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 ss Bb | Ab | c | F | DiI le |BeBtloetlal opi le | eo tpt a tl re |e 1a tpt ec Tt Ab tl Ex, #10 Minor Triads - Root Position - 1 Bar Each sh om | | ep- | re | B- | p- | ab- | a- | F- | E- | a- | Ice | or 1 pe to ce 1 ape Tope to Ex. #11 Major and Minor Triads - Mixed - 3 Bars Each 15/515 PPUSISTS LST STE TEE STSLE Db | F-|B-| Bb | Db| E-| A- Bal eelesa eee lesalicn oul ese see Stoel SS Sit Saale Sa oe ela leeo ae) Ex. #12 Major and Minor Triads - Mixed - 1 Bar Each af] CPE lB 14+] F-| E | Db] B|G|E-| Db-| Eb| F#|E|F-| D-| Bb] E- | Db-| F¥-|A-| B-]A-| C-] FJAJE | Db | Db-| E-|E|F-|Bb-| Eb | Ab | Db | | Ft-| B-| D-| F-| D-| Bb | Db | Bb] E| F-| G-| F-| Bb| Eb] A] Db] F#] A |C-] 3Ex. #13 Major and Minor 7th and 9th - Modern Voicings - 4 Bars Each 4 a 4 a|4 pale E- ae BoA] A I | pr | - | FA 4 a|4 Eb-| D4 | Db- | yr ad | Ab- = F ls | plead ieee elleeva ieee Fro | 4 ee | pet | c- | Pal 4] 4 4 Ex. #14 Major 7th - Random Major 7th Chords - Root Position - 2 Bars Each 44 Av’) pod | GA | cA Pe Lf ApS | EbA | DA pA ig ppd PPPS ISTE ISIE PTE PETS |S 2 ieelece bealeculeewlacticalkce | alent aa 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. 4) D-| Bb-| F- | A-| C- | E-] B-]| Ab-]| F#- | G- | Ab-J A- Wee PS TSI S lets eles els D- | Ab- | Eb-| Bb | Ab-| F- Pol E el D- |Ab- 2 2 2 2 2 2 Ex. #16 Dominant 7th, Root Position - Random Root Sequence - 2 Bars Each ‘I eal Palas | aly eal Al alee Ab7 Eb7 bay Cad ee cad id G7 | ET) C7 | Ab7 | 2 [2 | 2 | 2,| 2] 2 | yee |: 2 | 2] 2] 2 Ex. #17 Major 7th, Minor 7th & Dominant 7th Root Position - Random Root Sequence ~ 2 Bars Each WELPIS (Si P el TEP LT eae rene caelecealact | | 2 2 YT SiV iS PL Pre re rerelse iEx. #18 Major 7th, Minor 7th & Dominant 7th, Varied voicings in R.H., LH. plays root - 2 Bars Each ‘|| G-| E ee ||| gees [Oe Cen |r tean | or eee || all 2 2 2 2 2 2 2 2 12 2 | re-| F7 | E- | Ab7 | BT | AT | D- | Ab- | D- | Be-| avr | | 2 2 2 2 2 2 2 2 2 2 2 | F#- | Eb7 | FA | F#- | GA | ‘AbT7 | A- | Bb7 | BA | 2 2 2 2 2 2 2 2 2 Ex. #19 Major, Minor, Dom. 7th Walking Bass 4 Bars Each 4]| c- D- | Bo- | a7 EbA | Ab7 | Db’ | C4 4 4 4 4 4 4 4 4 4 B- | Bb7 F- Bb- | BA | FA | G- 4 4 4 4 4 4 4 ppd | c- Bp4 | apd | G4 | cd G- 4 4 4 4 4 4 4 Eb-| Db- Gb7 A~ | Bb-/Eb | F#4 FA 4 4 4 4 4 4 4 Db- | Fr- EDA ad Bb- | B cA 4 4 4 4 4 4 4 Ex. #20 Major 7th to Minor 7th or vice-versa 2.Bars Each 4] EA | ED- | E BA -| FA; e-| BAY EF Pay cAycC 4 2 2 2}2]24|2 2 2 | 2 2 eae eee aac oael le |* oy || alee esa lica| 2412 2 2}2}2t2t2t2t2t2) 2 | oA | es | B-| 28 