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EX. 8 den dees deo EX. 9 dere dear dees t2e4t aoe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 Jae d=o2 J=120 (For All Examples) (a)READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE —} C Lydian C Dorian € Locrian EX. 1 +02 (For All Examples)LEDGER LINE STUDY dem do CHANGE OF CLEF STUDY (One Beat On The Metronome Is d. = 80 Equal To A Dotted Half-note)RHYTHM STUDIES Lod EX. 1 Jen(2 » 4] EX. 4 d= 100 4 2 i EX. 6 = 120 EX.7 = 120 10exu den 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 ogly. 5, If difficulty is encountered, practice slowly from one beat to the next, NEVER PRACTICE HANDS ALONE. EX. 1 deo dJ=72 (For All Examples) C(MAJ7) F (MAJ7) G C (MAJ7) Dm G7 c tr rr |r 1 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 E? Am 2 31 P RP. RP RP RP——RP-RP RP. R dud d y P—RP-RP-RP—RP-RP-RP-R P—RP-RP-RP—RPRP—RP— 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 34 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 2 1 J=60 (Minimum Tempo To Be Mastered) 5 5 5 5 3 8 8 3 2 3 2 2 i i t i (9) (13) (9) (9) (13) (9) D-7 G7(9) C(MAJ7) C6 Ab-7 Db7(9) Gb(MAJ7) Gb6 aye 103) (9) Oy =e (9) G-7 c7(9) F(MAJ7) F6 7 7(9) B(MAJ7) B6 15(9) (13) (9) (13) () () c-7 F729) Bb(MAJ7) Bb6 F#-7 B79) E(MAJ7) E6 (9) (13) (9) (9) (13) (9) F-7 Bb7(9) Eb(MAJ7) Eb6 B-7 E7 (9) A(MAJ7) A6 (13) (9) (13) (9) Bb-7(9) Eb7 (9) | Ab(MAIJ7) 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EX. 2 MELODIC VARIATIONS ON [] m7 v7 | 1mag7 18 \| PROGRESSION 4+ 2 (Minimum Tempo To Be Mastered) D-7 G7 C MAJ7 Cé Ab-7 Db7 G> MAJ7 Gbo 1 ba G7 c? FMag7 F° #7 a7 BMAJ? B6 c-7 Fv BbMAJ7 Bb6 BT EMAJ7 E6 wvF-7 Bb7 EbMAJ7 Eb6 B-7 E? AMAJ7 AG Bb-7 Eb7 AbMAIT Ab6 E-7 AT DMAJ7 Dé Eb-7 AbT DbMAJ7 Dbé6 A-7 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.Minor CHORD = 7 Seventh jominant, inor (Lowered TYPE——» Major Minor Seventh Seventh fifth) ' 1 f 1 OF et 1 ieee! CHORD MAJ7 9 MAJ7 9 9 bo #9 13 b13, 9 i n FORMULA» 5 MAJ7 5 6 67 b7 57 3 3 ob7 1 1 305 bs 5 5 bis b13 9 59 5 6767 1 3 1 b3 3 3 3 b7 ob? b3 5 b5 CHORD FUNCTION IN MELODY» MAJ7 9 «~-MAJ7 9 9 59 #9 13089 1 ou CHORD . SYMBOL~> cma cima} coum of Peat cal cnt cote Scary ROOT _ 2 be eS ema coal) comm of? cath cath ont) Shh a = Seca: ” o © oy gma ow was galt) potas) sett) pain patsy mn) et Betts) D = o o ne o» maar nciadsy acoeasy 082) AP) ant) antes) ayaa A io fe o o © Goya ew wary eowals} esquasr) est) a) eft) enny ent) tiny) ger) ean) E % a) on maa wy war qual) segeasn) ase)? si) wry wal) es) wer eth) B ° er) am aye» ” ey o rawasr regal) re-pua) reo) vbr pattem