Playing @XO Variations on I - vi - ti- V order: O = opt. Ted Greene, 1974-10-20 Part I Key of D Try adding melodic decoration and/or animation to all patterns to increase your enjoyment of them. Common tone melody (soprano) type: D Bo En? Alas Ds fat Se? 69 6AM DB Ba? PS En? 7 As 7 DS Bat 7 Ass Du B87) gm AT 7 or open 6th string De? Bn? En? AB Day? Als D4? Bn? En? AS DS Boo €n A 5 5| 7 D49-Dé FEn7-B7 Bo’-E9 En?-Al/s D4? Bn? En/tAi/s 7 5 5 5 7 2 344“I- vi-ii- V Variations” Part I, page 2 - Ted Greene Bo? En AT) D% BIO Eq Epos ATH 5 Fin G87 Fat EO? ies Dé Bn? En? 67+ D9 B89 ETH+ 1849 7 Bie+ 69+ ATis+ 5 D479 Ente AU/6 fs 5 7 7 Key of G Gas Ent Ayr Dw qa7“I~ vi-ii- V Variations” Part, page 3 - Ted Greene Ascending melody types Ga? A® pie 5 5 G47 7+ Aan D+ Batt 5 7 8 3 3 7 “AB AB” melody type Ascending melody type: G47 E79 An D188 Key of: Dp Ba? En? pr 5 7 5| 5 ‘Try resolving all V’s to I’s (some are given already, though). Dé Bn9 Ew? D4? Be? Ew? AE BD Boyt En? ATA D4?) Bn? = Ew? AS D47 Batt Em/t AB pansPlaying @ XO Variations on I - vi - ii- V O = opt. Ted Greene, 1974-10-21 Part II As on [Part 1], add melody decoration and/or rhythmic animation. Also try resolving V’s to I’s where not already done. Key of D Ascending melody “2-to-1” types D Bo? = En? Ss? Bo? = En? A/S 2B While I-vi-ii-V is an effective pattern to be familiar DA? Bot Eni/t : Al with, it becomes boring unless combined with other tools. The following is a “coming attraction” using other patterns for more interest - compare with the first pattern at the top of the page. 5 7 7 D Bn? Ew? ASA? GAT CFT? 5 3 Bon 9 E9 ASAT use tonic pedal device 5 5 Here are some other types of I-vi-ii-V’s. Only one example of each type will be given because, by now, you should be in the swing of things and be able to make up similiar examples (if you have seriously studied what has come on these two pages so far). D4? Bn? Em) A/S D Bo? = Em? AS 7| 5 Now try making up melodies on I-vi-ii-V’s that don’t follow any one, specific type of pattern (most melodies of songs are like this - not one pattern only).“I~ vi-ii-V Variations” Part II, page 2 - Ted Greene Chromatic or semi-chromatic melody types: BD bu’ Et AT Dé Baer evs At 5 D47-B7H9 onen E7/6 T+ DAT Ars 7] D49 Bhs D47)—B7+ €7 Are D4? B7+ En ABH Dé = B7+ E138 Epa9m3 19% x 5 6 10; E79+ =A P4133 Bras E1sss Epar D4 2 5 10 7| 7 7| ui“[-vi-ii-V Variations" Part II, page 3 - Ted Greene Key of G Bn? = Bbn? = An? AYP Apps “Ab#I1 Bo? — BbaZ/t An? = Ab?” AD Bn? = Bhm7/6 Am? = Ab7#9 4 5 Bol —Bbn? An? D6” AP 4 6 5 5 7 Be? Bba? Ant D7 Ga? E795 An? «D7 Ba? 5 7 7 6 10 5fovsonh Vant. aniceHtions mT. avi-ii-¥ _ Key oF D <4, nied Gps, EET, [et naire ae potting CoMMow TONE MEKOOY Cropeane) TYPE: Eon? Arzu t EsoAVING AL M's to L's (Sorte are ine MELOY TYPES: wh en] Bm? L iD TPE ete AB AB Heveoftoot Z-vi-ii-S- eagen dom r ete pb ASCENOING MEnODY “Ate 1” THORS Takegring ee sglie caries