Composition Tools

Index
Year 1
Phrase structures ……………………………1
Generating Melody …………………………2
Harmonizing Melody ………………………4
Adding Variations …………………………..5
Using and Manipulating Triads …………….8
Using and Manipulating 7th Chords……….10
Chord Substitutions ………………………..12
- General Substitution …………………. ..12
- Cadential 6/4 ……………………………13
- Augmented 6th Chords …………………14
- Neapolitan 6th Chords ………………….15
Modulation …………………………………16
Pivot Chord Modulation ……………………18
Melodic Cell Manipulation …………………19
Modes ………………………………………21
Chord Scales ………………………………..23
One Note Chords ……………………………24
Polyrhythmic Cell Development ……………25

Year 2
Counterpoint ……………………………….28
Form ……………..…………………………29
Melodic Development Tools ……………….32
Effects …………..………………………….35
Harmonization ……………………………..39
Embellishments …………………………….41
 #### 3 œ ˙™ œ ˙™
& 4 Step 2: Identify Phrase Lengths

 œ œ œComposition Tools
Phrases are usually all of the same length, i.e. they’re the same number of bars long. The most common length of a phrase is 4
œ œ

 reasons for this are that:
#### œ œ œ œ œ ˙™
bars. The œ œ œ
&
- 4 bars is a long enough time for a melody to fully unfold, and 

- It’s usually a good length to sing in one breath
Year 1
Phrases are usually grouped into pairs - a question and answer. This pairing forms what’s called a period.

Periods will often, but not always, start out with the same material - this is called a Parallel Period. Mertz’s Andante uses this
####
kind of phrase structure.
œ Phrase
& œ œ œ œ Structures:
œ œ œ œParallel œ œPeriod œ œ œand œ œPeriod œ œ œ œ
If a Period doesn’t start the question and answer with the same
œ material, then there still is likely to be some kind of repetition.
œ ˙™ œ œ
Lagrima contains a Period like this, but notice how there is still repetition.

#### œ œ œ œ œ œ
œ œ #œ Œ Œ
Parallel Period
œ œ Œ Œ nœ
œ Question
œ and answer
& œ
Andante - Mertz contain same
œ material
Œ

4 Bars - Question
˙ œ œ œ œ œ œ œ œ
&c Ó Œ œ œ Œ
4 Bars - Answer
˙ œ œ œ œ œ œ
& Ó Œ œ ˙ Ó
Same material
Question and answer

œ œ œ œ œ œPeriod
don’t contain same
Lagrima
& ‰ œ - Tarrega
œ‰œ œ œœœœœœœ material
œ œ œ œ
œ #œ 4œBarsœ- Question
œ œ œ œ œ
#### 3 œ œ œ ˙™ ˙™ œ œ œ
& 4
& œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œœœœœœœ ‰ œœœœ Œ
œ4 Barsœ - Answer
œ
œ œ œ œ
#### œ œ œ œ œ œ œ œ ˙™
& œ

!5

####
& œ œ œ œ œ œ œ˙™œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1 of 41
#### œ œ œ œ œ œ
& œ œ Œ Œ œ œ #œ nœ œœ Œ Œ
 w ˙ ˙ ˙

Generating Melody with Scale Segments:

w ˙˙˙ Materials Click Here ˙ ˙˙ ˙˙
& w

w
w w
w ˙
˙ #w
w˙˙ ˙ w ˙ ˙
& w w w w˙ w
w
• Scale Segments: If you take ˙small groups of notes
w from the scale, you’ll ˙find some seeds that
˙
w w ˙ ˙
canwplant

 a beautiful melody. w

C Major Scale
& ˙1 ˙ ˙ ˙ ˙
w ˙2 3˙w 4 ˙ 5w 6 7w 8
w w
w # w
w w
&& w œ œ œw œ
œw œ œ w œ w
w
& ˙ ˙ b˙ ˙ ˙
˙ ˙ b ˙
Try taking one segment and repeating it up and down - this is called a sequence.
##1## 3 œ 2 œ œ
3 ˙ ™4 5 œ
œ6 œ 7 ˙™ 8
& 4 œ œ
& œ œ ∑ œ œ
&& œœ œ œ˙ œ œ ˙ œ œ ˙ œ œ ˙
Segment:œ1,2,3 œ œ Repeated
œ Up (sequence)
#### œ œ œ œ œ œ œ œ œ ˙™
You can also play around with these segments
œ by changing direction and so on.
&
& 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 œœ w œ œ œœ œœ œ w œ œœ œœ œœ œœ œœ˙ œw œ ˙œ∑ œ œ∑˙
Let’s take
& œ a look at˙how scale segments
œ ˙ œ˙™ are used
œ ˙ œin the melody
˙ of Mertz’s Andante.
œ You could œ use
˙
these segments to compose with using repetition, sequences, changes of direction, etc.
Generating
Using Melody with
Chords to Chord
Generate Arpeggios: Melody
#
## ∑# œ œ ∑ œ œ ∑ œ ∑œ œ œ
&& 
 ∑
Œ Œ ∑ œ #œ ∑ n∑œ œœ ∑ Œ Œ ∑˙
bMertz Andante ˙Melody
œ
& ˙are built from˙ something called b˙ œ ˙
Chords ˙ a triad, which
˙ is three different notes stacked in thirds (please
œ referŒ to the
chords appendix for more information, theory and exercises relating to chords).

6 only5 occasionally.
4 3 But 7when 8you do leap,
œ œ ˙˙
Melodies will usually move by step - leaps should be something done
œ œ ˙
3 4
try and use chord motion. All you need to do is arpeggiate the chord.
& œ œ ˙ ∑∑ ∑ ∑
œ œ ˙
&& cœ œ ˙ œ œœ œ œ Ó ˙ Œ œœ
˙ œ œ œ˙ œ
œ œœ œ œ Œ ˙
C Major
& Œ3 Œ
& Ó Œ Œ Ó 4∑ ∑ ∑ 6 5∑ ˙ 7 ∑ 8 ˙ ∑ ∑ ˙
˙ ˙ œ ˙
œ œ œ ˙
œ ˙œÓ œ Œ Œ ∑ œ ∑œ œ ∑ ˙ ∑ Ó ∑
&& œ œ œ Œ Œ ∑
œ œ œ
Root position 1st inversion 2nd inversion
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
˙ ∑
&&&‰ ∑˙œ œ œ ‰ ∑œ ˙# œ œ ∑ œ œ œb˙œ∑ œ œ œ∑ ˙ œ œ∑œ œ œ˙œ∑ œ œ œ ∑œ œ œ 2œof!3∑œ41œ
b˙
It’s well worth practicing
œ major
œ and minor triads in
some different keys so that you become fluent with
 some different keys so that you become fluent with
them - especially chords of the key your piece is in!

