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Dues Etudes 20 Harmonically progressive etudes playable with the first five tracks of the “Payin’ Dues” Aebersold recording. © 1994 Craig Fraedrich Revised 2018 This material may be duplicated for educational uses www.craigfraedrichmusic.com
Section 1 The etudes in this section emphasize diatonic melodic development, diatonic voice leading and phrasing. The scale choices consist of obvious scales with no chromatic tones or substitutions being used. The usual scale choices in this section are:
1. Major 7 = Ionian 2. Dominant 7 (unaltered V7) = Mixolydian 3. Dominant 7b9 = 5th mode of Harmonic Minor (with an emphasis on the
augmented 2nd between the major 3rd and the b9) 4. Dominant 7 (V7 of ii) = treated as a Dominant 7b9 (5th mode of harmonic
minor) Dominant 7#11 = Lydian Dominant (4th Mode of Melodic Minor) 5. Minor 7 = Dorian, Aeolian, Phrygian depending on function. Dorian is used in
some cases regardless of actual chord function. (this is a typical usage) 6. Dominant 7#5 = Whole-Tone 7. Diminished = Whole-Half Diminished
FŒ„Š7 EØ7 A7(b9)q=200
D‹7 C‹7 F7 B¨Œ„Š7 E¨7(#11)
6
FŒ„Š7 D‹7 G7(#11) G‹7
12
C7 FŒ„Š7 EØ7 A7(b9)
17
D‹7 C‹7 F7 B¨Œ„Š7
22
E¨7(#11) D‹7 G7(#11) FŒ„Š7 G‹7
27
A‹7 D7 G‹7 C7 FŒ„Š7
31
ANOTHER YEW
Section 1 - 1 Dues Etudes 2018 revision
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FŒ„Š7 EØ7
34
A7(b9) D‹7 C‹7 F7
37
B¨Œ„Š7 E¨7(#11) FŒ„Š7 D‹7 G7(#11)
42
G‹7 C7 FŒ„Š7
47
EØ7 A7(b9) D‹7 C‹7
52
F7 B¨Œ„Š7 E¨7(#11) D‹7 G7(#11)
57
FŒ„Š7 G‹7 A‹7 D7 G‹7 C7
62
FŒ„Š7
65
Section 1 - 2 Dues Etudes 2018 revision
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F©Ø7 B7(b9) D‹7 G7
1
G‹7 C7 FŒ„Š7 B¨7(#11)
5
CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7
9
GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)
13
A7(#5) D‹7
17
B¨7(#11) CŒ„Š7
21
F©Ø7 B7(b9) EØ7 A7(b9)
25
DØ7 G7(b9) CŒ„Š7
29
STELLA
3
3
3
3 3
Section 1 - 3 Dues Etudes 2018 revision
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F©Ø7 B7(b9) D‹7 G7
33
G‹7 C7 FŒ„Š7 B¨7(#11)
37
CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7
41
GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)
45
A7(#5) D‹7
49
B¨7(#11) CŒ„Š7
53
F©Ø7 B7(b9) EØ7 A7(b9)
57
DØ7 G7(b9) CŒ„Š7
61
3
3
Section 1 - 4 Dues Etudes 2018 revision
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F‹7 C7(b9) F‹7 E7(#11) E¨Œ„Š7 A¨7(#11) G‹7 G¨º7
1
F‹7 F‹7/E¨ DØ7 G7(b9) C‹7 F‹7 B¨7
5
E¨Œ„Š7 GØ7 C7(b9) F‹7 C7(b9) F‹7 E7(#11)
8
E¨Œ„Š7 A¨7(#11) G‹7 G¨º7 F‹7 F‹7/E¨
11
DØ7 G7(b9) C‹7 F‹7 B¨7 E¨Œ„Š7 F©‹7 B7
14
EŒ„Š7 F©‹7 G©‹7 A‹7 D7
17
FLESH AND SPIRIT
Section 1 - 5 Dues Etudes 2018 revision
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A¨‹7 D¨7 F©‹7 B7 EŒ„Š7 B7(b9) E‹7 A7
19
DŒ„Š7/F© B7(b9) E‹7 A7 D7 C©7 C7 C7(b9)
22
F‹7 C7(b9) F‹7 E7(#11) E¨Œ„Š7 A¨7(#11)
25
G‹7 F©º7 F‹7 F‹7/E¨ DØ7 G7(b9)
28
C‹7 F‹7 B¨7 E¨Œ„Š7 G‹7(b5) C7(b9) F‹7
31
Section 1 - 6 Dues Etudes 2018 revision
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AØ7 D7(b9) G‹7
