= 36 ial is) lal el ta) a MALLET CONTROL & Sy { for the sO Rix XYLOPHONE Go (MARIMBA : VIBRAPHONE ey VIBRAHARP) ey ey 123 14) Price $8.00 (Cc ey 3 ey N23 ey 23 ma a eI George B. Stone & Son, Inc. gy G3 P.O. Box 324 Randolph, MA 02368-2437 (U.S.A) 2K GE OS GE GS GE BE GE BE GE © Copyright 1949 by George B, Stone & Son, Ine, International Copyright Secaned Made to Us BAPREFACE “MALLET CONTROL"is designed to serve the same purpose in xylophonics as the author's book “TICK CONTROL” does in drumming — to aid in the development of manual dextority.As both the mallet~ played instruments and drums are of the percussion family, the manual problems of their execution are closely related. In fact, in many instances they are identical. ‘Most of our loading instructors in percussion are at present using and endorsing STICK CONTROL in ‘thelr drum teaching. Many such instructors teach xylophonics as well as drumming. Tt often has been voiced that if such gratifying results could be obtained through use of a control book on drumming ‘why not similar results through a control book on zylophonics? It is in answer to these inguirios and to this obvious need that MALLET CONTROL is herewith presented. MALLET CONTROL is a highly specialized practiso-book starting off, a8 such a book should, with exercises to develop control of the matlets. Through practise, these will give the student power, endurance, speed, lightness, flexibility, touch,rhythm, ambidexterity, and muscular co-ordination to the highest degree. Included here are many exercises especially designed to develop “the awkward hand” which, to most of us, is the left. The book continues with a progressive note-by-note approach to the (eo necessary, yet usually 0 uninteresting) traditional scales that assures almost instant comprehension of-thetr pattern and accelerates their final mastery. The approach to arpeggios is similarly progress- ive and bas been found by the author in his own private teaching to develop comprehension and mast- ery of these important figures most quickly and thoroughly. Finally, the pages that follow will be found to contain a wealth of material designed to make the daily work-out both interesting and pro- ductive. SiNCE ITS MALLET WORK IS ENTIRELY TECHNICAL IN SCOPE. MALLET CONTROL DOES NOT CONFLICT WITH ANY RECOGNIZED SYSTEM, THEREFORE ANY INSTRUCTOR MAY ASSIGN ITS PAGES AT HIS DISCRETION, CONCURRENTLY WITH HIS RECULAR ASSIGN: MENT TO THE PUPIL GEORGE LAWRENCE STONE CHART OF THE MALLET- PLAYED KEYBOARD ohh ath ab jorH cb ker} lot let Ht at Lt lo ‘secevra i ous io Haba Company BACK KEYS AY Al oF cH | ober H op atene fon el ewervan* Flofahehe Coronpanag ete ‘wne ners the planter so The highest on on he stndardxplophone in atuny the tvene 0 EEE dengnaed ye nt one 8 eybourdy tha tt matlave ivecesstere lower, a :HOW TO PRACTISE MALLET CONTROL ‘To present the abundance of practise material here, then to notate each exercise in all its playable keys, is an impossibility within a book of ordinary size and price. On the other hand, to merely hit the high spots by listing a few “most important’ figures in a few ‘most important” keys (which.through ex- pediency, many writers have felt compelled to do) is inadequate indeed fora serious student who rec- ognizes the necessity of becoming familiar with aii important figures in al! important keys. Hence, to include the most material within the least space, the author has notated his exercises mainly in the key of C which, as on the pianoforte, is the normal key for such percussion instruments as the xylo- Phono, marimba, bells, and vibraphono/vibraharp. In studying MALLET CONTROL the student is expected to comprehend and master the pattern of each exercise as it appears; first, in its normal(notated) key and thereafter in all other keys. The process of comprehending the pattern of a given figure in one key and thereafter transposing (trans. planting) that pattern into another is a simple mattor to ono taking lessons, for the relationship between the various keys is included in a teacher's preliminary introduction to the mallet-played keyboardWhere no teacher is available such information will be found in any standard instruction book on the art* Hence, {t 1a more or less a mawter of form that the author lists, on the back pages herein, the principal keys (major and minor) in which the exercises are to be played, matched to the key of C. After a given exercise is mastered in the key of © it may then be transposed through the sharp keys in their numerical order(/ sharp, 2 