&& ∑ ∑ Appendix
∑ 2: Chords
∑ ∑ ˙for Practice
∑ ∑ œ ∑˙ ∑ ∑
Generating
œ œ Melodies byœCombining Scales and Chord Arpeggiosœ œ
˙ œ œ



•&Combining
∑ scales ∑ and chords:
œ Œ ∑ Melodies∑ are often
∑ a combination
∑ of
∑ scales and
∑ chords.∑It’s ∑
therefore useful to practice these building blocks separately and together. Try to find patterns that
& œ œ œ Œ œ Œ œ ∑ ∑ ∑ ∑ ∑
œ œ œ
you can repeat up and down (in sequence).

Chord Sequence Up
& ∑ ∑ Scale segment
∑ ∑ ∑ ∑ ∑Sequence Up∑ ∑ ∑
œ œœ w ∑
&
œ œ
œ œœ w œ œ œ œœ w œ œ
I - I love you my dear

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
A great way to generate rhythms is to think of words or lyrics that go with you melody!
Play the melody above and say the words as you play.

!7
&
 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 of 41
Adding primary chords to your melody: simplified


Question
Harmonizing
Ascending
Melody with Primary Chords:
Desccending

Here’s
4 a simple and∑ quick step-by-step process for adding
Materials Click primary
Here chords to your melody. You will need to use


Appendix 3 as a reference.
& 4 ∑ ∑ ∑

Step 1: Choose which notes you will add chords to:

Answer Ascending: Repeated material from question Desccending
2
Tip: select notes that fall on strong beats (i.e. beats 1 and 3 in 4/4
∑ ∑ ∑ ∑
time).
&
œ œ œ œ ˙ œ œ œ œ ˙
& œ Ó Ó
These are the notes I’ll add chords
Question Ascendingto Desccending

œ œ ˙ ˙ œ œ
& œ œ œ œ ˙ Ó
œ œ œ œ œ
œ œ
&Answer
˙ Ó œ œ ˙
Desccending
Ó
Ascending: Repeated material from question

œ œ ˙ ˙ œ œ œ œ
& œ œ ˙ Ó
Step 2: Find those notes in the primary chords appendix:
Tip: try to∑ mix up the
∑ chords,∑with the only
∑ “rule”∑ being to∑add tonic∑ ∑ ∑ ∑
chords at the start and end.
&
Question Ascending Desccending

œ œ œ œ ˙ œ œ œ œ ˙
&&œ ∑ ∑ ∑ ∑ Ó∑ ∑ ∑ ∑ ∑ ∑Ó
Answer Ascending: Repeated material from question Desccending

œ œ∑ œ ∑œ ˙∑ œ œ ∑ œ ∑œ
&&œ ∑ Ó∑ ∑ ˙∑ ∑Ó

Step 3: Add those chords to your melody

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ etc. ∑
œ œ˙ œ œ ˙˙ Ó œœ œ œ˙ œ ˙˙ Ó
& œ˙˙ ˙˙ ˙˙˙ Ó œœ
œ Œ ˙˙˙ ˙˙ Ó
˙

œ œ œ œ ˙˙ Ó œœ œ œ œ Ó
& œ˙˙ ˙˙˙ ˙˙˙ Ó
œœ
Œ ˙˙˙
˙˙
˙ Ó
˙ ˙

4 of 41
 Adding Variations Through Embellishments:


Variations
Materials Click Here


Variation can be especially useful when you have repeated material, especially when one section of music
returns later on. Composers will often add variations in melody, harmony, rhythm, texture and so on, when a
section repeats. You can explore different ways of adding variations and choose the one of your most liking!

There are two main ways of creating variations that will be discussed
here:
1) Adding embellishments (grace notes) or ornamentation (divisions).
2) Changing the texture.

1a. Adding Embellishments

Etude 3, op.35 by Fernando Sor
A

(A) Ornamentation

5 of 41
 Adding Variations Through Divisions:
Mrs. Winter's Jump John Dowland
(1563-1626)


1b. Adding Ornamentation (divisions)
3rd string = F# Lady Winter’s Jump by John Dowland
Optional

 Capo at 3rd fret

      0        
4 0


4


1 0 2 2 0 0 2

 
1 3


0

  2  
    
4

 3   
1
0 
 3

      
4


3 4


1 0 1 1 0 0

 021     
2

          
3 3
4 3 2 1 1

 
   3 Mrs. Winter's 
0

 Jump
2 Jo

1b. Adding Ornamentation (divisions)

3rd string = F# Lady Winter’s Jump by John Dowland
John Mrs.
Dowland Winter's Jum


Mrs. 0 Winter's


Jump
Optional Capo at 3rd fret

   
2 3 0 2 0


3
7 (1563-1626)
 
3 3

4  
2 1 2 3 2 2

2 4

 Ornamentation
0
  (divisions)
      
0

 Jump
1 4

  Jump
Mrs. Winter's 1b. Adding Ornamentation
 
1 0 2 0

 
John Dowland 1 2

 1   byJohn
 Dowland     by JohnDo
1 3


0

   Jump 
  
1b. Adding
 
(1563-1626)
 
Lady Winter’s 3rd string = F#

 
 1b. Adding    
 
0 4

0 
Lady Winter’s
 
 3Lady Winter’s Jumpby John Dowland Mrs.
3rd string = F# 2 1
Ornamentation (divisions)  
Optional Capo at 3rd fret

