ilinOf Ergf0ises is an outcome of systematic str.

uctural pnactice with three-, four-,

and five-note permutations. Each éxercise builds upon a singular idea and is
aimed at improving technìque, expanding improvisàtional volabulary, and
generating nFW material for composers and arnangerÉ. And while each exencise
functions individually, rhere is canbtancy Lhroughor[ in rhis way
achieve continuity in practice, which leads m fàcused depthe.
t-'-'"' - ,"n
- t prrvàÀ

I suggest that players pnioritiee an understanding of the architecLure of each

exercise a.s-.thsY begin to.practice,- Full comprehÀnsion in the beginning stages of
working with the material will facilitate memorization, transposition, a,id mà
exploration of new ter.nitories. As a model for: how these exercises might evolve
into new forms I have modified the finst four exercises with minor
deconstructions.
Before the deconstnuctio.n process I recommend wor'king with the material until
it has complete§ entered muscle memory. This will creatè full engagement with
the meditative quality of the circular motiin of these lines, Particu-laily for
pianists, developing this capacity willallow you to depart into improvisation w6h
one hand while continuing the original motion with the other. ihe mathematicel
naLure of these exercises creates multiple layers that may be too subtle to be
noticed in slower tempos. However, with speèd these hidden shapes will
announee themselves and unfold,
I hope you find productive tenritories while moving through this concise mirror
worJd.
- Uardan 0yseDian
 Girrumuolution

E cbl
r

o t+.J-J
51341245
L__.J_J-J r_rtl
1 3 4 1 2 4simile.......
rrllLL_J_J
fr?r-#t*^, fb+s- tbe - he t)-W* ilt.
eb

" L.J-L
L- ?b+ - h+r- ?? ilp il+ .., reL-, ?l-

a) a - J fr4

)ilc b.r r+L- ta

10

o" i- . bc-- qt. t -1' +1 bl

.rt l:-T-T.]

2
I
13

a) frr l1 J' J

L^ ta bo r ?l-

d-- TI
L.J-J-J

-o
,) ile - ht t^ ?b- ilct,- il+ . h+l-

d L-J-J-J l+..L'l I I I I

le .#?.s f b+r- * tL fr?h, L- fb+s- É4

-

Second invension major triads,

a whole tone apart between the top and bottom lines,
alternate and move chromatically
fonming patberns in seven.
Cirtumuolution l'ariante

d t+J L_J-.|-J L_ rr I I t__t_ I I ttllL-J-]-J

\- -fr? +r.it , . L Éb?r-t'r_ ) ?e -frt* - il+

--"- E

a) - VJ - J w
l- h- ilp L- r t L- )

t0

aJ n '' t a. l
bt"' qJ,- " ____L
I - a_t bt

'. Il- .. L ffii I

i

a'
l a) fr1" 11 Ò VU

,r
1a-
lJ ta L- r r. L-
I
I ttt

aJ L-l-L-l tltl E LrJ_J-J

?O fr" rL fber- ? -r frt ? , Éb+L-fb,.

A variation ot Girmmlolution;
the bottom line begins an eighth note laten.

Vardan Ovsepian Mirror Exercises 5

 Cyres

6 Mirnon Exenaises Vardan fhncnian I

l
Undulating Gyres

A vaniation of GYres;
the lower line starts an eighth note later.
0itotyledon

o+t ieJ..-
21 4'.1245215.1231
,,}? -] ? ? t )

a Ll lr) Lr Ll

412452151231 -
4124 -
i2 151254
-4
-1 -.

UÈ'l-)tJl
212542125421
..rrl-i--t?

A shape
containing a second, a fifth and another second [B - C# - G# - AJ
moving inside a diatonic scale.
 illagnoliopsida

a) --
21 412452151231
C?
+- {- ?C
-r-{--???}-}

o t-l l-) È' -

412452'l - 51231 412452151254
C-
-a

a) r- l
É I
-
212542125421
),? e?
t- t-

The shape ot Dicotyledon

in a different key.

Vardan Arcepian Mirror Exercises g

 flhomlrit [attim

Fm

AJ ''
I-I-I-J
) ,
F fre

l--ry

+
?ÌtrÌ??

r_-.I_-|
^

'1 O Mirror Exercises Vardan AÉepian

 {

L- , L- b+ t t ? t L- t

a) a

L.