b- |B | > [4s Oe ee eke ae 212 2 21t2i2 2t2t2t2ta2t. —rr A) Ex, #21 Half-diminished Chords Random Root Sequence 2 Bars Each UPPPIPIPI PL PII Pel el AbO | FO | BO | EbO ian eae SL ele Ply (| Pe ie ie pelle (ele le lel ell Ex, #22 Diminished Chords Random Root Sequence ~ 4 Bars Each ‘I Da | Pa le F°7 i E°7 | ou | oA fa Gu | Ld | 57 | | vy | a | Da | ee | By | C7 | E°7 | Gy ey ey . NOTE: Ex. #23 This exercise uses the diminished scale V7>9 resolving to tonic (1) (HWHWHWHW) as a substitute scale Random root sequence for the dominant 7th chord/scale. This Chord of resolution may be Major or Minor is a very popular sound! It may take 8 Bar Phrases. awhile to get used to it : : D9) Ab- SM PP] Se EP] SM P| aM | 2 all G79 C4 679) Db oe Bb4 J), E79) A- Wests | Pra TS Ex. #24 Whole-Tone V7* resolving to Tonic (either Major or Minor), (Whole-tone scale degrees = 1 2 3 +4 +5 b7 1) Whole-tone scales contain 6 tones... 4q}, c75 | Pa lk Bede ll aaa ‘lk ered ete 4 2 2 2 2 ; 2 2 2 2 | ES] A- 2 a |, DIF) G- , |, 6745 | CA Jy), Db7*5 | Gb- po | 2 r 7 2 2 2 FS | Bb- , SraEx. #25 II 1 V7 | 11 I Il (Lwo, five 7, one). 8 Bar Phrases. ‘Ik a-|p7 | oA pd GA Ab- | Db7 | Gp I: c-| F7 | BoA | BoA A | p7 | G4 | oa ||: ® | #7 | a [ad Ml: Bb-| Ep7 | avd | avd av-| Db7 | eos Bb -| AbT | pA e-| a7 | pa | va l Ex. #26 Wrap-Up Track Random Qualities Random Root Sequences 2 Bars Each 4 | G79 | call | cal ATb9 | Ep4 | ad BA E- | uel el Brs 4 2 2 2 2 2 2 2 2 2 2 2 2 F-/Bb | Ab79 | pp’ | G-| F-| E@ | GO | BoA; Ad A-| so 2 2 2 2,2 |2 2 2 2 2 2 E@ | F- | Ep4 | D- | BO | E79 | Ad | Bb4 | EDA A eral 2 2 2 2 2 2 2 2 2 2 2 | F7b9 | Bb- | avz° | > | ens | cA | Bo7b? | ape | D7 | Pye 2 2 2 2 2 2 2 2 2 2 om | ee Ge lS Foe aCe we eed on aotan oa 2 2 2 2 2 2 2 2 2 2 2 7 ———————__—_—45. 46. 47. 48. Legend: _M = Major Ex, #2 =|=| tlelrle|s = ]S]'13)' 1 | fate} elefel le) fete} 2]! *EXERCISES #2 THRU #7 Ex. #4 P4, +4 & PS PS Pa PS, +4 Pa Pa 4 PS, PS 4 +4 PS, +4 PS +4 a Pa Pa +4 Pa PS +4 PS, +4 PS, +4 +4 PS +4 +4 +4 Pa PS #2 Pa PS Pa PS, ‘8 = Octave Ex. #5 Ex. #6. Ex. #7 6th’s | 7th’s & 8va | Chord/Scale Qu: 1 foe | 1 fzx}oe} |etoe |} za} | + fx} xfsxleefoe}.z| zlofolz|z| ole] zl felel' | Z| @=Half-dim. + 1/2 Step = =Minor A=Major 7th 7=Dom.7th P=Perfect R.H.= Right Hand 8 pa DT D— Di BbT E- Al Bb— b= Lower 1/2 Step Left Hand LH.