sharps,cte.), then through the flat keys in the same order and fi- nally, through the keys as they follow on the instrument; C,then Dflat, then D, then B flat,eto, It should be left to the instructor to select the order of keys(also the order of exercises) he deems most advanta. geous. Whatever his selection, the important point is that the student be able to execute any exercise herein in all the keys before going on. It will be noted that many of the exercises in MALLET CONTROL appear without the customary final cadence. This is to facilitate their practise over and over again before going on. Being purely toch- nical in character,the exercises will not always follow the traditional rules of harmony and chord spelling. Exeroises may be played in any octave at will, as the variation in compass between the instruments com prised,together with the fact that composers today customarily notate our parts either one or two oc- taves below the actual register of the instruments, makes anything like standardization here impossible. ‘A limited amount of practise with the metronome is recommended, and at different speeds,vary- ing from slow to fast. However, the bulk of the practise should be done without the metronome, lest the student find himself unable to maintain a steady tempo without its aid, Practise at all times with relaxed muscles, stopping at the slightest feeling of tenseness Remem- ber, the exercises in MALLET CONTROL are conditioners . They are designed to give controlCon- trol begins in muscularly relaxed action. REVERSE FINGERING ales and exercises herein by REVERSE FINGERING to that indicated (L for R and R for L) will afford the serious student further material for hand development. For s comprehensive method, tho author kes and recommends The Gardner Modern Method (Part 2) for the Bells, Aylophone, Marimba, Vibraphone, and Chimes published by Curl Placher, Ino. Copyright 1949 by George B.Stone & Son, T Hanover Birect, Boston, Masasohusetta Tateornationsl Copyright Beoured ‘AN Rights Res ‘The original mattor contained herein i fully protected under the copyright laws of the United Staton of America ané all countries under the International Gopyright.The copying of either the aoparate parts or the whole of any portions of the origital mat- ter theres! by any proceas whatsoever is forbidden and eubject to the pemalite ‘vided under section 28 of the copyright Is ra Made in U,BIBLIOTECA CONTROL EXERCISES \ eee ance | { of De music SINGLE STROKES sera arian BERL RLRL RLRL RLRL RLERL RLRL RLRL B LELR URE R LRLR LRLR LRUR LEER LRER DE RRL RRLL RRLL RELL RRLL RRLL WRULL R LLRR CLRR LERR LERR LERR LERR LERR OD KERR RLRR RLRR RLERR RLRR RERR ROAR B LRLL DREL BREE LRLL LRLL LRLR BREE LE ERRL RRRL RRRL RRRL RRRL RRAL RRBL B LLL R DETR GEER LLLR LEER LEER LEERY REET Robb RELL RELL RLEL RELL REEL RB LRRR ERRER LRRER LRRR LRAR LRRR LRER TE BRRR LLL L RRAR LELE RRARLELE RAR L Lbub RRER LitL RRRR LELL BRRB Lite Pa Bopoat each exorcise 20 tim ‘Then practise it in all keys.CONTROL EXERCISES SINGLE STROKES HERE RELL RLRLRRLLE RURL RREL RLERLR EEE LRLR EER R LRERLLERR LRLW LER RERGRRRL RLRL RARL RLRL ARAL RERL ER RERE RELL RLALRLEL RLRE RELL RERLR LER URRR LRLRERRR LRLR LR RR LRLR LE RRERRRRR LELLLLLL RRRRRARRR LELL LE LELL ULEL RRRRRRERR LLELLELL RERRR BREE RRERKR RRARRRRR RRREHRRRR RRRRRRRR LEGLLGLEL LELLLLbL LLULLEEL LEEL LE DELL DERE BRELDLUL DELL LeUL BELL DEED BRERRRRRR RRRRRRRR RRRERRRR RRR FE . On vibraphone apply damper pedal to provent intermingling of tones.6 CONTROL EXERCISES SINGLE BEAT ROLLS ad ag wean aan PPP ‘s te eg gaia oS SCTE none none KLE moms auaL BLL RERL RIAL WERE BERL BER fat dala aaa Se LALA LRURURER LRLR LRERLRLR LRLR LRERLRLR LRLR LRLB URL =e ea SS SS gg aan aa ee | — SS RECT ALRLRLRL RRLL URL RURL BREE ALL RLRL ARLE RLRL REA LE RR LRERERLR LL RR LALRLALR LLRR LRURLELR LL BR LUA LEE SS = 3 So pp nate aaa te oo 3 tk RRRR RLRLARLAL RARR RLALRLRL RRRR RURLALRL RRER LAL ALR Parga Ea LULL URLRERLR GLLL URLRERLR LULL LRERERER LLL EL LRERLRL DOUBLE BEAT ROLLS (for practise only) ERE 4 dg gg wana wane poe REFEREES ae eS ed REEL RALLRRLL RLRL RALLARLL RLRL RRLLRBLE RLRL WALL RAD O ier Sn Sea BST URLR LERRLLBR LRLR LURRLLER LRLR DURRLLRR LRLR LLRRLLR SS RELL BRLLRRLL RRLL RRLL RELL RELL ARLLRRLL RRLL RRLL RRL [Sasa arszoesazgL EE wcrc brea rrr eeeesiart DURA LORRLLRR LL RR LURALLUBR LE RR LERRLLRR LULA LERBLER SS eee BRBR RRLLRALL RAAB ARLL RRLL RARR RRLLRRLL RARER RRL RRL LULL LERRLERE LUGE LURRLLAR LLL LLRRLLBR LLLL LERR EEE ra Repost each exercise 20 times.CONTROL