The Beato Book 4.0

The Beato Book 4.0 Introduction Chapter 1: Theory and Harmony Interval Names and Symbols Ex. 1 Naming Intervals Ex. 2 Ex. 3 Ex. 4 Ex. 5 Ex. 6 Enharmonic Intervals Ex. 7 Chords and their formulars Diatonic Triads in C major Ex. 8 Building Diatonic Triads Interval Composition Ex. 9 Ex. 10 Ex. 11 Ex. 12 Building Diatonic Seventh Chords Ex. 13 Major Scale (Triads & Seventh) Ex. 14a Natural Minor Scale Ex. 14b Melodic Minor Scale Ex. 15 Harmonic Minor Scale Ex. 16 Harmonic Major Scale Ex. 17 Double Harmonic Major Scale Ex. 18 More about seventh chords Ex. 19 Suspended Triads and other three note structures Ex. 20a Ex. 20b Ex. 21 Ex. 22 Ex. 23 Ex. 24 Ex. 25 Chord Scales Major Scale Modes Melodic Minor Modes Harmonic Minor Modes Miscellaneous Scales Chord families and their scales Major7 Type Minor7 Type Minor7b5 Type Dom7 Type Diminished Type Augmented Type Scale Degree Names and Basic Progressions Ex. 26 Ex. 27 Basic Progressions Ex. 28 Ex. 29 Ex. 30 Ex. 31 Ex. 32 Ex. 33 Ex. 34 Ex. 35 Ex. 36 Ex. 37 More About Roman Numeral Analysis Secondary Dominant and Diminished Seventh: Ex. 38 Ex. 39 Ex. 40 Ex. 41 Cycle of Fifth and Back Cycling Cycle of Fifths Ex. 42 Back Cycling Ex. 43 Roman Numeral Analysis and Chord Scale Choice Ex. 44a Ex. 44b Basic Rules for Chord Substitutions Ex. 45 Ex. 46 Ex. 47 Rule I: Ex. 48 Rule II: Major Chords Ex. 49 Rule III: Minor Chords Ex. 50 Rule IV: Dom.7 Chords (V7) Ex. 51 Ex. 52 Rule V: All Chords Ex. 53 Rule VI: Dom7 Chords (V7) Ex. 54 Rule VII: Dom7 Chords (V7) Ex. 55 Rule VIII: Dom7 Chords (V7) Ex. 56 Ex. 57 Extension of Dim7 chords Ex. 58 Ex. 59 Rule IX: Ex. 60 Rule X: Dom7 (V7) chords Ex. 61 Rule XI: Dom7 (V7) chords Rule XII: Ex. 62 Ex. 63 Ex. 64 Rule XIII Ex. 65 Ex. 66 Rule XIV: Ex. 67a Ex. 67b Rule XV: Ex. 68 Rule XVI: Ex. 69 Rule XVII: Ex. 70 Rule XVIII: Ex. 71 Rule XIX: Ex. 72 Rule XX: Symetrical Scales Rule XXI: Dom7 Chords (V7) Ex. 73 Rule XXII: Modal Chords Ex. 74 Rule XXIII: Ex. 75 Rule XXIV Ex. 76 Rule XXV: Ex. 77 Rule XXVI: Ex. 78 Rule XXVII Ex. 79 Rule XXVIII: Ex. 80 Rule XXIX Ex. 81 Triad and Seventh Chords over Bass Notes and Polychords Ex. 82a Ex. 82b Ex. 83 Ex. 84a Ex. 84b Ex. 85 Ex. 86 Triads over Bass Notes Ex. 87 Ex. 88 Ex. 89 Ex. 90 Reharmonization and Chord Substitutions „Countdown Changes“ Ex. 91 „Bird Blues“ Ex. 92a Ex. 92b Advanced Reharmonizations Blues F Blues Basic Substitution Characteristics F Blues ① Ex. 93 F Blues ② Rule XXX: Dom7 chords Ex. 94a Ex. 94b Ex. 95a Ex. 95b Ex. 95c F Blues ③ Rule XXXI Ex. 96 Rule XXXI cont. Ex. 97 F Blues ④ Ex. 98 F Blues ⑤ Ex. 99 Ex. 100 Ex. 101 F Blues ⑥ Ex. 102 Rhythm Changes Ex. 103 Ex. 104 Rule XXXII Ex. 105 Ex. 106a Ex. 106b The Bridge of Rhythm Changes Ex. 107 Ex. 108a Ex. 108b Ex. 109 Ex. 110 Ex. 111 Ex. 112 Ex. 113 Ex. 114 Reharmonization of Standard Forms Reharmonization No.1 Reharmonization No.2 Common Tone