1
EØ7 A7(b9) DŒ„Š7
6
AØ7 D7(b9) G‹7 EØ7
11
A7(b9) DŒ„Š7 D‹7 G7
16
CŒ„Š7 B¨7(#11) A7(“4)
21
A7(b9) AØ7 D7(b9) G‹7
26
EØ7 A7(b9) DŒ„Š7
31
WHAT IS THIS
3
3
Section 1 - 7 Dues Etudes 2018 revision
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AØ7 D7(b9) G‹7
35
EØ7 A7(b9) DŒ„Š7
39
AØ7 D7(b9) G‹7
43
EØ7 A7(b9) DŒ„Š7 D‹7
47
G7 CŒ„Š7 B¨7(#11) A7(“4)
52
A7(b9) AØ7 D7(b9)
57
Section 1 - 8 Dues Etudes 2018 revision
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G‹7 EØ7 A7(b9) DŒ„Š7
1
FŒ„Š7 EØ7 A7(b9)
7
D‹7 C‹7 F7
12
B¨Œ„Š7 E¨7(#11) FŒ„Š7 D‹7 G7(#11)
16
G‹7 C7 FŒ„Š7 EØ7
21
A7(b9) D‹7 C‹7 F7
27
B¨Œ„Š7 E¨7(#11) D‹7 G7(#11) FŒ„Š7 G‹7
32
A‹7 D7 G‹7 C7 FŒ„Š7
37
ANOTHER YEW - FAST
Section 1 - 9 Dues Etudes 2018 revision
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FŒ„Š7 EØ7 A7(b9)
40
D‹7 C‹7 F7 B¨Œ„Š7
44
E¨7(#11) FŒ„Š7 D‹7 G7(#11) G‹7
49
FŒ„Š7 EØ7 A7(b9)
55
D‹7 C‹7 F7 B¨Œ„Š7
60
E¨7(#11) D‹7 G7(#11) FŒ„Š7 G‹7 A‹7 D7
65
G‹7 C7 FŒ„Š7
70
Section 1 - 10 Dues Etudes 2018 revision
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Section 2 The etudes in this section demonstrate the addition of chromatic tones to a simple harmonic scheme. As in section one, the scale choices consist of “first choice” scales. While the addition of the chromatic approaches might imply a scale other than what is listed below, that was not the intent. All non-scale tones should be analyzed as chromatic tones, not as a part of a different scale. The usual scale choices in this section are:
1. Major 7 = Ionian 2. Dominant 7 (unaltered V7) = Mixolydian 3. Dominant 7b9 = 5th mode of Harmonic Minor
4. Dominant 7 (V7 of ii) = treated as a Dominant 7b9 (5th mode of harmonic minor)
5. Dominant 7#11 = Lydian Dominant (4th mode of Melodic Minor) 6. Minor 7 = Dorian, Aeolian, Phrygian depending on function. Dorian is used
in some cases regardless of actual chord function. 7. Dominant 7#5 = Whole-Tone 8. Diminished = Whole-Half Diminished
FŒ„Š7 EØ7
A7(b9) D‹7 C‹7
5F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7
9D‹7 G7(#11) G‹7
13C7 FŒ„Š7 EØ7
17A7(b9) D‹7 C‹7
21F7 B¨Œ„Š7 E¨7(#11) D‹7
25G7(#11) FŒ„Š7 G‹7 A‹7 D7
29G‹7 C7 FŒ„Š7 FŒ„Š7
32
ANOTHER YEW
Section 2 - 1 Dues Etudes 2018 revision
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EØ7 A7(b9) D‹7
36
C‹7 F7 B¨Œ„Š7 E¨7(#11)
40
FŒ„Š7 D‹7 G7(#11)
44
G‹7 C7 FŒ„Š7
48
EØ7 A7(b9) D‹7
52
C‹7 F7 B¨Œ„Š7 E¨7(#11)
56
D‹7 G7(#11) FŒ„Š7 G‹7 A‹7 D7
60
G‹7 C7 FŒ„Š7
64
Section 2 - 2
Dues Etudes 2018 revision www.craigfraedrichmusic.com
F©Ø7 B7(b9) D‹7 G7
G‹7 C7 FŒ„Š7 B¨7(#11)
5
CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7
9
GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)
13
A7(#5) D‹7
17
B¨7(#11) CŒ„Š7
21
F©Ø7 B7(b9) EØ7 A7(b9)
25
DØ7 G7(b9) CŒ„Š7
29
3
STELLA
3
3
3
Section 2 - 3 Dues Etudes 2018 revision
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F©Ø7 B7(b9) D‹7 G7
33
G‹7 C7 FŒ„Š7 B¨7(#11)
37
CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7
