A ee Method r Keyboard Study Volume Three A COMPREHENSIVE PROGRAMMED KEYBOARD METHOD IN FOUR VOLUMES James ProgrisForeword The Berklee Keyboard Program provides controlled, progressive instruction in the fundamentals of keyboard technique. All musical examples are original. They have been composed to achieve specific goals: 1, the ability to read at sight 2, the development of technical facility 3. an awareness of musical structure 4. a knowledge of the principles of harmonic motion, effective chord voicing, and patterns of contemporary chord progression. ‘The Music Education Supplement, available with each book of this series, includes fonal_studies In transposition, accompaniment technique, the reading of open score, and the mastery of standard public school repertory. The harmonic materials of the Music Education Supplement are in accordance with the predominately triadic TeHtires oY TaaGnaT baroque. and Barly Classical styles.LESSON I... LESSON LESSON Il......45 Table of Contents Technical studies: Chromatic exercises, RH ascending; crossover fingering (RH), hand expansion; arpeggios (both hands) utilizing change of keyboard area and major triads in root position; preparatory scale exercises, G Minor. Reading material: variation of LH chord patterns, idiomatic keyboard patterns and chorale studies. Modern chord studies: diatonic progression in C, F major; commercial accompaniment patterns and applied chord voicings. chromatic exercises, LH descending crossover fingering (LH), hand expansion cont'd; arpeggios {both hands) utilizing change of keyboard area and major triads in first inversion; preparatory scale exercises, £ minor, scale studies in G minor. Reading material : continuation of studies begun in Lesson I. Modern chord studies: diatonic progression in G, B flat major; commer- cial accompaniment patterns and applied chord voicings continued, Technical studies: chromatic exercises, RH descending; octave studies, hand expansion cont'd; arpeggios (both hands) utilizing change of keyboard area and major triads in second inversion; scale studies in E major, E minor. Reading material: continuation of previous studies. Modern chord studies: diatonic progression in D, E flat, A, A flat major; accompaniment patterns and applied chord voicings. 