I-vi-ii-V Variations |
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I-IV-III-VI-II-V-I Variations |
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I-IV-III-VI-II-V-I Variations (Organized Melodically)
|
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I - IVs with Melodizing and Bell-like Rings |
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I - VI7 - ii7 - V7 and Friends on Top 4 Strings |
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I IV (One Four) |
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I (or iii) - VI - ii - V Variations (parts 1-3) |
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I (or iii) - VI - ii - V Variations (parts 4-5) |
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I - bVI7 - ii7 - V7 - I |
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I bVII bVI V Fill-in Quiz |
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i7 bII (and vice versa), i7 - bvi7 in Large Voicings |
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i7 bVI in Large Voicings |
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ii-V-I-VI |
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ii7 ii7 V7 Progressions (untitled)
|
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ii7-V7-I Harmonization Studies |
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ii7-V7-I Starting From ii7(b7b35R) Voicing on Top 4 Strings |
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ii7-V7-I Starting From ii7(b7b359) Voicing on Top 4 Strings |
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ii7-V7-I Starting From ii7(R5b7b3) to Altered V7, then to I, Top 4 Strings |
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ii-V7-I Starting From ii7(R5b7b3) Voicing on Top 4 Strings |
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ii-V7-I Starting From ii7(R5b711) Voicing on Top4 Strings |
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ii7 – V7 (with Various Colors) – I |
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iii-biii-ii-V (or bII) |
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III VI II V with Contrary Motion |
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III7 (or I) - VI7 - II7 - V7 |
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iii7-VI7-ii7-V7 Progressions Root in the Bass (1977-08-08) |
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IV-iii7-ii7-V with Contrary Motion Melody |
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V7-I Progressions Organized by Melodic Considerations |
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V7-I Resolution Quiz Modern Dominant Chord Forms |
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V7-I Resolutions, Preliminary Organized by Melodic Considerations |
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vi7-II7-ii7-V7 |
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bVII7 - VI7 - bVI7 - V7 |
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1st Inversion Various Spreads and Voices, 1984-02-08
|
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1st Inversion Voicings and System of Progressions |
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3-6-2-5 for Endings and Such |
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3-Note ii7 Voicings in ii7-V7-I Progressions |
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3rd Stacks Dominant Type Chords |
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3rds and 7ths Jazz Voicing, Functional Tritones |
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4-Note 7th and 6th Chords |
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8 Note Dominant Scale Chords Learning to Use |
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A Foggy Day - A Study in Color and Placement |
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Aeolian Colors with Pedal Tones |
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Aeolian Sequences
|
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All 4- and 5-Note Chords Using Major and Minor 3rds |
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A Minor Stuff
|
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A Night in Tunisia (first two chords variations) |
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Application of Basic Chord Forms in Progressions |
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Applying Minor Add9 Chords in Descending Line Progressions |
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Applying m/9 Chords in Descending (from Root) Line Progressions |
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Approach Chord Concept – Overview via Constant Lower Voices |
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Approach Chords Contrary Motion Soprano |
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Ascending Bass (stepwise) key of Em Assignment |
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Autumn Leaves (harmonization sketch) |
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B7 Types Top 4 Strings |
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Bb7#5 (altered 9), Root on Top |
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Basic Chord Forms for Walking Bass Style |
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Bass Line Progressions |
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Bi-Diatonic and Tri-Diatonic Systems |
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Borrowed Chord Sounds Aeolian Major |
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Broken Chord Practice |
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Choice 3-, 4-, 5-, and 6-Note Major Types Chord Organization
|
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Chord Color-Adds, 2 Note Comping |
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Chord Evolution G7 and Dm7 Types in Voicing Group 2 and 1 |
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Chord Forms by Soprano and Bass Major Types |
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Chord Forms by Soprano and Bass Minor 7 Types |
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Chord Fragments and Their Decorative Notes |
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Chords by Soprano, 1998-04-12 |
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Chords for Chord Soloing and Comping Dom. 7th Type & Co-Minor7 (1979) |
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Chords for Chord Soloing and Comping Minor 7th Type (1979) |
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Chords for Comping and Chord Soloing Dom.7th Type & Co-Minors (1980) |
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Chords for Comping and Chord Soloing Major Type (1980) |
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Chords for Comping and Chord Soloing Minor 7th Type (1980) |
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Chord Forms for Solo & Ensemble Chord Melody Playing - Level 1 |
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Chord Hearts and Blocks: ii7-V7-I |
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Chord Passages Starting from I (R37 Types) |