Reharmonization Rule XXXII Ex. 115 Modal Harmony and Theory Ex. 116 Ex. 117 Ex. 118 Ex. 119 Sharp and Flat Direction Modal Modulation Ex. 120 Upward Modulation Ex. 121a Ex. 121b Ex. 122 Downward Modulations Ex. 123a Ex. 123b Ex. 124 Sharp Direction (melodic minor) Ex. 125 Flat Direction (melodic minor) Ex. 126 Sharp Direction (harmonic minor) Ex. 127 Flat Direction (harmonic minor) Ex. 128 Resolution Tendencies between Modal Groups Ex. 129 Voiceleading Ex. 130 Resolution Ex. 131 Ex. 132a Ex. 132b Ex. 133 Ex. 134 Ex. 135 Chapter 2: Chord Forms Triad (and Suspension) Chord Forms Major Triads Minor Triads Diminished Triads Augmented Triads Suspended Triads Lydian Triads Locrian Triads Drop Voicings Voicings of Cmaj7 Ex. 136 Drop 2 Maj6 Maj 7 Dom7 Min7 Min6 Minmaj7 Min7b5 Dim7 Dimmaj7 Augmaj7 Aug7 Maj7b5 Dom7b5 Maj7sus4 Dom7sus4 Lydianmaj7 LydianDom7 Dimmaj7b13 Drop 3 Maj6 Maj7 Dom7 Min6 Min7 Minmaj7 Min7b5 Dim7 Dimmaj7 Augmaj7 Aug7 Maj7b5 Dom7b5 Maj7sus4 Dom7sus4 Lydianmaj7 LydianDom7 Dimmaj7b13 Drop 2 + 3 Maj6 Maj7 Dom7 Min6 Min7 Minmaj7 Min7b5 Dim7 Dimmaj7 Augmaj7 Aug7 Maj7b5 Dom7b5 Maj7sus4 Dom7sus4 Lydianmaj7 LydianDom7 Dimmaj7b13 Drop 2 + 4 Maj6 Maj7 Dom7 Min6 Min7 Minmaj7 Min7b5 Dim7 Dimmaj7 Augmaj7 Aug7 Maj7b5 Dom7b5 Maj7sus4 Dom7sus4 Lydianmaj7 LydianDom7 Dimmaj7b13 Triads over Bass Notes Ex. 137 Major Triads Bass Notes Minor Triads Bass Notes Sus4 Triads Bass Notes Spread triads over bass notes Ex. 138 Ex. 139 Major Type Spread Triads Bass Notes (C) Minor Type Spread Triads Bass Notes (C) Dom7 Type Spread Triads Bass Notes (C) Diminished Type Spread Triads Bass Notes (C) Twelve Tone Type Spread Triads Bass Notes (C) Quartal Voicings Three Part Quartal Voicings Ex. 140 Ex. 141 3part-Quartal Voicings – Major Scale 4part-Quartal Voicings – Major Scale 5part-Quartal Voicings – Major Scale 6part-Quartal Voicings – Major Scale 3part-Quartal Voicings – Melodic Minor 4part-Quartal Voicings – Melodic Minor 5part-Quartal Voicings – Melodic Minor 6part-Quartal Voicings – Melodic Minor 3part-Quartal Voicings – Harmonic Minor 4part-Quartal Voicings – Harmonic Minor 5part-Quartal Voicings – Harmonic Minor 6part-Quartal Voicings – Harmonic Minor Skipped String Voicings Ex. 142 Major Scale Skipped String Voicings Melodic Minor Scale Skipped String Voicings Dominant Diminished Skipped String Voicings Ex. 143 Open String Voicings Polychords (Triads over Triads) Using Comping Voicings in new Ways Ex. 144 Constructing Chord Scales Ex. 145 Ex. 146 Ex. 147 Chordal Scales Major Scale (Bebop) Major Scale (modern) Dorian/Minor (Bebop) Dorian/Minor (modern) Aeolian/Minor Dom7 (unaltered) Dom7 (altered Dom) Dom7 (Dominant Dim) Diminished Scale Voicings Ex. 148 Ex. 149 Ex. 150 Dim7 Type Comping Voicings Stretch Voicings Ex. 151 Stretch Voicings Chordal Lines (ii7 V7 Imaj7) Ex. 152a Ex. 152b Ex. 152c Ex. 152d Ex. 152e Ex. 153a Ex. 153b Ex. 153c Ex. 153d Chapter 