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 ‘ll ED | c#| Gl oc Av] c#| Gl E | cl Bol cl | [re lo cl pt pl el ail cl wl pi cl ef fa la ke | B | ab | re | BOL mp] of 1 Boll Ex. #10 Minor Triads ~ Root Position - 1 Bar Each | pb#- | c#-1 G- | av-| v-| Be-| c-] E- | B- | [ F- | ab- | c#- | E- | Bo- | B- | G- | Fe- | B- | Ip- | G- | e- | pe | Bee to ce | ore | ae Ex. #11 Major and Minor Triads ~ Mixed - 3 Bars Each 4 G- a]} 3 G- 3 G-| Eb-| B-| D-| Bb 313 13 [3 ]3 G | F#-| Eb 313 13 3 3 E | B-|D-|F-| Ab- SH ltoe ioe lt) IPealacalicals Eb | F#-| B-| C# | C-| F#] G-| Eb] B-| Ab] C#- stata isis) 3s lsls{|SlSIST Pls [e| Sy Ex. #12 ‘Major and Minor Triads ~ Mixed - 1 Bar Each af] D-| Eb |F#| F |B-|G- | F# | Eb] Ca] A] F#-| Eb-| F | Ab | F#] G-| E-|C |F#-| | Eb-| Ab-| B-| C#-| B-| D-| G] By F#] Eb| Eb-| F#-| F#] G-| C-| F] Bb] Eb| | Ab-| C#-| E-| G-| E-|C] Eb] C| F#] G-] A-| G-| C| F [| B|Eb| Ab |B]D-]] =Ex. #13 Major and Minor 7th and 9th — Modern Voicings ~ 4 Bars Each ne . BA Ge G EDS Abs ay" pry ays ayy ey sys F- | EA | Eb- a DA) c#-] C- | B4 | Bb- jAb- mo (| ab) BARGE] BAL | : rw] Eb4] D-] F-| E-] A-| Bb-] Eb-| G-] PA | apd | G4 4 4 4 4 4 Ex. #14 5 Major 7th - Random Major 7th Chords - Root Position - 2 Bars Each | 44 Bo’ » Eb4) a4 ) D4 ve c#4) BoA ial BA Ve EbA spp Pe y | aaa ee lied eae ie covey epee ey Delay laces Aba | Ex. #15 Random Minor 7th Chords — Root Position -2 Bars Each. In Jazz, a dash (-) is used to denote Minor ted. ‘and it usually implies the 7th, too. If triads are desired they should be indi 4 || | Ie sg |e esa lhecen eed ae Aaaleoealboe all 2 2 2 2 2 E- | Bb- -| C- | FR | Bb-| G-| Eb-| F#-| Bb-| E- ml 2 2 2 Ex. #16 Dominant 7th, Root Position - Random Root Sequence ~ 2 Bars Each ay 3 D7 i \47| alae al] Pal alba | ee ey Bb7 4 2 F7 G7 BT C#7) FT BT FT7 | Ab7 AT F#7) D7 Bb7 | 2 | 2 | 2 | ee | 2,2) 2 y 2 | 2) 2] 2 Ex. #17 Major 7th, Minor 7th & Dominant 7th Root Position - Random Root Sequence - 2 Bars Each 4y A-y CAA) D- | A-| B7 | E G7 | Bb7 | Ab- | B FeT WerS pei Pl PLS SPP Le Leis | G- B7 || E7 | BA | BoA | | F# | G7 | c- | 2 2 2 2 2 2 2 abT | B-| C#7 | DA | RHA Y R7 | CH ES | Ab- cS 2 2 | 2 2 2 2 2 2 2 2Ex. #18 ‘Major 7th, Minor 7th & Dominant 7th. Varied voicings in R.H., LH. plays root - 2 Bars Each 4] 4- | Fe] B-| cA eee > ee anual q | 4 2 2 2 2 2 2 2 2 2 2 2 | ab-| Gr | Fe | Ber | on | B7 | Bo- | | 2 2 2 2 2 2 2 | ae-| | of | ape | ae ee | c7 | | 2 2 2 2 2 2 2 Ex. #19 Major, Minor, Dom. 7th Walking Bass 4 Bars Each 4j) D- | G- |] E- | cH pA 4 4 4 4 4 c#-| C7 c7 | A- | 4 4 4 4 gpd | D- | FR-] F- A- 4 4 4 4 4 F- | Eb-| D7 G7 G4 4 4 4 4 4 Eb-| Ab-| C#-| G- B-| FA Ba c- | cH pA 4 4 4 4 4 4 4 4 4 4 Ex. #20 Major 7th to Minor 7th or vice-versa 2 Bars Each ay FA F¥-| FAS] G-| G4 | F#-| F#4 |) G-| G4) D4] D- 4 2 2} 2] 2] 242 2|{2]|2]2 2 Ep’ | Eb- | FA | F- | EA | E- B4 | D lea lena AbA] AW 2412 2 2},2;2}2}2t2t2) 2121 2 | ad [ee | ell ee alee ee 2 2 2 2 2 2 2 2 2 cA | c ee [Po- | 2124242 TTEx. #21 Half-diminished Chords Random Root Sequence 2 Bars Each 4 l DO | FH | DO | BO | EO | GO | co | EO | Ao | BO | 4 2 2 2 2 2 2 2 2 2 2 | Les | a | oo | a | ed | Ly | oe | ae | ae | ae | | = | #2 [> | | Fo | Dg | BO | 49 | Feo | Bee | 40] 2 2 2 2 2 2 2 2 2 2 2 Ex, #22 Diminished Chords Random Root Sequence - 4 Bars Each 4] ea | ab | Gr eee | By | gv | on | ri | Fey | Bb°7 BT E°7 | Ab°7 cae7 | D°7 | F#7 | ACT | DoT iPr PP | BT | Par | ANT | ET] PLT | AGP Pa | Pe Ex. #23 NOTE: 79 resolving to tonic (I) 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 8 Bar Phrases. is a very popular sound! It may take awhile to get used to it. SMe P| SEP Me P| PP | aR Pa bd ° i b9 - SARS al 9 eer 2 Ex, #24 Whole-Tone V7+ resolving to Tonic (either Major or Minor), (Whole-tone scale degrees = 1 2 3 +4 +5 b7 1) Whole-tone scales contain 6 tones... 4q}, p75) GA sy, 75 B7+5| EA eal Abo lk: c75 | FA J 4 2) 2 2 2] 2 2 2 2 2 a Wes dy ee nb rao ea ea 2412 2 2 y 2 2 2 2 2 2 2 [_———Ex. #25 NIL 1 V7 1 111 I (two, five 7, one). 8 Bar Phrases. ilk a-|r7 [4° | ad Bb-| Eb7 | ApS | Ab’ -| br | eA | eA ‘ll [| p-|a7| c4 | cA - [7 | ad | ad c-|er | ro | wl [| cH | Fe] 34 BA -| FT | BbA | BbA a- [pr || cA ll Eb- | av7 | c#A| c# Al Bp -| Eb7 | avd | an d| - | a7 [ps | va - [er [ad [as | b7 | EDA | BoA | : c#-| re | Bd | BA > Il F#- | B7 | B7 | EA l Ex. #26 Wrap-Up Track Random Qualities Random Root Sequences 2 Bars Each 4 an - ain Oia FA | ap7b9 ae Pale les loon 4 2 2 2 G-/C | Bb7>9| Ep4 | A-| G-| F#O | AD cA} BA] B-| BO 2 2 2 2 2 eral cael es [ee ictal cA | FA | | or? | c- | | EO | az | pA | c7b9 | 52° | E7 | | al Baa feel Eoee aa cag! | a - 2 2 332. 33. 34. 35. 36. 37. 3B. 40. ai. a2. a. 45. 46. a7. a8. *Legend: _M = Major vleletelae|iletile|iteteteieys i]t fztetel | elelefi le 2 *EXERCISES #2 THRU #7 es Ex. #3 PS Pa PS, +4 Pa, Pa +4 PS, x 2}'|'lelzle} fe} lef telat | teh 2 i} Vzlel ele) ei | fete} |! Minor Ex. #4 Srd’s | P4,+4& PS 8= Octave Ex. #5, Ex. #6 Ex. #7. a 6th’s | 7th’s & 8va | Chord/Scale Qualities Ad AT Ap Al FT B= Ei F- FAO x Di Fi DoT Gt At E7 tafe fete Zys|'|' jz zee" 2I' z=]! fz} Fi Fi Ea A Ab’ AT ifeqale vr fafa fr foo] rfzfoe| s fate zleli|e EDAl FHGO) z/z]'|s zl} |= |} | zl |= '\' lz) |ete}zis}! lst! @ = Half- 14 = Raise 1/2 Step _ b = Lower 1/2 Step | 1. 2. 3. =Major 7th 7=Dom.7th P= Perfect R.H.