EXERCISES 7 SLURRED ROLLS (connected) VERT Tan et fee ee Lee Rk be Rey Boe RR LO) ek Pe ee fu stroke roll with undetermined xomber of beats, commencing R or Lyas indleated. ‘** nol into the ote to which a rolls slurred without pausing, Strike that note witha single blow: giving it the deg val accont ealled for by its location in the measure, ROLLS NOT SLURRED (unconnected) BLELR Peet t LRL RL RRLLR RRL L RH Leper Lupe a LbRRL Beau, bun w uy beunn Lunn ‘ Make » short pauso at tho end of an uncannooted roll by ifting both mallets from the bar before siziking next note. awCONTROL EXERCISES SLURRED ROLLS (connected) continuous roll @ + Breathing mark. Make » short pause in roll as described on page 7. rsCONTROL EXERCISES : SLURRED ROLLS connected) ‘continuous roll SHORT ROLL GROUPS BER BLE RULER RLR BLE RUE RLR BLE cL TRL LRL URL URL Leu DRL tht Groups of four STRT okuet Ruab opunt = BLRL BLRL = BERL RLRL UDRER LEER LRLB LRUR LRLR LRLR LRER LER Groups of five Fe eee peeraare secretes toes eee RRR RH ee BERLE RLRLR RLRLR RLRLR RLRLR RUALR RLRLR RLRLR LRLBL LRLRL LRLRL ERLRL LRLRL URLRL LRERL ERERE ‘Also practi groups of ix 7D Ta and of seven STITT TH BIRLA RBLALR ALRLR RLRLR RLRLR RLRLR RLRER RLRLR LRERL LRLRL CRCRL LALRL LRLRL LRLRL LRLRL LRLRL ‘Slight natural accent on first note of each group. Wo accent on ending note. Space each group by observing rests carefully. FOR DAILY WARM-UP Praotiso the BINGLN STROKE ROLL open-closed-open (slow-to-fast-to-slow) on any bar onjf the instru- ment 1s unavailable,on a chair or table-top. Start with elther mallet, alternating at the slow speed of one-blow-per-second. Accelerate gradually until maximum speed is reached-Maintain this speed for 8 few seconds then gradually decelerate until arriving at original slow speed.Time, three minutes, equally divided between acceleration and deceleration. Use wrist action only Move mallets straight up and down. Do not strike one mallet louder than the other. LR LF RL RLR LR L R L RL RLRLRLRLR TRLRIRLEL RL RL RL RL RL RL R LR10 DIATONIC SCALE PROGRESSIONS MAJOR octave) {otto she numbers downward) LRLB LRLR LALR LRLR RLRL RLRL RLRL RLURL Tarr. TRER L RLRL R RLRL RB Tain un LARLR LR RLRL RL RLBL RL TRLR LRLR LRLB LRLR RLRL RLRL RLRL RLRL TRUER DRLR LRLR LRER RLBL BLRL BLARL RLRL TRLR LRLR LRLR LAER RLRL BLRL RLERL BLP 19 TRLR LRLR RLRL RERL RLRL RLRL LRLR LRLR BERL RLBL LRLR LEER LRLR LRLR RLRL BERL n___ Repeat each exercise 20 times, ‘Then practise it in all keys. 4 ffus{| Stop short-then proceed.uu DIATONIC SCALE- EXERCISES RLR RLR RLR RLR BLR RLR RUA RLR RLR RLR RUB OR TRuRURLR LRLRLBLR LRLRLRLR LRLRLRLR LRLRLRLR DRL ERLA LRELRLRLRLRERL RURLRLAL RURLRERL RERL RLURL RLURLRERL RLRLALRL RLRLRLRL RLRL RLRL BURL R TRuRy LRLRL LRLRL LRLRL LRLRL TRURL BRLRL LRURL RLBLR® RL ALR RLEL RLEL RB URL RLRLR RUBLE BURL ERLR ER LBLELR LELRLR LRERER LRLE LR TRuR ue ERLARLR LRURLER BLAL RL RLAL SL RLRL RL RERL RL BLRLEL BURL RL RLRLRL ALL RL12 DIATONIC SCALE EXERCISES TaLe Leb LRLRLRL LAER LHL LRLRLRE LRLR ERE DRUR LBL LRLRLRL LAER LAL RLRELRLR RLRL RLR RLELRER RLRLRLR RERLRLR RURLELR RLRLRLR RURLRLR TRUER LRLR LRLR ERLE LRURLRLR LRLELRLER LRLRLRUR CRLRLALR LRLRLRLR LRLRERLR RLRLRLRL RLRLRLRL RLRL RLBL RLRL RLRL RLALRLRL RLRLRLRL RLRLRLRL RLRL RLRL TRL LRU LBL LRL LRL PRL ERE LAL LRL LURE RLR RLR RLR RLR RLR RER RLR RLR BUR RUA RLR OR18 DIATONIC SCALE EXERCISES TRun LRLR LRLRULRLRLRERERLR ERLRL RLRL RLBL RLEL RLREL RBLEEL RLRL RLRL EB TRLR LALA LRLRURLR LRLRERLR LRLRLRLR LAER LRLR LRLRLRLR LRLRLBLR OL RLELRLRL RLRL ALRL RLURLRLRL BLELALEL REWL RLRL RLBLRLRL RLELRLRL B 42 RLRL RLRL RLERL RLERL RLRLRLRL RLRL RLRL LRLEB LALR DRLRLRLR LRERLRLER LRLR ERE RUBL RLRL BLRL RLRL RUBLE BURL BURL BERL RLRLRERL RURL RLRL BERL BLRL RLURLR LRLRERLR LRLRLRER LRLR LEER LRLRERLR CRLR ERED LRERLRLR LBLR ERLE ERLAL4 DIATONIC SCALE PROGRESSIONS MAJOR (Follow the numbers downward) RURLRLRL Obsorve reat R RLRL BL RL aL LHURURER Rone Rune RLR LRLRLRLR RLRL REEL RURD LRLRLRLR RURL RLRL RLaRL LRLRLRLB RURL RL RL RLRER LRURLALR LRURL RLRL RE RL brett ag Kune neny RLRLR LRLELRLR RERLRE LRLRLRLR LRLR- LRLR LR 10 BURL RL RL RERL RL LRLRURER Lainie eet = at ae ca a SS Tiki kL RL RURLALA LRLRURLR LaLaine et a BLRLBLRL BERL RLR LRLRLELR Ropoat oach exorcise 20 times, E peettit _ Ette t e = a LRLnunt15 DIATONIC SCALE EXERCISES RURL RLRL RERL PLR Late LRLR LRER ERE TRLRLRLB LRLR URL RERL RuRL RLRL Ro RLRLRERLR RLRL RL RLRL RELL BER RLR RLRL RLRL RB BURL RLRL RB RERL RL ALR URERERER L LRLR URURL LRLELRER L LRLRLRLBL WLRL RURL RB L LRLRLRERL LRERLOLEL RURL