3: Scales and Arpeggios Mode (Scale) Practice Triads Modes of the Major Scale Modes of the Melodic Minor Scale Modes of the Harmonic Minor Scale Miscellaneous Scales Blues and Pentatonic Scales Pentatonic Scales: Blues Scales: Close Position Fingerings Major Scale Melodic Minor Scale Harmonic Minor Scale Scales with two notes per string Modes of the Major Scale Modes of the Melodic Minor Scale Modes of the Harmonic Minor Scale Examples of Extended Range Scale Fingerings Diatonic Intervals Ex. 154a Ex. 154b Ex. 154c Ex. 154d Ex. 154e Ex. 154f Diatonic Arpeggios Triads (in C Major) Ex. 155a Ex. 155b Ex. 155c Ex. 155d Seventh Chords Ex. 156a Ex. 156b Ex. 156c Ex. 156d Triad Variation Ex. 157 Seventh Chord Variation Ex. 158 Seventh Chord Arpeggios Seventh Chord Formulas Triads and Suspensions Seventh Chord Arpeggios Root 6 Seventh Chord Arpeggios Root 5 Bitonal Arpeggios Ex. 159a Ex. 159b Ex. 159c Major and Minor Bitonal Arpeggios Major Bitonal Arpeggios (over C at the 8th fret) Minor Bitonal Arpeggios (over C- at the 8th fret) Diminished Bitonal Arpeggios (over Co at the 8th fret) Augmented Bitonal Arpeggios (over C+ at the 8th fret) More about practicing scales and arpeggios Ex. 160 Ex. 161 Ex. 162 Chapter 4: Linear Studies ii V I Progressions Ex. 163 Ex. 164 Ex. 165 ii7 V7 Imaj7 substitute patterns Ex. 169 Turnarounds Cycle of Fifths Ex. 174 Ex. 175a Pentatonic Scales Ex. 178a Ex. 178b Ex. 178c Ex. 178d Ex. 179 Pentatonic Scales over Maj(7) Chords Pentatonic Scales over Min(7) Chords Pentatonic Scales over Dom7th Chords Or in Relation to One Pentatonic Melodic Minor Pentatonics Ex. 180a Ex. 180b Ex. 181a Ex. 181b Triadic Superimposition Ex. 182a Ex. 182b Ex. 182c Triadic Superimposition Chart (Maj7) Triadic Superimposition Chart (Min7 (b5)) Triadic Superimposition Chart (Dom7) Seventh Chord Superimposition Seventh Chord Superimposition Chart (Maj7) Seventh Chord Superimposition Chart (Min7 (b5)(♮7)) Seventh Chord Superimposition Chart (Dom7) Also from the Dominant Diminished Scale Hybrid Arpeggios Hybrid Arpeggio Chart (Maj7) Hybrid Arpeggio Chart (Minor7) Hybrid Arpeggio Chart (Min7b5) Hybrid Arpeggio Chart (Dom7) Playing over unusual Resolutions ① Dim7 chords resolving down by ½ step to minor Ex. 186a ② Dom7 chords resolving up by whole step Ex. 187a Other Resolutions to become familiar with Ex. 189 Ex. 190a Ex. 190b Ex. 191 Twelve Tone Triadic Formulas Ex. 216a Ex. 216b Twelve Tone Formulars Using Seventh Chords Ex. 219 Ex. 220 Ex. 221 12-Tone Triad Etude No.1 Modal Shapes Ex. 225 Ex. 226 Ex. 227 Ex. 228 Tonic and Dominant Diminished Scale Shapes Ex. 231 Ex. 232 Chapter 5: Technique and Practice Bass Lines Pedal Points Ex. 249 Ex. 250 Ex. 251 Ex. 252 Bassline Comping Variations Ex. 255a Ex. 255b Ex. 255c Comping Rhythms Ex. 256 Solos Over Standard Forms Practicing Technique Left Hand Right Hand Review Material New Material Ear