nt a aa an Ew s/ Guide Book & 2 CD Set (e ®)Jamey Aebersold Ear Training Course CONTENTS TrackNo. Exercise Number 1&2 1. Chromatie Seale Exercises Sas 2. Major and Minor 2nd Intervals 5&6 3, Major and Minor 3r4_ Intervals 7&E 4, Perfect 4ths, Augmented 4ths and Perfect Sth Intervals A 2 i 41.& 12 | 6. Minor and Majar Tths and the Octave 13 &14 | 7. Chord Qualities and Arpepgios 45.16 | 8 Short Musical Phrases 17 &18 4. Major Triads, Root Position 10. Minor Triads, Root Position 11. Major and Minor Triads-Mixed-3 Bars Each 23 T2. Major and Minor Triads-Mixed-1 Bar Each 2: 13. Major and ‘ith and Sth Chords-Moderm Voicings-4 Bars Each 1&2 | 14 Major th Chords Ret Position: 3&4 15, hords-Re yn-Ran dot Movement, 16. Dominant 7th Chards-Root Position-Random Roat Movement T&E 12. Mixed Major 7th, Minor 7th and Dominant 7th-Random Root Movement-2 Bars Each| 9&10 Té. Mixed Major ith, Minor 7th and Qominant ?th-Varied Voicings-2 Bars Each 71 & 12 LTS Walling Bass Ebe- afr, Mito Dominate Raps Eat jass Line-Major, Minor, Dominant-4 Bars 13 6.14/20. Moat foro Vee Voters Each ci A | 17 & 18 | 22. Diminished Tih Chords-4 Bars Each (in: Seale Woginning witha wholo-sepl | 49 & 20 | 23. Vos resolving up a Perfect th to Tanie-Chord af resclution. May be Major or Minor 21&22 | 24. Whole Tane Chords and Scales over Dominant 7th Chords which resolve to Tonic CD #2— -—— cD #1 ee (either Major or Minar) B5 ea | 75. IATAN 25.&26 | 26. Random Qualdies-2 Bars tach Final Exercise —_) Become familiar with the Chromatic Scale first. Memorize the sound of half and whole steps. Exercises on these recorded tracks should be played ever and aver until you zchieve a measure of success in quickly identifying the sounds that are played. 1 encourage you to sing along with Exercise No.7. Again, memorize the SOUND and get so you can instantly identify the quality/sonority (Major, Minor, Dominant Seventh, etc. . .). I have given answers to all exercises except No, | and No. 8, Use the answer shcets to determine how close you are in your educaied guesses, Write your guesses on a piece of paper and then compare them to-the answer sheei. Don't use the answers a&.acrutch. Your inner earhas the ability to figure out the answers but itrsay take repeated listenings. Many of the exercises may be treated as play-a-long background tracks., particularly exercise numbers 13, 18 and 19 through 26. After you've sung or played with them by ear, repeat the track, only this time look at the answers as you play, ‘The answers are listed for All instruments: Coneert Key, pages 2-7, Bb