Shadow Drum + Bugle Corps Front Ensemble

2021 TECHNIQUE/PHILOSOPHY MANUAL

ZZZZZZ
Welcome to Shadow Drum & Bugle Corps!

This is an unprecedented time, and as such our audition process has changed. All 2020 members who
previously received contracts will have their contracts honored for 2021, and will be asked to either
accept or forego their contract before October 1st. We will stay in communication with everyone regarding
available spots. All new auditioning members will be able to send preliminary videos for feedback/critique,
and video auditions will also include a short introduction/interview submission (details below). Auditioning
members will also have the opportunity to send follow-up videos to demonstrate progress/interest, at the
request of caption heads. Preliminary videos can include playing anything with which you are comfortable
(your group's exercises/book etc). Official auditions should include the requirements detailed below, your
video interview, and an excerpt of bonus repertoire of your choice (this is optional). Callbacks will include
a live interview from your respective caption head. Please also email if you plan to video audition to
confirm your intent. Get in touch with any other questions (davidhenzieskogen@gmail.com), and
welcome!

Video interview questions:

1. Tell us about the marching programs with which you have been involved.
2. What are your greatest personal strengths?
3. What you do expect from your Shadow experience?
4. What are your weaknesses, and how might you hope to counter those in a drum corps setting?
5. What makes a good corps member? How would you define success for yourself and the corps?

For official 2021 auditions, please take note of the following:

MALLET PLAYERS:
• Read the rehearsal protocol & technique packet in its entirety.
• FOR PRELIMINARY VIDEOS:
• 2 mallet scales will be played at 68bpm, all major scales with an audible metronome. Take this
video from an audience perspective (front.)
• 4 Mallet Warm Up Etude will be performed at forte at 60 bpm with an audible metronome. Take
this video from a side perspective (low end of the keyboard.)
• FOR CALLBACKS:
• Hand speed will be performed on 3 major or minor scales of your choosing for auditions with an
audible metronome. You should demonstrate your maximum tempo with accuracy. Announce the
bpm and scale before playing. Take this video from a side perspective (low end of the keyboard.)
• Do not submit video of Stroke Types Exercise unless you’d like feedback
• Interval Control Exercise will be performed at forte at 84 bpm with an audible metronome. Take
this video from an audience perspective (front.)
• Mallet Independence Exercise will be performed at forte at 70 bpm with an audible metronome.
Take this video from an audience perspective (front.)
• Play the last page of the packet at 90bpm on one note with an audible metronome. Take this
video from an audience perspective (front.)
PIANO PLAYERS:
• 2 mallet scales will be played at 68bpm, all major scales with an audible metronome.
• Submit a solo work of your choosing

AUXILIARY PERCUSSION & DRUM SET PLAYERS:

• Use the stick control exercises at the back of the packet to demonstrate your technique on a
practice pad. Play numbers 1, 3, 5, 7, 9, 11, 13, and 45. Take this video from an audience
perspective (front.)
• Play the last page of the packet at 90bpm with an audible metronome. Take this video from an
audience perspective (front.)
• Download the battery packet and play Legati at any successful tempo of your choosing. Take this
video from an audience perspective (front.)
• Drumset players should email David Henzie-Skogen (Percussion Coordinator) for additional
information. davidhenzieskogen@gmail.com

PLACE ALL OF YOUR VIDEOS IN ONE GOOGLE DRIVE FOLDER

TITLED “(First Name Last Name) Audition Videos 2021,” MAKE SURE
PRIVACY IS SET TO ‘ANYONE WITH LINK CAN VIEW’(LINK-SHARING
TURNED ON), THEN EMAIL THE LINK TO
DAVIDHENZIESKOGEN@GMAIL.COM AND
SHADOWDBC.RCA@GMAIL.COM
 SHADOW FRONT ENSEMBLE
HANDBOOK