Training The Beato Book 4.0 Introduction Chapter 1: Theory and Harmony Interval Names and Symbols Ex. 1 Naming Intervals Ex. 2 Ex. 3 Ex. 4 Ex. 5 Ex. 6 Enharmonic Intervals Ex. 7 Chords and their formulars Diatonic Triads in C major Ex. 8 Building Diatonic Triads Interval Composition Ex. 9 Ex. 10 Ex. 11 Ex. 12 Building Diatonic Seventh Chords Ex. 13 Major Scale (Triads & Seventh) Ex. 14a Natural Minor Scale Ex. 14b Melodic Minor Scale Ex. 15 Harmonic Minor Scale Ex. 16 Harmonic Major Scale Ex. 17 Double Harmonic Major Scale Ex. 18 More about seventh chords Ex. 19 Suspended Triads and other three note structures Ex. 20a Ex. 20b Ex. 21 Ex. 22 Ex. 23 Ex. 24 Ex. 25 Chord Scales Major Scale Modes Melodic Minor Modes Harmonic Minor Modes Miscellaneous Scales Chord families and their scales Major7 Type Minor7 Type Minor7b5 Type Dom7 Type Diminished Type Augmented Type Scale Degree Names and Basic Progressions Ex. 26 Ex. 27 Basic Progressions Ex. 28 Ex. 29 Ex. 30 Ex. 31 Ex. 32 Ex. 33 Ex. 34 Ex. 35 Ex. 36 Ex. 37 More About Roman Numeral Analysis Secondary Dominant and Diminished Seventh: Ex. 38 Ex. 39 Ex. 40 Ex. 41 Cycle of Fifth and Back Cycling Cycle of Fifths Ex. 42 Back Cycling Ex. 43 Roman Numeral Analysis and Chord Scale Choice Ex. 44a Ex. 44b Basic Rules for Chord Substitutions Ex. 45 Ex. 46 Ex. 47 Rule I: Ex. 48 Rule II: Major Chords Ex. 49 Rule III: Minor Chords Ex. 50 Rule IV: Dom.7 Chords (V7) Ex. 51 Ex. 52 Rule V: All Chords Ex. 53 Rule VI: Dom7 Chords (V7) Ex. 54 Rule VII: Dom7 Chords (V7) Ex. 55 Rule VIII: Dom7 Chords (V7) Ex. 56 Ex. 57 Extension of Dim7 chords Ex. 58 Ex. 59 Rule IX: Ex. 60 Rule X: Dom7 (V7) chords Ex. 61 Rule XI: Dom7 (V7) chords Rule XII: Ex. 62 Ex. 63 Ex. 64 Rule XIII Ex. 65 Ex. 66 Rule XIV: Ex. 67a Ex. 67b Rule XV: Ex. 68 Rule XVI: Ex. 69 Rule XVII: Ex. 70 Rule XVIII: Ex. 71 Rule XIX: Ex. 72 Rule XX: Symetrical Scales Rule XXI: Dom7 Chords (V7) Ex. 73 Rule XXII: Modal Chords Ex. 74 Rule XXIII: Ex. 75 Rule XXIV Ex. 76 Rule XXV: Ex. 77 Rule XXVI: Ex. 78 Rule XXVII Ex. 79 Rule XXVIII: Ex. 80 Rule XXIX Ex. 81 Triad and Seventh Chords over Bass Notes and Polychords Ex. 82a Ex. 82b Ex. 83 Ex. 84a Ex. 84b Ex. 85 Ex. 86 Triads over Bass Notes Ex. 87 Ex. 88 Ex. 89 Ex. 90 Reharmonization and Chord Substitutions „Countdown Changes“ Ex. 91 „Bird Blues“ Ex. 92a Ex. 92b Advanced Reharmonizations Blues F Blues Basic Substitution Characteristics F Blues 1 Ex. 93 F Blues 2 Rule XXX: Dom7 chords Ex. 94a Ex. 94b Ex. 95a Ex. 95b Ex. 95c F Blues 3 Rule XXXI Ex. 96 Rule XXXI cont. Ex. 97 F Blues 4 Ex. 98 F Blues 5 Ex. 99 Ex. 100 Ex. 101 F Blues 6 Ex. 102 Rhythm Changes Ex. 103 Ex. 104 Rule XXXII Ex. 105 Ex. 106a Ex. 106b The Bridge of Rhythm Changes Ex. 107 Ex. 108a Ex. 108b Ex. 109 Ex. 110 Ex. 111 Ex. 112 Ex. 113 Ex. 114 Reharmonization of Standard Forms Reharmonization No.1 Reharmonization No.2 Common Tone Reharmonization