4 




3 0


Optional Capo at 3rd fret 3


4

 Winter's
 Jump

3rd string = F# 0 John Do

4   0    1 0 0 4  2   1b. Adding

3      
1 0 2



1

 
0

  Ornamentation
4 0 4 (1563
2 
1 0 2 0 0 2


Optional Capo at 3rd fret 2

 

 1

  BII 1 6 0 0 144 23   1 0 41  0

0 0

 3  Becomes
2 4 23 0 3 3
    0    0    
(divisions)
0  1 

   3   02
 
    0 (divisions) 
4  2

Mrs. Winter's Jump
4

10 
John Dowland
  2 (1563-1626) 
   
   0 
 
1 33 2


 Ornamentation

3    01   4 0 23    41 Dowland
3rd string = F# Lady Winter’s Jump by John Dowland
  1 
1

   0   
 
4

2 
0
  2   
  Jump by John 1 03 20John 2  3 32 0
  
1 0 Optional Capo at 3rd fret 4

 2 


 0 
 
1b. Adding
 Dowland  
0 4

       
4 0 4 
Mrs. Winter's Jump

   
Lady Winter’s

       
2  
 02    1   3   1  
1 3 4

 
(1563-1626) 1 0 1

Dowland     
3




3


2 1

 0 0 2 3 32 0  2  31
4

3 

  3  02  31   Lady
3rd string = F#

3 4
Jump 41  0 41 1b.  0
 
1 0 1 1 0
ter's 0 
3 John
2

 2  
3

 
John
Adding 1 2 Ornamentation (divisions)
     
3

 4 (divisions)  7 1 by
0

 1  0 Jump
2

  
 Winter’s
2 (1563-1626) 0 0 2

 
1 2 3  2
 Dowland 2 
3

4  
3 0 2

 
3

  2    03   4 1 0 1           

 
Becomes
3  0  
    
4 0 14
     
1 0

 1
   
 2   4  0 4 2 

0 0
      
   4 3  
mentation
    
0 1 1

13 1   0  2  3  0    1 0 22 3 0 1

Dowland 
2Optional
 Capo at 3rd fret1



2 0

      0  4   3 23  1 37  
   
mp by John
3  01
4
 
4 0 4

    
2 1 0 2 0 0 2 4 0 4

0 2 3
1

   02    2 0 2 
1 3 3 1 0 1 1 0 4 0 2

  
3
4 

 10 2 2 3 41 2  3  2  BII

3

 2 3 0 
2    0 Becomes
 31   71  0  1 3  4  3  1 0 41 100 23  23 0  2   0 2 2 
     1 0
 
3
 
4

 
   4  
 
  

2 2 0 0 2


1 3

  3 
     3 
       1
3

 7         32        

 2 3 0    3    12 3    
6

    
  1  0    1  3  02  
4 1
4

00  12
2 1 3

        3  0    2   
2
10 4


4 0 2 2 0

    
0


0

    
3 1 2 3 2

 1 1 0 20  410 03 2 2 03 2 31 4 1 2   3 2


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
 Check 17 out   two
01 3 4
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   0 4   10   4   0 2

3 new

      Becomes 

2

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3 2 1

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2  Notes
     2   0  2 

1 3 1 0 4 0 2

2
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
      1     A1TAB
3 3

0 2 
1 2

 Appendix  4: Grace

23 isavailable.    
 10 1 2 work 3  3 Reserved.

 00  2   

 2  2   0 0
 
0 3


2edition of2 this 0


1 4 0

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1      
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© Bradford Werner 2017. All Rights 1

  
BII

& Blog: 
4

 
3 6

 Pro Video,
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 thisisclassicalguitar.com
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    1 4     BII   1  0 3  1 4 0      4 0 1 2
6

7 2  3 2 
4 0 4 3
0 2 10
0 4 2 2 2
4 0


2 3 2 1 2 3 2 2

 1  
3

 4   3  21  13    0 32 3 1 3 0
2


2 0 1 1 2 3 2 2


1 3
6 0 4
 Adding Variations Through Changing Register

Higher Register

Lower Register

28
6
7 of 41
 3rd 3rd
C 3rd C3rd
5 5
Major (1-3-5) C Minor (1-b3-5) Diminished (1-b3-b5) C Augmented (1-3-#5)
3
& 41 w
4
bw #w bbw
Using and Manipulating Triads w
w
w w
w w w
w
Materials ClickGHere

 Doubling
G Major (1-3-5) G Minor (1-b3-5) Diminished (1-b3-b5) G Augmented (1-3-#5)
- You can double (or triple, or quadruple, etc.) any of those three notes and that wouldn't change the chord's
&label (C-E-G-C∑is still C Major) ∑ ∑ ∑
Doubling


- YouWhich
can


double (orRung’s
triads in triple,Choral
or quadruple, etc.) any
have doubled of those three notes and that wouldn't change the chord's label
notes?
(C-E-G-CDisMajor
still C(1-3-5)
Major) D Minor (1-b3-5) D Diminished (1-b3-b5) D Augmented (1-3-#5)

& ∑ ∑ ∑ ∑

A Major (1-3-5) A Minor (1-b3-5) A Diminished (1-b3-b5) A Augmented (1-3-#5)

C Major with doubled tonic (C) C Major with doubled tonic C Major with tripled tonic
& ∑ and fifth (C and G)
∑ and doubled fifth (C and G)
∑ ∑

Subtracting
E Major (1-3-5) E Minor (1-b3-5) E Diminished (1-b3-b5) E Augmented (1-3-#5)
- You can subtract notes from a triad, most commonly the 5th above the bass (‘G’ in a C Triad). While this can
sometimes make identifying a triad quite tricky, the context should give you enough information to know
& ∑ ∑ ∑ 2 what the
∑
triad is.