18 38LESSON IV.. sees 56 Technical studies: chromatic exercises, LH ascending; octave studies and hand expansion cont'd; arpeggios on augmented triads; preparatory scale exercises in B major. Reading material: continuation of previous studies. Modern chord studies: diatonic progress in E, D flat, B, G flat major; accompaniment patterns and applied chord voicings. LESSON V.. Technical studies: chromatic octave exercises, hand ex- pansion cont'd; arpeggios on minor triads in root position; preparatory scale exercises, A flat major; scale studies in C major, C minor (dotted eighths and’ sixteenths), B major. Reading material: continuation of previous studies. Modern chord studies: variations on Ilm7-V7-I MAJ; V7 of V sequences with tension; accompaniment patterns and applied chord voicings. LESSON VI.....+ Technical studies: chromatic octave exercises, studies in thirds, and continued hand expansion; arpeggios on minor triads in first inversion: preparatory scale exercises, B minor; scale studies in A flat, F major (eighths and six- teenths), F minor. Reading material. Modern chord studies: arpeggios on IIm7-V7-I MAJT in minor; sequences with tension; accompaniment patterns and applied chord voicings. 107 LESSON VII...... Technical studies: studies in fourths and hand expansion; arpeggios on minor triads in second inversion; preparatory scale exercises, D flat major; scale studies in G major, G minor (triplets), B major, B minor. Reading material. Modern chord studies: variations on Im7-V7-I in minor; Iim?-V7 sequences in minor, with tension; accompaniment patterns and applied voicings. 14 LESSON VII ....+++ Technical studies: studies in thirds and hand expansion; arpeggios on diminished triads; scale studies in D major, D minor (sixteenth notes), D flat major. Reading material. Modern chord studies: arpeggios on Ilm7-V7 sequences in minor; accompaniment patterns and applied chord votcings.LESSON | TECHNICAL STUDIES EX, 1 42100 3= 120 J = 192(war.) t= 100 d= 120 EX, 2 d=e0 d= 100 d= 12EX, 3 2 4 ae var.) (var.)EX. 4 deseo dere d war.) var.)deo2 d= 120 eb cb A c ca 7 Daa tte th ee 7 ae fay ¢ 1 oe ds oe d= 120EX. 7 = d=as der J= 120 o2 J 120 mm dee EX. 8 pee ates a a PHoOdkGooREADING MATERIAL CHANGE OF SIGNATURE STUDIES (OCTAVES) EX. 1 4 = 420 (For All Examples) — > = 7S ose 3 eS EX. 4 ry il ll f] t iVARIATION OF L.H. CHORD PATTERNS EX. 1 d= 120Am Am7 D7 Gm Gm7 C7 icy FIDIOMATIC KEYBOARD PATTERNS EX. 1 J = 100 An E7 Am EX. 2 deste Gm nf Ia 2EX. 3 J 108 EX. 4 4 2 cm B? Cm Fm G7 G7(b5) Cm C7 Fm G7(b9) Cm NOTE: Use Chorale Pedaling Procedure In This And Similar Examples. E B7 E B7 E B?7 E B27 E BE B7 E nTIME SIGNATURE STUDIES EX. 1 J = 192FOUR PART CHORALE STUDIES All Four Part Chorale Studies In This Book Are Primarily Concerned With: a. secondary dominant relationships