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Chord Progression Vocabulary |
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Chord Reference Charts and the Nucleus Concept |
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Chord Voicings on the Top 4 Strings - level 1 (1977-02-2) |
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Chord Voicings on the Middle 4 Strings Level 1 (1977) |
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Chords for Chord-Melody Playing - part 1 (1974) |
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Chords for Chord-Melody Playing - part 2 (1974) |
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Chords for Chord-Melody Playing - part 3 (1974) |
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Chords for Chord-Melody Playing - part 4 (1974) |
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Chords for Chord-Melody Playing - part 5 (1974) |
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Chords for Me to Thoroughly Integrate This Year (1981) |
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Chords to Integrate in 1983 and 1984 |
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Chord Inversions - Exercises to Help Learn |
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Chord Name Quiz Modern Dominants |
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Chord Patterns for Dominant Suspended Color |
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Chord Progressions Using Middle 4 Strings Root in Bass Types |
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Chord Sounds for Group or Solo Playing (top 4 strings) |
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Chord Voicings - Standard 4-Note, Medium Size
|
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Chromatic and Semi-Chromatic Harmonization and Approach Chords Studies |
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Chromatic Contrary Lines
|
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Chromatic Embellishment of Favorite Chords |
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Chromatic Melodies over Progressions in Style of George Van Eps |
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Classical and Romantic Progressions |
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Close Harmony Derived Voicings, Organized by String Groupings |
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Close Harmony Derived Voicings, Organized by String Groupings |
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Combining 6th & 5th String Root Chords in Short Progressions |
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Combining Diatonic and Extra-Diatonic Colors |
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Complete List of 3- and 4-Note Vertical Structures |
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Construction of Chords by Location and String Grouping |
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Contrary Harmonization Examples |
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Contrary Motion into Beautiful Chords
|
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Contrary Motion into Complex Chords |
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Contrary Motion Studies |
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Cumulative Chords - 5th String Root, Middle Strings, 4-Noters |
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Cumulative Chord Phrases Starting from IV (R37 Types) |
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Desc. Chromatic Bass Progressions from ii7 with 5th in Bass |
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Desc. Progs. Conceived from Bass/Melody/Harmonic Tendencies |
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Desc. Progs. from 9\3\5: Mainly Diatonic Harmony & Melodies |
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Developing Facility with Low-End 3-Note 7th Chords |
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Descending Chromatic Bass Line, Voice-Leading Progressions |
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Diatonic Contrary Lines with 2-to-1 Melody |
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Diatonic Cycle of 4ths - Major Key (1983-03-30) |
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Diatonic Cycle of 4ths (part 1) |
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Diatonic Cycle of 4ths (part 2) |
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Diatonic Cycle of 4ths (part 3) |
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Diatonic Major Contrary Motion Progressions |
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Diatonic Major Key Contrary Motion Sounds with a Diversion at End |
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Diatonic Major Key Contrary Motion Studies |
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Diatonic Major Key Contrary Motion Studies Inspired by GVE |
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Diatonic Major Key V7-I Root Position Intense Focus |
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Diatonic Major Key V7-I Root Position |
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Diatonic Major Key Voicings (More) |
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Distinctive Color of bII to V in Minor Key |
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Dominant 7b9#9 Color: Chord Forms and Some Application |
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Dominant7b9, Root on Top, Middle Strings, V7-I |
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Dominant7b9, Root on Top, Top 4 Strings, ii7-V7-I |
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Dominant7b9, Root on Top, Top 4 Strings, V7-I (1987-05-03) |
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Dominant7b9, Root on Top, Top 4 Strings, V7-I (1987-06-16) |
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Dominant7b9sus, Root on Top, Middle Strings, V7-I |
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Dominant7b9sus, Root on Top, Top 4 Strings, V7-I |
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Dominant 7th Family Chord Voicings, Important |
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Dominant Approach Chord Catalogue for Blues and... |
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Dominant Approach Chord Catalogue for Reference & Gradual Learning |
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Dominant Types on the Top 4 Strings |
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Embellished Chords Miscellaneous |
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Embellishments of Minor 6 Type Chords
|
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Embellishing Modern Chords via Moving Lines or Triads |
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Examples of Common (major key) Chord Progressions |
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Examples of I Chord Vamps |
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Exercises to Help Learn Chord Inversions |
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Expanded Diatonic Color |
