Harmonic Exercises for Jazz Piano

HARMONIC EXERCISES FOR JAZZ PIANO BY STANISLAV BORISOV

1

CONTENTS

Introduction

2

Low interval limits

3

Chapter One: Basic II-V-I exercises

4

a) Major keys b) Minor keys

4 19

Chapter Two: Left hand II-V-I exercises

31

Major keys: a) Left hand II-V-I exercises with two voices b) The Dominant and its substitutions, left hand II-V-subV-I progressions c) Left hand II-V-I progressions with two voices and melodic movements

31 33 38

Minor keys: d) Left hand II-V-I exercises with two voices e) The Dominant and its substitutions, left hand II-V-subV-I progressions

43 45

Chapter Three: Harmonic II-V-I exercises for both hands

50

Major keys: a) II-V-I progression with two voices in the left hand and one in the right b) II-V-I progression with two voices in the left hand and two in the right c) II-V-I progression with two voices in the left hand and three in the right

50 63 78

Minor keys: d) II-V-I progression with two voices in the left hand and one in the right e) II-V-I progression with two voices in the left hand and two in the right f) II-V-I progression with two voices in the left hand and three in the right

105 118 145

Chapter Four: Harmonic V-V exercises for both hands

173

a) Harmonic exercises with three voices b) Harmonic exercises with four voices c) Harmonic exercises with four voices and a dominant substitution d) Harmonic exercises with five voices e) Harmonic exercises with five voices and a dominant substitution f) Harmonic exercises with five voices and an additional movement in the 4th voice g) Harmonic exercises with five voices, an additional movement in the 4th voice and the use of a dominant substitution

173 182 210 213 238 241 304

2

INTRODUCTION One of the main purposes in writing this book has been to develop your knowledge of the voice-leading used in jazz harmony and extend your technical abilities in that direction. The basic way of building chords (voicing) in the jazz world is different in comparison to the rest of the music styles. In order to increase tension the jazz pianists have to learn very well how to use the leadingnotes (or pivot-notes) and how to resolve them. The exercises in this book will help you learn how to do that with the two of the most basic and important cord progressions. Another of the important goals of this book is also to develop the technical abilities of the left hand. That is usually the wick point of many jazz piano players especially when they have to play alone. I suggest you to work on each one of these exercises using different harmonic sequences i.e. circle of fifth, forth or any other way. That will prevent you from acquiring merely mechanical playing dexterities. In addition you will gain a better understanding of the logic in the harmonic movement. The amount of exercises might seems too much, but keep in mind that once your brain starts to process faster the information and your fingers begin to respond to it, things will start to become much easier.

3

LOW INTERVAL LIMITS *The low interval limits rule has to do with the harmonic structure of the chord. * The low interval limit shown below is not an absolute rule. However, when simple harmonic intervals occur between the Bass and Tenor voices, limitation must be placed on how low they may occur. Placing the interval lower than the limitation can be risky, as the result might not work that well. Table-01:

4

CHAPTER ONE: Basic II-V-I exercises a) Major keys II-V-I exercises: IIm7 7 5 3 1 1

V7 3 1 7 5 1

Imaj7 7 5 3 1 1

Imaj7 7 5 3 1 1

Ex-a 01:

Ex-a 02:

5

IIm7 9 7 5 3 1

V7 13 3 9 7 1

Imaj7 9 7 5 3 1

Imaj7 9 7 5 3 1

Ex-a 03:

Ex-a 04:

6

IIm7 5 3 9 7 1

V7 9 7 13 3 1

Imaj7 5 3 9 7 1

Imaj7 5 3 9 7 1

Ex-a 05:

Ex-a 06:

7

IIm7 9 7 5 3 1

V7 b13 3 9 7 1

Imaj7 9 7 5 3 1

Imaj7 9 7 5 3 1

V7 9 7 b13 3 1

Imaj7 5 3 9 7 1

Imaj7 5 3 9 7 1

Ex-a 07:

Ex-a 08:

IIm7 5 3 9 7 1 Ex-a 09:

Ex-a 10:

8

IIm7 9 7 5 3 1

V7 13 3 b9 7 1

Imaj7 9 7 5 3 1

Imaj7 9 7 5 3 1

V7 b9 7 13 3 1

Imaj7 5 3 9 7 1

Imaj7 5 3 9 7 1

Ex-a 11:

Ex-a 12:

IIm7 5 3 9 7 1 Ex-a 13:

Ex-a 14:

9

IIm7 9 7 5 3 1

V7 b13 3 b9 7 1

Imaj7 9 7 5 3 1

Imaj7 9 7 5 3 1

V7 b9 7 b13 3 1

Imaj7 5 3 9 7 1

Imaj7 5 3 9 7 1

Ex-a 15:

Ex-a 16:

IIm7 5 3 9 7 1 Ex-a 17:

Ex-a 18:

10

IIm7 9 7 5 3 1

V7sus4 13 4 9 7 1

V7 Imaj7 9 3 7 5 3 1

Imaj7 9 7 5 3 1

V7sus4 9 7 13 4 1

V7 Imaj7 5 3 9 3 7 1

Imaj7 5 3 9 7 1

Ex-a 19:

Ex-a 20:

IIm7 5 3 9 7 1 Ex-a 21:

Ex-a 22:

11

IIm7 9 7 5 3 1

V7sus4 V7 Imaj7 13 b13 9 4 3 7 9 5 7 3 1 1

Imaj7 9 7 5 3 1

V7sus4 V7 9 7 13 b13 4 3 1

Imaj7 5 3 9 7 1

Ex-a 23:

Ex-a 24:

IIm7 5 3 9 7 1

Imaj7 5 3 9 7 1

Ex-a 25:

Ex-a 26:

12

IIm7 9 7 5 3 1

V7sus4 V7 13 4 3 9 b9 7 1

Imaj7 9 7 5 3 1

Imaj7 9 7 5 3 1

V7sus4 V7 9 b9 7 13 4 3 1

Imaj7 5 3 9 7 1

Imaj7 5 3 9 7 1

Ex-a 27:

Ex-a 28:

IIm7 5 3 9 7 1 Ex-a 29:

Ex-a 30:

13

IIm7 9 7 5 3 1

V7sus4 V7 Imaj7 13 b13 9 4 3 7 9 b9 5 7 3 1 1

Imaj7 9 7 5 3 1

V7sus4 V7 9 b9 7 13 b13 4 3 1

Imaj7 5 3 9 7 1

Ex-a 31:

Ex-a 32:

IIm7 5 3 9 7 1

Imaj7 5 3 9 7 1

Ex-a 33:

Ex-a 34:

14

IIm7 9 7 5 3 1

subV7 9 7 5 3 1

Imaj7 9 7 5 3 1

Imaj7 9 7 5 3 1

Ex-a 35:

Ex-a 36:

15

IIm7 5 3 9 7 1

subV7 5 3 9 7 1

Imaj7 5 3 9 7 1

Imaj7 5 3 9 7 1

Ex-a 37:

Ex-a 38:

16

IIm7 9 7 5 3 1

subV7 #9 7 5 3 1

Imaj7 9 7 5 3 1

Imaj7 9 7 5 3 1

subV7 5 3 #9 7 1

Imaj7 5 3 9 7 1

Imaj7 5 3 9 7 1

Ex-a 39:

Ex-a 40:

IIm7 5 3 9 7 1 Ex-a 41:

Ex-a 42:

17

IIm7 9 7 5 3 1

subV7 9 7 b13 3 1

Imaj7 9 7 5 3 1

Imaj7 9 7 5 3 1

subV7 b13 3 9 7 1

Imaj7 5 3 9 7 1

Imaj7 5 3 9 7 1

Ex-a 43:

Ex-a 44:

IIm7 5 3 9 7 1 Ex-a 45:

Ex-a 46:

18

IIm7 9 7 5 3 1

subV7 #9 7 b13 3 1

Imaj7 9 7 5 3 1

Imaj7 9 7 5 3 1

subV7 b13 3 #9 7 1

Imaj7 5 3 9 7 1

Imaj7 5 3 9 7 1

Ex-a 47:

Ex-a 48:

IIm7 5 3 9 7 1 Ex-a 49:

Ex-a 50:

19

b) Minor keys II-V-I exercises: IIm7b5 7 b5 3 1 1

V7 3 1 7 5 1

Im7 7 5 3 1 1

Im7 7 5 3 1 1

Ex-b 01:

Ex-b 02:

20

IIm7b5 1 7 b5 3 1

V7 b13 3 b9 7 1

I-maj7 Im7 9 maj7 7 5 3 1

Im6 9 6 5 3 1

Ex-b 03:

Ex-b 04:

21

IIm7b5 b5 3 1 7 1

V7 b9 7 b13 3 1

I-maj7 Im7 5 3 9 maj7 7 1

Im6 5 3 9 6 1

Ex-b 05:

Ex-b 06:

22

IIm7b5 1 7 b5 3 1

V7 b13 3 #9 7 1

I-maj7 Im7 9 maj7 7 5 3 1

Im6 9 6 5 3 1

V7 #9 7 b13 3 1

I-maj7 Im7 5 3 9 maj7 7 1

Im6 5 3 9 6 1

Ex-b 07:

Ex-b 08:

IIm7b5 b5 3 1 7 1 Ex-b 09:

Ex-b 10:

23

IIm7b5 1 7 b5 3 1

V7 b13 3 #9 7 1

b9

I-maj7 Im7 9 maj7 7 5 3 1

Im6 9 6 5 3 1

I-maj7 Im7 5 3 9 maj7 7 1

Im6 5 3 9 6 1

Ex-b 11:

Ex-b 12:

IIm7b5 b5 3 1 7 1

V7 #9 7 b13 3 1

b9

Ex-b 13:

Ex-b 14:

24

IIm7b5 1 7 b5 3 1

V7sus4 V7 5 b13 4 3 b9 7 1

I-maj7 Im7 9 maj7 7 5 3 1

Im6 9 6 5 3 1

V7 sus4 V7 I-maj7 Im7 b9 5 7 3 5 b13 9 4 3 maj7 7 1 1

Im6 5 3 9 6 1

Ex-b 15:

Ex-b 16:

IIm7b5 b5 3 1 7 1 Ex-b 17:

Ex-b 18:

25

IIm7b5 1 7 b5 3 1

V7sus4 5 4 b9 7 1

V7 b13 3 #9

I-maj7 Im7 9 maj7 7 5 3 1

Im6 9 6 5 3 1

V7 sus4 b9 7 5 4 1

V7 I-maj7 Im7 #9 5 3 b13 9 3 maj7 7 1

Im6 5 3 9 6 1

Ex-b 19:

Ex-b 20:

IIm7b5 b5 3 1 7 1 Ex-b 21:

Ex-b 22:

26

IIm7b5 1 7 b5 3 1

V7sus4 5 4 b9 7 1

V7 b13 3 #9 b9

I-maj7 Im7 9 maj7 7 5 3 1

Im6 9 6 5 3 1

V7 sus4 b9 7 5 4 1

V7 #9 b9

I-maj7 Im7 5 3 9 maj7 7 1

Im6 5 3 9 6 1

Ex-b 23:

Ex-b 24:

IIm7b5 b5 3 1 7 1

b13 3

Ex-b 25:

Ex-b 26:

27

IIm7b5 1 7 b5 3 1

subV7 9 7 5 3 1

I-maj7 Im7 9 maj7 7 5 3 1

Im6 9 6 5 3 1

Ex-b 27:

Ex-b 28:

28

IIm7b5 b5 3 1 7 1

subV7 5 3 9 7 1

I-maj7 Im7 5 3 9 maj7 7 1

Im6 5 3 9 6 1

Ex-b 29:

Ex-b 30:

29

IIm7b5 1 7 b5 3 1

subV7 9 7 13 3 1

I-maj7 Im7 9 maj7 7 5 3 1

Im6 9 6 5 3 1

Ex-b 31:

Ex-b 32:

IIm7b5 b5 3 1 7 1

subV7 13 3 9 7 1

I-maj7 Im7 5 3 9 maj7 7 1

Im6 5 3 9 6 1

Ex-b 33:

Ex-b 34:

30

IIm7b5 1 7 b5 3 1

subV7 9 7 13 5 3 1

I-maj7 Im7 9 maj7 7 5 3 1

Im6 9 6 5 3 1

Ex-b 35:

Ex-b 36:

IIm7b5 b5 3 1 7 1

subV7 13 5 3 9 7 1

I-maj7 Im7 5 3 9 maj7 7 1

Im6 5 3 9 6 1

Ex-b 37:

Ex-b 38:

31

CHAPTER TWO: Left hand II-V-I exercises: a) Left hand II-V-I exercises with two voices: Major keys *If your left hand is small and you cannot play some of the intervals (i.e. major 10th) without filling tension, just move the bass note an octave higher. * IIm7 3 1

V7 7 1

Imaj7 3 1

Imaj7 3 1

Ex-a 01:

Ex-a 02:

32

IIm7 7 1

V7 3 1

Imaj7 7 1

Imaj7 7 1

Ex-a 03:

Ex-a 04:

33

b) The Dominant and its substitutions: Left hand II-V-subV-I progressions with two voices. *If your left hand is small and you cannot play some of the intervals (i.e. major 10th) without filling tension, just move the bass note an octave higher. * IIm7 3 1

V7 7 1

subV7 3 1

Imaj7 3 1

Imaj7 3 1

Ex-b 01:

Ex-b 02:

34

IIm7 7 1

V7 3 1

subV7 7 1

Imaj7 7 1

Imaj7 7 1

Ex-b 03:

Ex-b 04:

35

IIm7 3 1

subV7 3 1

V7 7 1

Imaj7 3 1

Imaj7 3 1

subV7 7 1

V7 3 1

Imaj7 7 1

Imaj7 7 1

Ex-b 05:

Ex-b 06:

IIm7 7 1 Ex-b 07:

Ex-b 08:

36

These exercises reverse the position of the dominant and its substitution. IIm7 V7 subV7 Imaj7 Imaj7 IIm7 subV7 V7 Imaj7 3 7 3 3 3 3 3 7 3 1 1 1 1 1 1 1 1 1

Imaj7 3 1

Ex-b 09:

Ex-b 10:

IIm7 3 1

subV7 V7 3 7 1 1

Imaj7 3 1

Imaj7 3 1

IIm7 3 1

V7 subV7 7 3 1 1

Imaj7 3 1

Imaj7 3 1

Ex-b 11:

Ex-b 12:

37

IIm7 7 1

V7 3 1

subV7 7 1

Imaj7 7 1

I6 6 1

IIm7 7 1

subV7 V7 7 3 1 1

Imaj7 7 1

I6 6 1

subV7 V7 7 3 1 1

Imaj7 7 1

I6 6 1

IIm7 7 1

V7 3 1

subV7 Imaj7 7 7 1 1

I6 6 1

Ex-b 13:

Ex-b 14:

IIm7 7 1 Ex-b 15:

Ex-b 16:

38

c) Left hand II-V-I progressions with two voices and melodic movements. These exercises are more advanced than the previous ones and they primarily have creative purposes. Every II-V-I progression is different and has a melodic movement that leads to the next one. You will have to transpose the 1st example half step lower to complete the rest of the bars in the second one. The fingering is also very difficult, some times you will have to change the fingers while holding the key down. If you cannot reach the higher note, do not hesitate leave the bass note. At the end you should play each separate II-V-I movement in all different tonalities. *If your left hand is small and you cannot play some of the intervals (i.e. major 10th) without filling tension, just move the bass note an octave higher. * Movement in the upper voice: The first (II-V-I) progression starts with the bass note and a 3rd when and the second one with bass note and a 7th. Ex-c 01:

Ex-c 02:

39

The first (II-V-I) progression starts with bass the note and a 7th whilst the second one with a bass note and 3rd. Transpose the 3rd example half step lower in order to complete the rest of the bars in the fourth. Ex-c 03:

Ex-c 04:

40

Movement in the lower voice: The (II-V-I) progression starts with a bass note and a 3rd. Transpose the 5th example half step lower in to complete the rest of the bars in the sixth. Ex-c 05:

Ex-c 06:

41

The (II-V-I) progression starts with a bass note and a 7th. Transpose the 7th example half step lower in to complete the rest of the bars in the eighth. Ex-c 07:

Ex-c 08:

42

Movement in the two voices: The first (II-V-I) progression starts with bass a note and a 3rd while the 2nd with bass note and a 7th. Transpose the 9th example half step lower to complete the rest of the bars in the tenth. Ex-c 09:

Ex-c 10:

43

d) Left hand II-V-I exercises with two voices: Minor keys *If your left hand is small and you cannot play some of the intervals (i.e. major 10th) without filling tension, just move the bass note an octave higher. * IIm7b5 3 1

V7 7 1

Im7 3 1

Im7 3 1

Ex-d 01:

Ex-d 02:

44

IIm7b5 7 1

V7 3 1

I-maj7 maj7 1

7

Im6 6 1

Ex-d 03:

Ex-d 04:

45

e) The Dominant and its substitutions: Left hand II-V-subV-I progressions with two voices. *If your left hand is small and you cannot play some of the intervals (i.e. major 10th) without filling tension, just move the bass note an octave higher. * IIm7b5 3 1

V7 7 1

subV7 3 1

Im7 3 1

Im7 3 1

Ex-e 01:

Ex-e 02:

46

IIm7b5 7 1

V7 3 1

subV7 7 1

I-maj7 maj7 1

Im7 7

Im6 6 1

Ex-e 03:

Ex-e 04:

47

IIm7b5 3 1

subV7 3 1

V7 7 1

Im7 3 1

subV7 7 1

V7 3 1

I-maj7 maj7 1

Im7 3 1

Ex-e 05:

Ex-e 06:

IIm7b5 7 1

Im7 7

Im6 6 1

Ex-e 07:

Ex-e 08:

48

These exercises reverse the position of the dominant and its substitution. IIm7b5 V7 3 7 1 1

subV7 3 1

Im7 3 1

Im7 3 1

IIm7b5 subV7 V7 3 3 7 1 1 1

Im7 3 1

Im7 3 1

IIm7b5 subV7 V7 3 3 7 1 1 1

Im7 3 1

Im7 3 1

IIm7b5 V7 subV7 3 7 3 1 1 1

Im7 3 1

Im7 3 1

Ex-e 09:

Ex-e 10:

Ex-e 11:

Ex-e 12:

49

IIm7b5 V7 subV7 7 3 7 1 1 1

I-maj7 maj7 7 1

Im6 6 1

IIm7b5 7 1

subV7 V7 7 3 1 1

I-maj7 maj7 7 1

Im6 6 1

IIm7b5 7 1

V7 3 1

I-maj7 maj7 7 1

Im6 6 1

Ex-e 13:

Ex-e 14:

IIm7b5 subV7 V7 7 7 3 1 1 1

subV7 I-maj7 7 maj7 7 1 1

Im6 6 1

Ex-e 15:

Ex-e 16:

50

CHAPTER THREE: Harmonic II-V-I exercises for both hands: a) Major keys II-V-I progression with two voices in the left hand and one in the right one. Play the two lower voices with the left hand and the higher voices with the right hand. *If your left hand is small and you cannot play some of the intervals (i.e. major 10th) without filling tension, just move the bass note an octave higher. * IIm7 7 3 1

V7 3 7 1

Imaj7 7 3 1

Imaj7 7 3 1

Ex-a 01:

Ex-a 02:

51

IIm7 3 7 1

V7 7 3 1

Imaj7 3 7 1

Imaj7 3 7 1

Ex-a 03:

Ex-a 04:

52

IIm7 7 3 1

subV7 7 3 1

Imaj7 7 3 1

Imaj6 7 3 1

subV7 3 7 1

Imaj7 3 7 1

Imaj7 3 7 1

Ex-a 05:

Ex-a 06:

IIm7 3 7 1 Ex-a 07:

Ex-a 08:

53

IIm7 7 3 1

V7 3 7 1

subV7 7 3 1

Imaj7 7 3 1

I6 6 3 1

V7 7 3 1

subV7 3 7 1

Imaj7 3 7 1

I6 3 6 1

Ex-a 09:

Ex-a 10:

IIm7 3 7 1 Ex-a 11:

Ex-a 12:

54

IIm7 7 3 1

subV7 7 3 1

V7 3 7 1

subV7 3 7 1

V7 7 3 1

Imaj7 7 3 1

I6 6 3 1

Ex-a 13:

Ex-a 14:

IIm7 3 7 1

Imaj7 3 7 1

I6 3 6 1

Ex-a 15:

Ex-a 16:

55

IIm7 7 3 1

V7sus4 4 7 1

V7 3

Imaj7 7 3 1

I6 6 3 1

Imaj7 3 7 1

I6 3 6 1

Ex-a 17:

Ex-a 18:

IIm7 3 7 1

V7sus4 7 4 1

V7 3

Ex-a 19:

Ex-a 20:

56

IIm7 7 3 1

V7sus4 subV7 Imaj7 4 7 7 7 3 3 1 1 1

I6 6 3 1

Ex-a 21:

Ex-a 22:

IIm7 3 7 1

IVm/3rd 7 4 1

subV7 3 7 1

Imaj7 3 7 1

I6 3 6 1

Ex-a 23:

Ex-a 24:

57

IIm7 7 3 1

bIImaj7 7 3 1

subV7 7 3 1

bIImaj7 3 7 1

subV7 3 7 1

Imaj7 7 3 1

I6 6 3 1

Ex-a 25:

Ex-a 26:

IIm7 3 7 1

Imaj7 3 7 1

I6 3 6 1

Ex-a 27:

Ex-a 28:

58

IIm7 7 3 1

bIImaj7 7 3 1

V7 3 7 1

bIImaj7 3 7 1

V7 7 3 1

Imaj7 7 3 1

I6 6 3 1

Ex-a 29:

Ex-a 30:

IIm7 3 7 1

Imaj7 3 7 1

I6 3 6 1

Ex-a 31:

Ex-a 32:

59

IIm7 7 3 1

IVm/3rd 5 1 3

V7 3 7 1

IVm/3rd 1 5 3

V7 7 3 1

Imaj7 7 3 1

I6 6 3 1

Ex-a 33:

Ex-a 34:

IIm7 3 7 1

Imaj7 3 7 1

I6 3 6 1

Ex-a 35:

Ex-a 36:

60

IIm7 7 3 1

IVm/3rd subV7 Imaj7 5 7 7 1 3 3 3 1 1

I6 6 3 1

Ex-a 37:

Ex-a 38:

IIm7 3 7 1

IVm/3rd subV7 1 3 5 7 3 1

Imaj7 3 7 1

I6 3 6 1

Ex-a 39:

Ex-a 40:

61

IIm7 7 3 1

5

IVdim/3rd 5 1 3

V7 3 7 1

Imaj7 7 3 1

I6 6 3 1

IVdim/3rd 1 5 3

V7 7 3 1

Imaj7 3 7 1

I6 3 6 1

Ex-a 41:

Ex-a 42:

IIm7 3 7 1

5

Ex-a 43:

Ex-a 44:

62

IIm7 7 3 1

5

IVdim/3rd subV7 Imaj7 5 7 7 1 3 3 3 1 1

I6 6 3 1

IVdim/3rd subV7 Imaj7 1 3 3 5 7 7 3 1 1

I6 3 6 1

Ex-a 45:

Ex-a 46:

IIm7 3 7 1

5

Ex-a 47:

Ex-a 48:

63

b) Major keys II-V-I progression with two voices in the left hand and two in the right hand. *If your left hand is small and you cannot play some of the intervals (i.e. major 10th) without filling tension, just move the bass note an octave higher. * IIm7 9 7 3 1

V7 13 3 7 1

Imaj7 9 7 3 1

Imaj7 9 7 3 1

Ex-b 01:

Ex-b 02:

64

IIm7 5 3 7 1

V7 9 7 3 1

Imaj7 5 3 7 1

Imaj7 5 3 7 1

Ex-b 03:

Ex-b 04:

65

IIm7 9 7 3 1

subV7 9 7 3 1

Imaj7 9 7 3 1

Imaj7 9 7 3 1

subV7 5 3 7 1

Imaj7 5 3 7 1

Imaj7 5 3 7 1

Ex-b 05:

Ex-b 06:

IIm7 5 3 7 1 Ex-b 07:

Ex-b 08:

66

IIm7 9 7 3 1

V7 13 3 7 1

b13

Imaj7 9 7 3 1

Imaj7 9 7 3 1

Ex-b 09:

Ex-b 10:

IIm7 5 3 7 1

V7 9 7 3 1

b9

Imaj7 5 3 7 1

Imaj7 5 3 7 1

Ex-b 11:

Ex-b 12:

67

IIm7 9 7 3 1

subV7 #9 7 3 1

9

Imaj7 9 7 3 1

Imaj7 9 7 3 1

Imaj7 5 3 7 1

Imaj7 5 3 7 1

Ex-b 13:

Ex-b 14:

IIm7 5 3 7 1

subV7 b13 3 7 1

5

Ex-b 15:

Ex-b 16:

68

IIm7 9 7 3 1

V7 13 3 7 1

subV7 9 7 3 1

Imaj7 9 7 3 1

Imaj7 9 7 3 1

V7 9 7 3 1

subV7 5 3 7 1

Imaj7 5 3 7 1

Imaj7 5 3 7 1

Ex-b 17:

Ex-b 18:

IIm7 5 3 7 1 Ex-b 19:

Ex-b 20:

69

IIm7 9 7 3 1

subV7 #9 7 3 1

V7 9 3 7 1

Imaj7 9 7 3 1

Imaj7 9 7 3 1

subV7 b13 3 7 1

V7 5 7 3 1

Imaj7 5 3 7 1

Imaj7 5 3 7 1

Ex-b 21:

Ex-b 22:

IIm7 5 3 7 1 Ex-b 23:

Ex-b 24:

70

II-maj7 9 maj7 3 1

IIm7 7

V7sus4 13 4 7 1

V7 b13 3

Imaj7 9 7 3 1

I6 9 6 3 1

V7sus4 V7 9 b9 7 4 3 1

Imaj7 5 3 7 1

I6 5 3 6 1

Ex-b 25:

Ex-b 26:

II-maj7 5 3 maj7 1

IIm7

7

Ex-b 27:

Ex-b 28:

71

II-maj7 9 maj7 3 1

IIm7 7

bIImaj7 subV7 9 9 7 7 3 3 1 1

Imaj7 9 7 3 1

I6 9 6 3 1

bIImaj7 subV7 5 5 3 3 7 7 1 1

Imaj7 5 3 7 1

I6 5 3 6 1

Ex-b 29:

Ex-b 30:

II-maj7 5 3 maj7 1

IIm7

7

Ex-b 31:

Ex-b 32:

72

II-maj7 9 maj7 3 1

IIm7 7

V7sus4 subV7 13 9 4 7 7 3 1 1

Imaj7 9 7 3 1

I6 9 6 3 1

V7sus4 subV7 9 5 7 3 4 7 1 1

Imaj7 5 3 7 1

I6 5 3 6 1

Ex-b 33:

Ex-b 34:

II-maj7 5 3 maj7 1

IIm7

7

Ex-b 35:

Ex-b 36:

73

II-maj7 9 maj7 3 1

IIm7 7

bIImaj7 9 7 3 1

V7 9 3 7 1

Imaj7 9 7 3 1

I6 9 6 3 1

bIImaj7 V7 5 b9 3 7 7 3 1 1

Imaj7 5 3 7 1

I6 5 3 6 1

Ex-b 37:

Ex-b 38:

II-maj7 5 3 maj7 1

IIm7

7

Ex-b 39:

Ex-b 40:

74

II-maj7 9 maj7 3 1

IIm7 7 5

IV-maj7/3rd V7 maj7 13 5 5 3 1 7 3 1

Imaj7 9 7 3 1

I6 9 6 3 1

Ex-b 41:

Ex-b 42:

II-maj7 b5 3 maj7 1

IIm7 5 7

IVm/3rd V7 9 b9 1 7 5 3 3 1

Imaj7 13 3 7 1

Imaj7 13 3 7 1

Ex-b 43:

Ex-b 44:

75

II-maj7 9 maj7 3 1

IIm7 7 5

IV-maj7/3rd subV7 maj7 #9 9 5 7 1 3 3 1

Imaj7 9 7 3 1

I6 9 6 3 1

Ex-b 45:

Ex-b 46:

II-maj7 b5 3 maj7 1

IIm7 5 7

IVm/3rd subV7 9 5 1 3 5 7 3 1

Imaj7 13 3 7 1

Imaj7 13 3 7 1

Ex-b 47:

Ex-b 48:

76

II-maj7 9 maj7 3 1

IIm7 7 5

IVdim/3rd maj7 5 1 3

V7 13 5 3 7 1

Imaj7 9 7 3 1

I6 9 6 3 1

Ex-b 49:

Ex-b 50:

II-maj7 b5 3 maj7 1

IIm7 5 7

IVdim/3rd V7 9 b9 1 7 5 3 3 1

Imaj7 13 3 7 1

Imaj7 13 3 7 1

Ex-b 51:

Ex-b 52:

77

II-maj7 9 maj7 3 1

IIm7 7 5

IVdim/3rd subV7 maj7 #9 9 5 7 1 3 3 1

Imaj7 9 7 3 1

I6 9 6 3 1

Ex-b 53:

Ex-b 54:

II-maj7 b5 3 maj7 1

IIm7 5 7

IVdim/3rd subV7 9 5 1 3 5 7 3 1

Imaj7 13 3 7 1

Imaj7 13 3 7 1

Ex-b 55:

Ex-b 56:

78

c) Major keys II-V-I progression with two voices in the left hand and three in the right one. *If your left hand is small and you cannot play some of the intervals (i.e. major 10th) without filling tension, just move the bass note an octave higher. * IIm7 5 9 7 3 1

V7 9 13 3 7 1

Imaj7 5 9 7 3 1

Imaj7 5 9 7 3 1

Ex-c 01:

Ex-c 02:

79

IIm7 9 5 3 7 1

V7 13 9 7 3 1

Imaj7 9 5 3 7 1

Imaj7 9 5 3 7 1

Ex-c 03:

Ex-c 04:

80

IIm7 5 9 7 3 1

subV7 5 9 7 3 1

Imaj7 5 9 7 3 1

Imaj7 5 9 7 3 1

subV7 9 5 3 7 1

Imaj7 9 5 3 7 1

Imaj7 9 5 3 7 1

Ex-c 05:

Ex-c 06:

IIm7 9 5 3 7 1 Ex-c 07:

Ex-c 08:

81

IIm7 5 9 7 3 1

V7 9 13 3 7 1

b9

Imaj7 5 9 7 3 1

Imaj7 5 9 7 3 1

Imaj7 9 5 3 7 1

Imaj7 9 5 3 7 1

Ex-c 09:

Ex-c 10:

IIm7 9 5 3 7 1

V7 13 9 7 3 1

b13

Ex-c 11:

Ex-c 12:

82

IIm7 5 9 7 3 1

subV7 b13 #9 7 3 1

5

Imaj7 5 9 7 3 1

Imaj7 5 9 7 3 1

Imaj7 9 5 3 7 1

Imaj7 9 5 3 7 1

Ex-c 13:

Ex-c 14:

IIm7 9 5 3 7 1

subV7 #9 b13 3 7 1

9

Ex-c 15:

Ex-c 16:

83

IIm7 5 9 7 3 1

V7 9 13 3 7 1

b13

Imaj7 5 9 7 3 1

Imaj7 5 9 7 3 1

Imaj7 9 5 3 7 1

Imaj7 9 5 3 7 1

Ex-c 17:

Ex-c 18:

IIm7 9 5 3 7 1

V7 13 9 7 3 1

b9

Ex-c 19:

Ex-c 20:

84

IIm7 5 9 7 3 1

subV7 b13 #9 b9 7 3 1

Imaj7 5 9 7 3 1

Imaj7 5 9 7 3 1

subV7 #9 b13 3 7 1

Imaj7 9 5 3 7 1

Imaj7 9 5 3 7 1

Ex-c 21:

Ex-c 22:

IIm7 9 5 3 7 1

5

Ex-c 23:

Ex-c 24:

85

IIm7 5 9 7 3 1

V7 9 13 3 7 1

b9 b13

Imaj7 5 9 7 3 1

Imaj7 5 9 7 3 1

Imaj7 9 5 3 7 1

Imaj7 9 5 3 7 1

Ex-c 25:

Ex-c 26:

IIm7 9 5 3 7 1

V7 13 9 7 3 1

b13 b9

Ex-c 27:

Ex-c 28:

86

IIm7 5 9 7 3 1

subV7 b13 5 #9 b9 7 3 1

Imaj7 5 9 7 3 1

Imaj7 5 9 7 3 1

subV7 #9 b13 3 7 1

Imaj7 9 5 3 7 1

Imaj7 9 5 3 7 1

Ex-c 29:

Ex-c 30:

IIm7 9 5 3 7 1

9 5

Ex-c 31:

Ex-c 32:

87

IIm7 5 9 7 3 1

V7 9 13 3 7 1

subV7 5 #9 7 3 1

Imaj7 5 9 7 3 1

I6 5 9 6 3 1

V7 13 9 7 3 1

subV7 9 b13 3 7 1

Imaj7 9 5 3 7 1

I6 9 5 3 6 1

Ex-c 33:

Ex-c 34:

IIm7 9 5 3 7 1 Ex-c 35:

Ex-c 36:

88

IIm7 5 9 7 3 1

subV7 b13 #9 7 3 1

V7 b9 13 3 7 1

Imaj7 5 9 7 3 1

I6 5 9 6 3 1

subV7 #9 b13 3 7 1

V7 b13 9 7 3 1

Imaj7 9 5 3 7 1

I6 9 5 3 6 1

Ex-c 37:

Ex-c 38:

IIm7 9 5 3 7 1 Ex-c 39:

Ex-c 40:

89

IIm7 5 9 7 3 1

V7 9 13 3 7 1

subV7 b13 9 7 3 1

Imaj7 5 9 7 3 1

I6 5 9 6 3 1

V7 13 9 7 3 1

subV7 #9 5 3 7 1

Imaj7 9 5 3 7 1

I6 9 5 3 6 1

Ex-c 41:

Ex-c 42:

IIm7 9 5 3 7 1 Ex-c 43:

Ex-c 44:

90

IIm7 5 9 7 3 1

subV7 V7 b13 9 #9 b13 7 3 3 7 1 1

Imaj7 5 9 7 3 1

I6 5 9 6 3 1

subV7 #9 b13 3 7 1

Imaj7 9 5 3 7 1

I6 9 5 3 6 1

Ex-c 45:

Ex-c 46:

IIm7 9 5 3 7 1

V7 13 b9 7 3 1

Ex-c 47:

Ex-c 48:

91

IIm7 5 9 7 3 1

V7 9 13 3 7 1

subV7 5 9 7 3 1

Imaj7 5 9 7 3 1

I6 5 9 6 3 1

V7 13 9 7 3 1

subV7 9 5 3 7 1

Imaj7 9 5 3 7 1

I6 9 5 3 6 1

Ex-c 49:

Ex-c 50:

IIm7 9 5 3 7 1 Ex-c 51:

Ex-c 52:

92

IIm7 5 9 7 3 1

subV7 V7 b13 b9 #9 b13 7 3 3 7 1 1

Imaj7 5 9 7 3 1

I6 5 9 6 3 1

subV7 #9 b13 3 7 1

Imaj7 9 5 3 7 1

I6 9 5 3 6 1

Ex-c 53:

Ex-c 54:

IIm7 9 5 3 7 1

V7 b13 b9 7 3 1

Ex-c 55:

Ex-c 56:

93

The rest of the exercises with five voices are more advanced, be aware of the range. II-maj7 5 9 maj7 3 1

IIm7 7

V7sus4 V7 9 b9 13 4 3 7 1

Imaj7 5 9 7 3 1

I6 5 9 6 3 1

V7sus4 V7 13 b13 9 7 4 3 1

Imaj7 9 5 3 7 1

I6 9 5 3 6 1

Ex-c 57:

Ex-c 58:

II-maj7 9 5 3 maj7 1

IIm7

7

Ex-c 59:

Ex-c 60:

94

II-maj7 5 9 maj7 3 1

IIm7 11 7

bIImaj7 #11 9 7 3 1

subV7 5 9 7 3 1

Imaj7 13 9 7 3 1

Imaj7 #11 9 7 3 1

bIImaj7 9 #11 3 7 1

subV7 9 5 3 7 1

Imaj7 9 13 3 7 1

Imaj7 9 #11 3 7 1

Ex-c 61:

Ex-c 62:

II-maj7 9 b5 3 maj7 1

IIm7 5 7

Ex-c 63:

Ex-c 64:

95

II-maj7 11 9 maj7 3 1

IIm7 5 7

V7sus4 9 13 4 7 1

subV7 5 #9 7 3 1

Imaj7 13 9 7 3 1

Imaj7 #11 9 7 3 1

V7sus4 subV7 13 9 9 b13 7 3 4 7 1 1

Imaj7 9 13 3 7 1

Imaj7 9 5 3 7 1

Ex-c 65:

Ex-c 66:

II-maj7 9 11 3 maj7 1

IIm7 5 7

Ex-c 67:

Ex-c 68:

96

II-maj7 5 9 maj7 3 1

IIm7 11 7

bIImaj7 #11 9 7 3 1

V7 b9 b13 3 7 1

Imaj7 13 9 7 3 1

Imaj7 #11 9 7 3 1

bIImaj7 V7 9 b13 #11 b9 3 7 7 3 1 1

Imaj7 9 13 3 7 1

Imaj7 9 #11 3 7 1

Ex-c 69:

Ex-c 70:

II-maj7 9 b5 3 maj7 1

IIm7 5 7

Ex-c 71:

Ex-c 72:

97

II-maj7 IIm7 11 b5 9 maj7 7 3 1

V7sus4 V7 9 13 b13 4 3 7 1

Imaj7 5 9 7 3 1

I6 5 9 6 3 1

V7sus4 V7 13 9 b9 7 4 3 1

Imaj7 9 5 3 7 1

I6 9 5 3 6 1

Ex-c 73:

Ex-c 74:

II-maj7 9 11 3 maj7 1

IIm7 b5 7

Ex-c 75:

Ex-c 76:

98

II-maj7 11 9 maj7 3 1

IIm7 7 5

IVm7/3rd subV7 Imaj7 9 #11 5 7 #9 9 5 7 7 1 3 3 3 1 1

I6 5 9 6 3 1

Ex-c 77:

Ex-c 78:

II-maj7 9 5 3 maj7 1

IIm7 1 11 7 5

IVm/3rd subV7 6 9 9 5 1 3 5 7 3 1

Imaj7 9 13 3 7 1

Imaj7 9 13 3 7 1

Ex-c 79:

Ex-c 80:

99

IIm7 11 9 7 3 1

V7sus4 9 13 4 7 1

5

subV7 b13 9 7 3 1

Imaj7 5 9 7 3 1

I6 5 9 6 3 1

V7sus4 subV7 13 #9 9 5 7 3 4 7 1 1

Imaj7 9 5 3 7 1

I6 9 5 3 6 1

Ex-c 81:

Ex-c 82:

II-maj7 9 11 3 maj7 1

IIm7 b5 7

Ex-c 83:

Ex-c 84:

100

II-maj7 5 9 maj7 3 1

IIm7 11 7 5

IVm7/3rd 9 7 5 1 3

V7 b9 13 3 7 1

Imaj7 13 9 7 3 1

Imaj7 13 9 7 3 1

Ex-c 85:

Ex-c 86:

II-maj7 9 5 3 maj7 1

IIm7 1 11 7 5

IVm/3rd V7 6 13 9 3 9 1 7 5 3 3 1

Imaj7 9 5 3 7 1

I6 9 5 3 6 1

Ex-c 87:

Ex-c 88:

101

II-maj7 IIm7 11 b5 9 maj7 7 3 1

V7sus4 V7 9 b9 13 b13 4 3 7 1

Imaj7 5 9 7 3 1

I6 5 9 6 3 1

V7sus4 V7 13 b13 9 b9 7 4 3 1

Imaj7 9 5 3 7 1

I6 9 5 3 6 1

Ex-c 89:

Ex-c 90:

II-maj7 9 b5 3 maj7 1

IIm7 5 7

Ex-c 91:

Ex-c 92:

102

II-maj7 11 9 maj7 3 1

IIm7 7 5

IVm/3rd 9 6 5 1 3

subV7 5 9 7 3 1

Imaj7 13 9 7 3 1

Imaj7 13 9 7 3 1

Ex-c 93:

Ex-c 94:

II-maj7 9 b5 3 maj7 1

IIm7 1 5 7 5

IVm7/3rd subV7 7 9 11 5 1 3 5 7 3 1

Imaj7 9 13 3 7 1

Imaj7 9 13 3 7 1

Ex-c 95:

Ex-c 96:

103

II-maj7 11 9 maj7 3 1

IIm7 7 5

b5

V7sus4 9 13 4 7 1

subV7 5 9 7 3 1

Imaj7 5 9 7 3 1

I6 5 9 6 3 1

V7sus4 13 9 7 4 1

subV7 9 5 3 7 1

Imaj7 9 5 3 7 1

I6 9 5 3 6 1

Ex-c 97:

Ex-c 98:

II-maj7 9 5 3 maj7 1

IIm7

7

Ex-c 99:

Ex-c 100:

104

II-maj7 5 9 maj7 3 1

IIm7 11 7 5

IVm/3rd 9 6 5 1 3

V7 b9 b13 3 7 1

Imaj7 13 9 7 3 1

Imaj7 13 9 7 3 1

Ex-c 101:

Ex-c 102:

II-maj7 9 b5 3 maj7 1

IIm7 1 5 7 5

IVm7/3rd 7 11 1 5 3

V7 b13 b9 7 3 1

Imaj7 9 13 3 7 1

Imaj7 9 13 3 7 1

Ex-c 103:

Ex-c 104:

105

d) Minor keys II-V-I progression with two voices in the left hand and one in the right hand. Play the two lower voices with the left hand and the higher ones with the right hand. *If your left hand is small and you cannot play some of the intervals (i.e. major 10th) without filling tension, just move the bass note an octave higher. * IIm7b5 7 3 1

V7 3 7 1

Im7 7 3 1

Im7 7 3 1

Ex-d 01:

Ex-d 02:

106

IIm7b5 7 3 1 b5

V7 3 7 1

I-maj7 Im7 maj7 7 3 1

Im6 6 3 1

Ex-d 03:

Ex-d 04:

107

IIm7b5 3 7 1

V7 7 3 1

Im7 3 7 1

Im7 3 7 1

Ex-d 05:

Ex-d 06:

108

IIm7b5 3 7 1 b5

V7 7 3 1

I-maj7 Im7 3 maj7 7 1

Im6 3 6 1

Ex-d 07:

Ex-d 08:

109

IIm7b5 7 3 1

subV7 7 3 1

Im7 7 3 1

Im7 7 3 1

Ex-d 09:

Ex-d 10:

IIm7b5 3 7 1

subV7 3 7 1

Im7 3 7 1

Im7 3 7 1

Ex-d 11:

Ex-d 12:

110

IIm7b5 7 3 1

V7 subV7 3 7 7 3 1 1

Im7 7 3 1

Im6 6 3 1

V7 7 3 1

Im7 3 7 1

Im6 3 6 1

Ex-d 13:

Ex-d 14:

IIm7b5 3 7 1

subV7 3 7 1

Ex-d 15:

Ex-d 16:

111

IIm7b5 7 3 1

subV7 7 3 1

V7 3 7 1

I-maj7 Im7 Im6 maj7 7 6 3 3 1 1

subV7 V7 3 7 7 3 1 1

I-maj7 Im7 Im6 3 3 maj7 7 6 1 1

Ex-d 17:

Ex-d 18:

IIm7b5 3 7 1 Ex-d 19:

Ex-d 20:

112

IIm7b5 7 3 1

V7sus4 V7 4 3 7 1

I-maj7 Im7 Im6 maj7 7 6 3 3 1 1

V7sus4 V7 7 4 3 1

I-maj7 Im7 Im6 3 3 maj7 7 6 1 1

Ex-d 21:

Ex-d 22:

IIm7b5 3 7 1 Ex-d 23:

Ex-d 24:

113

IIm7b5 7 3 1

V7sus4 4 7 1

subV7 7 3 1

Im7 7 3 1

Im6 6 3 1

V7sus4 7 4 1

subV7 3 7 1

Im7 3 7 1

Im6 3 6 1

Ex-d 25:

Ex-d 26:

IIm7b5 3 7 1 Ex-d 27:

Ex-d 28:

114

IIm7b5 7 3 1

bIImaj7 maj7 3 1

subV7 7 3 1

Im7 7 maj7 7 3 1

Im6 6 3 1

bIImaj7 3 maj7 1

subV7 3 7 1

Im7 3 7 maj7 7 1

Im6 3 6 1

Ex-d 29:

Ex-d 30:

IIm7b5 3 7 1 Ex-d 31:

Ex-d 32:

115

IIm7b5 7 3 1

bIImaj7 maj7 3 1

V7 3 7 1

I-maj7 maj7 3 1

Im7 7

Im6 6 3 1

bIImaj7 3 maj7 1

V7 7 3 1

I-maj7 3 maj7 1

Im7

Im6 3 6 1

Ex-d 33:

Ex-d 34:

IIm7b5 3 7 1

7

Ex-d 35:

Ex-d 36:

116

IIm7b5 7 3 1

IVm/3rd 5 1 3

V7 3 7 1

Im7 7 maj7 7 3 1

Im6 6 3 1

IVm/3rd 1 5 3

V7 3 7 1

Im7 3 7 maj7 7 1

Im6 3 6 1

Ex-d 37:

Ex-d 38:

IIm7b5 3 7 1 Ex-d 39:

Ex-d 40:

117

IIm7b5 7 3 1

IVm/3rd 5 1 3

subV7 7 3 1

Im7 7 maj7 7 3 1

IVm/3rd 1 5 3

subV7 3 7 1

Im7 3 7 maj7 7 1

Im6 6 3 1

Ex-d 41:

Ex-d 42:

IIm7b5 3 7 1

Im6 3 6 1

Ex-d 43:

Ex-d 44:

118

e) Minor keys II-V-I progression with two voices in the left hand and two in the right hand. *If your left hand is small and you cannot play some of the intervals (i.e. major 10th) without filling tension, just move the bass note an octave higher. * IIm7b5 7 b5 3 1

V7 3 b9 7 1

I-maj7 maj7 5 3 1

Im7 Im6 7 6 5 3 1

Ex-e 01:

Ex-e 02:

119

IIm7b5 3 7 b5 1

V7 7 3 b9 1

I-maj7 3 maj7 5 1

Im7 Im6 3 7 6 5 1

Ex-e 03:

Ex-e 04:

120

IIm7b5 b5 3 7 1

V7 b9 7 3 1

I-maj7 5 3 maj7 1

Im7 Im6 5 3 7 6 1

Ex-e 05:

Ex-e 06:

121

IIm7b5 b5 7 3 1

V7 b9 3 7 1

I-maj7 5 maj7 3 1

Im7 Im6 5 7 6 3 1

Ex-e 07:

Ex-e 08:

122

IIm7b5 7 3 b5 1

V7 3 7 b9 1

I-maj7 maj7 3 5 1

Im7 Im6 7 6 3 5 1

Ex-e 09:

Ex-e 10:

123

IIm7b5 3 b5 7 1

V7 7 b9 3 1

I-maj7 3 5 maj7 1

Im7 Im6 3 5 7 6 1

Ex-e 11:

Ex-e 12:

124

IIm7b5 7 b5 3 1

subV7 7 5 3 1

I-maj7 maj7 5 3 1

Im7 Im6 7 6 5 3 1

subV7 3 7 5 1

I-maj7 3 maj7 5 1

Im7 Im6 3 7 6 5 1

Ex-e 13:

Ex-e 14:

IIm7b5 3 7 b5 1 Ex-e 15:

Ex-e 16:

125

IIm7b5 b5 3 7 1

subV7 5 3 7 1

I-maj7 5 3 maj7 1

Im7 Im6 5 3 7 6 1

subV7 5 7 3 1

I-maj7 5 maj7 3 1

Im7 Im6 5 7 6 3 1

Ex-e 17:

Ex-e 18:

IIm7b5 b5 7 3 1 Ex-e 19:

Ex-e 20:

126

IIm7b5 7 3 b5 1

subV7 7 3 5 1

I-maj7 maj7 3 5 1

Im7 Im6 7 6 3 5 1

subV7 3 5 7 1

I-maj7 3 5 maj7 1

Im7 Im6 3 5 7 6 1

Ex-e 21:

Ex-e 22:

IIm7b5 3 b5 7 1 Ex-e 23:

Ex-e 24:

127

IIm7b5 7 b5 3 1

V7 3 b9 7 1

subV7 7 5 3 1

I-maj7 maj7 5 3 1

Im7 Im6 7 6 5 3 1

V7 7 3 b9 1

subV7 3 7 5 1

I-maj7 3 maj7 5 1

Im7 Im6 3 7 6 5 1

Ex-e 25:

Ex-e 26:

IIm7b5 3 7 b5 1 Ex-e 27:

Ex-e 28:

128

IIm7b5 b5 3 7 1

V7 b9 7 3 1

subV7 5 3 7 1

I-maj7 5 3 maj7 1

Im7 Im6 5 3 7 6 1

V7 b9 3 7 1

subV7 5 7 3 1

I-maj7 5 maj7 3 1

Im7 Im6 5 7 6 3 1

Ex-e 29:

Ex-e 30:

IIm7b5 b5 7 3 1 Ex-e 31:

Ex-e 32:

129

IIm7b5 7 3 b5 1

V7 3 7 b9 1

subV7 7 3 5 1

I-maj7 maj7 3 5 1

Im7 Im6 7 6 3 5 1

V7 7 b9 3 1

subV7 3 5 7 1

I-maj7 3 5 maj7 1

Im7 Im6 3 5 7 6 1

Ex-e 33:

Ex-e 34:

IIm7b5 3 b5 7 1 Ex-e 35:

Ex-e 36:

130

IIm7b5 7 b5 3 1

subV7 V7 7 3 5 b9 3 7 1 1

I-maj7 maj7 5 3 1

Im7 Im6 7 6 5 3 1

subV7 3 7 5 1

I-maj7 3 maj7 5 1

Im7 Im6 3 7 6 5 1

Ex-e 37:

Ex-e 38:

IIm7b5 3 7 b5 1

V7 7 3 b9 1

Ex-e 39:

Ex-e 40:

131

IIm7b5 b5 3 7 1

subV7 V7 5 b9 3 7 7 3 1 1

I-maj7 5 3 maj7 1

Im7 Im6 5 3 7 6 1

subV7 5 7 3 1

I-maj7 5 maj7 3 1

Im7 Im6 5 7 6 3 1

Ex-e 41:

Ex-e 42:

IIm7b5 b5 7 3 1

V7 b9 3 7 1

Ex-e 43:

Ex-e 44:

132

IIm7b5 7 3 b5 1

subV7 V7 7 3 3 7 5 b9 1 1

I-maj7 maj7 3 5 1

Im7 Im6 7 6 3 5 1

subV7 3 5 7 1

I-maj7 3 5 maj7 1

Im7 Im6 3 5 7 6 1

Ex-e 45:

Ex-e 46:

IIm7b5 3 b5 7 1

V7 7 b9 3 1

Ex-e 47:

Ex-e 48:

133

II-maj7b5 IIm7b5 maj7 7 b5 3 1

V7sus4 V7 4 3 b9 7 1

Im7 7 maj7 5 3 1

V7sus4 V7 7 4 3 b9 1

Im7 3 7 maj7 5 1

7

Im6 6 5 3 1

Ex-e 49:

Ex-e 50:

II-maj7b5 IIm7b5 3 maj7 7 b5 1

7

Im6 3 6 5 1

Ex-e 51:

Ex-e 52:

134

II-maj7b5 IIm7b5 b5 3 maj7 7 1

V7sus4 V7 b9 7 4 3 1

Im7 5 3 7 maj7 1

V7sus4 V7 b9 4 3 7 1

Im7 5 7 maj7 3 1

7

Im6 5 3 6 1

Ex-e 53:

Ex-e 54:

II-maj7b5 IIm7b5 b5 maj7 7 3 1

7

Im6 5 6 3 1

Ex-e 55:

Ex-e 56:

135

II-maj7b5 IIm7b5 maj7 7 3 b5 1

V7sus4 V7 4 3 7 b9 1

Im7 7 maj7 3 5 1

V7sus4 V7 7 b9 4 3 1

Im7 3 5 7 maj7 1

7

Im6 6 3 5 1

Ex-e 57:

Ex-e 58:

II-maj7b5 IIm7b5 3 b5 maj7 7 1

7

Im6 3 5 6 1

Ex-e 59:

Ex-e 60:

136

II-maj7b5 IIm7b5 maj7 7 b5 3 1

bIImaj7 subV7 7 7 5 5 3 3 1 1

Im7 7 maj7 5 3 1

bIImaj7 subV7 3 3 7 7 5 5 1 1

Im7 3 7 maj7 5 1

7

Im6 6 5 3 1

Ex-e 61:

Ex-e 62:

II-maj7b5 IIm7b5 3 maj7 7 b5 1

7

Im6 3 6 5 1

Ex-e 63:

Ex-e 64:

137

II-maj7b5 IIm7b5 b5 3 maj7 7 1

bIImaj7 subV7 5 5 3 3 7 7 1 1

Im7 5 3 7 maj7 1

bIImaj7 subV7 5 5 7 7 3 3 1 1

Im7 5 7 maj7 3 1

7

Im6 5 3 6 1

Ex-e 65:

Ex-e 66:

II-maj7b5 IIm7b5 b5 maj7 7 3 1

7

Im6 5 6 3 1

Ex-e 67:

Ex-e 68:

138

II-maj7b5 IIm7b5 maj7 7 3 b5 1

bIImaj7 subV7 7 7 3 3 5 5 1 1

Im7 7 maj7 3 5 1

bIImaj7 subV7 3 3 5 5 7 7 1 1

Im7 3 5 7 maj7 1

7

Im6 6 3 5 1

Ex-e 69:

Ex-e 70:

II-maj7b5 IIm7b5 3 b5 maj7 7 1

7

Im6 3 5 6 1

Ex-e 71:

Ex-e 72:

139

II-maj7b5 IIm7b5 maj7 7 b5 3 1

V7sus4 subV7 4 7 b9 5 7 3 1 1

I-maj7 maj7 5 3 1

Im7 7

Im6 6 5 3 1

V7sus4 subV7 7 3 4 7 b9 5 1 1

I-maj7 3 maj7 5 1

Im7

Im6 3 6 5 1

Ex-e 73:

Ex-e 74:

II-maj7b5 IIm7b5 3 maj7 7 b5 1

7

Ex-e 75:

Ex-e 76:

140

II-maj7b5 IIm7b5 b5 3 maj7 7 1

V7sus4 subV7 b9 5 7 3 4 7 1 1

I-maj7 5 3 maj7 1

Im7

V7sus4 subV7 b9 5 4 7 7 3 1 1

I-maj7 5 maj7 3 1

Im7

7

Im6 5 3 6 1

Ex-e 77:

Ex-e 78:

II-maj7b5 IIm7b5 b5 maj7 7 3 1

7

Im6 5 6 3 1

Ex-e 79:

Ex-e 80:

141

II-maj7b5 IIm7b5 maj7 7 3 b5 1

V7sus4 subV7 4 7 7 3 b9 5 1 1

I-maj7 maj7 3 5 1

Im7 7

Im6 6 3 5 1

V7sus4 subV7 7 3 b9 5 4 7 1 1

I-maj7 3 5 maj7 1

Im7

Im6 3 5 6 1

Ex-e 81:

Ex-e 82:

II-maj7b5 IIm7b5 3 b5 maj7 7 1

7

Ex-e 83:

Ex-e 84:

142

II-maj7b5 IIm7b5 maj7 7 b5 3 1

bIImaj7 V7 7 3 5 b9 3 7 1 1

I-maj7 maj7 5 3 1

Im7 7

Im6 6 5 3 1

bIImaj7 V7 3 7 7 3 5 b9 1 1

I-maj7 3 maj7 5 1

Im7

Im6 3 6 5 1

Ex-e 85:

Ex-e 86:

II-maj7b5 IIm7b5 3 maj7 7 b5 1

7

Ex-e 87:

Ex-e 88:

143

II-maj7b5 IIm7b5 b5 3 maj7 7 1

bIImaj7 V7 5 b9 3 7 7 3 1 1

I-maj7 5 3 maj7 1

Im7

bIImaj7 V7 5 b9 7 3 3 7 1 1

I-maj7 5 maj7 3 1

Im7

7

Im6 5 3 6 1

Ex-e 89:

Ex-e 90:

II-maj7b5 IIm7b5 b5 maj7 7 3 1

7

Im6 5 6 3 1

Ex-e 91:

Ex-e 92:

144

II-maj7b5 IIm7b5 maj7 7 3 b5 1

bIImaj7 V7 7 3 3 7 5 b9 1 1

I-maj7 maj7 3 5 1

Im7 7

Im6 6 3 5 1

bIImaj7 V7 3 7 5 b9 7 3 1 1

I-maj7 3 5 maj7 1

Im7

Im6 3 5 6 1

Ex-e 93:

Ex-e 94:

II-maj7b5 IIm7b5 3 b5 maj7 7 1

7

Ex-e 95:

Ex-e 96:

145

f) Minor keys II-V-I progression with two voices in the left hand and three in the right hand. *If your left hand is small and you cannot play some of the intervals (i.e. major 10th) without filling tension, just move the bass note an octave higher. * IIm7b5 11 7 b5 3 1

3

V7 b13 3 b9 7 1

7

I-maj7 9 maj7 5 3 1

Im7 7

Im6 9 6 5 3 1

Ex-f 01:

Ex-f 02:

146

IIm7b5 9 7 b5 3 1

3

V7 b9 13 3 7 1

#9 b13

I-maj7 5 9 maj7 3 1

Im7 7

Im6 5 9 6 3 1

Ex-f 03:

Ex-f 04:

IIm7b5 9 7 b5 3 1

3

V7 b9 b13 3 7 1

1

I-maj7 9 maj7 6 3 1

3

Im7 9 7 6 3 1

Ex-f 05:

Ex-f 06:

147

IIm7b5 b13 3 7 b5 1

V7 b9 b13 3 7 1

#9

I-maj7 5 9 maj7 3 1

Im7 7

Im6 5 9 6 3 1

Ex-f 07:

Ex-f 08:

148

IIm7b5/5th 1 11 3 7 b5

V7 b13 b9 7 3 1

I-maj7 9 5 3 maj7 1

Im7

7

Im6 9 5 3 6 1

Ex-f 09:

Ex-f 10:

149

IIm7b5 b5 9 7 3 1

V7 b9 b13 3 7 1

I-maj7 5 9 maj7 3 1

Im7 7

Im6 5 9 6 3 1

Ex-f 11:

Ex-f 12:

150

IIm7b5 7 11 3 b5 1

V7 3 7 b13 b9 1

Im7 7 3 9 5 1

Im7 7 3 9 5 1

Ex-f 13:

Ex-f 14:

151

IIm7b5 3 b5 11 7 1

V7 b13 #9 7 3 1

b9

I-maj7 9 5 3 maj7 1

Im7

7

Im6 9 5 3 6 1

Ex-f 15:

Ex-f 16:

152

IIm7b5 11 7 b5 3 1

3

subV7 9 7 5 3 1

3

I-maj7 9 maj7 5 3 1

Im7

I-maj7 5 9 maj7 3 1

Im7

7

Im6 9 6 5 3 1

Ex-f 17:

Ex-f 18:

IIm7b5 b13 3 7 b5 1

subV7 5 13 9 7 3 1

7

Im6 5 9 6 3 1

Ex-f 19:

Ex-f 20:

153

IIm7b5/5th 1 11 3 7 b5

subV7 9 5 3 7 1

I-maj7 9 5 3 maj7 1

Im7

subV7 13 9 7 3 1

I-maj7 5 9 maj7 3 1

Im7

7

Im6 9 5 3 6 1

Ex-f 21:

Ex-f 22:

IIm7b5 b5 9 7 3 1

5

7

Im6 5 9 6 3 1

Ex-f 23:

Ex-f 24:

154

IIm7b5 7 11 3 b5 1

subV7 7 3 9 5 1

Im7 7 3 9 5 1

subV7 9 13 3 7 1

I-maj7 9 5 3 maj7 1

Im7 7 3 9 5 1

Ex-f 25:

Ex-f 26:

IIm7b5 3 b5 11 7 1

5

Im7

7

Im6 9 5 3 6 1

Ex-f 27:

Ex-f 28:

155

IIm7b5 11 7 b5 3 1

3

V7 b13 3 b9 7 1

subV7 9 7 5 3 1

I-maj7 9 maj7 5 3 1

Im7

V7 #9 b13 3 7 1

subV7 5 9 7 3 1

I-maj7 5 9 maj7 3 1

Im7

7

Im6 9 6 5 3 1

Ex-f 29:

Ex-f 30:

IIm7b5 b13 3 7 b5 1

7

Im6 5 9 6 3 1

Ex-f 31:

Ex-f 32:

156

IIm7b5/5th 1 11 3 7 b5

V7 b13 b9 7 3 1

subV7 9 5 3 7 1

I-maj7 9 5 3 maj7 1

Im7

V7 #9 b13 3 7 1

subV7 5 9 7 3 1

I-maj7 5 9 maj7 3 1

Im7

7

Im6 9 5 3 6 1

Ex-f 33:

Ex-f 34:

IIm7b5 b5 9 7 3 1

7

Im6 5 9 6 3 1

Ex-f 35:

Ex-f 36:

157

IIm7b5 7 11 3 b5 1

V7 3 7 b13 b9 1

subV7 7 3 9 5 1

Im7 7 3 9 5 1

V7 b13 #9 7 3 1

subV7 9 5 3 7 1

I-maj7 9 5 3 maj7 1

Im7 7 3 9 5 1

Ex-f 37:

Ex-f 38:

IIm7b5 3 b5 11 7 1

Im7

7

Im6 9 5 3 6 1

Ex-f 39:

Ex-f 40:

158

IIm7b5 11 7 b5 3 1

3

subV7 V7 9 b13 7 3 5 b9 3 7 1 1

I-maj7 9 maj7 5 3 1

Im7

subV7 V7 13 b9 9 b13 7 3 3 7 1 1

I-maj7 5 9 maj7 3 1

Im7

7

Im6 9 6 5 3 1

Ex-f 41:

Ex-f 42:

IIm7b5 b13 3 7 b5 1

7

Im6 5 9 6 3 1

Ex-f 43:

Ex-f 44:

159

IIm7b5/5th 1 11 3 7 b5

subV7 V7 9 b13 5 #9 3 7 7 3 1 1

I-maj7 9 5 3 maj7 1

Im7

subV7 V7 5 #9 9 b13 7 3 3 7 1 1

I-maj7 5 9 maj7 3 1

Im7

7

Im6 9 5 3 6 1

Ex-f 45:

Ex-f 46:

IIm7b5 b5 9 7 3 1

7

Im6 5 9 6 3 1

Ex-f 47:

Ex-f 48:

160

IIm7b5 7 11 3 b5 1

subV7 V7 7 3 3 7 9 b13 5 b9 1 1

Im7 7 3 9 5 1

subV7 V7 9 b13 13 b9 3 7 7 3 1 1

I-maj7 9 5 3 maj7 1

Im7 7 3 9 5 1

Ex-f 49:

Ex-f 50:

IIm7b5 3 b5 11 7 1

Im7

7

Im6 9 5 3 6 1

Ex-f 51:

Ex-f 52:

161

IIm7b5 11 7 b5 3 1

3

V7sus4 b13 4 b9 7 1

V7 7 3

I-maj7 9 maj7 5 3 1

Im7

V7sus4 V7 b9 #9 13 b13 4 3 7 1

I-maj7 5 9 maj7 3 1

Im7

7

Im6 9 6 5 3 1

Ex-f 53:

Ex-f 54:

IIm7b5 11 3 7 b5 1

7

Im6 5 9 6 3 1

Ex-f 55:

Ex-f 56:

162

IIm7b5/5th 1 11 3 7 b5

V7sus4 V7 5 b13 b9 7 4 3 1

I-maj7 9 5 3 maj7 1

Im7

V7sus4 V7 b9 #9 13 b13 4 3 7 1

I-maj7 5 9 maj7 3 1

Im7 11

7

Im6 9 5 3 6 1

Ex-f 57:

Ex-f 58:

IIm7b5 b5 9 7 3 1

7

Im6 5 9 6 3 1

Ex-f 59:

Ex-f 60:

163

IIm7b5 11 7 3 b5 1

V7sus4 b13 4 7 b9 1

V7 7 3

I-maj7 9 maj7 3 5 1

Im7 3 7

Im6 9 6 3 5 1

V7sus4 V7 5 b13 b9 7 4 3 1

I-maj7 9 5 3 maj7 1

Im7

Im6 9 5 3 6 1

Ex-f 61:

Ex-f 62:

IIm7b5 3 b5 11 7 1

7

Ex-f 63:

Ex-f 64:

164

IIm7b5 11 7 b5 3 1

3

bIImaj7 subV7 9 9 b9 7 7 5 #11 3 3 1 1

I-maj7 9 maj7 5 3 1

Im7

bIImaj7 subV7 5 #11 9 9 7 7 3 3 1 1

I-maj7 5 9 maj7 3 1

Im7

7

Im6 9 6 5 3 1

Ex-f 65:

Ex-f 66:

IIm7b5 b13 3 7 b5 1

11

7

Im6 5 9 6 3 1

Ex-f 67:

Ex-f 68:

165

IIm7b5 1 11 3 7 b5

7

bIImaj7 9 5 3 7 1

subV7 9 13 3 7 1

I-maj7 9 5 3 maj7 1

Im7

bIImaj7 7 3 9 5 1

subV7 7 3 9 5 1

I-maj7 maj7 3 9 5 1

Im7 7

7

Im6 9 5 3 6 1

Ex-f 69:

Ex-f 70:

IIm7b5 7 11 3 b5 1

1

Im6 6 3 9 5 1

Ex-f 71:

Ex-f 72:

166

IIm7b5 3 b5 11 7 1

b9

bIImaj7 subV7 9 9 5 #11 3 3 7 7 1 1

I-maj7 9 5 3 maj7 1

Im7

7

Im6 9 5 3 6 1

Ex-f 73:

Ex-f 74:

167

IIm7b5 11 7 b5 3 1

3

G7sus4 b13 4 b9 7 1

subV7 3 7 5 3 1

I-maj7 9 maj7 5 3 1

Im7

G7sus4 b9 13 4 7 1

subV7 13 9 7 3 1

I-maj7 5 9 maj7 3 1

Im7

7

Im6 9 6 5 3 1

Ex-f 75:

Ex-f 76:

IIm7b5 11 3 7 b5 1

7

Im6 5 9 6 3 1

Ex-f 77:

Ex-f 78:

168

IIm7b5/5th 1 7 11 3 7 b5

G7sus4 5 b9 7 4 1

subV7 9 13 3 7 1

I-maj7 9 5 3 maj7 1

Im7

G7sus4 b9 13 4 7 1

subV7 13 9 7 3 1

I-maj7 5 9 maj7 3 1

Im7 11

7

Im6 9 5 3 6 1

Ex-f 79:

Ex-f 80:

IIm7b5 b5 9 7 3 1

11

7

Im6 5 9 6 3 1

Ex-f 81:

Ex-f 82:

169

IIm7b5 11 7 3 b5 1

3

G7sus4 b13 4 7 b9 1

subV7 3 7 3 5 1

I-maj7 9 maj7 3 5 1

Im7 3 7

Im6 9 6 3 5 1

G7sus4 subV7 5 9 b9 #11 7 3 4 7 1 1

I-maj7 9 5 3 maj7 1

Im7

Im6 9 5 3 6 1

Ex-f 83:

Ex-f 84:

IIm7b5 3 b9 b5 11 7 1

7

Ex-f 85:

Ex-f 86:

170

IIm7b5 11 7 b5 3 1

3

bIImaj7 V7 9 7 7 3 5 b9 3 7 1 1

Im7 9 7 5 3 1

Im6 9 6 5 3 1

bIImaj7 V7 5 b9 9 b13 7 3 3 7 1 1

Im7 5 9 7 3 1

Im6 5 9 6 3 1

Ex-f 87:

Ex-f 88:

IIm7b5 b13 3 7 b5 1

11

maj7 7

Ex-f 89:

Ex-f 90:

171

IIm7b5 1 11 3 7 b5

7

bIImaj7 V7 9 b13 5 #9 3 7 7 3 1 1

Im7 9 5 3 7 1

bIImaj7 V7 7 3 3 7 9 b13 5 b9 1 1

Im7 7 3 9 5 1

maj7

7

Im6 9 5 3 6 1

Ex-f 91:

Ex-f 92:

IIm7b5 7 11 3 b5 1

1

maj7

7

Im6 6 3 9 5 1

Ex-f 93:

Ex-f 94:

172

IIm7b5 3 b5 11 7 1

b9

bIImaj7 V7 9 b13 5 #9 3 7 7 3 1 1

I-maj7 9 5 3 maj7 1

Im7

7

Im6 9 5 3 6 1

Ex-f 95:

Ex-f 96:

173

CHAPTER FOUR: Harmonic V-V exercises for both hands: *These exercises do not contained big intervals in the left hand. However I suggest you to use major 10th instead major 3rd when possible. * a) Harmonic exercises with three voices, two in the left hand and one in the right hand. V7 3 7 1

V7 7 3 1

Ex-a 01:

V7 7 3 1

V7 3 7 1

Ex-a 02:

174

*The chord symbols as V7sus4 and subV7 are not included in these examples, if you have difficulties in understanding the exercise look at the table right over it. * V7sus4 V7 4 3 7 1

V7 7 3 1

Ex-a 03:

V7sus4 V7 7 4 3 1

V7 3 7 1

Ex-a 04:

175

V7 3 7 1

V7sus4 V7 7 4 3 1

Ex-a 05:

V7 7 3 1

V7sus4 V7 4 3 7 1

Ex-a 06:

176

V7sus4 V7 4 3 7 1

V7sus4 V7 7 4 3 1

Ex-a 07:

V7sus4 V7 7 4 3 1

V7sus4 V7 4 3 7 1

Ex-a 08:

177

V7 3 7 1

subV7 7 3 1

V7 7 3 1

Ex-a 09:

V7 7 3 1

subV7 3 7 1

V7 3 7 1

Ex-a 10:

178

V7 3 7 1

V7 7 3 1

subV7 3 7 1

V7 3 7 1

subV7 7 3 1

Ex-a 11:

V7 7 3 1 Ex-a 12:

179

V7 3 7 1

subV7 7 3 1

V7 7 3 1

subV7 3 7 1

V7 3 7 1

subV7 7 3 1

Ex-a 13:

V7 7 3 1

subV7 3 7 1

Ex-a 14:

180

V7 subV7 3 7 7 3 1 1 Ex-a 15:

V7sus4 V7 7 4 3 1

V7 subV7 7 3 3 7 1 1 Ex-a 16:

V7sus4 V7 4 3 7 1

V7sus4 V7 4 3 7 1 Ex-a 17:

V7 subV7 7 3 3 7 1 1

V7sus4 V7 7 4 3 1 Ex-a 18:

V7 3 7 1

subV7 7 3 1

181

V7 subV7 3 7 7 3 1 1 Ex-a 19:

V7sus4 7 4 1

subV7 3 7 1

V7 subV7 7 3 3 7 1 1 Ex-a 20:

V7sus4 4 7 1

subV7 7 3 1

V7sus4 4 7 1 Ex-a 21:

subV7 7 3 1

V7sus4 7 4 1

subV7 3 7 1

V7sus4 7 4 1 Ex-a 22:

subV7 3 7 1

V7sus4 4 7 1

subV7 7 3 1

182

b) Harmonic exercises with four voices, two in the left hand and two in the right hand. *These exercises do not contained big intervals in the left hand. However I suggest you to use major 10th instead major 3rd when possible. * V7 5 3 7 1

V7 9 7 3 1

Ex-b 01:

V7 9 7 3 1

V7 13 3 7 1

Ex-b 02:

183

*The chord symbols as V7sus4 and subV7 are not included in these examples, if you have difficulties in understanding the exercise look at the table right over it. * V7sus4 V7 5 4 3 7 1

V7 9 7 3 1

Ex-b 03:

V7sus4 V7 9 7 4 3 1

V7 13 3 7 1

Ex-b 04:

184

V7 5 3 7 1

V7sus4 V7 9 7 4 3 1

Ex-b 05:

V7 9 7 3 1

V7sus4 V7 13 4 3 7 1

Ex-b 06:

185

V7sus4 V7 V7sus4 V7 5 9 4 3 7 7 4 3 1 1 Ex-b 07:

V7sus4 V7 9 7 4 3 1

V7sus4 V7 13 4 3 7 1

Ex-b 08:

186

V7 13 3 7 1

V7 9 7 3 1

Ex-b 09:

V7 9 7 3 1

V7 5 3 7 1

Ex-b 10:

V7sus4 V7 13 4 3 7 1

V7 9 7 3 1

Ex-b 11:

187

V7sus4 V7 9 7 4 3 1

V7 5 3 7 1

Ex-b 12:

V7 13 3 7 1

V7sus4 V7 9 7 4 3 1

Ex-b 13:

V7 9 7 3 1

V7sus4 V7 5 4 3 7 1

Ex-b 14:

188

V7sus4 V7 V7sus4 V7 13 9 4 3 7 7 4 3 1 1 Ex-b 15:

V7sus4 V7 9 7 4 3 1

V7sus4 V7 5 4 3 7 1

Ex-b 16:

189

V7 13 3 7 1

V7 #9 7 3 1

Ex-b 17:

V7 9 7 3 1

V7 b13 3 7 1

Ex-b 18:

V7sus4 V7 13 4 3 7 1

V7 #9 7 3 1

Ex-b 19:

190

V7sus4 V7 9 7 4 3 1

V7 b13 3 7 1

Ex-b 20:

V7 13 3 7 1

V7sus4 V7 #9 7 4 3 1

Ex-b 21:

V7 9 7 3 1

V7sus4 V7 b13 4 3 7 1

Ex-b 22:

191

V7sus4 V7 V7sus4 V7 13 #9 4 3 7 7 4 3 1 1 Ex-b 23:

V7sus4 V7 9 7 4 3 1

V7sus4 V7 b13 4 3 7 1

Ex-b 24:

192

V7 13 3 7 1

b13

V7 9 7 3 1

Ex-b 25:

V7 9 7 3 1

b9

V7 5 3 7 1

Ex-b 26:

V7sus4 V7 13 b13 4 3 7 1

V7 9 7 3 1

Ex-b 27:

193

V7sus4 V7 9 b9 7 4 3 1

V7 5 3 7 1

Ex-b 28:

V7 13 3 7 1

b13

V7sus4 V7 9 7 4 3 1

Ex-b 29:

V7 9 7 3 1

b9

V7sus4 V7 5 4 3 7 1

Ex-b 30:

194

V7sus4 V7 13 b13 4 3 7 1

V7sus4 V7 9 7 4 3 1

Ex-b 31:

V7sus4 V7 9 b9 7 4 3 1

V7sus4 V7 5 4 3 7 1

Ex-b 32:

195

V7 13 3 7 1

V7 9 7 3 1

b9

Ex-b 33:

V7 9 7 3 1

V7 5 3 7 1

#11

Ex-b 34:

V7sus4 V7 13 4 3 7 1

V7 9 7 3 1

b9

Ex-b 35:

196

V7sus4 V7 9 7 4 3 1

V7 5 3 7 1

#11

Ex-b 36:

V7 13 3 7 1

V7sus4 V7 9 b9 7 4 3 1

Ex-b 37:

V7 9 7 3 1

V7sus4 V7 5 #11 4 3 7 1

Ex-b 38:

197

V7sus4 V7 V7sus4 V7 13 9 b9 4 3 7 7 4 3 1 1 Ex-b 39:

V7sus4 V7 9 7 4 3 1

V7sus4 V7 5 #11 4 3 7 1

Ex-b 40:

198

V7 13 3 7 1

b13

V7 9 7 3 1

b9

Ex-b 41:

V7 9 7 3 1

b9

V7 5 3 7 1

#11

Ex-b 42:

V7sus4 V7 13 b13 4 3 7 1

V7 9 7 3 1

b9

Ex-b 43:

199

V7sus4 V7 9 b9 7 4 3 1

V7 5 3 7 1

#11

Ex-b 44:

V7 13 3 7 1

b13

V7sus4 V7 9 b9 7 4 3 1

Ex-b 45:

V7 9 7 3 1

b9

V7sus4 V7 5 #11 4 3 7 1

Ex-b 46:

200

V7sus4 V7 13 b13 4 3 7 1

V7sus4 V7 9 b9 7 4 3 1

Ex-b 47:

V7sus4 V7 9 b9 7 4 3 1

V7sus4 V7 5 #11 4 3 7 1

Ex-b 48:

201

V7 13 3 7 1

b13

V7 #9 7 3 1

9

Ex-b 49:

V7 9 7 3 1

b9

V7 b13 3 7 1

5

Ex-b 50:

V7sus4 V7 13 b13 4 3 7 1

V7 #9 7 3 1

9

Ex-b 51:

202

V7sus4 V7 9 b9 7 4 3 1

V7 b13 3 7 1

5

Ex-b 52:

V7 13 3 7 1

b13

V7sus4 V7 #9 9 7 4 3 1

Ex-b 53:

V7 9 7 3 1

b9

V7sus4 V7 b13 5 4 3 7 1

Ex-b 54:

203

V7sus4 V7 13 b13 4 3 7 1

V7sus4 V7 #9 9 7 4 3 1

Ex-b 55:

V7sus4 V7 9 b9 7 4 3 1

V7sus4 V7 b13 5 4 3 7 1

Ex-b 56:

204

V7 13 3 7 1

b13

V7 9 7 3 1

#9

Ex-b 57:

V7 9 7 3 1

b9

V7 5 3 7 1

b13

Ex-b 58:

V7sus4 V7 13 b13 4 3 7 1

V7 9 7 3 1

#9

Ex-b 59:

205

V7sus4 V7 9 b9 7 4 3 1

V7 5 3 7 1

b13

Ex-b 60:

V7 13 3 7 1

b13

V7sus4 V7 9 #9 7 4 3 1

Ex-b 61:

V7 9 7 3 1

b9

V7sus4 V7 5 b13 4 3 7 1

Ex-b 62:

206

V7sus4 V7 13 b13 4 3 7 1

V7sus4 V7 9 #11 7 4 3 1

Ex-b 63:

V7sus4 V7 9 b9 7 4 3 1

V7sus4 V7 5 b13 4 3 7 1

Ex-b 64:

207

V7 5 3 7 1

#11

V7 9 7 3 1

#9

Ex-b 65:

V7 #9 7 3 1

9

V7 b13 3 7 1

13

Ex-b 66:

V7sus4 V7 5 #11 4 3 7 1

V7 9 7 3 1

#9

Ex-b 67:

208

V7sus4 V7 #9 9 7 4 3 1

V7 b13 3 7 1

13

Ex-b 68:

V7 5 3 7 1

#11

V7sus4 V7 9 #9 7 4 3 1

Ex-b 69:

V7 #9 7 3 1

9

V7sus4 V7 b13 13 4 3 7 1

Ex-b 70:

209

V7sus4 V7 5 #11 4 3 7 1

V7sus4 V7 9 #9 7 4 3 1

Ex-b 71:

V7sus4 V7 #9 9 7 4 3 1

V7sus4 V7 b13 13 4 3 7 1

Ex-b 72:

210

c) Harmonic exercises with four voices and a dominant substitution. Play two voices with the left hand and two with the right hand. All the previous exercises (Ex-b 01 till Ex-b 72) have to be played with the extra root-note of the dominant substitution. That will give you another 216 exercises to practise. Check the fowling examples. *These exercises do not contained big intervals in the left hand. However I suggest you to use major 10th instead major 3rd when possible. * First variant: We are moving from the first chord in the bar (C7) to the second (F7) by creating extra move in the bass with the dominant substitution of C7 in this case (Gb7). V7 13 3 7 1

subV7 b9 7 3 1

V7 9 7 3 1

Ex-c 01:

V7 9 7 3 1

subV7 b13 3 7 1

V7 13 3 7 1

Ex-c 02:

211

Second variant: We are moving from the 2nd chord of the bar (F7) to the 1st of the next bar (Bb7) by doing an additional move in the bass using the dominant substitution of F7, in this case (B7). V7 5 3 7 1

V7 9 7 3 1

subV7 b13 3 7 1

V7 13 3 7 1

subV7 #9 7 3 1

Ex-c 03:

V7 9 7 3 1 Ex-c 04:

212

Third variant: We are moving from one chord to the next by making an extra move in the bass with the dominant substitution (i.e. from C7 to Gb7 resolving to F7 then from B7 finally resolving to Bb7). V7 13 3 7 1

subV7 b9 7 3 1

V7 9 7 3 1

subV7 b13 3 7 1

V7 13 3 7 1

subV7 #9 7 3 1

Ex-c 05:

V7 9 7 3 1

subV7 b13 3 7 1

Ex-c 06:

213

d) Harmonic exercises with five voices. Play two voices with the left hand and three with the right one. *These exercises do not contained big intervals in the left hand. However I suggest you to use major 10th instead major 3rd when possible. * V7 9 13 3 7 1 Ex-d 01:

V7 13 9 7 3 1

V7 5 9 7 3 1 Ex-d 02:

V7 9 13 3 7 1

214

V7sus4 V7 9 13 4 3 7 1

V7 13 9 7 3 1

Ex-d 03:

V7sus4 V7 5 9 7 4 3 1

V7 9 13 3 7 1

Ex-d 04:

215

V7 9 13 3 7 1

V7sus4 V7 13 9 7 4 3 1

Ex-d 05:

V7 5 9 7 3 1

V7sus4 V7 9 13 4 3 7 1

Ex-d 06:

216

V7sus4 V7 9 13 4 3 7 1

V7sus4 V7 13 9 7 4 3 1

Ex-d 07:

V7sus4 V7 5 9 7 4 3 1

V7sus4 V7 9 13 4 3 7 1

Ex-d 08:

217

V7 9 13 3 7 1

V7 5 9 7 3 1

Ex-d 09:

V7 13 9 7 3 1

V7 9 13 3 7 1

Ex-d 10:

V7sus4 V7 9 13 4 3 7 1

V7 5 9 7 3 1

Ex-d 11:

218

V7sus4 V7 13 9 7 4 3 1

V7 9 13 3 7 1

Ex-d 12:

V7 9 13 3 7 1

V7sus4 V7 5 9 7 4 3 1

Ex-d 13:

V7 13 9 7 3 1

V7sus4 V7 9 13 4 3 7 1

Ex-d 14:

219

V7sus4 V7 9 13 4 3 7 1

V7sus4 V7 5 9 7 4 3 1

Ex-d 15:

V7sus4 V7 13 9 7 4 3 1

V7sus4 V7 9 13 4 3 7 1

Ex-d 16:

220

V7 9 13 3 7 1

b9

V7 5 9 7 3 1

Ex-d 17:

V7 13 9 7 3 1

b13

V7 9 13 3 7 1

Ex-d 18:

V7sus4 V7 9 b9 13 4 3 7 1

V7 5 9 7 3 1

Ex-d 19:

221

V7sus4 V7 13 b13 9 7 4 3 1

V7 9 13 3 7 1

Ex-d 20:

V7 9 13 3 7 1

b9

V7sus4 V7 5 9 7 4 3 1

Ex-d 21:

V7 13 9 7 3 1

b13

V7sus4 V7 9 13 4 3 7 1

Ex-d 22:

222

V7sus4 V7 9 b9 13 4 3 7 1

V7sus4 V7 5 9 7 4 3 1

Ex-d 23:

V7sus4 V7 13 b13 9 7 4 3 1

V7sus4 V7 9 13 4 3 7 1

Ex-d 24:

223

V7 9 13 3 7 1

V7 5 9 7 3 1

#11

Ex-d 25:

V7 13 9 7 3 1

V7 9 13 3 7 1

b9

Ex-d 26:

V7sus4 V7 9 13 4 3 7 1

V7 5 9 7 3 1

#11

Ex-d 27:

224

V7sus4 V7 13 9 7 4 3 1

V7 9 13 3 7 1

b9

Ex-d 28:

V7 9 13 3 7 1

V7sus4 V7 5 #11 9 7 4 3 1

Ex-d 29:

V7 13 9 7 3 1

V7sus4 V7 9 b9 13 4 3 7 1

Ex-d 30:

225

V7sus4 V7 9 13 4 3 7 1

V7sus4 V7 5 #11 9 7 4 3 1

Ex-d 31:

V7sus4 V7 13 9 7 4 3 1

V7sus4 V7 9 b9 13 4 3 7 1

Ex-d 32:

226

V7 9 13 3 7 1

b9

V7 5 9 7 3 1

#11

Ex-d 33:

V7 13 9 7 3 1

b13

V7 9 13 3 7 1

b9

Ex-d 34:

V7sus4 V7 9 b9 13 4 3 7 1

V7 5 9 7 3 1

#11

Ex-d 35:

227

V7sus4 V7 13 b13 9 7 4 3 1

V7 9 13 3 7 1

b9

Ex-d 36:

V7 9 13 3 7 1

b9

V7sus4 V7 5 #11 9 7 4 3 1

Ex-d 37:

V7 13 9 7 3 1

b13

V7sus4 V7 9 b9 13 4 3 7 1

Ex-d 38:

228

V7sus4 V7 9 b9 13 4 3 7 1

V7sus4 V7 5 #11 9 7 4 3 1

Ex-d 39:

V7sus4 V7 13 b13 9 7 4 3 1

V7sus4 V7 9 b9 13 4 3 7 1

Ex-d 40:

229

V7 9 13 3 7 1

b9

V7 5 9 7 3 1

b13

Ex-d 41:

V7 13 9 7 3 1

b13

V7 9 13 3 7 1

#9

Ex-d 42:

V7sus4 V7 9 b9 13 4 3 7 1

V7 5 9 7 3 1

b13

Ex-d 43:

230

V7sus4 V7 13 b13 9 7 4 3 1

V7 9 13 3 7 1

#9

Ex-d 44:

V7 9 13 3 7 1

b9

V7sus4 V7 5 b13 9 7 4 3 1

Ex-d 45:

V7 13 9 7 3 1

b13

V7sus4 V7 9 #9 13 4 3 7 1

Ex-d 46:

231

V7sus4 V7 9 b9 13 4 3 7 1

V7sus4 V7 5 b13 9 7 4 3 1

Ex-d 47:

V7sus4 V7 13 b13 9 7 4 3 1

V7sus4 V7 9 #9 13 4 3 7 1

Ex-d 48:

232

V7 9 13 3 7 1

b9

V7 13 9 7 3 1

b13

Ex-d 49:

V7 5 9 7 3 1

#11

V7 9 13 3 7 1

b9

Ex-d 50:

V7sus4 V7 9 b9 13 4 3 7 1

V7 13 9 7 3 1

b13

Ex-d 51:

233

V7sus4 V7 5 #11 9 7 4 3 1

V7 9 13 3 7 1

b9

Ex-d 52:

V7 9 13 3 7 1

b9

V7sus4 V7 13 b13 9 7 4 3 1

Ex-d 53:

V7 5 9 7 3 1

#11

V7sus4 V7 9 b9 13 4 3 7 1

Ex-d 54:

234

V7sus4 V7 9 b9 13 4 3 7 1

V7sus4 V7 13 b13 9 7 4 3 1

Ex-d 55:

V7sus4 V7 5 #11 9 7 4 3 1

V7sus4 V7 9 b9 13 4 3 7 1

Ex-d 56:

235

V7 9 13 3 7 1

b9

V7 13 9 7 3 1

#11

Ex-d 57:

V7 5 9 7 3 1

#11

V7 9 13 3 7 1

#9

Ex-d 58:

V7sus4 V7 9 b9 13 4 3 7 1

V7 13 9 7 3 1

#11

Ex-d 59:

236

V7sus4 V7 5 #11 9 7 4 3 1

V7 9 13 3 7 1

#9

Ex-d 60:

V7 9 13 3 7 1

b9

V7sus4 V7 13 #11 9 7 4 3 1

Ex-d 61:

V7 5 9 7 3 1

#11

V7sus4 V7 9 #9 13 4 3 7 1

Ex-d 62:

237

V7sus4 V7 9 b9 13 4 3 7 1

V7sus4 V7 13 #11 9 7 4 3 1

Ex-d 63:

V7sus4 V7 5 #11 9 7 4 3 1

V7sus4 V7 9 #9 13 4 3 7 1

Ex-d 64:

238

e) Harmonic exercises with five voices and the dominant substitution. Play two voices with the left hand and three with the right hand. All the previous exercises (Ex-d 01 till Ex-d 64) have to be played with the extra root note of the dominant substitution. That will give you another 192 exercises to practise. Check the fowling examples. *These exercises do not contained big intervals in the left hand. However I suggest you to use major 10th instead major 3rd when possible. * First variant: We are moving from the first chord in the bar (C7) to the second (F7) by creating extra move in the bass with the dominant substitution of C7 in this case (Gb7). V7 9 13 3 7 1

subV7 b13 #9 7 3 1

V7 13 9 7 3 1

Ex-e 01:

V7 5 9 7 3 1

subV7 b9 b13 3 7 1

V7 9 13 3 7 1

Ex-e 02:

239

Second variant: We are moving from the 2nd chord of the bar (F7) to the 1st of the next bar (Bb7) by doing an additional extra move in the bass using the dominant substitution of F7, in this case (B7). V7 9 13 3 7 1

V7 13 9 7 3 1

subV7 #9 b13 3 7 1

V7 9 13 3 7 1

subV7 b13 #9 7 3 1

Ex-e 03:

V7 5 9 7 3 1 Ex-e 04:

240

Third variant: We are moving from one chord to the next by making an extra move in the bass with the dominant substitution (i.e. from C7 to Gb7 resolving to F7 then from B7 finally resolving to Bb7). V7 9 13 3 7 1

subV7 b13 #9 7 3 1

V7 13 9 7 3 1

subV7 #9 b13 3 7 1

V7 9 13 3 7 1

subV7 b13 #9 7 3 1

Ex-e 05:

V7 5 9 7 3 1

subV7 b9 b13 3 7 1

Ex-e 06:

241

f) Harmonic exercises with five voices and additional movement in the 4th voice. Play two voices with the left hand and three with the right hand. *These exercises do not contained big intervals in the left hand. However I suggest you to use major 10th instead major 3rd when possible. * V7 9 13 3 7 1

b13

V7 13 9 7 3 1

Ex-f 01:

V7 5 9 7 3 1

b9

V7 9 5 3 7 1

Ex-f 02:

242

V7sus4 V7 9 13 b13 4 3 7 1

V7 13 9 7 3 1

Ex-f 03:

V7sus4 V7 5 9 b9 7 4 3 1

V7 9 5 3 7 1

Ex-f 04:

V7 9 13 3 7 1

b13

V7sus4 V7 13 9 7 4 3 1

Ex-f 05:

243

V7 5 9 7 3 1

b9

V7sus4 V7 9 5 4 3 7 1

Ex-f 06:

V7sus4 V7 9 13 b13 4 3 7 1

V7sus4 V7 13 9 7 4 3 1

Ex-f 07:

V7sus4 V7 5 9 b9 7 4 3 1

V7sus4 V7 9 5 4 3 7 1

Ex-f 08:

244

V7 9 13 3 7 1

b13

V7 5 9 7 3 1

Ex-f 09:

V7 13 9 7 3 1

b9

V7 9 5 3 7 1

Ex-f 10:

V7sus4 V7 9 13 b13 4 3 7 1

V7 5 9 7 3 1

Ex-f 11:

245

V7sus4 V7 13 9 b9 7 4 3 1

V7 9 5 3 7 1

Ex-f 12:

V7 9 13 3 7 1

b13

V7sus4 V7 5 9 7 4 3 1

Ex-f 13:

V7 13 9 7 3 1

b9

V7sus4 V7 9 5 4 3 7 1

Ex-f 14:

246

V7sus4 V7 9 13 b13 4 3 7 1

V7sus4 V7 5 9 7 4 3 1

Ex-f 15:

V7sus4 V7 13 9 b9 7 4 3 1

V7sus4 V7 9 5 4 3 7 1

Ex-f 16:

247

V7 9 13 3 7 1

b9 b13

V7 5 9 7 3 1

Ex-f 17:

V7 13 9 7 3 1

b13 b9

V7 9 5 3 7 1

Ex-f 18:

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7 5 9 7 3 1

Ex-f 19:

248

V7sus4 13 9 7 4 1

V7 b13 b9 3

V7 9 5 3 7 1

Ex-f 20:

V7 9 13 3 7 1

b9 b13

V7sus4 V7 5 9 7 4 3 1

Ex-f 21:

V7 13 9 7 3 1

b13 b9

V7sus4 V7 9 5 4 3 7 1

Ex-f 22:

249

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7sus4 V7 5 9 7 4 3 1

Ex-f 23:

V7sus4 13 9 7 4 1

V7 b13 b9 3

V7sus4 V7 9 5 4 3 7 1

Ex-f 24:

250

V7 9 13 3 7 1

b13

V7 5 9 7 3 1

#11

Ex-f 25:

V7 13 9 7 3 1

b9

V7 9 5 3 7 1

b9

Ex-f 26:

V7sus4 V7 9 13 b13 4 3 7 1

V7 5 9 7 3 1

#11

Ex-f 27:

251

V7sus4 V7 13 9 b9 7 4 3 1

V7 9 5 3 7 1

b9

Ex-f 28:

V7 9 13 3 7 1

b13

V7sus4 V7 5 #11 9 7 4 3 1

Ex-f 29:

V7 13 9 7 3 1

b9

V7sus4 V7 9 b9 5 4 3 7 1

Ex-f 30:

252

V7sus4 V7 9 13 b13 4 3 7 1

V7sus4 V7 5 #11 9 7 4 3 1

Ex-f 31:

V7sus4 V7 13 9 b9 7 4 3 1

V7sus4 V7 9 b9 5 4 3 7 1

Ex-f 32:

253

V7 9 13 3 7 1

b9 b13

V7 5 9 7 3 1

#11

Ex-f 33:

V7 13 9 7 3 1

b13 b9

V7 9 5 3 7 1

b9

Ex-f 34:

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7 5 9 7 3 1

#11

Ex-f 35:

254

V7sus4 13 9 7 4 1

V7 b13 b9 3

V7 9 5 3 7 1

b9

Ex-f 36:

V7 9 13 3 7 1

b9 b13

V7sus4 V7 5 #11 9 7 4 3 1

Ex-f 37:

V7 13 9 7 3 1

b13 b9

V7sus4 V7 9 b9 5 4 3 7 1

Ex-f 38:

255

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7sus4 V7 5 #11 9 7 4 3 1

Ex-f 39:

V7sus4 13 9 7 4 1

V7 b13 b9 3

V7sus4 V7 9 b9 5 4 3 7 1

Ex-f 40:

256

V7 9 13 3 7 1

b9 b13

V7 13 9 7 3 1

b13

Ex-f 41:

V7 5 9 7 3 1

#11 b9

V7 9 5 3 7 1

b9

Ex-f 42:

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7 13 9 7 3 1

b13

Ex-f 43:

257

V7sus4 V7 5 #11 9 b9 7 4 3 1

V7 9 5 3 7 1

b9

Ex-f 44:

V7 9 13 3 7 1

b9 b13

V7sus4 V7 13 b13 9 7 4 3 1

Ex-f 45:

V7 5 9 7 3 1

#11 b9

V7sus4 V7 9 b9 5 4 3 7 1

Ex-f 46:

258

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7sus4 V7 13 b13 9 7 4 3 1

Ex-f 47:

V7sus4 V7 5 #11 9 b9 7 4 3 1

V7sus4 V7 9 b9 5 4 3 7 1

Ex-f 48:

259

V7 9 13 3 7 1

b9 b13

V7 13 9 7 3 1

#11

Ex-f 49:

V7 5 9 7 3 1

#11 b9

V7 9 5 3 7 1

#9

Ex-f 50:

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7 13 9 7 3 1

#11

Ex-f 51:

260

V7sus4 V7 5 #11 9 b9 7 4 3 1

V7 9 5 3 7 1

#9

Ex-f 52:

V7 9 13 3 7 1

b9 b13

V7sus4 V7 13 #11 9 7 4 3 1

Ex-f 53:

V7 V7sus4 V7 5 #11 9 #9 9 b9 5 b13 7 4 3 3 7 1 1 Ex-f 54: In this exercise there is extra note in the 4th voice (C#), that makes the voice-leading much smoother.

261

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7sus4 V7 13 #11 9 7 4 3 1

Ex-f 55:

V7sus4 V7 5 #11 9 b9 7 4 3 1

V7sus4 V7 9 #9 5 b13 4 3 7 1

Ex-f 56: In this exercise there is extra note in the 4th voice (C#), that makes the voice-leading much smoother.