REHEARSAL PROTOCOL

• Always wear clothing that is not restricting and shoes that are meant for athletic
activities.
• Always bring your music in a three ring binder, inside page protectors.
• Always have a pencil ready to make changes to music or take notes.
• Your music should be memorized outside of a rehearsal setting. Use a piano or
keyboard to learn your notes. Listen to the provided MP3s to know how your part is
supposed to sound and how it fits in with everything else that is going on.
• Take good care of your equipment. Do not run into things, and do not put anything on
top of your instrument.
• SOUND EQUIPMENT: Do not run over microphone cables or speaker cords, as this
damages the fragile wires inside. Remove microphones before traveling long
distances. Wrap your cord nicely. Do not let it become tangled or kinked.
• Mallet bags are meant for mallets, and that is it. Do not put ANYTHING other than
mallets in your mallet bag.
• “Hacking” is playing when you have not been asked to. Don’t do it. It contributes to a
frustrating rehearsal environment for teachers and students alike.
• In rehearsals, there will be times when we are relaxed and conversational. Don’t ever
be afraid to smile, laugh and enjoy yourself. However, there are times when talking is
not helpful to our progress. Please keep talking during rehearsals to a minimum. It does
not mean that it is time to talk whenever you are not playing.
• You WILL need to do things outside of this rehearsal setting to get better. You will need
to work with a metronome and mallets to improve your hand speed. You will need to
spend time individually on a keyboard or have sectionals to make yourselves better
without an instructor standing in front of you.
• We expect you to treat yourself, each other, and the staff with the utmost respect.
Excuses are harmful to all three. Don’t make them.

1
 PREPARING TO PLAY/FINISHING SEGMENTS OR EXERCISES

• “Set” for the front ensemble means mallets in your hands and at your sides, standing
with good posture and watching in to the center player.
• Bring your mallets up together. Watch the center player and match their movements to
bring the mallets up to a resting and ready position.
• Resting position is the same for two or four mallets. The mallets are above the keyboard,
above the notes that you are about to start on, and at a piano height.
• Preps are given to begin an exercise rather than an instructor counting off. Preps should
be about one centimeter up and down. They are tiny. They are only for us to use as a
method of communication and not for show. They should be subdivided (the upstroke is
the “and” and the downstroke is the beat) at slower tempi. The section leader gives
“and one and two” and the rest of the ensemble joins them for “and three and four and.”
On the “and” of four, the mallets are brought to the top of the stroke as defined by the
dynamic that you are about to play.
• You should watch all the way through the preps AND the attack, looking away only after
the attack has occurred.
• At the end of an exercise or a segment, the ensemble will still return to the top of the
stroke. At that time, the section leader will gently and somewhat slowly bring the mallets
back down to resting position just above the keyboard. Everyone will watch in until the
center player breaks to bring his or her mallets down to his or her sides. Again, we will
do this together. Match the center player’s motion.

BODY POSTURE AND PLACEMENT

Feet:

Marimba Players: Feet should be shoulder width apart. Unlike your normal standing position,
the body weight should be shifted from the heels to the balls of the feet, so that the player
does not feel
“grounded.” This allows for more agility in moving from the low to the high end of the keyboard.

Vibraphone Players: The right foot will always remain on the pedal, whether it is being utilized
or not. Think of the big toe working to press the pedal. The heel of the right foot remains on the
ground and works as your pivot point. The left foot remains staggered behind the right foot at
all times. The ball of the foot, NOT the heel, is where the body weight is placed. This allows for
agility in moving from the low to the high end of the keyboard.

Your body center (your belly button) should always be centered on the area of the keyboard
you are playing in. We should never reach far off to the right or far off to the left using our arms
because this will adversely affect our technique. We need to initiate large motor movements
BEFORE we initiate small motor movements (i.e. if you were playing from the bottom end of
your keyboard to the top end of your keyboard, you would need to initiate the movement of
your lower body before the horizontal movement is made by your arms/wrists. LEAD with the
2
larger muscle group!
It is also important to determine when your body actually NEEDS to be moved, and to do so
with fewer large, smooth motions than small, stiff motions.

Knees:

All players in the ensemble need to remember not to lock their knees. Much like in volleyball or
skiing, the knees are always ready for movement. When your knees are locked, it inhibits
movement.

Hips:

The hips should remain parallel to the keyboard with the exception of mixed manual four-mallet
work. When moving the angle of the hips to accommodate for mixed manual chords, the feet
will move as well.

Upper Body:

All players in the ensemble should strive to have the largest upper body presence possible.
The player should extend themselves so that they create as much space between the hips and
the rib cage as possible. They should take a deep breath to fill their chest cavity with air, feel
that expansion, and let the air out without letting their chest fall. The shoulders should be rolled
back, opening the collar bone up wider.