RLRE RLRL BER BURL RERL RLEL ALR REBEL BURL LRER LELR EL R BLRLELR BLBL o ageette RLERL RLRL RLR " of sett tte RLURLRLRL BLRL EER te ii peti RLBL BLRL RL LRLRLRLR LRLR fee RLRL BURL RLBL BLE LRL LRLB LE RLRLR ERE RLELALRE BLRL RUB LRLRLRLR = Pts ete f rm _£ ae LAURLEL LRERLRLR LELR DRL ffte» ERLRLRLR LRER LRG LRERLRLR LRER URL LBLRLALR LALRLAL LRLRURLR LRLR ERE Reverse fingering on this and similar pages. ‘STranepose culaves as RenenearY.DIATONIC SCALE PROGRESSIONS MAJOR (One snd two octaves) {Fotiow he numbers downward) Verses Tatatre WORDROEL ELERDRL SL foe a oped Bea = TRURERLR TRL BERET RLRLRLRL RLRLRERE ——— 8 = 43 za wa I ee ee en Roe ee en ne — 41E fu 4 SaaS 7 TRURLRER TRE RLERLE RURLRLRL RURLALRL 5 sag 45 # re TRURLRERLA ERLRLRL REE RURLRURLRL RERLRLRLRL 4 a TRLRLALRERER ERLRLRLRLALR RLRL RL RURERLRLRERL i es ra TRERLRLBLALRLR URLRLRLRLRLRLR BURLRLRERLRLAL RLBLRLRURLALRL ef TRL RL RL RL RLALRERLR’ RLRLRLBLBLALALRLRLAL tee eee 9 49 # TRURLRLELRLRLRERLRLRLR BURLRLRLRLRLRLRURLRLRLRL f 9, 40 20 ra TRURLBLRLRLRLREALRURLRLRLALE RL RLALRLRLELRLBURLELALRLRLRLDIATONIC SCALE EXERCISES —. = ‘8 aes ec Sa TRUER LRuR tain EPL WORE ALOE ment eee TeuR unin LRERLRLRLRLRORER ERERL LRLRLELR DRURLRLR LRER DRUR LRL RL RLRL RURL BERL RLRD WERLRERL BERL BR RERL RLRL RLRL RLRL RLRL RLRL REAL R ERLRLA LRLRLA LRLRUR LELELR LALRLR GRUBER LRLRLR Lb BURLRL RURERL RLURLRL RURLARL RERLRL ALALRL RLRERL B 1¢ - ae ae as PRL RLRLR LRLRLRLR URLRLRLR LALA LALR LRLRLRER TRLRLRLR LELR LRLR LRERL RLRLRERL REAL RLRL (ia area a RURL BURL RLRL RLRL RERL RLRL RLAL REAL RLBL ALRL RLRL ® Zz z LRURUBL RURLALR LRLRLAL RURLELE LRLRURL RLRLRLR LRLRLRL RLRLALR z 7 zt 7 Zz z LRLALRL RURLALR LRURLRL RURLALR LRURURL RLRLRLR LALRLRL & Z 7 7 7 z z BUBLBURLALBURL RURLALE LRLRLBL RURLRLR LRURLRL BLRLALA URLRLRL BUBLRUR LRURLAL RLALRLA LRLALRL RURLRLR LRURLRL RLRLRLB Lb48. (Pollow the number 1, M @ II Stop abort then proceed. DIATONIC SCALE PROGRESSIONS NATURAL (unaltered) MINOR downward) Teor TRLR TRuR Teer TRUER LRLR ERLRLRLR RLRLRLRE TRERLRLR LRER LRU BLE LRLRL Trim Leun LRURLRUR RLRL REBEL RLRL RLRL BLL RERL ———— — ———E—————EE SS 19) TRLRLRLR RLRL RLRD RLRL REEL BLRL RLRL LRUR ERLE LRLRLRER ‘Repost each exercises 20 times. TRLRLRER ELRL REL it im all keys,DIATONIC SCALE PROGRESSIONS i. NATURAL (unaltered) MINOR R LRLRLRLR 4 ra Rb LRERLRLR LR RLRL LRLR LRLR LRELR ALRL B LRLR LEER LRLRE (SS AT eS SSS RLRL R LELRLRLRERERE ee RLRL ALRL WLRL RELRL - ii RLRL RLRL as gee RLRL RLRL REEL RLR LRLRLRLR ERLE20 DIATONIC SCALE PROGRESSIONS HARMONIC MINOR {Fottow the nonbors downward) RL RERL RERL Thun teow Tare Daw oa a RLRL RB RLRL E RLEL RE RLRL RE RLRL RLB al Tair veer Teun iunie BLBL RLBL RLRL RUBE TRuR LRP LRER Leu RLRL RURL RLRL RURL Taek LRLR LRLR LRU RURL RLRE RLRL RLRE i 19 TRLR LR LR RERE BLE RLBL RURL DRLER LRLR 20 LRURLARLR RLRL RL RLDIATONIC SCALE PROGRESSIONS HARMONIC MINOR (hiew ‘the numbers downward) é ser LR RLRL REL RL RL LRLRLRLR aes RRL RL RL BLA LRUR LEER at Le unt 2 nr! aaa =I ze a Wess J! P|! 6 igaca (eS Se S| SS [Pe 7 ao] aes 8 LRLRL® ee BLRL RL BL RLRL RLR LRLRLRLR aa eS BLRL RL RL RL RL BUR LRLRLRLR ar Rovorse fingering on this and similar pages.22 DIATONIC SCALE PROGRESSIONS MELODIC MINOR (ettow ‘the numbers downward) BLE RLRL RLRL BERL RLRL RE RLRLR eg - RLRL RE RLRL ED RLRLRLR Py gee Ses ‘8 see aaa 4 RLRLELRL LRLR ERLE LRER LRLR RERL RE RE MuDIATONIC SCALE PROGRESSIONS ae MELODIC MINOR (two octaves) Dorvendi (inate ollow the numbers downward) 1 RERL RE RL R LRLR EBLE DT BRL RLRL RLRL RLR LRER LRLR LRER ERE = RULRL RLRL RLRL RLR LRLRLRLR LEER LURE ‘Now go through Diatonic Seale Exercises on pages 1,42,48,45,16,and 17 inthe natural, harmon ae tnd melodic minorRA CHROMATIC SCALE PROGRESSIONS (Pollow the numbers downward and on to the next page) = 16 FS eae a othe ee TRL OW RL oe ec ee RRL RL RL R PRE R LR LB RL RL RL RL BL RL RL RL URL RLRLR L RL R LR UR RLRL RL RL RL RL RL RE WRK R LR LR DRL R LR LR RLRL RLRL RL RL RL RL 10 L"RL R LR LR Gee b’eL BER LR LAE RL RL RL AL RUB Later, practise Chromatic Seale Progressions starting on adja- cent keynotes Db,D,Ehote., throughout the comput Repeat cach exercise 20 times. raCHROMATIC SCALE PROGRESSIONS an RE RL RL RL a ee. aaa = eye ene Hehe ie RL RL RL RL RLR LR ERE R DR LR LR LR L RL RL RL RL RLRL R LR UR LR LR LRL RL R'LR OL RL RL RLRL RB CHROMATIC SCALE EXERCISES SSS aS RULR LE BLR LRL RLR LR L RL R LE LR L RL R OLR LR L RLR CRERERLR L RL RL R ER L A URL RL RL R URL RUBE AL RL RLRL RL RL RLRL RL ALR URL RLRLR LAER LR LRL BER26 CHROMATIC SCALE EXERCISES RL RE