen inaaensair enimsmene sigs ers eesna vine Si f m 1 L ie 142EX. 4 42420 d= 182 (For All Examples) (a) 143READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE — > Bb Dorian Bb Aeolian Bb Phrygian Els d= 100 (For All Examples) 144LEDGER LINE STUDY Jer Joe CHANGE OF CLEF STUDY d= 02 1 bp ee be be — T242 Tse P RP RP RP. RP R 145RHYTHM STUDIES ExX.1 dso den 4 EX. 2 J 68 Ex. 3 dea 146EX. 4 dene 147FOUR PART CHORALE STUDIES ds60 d= 72 (For All Examples) 148MODERN CHORD STUDIES EX. 1 |[Om7 v7 | umi v7 |] PROGRESSION (Arpeggios In Both Hands) Bom7 Eb7 Am7 D7 Abm7 — Db7 Gm7 C7 Gbm7 cb7 Fm7 Bb7 Em7 AT Ebm7, Ab? 149CNCN EX. 2 || v7 v7||PROGRESSION (Arpeggios In Both Hands) d= 02 Bb7, ub7 Ab7 Db7 F87 B7 E7 Az D7 a7 c7 F7 Bb6 150