Head, Face, and Eyes:

The chin should be held high, extending the neck. Players can imagine a string attached to the
top of their head, pulling them up from the ground. We can look down with our eyes to see the
keyboard, but we should not lower our chins. Players should work toward NOT looking at their
keyboard while playing as much as possible. Eyes can be directed toward the audience (or
the imaginary audience) OR the center player, from which we receive visual information for
timing accuracy. It is important to be aware of facial expression. We want to make what we are
doing look easy, and having tension in the face is a clear indicator to adjudicators that we are
struggling. The facial expression should, whenever possible, match the feeling of the music.

Shoulders/Arms/Wrists:

Though the shoulders are pulled back to open the space across the collar bone, the shoulders
should be relaxed downward, not shrugged up toward the ears. The arms should be held
slightly away from the side of the body, so that there would be room between the elbow and
the sides to place a soda bottle. The player should be able to swing their arms freely forward
and backward as a skier with poles would. The angle of the forearm should slope slightly
downward toward the keyboard, so that a marble would roll onto the keys if placed at the
elbow. The wrists are kept low to the keyboard, so that if the hands were above the keys, the
pinkies would touch the keys when extended. Board height should be adjusted to
accommodate this.

3
At the point when the core of the mallet makes contact with the keyboard, the back of the hand
(two mallets) or thumb (four mallets) should be parallel to, or flush with, the forearm.

We will not have time during rehearsals to remind you of the details of these 7 areas before
each time you play. It is important early in the season to establish these habits correctly. It
needs to become second nature, so that you can think about other details when you are asked
to play. These things need to happen on auto pilot.

GRIP

We will use American grip for two mallets, which means that the thumbs are NOT facing the
ceiling, and they are also not so completely flat that the back of the hand is facing the ceiling.
In American grip, we should start from a German position and then rotate the outsides of our
hands down slightly and, simultaneously turn the thumbs slightly more toward the ceiling. Our
version of American grip will not be a perfect 45 degrees in between French and German grip.
It will be slightly more German than French. Think more in thirds. We are striving for 33
degrees, or 1/3 French and 2/3 German.

It should feel as if every point of your hand that is in contact with the mallet has equal pressure.
It should also feel though the mallet would fly out of your hand if you let go any further.

Our whole hand remains in contact with the mallet at all times and fingers do not do not open/
close. About 1.5 inch of the mallet should hang out of the back of your hand.

Extend your pointer finger to a relaxed position so that the mallet is touching the knuckle
closest to your fingernail. There should be space in between your pointer and middle finger,
but there should not be space between the middle, ring, and pinky finger. The pad of the
thumb should also gently come into contact with the mallet. It is important that the pad of the
thumb is centered on the mallet. Your pointer finger should NOT rest on top of the mallet.

We will use Stevens grip for four mallets for both the vibraphones and the marimbas, which
means that everyone should purchase “Method of Movement for Marimba” by Leigh Howard
Stevens. He gives an incredibly detailed run-down of this grip in his book. He also has
incredible recommendations for practice habits. Mallets are numbered from left-most to right-
most; the left-hand outside mallet is 1, the inside mallet is two, the right-hand inside mallet is 3,
the outside mallet is 4.

Outside mallets (1 & 4):

Hold on to the mallet with only your ring and pinky fingers. Turn your hand so that your thumb
is facing the ceiling and outside edge of your hand is now facing the floor. Relax the grip so
that the mallet hangs in its position. The weight of the mallet head should be pulled slightly
upward by your ring and pinky finger.

4
Inside mallets (2 & 3):

Before you place your inside mallets, be sure that the hand is in the correct position (thumb up
and edge down.) Place the end of the mallet in the fleshiest part of your hand beneath your
thumb. The mallet will rest on the side of the knuckle closest to the fingernail of your pointer
finger. It should hang here in balance. Rest the pad of your thumb lightly on top of the mallet.

Again, someone should be able to easily remove any of the mallets from your possession. We
do not want tension in the hands.