Instruments, pages 8-13, and Eb Instruments, pages 14-19. ‘Bxercises 2 through 7 are numbered on each side of the page and should be useful in ¢lassroom dictation situations. Thighly recommend David Baker's five Ear Training book/cassette series. () & ©1989 Jamey Achersold Jazz, Inc., 1211 Aebersold Drive, New Albany, IN 47150 ‘At ight reserved. imomatiral copyright cwoured hitp Awww jajazz.com“EXERCISES #2 THRU #7 Kea | ENS | tx a Hx. 87 Pa, +1 SPS | Gth’s | W's &Sva | Chord/Scale Quallctes Ps = = ca 1. aS ELA 45. i 46. a a. aR jor AsOelave Os Major 4th 7 = Dom. 3th ddim. += Raise 12 Step Verfset RU, = Hight Hand 1. ower Hz Step Lal anid 2Ex, #8 The answers for this exercise are not given. Use the INTERVAL CHART on the last page as an aid Each melodic phrase is played twice. Use your review button {9 help identify each phrase. Ex. #9 “Major Triads - Root Position ~ 1 Kar Kaci | op | 6 | oF | Bb] ore] Bp | FF | pb] of | Ab] op Lr isle] alol wr | ew |] sap | ¢ | Ff | Bt Ile fe Db A Fe 5 A top | # | and Ex, #0) Minor Triads — Rant Position — { Bar Each ff} cee Poa. bore | ome Tce | ap- | pe- | p- | a- | | m- | fee | ge b n- | ave | a- |] e- | BF I ae] Ex. #14 Viajor and Minor’ 4 D-| F-) Db-] a- a PETS TS] S| B-| Bb Be E atajlals iad - Mixed - 3 Bars Each 13)" B | Bh-| EB | F-j ony a a Jala la]3 Db | F ada bx. #12 Major and Minor Triads - Mixed — 1 Bar Rach af C-{ De BPRR)A-| F-| RH | Oh] B [se] E-| Do-| Fe] PH] E| P=] B=] Bo] E-] | Db-| FH-|A-|B-[A-| C-| FP) APE |b] Db-| B=] %YF-|Bb-| Fu] Ab |b] | FR-| B-] D- | F-| O-[ Bb [Db] Bo) EY F~|G—|F—]Rb | Tb] A] Db] ke] A | C-| aEx, #13 Major and Minor 7th and 91h — Modern Voicings --4 Bars Each | &| - | | A ee ews [i Bes al I" Fe Eb-| bo pDb- ) C-) re-y E- | FA) cd ips Abe t= |‘ 4 aa | 4 | | 4 | 4 |" 4 Nef oe [2G ee | [AB [Pee | mee Pe Fa 4 4 4 4 4 4] 4 4 Ex. #14 Major 7ih - Random Major 7(h Chords ~ Root Position - 2 Bars Rach 4y Ab’) ppt | G4) cA) pes | Go) BA | ADA) ED | DS | CA pod a] 2 2 | 2 | 2| 2 | 2] 2] 2 | | 2 |e 2 AS ray chy p87 ad ppd) Gay apd) EX CA y Do] BAY red |’ : Pye ls | 7 | Ex. #15 Random Minor 7th Chords ~ Root Position - 2 Bars Each. In Jazz, a dash (~) is used to denote Minor and it usually implies the 7th, too, If triads are desired they should be indicated. D-|) Boe) F- | a-| C-| E-| B- 1 ceils sea ate] 7 | G- | Ab= | A= [3] =| Eps Bb- | E> | aN Le, : | ie Db- | Ab- | D- 2 Ex. #16 Dominant 7th, Root Position - Random Root Sequence - 2 Bars Each 4 C7 | Av | G7) BT] D7 ABT) EF) Bz Wy Fa? | 7) Db7 | Ab? Pee |S] PPPs] | aaa eae ed af AT) EV) BT b7 ee m (gee ey