41
GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)
45
A7(#5) D‹7
49
B¨7(#11) CŒ„Š7
53
F©Ø7 B7(b9) EØ7 A7(b9)
57
DØ7 G7(b9) CŒ„Š7
61
3
Section 2 - 4
Dues Etudes 2018 revision www.craigfraedrichmusic.com
F‹7 C7(b9) F‹7 E7(#11)
E¨Œ„Š7 A¨7(#11) G‹7 F©º7
3
F‹7 F‹7/E¨ DØ7 G7(b9)
5
C‹7 F‹7 B¨7 E¨Œ„Š7 C7(b9)
7
F‹7 C7(b9) F‹7 E7(#11)
9E¨Œ„Š7 A¨7(#11) G‹7 F©º7
11
F‹7 F‹7/E¨ DØ7 G7(b9)
13
C‹7 F‹7 B¨7 E¨Œ„Š7 F©‹7 B7
15
FLESH AND SPIRIT
3
Section 2 - 5 Dues Etudes 2018 revision
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EŒ„Š7 F©‹7 E/A¨
17
G©‹7 C©7 F©‹7 B7 EŒ„Š7 B7(b9)
19
E‹7 A7 DŒ„Š7/F© Fº7
21
E‹7 A7 D7 C©7C7
C7(b9)
23
F‹7 C7(b9) F‹7 E7(#11)
25
E¨Œ„Š7 A¨7(#11) G‹7 F©º7
27
F‹7 F‹7/E¨ DØ7 G7(b9)
29
C‹7 F‹7 B¨7E¨Œ„Š7 C7(b9)
F‹7
31
3
3
Section 2 - 6
Dues Etudes 2018 revision www.craigfraedrichmusic.com
AØ7 D7(b9) G‹7
EØ7 A7(b9) DŒ„Š7
5
AØ7 D7(b9) G‹7
9
EØ7 A7(b9) DŒ„Š7
13
D‹7 G7 CŒ„Š7
17
B¨7(#11) D‹7
21
G7 AØ7 D7(b9) G‹7
25
EØ7 A7(b9) DŒ„Š7
29
WHAT IS THIS
Section 2 - 7 Dues Etudes 2018 revision
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AØ7 D7(b9) G‹7
34
EØ7 A7(b9) DŒ„Š7
37
DŒ„Š7 AØ7 D7(b9) G‹7
41
EØ7 A7(b9) DŒ„Š7
45
D‹7 G7 CŒ„Š7
49
B¨7(#11) A7(“4)
53
A7(b9) AØ7 D7(b9) G‹7
57
EØ7 A7(b9) DŒ„Š7
61
Section 2 - 8
Dues Etudes 2018 revision www.craigfraedrichmusic.com
FŒ„Š7 EØ7
A7(b9) D‹7 C‹7
5F7 B¨Œ„Š7 E¨7(#11) D‹7
9D‹7 G7(#11) G‹7
13C7 FŒ„Š7 EØ7
17A7(b9) D‹7 C‹7
21F7 B¨Œ„Š7 E¨7(#11) D‹7
25G7(#11) FŒ„Š7 G‹7 A‹7 D7
29G‹7 C7 FŒ„Š7 FŒ„Š7
32
ANOTHER YEW - FAST
Section 2 - 9 Dues Etudes 2018 revision
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EØ7 A7(b9) D‹7
36
C‹7 F7 B¨Œ„Š7 E¨7(#11)
40
FŒ„Š7 D‹7 G7(#11)
44
G‹7 C7 FŒ„Š7
48
EØ7 A7(b9) D‹7
52
C‹7 F7 B¨Œ„Š7 E¨7(#11)
56
D‹7 G7(#11) FŒ„Š7 G‹7 A‹7 D7
60
G‹7 C7 FŒ„Š7
64
Section 2 - 10
Dues Etudes 2018 revision www.craigfraedrichmusic.com
Section 3 The etudes in this section demonstrate the use of substitute scale choices. In most cases, dominant chords that progress to tonic (up a fourth or down a fifth) are altered using Super Locrian, Half-Whole Diminished or a pentatonic a tritone away from the root of the chord. The use of the #11 (Lydian for major 7 chords, Lydian b7 for dominants) is emphasized throughout as is the use of pentatonics, both diatonically and as tritone substitutes. Locrian #2 (the 6th mode of melodic minor) is often used over half-diminished (min7b5) chords. Please note that the use of substitutes (or altered scales) in this section is essentially forced in order to demonstrate usage. On occasion, the scale choice represented clashes somewhat with the harmony played on the original “Payin’Dues” recording. In real playing situations, the piano player would (should) follow the soloist making this a non-issue. Additionally, these are exercises with alterations somewhat forced throughout to demonstrate possibilities. The usages here should not necessarily be considered representative of typical and appropriate harmonic development.