b, the use of additional accidentals . fingering problems resulting from chord spacing EX.1 Jz 99 (Minimum Tempo To Be Mastered) Cc E7 AmD7 ssh G7 C C7 F A7 DmG c d tts fill . O] cm G Cm Bb Eb Bb Cm G Cm m EX. 2 (b5) (bs) Cm Am7 Dm7 Eb* tid aa Bin a7b 7 Bho? F F D7 Gm C7 AK AT Dm G7(b5) o F & Bs ai 4 EX. 4 05) nd Dm G7 A7 DmA Dm Bm7A Dm A7 DmMODERN CHORD STUDIES EX. 1 [|:amas? n-7[ m-7 Iv Magt|in-7 2-7] 1 Mau*||PROGRESSION d= 02 (For All Examples) CMAJ7 D-7 E-7 | FMAJ7 E-7 D-7 cMAJ7 CMAJ7 D-7 E-7 FMAJ7 E-7 D-7 cMAs7 CMAJ7 D-7 E-7 FMAJ7 -E-7—D-7 CMAJ7 CMAJ7 D-7 E-7 FMAJ7— E-7 D-7 cMas7EX, 2 4 = 92 (For All Examples) (a) FMAJ7 G-7 A-7 BoMAJ7—A-7 G-7 FMAJ7 ) PMAJ7 G-7 BbMAJ7 c) FMAJ7? G-7 A-7 BbMAJ7 = A-7 G-7 FMAJ7 FMAJ7 G-7 A-7 BbMAJ7 A-7 G-7 RMAJ7 15EX. 3 deus EX. 4 de aa 16EX. 5 dea roy F-7 Db7 EDMAJ7 Do7 EbMAJT wvLESSON 2 TECHNICAL STUDIES EX. 1 4= 100 J= 120 J = 192(var. ) d= 100 4 = 120 EX. 2 dso J= 100 J= a2 19EX. 3 (var. ) (var. ) 20EX. 4 (var. ) ar.) 21EX. 6 d= 02 /= 120 22= 120 EX. 7 30 dere dsaa d= o2 J= 120 (a) 12844452 a aEX. 9 dere dea Jeo G MAJOR Teaeea ais aies dsGaritea ia ao i bo G NATURAL MINOR Continue same fingering Continue same fingering 24EX, 9 (Cont. ) G HARMONIC MINOR G MELODIC MINOR (TRADITIONAL) 25READING MATERIAL CHANGE OF SIGNATURE STUDIES (OCTAVES) EX. 1 d= 100 (For All Examples) — SSS SSS mf f. ~ 4» ¥ + —- 2 = EX. 2 ——— = = = = mf - === === = oft ifVARIATION OF L.H. CHORD PATTERNS EXPLANATION OF LARGE BRACKETS Certain passing chords, or harmonies which are primarily the result of linear motion, are placed in brackets[ J. These structures are 1, often incomplete. or 2, the chord root may not be clearly defined, or 3, as indicated by the bracket, the need for a specific chord symbol is optional EX. 1 doe Gm (ommas7]] {em7] Em7(b5) 27EX. 2 28EX. 3 29IDIOMATIC KEYBOARD PATTERNS EX. 1 ds oeEx. 3 EX, 4 = aa Cc C#7Dm G7 Cc ET Am p7 G GH7 AmG7 c EX, 5 den 31TIME SIGNATURE STUDIES EX, 1 4.4 = 00 EX. 2 dss 32FOUR PART CHORALE STUDIES EX. 1 460 (Minimum Tempo To Be Mastered) G B7 Em A? Roa a Cc E7AmD a EX. 2 v v cmG7 CmG Cm G7 Cm Bb7 Eb Bb7 Eb D® cm G Cm EX. 3 yw Bb D7GmC7 E_ A7 Dm Bb7 Eb G7 Cm F7 Bb a a a rr tt EX. 4 a v (b5) ¥ Gm AT Dm G7 Cm F7 Bb Gm Am7D7 Gm a a tf 33MODERN CHORD STUDIES Ex. 1 d= 92 (For All Examples) (2) GMAJ7 A-7 B-7 CMAJ? B-7 A-7 GMAJ7 P) GMAs7 _A-7 Be? CMAJ7__—_—Be7 AcT GMAJ7 GMAJ7 A-7 B-7 CMAJ7 B-7 0 A-7 GMAJ7 gy) GMAJ7 A-7 B-7 CMAJ? B-7 A-7 GMAJ7a Js oe (For All Examples) (a) BbMAJ7_C-7 D-7 EbMAJ7 _D-7 C-7 BbMAJ7 BbMAJ7 C-7 D-7 EbMAJ7 —-D-7 C7 BbMAJ7 ) BbMAJ7 