Changing intervals with this grip is achieved by rolling the mallet between the pointer finger
and thumb. In the left hand, the mallet rotates counter-clockwise to close the interval and
clockwise to open the interval. In the right hand, the mallet rotates clockwise to close the
interval and counter-clockwise to open the interval. The first finger straightens when opening
the interval in either hand. The first finger curls to close the interval in either hand. The
movements of the first finger and the thumb working together to change the interval should not
affect the remaining 3 fingers.

STROKE

In both our two and four mallet grips, the wrists & forearms supply the power that accelerates
the mallet toward the bar. Our elbows are not responsible for the power. It is harmful for the
larger muscle group (the arm) to participate in the task of a smaller muscle group. It slows you
down and creates fatigue and tension.

Our fingers remain in contact with the mallet at all times and do not open/close. It is tricky to
find the balance between remaining in contact with the mallet/not opening or closing and not
gripping the mallets too tightly. This is something we should always be conscious of.

We use the rebound stroke. We don’t prepare for the stroke by lifting first, and we don’t let the
mallet rest down by the key after we play it without bringing it back up (down-stroking). We
always start and end the downward and upward movement of the mallet (toward or away from
the bar) at the top of the stroke. The top of the stroke is our playing position. The mallet should
feel totally in balance, not leaning forward, backward, or side to side. The top of the stroke
height is determined by the dynamic we are playing. We will discuss heights in terms of angles
(degrees) between the keyboard and the shaft of the mallet.

Our stroke should be fast and fluid. It is very tempting to be rigid in our movements when trying
to make the motion fast, but we need to train ourselves to make the motion fast by thinking of it
as a relaxed flick of the wrist. RELAXED VELOCITY helps us to create optimum volume while
being able to achieve optimum speed.

5
When we are playing the keyboard instruments, we have a lot of horizontal territory to cover. In
addition, we have forward and backward movements between the upper and lower manuals.
Because of this multi-surface responsibility, we incorporate shifting to improve our efficiency.
After the mallet (or mallets) strike(s) the bar, we use the microsecond that it takes us to get
back to the top of the stroke to also move our mallets above the next note(s) that they are
about to play. We don’t want to move down, up, and then over or down, over, and then up. We
don’t want an arched path, either. We want a straight line, where the rate of speed and the
movement draw a straight line. This is the “shortest distance between two points” or our most
efficient possible movement. We are as efficient as possible so that faster passages are not
challenging for us, and also to improve our note accuracy, creating “muscle memory.” Like
everything else, our shift needs to expend the least amount of energy possible and it needs to
be relaxed. Overshooting or being stiff is not going to help us achieve our goals and the
purpose of the shift.

With our four mallet stroke, all four mallets stay at a level height, and if mallets are moving
individually, they leave the level plane and return to it while all of the other mallets remain at the
same height. We want as little movement as possible from the resting mallets. We don’t want
the mallets to “teeter totter” in order to move. They are INDEPENDENT of each other, NOT
dependent on each other.

BAR PLACEMENT

We should aim for the center of the bar, playing directly over the resonator.

In some instances with two mallets (for marimbas only), we will move to the very edge of the
bar in the upper manual to make a fast passage easier (less distance to travel.) We should do
this only when absolutely necessary, and we should define this as a group when we are going
to do it. It adversely affects our sound quality.

With four mallets, when chords are mixed between the upper and lower manual, we will play on
the edge of the bar for both vibraphone and marimba players. This makes the angle of the
wrist and body less severe.

PERFORMANCE

You are going to be asked to add performance artistry to the music performance. You are not
just here to execute the music on the page; you are tasked with bringing it to life and making it
fun to watch. We are not making an audio recording, we are performing live for audiences.

Sometimes, you are going to feel uncomfortable and silly when you are doing something that
we recommend. This is good! When you are performing, you are no longer representing
yourself. You are representing the group, the music, and the show!

Resistance to performing suggestions is going to slow your progress down. Give it all you’ve
got. Go big or go home. Be over the top. Make us tell you to tone it down rather than having us
tell you it’s not enough.
6
 2 Mallet Scales

4
Vib. 4

4
4
4
Pno.