grag Sz a ary Ex. #17 Major 7¢ inor Tih & Dominant 7th Root Position - Random Root Scquence - 2 Bars Each EPPS PS TESTE PEST reels ane ee 1 FPS e Sie | eles] 2 TPs |Ex. #18 Major 7th, Minor 7th & Dominant 7th. Varied voicingsin R.H., LH. plays reot - 2 Bars Each ol el 4 2 2 {| 2 |= | z 2 2 A- | BoS | Eb? | Db? 2 2 2 2 AT ADT | BT | 2 2 2 | c 2 | irieiel el | *8- | - | Bb-| aur | 2 2 2 2 | Fv | Eb7 | ra | Fe | Gs | AbT | A- | Bb7 | Bo | c- | Deo \ 2 2 2 2 2 2 2 2 2 2 2 Ex. #19 Major, Minor, Dom, 7th Walking Bass 4 Bars Each 4]} c- | F- | D- Bb- | Av E- EDS AbT pps | ch 4 4 4 4 4 4 4 4 4 4 4 B- Bh E- Bb7 Fico F- Bb- | EA | FA | = | 4 4 4 4 4 4 4 4 4 4 Dpo G4’ | ppt | apt | GA cA G- 4 4 4 4 4 4 4 Eb-| Db-| C7 | FT By | Gb? A= | Bb-/Eb | yA | PA 4 4 4 4 4 4 4 4 4 4 Db- | F¥-| B- mA | ad Bh- | B- | cA | 4 4 4 4 4 a 4 | Ex. #20 Major 7th to Minor 7th or vice-versa 2 Bars Each 4 ep4 | Eb- | E- | E4 a} 2 llth papel | | ISIS le ie lel 2 2 2 2 2 2 F-) FA; e- |] BAY EF Fa 2 2 2 2 2|2 AS 2 -|ca mere 2 2 2 SF | AeBenin Half-diminished Chords Random Root Sequence 2 Bars Each <| 2) ee ae ee ee ee | 4 2 2 z 2 2 2 2 2 2 2 [Ate | BB: | BB: [Re eT SE Te | a ae Oe ee ae le |e bs Le Joe Lee Ex, #22 Diminished Chords Random Root Sequence - 4 Bars Each 4 D°7 Pe? FT | EF AST De? Cr Eb°7 BT HPL A PN | mn | a | ar | nt | id | a | o | i | Gt (3 |" \ NOTE Ex, #23 This exercise uses the diminished scale 79 resalving ta tonie (1) {HWHWHWHW) as a substitute scale Random root sequence tor the dominant 7th chord/seale. This Chord of resolution may be Major or Minor, is @ very popular sound! It may take 8 Bar Phrases. awhile to get used to it, SHE PLS We Le eee ll ‘a Oo ee ea 579 Cd Oy b= jp). 7b? {pp E7>? | A= -(g c79) ee ee ee eM ASRS Ex. #24 Whole-Tone ¥7* resolving to Tonic (either Major or Minor), (Whole-tone scale degrees = 1 2 3 +4 45 b7 1) Whole-tone scales contain 6 tones... ae US Me se eee Me ee foe? ae mse all oN bee wes vicar a : ras | my 2] 2 6Ex. #25 @ WM | V7 11 | 1M (Two, five?, one). 8 Bar Phrases. ‘|: a-|p7 | fe | Gs ll ap] Doz | gv | oot ffl: E- | aT |p | > ‘ll ee | 7 [| o | ow | & | o | BY c-|"7 | BoA | Bb fk a-|p7 | 64 | o4 ‘lf F-| Bb7 | Ep | ses |] B-| i ‘fl: Bp-| B07 | Ab’ | and ‘lf o-|o | pa | ea :|| p-| G7 | c8 | afk c#- | we | 4 | 24 fk: Ab-| pot | cod [and :|] A-|07| a4 | os ffl c-|F7 | Bod | sod lk: Eb- | Av7 | pod | pod | B-|e7 | a4 | a4 fk s-| cz | rs [rs fl: z-| av | pd | va ff Ex. #26 Wrap-Up Track Random Qualities Random Root Sequenees 2. Bars Each 4 |] G79) c-| G7? | c-| a7? | bd | Fa7b? | Ret! E-] Bp7S| aA-| BIS 4 2 |2 2 