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Expanded Diatonic Ideas (1986-1994) |
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Expanded Key via Major (Extensions) Colors |
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Extra-Diatonic Progressions with Beautiful Majors |
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For Intros, Endings |
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Gapped 3rd Stacks: m9 and its Extensions |
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George Van Eps Style Variations |
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Good Modulating Progressions |
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Harmonic Vocabulary: Progression Study |
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Harmonizing 3rd Interval-Oriented Melodies |
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Harmony Through Melody Course |
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High-Register Opening |
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Ideas for Gm7, Ideas for Key of G |
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Illustrations of Dom.7ths on All 12Degrees in a Major Key |
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Implying Chords with Intervals |
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Impressionistic-Romantic Sounds |
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Johnny Smith Style |
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Key of Eb Diatonic Movement Modulating to G |
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Learning Basic Chords For Comping & Chord Soloing - 4 pages |
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Locked Double-Line Color: Broken Chords |
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Long Diatonic Cycle of 4ths Progressions |
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Low-End Dominant 7th Voicings - Systematic Inversions |
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Low-End Major 6th Voicings - Systematic Inversions |
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Low-End Major Voicings - Overview |
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Low-End Minor 6th Voicings - Systematic Inversions |
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Low-End Minor 7th Voicings - Systematic Inversions |
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Low-End Minor 7b5 Voicings - Systematic Inversions |
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Low-End Diminished 7th Voicings - Systematic Inversions |
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Lydian Tonality |
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Major 1st Inversion Possibilities Root on 4th or 2nd Strings
|
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Major 7th Chord Voicings |
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Major Pentatonic (Parts 1-3) 2 Voices 2-to-1 |
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Major Pentatonic (Part 4) 2 Voices 2-to-1 |
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Major Pentatonic (Parts 5-6) 2 Voices Sounding Like 3 |
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Major Pentatonic (Parts 7-8) 2-Note Pentatonic with Dots and Ties |
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Major Starting Chords for Jazz Turnarounds Organized by the Soprano
|
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Major Type Chord Forms: Cumulative Melody from the Bass Up |
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Mastering Inner String Dominant Chords, 1988-09-24 |
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Melodic Continuity as Applied to Modulations Up a Major 3rd |
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Melodizing ii7-V7-I in Close Harmony |
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Minor7 Family (relative major also) Viewed from Melody |
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Minor 7 Sounds (continued) |
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Minor 7th Type Chord Forms |
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Minor7th Type Chord Forms: Cumulative Melody from the Bass Up |
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Minor 7th Type Chord Forms Melodically Grouped, Root in Bass |
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Minor Chords and Astronomy |
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Minor7 Types on Middle Strings |
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Minor Key Progressions Generated by Chromatic Inner Voice |
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Mixed Major Tonality bIII-bVII-IV-I |
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Mixing Chords with 6th & 5th Str. Roots, Diatonic Cycle of 4ths |
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Mixing in Upper Voicings with the Basic Ones |
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Mixing Major Scale Ext. Primary Colors |
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Mixolydian Chord Progression |
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Modern iii7-VI7-ii7-V7 Progressions |
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Modern Chord Progressions (1973) |
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Modern Chord Progressions (V7 I) |
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Modern Chords in Common Progressions |
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Modern Chords (1975) |
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Modern Chords (condensed list) |
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Modern Chords in Basic Chord Progressions |
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Modern Chord Reference Page (1975 & 1978) |
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Modern Dominant Chords Viewed from Melody |
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Modern Dominant 7th Chord Forms Catalogue |
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Modern Dominants Organized by Outer Voices |
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Modern Voicing on iii7 VI7 ii7 V7 |
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More Progressions Using Modern Dominant Voicings |
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Moving Lines for Added Beauty and Interest |
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Moving Lines with Pedals |
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Multi-Style Progressional Colors |
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Multi-Tonal Major Diatonically Mixed Major |
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Neighbor Tone (Chromatic) Approach to Modern Chords
|
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Neighbor Tone Embellishment
|
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Neighbor Tone Embellishment of Common Impressionistic Era Chords |
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Neighbor Tone Embellishment of Major Type Chords
|
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Non-Diatonic V7-I Progressions |