C-7 D-7 EbMAJ7 = D-7 c-7 BbMAJT (4) | BbMAJ7 C-7 D-7 EbMAJ7 D-7 C-7 BbMAJST 35EX, 3 45 140 EX, 4 Je ise Bb6 pbe7 c-7 Ev 36D-7 G7(b9) CMAJ? C6 C=7(b5)-F7(b9) — BbMAJ7 Bb6 - A=7(b5) D7(b9) G-(MAJ7) G-6 C-7 F7(b9) Bb6 id 37LESSON 3 TECHNICAL STUDIES EX. 1 d= 100 Jz 120 d= 192(var. ) d= 100 4 = 120 39EX, 2 den deo2 d= 108 EX, 3 dere deen J 108 40EX. 4 d=s0 d=00 d= 72 (var.) (var. ) 4aEX. 5 d=80 d=00 J=12 (war. ) (war. ) 4243EX. 8 den dso d= 02 E MAJOR tease Teste eet set ata eee Sher ye eyes rye 2 Fe re says oe oe E NATURAL MINOR Continue Same Fingering — Continue Same Fingering 44EX. 8 (Cont. ) E HARMONIC MINOR E MELODIC MINOR (TRADITIONAL) 45READING MATERIAL CHANGE OF SIGNATURE STUDIES (OCTAVES) EX.1 452 (For All Examples) EX. 2 46VARIATION OF L.H. CHORD PATTERNS EX.1 d= ate B Fe? B FR? 47EX.3 d=o8 eb [Bb] e> Bb feb] Ed ab (ei) ab (p) ab [Fb] ab mf eb (pbde> AQ =o eb feb] Eb BH OED BH) Eb Bb? Eb EX. 4 d= a4 E AT Dm G7 C7(sus4) C7 F 48IDIOMATIC KEYBOARD PATTERNS EX. 1 d= 00 BL———~_ AR BE Ag Be B 49Gm (ebmasd Em7(b5) Eb nf Gm [ebmasq] FR7 Gm mf Em = Am Em Am Em AmB7 EmB? Em EX. 5 Lo A AMAJ7 Bm Bm7 E7(9) E7 A | J | | ==. : wee t : £- = + Ft $ + P- -RP- ee RP=—=RP: RP R 50TIME SIGNATURE STUDIES exe. De was EX.2 4 = 100FOUR PART CHORALE STUDIES EX.1 4 = 60 (Minimum Tempo To Be Mastered) (55) D_ B7 Em A7 D_ F#7Bm E7 A D D7 G a7 D a a a tr T EX, 2 (55) (55) Am Fm7Bm7C+ AmE AmG Cc G AmE Am om tr wy y EX. 3 Eb Eb+ Ab Bb7 (BP G7 Cmr7 Bb D7 Gm C7 Fm Bb7 E> a a did at a1 oO a EX. 4 Em B7 Em B Em B7 EmD7 G p7G FR EmB Em 52MODERN CHORD STUDIES EX.1 d= 02 (For All Examples) (@) DMAJ7 E-7 F#-7 GMAJ7 FR7 E-7 DMAJ7 ) EbMAJ7 F-7 G-7 AbMAJT G-7 F-7 E>MAJ7 B-7 AMAJT7 (c) AMAJ7 B-7 c#-7 9 DMAJ7 @ AbMAJ7 Bb-7 C-7DbMAST—C-7_Bb-7 AbMAS7 : + s a -—* = = + ee i 4 = | 2 i z Sg 537 Bb7 Eb6 E? Bb7 Eb6 Bb7 q me 8 M It Wy tH EU See) Ab6 Ab7 Db6 Db-6 Ab6 C-7— -F7(b9) 54EX.4 doe FMAJ7 Bo7 CMAJ7FMAJ7 CMAJS7 = = — = ——F 5 tbe £ 55LESSON 4 TECHNICAL STUDIES EX. 1 d=100 J=120 J = 192(war. ) 42100 d= 120 57EX. 2 dere d=o2 J 108 ex.3 d=12 d=o2 J= 108 (var. ) 58(var. ) var.) 59EX.5 d=80 d=60 4 (var.) (var.) 60Ex.6 d=o2 d= 108 (a) c+ D+ Et Gb+ Ab+ Bb+ C+ 4s Abt = Gb+ E+ Dt c+ Bb+ Ab+ ) At Gt Ft Eb+ Db+ Bt At 61EX.8 den dees Jeo: d= 120 (a) Qe oer nee a a eas Se > tae = (b) oO Oo 1 —— rs SS | eyo nn 5 a a | EX. 9 va d= 6 v2 J= 120 (a) (b) p> > Mears de eden 62READING MATERIAL CHANGE OF SIGNATURE STUDIES (OCTAVES) EX.1 4100 (For All Examples) 63VARIATION OF L.H. CHORD PATTERNS EX, 1 = ue Bm c Fa7 BmEX, 3 d= 66 E ca Fem B7 E Ge Fam E B7 E EX, 4 120 F7 