RL RL RL RL RL RLRLRL RL RL RLR LE RL RL RL RL RL RL RIR LR LR L RL RL RL RL RB LRLRLR LR LAL RL BER L RL RL RL R LRLRL RL RER LR LR L RL RURAL RRL RL RL ROLE Lb ES LRLRL LRURL BRE RL LRURL DORURL ran pe LR URL LRuRh LRLRL u RLRLRE RL RL R RLELR RL RL & ROLRL R ARLE LE RL RL BR BLRLR RLELE Pa,CHROMATIC SCALE EXERCISES 27 Tek "koe LR TR LR L RL RL RLR LR OLR DRL RL RL REN LR LR OLR RL RL BER UR LR URE RL RL ROURLB LR LBL RL RL RER LRUR URL RL RLR UR LR LRL RL RL RLRLARL RL RLR ER OL RLRL RL RL RURLRURL RE RL RERL RE LR LORE RL RL RL R OLR OL ROLEL RL RL REAL RLRL RE RL RL BL ALR L RLRL RL RL RERL RLR L RL RL RL RL ALR LR URL RL RL R URL RL RL OR RAT RL RL RL RL RL R RL RL OR LR REN LB RLR LR LR L RL RL R LW URL BR ROLRL RL RL RL RL RL RL R LR LR OLR UR URL RL RL R LRLR LR LR L RL RL LRLR LAER LR LR OL RL RL RERL RLRL R RLRLRL RL REAR LR LRLR LEER L RL RL MRL RUB DR LR LR LR LR L BL RB LoRLR OL LORLER LR UR LBL RL LRER L RL R LR LR OL LRLR LR UR L RL RD- CHROMATIC SCALE PROGRESSIONS Ree RU RL RL RL RLRL BERL RL AL ® a = LR LR LRLR EL RL R LBER LRER LRLR Wb CHROMATIC SCALE PROGRESSIONS a cr eS en Men (Follow the numbers downward ‘and on to the next page.) 4 2 Ped a a sel HER LR LR L RL RL R RL RL RURL RL RL RLRD * [[ Stop short— then proceed.29 CHROMATIC SCALE PROGRESSIONS é £ sas pane aes ppaped 5 Sel » Bee aS: ae 6 LR RL ORL RL RLEREL RL RL RL SEER ays enbes bonnie Fal OLE ‘i Z | TRL RER LR URL RL RL RE R RL RLRLRLR LRL RU RL RL TRRL"RLR LR LR URL RL RL RL R RL RL RL RUER LR L WL RL we OL RL DRL RLR LR LRLRL RL RL RL RL saga RDR LR LR L RL RL RL RL TRL RUR LR LR LRLRL RL RL RL RL RL RL RLRLRLR LAL AUR L RL RL RL 28 DRL RLR LR OLR OLRL BL RLR ae LRLALRLRLRLRERLRL RL RL L'RL RLR LR LRLRL RL ALR LR UR LRLR LAR LAL ALR LRLRLR ERLE RUR L RL RL RL RLA LR LRL AL RL RURLRLWL AUR L RL RLRL RL RURLRLRLRL BR30 r SYNCOPATED SCALES Showing 2/4 matched to Alla Brevo(@™ (Jin aA: ina% or ¢) To orerunt |e prince |t aeguat |p oeerer LR LRLRL |RE RLRLR (LR LD RLRL BRL RURL(RUR LRLR|ERL RLRL|RLR UALR written Poon uae ieee, won finue vey leven eur oo welt ‘ 4 DRLRL ei |RLRLR LR|LRLRL RE 6. LRURLR Lieent ri eiLaer ir u iRuRi Ru RB — be played,counted and ftngered alike. ‘Hed notes i ot played it ia rested. @whtie the note arithmetic of the two signatures varles, thete reepestive PM verension iat, aninsrellng i Lncaed the econ of| SYNCOPATED SCALES . Showing 2/4 matched to Alla Breve(¢) LRLRLRL |RERL ROR |LRERLRL [RERL ALR LRL RLRL| RLRLRLR| LRLRLRL| BER LAER Ploy the above patterns in every major and minor seale L "RL RLBL R LR LRL RL RL REAL R LEE RLR wR LRLRL RL RERLRLRLRURL RL RL RL. OL a URL RLRLRER LAL RL RL RLRLRLR LRLR 1 42 WLR URL RLRL BERL RER LRL RLRL RLR aa 18 iar Si 7s LRBLRL RL RERLRLRL RLRL RL RLRLR LR ~~ LRLURLR LRLRE RL RLALR LR LRLAL RL OR OL BL RLRL BLE L RL R L RUB LR L RLRL RL R . 16: URL RLRL RUR ERLR LRLRLRL RLBL BLA OL82 masor [i 2.5 J ARPEGGIOS (snoxen cxorna) _~ TRLR LRLR UREA LRLR LRERERLRLRLELRUR GRLUR DRLR GRUB GRUB fe ee URLR LRLRLRLR LRLR RLRL RURL RURL RLRL ns ma as # + tS RURL RLERLRLRLRLRL RLRL RURL RERE RERL FR 5 6! = MAJOR winsaava sien [2,35 8) GE 2 mrvor [2 5 5.4] $= LRUR LRGLR LALA LRLR GRLRLRERLRER LRLA LRN ERLR LRLRLRUR TRLR URLR URLAURLR LRLR LAER ERLE LAER RLRL RLRL BURL RURL RLBL RURL RLRL RURL RLEL RURL RLRL RURL RLAL RLRL RLRL RLRL RLRL RLRL RLRL RLRL RB L RLRLRURLRLRLRLR LRLRLRLRLRLR LALA TR LR LRLR LRLR LAUR LORLRLRER LRERLALR RL RL RLRL RLAL RERL RB LRERLRL RLRL RURL + [furl] Stop short—then proceed. Pinal practis RLRLRLRL RLRL REEL RL RL RLBLRLRL RLRL RB should be done without stops 20 times ‘Then practise it in all keys.ARPEGGIOS MINOR wu sie nn [2 856) SE 4 LRURLRLRERURERLR LRLRLRURLRLR LAUR ERL BERLR ERLR ERLE TR LRERLRERLRERLR LRLRLRERLRLRLRDR RL RL RERLRLRL BERL RURLRLBL RLRL RLRL RLALRLRLARLALRLRL RLRL RLRLRLRL RRL RL RE RLRERLRE RLRL OR avemenrep rirtu (4.3, 2] = TR LRLRLRERLRURLR LRERLALRLRER LAER ERE RE RLRERLALALR DRLRLRLRERLRLALR RLRLBLRL RLRL RLRL RLBL BURL RLRL BER RL RL RLRL RLRERLRL RLRERLRL BURL BERL RB | pominanr sevenTs [424] $= ¥ pe TRLRERLR URLR SALE LRLR LALA LBL A LAL fi — eT eth t LRLR LRLRLRLRLRLE DRUR LRLRLRLR ERLE LRL RLRL RLRL RLBL RLRG RURL RURL RLRL BURL RURLRLRL RERL RLRL RLRLRLRL RUB RLRE RLRE BURL RERE34 ARPEGGIOS MAJOR BO nner 7 TRLRERLR LALRLRLR CRER LRLR LRERLRLR LALRLRLR TRUR DRLR LRLRERLR L RLRL RURL RERL RLAL RLBLALBL RLRLALAL RURLALBL RLRLBLRL RLRLRLRL RB MAJOR with added sixth 8 LRLRLRLR LRLRLRLR LRLRERLR LRLRLRLR LRLR LRLR Boa... LRLRLALR PRURURLR LRLA LURLR LRLRLRER b on RLRE RLRL RLRL ALRL RLBL RLBL