Rule XXXII Ex. 115 Modal Harmony and Theory Ex. 116 Ex. 117 Ex. 118 Ex. 119 Sharp and Flat Direction Modal Modulation Ex. 120 Upward Modulation Ex. 121a Ex. 121b Ex. 122 Downward Modulations Ex. 123a Ex. 123b Ex. 124 Sharp Direction (melodic minor) Ex. 125 Flat Direction (melodic minor) Ex. 126 Sharp Direction (harmonic minor) Ex. 127 Flat Direction (harmonic minor) Ex. 128 Resolution Tendencies between Modal Groups Ex. 129 Voiceleading Ex. 130 Resolution Ex. 131 Ex. 132a Ex. 132b Ex. 133 Ex. 134 Ex. 135 Chapter 2: Chord Forms Triad (and Suspension) Chord Forms Major Triads Minor Triads Diminished Triads Augmented Triads Suspended Triads Lydian Triads Locrian Triads Drop Voicings Voicings of Cmaj7 Ex. 136 Drop 2 Maj6 Maj 7 Dom7 Min7 Min6 Minmaj7 Min7b5 Dim7 Dimmaj7 Augmaj7 Aug7 Maj7b5 Dom7b5 Maj7sus4 Dom7sus4 Lydianmaj7 LydianDom7 Dimmaj7b13 Drop 3 Maj6 Maj7 Dom7 Min6 Min7 Minmaj7 Min7b5 Dim7 Dimmaj7 Augmaj7 Aug7 Maj7b5 Dom7b5 Maj7sus4 Dom7sus4 Lydianmaj7 LydianDom7 Dimmaj7b13 Drop 2 + 3 Maj6 Maj7 Dom7 Min6 Min7 Minmaj7 Min7b5 Dim7 Dimmaj7 Augmaj7 Aug7 Maj7b5 Dom7b5 Maj7sus4 Dom7sus4 Lydianmaj7 LydianDom7 Dimmaj7b13 Drop 2 + 4 Maj6 Maj7 Dom7 Min6 Min7 Minmaj7 Min7b5 Dim7 Dimmaj7 Augmaj7 Aug7 Maj7b5 Dom7b5 Maj7sus4 Dom7sus4 Lydianmaj7 LydianDom7 Dimmaj7b13 Triads over Bass Notes Ex. 137 Major Triads Bass Notes Minor Triads Bass Notes Sus4 Triads Bass Notes Spread triads over bass notes Ex. 138 Ex. 139 Major Type Spread Triads Bass Notes (C) Minor Type Spread Triads Bass Notes (C) Dom7 Type Spread Triads Bass Notes (C) Diminished Type Spread Triads Bass Notes (C) Twelve Tone Type Spread Triads Bass Notes (C) Quartal Voicings Three Part Quartal Voicings Ex. 140 Ex. 141 3part-Quartal Voicings – Major Scale 4part-Quartal Voicings – Major Scale 5part-Quartal Voicings – Major Scale 6part-Quartal Voicings – Major Scale 3part-Quartal Voicings – Melodic Minor 4part-Quartal Voicings – Melodic Minor 5part-Quartal Voicings – Melodic Minor 6part-Quartal Voicings – Melodic Minor 3part-Quartal Voicings – Harmonic Minor 4part-Quartal Voicings – Harmonic Minor 5part-Quartal Voicings – Harmonic Minor 6part-Quartal Voicings – Harmonic Minor Skipped String Voicings Ex. 142 Major Scale Skipped String Voicings Melodic Minor Scale Skipped String Voicings Dominant Diminished Skipped String Voicings Ex. 143 Open String Voicings Polychords (Triads over Triads) Using Comping Voicings in new Ways Ex. 144 Constructing Chord Scales Ex. 145 Ex. 146 Ex. 147 Chordal Scales Major Scale (Bebop) Major Scale (modern) Dorian/Minor (Bebop) Dorian/Minor (modern) Aeolian/Minor Dom7 (unaltered) Dom7 (altered Dom) Dom7 (Dominant Dim) Diminished Scale Voicings Ex. 148 Ex. 149 Ex. 150 Dim7 Type Comping Voicings Stretch Voicings Ex. 151 Stretch Voicings Chordal Lines (ii7 V7 Imaj7) Ex. 152a Ex. 152b Ex. 152c Ex. 152d Ex. 152e Ex. 153a Ex. 153b Ex. 153c Ex. 153d Chapter 3: Scales