COMMON UNCOMMON VERY UNCOMMON

& w w w
w
w w
C Major without the 5th (missing G) C Major without the 3rd (missing E) C Major without the root (missing C)

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Inversions and Figured Bass
- By changing the order of those notes, you get inversions of the triad.

a) C-E-G = root position

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b) E-G-C = first inversion
c) G-E-C = second inversion

Figured bass: numbers that represent the intervals above the bass note.
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
a) 5/3 = root position
b) 6/3 (or just ‘6’) = first inversion
c) 6/4 = second inversion

4
8 of2 41
Spacing


- Triads can be stacked (i.e. notes can be distributed) in a variety of ways, but two are commonly seen in music:

 open. Notice that the notes are ‘out of order’ in open position, however it’s still a C Major triad.
closed and

Other types of triads

In addition to major and minor triads, there are also diminished and augmented ones.
The quality of the third above the root note determines if the triad is major or minor.
But with augmented and diminished triads, the quality of the fifth above the root is the main factor.

Diminished triad = 1-b3-b5 (C - Eb - Gb): or minor triad with diminished 5th (think of it as the smallest - to
diminish)

Augmented triad = 1-3-#5 (C - E - G#): or major triad with augmented 5th (think of it as the largest - to
augment)
3

& bbw
w
w m3 d5
#w
w
w M3 A5

Diminished Triad (minor 3rd + diminished 5th) Augmented Triad (major 3rd + augmented 5th)

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Summary of Triads

Below is a summary of the four triad types in C. Since diminished and augmented triads are relatively rare in
music, you will not practice them on the guitar. But it is useful to understand their structure.
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fill out the triads in the given keys on the next page.

C Major (1-3-5) C Minor (1-b3-5) C Diminished (1-b3-b5) C Augmented (1-3-#5)

4
&4 w
w
w bw
w
w bbw
w
w
#w
w
w
G Major (1-3-5) G Minor (1-b3-5) G Diminished (1-b3-b5) G Augmented (1-3-#5)
35
& ∑ ∑ ∑ ∑
9 of 41
D Major (1-3-5) D Minor (1-b3-5) D Diminished (1-b3-b5) D Augmented (1-3-#5)
∑ ∑ ∑ ∑
 Using and Manipulating Seventh Chords
Materials Click Here



Types of seventh chords

There are five main types of seventh chords:

1: Dominant seventh = Major triad + Minor 7th above root

2: Major seventh = Major triad + Major 7th above root
3: Minor seventh = Minor triad + Minor 7th above root
4: Half diminished seventh = Diminished triad + Minor 7th above root
5: Full diminished seventh = Diminished triad + Diminished 7th above root

9



17

10 of 41
 


Inversions of seventh chords

Because

 seventh chords contain ThefourDominant
notes, thereSeventh chord is
are four possible the most
positions:
common type of seventh chord in classical
1: Root position (7) - root in the bass
music.
2: First Inversion (6/5) - 3rd in the bass
3: Second Inversion (4/3) - 5th in the bass
4: Third Inversion (4/2) - 7th in the bass

10
18

Each inversion evokes a different level of tension and instability.

The further away from root position you go, the most unstable the chord becomes.

This phenomenon will be very important when looking at the Rule of the Octave. It’s also helps us to inform our
interpretation, giving us information that we can use to add depth to our playing.
Analysis
Identify the inversions of G7 (marked with brackets) in the examples below.11 of 41


 Chord Substitutions
Materials Click Here


Substituting Chords
• Add a 3rd above and below the triad
Substitutions and Elaborations
Ex. F-A-C

 = (D)-F-A-C-(E)
Now F Major (F-A-C) can be substituted with either D Minor (D-F-A) or A Minor (A-C-E)
The Tonic - Pre-Dominant - Dominant - Tonic sequence can use substitutions and elaborations in every stage of
• the
Oddprogression.
and even chords substitute
For now Substitutions
each
we will other:
just lookInatCthe and
Major,
most Elaborations
F common,
is IV, Dm as
is iithere
and Am
are aishuge
vi range of possibilities.



Substitutions of Sub-Dominant
The Tonic - Pre-Dominant - Dominant -(Predominant) inuse
Tonic sequence can Major
substitutions and elaborations in every stage of
The predominantFor
the progression. (IV)now
canwe
be will
substituted
just lookby:
at either thecommon,
the most supertonicas(ii) or the
there are asubmediant
huge range(vi).
of possibilities.

Substitutions of Sub-Dominant (Predominant) in Major

The predominant (IV) can be substituted by: either the supertonic (ii) or the submediant (vi).

w
w w
w w
w w
w
&w w w w
ww ww
& w w w w
ww w
w www
w
& w w w
ww ww ww w
&(I)Tw PD wwD T
w w w w
w
w ww w
ww
(ii)
w (V)
ww(I)
w
w
&&w w w
ww ww
ww ww
ww w
wwww
& ww w w
w
w www
& w w
ww w
ww w
w ww
w
& wT PDw wD T
w
w
(I)w (ii) (V) (I)
w ww
w w
ww w
w
&Tw w w wD w
PD T
w w
ww w
ww
w w ww
ww
w
&&(I)ww w ww
(vi)
#(V)
w
w w(I)
ww
&w www w
w w w www
w
& w
ww w
w #w w
w ww
w
& w w # w
wTw PD
w
ww w D
w w T
Elaborating Chords
&(I) w
w w w w w
ww w
(vi) (V) (I)
w w
w w
ww
w # ww w
&& ww w ww
Elaboration of the
w
Sub-Dominant
ww
(Predominant) # w
w in Major
ww
ww
w
Through combining substitutions, inversions, sevenths, etc. you can elaborate (stretch out or expand) a
& ww
w ww # w w w
ww
w
Thesew two substitutes can be combined together to form an elaboration of the predominant.
w In this case, the ii
chord
& for
ww w longer, taking it through
wvarious
ww shades and nuances.# w
w www
w
wwis usually in first inversion.ww w ww
chord
& w # w
ww w
w www w
w w w
w
www w
Elaboration of the Sub-Dominant (Predominant) in Major
& w w w w
w w # www w
&w w w w ww
welaborationwof the predominant. w
These two
w substitutes can bewcombined together to form an wIn this case, the ii
& w
w w w
ww w # w w
w w
w w w w w w
chord
&
& w∑ w is ∑usually in first
∑ inversion.
w ∑ w ∑ ∑
w∑ w ∑ # w ∑ w ∑ ∑ w ∑ ∑
& wT ∑ ∑ w ∑ ∑ ∑ w ∑ ∑
PD —————————————— D T
w w
w w w w w
w
&w (I)
w (vi)
ww (ii6/3)
w
w w
(V) w (I)
ww w w
w w
w
w ww
w
&& ∑ w ∑ ∑ w ∑ ∑ w
w ∑ ∑ w
#w ∑ ∑ ∑ w ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& wT∑∑ ∑ PD
w ∑——————————————
∑ ∑ ∑ Dw ∑ ∑ w T ∑ ∑
(I) (vi) (ii6/3) (V) (I)
& w ∑ w ∑ ∑ w ∑ ∑ w ∑ ∑ w ∑ ∑
w w w
w w w
& w w w #w w
&& w∑∑∑ ∑∑ w∑∑ ∑∑ ∑∑ ∑∑ w ∑∑ ∑∑ w ∑∑ 12 of ∑41 ∑
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Elaboration
ww of the Dominant:
w w Cadential w6/4 w w w w
& w w w
w w w w
w
Cadential 6/4
w w w w w
Chordsw
& wthat share notes in common w can be used as a way w to unify them in terms w of their function. w
w w
w w w w
w