RERLRERL RLRL RLRL REURLRLREL RURL RLRL RLRL RLRL RLRL RERL > MINOR: aoe LRLRLALA LELRLRLR LALA LRLR LALA LAER LBL RO URER ER ERL PLR LRLELRLR L RL RL RLRL BLRLRURL 1 ALR LRURL RL RL BLRL RLRL BLEL BURL BERL RE RL RERL ORARPEGGIOS 35 MINOR with added sixth 10 LRLRLRUR LRLRLRLR ERLE RERLR ERLRGRLR L RLRLRLR Sea. LRLRLRER ERLRERLR LR LR LRER LRUERLRER & RL RLRLRL RLRLRLERL RLERLRERL BERL RLRL RL RLRLRE RURLRLRL RLRLRURL RERLRLERL RL RLRLRL R AUGMENTED FIFTH 8va. ua LRLRLRLR LO RERURUR RLRERLR LRLRBLRLR LRERLRLR LR LR LRER RLRLRLRL BLE L RUD BL RLRLRL RLRL RLRL RLRLRLRL RL RL RLRL RERL BERL RB DOMINANT SEVENTH 12 True VRLR LRURLRLR LRLRLALR LRLR LAER LRER LRER ERLRLRGR LRURELRLR LRLRLRLR LRERLRER FL RLRLRURL RLRL RLRL RLRL RLRL RLRL RLRL RURL RLRL RURL RURL RLERLRUERE RURE REBEL RURB RENE B or36 ARPEGGIOS MAJOR TRE LEER ERER TRUER LRLER BERL REBEL RERL RERL RORY 2 2 Z, s ses ants 2, 4 TRLRLRL LRLRERL ERLRLRL LAL RERL RLRLRL 2 pang 2 £ 15 = LRURL AR RERLRL RB BUR LBL R TRuR LRER DRLALRLR LAER ERLE LRLR L RLRLRLRL RERLRERL RURLRLRL RLAL B 5nd, 2 nt set 3_# Evy TRLRLR LE LRLRLRL LAL BURL LRLRLRL RLR ERE R Js 3 18 RERELBL RB LRLR LRLR RLRTRER BLE LRL RE LRLRLRLE MINOR RURLRLR RLAL RLAL RLRLRURL RLRLRLRL RLRL BURL 19 RLR L RLRL a —!, TRERLRLRERLRLRERLRL BO RLRL BURL RUB ss x, 8 8 sets LRURLRL LRLRLRL ERLRLR L LRERLRL RL RLRL BR ar fas aa 2 Wb RLRLRLR LR LR LRLR PERERA BUR URL BRL Bint s LRL BERLE LRLRL RL RL RLBL RLRLRURL RLRLRERL RL RL BR x Practise in all keys.Pere area reenter erence SECC SEC SECC CCCCCCCCCCCCCCE 37 ARPEGGIOS MINOR with sdaea sixtn 22 T RURLRLRERL RERLR LRLR RL RLRLRL RUWL RERLRLRL 3 Pees 7 a 3 28 TRLRERL URLRLR& LAL RURL LRLRLRL RLRLRLR 1 2 oy 2 LRLRL BR RER LRLR OB LR LRLRLALR ERD RURLR T RLRLALR ERL RURLE R LBL RLBL RLRL RLRL RLRL RLRL RLR L RLRL AUGMENTED FIFT! 25 TR LRLRLRERL RURLRLRLR RL RURLRLRLR L RLRL RURL ne fA 8. 2 state Maan 26 LRLBLRL LRLRERL URL RLRL LRLRERL RURLRE RB 2 gos LR LBL R RL RLRLR RULRLRL R Ban ng LRURURL RLRLRL RERLELE L RL RLRURL RERLALRE RLRLR DOMINANT SEVENTH > eieraeeiseaeer rer ree rs: Bee Run Paun unin unin Geen Rumi eiet RUBE aure nay eae 3 TRERLRE LRLRLRL ERE RLRL ALR LBL 4 = Saf 50 wat, Buntarn muntaun wie ¥en ne Wein taun caununus URURLELR LALRLRLR RLRLRLRL REAL RURAL RURL RURL REAL REY rgas ARPEGGIOS DIMINISHED SEVENTHS (4) [c mvt a] $ag= (0 BceBH sPapag=) ‘These notes or their enharmonic equivalents. ® at TOR URERURERERERLR OL RLBLARURLALRURER LAL RURLRLRLRLRLR Po Py Pe RL RURLACKURGALR LR LRURLALRLRLRLR RL RLALALRLRLALRL LBLRURLRERLRLRL RUB LELAURLRURLRE RL RLRURLRURLRERL BL RURLRLRURLRLEL BR Also practise starting on Bs, Pt and A. DIMINISHED SEVENTHS (2) [cre os] RES ‘hese notes or their enharmonie equivalents 32: rs RL RURLRERLRERLR LR L RALRLALALALRLR CR LRERLRLRERLRLR LE ORURDRLRERLRURLA LRL RLRLRGRLALRLA ALA LRLRLURLRLRLRL RL R LRLALRLRLRLRL HOE RLRLRLRURLRLBL OR LRLRLRLALRLRLRL RLER LRLRLRLRLRLRL = RB Algo practise starting on E, @ and By. DIMINISHED SEVENTHS(8) [p F or8] $=ige= (DFA, ==) ‘Those notes or their enharmonic equivalents, 38) LROLRLRLRLRURLRLR L RLRLALRLRLRLRLR LRURERLRLRLALALR TRL RURLRLALRLALR LR LRURLRLRLRLALR RB LALALRLRLRLRLRL RURLBLRLRLRLELBL RERLRLRLRLALALBL RL RURLALRLRLELRL R LRLALRLRLRLRLRL = Also practise starting on F, G? and B. a © viat prctine shesld be de wien eps,ARPEGGIOS a DIMINISHED SEVENTHS (1) ee LR LRLRLR L RLERLRLR LRLRLRLR LRLRERLR OL RUB LRLRL RE RL RERL RL RERDRL RERLRLRL RLR LRLRL BL RLRLRL RL RL REL B Also practise starting on Ks, F¥ and A. DIMINISHED SEVENTHS (2) 35 TRL RLRLR LRL RLRLR ERLE URLR L RURLRLR "LAL RLRLR LR LR LRER ER LR ERER ob RL RL RERL RURLRERL por") punb RLRLRLRL RE RL REBEL RERL RERL RURL RERL B Also practise starting on E, @ and Bh. DIMINISHED SEVENTHS (8) 86 LR LR LRLR Lb RLRERLR PRER ERLR LRL RURLR LR LRLRER LRLRLRLR DRERERLR L REE LRLRL RL RL RURL RLRL RURL BURL ALRL RLB Also practise starting on F, G# and B. RLAL BL RL RERL RLRL RLAL FR a |- ARPEGGIOS DIMINISHED SEVENTHS (1) 37 TOR URLRLR URL RERLALRLR RL RL RLRLRLR LAER b RERL 2__f 8 p 3 3. 