and Arpeggios Mode (Scale) Practice Triads Modes of the Major Scale Modes of the Melodic Minor Scale Modes of the Harmonic Minor Scale Miscellaneous Scales Blues and Pentatonic Scales Pentatonic Scales: Blues Scales: Close Position Fingerings Major Scale Melodic Minor Scale Harmonic Minor Scale Scales with two notes per string Modes of the Major Scale Modes of the Melodic Minor Scale Modes of the Harmonic Minor Scale Examples of Extended Range Scale Fingerings Diatonic Intervals Ex. 154a Ex. 154b Ex. 154c Ex. 154d Ex. 154e Ex. 154f Diatonic Arpeggios Triads (in C Major) Ex. 155a Ex. 155b Ex. 155c Ex. 155d Seventh Chords Ex. 156a Ex. 156b Ex. 156c Ex. 156d Triad Variation Ex. 157 Seventh Chord Variation Ex. 158 Seventh Chord Arpeggios Seventh Chord Formulas Triads and Suspensions Seventh Chord Arpeggios Root 6 Seventh Chord Arpeggios Root 5 Bitonal Arpeggios Ex. 159a Ex. 159b Ex. 159c Major and Minor Bitonal Arpeggios Major Bitonal Arpeggios (over C at the 8th fret) Minor Bitonal Arpeggios (over C- at the 8th fret) Diminished Bitonal Arpeggios (over Co at the 8th fret) Augmented Bitonal Arpeggios (over C+ at the 8th fret) More about practicing scales and arpeggios Ex. 160 Ex. 161 Ex. 162 Chapter 4: Linear Studies ii V I Progressions Ex. 163 Ex. 164 Ex. 165 ii7 V7 Imaj7 substitute patterns Ex. 169 Turnarounds Cycle of Fifths Ex. 174 Ex. 175a Pentatonic Scales Ex. 178a Ex. 178b Ex. 178c Ex. 178d Ex. 179 Pentatonic Scales over Maj(7) Chords Pentatonic Scales over Min(7) Chords Pentatonic Scales over Dom7th Chords Or in Relation to One Pentatonic Melodic Minor Pentatonics Ex. 180a Ex. 180b Ex. 181a Ex. 181b Triadic Superimposition Ex. 182a Ex. 182b Ex. 182c Triadic Superimposition Chart (Maj7) Triadic Superimposition Chart (Min7 (b5)) Triadic Superimposition Chart (Dom7) Seventh Chord Superimposition Seventh Chord Superimposition Chart (Maj7) Seventh Chord Superimposition Chart (Min7 (b5)(♮7)) Seventh Chord Superimposition Chart (Dom7) Also from the Dominant Diminished Scale Hybrid Arpeggios Hybrid Arpeggio Chart (Maj7) Hybrid Arpeggio Chart (Minor7) Hybrid Arpeggio Chart (Min7b5) Hybrid Arpeggio Chart (Dom7) Playing over unusual Resolutions 1 Dim7 chords resolving down by 1⁄2 step to minor Ex. 186a 2 Dom7 chords resolving up by whole step Ex. 187a Other Resolutions to become familiar with Ex. 189 Ex. 190a Ex. 190b Ex. 191 Twelve Tone Triadic Formulas Ex. 216a Ex. 216b Twelve Tone Formulars Using Seventh Chords Ex. 219 Ex. 220 Ex. 221 12-Tone Triad Etude No.1 Modal Shapes Ex. 225 Ex. 226 Ex. 227 Ex. 228 Tonic and Dominant Diminished Scale Shapes Ex. 231 Ex. 232 Chapter 5: Technique and Practice Bass Lines Pedal Points Ex. 249 Ex. 250 Ex. 251 Ex. 252 Bassline Comping Variations Ex. 255a Ex. 255b Ex. 255c Comping Rhythms Ex. 256 Solos Over Standard Forms Practicing Technique Left Hand Right Hand Review Material New Material Ear Training