rei) eer rete) a Fe q ”» ne eye Gol me e canary ctoual) caroansy co? of? crf cl omit! cain! tt! cht cathy es” oo tan Cn oy as owl) e-ouasry il) 9) lft lt) nh) rt pal bo F ” oo man a wy BhwAIT BhOMAIT) whectasny —wb8) hy”) whfery whan nity) asl gael, o ® o Gana oa MAST. EAQEAIT} wh-(AsT) —nos6) bY” wath) ebony ehniay) bray)? o ow on a by oo m Abast Abast) ab-tuasy abst! abt! abit) tty abot) abaya Sth gael Ab oe ” oe aon w De MATT. BKOKAIT) botany —ohse! ly” asf oho) what) oho) a? health Db ” 9 oy mo om ow w huasr csountt) cb-omasry bt) ght? ith bth chan obntey?Yhey cc wr ~ ch co7(b13)eb7 G18) chr{ay—_ch1Gb9)| py or chmasr esl} cb-00as7) a on i cht chery 21LESSON 2 TECHNICAL STUDIES EX. 1 dso2 Jesse 5 1 5 : i (var. ) (var.) 645 546 Pilea ce (var,) sas 545 eas var.) 543 543 22EX, 2 doe Jean (var. ) (var. ) 23EX. 3 (One Beat On The Metronome Is so d= 60 d= 72 Equivalent To A Half Note) (var. ) (var. ) 24EX. 4 (var. ) (var. ) 25EX. Je00 Jaa fa) 26EX. 6 dene Jeea dzoe ¢ MAJOR TeeiTead (mowme sigs Tes Teototoaiverivsoriaas pmsietin seers NATURAL MINOR Continue same fingering n Continue same fingering 27EX. 6 (Cont.) ¢ HARMONIC MINOR MELODIC MINOR (TRADITIONAL) 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. Jeo2 J=120 J=492 (For All Examples) (b) (c) 29READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE —=} G Mixolydian G Lydian G Phrygian EX. 1 d= 0 (For All Examples)LEDGER LINE STUDY d= a9 CHANGE OF CLEF STUDY is equivaler 2 ¢ is equivalent to 3 (One Beat On The Metronome Is Equal To A Half Note)RHYTHM STUDIES [2 » a] mx J = 100b=] EX. 4 dso Je FX 6 Jane EXT dade 335 EX. 9d560 J=72 2 E108 Jee 34EX. 12 Ex. 13° d= 64 1 ee ee FFOUR PART CHORALE STUDIES J260 4+ 12 (For All Examples) EX.i G © D7) Em Bm y= yy 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_sv7_- | 16|| PROGRESSION (Resolving Tensions Used In The Top Voice) D-7 G7 ce Chord Function In Melody——> 11 53.:13,—'5. 9 1 MAJ76 4 = 0 (Minimum Tempo To Be Mastered) Ss 4s 4 dee 3 5 3 3 3 2 2 2 i i i i Ab-7 Db7 G>MAJ7 Gb6G-7 C7 Fé c#7 0 FR7 Be C7 FT Bbe FR-7) BT E6 F-7 BT Eb6 B-7 E? Ao 38Bb-7— Eb7 Abb E-7) Av Dé Eb-7 Ab? Db6 A-7 D7 Go 39NTN EX. 2 \|[v7 v7 || PRoGRESsIoN (Tensions Used In Top Voice And Harmonization) 4+ 60 (Minimum Tempo To Be Mastered) 5 5 Fingering ——> i i Chord Function ‘ In Melody ——> ? bia 9 bia 9 13 (b13) (b13) (b13) Chord Symbol Eb7(9) Ab7(9) Db7(9) Gb7(9) B7(9) E7(9) — Tezezerell mi 9 bis 9 b13 9 b13 9 (613) (b13) (b13) (9) A219) D7 (9) G7(9) C7(9) F7(9) Bb7(9) Eb(MAJ7) 40LESSON 3 TECHNICAL STUDIES BX. 1 dss d=o0 J= 100 5 5 5 5 5 (var. ) (var. ) (var. ) g 