4
E. Gtr. 4
4
E. Bass 4

4
Perc. 4
4
Dr. 4
Hand Speed
 4 Mallet
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 Interval Control Exercise

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13

& 4 œœ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œœ
& œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ 3
17

œ œœ œœ œœ œœ œœ œœ œ œœ œœ œ œ œ œ œœ œœ œœ œœ œœ 4 œ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œœ œœ œ œ

21
œœ
& œ Œ Œ
œ

© 2015
 Mallet Independence
Exercise
A

4 œ œ œ œ œ œ œ œ
&4 œœ œœ œœ œœ œœ œœœ œœœ œœœ œ
œ œ œ œ
3
œ œ œ œ œ œ œ œœ œœ œ œ œ œœœœœ œœœ
& œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ

œ œœ œœ œœ œœ œœ
œœ œœœ œ œ œœ œœœ œœœ œœœ œ
B
œœ œ œ œ œ
6

& œ œ œ œ œ œ œ œ œ œ œ œ

œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œœ œ
œ œ œ œ œ
9

& œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œœ
C

& œ œœœ œœ œœœ œœœ œœœœœœ œœ œœ œœ œœœœœœ œœ œœ œœ

12

œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
& œ œ œ œ œ œ œ œ œœœ œœ œœ œœ œœœ œœ œ œ œœ œœ
15

œ œ œ œ

œ œ œ œ œ œ
D
œœ œ œ œœ œœ œ œ œœ œœ
18
œ
œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
&œ œ œ œ œ œ œ œ œ œ œ œ

œœ œ œ œ
œ œ œ œ œ œ œ œœœ œœ œœ œœ œœœ œœœ œœ œœ œœ œœœ
21

& œ œ œ œ œ œ œ œ œ œ œ œ

© 2015
 œ œ œ œ
E

œ œ œ œ œ œ œ œ œ œ œ
& œœ œœ œ œœ œœœ œœœœœ œ œœ œœœ œœ œ œ œ œ
24

œ œ œ œ œ œ
œœ
œ œœ œœ œœ œœœ œœ œ œœ œœ
27

& œ œ œ œ œ œ œ œ œ Œ Ó
œ œ œ œ œ
 Scales and Modes
MAJOR SCALES
C Major G Major

&c œ œ #œ œ
Mallets œ œ œ œ œ œ œ œ œ
œ œ œ
W W H W W W H

3 D Major A Major
#œ
&œ
œ #œ œ
œ œ #œ œ œ œ #œ œ
œ #œ œ

5 E Major B Major

&œ #œ
#œ œ
#œ #œ œ œ #œ #œ #œ œ
œ #œ #œ œ

7
F Sharp/G Flat Major D Flat/C Sharp Major

& #œ #œ #œ #œ #œ bœ
#œ #œ œ bœ bœ bœ œ
bœ bœ œ

9 A Flat/G Sharp Major E Flat/D Sharp Major

bœ
& bœ bœ bœ bœ œ œ
bœ œ bœ
œ
bœ œ œ bœ œ

11 B Flat/A Sharp Major F Major

&
œ œ
bœ œ œ œ bœ œ œ œ bœ œ œ
bœ œ œ
NATURAL MINOR SCALES
13 A Nat. Minor E Nat. Minor
&œ
œ œ œ œ œ
œ œ œ œ œ œ œ
œ #œ œ
W H W W H W W
B Nat. Minor F Sharp/G Flat Nat. Minor
15

& œ œ #œ œ œ #œ
#œ œ œ #œ œ œ #œ #œ œ
œ
C Sharp/D Flat Nat. Minor G Sharp/A Flat Nat. Minor
17
#œ
& #œ #œ #œ œ #œ
#œ #œ œ œ #œ #œ œ
#œ #œ œ
E Flat/D Sharp Nat. Minor B Flat/A Sharp Nat. Minor
19

& bœ bœ bœ bœ bœ bœ
bœ bœ bœ bœ bœ
œ bœ œ bœ œ

F Nat. Minor C Nat. Minor

21

&œ bœ bœ œ bœ bœ œ
bœ bœ œ
œ
œ œ bœ œ œ

G Nat. Minor D Nat. Minor

23

&œ bœ œ œ bœ œ œ
bœ œ œ
œ œ œ œ œ œ
 2 Scales
HARMONIC MINOR SCALES
25 A Har. Minor #^7 E Har. Minor
&œ
œ œ œ
œ œ œ œ
œ œ œ #œ œ
œ #œ œ
W H W W H m3 H
27 B Har. Minor F Sharp/G Flat Har. Minor