=Right Hand L.H. = 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. Bao Major Triads ~ Root Position - 1 Bar Each 4 sb | abt) pl Gt mbt abt pl Bl GI F | ab | loce | al al rel Bl el Gtr [a |v |B I ge | ec |p [|r | em | ce | rel pol c#l F il | Ex. #10 | Minor Triads - Root Position - 1 Bar Each | c- | ep- | av- [| B- | F- | FR- | D- | cH- |) Fe- | a- | p- | Be | a- | re | ae | ce 1 e-ll Ex. #11 Major and Minor Triads — Mixed - 3 Bars Each 4] D-| B-| D-| Bb-| F#-] A-| F | D | C#-] Bb | D-|/B lea A-|C-|Eb- 3g la SteltSeg| eS eet eS) Slr lesa Silt St ali aieceaitS) Bb | | uals | Pes oulical || 2-| | EA-] Bb | ape Ol eles) lesa lee eSee este see | Seats e eis oes ea oer Ex. #12 Major and Minor Triads ~ Mixed — 1 Bar Each A-| Bb | Ca] C [F#-| D-| C# | Bb] Ab] E] C#-] Bb-| C| Eb| C#| D-] B-|G | CF-| ae Bb-| Eb-|F#-| Ab-| F# A-| D] F#] C#] Bb| Bb—-| C#-| C#]| D-| G-| C| F| Bb] Eb-| Ab-|B-| D-| B-|G | Bb |G | C#| D-| E~ | D- |G |C | F#] Bb| Eb | F#] A+] 15 ——————_—_—_—_—_——_—Ex. #13 Major and Minor 7th and 9th ~ Modern Voicings - 4 Bars Each 4 + | Bb4 |) DA) c#- | CA) RHA | D-| C# Le EbS Pal 4 |" a|4 | | 4 a 4 | [a 4|4 = BA | Bb- | A- | Eb- AAT Ab- - | Eb- 4 | 4 4a |4 4 [4 lee ole : | . cH) BoA; a-| C-| BH F- | Bb-| D-| C4 | Ep’ | D4 4 4 4 Ex. #14 Major 7th ~ Random Major 7th Chords — Root Position - 2 Bars Each | FA | Bb4) Ba ipa ae ab4; FA) cA |) BA) Ad af} 2 2 | | | #4) Bb’) BoA ia? 2] 2,2 | 2 2 | fe | al bal m | ral Bal || ra [| ay | Paleeral EDS 2 2 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. 4|) B- | G- | D-| F#-| A-| C#-|Ab- | F-| Eb-| E-| F- | F#- 2 2 12 B- | F- - | G-| CH-| F-] D-] Bb-| C#-| F-] B- 2 2 2 Ex. #16 Dominant 7th, Root Position - Random Root Sequence - 2 Bars Each ‘I AT Gd ala FT | C#7 | Ab7) B7 | F#7] Eb7 | C#7) Bb7 | F7 a3 zea ez eezya za lace zal C7 | D7 | FHT) C#T) Ab7) C7 mal C7) EMT cm) By) CHT) AT) FT 2 2|2{ 2] 2] 2] 2] 2 \3 Hoe ee Ex. #17 Major 7th, Minor 7th & Dominant 7th Root Position - Random Root Sequence ~ 2 Bars Each 4y E- 7 AbS) A-y| E- | F#7 B- Eb- ete lair: | | D- PAT D-| B7 | Pa | ry E- eran lens | | 2 2 2 2 2 2 2 2 2 2 Eb7 | F#-| Ab7] AS] cH] C7 | Aba B4 | Eb-| C7 | DA 2 2 2 2 2 2oT Ex. #18 Major 7th, Minor 7th & Dominant 7th. Varied voicings in R.H., LH. plays root - 2 Bars Each ‘ll E- | cH | | cA | c7 | Bb7 | A- | | E7 ey | G7 | all 2 2 2 2 2 2 2 2 2 12 2 | ®-| pr | ce- | F7 | an" | | 8 | & ee ca FT | 2 2 2 2 2 2 2 2 2 2 2 | Bb- | c7 | pA | Eb- | EA | 7 | Fe | G7 | Abd | a-| Bp | 2 2 2 2 2 2 2 2 2 2 2 Ex. #19 Major, Minor, Dom. 7th Walking Bass 4 Bars Each 4y}oa- | D- | B- | G- | F#7 | c#-| cA F7 Bod | ad 4 4 4 4 4 4 4 4 4 4 4 Ab-| G7 | C#- | G7 