262

V7 9 13 3 7 1

V7 13 9 7 3 1

b9

Ex-f 57:

V7 5 9 7 3 1

V7 9 5 3 7 1

#11

Ex-f 58:

V7sus4 V7 9 13 4 3 7 1

V7 13 9 7 3 1

b9

Ex-f 59:

263

V7sus4 V7 5 9 7 4 3 1

V7 9 5 3 7 1

#11

Ex-f 60:

V7 9 13 3 7 1

V7sus4 V7 13 9 b9 7 4 3 1

Ex-f 61:

V7 5 9 7 3 1

V7sus4 V7 9 5 #11 4 3 7 1

Ex-f 62:

264

V7sus4 V7 9 13 4 3 7 1

V7sus4 V7 13 9 b9 7 4 3 1

Ex-f 63:

V7sus4 V7 5 9 7 4 3 1

V7sus4 V7 9 5 #11 4 3 7 1

Ex-f 64:

265

V7 9 13 3 7 1

V7 5 9 7 3 1

b9

Ex-f 65:

V7 13 9 7 3 1

V7 9 5 3 7 1

#11

Ex-f 66:

V7sus4 V7 9 13 4 3 7 1

V7 5 9 7 3 1

b9

Ex-f 67:

266

V7sus4 V7 13 9 7 4 3 1

V7 9 5 3 7 1

#11

Ex-f 68:

V7 9 13 3 7 1

V7sus4 V7 5 9 b9 7 4 3 1

Ex-f 69:

V7 13 9 7 3 1

V7sus4 V7 9 5 #11 4 3 7 1

Ex-f 70:

267

V7sus4 V7 9 13 4 3 7 1

V7sus4 V7 5 9 b9 7 4 3 1

Ex-f 71:

V7sus4 V7 13 9 7 4 3 1

V7sus4 V7 9 5 #11 4 3 7 1

Ex-f 72:

268

V7 9 13 3 7 1

b9

V7 5 9 7 3 1

b9

Ex-f 73:

V7 13 9 7 3 1

b13

V7 9 5 3 7 1

#11

Ex-f 74:

V7sus4 V7 9 b9 13 4 3 7 1

V7 5 9 7 3 1

b9

Ex-f 75:

269

V7sus4 V7 13 b13 9 7 4 3 1

V7 9 5 3 7 1

#11

Ex-f 76:

V7 9 13 3 7 1

b9

V7sus4 V7 5 9 b9 7 4 3 1

Ex-f 77:

V7 13 9 7 3 1

b13

V7sus4 V7 9 5 #11 4 3 7 1

Ex-f 78:

270

V7sus4 V7 9 b9 13 4 3 7 1

V7sus4 V7 5 9 b9 7 4 3 1

Ex-f 79:

V7sus4 V7 13 b13 9 7 4 3 1

V7sus4 V7 9 5 #11 4 3 7 1

Ex-f 80:

271

V7 9 13 3 7 1

V7 5 9 7 3 1

#11 b9

Ex-f 81:

V7 13 9 7 3 1

V7 9 5 3 7 1

b9 #11

Ex-f 82:

V7sus4 V7 9 13 4 3 7 1

V7 5 9 7 3 1

#11 b9

Ex-f 83:

272

V7sus4 V7 13 9 7 4 3 1

V7 9 5 3 7 1

b9 #11

Ex-f 84:

V7 9 13 3 7 1

V7sus4 V7 5 #11 9 b9 7 4 3 1

Ex-f 85:

V7 13 9 7 3 1

V7sus4 V7 9 b9 5 #11 4 3 7 1

Ex-f 86:

273

V7sus4 V7 9 13 4 3 7 1

V7sus4 5 9 7 4 1

V7 #11 b9 3

Ex-f 87:

V7sus4 V7 13 9 7 4 3 1

V7sus4 V7 9 b9 5 #11 4 3 7 1

Ex-f 88:

274

V7 9 13 3 7 1

b9

V7 5 9 7 3 1

#11 b9

Ex-f 89:

V7 13 9 7 3 1

b13

V7 9 5 3 7 1

b9 #11

Ex-f 90:

V7sus4 V7 9 b13 13 4 3 7 1

V7 5 9 7 3 1

#11 b9

Ex-f 91:

275

V7sus4 V7 13 b13 9 7 4 3 1

V7 9 5 3 7 1

b9 #11

Ex-f 92:

V7 9 13 3 7 1

b9

V7sus4 V7 5 #11 9 b9 7 4 3 1

Ex-f 93:

V7 13 9 7 3 1

b13

V7sus4 V7 9 b9 5 #11 4 3 7 1

Ex-f 94:

276

V7sus4 V7 9 b9 13 4 3 7 1

V7sus4 5 9 7 4 1

V7 #11 b9 3

Ex-f 95:

V7sus4 V7 13 b13 9 7 4 3 1

V7sus4 V7 9 b9 5 #11 4 3 7 1

Ex-f 96:

277

V7 9 13 3 7 1

b9

V7 13 9 7 3 1

b13 b9

Ex-f 97:

V7 5 9 7 3 1

#11

V7 9 5 3 7 1

b9 #11

Ex-f 98:

V7sus4 V7 9 b13 13 4 3 7 1

V7 13 9 7 3 1

b13 b9

Ex-f 99:

278

V7sus4 V7 5 #11 9 7 4 3 1

V7 9 5 3 7 1

b9 #11

Ex-f 100:

V7 9 13 3 7 1

b9

V7sus4 13 9 7 4 1

V7 b13 b9 3

Ex-f 101:

V7 5 9 7 3 1

#11

V7sus4 V7 9 b9 5 #11 4 3 7 1

Ex-f 102:

279

V7sus4 V7 9 b9 13 4 3 7 1

V7sus4 13 9 7 4 1

V7 b13 b9 3

Ex-f 103:

V7sus4 V7 5 #11 9 7 4 3 1

V7sus4 V7 9 b9 5 #11 4 3 7 1

Ex-f 104:

280

V7 9 13 3 7 1

b9

V7 13 9 7 3 1

#11 b9

Ex-f 105:

V7 5 9 7 3 1

#11

V7 9 5 3 7 1

#9 #11

Ex-f 106:

V7sus4 V7 9 b13 13 4 3 7 1

V7 13 9 7 3 1

#11 b9

Ex-f 107:

281

V7sus4 V7 5 #11 9 7 4 3 1

V7 9 5 3 7 1

#9 #11

Ex-f 108:

V7 9 13 3 7 1

b9

V7sus4 13 9 7 4 1

V7 #11 b9 3

Ex-f 109:

V7 V7sus4 V7 5 #11 9 #9 9 5 b13 7 4 3 3 7 1 1 Ex-f 110: In this exercise the C in the 4th voice moves up to C#, that makes the voice-leading much smoother.

282

V7sus4 V7 9 b9 13 4 3 7 1

V7sus4 13 9 7 4 1

V7 #11 b9 3

Ex-f 111:

V7sus4 V7 5 #11 9 7 4 3 1

V7sus4 V7 9 #9 5 b13 4 3 7 1

Ex-f 112: In this exercise the C in the 4th voice moves up to C#, that makes the voice-leading much smoother.

283

V7 9 13 3 7 1

b13

V7 13 9 7 3 1

b9

Ex-f 113:

V7 5 9 7 3 1

b9

V7 9 5 3 7 1

#11

Ex-f 114:

V7sus4 V7 9 13 b13 4 3 7 1

V7 13 9 7 3 1

b9

Ex-f 115:

284

V7sus4 V7 5 9 b9 7 4 3 1

V7 9 5 3 7 1

#11

Ex-f 116:

V7 9 13 3 7 1

b13

V7sus4 V7 13 9 b9 7 4 3 1

Ex-f 117:

V7 5 9 7 3 1

b9

V7sus4 V7 9 5 #11 4 3 7 1

Ex-f 118:

285

V7sus4 V7 9 13 b13 4 3 7 1

V7sus4 V7 13 9 b9 7 4 3 1

Ex-f 119:

V7sus4 V7 5 9 b9 7 4 3 1

V7sus4 V7 9 5 #11 4 3 7 1

Ex-f 120:

286

V7 9 13 3 7 1

b13

V7 5 9 7 3 1

b9

Ex-f 121:

V7 13 9 7 3 1

b9

V7 9 5 3 7 1

#11

Ex-f 122:

V7sus4 V7 9 13 b13 4 3 7 1

V7 5 9 7 3 1

b9

Ex-f 123:

287

V7sus4 V7 13 9 b9 7 4 3 1

V7 9 5 3 7 1

#11

Ex-f 124:

V7 9 13 3 7 1

b13

V7sus4 V7 5 9 b9 7 4 3 1

Ex-f 125:

V7 13 9 7 3 1

b9

V7sus4 V7 9 5 #11 4 3 7 1

Ex-f 126:

288

V7sus4 V7 9 13 b13 4 3 7 1

V7sus4 V7 5 9 b9 7 4 3 1

Ex-f 127:

V7sus4 V7 13 9 b9 7 4 3 1

V7sus4 V7 9 5 #11 4 3 7 1

Ex-f 128:

289

V7 9 13 3 7 1

b9 b13

V7 5 9 7 3 1

b9

Ex-f 129:

V7 13 9 7 3 1

b13 b9

V7 9 5 3 7 1

#11

Ex-f 130:

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7 5 9 7 3 1

b9

Ex-f 131:

290

V7sus4 13 9 7 4 1

V7 b13 b9 3

V7 9 5 3 7 1

#11

Ex-f 132:

V7 9 13 3 7 1

b9 b13

V7sus4 V7 5 9 b9 7 4 3 1

Ex-f 133:

V7 13 9 7 3 1

b13 b9

V7sus4 V7 9 5 #11 4 3 7 1

Ex-f 134:

291

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7sus4 V7 5 9 b9 7 4 3 1

Ex-f 135:

V7sus4 13 9 7 4 1

V7 b13 b9 3

V7sus4 V7 9 5 #11 4 3 7 1

Ex-f 136:

292

V7 9 13 3 7 1

b13

V7 5 9 7 3 1

#11 b9

Ex-f 137:

V7 13 9 7 3 1

b9

V7 9 5 3 7 1

b9 #11

Ex-f 138:

V7sus4 V7 9 13 b13 4 3 7 1

V7 5 9 7 3 1

#11 b9

Ex-f 139:

293

V7sus4 V7 13 9 b9 7 4 3 1

V7 9 5 3 7 1

b9 #11

Ex-f 140:

V7 9 13 3 7 1

b13

V7sus4 V7 5 #11 9 b9 7 4 3 1

Ex-f 141:

V7 13 9 7 3 1

b9

V7sus4 V7 9 b9 5 #11 4 3 7 1

Ex-f 142:

294

V7sus4 V7 9 13 b13 4 3 7 1

V7sus4 5 9 7 4 1

V7 #11 b9 3

Ex-f 143:

V7sus4 V7 13 9 b9 7 4 3 1

V7sus4 V7 9 b9 5 #11 4 3 7 1

Ex-f 144:

295

V7 9 13 3 7 1

b9 b13

V7 5 9 7 3 1

#11 b9

Ex-f 145:

V7 13 9 7 3 1

b13 b9

V7 9 5 3 7 1

b9 #11

Ex-f 146:

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7 5 9 7 3 1

#11 b9

Ex-f 147:

296

V7sus4 13 9 7 4 1

V7 b13 b9 3

V7 9 5 3 7 1

b9 #11

Ex-f 148:

V7 9 13 3 7 1

b9 b13

V7sus4 V7 5 #11 9 b9 7 4 3 1

Ex-f 149:

V7 13 9 7 3 1

b13 b9

V7sus4 V7 9 b9 5 #11 4 3 7 1

Ex-f 150:

297

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7sus4 5 9 7 4 1

V7 #11 b9 3

Ex-f 151:

V7sus4 13 9 7 4 1

V7 b13 b9 3

V7sus4 V7 9 b9 5 #11 4 3 7 1

Ex-f 152:

298

V7 9 13 3 7 1

b9 b13

V7 13 9 7 3 1

b13 b9

Ex-f 153:

V7 5 9 7 3 1

#11 b9

V7 9 5 3 7 1

b9 #11

Ex-f 154:

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7 13 9 7 3 1

b13 b9

Ex-f 155:

299

V7sus4 V7 5 #11 9 b9 7 4 3 1

V7 9 5 3 7 1

b9 #11

Ex-f 156:

V7 9 13 3 7 1

b9 b13

V7sus4 13 9 7 4 1

V7 b13 b9 3

Ex-f 157:

V7 5 9 7 3 1

#11 b9

V7sus4 V7 9 b9 5 #11 4 3 7 1

Ex-f 158:

300

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7sus4 13 9 7 4 1

V7 b13 b9 3

Ex-f 159:

V7sus4 V7 5 #11 9 b9 7 4 3 1

V7sus4 V7 9 b9 5 #11 4 3 7 1

Ex-f 160:

301

V7 9 13 3 7 1

b9 b13

V7 13 9 7 3 1

#11 b9

Ex-f 161:

V7 5 9 7 3 1

#11 b9

V7 9 5 3 7 1

#9 #11

Ex-f 162:

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7 13 9 7 3 1

#11 b9

Ex-f 163:

302

V7sus4 V7 5 #11 9 b9 7 4 3 1

V7 9 5 3 7 1

#9 #11

Ex-f 164:

V7 9 13 3 7 1

b9 b13

V7sus4 13 9 7 4 1

V7 #11 b9 3

Ex-f 165:

V7 5 9 7 3 1

#11 b9

V7sus4 V7 9 #9 5 #11 4 3 7 1

Ex-f 166:

303

V7sus4 V7 9 b9 13 b13 4 3 7 1

V7sus4 13 9 7 4 1

V7 #11 b9 3

Ex-f 167:

V7sus4 V7 5 #11 9 b9 7 4 3 1

V7sus4 V7 9 #9 5 #11 4 3 7 1

Ex-f 168:

304

g) Harmonic exercises with five voices, additional movement in the 4th voice and the use of the dominant substitution. Play two voices with the left hand and three with the right hand. All the previous exercises (Ex-f 01 till Ex-f 168) have to be played with the extra root note of the dominant substitution. That will give you another 504 exercises to practise. Check the fowling examples. *These exercises do not contained big intervals in the left hand. However I suggest you to use major 10th instead major 3rd when possible. * First variant: We are moving from the first chord in the bar (C7) to the second (F7) by creating extra move in the bass with the dominant substitution of C7 in this case (Gb7). V7 9 13 3 7 1

subV7 b13 9 7 3 1

V7 13 9 7 3 1

Ex-g 01:

V7 5 9 7 3 1

subV7 b9 5 3 7 1

V7 9 5 3 7 1

Ex-g 02:

305

Second variant: We are moving from the 2nd chord of the bar (F7) to the 1st of the next bar (Bb7) by doing an additional move in the bass using the dominant substitution of F7, in this case (B7). V7 9 13 3 7 1

b13

V7 13 9 7 3 1

subV7 #9 b13 3 7 1

V7 9 5 3 7 1

subV7 b13 b9 7 3 1

Ex-g 03:

V7 5 9 7 3 1

b9

Ex-g 04:

306

Third variant: We are moving from one chord to the next by making an extra move in the bass with the dominant substitution (i.e. from C7 to Gb7 resolving to F7 then from B7 finally resolving in Bb7). V7 9 13 3 7 1

subV7 b13 9 7 3 1

V7 13 9 7 3 1

subV7 #9 b13 3 7 1

V7 9 5 3 7 1

subV7 b13 b9 7 3 1

Ex-g 05:

V7 5 9 7 3 1

subV7 b9 5 3 7 1

Ex-g 06:

307