 a tonic chord and place
w
If you take w w
it in second inversion
w
(6/4), then it shares w
w
the same bass note as the dominant chord in
w w
root position. The Tonic 6/4 chord going to a Dominant in root position is called a cadential 6/4. Thisw
wprogression will
w
w w w
w w
w w
& w w
almost always conclude with a tonic chord in root position. # w
w w ww w
w
w w w
w w
w w
w
& w w #w w
Cadential
w 6/4 in major w w
w w w w w
& w w w
w w
w
w
w
w Elaborated Dominant w w
w Tonic
& w w
w w
I 6/4 V7 wI
w
 w
Cadential
& 6/4 ∑ in minor∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
bw
w w bw
w
& w w
w w
w Elaborated Dominant w
w Tonic
& i 6/4 ∑ ∑ ∑ V7
∑ ∑ ∑ ∑ i ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
As the name (cadential) implies, this short progression often occurs at the ends of phrases and sections.

Sor Etude 2, op.31

Cadential 6/4 in Major

Sor Etude 2, op.31

Cadential 6/4 in Minor

Cadential 6/4 in a nutshell: If you put/see the dominant note (5th note of the scale) into the
bass in the 2nd last bar of a phrase, then it’s probably going to result in a cadential 6/4.

For example:
Two G’s in the penultimate bar will probably form a cadential 6/4 in C major/minor (as in
the 1st example above)

Two E’s in the penultimate bar will probably form a cadential 6/4 in A major/minor (as in the 7
2nd example above)

13 of 41
 Augmented 6th Chords

 Augmented 6th Chords
Materials Click Here

Augmented 6th chords are a type of substitute for the subdominant chord (iv), as they share two notes in common.
They also function the same, being a pre-dominant and therefore wanting to move to the dominant (V). They are a more
colorful, spicier version of the subdominant and are often used once in a composition, usually around the halfway to 3/4
point of a piece.

There are three types, Italian, French and German, but the basis is formed from the Italian Augmented 6th chord. The
French and German are like substitutions of the Italian, created by adding a minor 3rd above or below the original iv
triad.

Italian Augmented 6th

Step 1: iv
ii chord (always minor): D Minor (D-F-A)
Step 2: 1st Inversion: F-D-A
Step 3: Raise Root Note: F-D#-A

### 4 ˙˙ ˙˙ #n˙˙˙ n˙˙˙ w

w
& 4˙ ˙˙ n˙ ˙ w
˙ w
I ivIV It+6 V7 I
For German Augmented 6th:
- Add minor 3rd above original iv triad D-F-A-(C)
### ˙˙ ˙˙ nn˙˙˙ n˙˙ #w
w
& ˙ ˙˙ #˙ ˙˙ w
˙ w
I ivIV Gr+6 V7 I

For French Augmented 6th

- Add minor 3rd below original iv triad (B)-D-F-A
### ˙˙ ˙˙ n˙˙ n˙˙˙ w
w
& ˙ ˙˙ #˙˙ ˙ w
˙ w
I iv
IV Fr+6 V7 I

F-Db-Ab
˙˙ ˙˙ ˙ n˙˙˙ ˙˙
& ˙˙ ˙ bb˙˙ ˙˙ Ó Ó Ó
˙ ˙ ˙ Ó
I IV bII6 V7 I

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑14 of 41 ∑
 


Overview: Neapolitan 6th Chords

Materials Click Here


Structure
This chord is built by lowering the second degree of the scale and building a major triad on that
Structure
note (for example, a Db major triad Db-F-Ab in the key of C major).
This chord is built by lowering the second degree of the scale and building a major triad on that note (for
Step 1: Take your note built on the 2nd degree of the scale (D)
example, a Db major triad Db-F-Ab in the key of C major).
Step 2: Flatten or lower it by a half step (Db)
Step 3:Take
Step 1: Build a major
your triadonon
note built thethat
2ndnote (Db-F-Ab)
degree of the scale (D) Step 2: Flatten or lower it by a half step (Db)
Step 4: Put that chord into 1st inversion (F-Ab-D)
Step 3: Build a major triad on that note (Db-F-Ab)
Step 4: Put that chord into 1st inversion (F-Ab-D)
Pre-dominant
Pre-dominant
The chord is usually put into first inversion (hence the “6th” in the chord’s name) and will often
move to the dominant chord (G if we’re in C major).
The chord is usually put into first inversion (hence the “6th” in the chord’s name) and will often move to the
dominant chord (G if we’re Em:
in C E-G-B
major).
Bm: B-D-F# C/E: C-E-G F#: F#-A#-C# Bm: B-D-F#
Same in major/minor
(i) (iv) (bII6) (V) (i)
It’s also the same chord whether we’re in major or minor (eg.##Inw
wboth C major andw
wC minor, the
# w w
Same #in major/minor
w
w w
w nw
w
Neapolitan w 6th is a Db major chord).
& w w w
w
It’s also the same chord whether we’re in major or minor (eg. In both C major and C minor, the Neapolitan 6th
w w w
is a Db major chord.