43 i 41EX, 2 dees d= 00 J= 108 42EX. 3 det 00 dere dee os (var. ) (var. ) 43(var. ) (var. ) 44EX. 5 eo Jez 12 Jez 84 (var. ) (var. ) 45EX. 6 des 00 det re dee 04 (var. ) (var. ) 46EX. 7 4 (a) cm Dm Em Gbm (b) 47EX. 8 dene deus Js 02 48EX. 9 den dees dene (ft) 49dzo2 d= 120 1s2 (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 [erg ] EX. 1 der d=02 5 1 54EX. 6 4 100 55[teor » 394] EX, © d= oe 56EX. 12 [r 6 * al disre dizoa Jez 02 fa) Ex. 13 [bra] desre dezaa dee ry 2 ea 92 ar fer 8] te) = 12 de = eeEX. 16 ere * g| EX. 17 (Cofetefefel 3]EX, ‘18 [os fin 3] EX. 19 [eee in a] (Practice Examples 12-19 At Least 8 Times. ) 59FOUR PART CHORALE STUDIES ds 060 J+ 72 (For All Examples) EX. 1 F Bb F c F cm .F EX. 3 Dm A pm AT Dm A pm git iild 60MODERN CHORD STUDIES Gos EX. 1 [| um7(o5) v7(b9) | Im(Mag7) Ime || 400 (Minimum Tempo To Be Mastered) 3 3° 3 3 2 2 2 2 i i i i D-7(b5)G7(b9) (C-(MAJ7) C-6 Ab-7(55) Db7(29) Gb-(MAJ7)G>-6 G-7(b5)_C7(b9) F-(MAJ7)F-6 CB-7(5) PB7(b9)—B- (MAST) B-6 -7(b5) F7(9) Bb-(MAJ7)Bb-6 F2-7(95) B7(b9)—E-(MAJ7)E-6 61F-7(b5) Bb7(>9) Eb-(MAJ7)Eb-6 B-7(b5) E7(b9) A-(MAJ7)A-6 Bb-7(b5) Eb7(b9) Ab-(MAJ7)Ab-6 E-7(b5) A7(b9) D-(MAJ7)D-6 _ Bb-7(b5) Ab7(b9)—-sDb-(MAS7)Db-6 A-2(b5) D7(b9)— G-(MAJ7)G-6 \ 62NTN EX. 2 MELODIC VARIATIONS ON||IIm7 v7 | lIm7 V7 | 16 || PROGRESSION 4 = 92 (Minimum Tempo To Be Mastered) E-7 AT D-7 G7 ce 5, 5 5 5 D-7 G7 C7 FT Bb6 G7 7? F-7 Bb? ED6 63LESSON 4 TECHNICAL STUDIES BX. 1 dees d= 00 J = 108 a 3 a a i 1 (var. ) (var. ) (var. ) 64EX. 2 dees d= 00 J = 108 (var. ) (var. ) (var. ) 65(var.) (var.) A 66EX. 4 a d=00 d=2 (var.) (var.) 67cm Bbn. Abm Gbm Bm Am Gm Fm Ebm : pbm Bm 6869EX. 4 432 70EX. 8 den teu J A MAJOR A NATURAL MINOR T1_ Continue same fingering Continue same fingering 1EX. 8 (Cont.) A HARMONIC MINOR A MELODIC MINOR (TRADITIONAL) 72se2 ¢=120 ¢= 192 (For Both Examples) 73READING MATERIAL CHANGE OF SIGNATURE STUDIES D Locrian MODE —> __D Dorian D Lydian EX. 1 d= 06 (For All Examples) eI s 14LEDGER LINE STUDY CHANGE OF CLEF STUDY deo2 dei 75RHYTHM STUDIES [F149] 76EX, 8 dso EX. 10 dere deg Tei2 78meer [pgm 8] 7 ete dione J 3 4 5 4 a a 2 EX. 13 [er in 8] 4 mo ferrell (Practice Examples 12-14 At Least 8 Times) 79FOUR PART CHORALE STUDIES 4260 d=72 (For All Examples) EX. 1 D A Bm A D A D EX,2 Dm Dm ce Dm A Dm A7 Dm EX. 3 Bm Fe Bm Em Bm F# (7) Bm 80MODERN CHORD STUDIES MELODIC VARIATIONS ON || tIm7 v7| Im? v7 | 16 || PROGRESSION 42 (Minimum Tempo To Be Mastered) C7 F7 Bb-7 Eb? Ab6 F-7 Bb7 Eb-7 Ab? Db6 Eb-7 Ab7 c#7 Pe? BO 81GR-7 C87 F879 BT 56 ca-7 Fa7 B-7 Ev Ab FR7 BT E-7 AT Dé 82LESSON 5 TECHNICAL STUDIES