242 2 2 2] 242 2 2 F-/Bb | Ab7>9 | pb’ | G-| F-| EG | Ge BoA) Aa A-| ag 2 2 2 2,22 2 2 a 2 2 Eo | F- | EpA | D- | BO |e AS | Bos | Eb4 | | =| 2 2 2 2 2 2 2 2 2 2 2 F7b9 | Bb- | anys | 29 | sms | cA | Bp7b? | az? | py | >s6 | 2 2 2 2 2 z 2 2 z 2 mn Be [AR [G01 | 88 } a : 27 ~ 3 M 37M a a BM =a 2 = a a . =I T J —t—{— = fF a. a= iT a. B Mm a, “4. M = Aa. = AS. c = M 46, =a Mi ® a7. ae. = a8, *Legen : M=Major §=Oclave @=Malfdim, +=Raise /2Slep b= Lower 1/2 Step nor A= Major 7th 7=Dom.7ih P= Perfect R. 8 |. = Right Hand = Left HandEx. #8 @ The answers for this exercise are not given, Use the INTERVAL CHART on the last page as an aid. Each melodic phrase is played twice. Use your review button to help identify each phrase. Ex. #9 Major Triads = Root Position - 1 Bar Each 4] gl cl el cl al cel Gl oe] cl pel] cy lee | cel op] plo el al] cl wl vl cl el Pa ta le toe | a tore To Bt eb] ore dope lh Ex. #10 ‘Minor Triads = Root Position - 1 Bar Each fy} oe | ce 1 e- 1 ab] De] pe] ce | ee toe | | F- | av- [| ce- | e- | Bee | B- | G- | re-| B- | | o- | G- | e- | pe t pe |] ce 1 or | ouaell Ex. #11 Major and Minor Triads — Mixed - 3 Bars Each STEP ISPS LE PTET] [PL SIS 1s [SL SIS) TL SL BUSTS Ex. #12 Major and Minor Triads = Mixed = 1 Bar Each 4 \ D-| Eb [FH] F [B-|G- [FA | Eb] CH] A] FHA] Eb-] F [Ab] PR] G-[ E-[C [FA] 4 | EB-| Ab-| B-| C#-] B-]D-] G] B] FH) Rb] Eb-| FH-| re] G-| C-| FP] Bb) ED] | Ab-| C#-| E-] G-| B-[C] Eb] C] Fe] G-| A-| G-| C]F |B | Eb) Ab [B/D-]] 9Ex, #13 Major and Minor 7th and 9th Modern Voicings ~ 4 Bars Each are eS LE yey See ee) See Peppy spp ae pey a is [espe] ey ey ey \’r Aa = Bee ey PH “ pf | ey c- PRE P| fel A] See PS Se ee Ex. #14 Major 7th — Random Major 71h Chords - Root Position ~2 Bars Each 4y Bb* ) Epo) a4 yD and | a4) CH) Bes) PA pA pS prHA) Abd) EDA WTP ATS PAS ares Sle repes Yes Ae) = aia ant Ex. #15 Randotn Minor 7th Chords ~ Root Position — 2 Bars Each. In Jazz, dash {-) is used to denote Minor ‘and il usually implies the 7th, too, If triads are desired they shauld be indicated. 4] Be |S cp | S| = | a | al fell Bb- | ape >] | B| Pepe Le Sle) els) els “iE | F “|? Ex. #16 Dominant 7h, Root Position - Random Root Sequence - 2 Bars Each all D7 | a al | FY] aul eae Ee | r| | "| or "| VEIT EP TUPLE TIPE Le Ex. #17 Major 7th, Minor 7th & Dominant 7th Root Position — Random Root Sequence 2Bars Each 4 ‘| SUPPLE TSP T PPP yyy G- 2 BT G- Ev pA Bpd A- | F#- | G7 c- P/PLPI Pl Rls le le 1s] Ab7 | B- | C#7] DO | pA] F7 ce EB’ | Ab-| F7 | G4 PLS Spe Se Pr Se | Prep eis|Ex, #18 ® Major 7th, Minor 7th & Dominant 