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Non-Diatonic Approach Chords Constant Soprano Groupings (1986) |
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Outlining Modern Dominant Progressions |
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Parallel Motion
|
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Practice Patterns to Learn Chord Forms |
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Progressions for Learning #11 Dominants |
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Progressions in 3 and 4 Voices |
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Progression in E, F#7-C7, and A7-D |
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Progressions Starting from Lots of My Favorite Forms |
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Progressions to Learn Major Type Chord Forms |
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Progressions to Illustrate Different Types of II7 Chords |
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Progressions Using Minor 7th Type Chords
|
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Progression with Open String Chords |
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Resolutions of V7b9 - i, Incomplete – (diminished triads to i) |
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Resolutions of V7b9 - i |
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Resolutions of V7 - I, Some of the Most Common |
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Romantic Chord Progressions |
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Romantic (and Impressionistic) Harmony: vi6-I Examples |
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Samplers |
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Sampler of Some Uses of Harmonic Resources in Different Styles |
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Sequences of 7th Chords |
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Session with the Stars - Handout Sheets |
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Short Intros Using Chord Scales Diatonic Major Key |
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Short Intros Using Modest Decoration |
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Short Intros Using Right-Hand Delays |
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Small Chords for Group Playing |
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Some Resolutions of Modern Dominants to Tonics |
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Soprano View of Low-End Dominant Chords |
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Standard Resolution of the Dominant 7th Chord |
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Starting Chords |
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Stationary & Moving Voices, Contrary Motion into Modern Chords |
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String Transference Chart (modern dominant family nucleus voicings) |
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Studies in Parallel Motion |
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Symmetrical Dominant Progressions (Part 1) |
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Symmetrical Dominant Progressions (Part 2) |
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Systematic Inversions (1976-05-05) |
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Systematic Inversion Families |
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Texture Catalogue, New For Fills, Intros, Endings, Interludes |
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Texture Catalogue as Applied to Dm6, Dm6/9, G9, G13, G13#11 |
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Turnarounds to Get from I7 to ii7(or II7) |
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Usage of Unusual Voicings to Move into Beautiful Consonant Types |
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Using I-ii/TR, I-ii/3, Imaj7-ii7, and Various I-IV or Sus Dom. Vs in Short Phrases |
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Using 3-Note Voicings in Phrases with Larger Chords |
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Using 4-Note 1st Inversions |
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Using Add 9th Chords in I-bVI-IV-II-V |
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Using Altered Dominant Chords from the 5th String Root |
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Using Diatonic Chord Scales and Expanded Diatonic Colors as Well |
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Using m7b5 Types in iim7b5 - V7 - i Progressions |
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Using m7\11/R and m7b5\11/R Voicings as ii7 Chords |
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Using Major Add 9's and Minor Add9's |
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Vamp Progressions (circa 1977) |
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Visual Chords |
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Voice Switches |
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Voicing Centers |
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Voicings for B, C, D, G |
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|
|
Chord Scales |
1573 Diatonic Major Key Voicings String Crossing in Chord Scales |
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1573 Voicings |
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4-Note Pentatonic Chord Scales |
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Contemporary Harmonized Scales |
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Decorated Chord Scales |
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Diatonic 7th Chords |
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Diatonic Chord Scales Forms for Building in Major Keys |
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Diatonic Chord Scales Major Key |
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Diatonic Major Key R 3 5 and 7 R 3 Chord Scales |
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Diatonic Major Key Triads - R35 Triads, Top 3 Strings and Pedals |
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Examples of Diatonic Chord Scales in Major Keys |
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Major Scale Harmonized in 7ths |
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Phrases Using Diatonic Major Key 1573 Voicings |
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R-3-5 Triads and 7-R-3 7th Chords in Short Melodic Phrases |
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R-5-3 Diatonic Chord Scale Studies |
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R37 Voicings |
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R373 Voicings |
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Using Low-End 1st Inversions in Diatonic Chord Derived Scale Passages |
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Using R373 Diatonic Major Scale Voicings in Short Phrases |
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R536 Voicings from the Bottom String |