C : C-E-G F: F-A-C Db/F: Db-F-Ab G: G-B-D C: C-E-G

(I) (IV) (bII6) (V) (I)
w w w w nw
w
& w
w w
w bbw
w w
w w
w w w
w w
Fm: F-Ab-C Db/F: Db-F-Ab G: G-B-D Cm : C-Eb-G
Cm : C-Eb-G (V)
(i) (iv) (bII6) (i)
b bw w bw
w w w
w
&b b w
w
w
w
w w nw
w w
w
w w w
b
&b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b
&b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
15 of 41

bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
 Modulation
Materials Click Here




 Temporary
Temporary Key Changes:Tonicization
Key Changes: Tonicization


How do we get to the new key?
A tonicization 
 is where
Tonicization usesathe
new tonic ischord
dominant momentarily
of the newestablished. Thebeing
key, this chord original
namedkeya will usuallychord.
borrowed
make a return soon after this point. Very often, these moves will outline the way keys move in
Borrowed
the circle of 5ths,dochords
How sowe aretochords
they’re
get often thatkey?
are borrowed
referred
the new from of
to as a ‘cycle another
5ths’.key, usually in order to establish
How
 dothat
we key,get
Tonicization to

 or let
uses the
it ‘take
the new
over’.
dominant key?
While
chord
Pelzer's modulation exercises ofyou cankey,
the new theoretically borrow
this chord being any
named chord you
a borrowed want, the most
chord.
common
Tonicization

 uses one
the to borrow is the
dominant dominant chord
new(or its substitution, a diminished chord).
Borrowed chords are chords chord of the
that are borrowed from key,
another thisusually
key, chord being
in order named
to establish a borrowed chord.
How
 do wekey,get
that
By doing this,toyouthe willnew
or let it ‘take
move key?
over’. While you can theoretically borrow any chord you want, the most
through the circle of 5ths, as the dominant chord is the fifth above
Tonicizationcommon

 chordsusesareone
the to borrow is the
dominant dominant
chord chord
new(orkey,
its substitution, a diminished chord).
Borrowed the root. chords that areofborrowed
the this chord
from another being named
key, a borrowed
usually chord.
in order to establish
that key, or let it ‘take
By doing over’.
this, you While
will move you
through can of
the circle theoretically borrow
5ths, as the dominant
Pelzer's modulation exercises chord isany chord
the fifth aboveyou want, the most
Borrowed thechords
root. are chords that are borrowed from another key, usually in order to establish
common one or to
let borrow is theWhile
dominant
Appendix you6can chord
gives (or its
you these substitution,
borrowed chords inathe
diminished chord).
that key, it ‘take over’. Answers
theoretically borrow any chord you want, the most
form of exercises
common one to borrow is theAppendix
dominant chord youitscan
(or practice ona the
substitution, guitar. chord).
diminished
6 gives you these borrowed chords in the
By doing this, you will moveform through theyoucircle
of exercises of 5ths,
can practice on the as the dominant chord is the fifth above
guitar.

 By
the root. doing this, you will
Pelzer's modulation exercises
move through the circle of 5ths, as the dominant chord is the fifth above
the root.
Answers
Pelzer's modulation exercises
Pelzer's modulation exercises
The dominant
The dominant chord
chord of theofnewthekeynew key can
canchords
Appendix
Appendix 6 be6 gives
be
gives calledyou
youathese these
a ‘gatewayborrowed
borrowed chord’.
chords in the in the

 called ‘gateway chord’.
formofofexercises
form exercises youyou can practice
can practice on the guitar.
on the guitar.
C C7 F C F7
Tonicization Answers
B♭ C Bb7 E♭ C Eb7 A♭

F# From
B C
Moving
From Major
from C to Every
E major
C Major Other
to every
to Every Key
other key Key
Other
Moving from C major to every other key
Identify the gateway chords in each example (the penultimate chord)

 Identify the gateway chords in each example (the penultimate chord)
C7 The dominant chord of the new key can
F7 B♭
C F
TheCdominant chordC
ofBb7
be called a ‘gateway the E♭new key CcanEb7
chord’.
A♭

5
be called a ‘gateway chord’.
C7 C F
F7
C
B♭ B♭ CC Bb7 E♭ C
Eb7
A♭
Moving from C major to every other key
C F C E♭ C A♭
C F C B♭ C E♭ C A♭
5 Moving from C major to every other key
Accidentals will often be a clue that
C Ab7 D♭ C Db7 G♭ C F#7 B C B7 E
there is a key change occurring.
5

Scan the music to see how long those accidentals are

C kept - if Db7
that note is G♭
made natural
C soon
F#7 after,
B then
5
C Ab7 D♭ C B7 E
5 you’ve probably got yourself a tonicization! 4

9 C D♭ C G♭ C B C E

4
C Ab7 D♭ C Db7 G♭ C F#7 B C B7 E
2
C D♭ C G♭ C B C 1 of 19 E
9
C
9
E7 A C A7 D C D7 G C G7 C

16 of 41

C E7 C A C CA7 DD C D7 G G C G7 C
4
9 A C C C
3 of 19
9
 Sustained Key

 Changes
Sustained Key Changes
Lasting Key Changes: Modulation

 A modulation


is when a piece of music changes key for an entire section. These key changes will
usually help to outline the form or structure of a piece. (Sometimes the change is indicated in the
key signature and other times it’s not.) When changing keys in this fashion, it’s often done with
little to no preparation - the end of a section is enough to prepare the listener for a new key.

Lagrima by Tarrega


 A How Best to Modulate?



Modulations will usually change between keys that are closely related. That means they are next
to, or near each other on the circle of 5ths.

If keys are far apart on the circle, they are called remotely related keys. Modulating to remotely
related
The keys
circle can sound more abrupt and takes techniques that are beyond the scope of this course.
of 5ths
A good way to visualize the proximity of the keys is to look at the circle of 5ths. Read it clockwise and the keys move up by
5ths until 
you reach the place where you started.