1. Major 7 = Lydian, Ionian 2. Dominant 7 (resolving to I) = Super Locrian, Half-whole diminished, Pentatonic,
(on root or tritone away) Mixolydian. 3. Dominant 7 (not resolving to I) = Lydian Dominant, Mixolydian 4. Dominant 7#11 = Lydian Dominant (4th mode of Melodic Minor) 5. Minor 7 = Dorian, Melodic Minor, Aeolian, Phrygian depending on function.
Dorian is used in some cases regardless of actual chord function. 6. Dominant 7#5 = Whole-Tone (Sometimes approached as a fully altered
dominant – Super Locrian) 7. Half - Diminished = Locrian #2, Locrian 8. Diminished = Whole-half Diminished
FŒ„Š7 EØ7
A7(b9) D‹7 C‹7
5
F7 B¨Œ„Š7 E¨7(#11) D‹7
9
D‹7 G7(#11) G‹7
13
C7 FŒ„Š7 EØ7
17
A7(b9) D‹7 C‹7
21
F7 B¨Œ„Š7 E¨7(#11) D‹7
25
G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7
29
ANOTHER YEW
3
Section 3 - 1 Dues Etudes 2018 revision
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FŒ„Š7 FŒ„Š7 EØ7
33
A7(b9) D‹7 C‹7
37
F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7
41
D‹7 G7(#11) G‹7
45
C7 FŒ„Š7 EØ7
49
A7(b9) D‹7 C‹7
53
F7 B¨Œ„Š7 E¨7(#11) D‹7
57
G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7
61
FŒ„Š7 C7 FŒ„Š7
65
3
Section 3 - 2
Dues Etudes 2018 revision www.craigfraedrichmusic.com
F©Ø7 B7(b9) D‹7 G7
G‹7 C7 FŒ„Š7 B¨7(#11)
5
CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7
9
GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)
13
A7[âÄâÀ] D‹7
17
B¨7(#11) CŒ„Š7
21
F©Ø7 B7(b9) EØ7 A7(b9)
25
DØ7 G7(b9) CŒ„Š7
29
STELLA
3
Section 3 - 3 Dues Etudes 2018 revision
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F©Ø7 B7(b9) D‹7 G7
33
G‹7 C7 FŒ„Š7 B¨7(#11)
37
CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7
41
GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)
45
A& D‹7
49
B¨7(#11) CŒ„Š7
53
F©Ø7 B7(b9) EØ7 A7(b9)
57
DØ7 G7(b9) CŒ„Š7 F©Ø7
61
3
Section 3 - 4
Dues Etudes 2018 revision www.craigfraedrichmusic.com
F‹7 C7(b9) F‹7 E7(#11)
E¨Œ„Š7 A¨7(#11) G‹7 F©º7
3
F‹7 F‹7/E¨ DØ7 G7(b9)
5
C‹7 F‹7 B¨7 E¨Œ„Š7 C7(b9)
7
F‹7 C7(b9) F‹7 B¨7
9
E¨Œ„Š7 A¨7(#11) G‹7 F©º7
11
F‹7 F‹7/E¨ DØ7 G7(b9)
13
C‹7 F‹7 B¨7 E¨Œ„Š7 F©‹7 B7
15
FLESH AND SPIRIT
Section 3 - 5 Dues Etudes 2018 revision
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EŒ„Š7 F©‹7 E/A¨ A‹7 D7