Minor pentatonic scales

move in a twelve-tone row:
C# Eb F E F# G# G A B Bb C D - ascending,
C# B A Bb G# F# G F Eb E D C- descending,
using five-note permutations: 14253 - uppen line, 52413 - lower line.

Vardan Arcepian Mirror Exercises 11

 T

lltrlique t attil:e

Fm

È +l

et LI - bt,
)FO+- ?t- ?frÉ a ? Fbp

r&
 d r+J
b-
{
ile ilg É ? t ,. ? É Fbt t
,. | | rrtt-

+(
L--J-J-J tttl
bgfr* ) il,_., fr+ he ilp. ,. tb- ? he
-5

r_rll a

bgLtL-bt t- ? t L- o

a) e

l-

A variation ot fl[ombic tattioe;

the bottom line enters an eighth note later.

Vardan Asepian Mirror Exercises ,l

a
 r,!
ì

T'(trque

2 3 4 5 3 4 2. 3 12345342 31234534

23123453 42312345 34231234

t_ L- -L- -)LL

o
53423123 453423',1 2 3453423',|
I

ìI
ì
l
14 Mirror Exercises Vardan Arceoian ,!
)
Irafial

o 1- 1-
2342 t2 J 4 1 23 4

È.+ f,- b- e t ) L. L

11

2t2 J 4 2 I 2 3421
L- - L- I

o Érl È |

2342 31 23 4231
- {

ri

10

a)
3413 4231
LLL- t-,r :
I

I
 lmhrirated

Bdim
Am

1 3 4 2 1 e 4 1 342134simi1e.......
a

a) I

) i
ta t- ? ta ? ? . F ?il* ? ?he

a)

)
. F ?il+ t ?i+
-r'tttt-\
? É *** t ? h* ? t

18 Mirror Exencises Vardan (ntqpnian

 11

tttt
d

?t?ttt a

Each seven-note group outlines a tr"iad within A natur"al minor [Am, Bdim, C, Dm, Em, F, G].

Vatdan Cfusepian Mirror Exercises 19

 l{inetit

a) # -.-- #
1 352123454321253 simile.,.....

+ )

a L ? t

d."E - " E)

O ?

aJ'"EÉ) - ', EÉ

) )
-5ì

ov' :
=
b,_, t- D?i
I

t-

20 Mirror Exercises Vardan f)vsenian

 :

-h.r I hpl t"

#
? t-Tl )
- +1
-

a)
# l-J -Ll
- -
-
1c l-l-l-l - : :1 l-l-l.l
=t= F

- -

dr #
IJTF _r-
--
 Saros

ADie-+-
'2'1 352124 52123421
L.

3
s

a
3 4 3 E 2 3
3 5 2 1 2 1 3 5 1 3

4h ,e
o
52313523 1 3 5 1 3 5 2 1

22 Mirror Exercises Vardan [fusenian

 lntlas tit

r.W a) LH

1134 21352 3 1 3 5 4 2 1 3

# ?? tr
e
?
ts+
I

r
++)

#
4

Within the augmented scale: C Eb EG Ab B.

ù.
[_
r

;.

I
F
t
t
b
t
b
ft

OywianlMinwfui*
[*
 Guillothe

?,'r
35231352 31325 313
Ce

+{
o
25313253

24 Mirror Exercises Vardan Ovsepian

 lnvolute

13521352 31352',1 35

23125321 25321253

Alternating two opposing shapes: F Bb C E and B E F# A.

Vardan Ovsepian Mirror Exercises 25

 t
I

,rolymhrian

C A

o f-tlll''l
24351243 5 1 simile..,....

f--r-r t^ [- h-

d l-....-J
I

t- ---T-----] I
j

The five-note groups of the upper line chords [C A F# Eb E G Bb DbJ

mirnon the lower line progression [A C Eb F# G E Db BbJ
using five-note perm utations:
24351- upper line, 423'15 - lower line.

26 Mirror Exercises Vardan Ovsepian

 Conf luente

a e 'ì
134212 3 4 2 simile....

tL-h- I

- ll

t) rt

-r-

A mix of two pentatonic scales:

Cm in gnoups of foun
and
C#m in groups of five.

Vardan Ovseoian Mirror Exercises