7th, Varied voicings in RH, L.H. plays root - 2 Bars Each Hrlttr ie lee lylel erie sl | ab-| a7 | Fa- | Bor | ce | | = | | | & | 5 | Z 2 2 2 2 2 2 2 2 leleleie is iy leis ie ele Ex. #19 Major, Minor, Dom. 7ih ‘Walking Bass E-| c- u7 | r#-| FS | Bb? | Evo | DA 4 4 4 4 4 4 4 4 re- | c7 | - | G- ce | rae | Ga | Ap | 4 4 4 4 4 4 4 4 Fe F- ad] cA A- 4 4 4 4 4 F- b= | DT G7 CHT | Ab7 G4 4 4 4 4 4 4 4 ase | G- | | Fa | bs | cs | ps | 4 4 4 4 4 4 4 4 Ex. #20 Major 7th to Minor 7th or vice-versa 2 Bars Each ay Fa F re-| re) G-| G4) re-y pA] G-| G47 Dd] D- 4 2 2 2 2 2 2 2 2 2 2 2 2 free [ee ae ee eee) Bee | Bel al eI 2 2 2 2 2 2 2 2 2 2 2 2 z PSPS Sle rele? 1Ex. #21 ‘Half-diminished Chords Random Root Sequence 2 Bars Each PIP PIPL PL ele eye le Peieie e ie ee ee | PIP ie le Piel ele lel el el Ex. #22 Diminished Chords Random Root Sequence — 4 Bars Each 4] ET | Ab°7 | G7 | Fe°7 | Bo? | EB? | D7 | rv | | 4 4 4 4 4 4 4 4 4 4 | Bar | me | “ [Ay | cer | oy | Fay | au |e | P| Ex. #23 NOTE: V79 resolving to tonic (1) This exercise uses the diminished scale Random root sequence (HWHWHWHW) as a substitute scale Chord of resolution may be Major or Minor for the dominant 7th chord/scale. This is a very popular sound! It may take awhile to get used to it Sh PL Me PPR SPS IR Ppa SP al $ Bar Phrases. I~ 2 AMI) A ay Bb79 | Eb 9), G ps = JI); 3=./N: F- Bee ea ae a SS? |e Ex. #24 ‘Whale-Tone V7* resolving to Tonic (either Major or Minor), (Whole-tone scale degrees = 1 2 3 +4 45 b7 1) Whole-tone scales contain 6 tones. He PSS tk P| ek | sl ae Sk Py - bers rs ner a parts |B 2 42 2Ex. #25 MIL | V7 | E11 lf wo, five 7, one). 8 Bar Phrases. alk B- [er [as | ad lf} Bb-| Eb7 | Abo | Ab Al re-| BT | EA | EA | ||: I: ili Ik lk mn l| Fe- | u7 | E- | aT | Fe | BT | EA ll p-|c7| cA | of df: B-|z7 | a4| Aa Al g-| er |» | pa ‘ll ca] ra ab] 9 ff c=] [m8 fm fe a-[pr jot | 8 E-|a7 |os | 2 | Ev | avr | cvA| cat AE Bp -| Bor | apt | an’ dl] B-|e7 | ad jaa ‘ll: D- | G7 Jos |e fe F- | BbT | et | Epa Fl ca-| re | eS] v4 ff a-| 07 | 64 Gh MII: ¥-| r | BS | EA | Ex. #26 ‘Wrap-Up Track Random Qualities Random Root Sequences 2 Bars Each 4 {| a7? | p- | a7? | D-| B7>9 | 4 [av | avd) Fre 4 2 42 2 2/2 2 2 2 | 2 ers | Be ons 2 2 2 G-/c | Bb7>9) EA | a-| G-| FO | ao | cS| po] B-] Bo 2 2 2 2,2] 2 2 2 2 2 2 Fag | G- | FA E- | a | re? | Bo | ca | Fa | B- | 2 2 2 2 2 2 2 2 2 2 2 | o | c- | wert? | eo | ars | pa | cn jsp? | & | e4 | 2 2 2 2 2 2 2 2 2 2 oN | a | nat | yt | a] | ae | Be | | me] et | E-] 2 2 2 2 2 2 | 2 2 2 2 2 1S“EXERCISES #2 THRU #7 Ex. #2 Ex. #5 Ex. #6 Ex. #7 2nd’s 6th’s | 7th’s & 8va | Chord/Seale Qualities = Ad 4, a M 3M 5 3 4. Eg 4. 