Harmonic Exercises for Jazz Piano
May 1, 2017 | Author: Alban Lopez | Category: N/A
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Descripción: Harmonic Excercises jazz piano...
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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
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