Closely related key Closely related key

Remotely related key Remotely related key

12 of 19

20

21
17 of 41

13 of 19
 Pivot Chord Modulation


 Change from one key to another by using a common chord between the two keys.

This is a pivot chord modulation. The chart below shows you which chords are the
same between different keys - just match the color!

Pivot Chord Chart

Special thanks to Malcolm Perris for these resources!

I ii iii IV V vi vii
C Dm Em F G Am Bdim
G Am Bm C D Em F#dim
D Em F#m G A Bm C#dim
A Bm C#m D E F#m G#m
E F#m G#m A B C#m D#dim
B C#m D#m E F# G#m A#dim
F# G#m A#m B C# D#m E#dim
Gb Abm Bbm Cb Db Ebm Fdim
Db Ebm Fm Gb Ab Bbm Cdim
Ab Bbm Cm Db Eb Fm Gdim
Eb Fm Gm Ab Bb Cm Ddim
Bb Cm Dm Eb F Gm Adim
F Gm Am Bb C Dm Edim
C Dm Em F G Am Bdim
Pivot Chord Chart - Sevenths
I ii iii IV V vi vii
Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bmin7b5
Gmaj7 Am7 Bm7 Cmaj7 D7 Em7 F#min7b5
Dmaj7 Em7 F#m7 Gmaj7 A7 Bm7 C#min7b5
Amaj7 Bm7 C#m7 Dmaj7 E7 F#m7 G#min7b5
Emaj7 F#m7 G#m7 Amaj7 B7 C#m7 D#min7b5
F#maj7 G#m7 A#m7 B Maj7 C#7 D#m7 E#min7b5
Gbmaj7 Abm7 Bbm7 Cbmaj7 Db7 Ebm7 Fmin7b5
Dbmaj7 Ebm7 Fm7 Gb7 Ab7 Bbm7 Cmin7b5
Abmaj7 Bbm7 Cm7 Db7 Eb7 Fm7 Gmin7b5
Ebmaj7 Fm7 Gm7 Ab7 Bb7 Cm7 Dmin7b5
Bbmaj7 Cm7 Dm7 Eb7 F7 Gm7 Amin7b5
Fmaj7 Gm7 Am7 Bb7 C7 Dm7 Emin7b5
Cmaj7 Dm7 Em7 F7 G7 Am7 Bmin7b5
Cmaj9 Dmin9 Emin7b9 Fmaj9 G9 Amin9 Bmin9b5
Cmaj9"(#11) Dmin11 Emin11(b9) Fmaj9(#11) G11 Amin11 Bmin11(b5)
Cmaj13(#11) Dmin13 Emin13(b9) Fmaj13(#11) G13 Amin13 Bminor13(b5,b11)

18 of 41
 Melodic Cell Manipulation



19 of 41



20 of 41
 Modes
Materials Click Here

Major Modes:
1st mode - Ionian (major): C-D-E-F-G-A-B-C
4th mode - Lydian (#4): C-D-E-F#-G-A-B-C
5th mode - Mixolydian (b7): C-D-E-F-G-A-Bb-C

Minor Modes:
2nd mode - Dorian (#6): A-B-C-D-E-F#-G-A
3rd mode - Phrygian (b2): A-Bb-C-D-E-F-G-A
6th mode - Aeolian (natural minor): A-B-C-D-E-F-G-A
7th mode - Locrian (b2 and b5): A-Bb-C-D-Eb-F-G-A

Think of modes like modified major and minor scales, each with a slightly different flavor.

When using them, it helps to use the most distinctive notes of a mode. For example, Lydian is like a
major scale with a sharpened 4th note, so you probably want to emphasize that one.

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 Chords of the Modes



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Chord Scales

Take any chord and create a scale from it - what’s the result?

23 of 41


One Note Chords

24 of 41
 Polyrhythmic Cell Development



25 of 41



26 of 41



27 of 41
Steps to Parnassus
- These laws were codified in “Gradus adYear 2
Parnassum” (Steps to Parnassus) by Johann Fux in 17
- This
 book was based on the “perfect” polyphonic music of Palestrina, a 16th century compose
Counterpoint
- Many of the great composers (including Bach, Haydn, Mozart and Beethoven) studied this bo
Materials Click
- These laws of counterpoint have followed Hereup until music of today, though the 20th ce
through
revolutions in the language of music

Species Counterpoint
- Fux divided counterpoint into five different “species”, or exercises:
1) First Species - One note against one note (1:1)
2) Second Species - Two (or three) notes against one note (2:1 or 3:1)
3) Third Species - Four (or six) notes against one note (4:1)
4) Fourth Species - Syncopations
5) Fifth Species - Florid

1) 1st Species, 1:1 4) 4th Species, Syncopation

2) 2nd Species, 2:1 5) 5th Species, Florid

3) 3rd Species, 4:1

28 of 41
 

Rounded Binary
Form Form
Materials Click Here



Step 1Rounded
- Identify Sections:
Binary Form
A-B (A)

Binary form contains two sections, A and B, however the most common type of this form is called Rounded Binary
Form. This is where the A section material repeats within the B section, usually at the conclusion. While there
might seem to be three parts to this form, the repeat structure will present two clear sections.

A C Major

B
 G Major

(A) C Major

Ask yourself these questions

- How many sections are there?
- How many bars is each section?
- Are there repeats? Is there a D.C.?
- Do any sections return later on?
- What keys are each section in?
2

29 of 41
 
 Ternary Form
Ternary Form


Step 1 - Identify Sections:
A-B-A
Ternary Form contains three sections, with the 1st section repeated in full at the end. This form is often indicated
with a D.C. (Da Capo) sign at the end of the B section, taking you back to the A section and ending at the Fine
sign.

The B section will usually contain a dramatic contrast, often being in an opposing key to the A section (from
major to minor for example).

One of the most iconic guitar pieces in this form is Tarrega’s ‘Lagrima’, which will be studied here.

A E Major

B
 E Minor

!8

30 of 41
 Rondo
Rondo Form




 A-B-A-C-A
Rondo form contains several sections where the A section acts as a kind of refrain in-between.