3 38 RERERLR TRLRERD LRERLRL LBL BERL ERE RERL 5, Jig os) RERLBLR RL RRL R HL RUBLE T RLRLRLR LBL RERL pecs LRULRDRLR PRU RERL R RLELRLARL RL RLRLRL RLRLRLR L RL BL RLRL DIMINISHED SEVENTHS(2) be b 40 LRLRLRLRDALRLERERERL R RLRL RLRLRLRE RERL RER L oe 3, J x ag 3 Ea AL PRL RLRD RL RLRL LRLALRL LRLRLRE RL R LALR & g8 2 3 42 RE RERL R ORURERER wun'ERE B LRL RLRL RL RURLRLR TRL RURL RGR LRLRLR RL RLRLAL RLRLRLNL RLRLRLRL BERL BLN L B ‘i ae 2 otee 3 DRL AUREL LRL BERL ERLE RERL LRL RERL RER LRUR J. 8 g URLR RL RLRLR RLR URE LRLRLRLR LRLRERL LA LRURLR ERLRLBL R RLRLRLRL RL RLALRL LAL RLR L RL RL RLRL Also start on different note groups (inversions) as shown on pages 88 and 89.46 ar 49 ARPEGGIOS MIXED TRL RLR LRLRER LAL RURL TRL RLRLRLRLR LRL RLR YoRLR LRLRL BER TL RL ROLRL ToRLRL RLRL RLR L RL RL at RLRLRLRLR LAL RLRLRL R RURLRL RLRLRL RLRLRLR au nun Bun vay ee Ron ye RLRL RL RE R URL RL RURL R Te LBL RLRL-RUR ER L RL RURLRLSLR LAL RO LRLRL 52 58 46a. aa Bea LRURLRLELRLR LRLRL LR LBL ROLRL RLR EL RLR b, RL TRU R URL RLRLR LBL RERML LR L RLR LAL RLR LAL ROLRL RURLRLRLRLBL RLR UALR ALR LRLR L RLR URL RLRL R b, b, RL ALR L RURERL RB OLRL R OLR ALA LEL R LR LBL RLR URL R LBL RERLRLRLR LRURLRURLRLR: t, RURLALBDRLRL RLRERLRLRLRL + ry £, a oe ata a7 dle — + Tat nun CALALE LRLRTRLRLATR 528 oe # tt LR LRLRURL RLR OL RLRLRLR LRLR RLRERLRLRLRL RURLRL RLRLRL Sr. RLRURLRLR LAL R LALAL RL RLRLaz DOUBLE NOTES ane 8 SIXTHS 4 OCTAVES: 7 In executing double notes strike both mallets exeetly together. Use wrist action only. areca aeDOUBLE NOTES . TENTHS + 40 DOUBLE OCTAVES a OCTAVES IN CHROMATICS 42 FA A eres. hepee torr Sees ieee a “4 BROKEN CHORDS IN PAIRS 45 yGRACE-NOTES TR UR DR UR LR LR LR LR LR LR LR LR LR ER OR Q 2 LR LR LR LR DR ER ER ER PR UR LR LR ER oF £ TR LR DRLR LR LR LR LR LR UR LR LR LR UR LR 4 PRER LR LR LRLR ER UR LR UR HR ER ER LR DR BL abst BL RL AL RL AL ND WL BL ab BL BE YE Yue uoab. ab wh ab wh wb ab wh BL Bb ab wt De RL ab eb nb eb eb sb pb ab wb mt ab nk bomb Lo LAL LHL tek Gh L ok amb iM unk unk wah ( 3 e ) Lab GRb teh uno ownb th oak orb web isk ueb web web uel 1h AER SUR AL ROMLR ALR ALR ALR aL R MLR ALR ALR BLA ALR MLR my AUR MLR MER MLR MR ALR SLR MLR ALR RLR MLR MLR AER BER BER ‘ag * Strike grace notes sotly from slow level—princpal nots lender (normal powet) from s higher Ler.sama ine ie ue ee Ege ee 45 GRACE-NOTES ee tare MRUR 0 uRLR wR RL ane RuaL meal aR aueL LAL, nuk, aah aL ara aun mua auah auaL mak ale UALR DALE Laer ua aR aL R tae hat LR LAL R tae aa aa R bane van unt BR anual mua aun LAL mak auaL aur ALE mua un muah uw nua ane L mua nuk TAR | uaLR TAR LAER wR LRLR tah aR mak ara auRL mun muah aun ane L mak u Practise in all keys. =- CROSS MALLETS BLRE RLRL RLARLRLEL RLRL RLRL RERL RB RLRL RLBL BERL RLRL RLBL HLRL RLRL RB LRULRLRLR LRLRURLR URLRLRELR ERLRL CRURLRLR LALRLRLR LRLRLRLR LRLRL BURL RURL RLRL RLRL BURL RLRL RLRL RB RLRL RLRL WERL RERL RURAL BERL RERLR LRLRLRLR LRLRLALR TRER UALR UBLAL | LBURDRES LRLRURLR LRLR LRLR Lan D SS 3 ss = eae eg pea Bere te - Tooter BURL RURL RERL RURAL RLRL RLEL RLRL RLRL WERL URL WURL HLRL RURL ® LRLRURLR ERDR DRED = oa if Tet + fortte car ee ose ae Co toy - TRUER URER CRERLAER LRLRLRLE LRLRLRLR LALRLALR LEER L BURL RLRL RLRLRLBL BERL RELL RERL RLRL BLRL RUBE BLBL RLRL RLBL RURL RLRLR LRULR LRLR LRLRLRLR fette at, fae 3 LBLRLALR LRURLRLR LELRERLR ERURLBLE LELRLRLR LRU L ” Practise in alll keyay INTERVALS BERT RLRL RLRL ALL RLRLELRL BERL RLR LRLRERLR Pr Spaeeenenere eee fe Ee ; ERURLRLR LRLRLRER LRLRUR RLRL RLRL RLRL RLRL REEL BORL RURL RLR LRERLALR LRLR LER ERERERCR LRLRLRL BURL RENE RURLRURL RURLRLRL BERL R LRUR LAUR LAL LALR LRLRLRLR LRLR BLBL RLRL RURLALRL RLRLRLRL BERL RLRL RERL RLRL BERL RLRL RURAL RLRL RLRLR LRLR LALA LALRLRLR LRLR LRLR LRURLRLER LRLPURLR LRLRLRLR LRLRLALR LAUR L PORE RLRL RLERL RLRC RLRL RERL RERLRLRL RLRL RLRL RLRERERL RLERL RLRL RERE RLRL RLRL RERL RLRL REAL H by RLRLRLRL RLRLRURL OR LRLR LURLEH LRLRLRLR LRLRLRLR LRLRLRLA LALA LALR LRER LRLR LRLR LRLR LRLRLRLR CRLRLRLR LRLRLARLR DALE LRLR LRLR LRLR OL4s op ee Sa Sa tiginiaaass TRIPLETS CETL ALR ALA LRLRLRLRL RB RLRERLRERLRL RUR LAL RLR L foe! (er ep ee GRU RRL RAL RRL RAL RRL RRL AB LERLERLLR LDR LER LER LER L fee ees eee ee 2 REE REL RUE RLL RLL RLLRLL R LARLRRLAR LAR LRR LAR LAR L see oY # TEP annuus RR Lut RHRUEL RO RRALEL RAR LLL BRR LLL RRR LE 8 jouer sneenas eee et LBL RUB LRLRLR LAL ALR LAL BERL = 2. 3 3. a a RLRURL BUR LAL RLRLRL RLALRL RUA LRLRLR LRL R REL RRL RRL RRL RRL RRL RRL RRL RRL RRL RRL BRL R 2 ee ee SS LER LLR LER LLR LER LLR LER LER LER LERGLR LER b BER LLL BRR LLL RAR ULE RRR LLL BER LLL RAR LLL Practise in all keys.a9 TRIPLETS ° Peres sae ee eee ers TRL BURLAL BUR LmL RUN ORL RUB LBLRURLRL RLRLAL RENT fee 4. eeigiacg! LRA LRRLARLRR LRRLARLRRL REL RLL RELL RLL ALL BLE REE 2 ia 8 ie ot nh ot ge fsa pprpitsestesei sede jeesad 2 LER LLRLLRELR LLRLERLLRL RRLRRLRRLRRL RRLRRL RRL R ee ee ee oy 8. 