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R537 Voicings Chord Scales |
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R537 with R536 Chord Scale Studies |
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String Crossing with Diatonic Chord Scales |
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String-Crosses Using Open Triads |
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Tonality Types Diatonic Chord Scales in Triads |
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Tonality Types Open Triad 1st and 2nd Inversion |
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|
|
Chord Streams |
3-Note Chord Hearts and Chord Fragments Minor 7 Chord Streams |
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3-Note Chord Hearts and Chord Fragments Minor 7 with String Crossing |
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3-Note Close Harmony Dominant Extensions |
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3-Note Close Harmony Dominant Extensions, Top Set |
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3-Note Close Harmony Major Extensions - 1st Series, 2nd Set of Strings |
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3-Note Close Harmony Major Extensions - 2nd Set of Strings (pt.1) |
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3-Note Close Harmony Major Extensions - 2nd Set of Strings (pt.2) |
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3-Note Close Harmony Major Extensions Top Set of Strings |
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3-Note Close Harmony Major Extensions Used in Little Melodic Phrases |
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3-Note Close Harmony Minor Extensions and Friends |
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3-Note Low-End Chord Streams (minor 6) |
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3-Note Low-End Chord Streams (minor 7b5) |
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Chord Streams: 3-Note Major 6th Chord Stream Exercises (V-2) |
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Chord Streams: V-2 Major 7, Major 9, and Major 6/9 |
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Chord Streams with V-2 Major 6ths |
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Comping Vocabulary: 3-Noters, Major Family |
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Major Chord Hearts |
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Melodic Chord Streams (1975-09-27) |
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Melodic Chord Streams - 7th and m6 (1975-09-30) |
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Melodic Chord Streams ala George Van Eps (3 pages) |
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Melodic Chord Streams minor 7th, ala George Van Eps (1978-09-16) |
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Melodic Use of Small Major Type Chords (6ths)
|
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Mixing Functions of Close Harmony 3-Note Major Extensions |
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Overtone Dominant Chord Rows |
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Progressions Derived Triad Chord Streams & Harmonized Melodies |
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Small 3-Note Minor 7th Type Voicings in Cumulative Chord Streams |
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Using 3-Note Chord Fragments and Chord Hearts in Common Progs. |
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V-2 Minor7b5 Chord Streams on all 3 Sets |
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|
|
Triads |
1st Inversion Triads and Pedals in Short Song-like Passages |
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I-ii-IV-ii-I in Close Triads |
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I-ii Low-End Open Triads |
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I-IV and i-IV with Open Triads |
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IV-I in Open Triads – Ascending Chains |
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IV-I in Open Triads Desc. & Asc. Chains with Voice-leading |
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IV-I in Open Triads Descending Chains with Voice-Leading |
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3-Note Chord Voicings Voicing Chains
|
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3-Note Triad Inversion Rows Major |
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3-Note Triad Inversion Rows Minor |
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3-Voice Major Triads - Soprano Organization |
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4-Part Harmony Triads
|
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All the 3-Note Chord Types
|
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Close 1st Inversion Triads with Inner Voice Motion (2-to-1) |
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Decorated Triads |
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Diatonic Major Key Triads and Soprano Pedal |
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Diatonic Triads (and Sounds) and Pedals (Major Key) |
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Four-Part Harmony Triads |
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Getting Acquainted With Triads |
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Gospel Low-End Open Triads |
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Harmonization Studies |
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Inversion Rows Exercises to Learn Triad Fingerings |
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Learning 3-Note Open 1st Inv. Diatonic Major Key Middle String Voicings |
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Long Open Triad String Crossing Passages |
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Low-End Open Triads, I-IV-iii-I and I-IV-bIII-I Chains |
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Low-End Open Triads in I-IV Progressions |
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Low-End Open Triads Using iii and vi |
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Low-End Playing 3-Note Chords on the 643, 653, and 654 Strings
|
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Major Triad Voice-Leading I-IV-V |
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Major Triad Voicings |
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Melodic Figures, and Triad Connected with Passing Tones |
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Minor Open Triad |
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Mixing Minor and Major Triads in Minor Key Chord Progressions |
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Open Triad Inversions |
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Open Triads |
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Open Triads, I-ii-IV-iii-I |
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Open Triads - Low-End Major and Minor 1st Inversions |
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Open Triads - Low-End Major and Minor 2nd Inversions |