5._M M 3. 6 = M B 6. = M +4 = M EG 7 3M M PS = a F- 8. 5M. M = = B= 3. 10, M 7 PS. = M FA 1. d= = wl = M A n. = LC ooo Fas 13. LM | Ow 14 GH 15. AG Ts. E? V7. = _ | iM & Fad 19. 20. = = + = = FR 20, 2. M. M Pa - = EDA 21 z- M PS = = AG 22 3. M +4 = ABS 3 24. M = PS. = AT 24, = = +4] M D-@) 35. 26, M M pa M M. EDAO) 26, 27. M = PS = a EH@) 2. 7 M . M M M =/2| =) el af foe] fs fos | a3. eW2Step b= Lower W2 Step ight Hand = L.H. = Left Hand a= Octave: @ = Half-dim, 4Ex. #8 @ The answers for this exercise are not given. Use the INTERVAL CHART on the last page as an aid, Each melodic phrase is played twice. Use your review button to help identify each phrase. Ex. #9 ‘Major Triads — Root Position — 1 Bar Each ‘il Bo | abl! DI G| ep| an] pi sl Gl F | av | lce |] abl al om] Bl ml Gir [a Io |B | le |e [|e |r | em | ce lL rel sol c#l F fl Ex. #10 Minor ‘Triads — Roat Position - 1 Bar Each Ay wee Eoab- to pet oeb-] a-PoF- |G PB oe | c- | ep- | an- |] Bp- |] F- | Fe- | p- | cH- | FE] | a- | pe | Be | oa- | ore [| ape I | e- ll Ex. #L Major anet Minor Triads - Mixed ~ 3 Bars Each ‘I a | al en el me] a= | F | D fee ale ee Se at 3] 3}3a 3 [3 | 3 }3]}3 ]3 13 13 [3] 3 |3 [3 | 3 Perdis Lele] ke. Ab | G 313 3 Ex. #12 Major and Minor Triads - Mixed - | Bar Each 4] A-| Bb | Ca] C [F#-| D-| C# | Bb] Ab] E) C#+ Bb-| C] Eb] C# | D-| B-|G | CH | Bb-| Eb-|Fe—| Ab~| F#4 A-] D] Fe] CH) Bo] Bb-| C#-| CA] D-] G-| C] F] Bo | Bb=| Ab=|B—] D~ | B-[G [Bb |G [CF] D-]E- | D- | [C | Fe] wo] Eo | FA] As 6Ex. #13 Major and Minor 7th and 9th— Modern Voicings - 4 Bars Each SPELT PR LR SPOR Sey Spee ae [Fr [so BA ey mee Crs | a“ awe Sey ryt F “pr ALPS el PLP Piers sea Ex. #14 Major 7th - Random Major 7th Chords - Root Position ~ 2 Bars Each Fa Be eS aS pep ped | abd) PA) co 7p Ay ad cH) BBA) BBY a] 2 (2 |" |" >| 2 2 2 2|% 2 2 Eel ae | el a m| eit wo je 4% | | all Ex. #15 Random Minor 7th Chords — Root Pasition - 2 Bars Each. In Jazz, a dash (-} is used te denote Minor and it usually implies the 7th, too, If triads are desired they should be indicated. {|| | Gs | Ae | Hr | | ayy Eel er] E-| F- [re 2 PPE IS SITES EE ed SEIS Ex. #16 Dominant 7th, Root Position — Random Root Sequence — 2 Bars Each 41 3 AT ee ar) Be] me é porary or | eu ce ae " Fe on Abi a1 | PUPS SPP) Ts Ex. #17 Major 7th, Minor 7th & Dominant 7m Root Position ~ Random Root Sequence ~ 2 Bars Each ‘I ea a 2 nit Be me papel Pell, rp PPP l~ Preise ts PPPS Pl Sis gee PL ers isl@ Ex. #18 Major 7th, Minor 7th & Dominant 7th. Varied voicings in