38 & 423 LBL RLRLRL ALR LRLRLR LBL R ORLA LRLRLRERL RLRLRLRLRL a3 8 of sa eo oer 13 BLE RELL RLL BLL RLLRLL RLL BR LRRLRRLRA LER LAR LAR LRRL sg 8 s de 3, 8, 8 BRL RRL RRL RAL RRL RAL RRLR LLRELRELR LER LLRLURLURL 3 eee F ag ef es VED nin uni nin cei mie LRUR RUB UBLALRLRL RURLRL ALR E 3 2 2 aan s Sp pte ohn i ot 46 pag aoa re al ee EY testa ieD TR RURLRL BLE LBL BER EBL NURLRLRLRLRL RLRLRL RERE fru s aoe ee a7 LBL RYLRLEL R OLR LRLRLR L RL RLR L RLRLR L RLRLR OL 7 ees ete geen pec ae ge, 2 RLRLRL RERERL BR LRLRLR LRURL RURLALRLR L RL ® Siege pee see ssh 2 18 URL RLRL RL RURLRLRLR EL RURLR LAL REAL RL RLR OL 2 ss 2 RURL RL RURL RL RLRL RL RLRLRE PLR LRLRLR LAL aTRIPLETS 50 pop ee eg eee ee 19 : io eet tee ‘Z oe oo Fe # =i = eri Cin LRA LHRLEN LRRURR GMA LRN ALL REL ALL BLL REL RLL BLL BLL 4g 8 phy Sn 8, 3 8 20 Seal Potato} 28 2h 25 26 27 to RLR NLR ROERRLR BLA RLERLR LR 2) 99 psf, fy g RLL RE an TRELRE DRL GRE TD pore gear Lo RURRLR RGR ROR RLNRLARLR BER Sng © 3 a a 3 98 TRRLRREARLER CAR LRRERRLAR BLL REE RLL REL REL REL REL RUE Free ee Ae 4 TREDRLLALLRE DRL DRL LAL LRL RLRRLRRLR ALR RURRLR RL RLR Ge fee os ee TRE RUB URL ROR URL ALA PRL RLR ERE RURLRL ALR LAL RURLDL BLE 7 eee ep ee ed a cs ret. 8 ———— eat ese teen ee gt sae, dad NOR LRUAUNLRL RUB UML RUB URL BER LBL RE URE 4 Faas oe RLRLRL RLR URL a aos URL RLR TRE ave vei RUn URL ALB LAL RLR Lab RUB BRL RL LOL Rin 3 a2 sf 3 8 sg 8 RURLRL-RUR URL RERLAL RLR LAL RURLAL BLA URL NUR LRL BER LEY 8 so 3. 3 4h, 2 os 38 s 3 DRURLALRE ALR LRL ALR LAL RLR LAL RLRLAL ALR LRL RLR LRL RUR 3 a : Sef 2 ttt» ef fake ote phe otitis ig tt pea ee te et face fff tee ee ae RLRLRL ALR URL BURLALRERLRL BER LBL RLR LBL RLR LBL RUR LL5 TRIPLETS 3, 302 A DRL BLRLAL ALR CRL ALR LAL RLR RLELRL BER LAL RLRLRL RLRLRL 7 gs, 8 4 gs 29 TRRLRRURRLRA CRRERRURRLRR RLL ALL BLL REL RLL REL RLLRLL faa 3 2 aS 30 TRELRULRLLR RRL RRL RRL RRL RALARL RRL RRL a g gt LERLLRLURLLR a tf Bt LED RRRLUL RRR CLL RRR LLL RRR RRRLLERRRLEL RERLLL RAR LLL BURLRLRERLAL BER LRLRURLERL RURLRLRERLRL RURLRD RE oon tae ema maerae eee sae oe ere LRLRLRLRLRLR LRLERLRERLRER LRLRLR URL MUR LRLRLRE = z 4 88 URL RLRERL ALR URL ALR LAL RLR LRLRLRELRERLR LRLRULRERL R s. 2 A 2 2 RURLRL RLRURL RLRLRL ALR LRL RLRLRLRER DRL RLRLRL ALR ou acptrrtpipbeste gia fereietrerer BULRURE BUREBL RUA URL RURLRL ALR URL RLBLRL ALR LRT ALR LBL 2 3 £ 2 RURLAL BUR URL RLRLAL BLA LRL RURERE RLRERL RURLRLR ib, £ 2 3 URL RURLAL RLR LAL RUN LRL ALA LRL RURLRL RLR LRL RLRLAL RLR 3 2. URL RLRLRL RLR LRL RURLAL RL LRLRLR ERLE RLRLRL ALR L ae1) (Ob is enharmonie to B) 3 a a . 8 . 8 a 3 5 3 fA a : : PME five 3 d 2 2 3 ial é se 2 # a ci a ae a 2 SW = |PRE 2 q z : : 7 aie 2 = = & £ 3 3 SNE SE |MRE $ : : 3 2 g. = z 7 = z g 3 g : = : 7 3 : bis 2° Be a 423 Ag si z 53 = ‘ < Q 2 = ‘J 5 = 3 | Paes 2 mi iuthl| =: : cs ens Hs Koy of D (2t-Fand Care sharpe Key of A (@H-¥,C and @) Key of B (44-8,0,6,) Key of B(54-F,0,0,0,4) Key of C sharp (71-F.0,0,0,4,8,B) Koy of Fsharp (6 Key of G (it BeCHART OF DIATONIC SCALES . ‘Matched to the Key of A minor NATURAL (unaltered) MINOR ‘Koy of A minor relative minor of O major) nag iby Key of Aminor(relative mizor of © major) Key of D minor Key of minor(ettie moor of B maf) Key of Diminor(rolative minor of Ff major) Key of Eiminor relative mixor of @ major) 2 ett on ettt ayia of OF major)he CHART OF DIATONIC SCALES ‘Matched to the Key of A minor HARMONIC MINOR Tn which the seventh scale step is raised Key of A minor(rolstive minor of © major) Key of A minor(relative minor of © major) Koy of Bminor(relative minor of Dmajor) Key of @ minor(relative minor of Bb major) 2S saee Peeves rete ¢ Tg aore mite ws Inu dere mite at ‘obo ery PEST RS Fe TASTES Te Key of Fiminor(relative minor of A major) Key of 6 minar(relative minor of By major) 3s Bu deremite ae au dor ni te Tethdore mite nde In tldore mi al a : gph ee ee TASES S Te TaTe Te og Te doze mite alla Inu done atte ab ts Pees PEST EPS Tee ‘bo Key of Bb minor (relative minor of Db major), Pee Tae eg ag tier ve 1g ory, rd) ws Key of By minor (relative minor of Gb major) Kien ate tk bude ath ale TEPTTS Ta, PEST Te GF Key of Ab minor (relative mizor of Ob major)CHART OF DIATONIC SCALES ‘Matched to the Key of A minor MELODIC MINOR. sixth and seventh raised ascending satural descending: Key of A minor(relative minor of © 55 sae i Tiare a hae deem mt TEPER Sag TeeT ss Key of D minor (relative minor of Fmajor) TG ore a ale ln done at PESTS ETE Tae TS Koy of @ minor(relative minor of Bymajor) ws * arte y q eee eae ciel Koy of Ctminor(relative minor of B major) —o Bi dore mi fi ala a dove mt th (er) Koy of F minor (relative mizor of Ab major) i =a oF Hate : ern) Key of Gtminor(relative minor of Bmajor)