EX, 1 dedeso ded= oo (One Beat On The Metronome Is Equivalent To A Measure) 83EX. 2 dedeso ded eo 84EX. 3, fa) oc Ab F ¢ (Use Same Fingering In All Examples) (bo) C# A FR ce 85Ab cb (a) Eb 8687EX. 4 dea dees J=o2 EX. 5 88EX. 6 dm deae deo D MAJOR 1 7 tiga 23 4 12 3 1 2g D NATURAL MINOR Continue same fingering Continue same fingering 89D HARMONIC MINOR D MELODIC MINOR (TRADITIONAL) 90EX. 7 d= 120 182 (For All Examples) 2READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE—» — A Phrygian A Dorian A Lydian EX. 1 +00 (For All Examples) 92LEDGER LINE STUDY dere doe d= 108 etal Ps 3 5 CHANGE OF CLEF STUDY 93RHYTHM STUDIES EX. 1 [e1 3] EX. 2 [b r 4] Jen 1294 2 4a2t e a21'4 3 aa2d 8 2 a2 148 94EX. 5 ds00 JerEX.7 den EX. 8 J+ 80 Sat Tat saat 96EX. 10 4 108 EX. Il J 80 EX. 12 dee 97EX. 13 dis1a d= 4 EX. 14 disos 4-5 72 98EX. 16 deere dz ee deo (Practice Examples 13-16 At Least 8 Times) 99FOUR PART CHORALE STUDIES d=00 ¢=72 (For All Examples) EX.2 Am E Am Dm Am E (7) Am 100EX.3 Fem Bm C#m Fm Ge ck? Fem 101MODERN CHORD STUDIES EX. 1 |[11-7065) v7(b9) | 1-6]| Progression (Resolving Tensions Used In The Top Voice) D-7(b5) G7(b9) c-6 Chord Eunction In Melody —» 1 b3 b13. 5 9 1 MAI76 Je 00 (Minimum Tempo To Be Mastered) Bd 5 4 5 4 3 3 3 3 2 2 2 3 i i i t D-7(b5) G7(b9) c-6 Ab-7(95) Db7(b9) —Gb-6 102G-7(>5) C7(b9) F-6 CB-7(b5) FB7(>9)— B-6 C-7(b5) F799) Bb-6 F2-7(95) B7(99)E=6 F-7(05) B97(25) ED-6 B-7(b5) F7(09)A6 103Bb-7(b5) Eb7(b9) — Ab-6 E-7(b5) A7(b9) D-6 Eb-7(b5) Ab7(b9) — Db-6 A-7(b5) D7(b9) G-6 104EX, 2 MELODIC VARIATIONS ON CHORD PATTERNS 4 = 92 (Minimum Tempo To Be Mastered) co Eb°7 D7 G7 ce 5 4 5 4 FMAI7 D-7 Bbe Db°7 C7 B7 Bb6 Eb6 Eb7 Ad Ab-6 Eb6 105LESSON 6 TECHNICAL STUDIES (var. ) 106EX. 2 dedzeo ded eco (var.) 107EX. 3 d=22 ds (For All Examples) (@) cm Am Fm cm foo oO 8 fee arena Geiseycreereauea: | ieeueeotel a aon] T a 8 U (‘Use Same Fingering In All Example; (ob) Dbm Bom Gbm Dbm 108(c) Dm Bm @ m, pm (@) Ebm Abm Ebm 109(e) E m Cém Am Em Det ad (f) Fm Dm Bbm Fm noEX.5 d=72 dso d= 02 @ :eaatacne m- Seeriserase 1 os 2 1 2 8 1 2o4T2 012 04 5 fmonedt) (oes ea aeieEee) nzEX. 7 dso2 42120 d= 192 (For All Examples) u3READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE ~———» E Aeolian E Mixolydian E Lydian eo EX. 1 d= 408 (For All Examples) 3 5 2 4 1 u4LEDGER LINE STUDY Js0s d= 100 CHANGE OF CLEF STUDY Jeon dei 1 usRHYTHM STUDIES [ta] Ex. 4 d=60 6EX. 8 T 3 5 P. J = 108 u7 RP—— RP RP——REX. 9 = 120 8EX. 11 deste de o2 (Practice Examples 10-11 At Least 8 Times. ) ngFOUR PART CHORALE STUDIES deo J=72 (For All Examples) EX.1 E A E A E B E EX, 2 Em