c- | D- G- | cH | pA E- 4 4 4 4 4 4 4 4 4 4 BbA | A-| C# c- EA | G4 ra EA aA E- 4 4 4 4 4 4 4 4 4 4 c Bb-| A7 D7 Ab7 | Eb7 F#-| G pA 4 4 4 4 4 4 4 4 Bb- | Eb-| Ab-| D- F#-| cA Fe G- | Ab-]| ad 4 4 4 4 4 4 4 4 4 4 Ex. #20 Major 7th to Minor 7th or vice-versa 2.Bars Each 4 c4 - | c#-| c#d) p-) D4] c#-) cH] D-| DAY Ad | a- 4 2 2 2 2 2 2 2 2 2 2 2 2 ee Bb- Cea ce leeelcaley Fe Palealecal | E- 212 2 aye lee elt tome lee) a eon | eof) ole) eee) | EA je] or| zal B- | avs] an HHA | Bal all G- | BoA | Bb- 212 2 Poel eae oes et Vestal at 2 tae eee 2s ee ee ae 22) 7@ Ex. #21 Half-diminished Chords Random Root Sequence 2.Bars Each 4] AO | CHO | AD | FHO | BO DO | GO BO | EO FRO a] PLT Tel Pe | PLS LP |e | a | FO | DO | Abo co | Eo Ao FHO | EbO | FAO | BDO PLP LP | LP | De | el pe | ge | pe] BO | DO | As | CH] CO | AG] FHO| ED | CHO] FO | ED Leip le isl el el el el sel? leh 2 2 2 2 2 2 2 2 2 2 2 Ex. #22 Diminished Chords Random Root Sequence - 4 Bars Each 4] Bo7 Eb? =| D°7 | C#7 eT Bo7 ACT C7 #7 she | et fe pee | et | | A | | | mT | Fe7 | Ba | epe7 | Boat ay | er| ET leg [ery NOTE: Ex, #23 This exercise uses the diminished scale 759 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 isa very popular sound! It may take 8 Bar Phrases. awhile to get used to it - Jy. c7b9 a POP LP Me PP] Sa PP Se Pal 9) 9 ® 9) D— «Jp. G7 -; TSA bd A bd = Jp}, D7>9 | GA yy. c#7b9 7 We aR PRPS Sa Sch Ex, #24 ‘Whole-Tone V7+ resolving to Tonic (either Major or Minor), | (Whole-tone scale degrees = 1 2 3 +4 +5 b7 1) Whole-tone scales contain 6 tones... aq}. a75| D4 iq]. e745) c All: Lele Al Bie ED ll: ars | cA ll 42 | 2 WN 2 2 WW oo2 t2 2 |2 2 2 ma Wears ee ye 2 IN 2 2 2 2 8 Keel keri 2 2 2 2as @ NIT 1 V7 | 11 I (Two, five 7, one). 8 Bar Phrases. ‘Ik Fe-| 37 | | EA F- | o7 | EbA | HA c#-| Fe7 | 84 | BA ‘|| [| a-|p7| 64 | cA ll re_|p7 | eA | BA p- | a7 [cd | cl] ap-| cm| Fa] FA {ll c-| c7| FA | FA e- |a7 [ps | pa ‘| B-|E7 Jas | aa Eb7 | avs AbA i: F- | Bor | Epa | ed] rr-| p7| BA | BA a-| p7 | 64 | 6 c- | ¥7 | Bod | bv’ |] || av-| cn | | A z-| a7 | pa| pa c#-| FeT B4| BA ll l| cH- | Fe | B- | E7 | ce | FAT | Ex. #26 Wrap-Up Track Random Qualities Random Root Sequences 2 Bars Each 4 | E79 | A- | E79 | a-| Fe” | cA lee | a cH 4 2 2 2 2 2 2 2 2 2 2 G7+5 | F#-| ab7+5| 2 2 D-/G F759 | BoA | E 2 2 2 2 2 2 2 - | cH | EO GA Fe | Fe- | FHO 2 2 2 2 | a D- | cA | Pell Avo | oe | re | GA | cA | FR-| G- 2 2 2 2 2 2 2 2 2 2 2 | pie | G- | 79 | 52 | 27s | ad | G7b9 | Fe? | B7 | B-/e | 2 2 2 2 2 2 2 2 2 2 all FA | BA |e | Bo7 | E7 | Ad | Ab7+9 | c#- | Fo 2 2 2 2 2 2 2 2 2 19