17
A¨‹7 C©7 F©‹7 B7 EŒ„Š7 B7(b9)
19
E‹7 A7 DŒ„Š7/F© Fº7
21
E‹7 A7 D7 C©7 C7 C7(b9)
23
F‹7 C7(b9) F‹7 E7(#11)
25
E¨Œ„Š7 A¨7(#11) G‹7 F©º7
27
F‹7 F‹7/E¨ DØ7 G7(b9)
29
C‹7 F‹7 B¨7 E¨Œ„Š7 C7(b9) F‹7
31
3
Section 3 - 6
Dues Etudes 2018 revision www.craigfraedrichmusic.com
AØ7 D7(b9)
G‹7 EØ7 A7(b9)
5
DŒ„Š7 AØ7 D7(b9)
9
G‹7 EØ7 A7(b9)
13DŒ„Š7 D‹7 G7
17
CŒ„Š7 B¨7(#11)
21
D‹7 G7 AØ7 D7(b9)
25
G‹7 EØ7 A7(b9)
29
WHAT IS THIS
Section 3 - 7 Dues Etudes 2018 revision
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DŒ„Š7 AØ7 D7(b9)
33
G‹7 EØ7 A7(b9)
37
DŒ„Š7 AØ7 D7(b9)
41
G‹7 EØ7 A7(b9)
45
DŒ„Š7 D‹7 G7
49
CŒ„Š7 B¨7(#11)
53
A7(“4) A7(b9) AØ7 D7(b9)
57
G‹7 EØ7 A7(b9)
61
DŒ„Š7
65
Section 3 - 8
Dues Etudes 2018 revision www.craigfraedrichmusic.com
FŒ„Š7 EØ7
A7(b9) D‹7 C‹7
5
F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7
9
G7(#11) G‹7
13
C7 FŒ„Š7 EØ7
17
A7(b9) D‹7 C‹7
21
F7 B¨Œ„Š7 E¨7(#11) D‹7
25
G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7
29
ANOTHER YEW - FAST
Section 3 - 9 Dues Etudes 2018 revision
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FŒ„Š7 FŒ„Š7 EØ7
33
A7(b9) D‹7 C‹7
37
F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7
41
D‹7 G7(#11) G‹7
45
C7 FŒ„Š7 EØ7
49A7(b9) D‹7 C‹7
53
F7 B¨Œ„Š7 E¨7(#11) D‹7
57
G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7
61
FŒ„Š7 FŒ„Š7
65
Section 3 - 10
Dues Etudes 2018 revision www.craigfraedrichmusic.com
Section 4 The etudes in this section combine elements from each of the preceding sections.
FŒ„Š7 EØ7
A7(b9) D‹7 C‹7
5
F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7
9
D‹7 G7(#11) G‹7
13
C7 FŒ„Š7 EØ7
17
A7(b9) D‹7 C‹7
21
F7 B¨Œ„Š7 E¨7(#11) D‹7
25
G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7
29
ANOTHER YEW
Section 4 - 1
Dues Etudes 2018 revision www.craigfraedrichmusic.com
FŒ„Š7 EØ7
33
A7(b9) D‹7 C‹7
37
F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7
41
D‹7 G7(#11) G‹7
45
C7FŒ„Š7 EØ7
49
A7(b9) D‹7 C‹7
53
F7 B¨Œ„Š7 E¨7(#11) D‹7
57
G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7
61
FŒ„Š7 FŒ„Š7
65
3
Section 4 - 2
Dues Etudes 2018 revision www.craigfraedrichmusic.com
F©Ø7 B7(b9) D‹7 G7
G‹7 C7 FŒ„Š7 B¨7(#11)
5
CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7
9GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)
13A7[âÄâÀ] D‹7
17
B¨7(#11) CŒ„Š7
21
F©Ø7 B7(b9) EØ7 A7(b9)
25
DØ7 G7(b9) CŒ„Š7
29
STELLA
Section 4 - 3 Dues Etudes 2018 revision
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F©Ø7 B7(b9) D‹7 G7
33
G‹7 C7 FŒ„Š7 B¨7(#11)
37
CŒ„Š7 F©Ø7 B7(b9) E‹7 C‹7 F7
41
GŒ„Š7 F©Ø7 B7(b9) BØ7 E7(b9)
45
A7[âÄâÀ] D‹7
49
B¨7(#11) CŒ„Š7
53
F©Ø7 B7(b9) EØ7 A7(b9)
57
DØ7 G7(b9) CŒ„Š7 F©Ø7
61
3
3 3 3
3
3
Section 4 - 4 Dues Etudes 2018 revision
www.craigfraedrichmusic.com
F‹7 C7(b9) F‹7 E7(#11)
E¨Œ„Š7 A¨7(#11) G‹7 F©º7
3
F‹7 F‹7/E¨ DØ7 G7(b9)
5
C‹7 F‹7 B¨7 E¨Œ„Š7 C7(b9)
7
F‹7 C7(b9) F‹7
9
E¨Œ„Š7 A¨7(#11) G‹7 F©º7
11F‹7 F‹7/E¨ DØ7 G7(b9)
13
C‹7 F‹7 B¨7 E¨Œ„Š7 F©‹7 B7
15
3
FLESH AND SPIRIT
Section 4 - 5 Dues Etudes 2018 revision
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EŒ„Š7 F©‹7 E/A¨ A‹7 D7
17
A¨‹7 C©7 F©‹7 B7 EŒ„Š7 B7(b9)
19
E‹7 A7 DŒ„Š7/F© Fº7
21
E‹7 A7 D7 C©7 C7 C7(b9)
23
F‹7 C7(b9) F‹7 E7(#11)
25
E¨Œ„Š7 A¨7(#11) G‹7 F©º7
27
F‹7 F‹7/E¨ DØ7 G7(b9)
29
C‹7 F‹7 B¨7 E¨Œ„Š7 C7(b9) F‹7
31
3
Section 4 - 6
Dues Etudes 2018 revision www.craigfraedrichmusic.com
AØ7 D7(b9)
G‹7 EØ7 A7(b9)
5
DŒ„Š7 AØ7 D7(b9)
9G‹7 EØ7 A7(b9)
13
DŒ„Š7 D‹7 G7
17
CŒ„Š7 B¨7(#11)
21
D‹7 G7 AØ7 D7(b9)
25
G‹7 A7(b9)
29
WHAT IS THIS
Section 4 - 7 Dues Etudes 2018 revision
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DŒ„Š7 AØ7 D7(b9)
33G‹7 EØ7 A7(b9)
37
DŒ„Š7 AØ7 D7(b9)
41
G‹7 EØ7 A7(b9)
45
DŒ„Š7 D‹7 G7
49
CŒ„Š7 B¨7(#11)
53
D‹7 G7 AØ7 D7(b9)
57
G‹7 EØ7 A7(b9)
61
DŒ„Š7 AØ7
65
Section 4 - 8
Dues Etudes 2018 revision www.craigfraedrichmusic.com
FŒ„Š7 EØ7
A7(b9) D‹7 C‹7 F7
5
B¨Œ„Š7 E¨7(#11) FŒ„Š7 D‹7
10
G7(#11) G‹7 C7
14
FŒ„Š7 EØ7 A7(b9) D‹7
18
C‹7 F7 B¨Œ„Š7 E¨7(#11) D‹7
24
G7(#11) FŒ„Š7 G‹7 A‹7 D7 G‹7 C7 FŒ„Š7
29
ANOTHER YEW - FAST
Section 4 - 9 Dues Etudes 2018 revision
www.craigfraedrichmusic.com
FŒ„Š7 EØ7 A7(b9) D‹7
34
C‹7 F7 B¨Œ„Š7 E¨7(#11) FŒ„Š7
40
D‹7 G7(#11) G‹7
45
C7 FŒ„Š7 EØ7 A7(b9)
49
D‹7 C‹7 F7 B¨Œ„Š7
54
E¨7(#11) D‹7 G7(#11) FŒ„Š7 G‹7
59
A‹7 D7 G‹7 C7 FŒ„Š7
63
Section 4 - 10
Dues Etudes 2018 revision www.craigfraedrichmusic.com
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