B Em BT Em B Em EX. 3 C&m C#m Be cfm GB C#m G87 C#mMODERN CHORD STUDIES MELODIC VARIATIONS ON CHORD PATTERNS d= 92 (Minimum Tempo To Be Mastered) Ab6 AT Bb-7 Ed? Abe : 4 GbMAJ7_ -Eb-7 Ab-7 Db7 Gbé b> shee? ba. 121EMAJ7 C#-7 Fe7 B? E6 Ab C7 B-7 E7 Ae 122LESSON 7 TECHNICAL STUDIES EX.1 d=a2 4268 (For All Examples) (a) FB D B Fe (Use Same Fingering In All Examples) ) G Eb c G 123(c) Ge E ce Ge 124EX. 2 dene dees Jeon 126EX. 4 F MAJOR F NATURAL MINOR (Continue Same Fingering) —= (Continue Same Fingering) 7F HARMONIC MINOR F MELODIC MINOR (TRADITIONAL) chalice Sheba she 128EX. 5 doe d= 120 ¢=192 (For All Examples) 129READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE —» B Phrygian B Aeolian B Mixolydian EX. 1 d= 412 (For All Examples) 130LEDGER LINE STUDY dea —— ——— ——> ==. 3 a 3 3 CHANGE OF CLEF STUDY : dere BP pp 131RHYTHM STUDIES [4] free dary dec) Ex.2 daEX. dea 134FOUR PART CHORALE STUDIES d=00 J+ 72 (Por All Examples) EX. 1 B Fa Gém Dé E re B EX.2 Bm FS Bm Em Fe F& (7) Bm EX. 3 Gm Gmp#7 Gém Gkm — ASm7(b5)D (7) Gm 135MODERN CHORD STUDIES EX. 1 [amm7 v7 | masz 16 || PROGRESSION (Arpeggios In Both Hands) dso D-7 G7 CMAJ7 C6 G7 C7 FMAJ7 F6 5 5 5 4 123 S24 128 7 > c-7 F7 BbMAJ7 Bbé F-7 BbT7 EbMAJ7 Eb6 Bb-7 — Eb7 AbMAJ7 Ab6 Eb-7 Aab7 DbMAJ7 D6 136Ab-7 Db7 GbMAI7 Gb6 c#7 FHT BMAJ7 B6 3-7 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 || PROGRESSION (Tension Used In Top Voice And Harmonization) 40 (Minimum Tempo To Be Mastered) Fingering —> Chord Function — 13 #9 bo 139 59 1B #9 bo Chord Symbol —¥B>7(9)_ £b7(b13)_-Ab7(9) Db7(>13) -7(9) B7((b13) ee eee | 1300 «#9 bg 13, a9 b9 i ty DD i 9) E79) A7(b13) p79) G7(b13) C7(>9) F7(b13) Bb (MAJ7) 138LESSON 8 TECHNICAL STUDIES EX. 1. den dees (For All Examples) 139Gm Em Coy om, 140fe) Bm cm Eom Bbm 1EX. 2 Jere dees Jeo atesTeo ei 2312s Moe te 2 ilea a ilaet' 4 EX. 3 dere dear deo ares aerate Gee te iGaer 3 te Teitesiseraeeioei2sai2zate aa ce 4 i a 1 L ih 142EX. 4 (ay) 2292 42420 d= 192 (For All Examples) 143READING MATERIAL CHANGE OF SIGNATURE STUDIES MODE —3 Bb Dorian Bb Aeolian Bb Phrygian EX. 1 4 = 100 (For All Examples) 2 144LEDGER LINE STUDY Jer Joe CHANGE OF CLEF STUDY d= 02 1 bp ere b . — r242 Tse 145RHYTHM STUDIES feo a EX. 1 dse8 d= 72 4 EX, 2 J=6e Ex. 3 Jere 146EX. 4 4 4" 2 147FOUR PART CHORALE STUDIES d=o0 J=72 (For All Examples) 148MODERN CHORD STUDIES EX,1 |[Um7 v7 | umi v7 || PROGRESSION (Arpeggios In Both Hands) Bom7 Eb7 Am7 D7 Abm7 — Db7 Gm7 c7 Gbm7 cb7 Fm7 Bb7 Em7 AT Ebm7 Al 149NON EX, 2 Il v7 v7|]PROGRESSION (Arpeggios In Both Hands) b7, AbT Db7 Fa7 B7 E7 Aq D7 G7 c7 F7 Bb6 150