R.H., L.H, plays root — 2 Bars Each Weisel e Sle Pls) e Ey ee | GT | 2 2 z SPS (211s eel eo Pleieie ie Ele el eee Ex. #19 Major, Minor, Dom. 7th Walking Bass 4Bars Each ‘I a> | Or | ar] G- [er] S| ° | FT | ee] ae | 4 4 4 4 4 4 4 4 4 4 4 STS S19 Sle, eel 4 py sy | el e | Bye fe | ee yt [ee 4 4 4 4 4 4 4 4 4 4 c- Bb-| AT DT 4 4 4 4 ayn: | Bet | | oie |e | m | Bb-| Eb-| Ab-[ D- Fe-| cA Fah G- | Ab-| aS | 4 | 4 4 4 4 4 4 4 4 4 Ex. #20 Major 7th to Minor 7th or vice-versa 2 Bars Each SPSL TTP PSST TT STE eis ceases | EA | [st] Ba | B= | andl Ane | La s | | Bat] fe -] a lee a ee a be as We al 7@ Ex. #21 Half-diminished Chords. Random Root Sequence 2 Bars Each ‘| Ao | cH | Ag FHO | BO ba co BO EO FH 4 2 2 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | | 2 ee |e PP ee ee ee es Be Peele isl el el sel el sl eel Ex. #22 Diminished Chords Random Root Sequence =4 Bars Each Hi Be? | Eb°7 | Do? | ce? | Fer | BT | AST | cr | OFT | 4 4 4 4 4 4 4 4 4 4 | Ets | ee | Be | Boer | ay | ar | ial Lu | an (ey NOTE: Ex. 023 This exercise uses the diminished scale 769 resolving to tonic (I) (HWHWHWHW) as a substitute scale Random root sequence for the dominant 7th chord/scale. ‘This Chord of resolution may be Major or Minor is avery popular sound! it may take 8 Bar Phrases. awhile to get used to it . Bd) EA iy bo lp, G7bo Aim edo - J FH SMe PS MP a SPP) Sa |e a P| al a bY p7b? . re 9 1h — In. J Pee ae Pe See Sl Ex. #24 Whole-Tone V7* resolving to Tonic (either Major or Minor), (Whole-ione seale degrees = 1 2 3 +4 +8 b7 1) Whole-tone seales contain 6 tones... tie | lk 3") S mere Me el ee? | Sol los Bes aorta is bse bo P22 ba Ug 2 1 a z 2t2 2 8a_i Ex. #25, HL | V7 ET! 1 U1 (hwo, five 7, one). 8 Bar Phrases. Uf re] om |e | 9 fe ef me 8 meh ce 8 : av-| con Fe FHA ‘fl: s-| cr} Fr | ra ‘lll: e- [a7 |os | po ‘ll a-|p7r| od | 4 ff: re-|o7 | cd | 5% lll: p-|ar | ct | cel] : B= | &7 Jas jas ll: by | eer | avs Aba (Ik F- | nov | 0 | Ep :|] 5 Fe-| pv | S| es All: a-| v7 [os | ch lll: c- | 7 | sv | Bp ll hoe fom foe | oo | co | om | ® if ab-| coz | re4| mv fff e-| a7] va] va {ff} c#-| Fer | B| v4 Ex. #26 Wrap-Up Track Random Qualities Random Rent Sequences 2 Bars Each 4] E79 | a- | e792 | a-| eed? | cA | ey7b? | ERs) ce] G7*S | Fe-| Ab7+5| 4 z [2 2 2|2 2 2 2°] 2 J-2 2 2 | D-'G | Bei BoA |= D- | one Eo G4 | pet | Fe-|] Fee z 2 2 |2]2]2 2 2 2 a 2 | oa | Bs |S | a a al e | ec | | al 2 2 2 2 2 2 2 2 2 2 2 | p79 | G- | F798 | BO | Er | aa | G7he | Fe" | B7 | BE | "2 2 2 2 2 2 2 2 2 2 i cam), Be | Be pee | Bat [eee [ae [cane] ee], ee [5 |] 2 2 2 2 2 2 2 2 2 2 2