Bb OF Bb OF? BbmF Bbm F7 Bb F BDO OF Bb 65IDIOMATIC KEYBOARD PATTERNSDm [masa(>]) ExX,4 dae E> D° Cm B°7 bg y EX.5 d= a0 Am G f =x P. C ET Fem G Gm (2) ee D Pp Ab Cm G7 CmB? Eb MAJIGm7Bb7 Eb FMAJ7 E FMAJT E7 Am | — i 5 4 fodt RP. Lt RP- <= = 3TIME SIGNATURE STUDIES EX, 1 Ns ive P. RP. RP__RP__RP__R P. RP__RP_RP RP P. RP__RP__RP. RP__RP__RP. RP. R 68FOUR PART CHORALE STUDIES 0 Minimum Tempo To Be Mastered EX, 1 Cc CHF G7 GET Am D7? G B? EmA7 Dm G7 ¢ a a did i (5) EX. 2 Cm F7 G7 cmG fe Am? G CmG7 cm tiidid EX, 3 Ab C7 FmBb7 ER Eb7Ab Ab7 Db F7 BbmEb Ab Am D7 Gm C7 F Bb7 Eb AZ a 69MODERN CHORD STUDIES EX. 1 d= 02 (For All Examples) (a) EMAJ7 F#-7 G#-7 AMAJ7) = G&-7_—FB-7 EMAJ7 (b) : DbMAJ7 E>-7 F-7 GbMAJ7—-F-7_—Eb-7 DbMAJ7 o BMAJ7 CB-7 pR-7 EMAJ7 = D&-7_—CB-7 BMAJ7 (a) GbMAJ7 Ab-7 Bb-7 _CbMAJ7__Bb-7_Ab-7 GbMAJT7 70EX, 2 dane (>9) Fo _D7(b9) G-7 7 Fo C47 F6 —_D7(b13) EX, 3 d= ise ce B7_Bb7_A7 D? G7 ce B7 Bb7 AT D-7 a7 c 71EX. 4 dee GMAJ7 A-7B-7 G-7_ c7(#9) (A-7)FMAJ7 G-7A-7 F-7 Bb7(29) (G-7) A Ab EbMAJ7 F-7G-7 A-7 D7(#9) B-7 A-7MAJ7,GMAI7 72LESSON 5 TECHNICAL STUDIES EX. 1 d= 02 J= 108 EX.2 d= o2 d= t08 tH tf Ht # atl st ‘tt Lu var.) E ll14EX.4 0 d= 02 d= 120 fa) cm Ebm Gbm Am cm EX.5 d=02 J= 120 () cm Ebm Gbm Am cm or &) Dbm Em Gm Bbm Dbm Der (c) Dm Fm Abm Bm Dm ae 15EX. 6 Practice In C Major And C Minor (3Forms) Teaterets Gers at 16EX. 7 4272 d= 04 d= 02 J= 120 17READING MATERIAL CHANGE OF SIGNATURE STUDIES (OCTAVES) J+ 06 (For All Examples) EX. 1 EX. 3 = = | fie. ff te» a ti MtVARIATION OF L.H. CHORD PATTERNS Em Gt G 7 C¥m7(25) > cCMAI7 B7 Em An EmEX. 3 d= a2 Eb Am7(b5) Gb&7 Bm7(b5) — Bb7 D a + pa — Fhe ata — peat ——_ “iIDIOMATIC KEYBOARD PATTERNS EX.1 d= 92 Fm fabemagd Ab Bb? [po] C c7 Em c P EN F Bm7(>5),E7 Am FR? Gm pe? cc? 81cm Ge (CmerGre cm G7 Ex. 4 d= es Ab Eb7 Ab Eb? Ab Eb7 A> EX.5 J=70 (>5) Fm AMAJ7DMAJ7 C#m E7 AMAJ7G#m7 D E7 A 82TIME SIGNATURE STUCIES 83FOUR PART CHORALE STUDIES 4 = 60 (Minimum Tempo To Be Mastered) EX, 1 A C87F8mB7 E E7 A AT D F#7BmE a a > Y y EX, 2 (05) (05) Dm Bm7Em7A+ DmA ome FC DmA Dm PerParerourer| y EX. 3 E_ CR? FamB?7) EE G#7 C#m F#7(>5) B E E7 A B7E a a id EX. 4 = ° oe Fm C7 Fmc Fm C7 Em? Ab ETA GG FmC Bp aiid aid yu v 84MODERN CHORD STUDIES EX.1 4100 (ior All Examples) D-7 G7 CMAJ7 C6 GMAJ7G6 G-7 C7 FMAJ7 F6 Ey AT DMAJ7D6 = aS ey sz $ ot ee wT SS SS ST | = £ 4_J Z fr == a cs C-7 BT BbMAJ7Bb6 aoe E7 AMAJ7 A6 E-7 Boz EbMAJ7 Eb6 Bb-7— Eb7 AbMAJTADE 85EX.2 d= 04 (b5) (b5) (05) (b5) C7(#9) F7(13) Bb7(#9) Eb7(13) —Ab7(#9)Db7(13) F#7(#9) B7(13) (b5) (65) 27(89) A7(13) D7(#9) G7(13) CMAI7(9) J | ? == ExX.3 d= o4 (9) (b13) (9) (013) (9) (b13) (9) (b13) F7(13) Bb7(89) Eb7(13) Ab7(49) De7(13)_ Gb7(#9) B7(13)_ E7(29) (9) (13) (9) (613) A7(13)_D7(#9) G7(13)C7(#9) F6(MAJ7) 86EX. 4 d= 192 EX.5 d= 102 Eb7 D7 Eb7D7 Eb7D7Eb7 Ab7 G7 AbTG7 AbTG7Ab7 Db7 C7 Db7C7 == Db7CZDb7_— GbT7F7 87EX.6 +02 FMAJ7 G-7 A-T Bb-7 A-T7 Ab7 G-7 Gb7 FMAJ7 G-7 A-7 Bb-7 AT G7 FMAJ7 88LESSON 6 TECHNICAL STUDIES ExX.1 d= o2 d= 108 ' b, War.) EX. 2 4202 4= 108 (ar.) 8 S Saas ExX.3 deez J= a2 a4 a i ret 4 2 ww, (var. ) ape SS SSS Mra TT 4 dso draEX. 5 d= 60 43+ 00 (var.) (var.) 90EX. 7 d= 02 J= 120 2EX. 8 Practice In F Major And F Minor (3Forms) J = 108 Tro wi2oee22% a2f Rea 2ig 242 312 945 92EX. 9 dee dees deo2 d= 120 EX. 10 dene dzes d= o2 J= 120EX. dza2 dzes d= 02 aaTssaGesateaGe tare eiaerroaein 2 os Teese eh se Gis es ee 9 eee ee wee 2 et sie 4 94READING MATERIAL CHANGE OF SIGNATURE STUDIES (OCTAVES) EX.1 4+ 100 (For All Examples) EX. 3 4 = = = = ng Gite _ \ —S SSS es 95VARIATION OF L.H. CHORD PATTERNSEX. 3 d= a2 Gm I———, scm D Gm Em Bom E Gm7(b5) Db Db? cc?) Fm > > =~ EX, 5 4= 66 Bb Bm7(b5)_Bm7 G+ Em Bb 7IDIOMATIC KEYBOARD PATTERNS Eb Ee? Fm PRT 98EX.3 d= (65) 7 (65) DmA Dm Gm _ Em7 A7 Dm D7 Gm GmEm7A7 Dm c7 7 F C F Bb GmE* F A7 Dm DmGm7A7 D a a Dom Ab Eb7 Ab 99EX.5 da72 B> BbMAJ7 E-7(b5) C#7 Dm Cm? F7 7 Bb 100TIME SIGNATURE STUDIES ext Ms i P. RP. RERP__RP- RP. RBRE RP. RERP__RP- RRRERERE RPE. RFOUR PART CHORALE STUDIES 4+ 60 (Minimum Tempo To Be Mastered) EX. 1 c Av? Dm G7 C ET AmD7(>s) G c cz oF a7¢ a a 7 y ay y EX, 2 Gm D7 GmD GmD7_ Gm F7 Bb FT Bb Ae GmD Gm a 7 addi ft dd dt isis I EX. 3 yw y F AT DmG?7 & ET AmF7 Re DT Gmc? Piel tide [lil y wy vd EX. 4 (65) Am BT EmA7 DmG7 © AmBm7E7 Am a a 102MODERN CHORD STUDIES [um7(b5)_v7(b9)[1-(tag7) 1-6] PROGRESSION (Arpeggios In Both Hands) &X.1 d= 02 (For All Examples) D-7(b5) G7(>9) C-(MAJ7)C~6 A-7(b5) D7(b9) G-(MAJ7)G-6 2 RSet 23s 4 S s E-7(95) A7(b9) D-7(MAJ7) D-6 B-7(b5) E7(b9) A-(MAJ7) A-6 FR-7(b5) B7(b9) E-(MAJ7)E-6 G-7(b5) C7(b9) F-(MAJ7) F-6 F-7(b5) Bb7(b9) Eb-(MAJ7)Eb-6 C-7(b5) F7(b9) Bb-(MAJ7)Bb-6EX. 2 a4 (b5) (3) (b5) (bs) G-7(9) C799) F8-7(9) B7(b9) F-7(9) Bb7(b9) E-7(9) A7(b9) (b5) (b5) (b5) (bs) Eb-7(9) Ab7(b9) D-7(9) G7(b9) CB-7(9) F#7(b9) C-7(9) F7(b9) (b5) (55) (b5) (b5) B-7(9) E7(b9) Bb-7(9) Eb7(b9) A-7(9) D7(b9) Ab-7(9) Db7(b9), (b5) G-7(9)_€7(b9) (9) F6(MAJ7)F6 D-7 G-7 c7 F6 D-7 G-7 eo _ SSS =p . : : F6 Fz Fé = Bb-6 =f rrr = 7 + EX. 4 d= 92 BbMAJ7 Be? c-7 ce D-7 G7(b9) C-7 — -F7(b9) — BbMAJ7G7(b9) C-7 F7(b9) ALR A 105EX. 5 Jeo Bb-7 _ Db7(b5) c-7 