& #œ œ #œ #œ
œ #œ œ #œ œ #œ #œ œ œ
œ #œ œ

29 C Sharp/D Flat Har. Minor G Sharp/A Flat Har. Minor

#œ
& #œ #œ #œ #œ œ ‹œ
#œ #œ œ #œ #œ œ
#œ #œ œ

31
E Flat/D Sharp Har. Minor B Flat/A Sharp Har. Minor

& bœ bœ bœ œ bœ bœ
bœ bœ bœ bœ œ
œ
bœ œ bœ œ

F Har. Minor C Har. Minor

33

&œ bœ
bœ œ œ
œ bœ œ
bœ œ œ bœ œ œ
œ œ
G Har. Minor D Har. Minor
35

&œ
bœ #œ œ
#œ
œ bœ œ œ
œ œ œ œ bœ œ
œ
MELODIC MINOR SCALES

37
A Mel. Minor ^6 ^7
n n E Mel. Minor
œ œ #œ #œ œ
&œ œ œ
œ œ œ œ
œ œ œ œ œ #œ #œ œ œ œ œ œ œ
œ #œ œ œ œ #œ œ
W H W W W W H W W H W W H W
41 B Mel. Minor F Sharp/G Flat Mel. Minor

& œ #œ #œ #œ #œ #œ œ œ #œ œ
#œ #œ #œ œ œ œ œ #œ
œ œ #œ œ #œ #œ œ œ #œ #œ
œ #œ œ œ
C Sharp/D Flat Mel. Minor G Sharp/A Flat Mel. Minor
45
#œ #œ #œ œ #œ
& #œ #œ #œ #œ #œ œ œ #œ #œ # # œ œ #œ #œ #œ ‹œ #œ œ #œ #œ
#œ #œ œ #œ œ #œ #œ œ

E Flat/D Sharp Mel. Minor B Flat/A Sharp Mel. Minor

49

& bœ œ bœ bœ bœ œ œ
bœ bœ bœ bœ bœ bœ
bœ œ bœ œ œ œ bœ bœ bœ bœ œ bœ bœ œ
bœ œ bœ bœ bœ
F Mel. Minor C Mel. Minor
53

& œ œ bœ bœ œ
œ œ œ œ bœ bœ œ bœ bœ œ œ œ œ bœ bœ œ œ bœ
œ œ œ œ bœ œ œ œ œ
G Mel. Minor D Mel. Minor
57

& œ œ bœ œ
œ bœ #œ œ œ œ bœ œ
œ bœ œ œ œ #œ œ œ œ bœ œ œ œ œ
œ œ œ œ œ œ
 Scales 3
WHOLE TONE SCALES
61 Whole Tone 0 Whole Tone 1
& œ œ #œ #œ #œ œ
J
‰
bœ bœ œ œ œ œ bœ
J ‰
œ
W W W W W W
PENTATONIC SCALES
63

&
j
œ œ œ ‰ Œ
œ œ
1 2 3 5 6
OCTATONIC SCALES
64 Octatonic Half/Whole Octatonic Whole/Half
& bœ bœ nœ #œ œ œ bœ
œ bœ œ bœ bœ nœ œ
œ œ
H W H W H W H W H W H W H W
MODES
66 C Ionian
& œ œ œ œ œ œ œ
œ

67 C Dorian D Dorian
& œ bœ œ œ œ bœ œ
œ œ œ œ œ œ œ œ
œ b3 b7

69 C Phrygian E Phrygian

& bœ bœ œ œ œ œ œ œ
œ bœ bœ œ œ œ œ œ
b2 b3 b6 b7

71 C Lydian F Lydian

& œ œ œ œ œ œ œ
œ #œ œ œ œ œ œ
œ œ
^4

73 C Mixolydian G Mixolydian

&
œ œ œ
œ œ œ bœ œ œ œ œ œ œ
œ œ œ
b7

75
C Aeolian A Aeolian

&
œ œ œ œ
bœ œ œ bœ bœ œ œ œ œ œ
œ œ b6 b7
b3

77 C Locrian B Locrian

& bœ bœ œ bœ bœ bœ œ
œ œ œ œ œ œ
œ œ œ
b2 b3 b5 b6 b7