The most standard form for Rondo is A-B-A-C-A and a key change at each new section
(sections B and C) is expected.

A note about the CODA:

A CODA is an extra section that is attached to the end of an already established form - Binary,
Ternary, Rondo, etc.. It often contains material that contrasts from all other sections.

Theme and Variations



Theme and Variations

This is perhaps one of the most flexible of the established forms. The work will be based on a
theme, which is usually presented in simple fashion at the beginning, sometimes preceded by an
introduction.

The melody will then go through a series of variations and each one will usually follow the form
of the original melody (i.e. if the melody is in binary form, then the variations will usually be
also.)

Each variation usually serves to change the character and mood through using contrasts in key,
texture, etc.

Through Composed
Many of Bach’s preludes don’t have a distinct or defined form and just flow from one section to
the next, without repeating any sections. The main unifying factor is usually a repeating arpeggio
or rhythmic pattern and they’re very often in a Moto perpetual (perpetual motion) style.

Sonata Form
Sonata Form is characterized by an Exposition, Development and Recapitulation.
!30
Exposition: presents the 1st subject in tonic and 2nd subject in the dominant key
Development: develops ideas while introducing new ones. Usually modulates to the relative
major/minor and changes through many keys.
Recapitulation: sees the return of the 1st subject in tonic and 2nd subject now in tonic also.
Coda: there will often be a conclusive section that contains new material, tagged onto the end.
31 of 41
 Melodic
Melodic Development ToolsTools
Transformation
Materials Click Here

 


1. Sequence
This is where you take a melody and repeat it up or down by step. It’s traditionally repeated three times, though there’s
really no limit to what you want!

32 of 41
2. Transposition

 

This procedure is where you transfer the position of the notes to a new place or new key.

In order to transpose a melody strictly, you must pay careful attention to the intervals used and retain the same interval structure
in your transposition.

For example, in the excerpt from Mertz’s Andante below, there is a half step or semitone distance from E to F. So if you strictly
transpose this melody, then you will retain that semitone.

Note that in sequences you don’t need to retain the interval structure of the original melody.

3. Augmentation
Augmentation is when you take a melody and augment (make longer) its note values. A melody is augmented if it first appears
in crotchets and then later as semibreves for example.

33 of 41
 4. Diminution


Diminution is when you take a melody and diminish (make smaller) its note values. A melody is diminished if it first appears
in crotchets and then later as quavers for example.

Diminution is useful for creating an arpeggio texture that’s made up of the notes from a melody.

5. Imitation
˙ œ œ œ œ ∑Ó ∑
Imitation is when one voice repeats the material of another, usually in close proximity. The imitation can be strict or loose,
& Óœ œ
melodic or rhythmic. (Note that a G has been added to the end of the original melody in order for the imitation to sound a
˙ œ œ
little more pleasing). ˙ œ œ œ œ Ó
Imitation of Mertz Andante melody

˙ œ œ œ œ ˙ Ó Ó
& Ó ˙ œ œ œ œ ˙
˙ œ œ œ œ
When voices imitate one another in close succession, this is called stretto (meaning “narrow”, “close”, or “tight”).
8
Stretto: close imitation
˙ œ œ œ œ ˙
& ˙ œ œ œ œ ˙
˙ œ œ œ œ ˙

˙ œ œ œ œ ˙ Ó Ó 34 of 41
& Ó ˙ œ œ œ œ ˙
˙ œ œ œ œ
some:

Effects
Materials Click Here



11

35 of 41
 




12
36 of 41




37 of 41
13
 Orchestral Imitations
Materials Click Here


Conclusions/Summary

1. 19th century guitarists were imitating orchestral instruments in a vivid and specific way

2. To imitate the Oboe: play close to the bridge with the nails to obtain a nasal tone. Best applied to
passages intermixed in thirds.

3. To imitate the Flute: play tasto, using some flesh to produce a breathy tone. Best applied to very
rapid passages in a high register.

4. To imitate the Trumpet: place your left hand finger halfway between the frets so as to produce a
buzzing sound. Best applied to single line melodies with a powerful rhythm.

5. To imitate the Horn: There are multiple options for this. You can either play with i and m close to
the bridge (with nails), or with p and i (without nails), or with i on the bass strings (best for a single
line melody).
Staccatissimo, Marcato, or Martellato

6. To imitate the Harp: play close to or at the fretboard. Best applied to a melodic line combined
with flourishing arpeggios.

7. To imitate the drum: use either your thumb or index finger to fall onto the strings close to the
bridge (often called "tambura"). Best applied to repeating chords. 21

Articulation
Conclusions/Summary Materials Click Here

- There were 5 different degrees of articulation; legatissimo, legato, mezzo-stacatto, stacatto, and
stacattissimo.

- Unless a composer has indicated otherwise, the legato is the default articulation (this would be
different if you are playing 18th century or early 19th century pieces).

- There are some effects peculiar to the guitar, such as campanelas and etouffé, that can produce
different articulations.

- You can use scales as an exercise for practicing the five degrees of articulations.
38 of 41
 Harmonization
Materials Click Here

 Beethoven

Harmonization Exercise on Marcia Funebre

You can use intervals, triads, primary chords and the Rule of the Octave to harmonize a
melody. Work below is by Aeron Vila Domini. Ed. Aeron Vila Domini

Harmonization in 3rds
13

18

22

Harmonization in 6ths
26

31

35

39 of 41
 2 Harmonization with closed triads
39

44

48

Harmonization with primary chords

A minor
52

57 B major

E minor
61

Harmonization with ROTO

A minor
65

70 B major

E minor
74

40 of 41
 Embellishments (Divisions)
Materials Click Here

You can embellish a melody by adding notes in between, creating a more florid and
embellished version of a simple melody. Work below by Malcolm Perris

Partita in D minor - Allemande

Embellishments
S.L.Weiss
Adagio Arranged by Malcolm Perris

Original c
1H 3L 7B
7

Malcolm c
1H 7B
3L

Quan c

8E 8E 8E - 1/2 7N
3 3 3 3
3
3

8E
7N
3 3

3 3

12H 2F 41 of 41
3
3