B-7 Bb-7 Eb7(b5) AbMAI7 C Db-7_q — Fb7(b5) Eb-7 D-7 -Db-7_—- Bb-7.A7(b5) ADMAJ7 rs = T s : a | HS ts 106LESSON 7 TECHNICAL STUDIES EX.1 J=02 d= 108 a5 4 124 (var. ) var.) 4152 4162 eo NH EX.2 Jzo2 d= 108 ~ = —~ 107(var.) (var) 108EX.5 4292 4 a20 1096 Ex. Practice In G Major and G Minor (3 Forms) Traiaatg ior? Ger 7 (a) 0EX.8 d=72 B MAJOR Tesizetn series sGee es Mesa Wao ort 2p ase bes 6 2 2a ua B NATURAL MINOR Continue same fingerin: + Continue same fingering B HARMONIC MINOR B MELODIC MINOR (TRADITIONAL) mREADING MATERIAL CHANGE OF SIGNATURE STUDIES (OCTAVES) EX. 1 d= (For All Examples) 2 nzVARIATION OF L.H. CHORD PATTERNS Dm Em7(b5) Ar Dm u3Bm AR A Ge G FaF EmB B° A® Bm —— Ab cm F#7 — Bm7(b5)— Em7(b5)_ Eb7(b5) AbIDIOMATIC KEYBOARD PATTERNS Dm Gm7 Bb Em7(b5) A7(b5) Dm Gm Cm7 rb AT Dm RP. RP. RP- RP. R usEX. 3 4 = 100a7 Bbm7 Eb7 Ab RP. RP. RP- RP. R 7TIME SIGNATURE STUDIES ex.1 Ds se usFOUR PART CHORALE STUDIES 4 = 60 (Minimum Tempo To Be Mastered) EX. 1 G E7 Am D G B7Em A7(b5) D G G7 c pT G a a oid didi id Yu ay wo EX. 2 Em eT | Bmie7 AmeDi GC er. G7) Em ttt diag y o EX. 3 Bb D7 Gmc7 RFT Bb Bb7 Eb G7 CmF Bb 2d EX. 4 Cm Dz GmcC7 Fm Bb7 Eb Ab7 Db G7 cm a a u9MODERN CHORD STUDIES EX.1 4100 (For All Examples) D-7(b5) G7(b9) A-7(b5) D7(b9) G G-7(b5) C7(b9) FF E-7(b5) A7(b9) D- C-7(b5) F7(b9) Bb B-7(b5) E7(b9) AS F-7(b5) Bb7(b9) Eb- F#-7(b5) B7(b9) E- 120EX. 2 dees F-7(b5) Bb7 E-7(b5) AT Eb-7(b5) Ab7, D-7(b5) G7 pd od ad a PI bod C#-7(b5) FBT C-7(b5) F7 B-7(b5) E7 Bb-7(b5) Eb7 A-7(b5) D7 Ab-7(b5)Db7 G-7(b5) C7 F#-7(b5)B7 121EX. 3 d= ase Bb-7 Eb7 Ab6 Bb-7 Eb7 Abo Eb7 Ab6 FROG6 BT C7 REGO F#7G7 — ~~ cv F7 FROG FR6G6 122c- D-7(b5) G7(b9) c- AbMAJ7 G-7(b5)Gb7 tii) iJ Fe D=7(b5) G7(b9) C-6 AbMAJ7 Cc. 123LESSON 8 TECHNICAL STUDIES ExX.1 4202 J= 412 ex.2 d=02 d= a 1e4re eo (var. ) (var. ) 125EX. 4 9 dsp dis oe ) pbe7 bare be pb? 126Ex.6 d=12 d=o2 Practice in D Major and D Minor (3 Forms) reas Te Ted ete deed — SST aeGeei2aG aati et Toeers 2imsaeile 2 E2pet eye eee seas ee eG 7READING MATERIAL CHANGE OF SIGNATURE STUDIES (OCTAVES) EX.1 42100 (For All Examples) ern eeae aaa a SSP -ctr = SSS == = mh EEE === = 128VARIATION OF L.H. CHORD PATTERNS D Gm D cH? Dm Gm Dm c#7 D 129D> Fe? Bbm = Bm7(b5)_— Gm7(b5) F7(b5) BbIDIOMATIC KEYBOARD PATTERNS EX.1 d= 00 131G9 ce7 Am E7 CMAJ7 Dm Bm7(b5) E7 2 } 4 —- + = St RP RP RP- RP. G7 C (Sus. 4) = 3 laa Rl RP.ExX.5 d=ea Fm [asd dle] G7 Fm BbrfasBk) cb Bbm c7 rm Masdbd8) bi rm G7 Fm a Ga bidc7 Fm 133TIME SIGNATURE STUDIES EX.1 ded = 60 ped “e iy iH RP__RP. RP__RP__RPRP__ RP. RP. RP. R 134