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Progressions (1973) |
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Progressions Using Open and Incomplete Triads |
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Sequences Using Root Pos. Close Pos. Triads |
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Successive 1st Inversion Triads: Progression by Step |
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Tonality Establishment and Modulation Using Close1st Inversions |
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Triad Conversion Close to Open |
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Triad Exercises in Major Broken Chords |
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Triad Exercises in Minor – Broken Chords |
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Triads in I-IV and V-I Sequences within a Key |
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Triads in Progressions |
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Triad Relocations As Means of Learning the Fingerboard |
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Upper Close Triads with Added Bass Root |
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Using All 3 Low-End Open Triad Major Forms |
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Using 3 Note Triads and 7th Chords in Short Phrases |
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Voice-Leading as Helpful Tool in Learning Open Triads and More |
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Wild Triad Progressions |
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|
|
Bass-Enhanced Triads |
I-IV-V with Consonant Polychords and Friends |
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American Expanded Diatonicism or Multi-Key Colors |
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Bass-Enhanced Triads in Eb |
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Bass-Energized Triads in Harmonization of Asc. Major Scale,
Degrees 5-6-7-8 |
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Bass-Enhanced Triads - Misc. Ideas #1 |
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Bass-Enhanced Triads - Misc. Ideas #2 |
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Bass-Enhanced Triads Slash Chords |
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Bass-Enhanced Triads Stuff |
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B.E.T. Language and Misc. Ideas |
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Consonant Major Slash Chords, I IV V |
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Contemporary Bass-Enhanced Triads in Expanded Diatonic Chord Progressions |
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Cool Rock and Motown-ish B.E.T. Colors |
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Dynabass Voicings Melodically Organized |
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Endings, Intros, or ? Using Expanded Diatonicism and Chromatic Triads & Pedals |
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Expanded Diatonic and Bass-Enhanced Triads |
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List of Bass-Enhanced Triads by Chord Quality |
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Major Triad Polychords Type 1 |
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Major Triads Dynabass Voicings |
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Master Harmonization Chart for Power-Bass Triads, Major Key |
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Modern Poly-Triad Ideas |
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More Harmonization of 5, 6, 7, 8 via Bass-Enhanced Triads |
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Poly-Chord Progressions |
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Power-Bass Triads: List 1 |
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Power-Bass Triads: Harmonizing 4-5-6-7 |
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Power-Bass Triads |
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Power-Bass Triads Working Backwards |
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Progressions Using Power-Bass Triads, BET, Slashers |
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Triads & Bass-Enhancement: Harmonizing a Long Scale Line pt 1 |
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Triads & Bass-Enhancement: Harmonizing a Long Scale Line pt 2 |
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Tri-Level Chords and their Progressions, A Beginning |
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Using Slash Chords (Dynabass Harmony) in V7-I Type Applications |
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Harmonization of a Given Melody |
2-to-1 Diatonic Asc. Stepwise Bass Motion w/Delayed Entrance (part 1) |
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2-to-1 Diatonic Asc. Stepwise Bass Motion w/Delayed Entrance (part 2) |
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America the Beautiful (harmonization assignment) |
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Diatonic Major Harmonization: Ascending Bass Starting from Various Is |
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Diatonic Harmonization of a 3-Note Theme |
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Diatonic Harmonization Through Counterlines |
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Diatonic Major Harm. of Asc. Bass Starting from Various iis |
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Harmonization: 1st Phrase of "There Will Never Be Another You" Part 1 |
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Harmonization: 1st Phrase of "There Will Never Be Another You" Part 2 |
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Harmonization Studies for Intros, Endings, Interludes, and Fills (Part 1) |
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Harmonization Studies for Intros, Endings, Interludes, and Fills (Part 2) |
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Harmonization Studies in the 4 Main Ingredients |
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Harmonizing Melodic 3rd Intervals |
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Heres That Rainy Day, 1st phrase w/various harmonizations |
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How High the Moon, Harmonization of 1st Phrase - Pt 1 (1987-03-21) |
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How High the Moon, Harmonization of 1st Phrase - Pt 2 (1987-03-29) |
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How High the Moon, Harmonization of 1st Phrase - Pt 3 (1987-03-30) |
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How High the Moon, Harmonization of 1st Phrase - Pt 4 (1987-03-30) |
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I'll Remember April - Treatments of the First Phrase
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I'll Remember April - Harmonized Melody |
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Major Scale Harmony and Melody: 1-to-1 |
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Minor Key: 2-to-1 Stepwise Ascending Bass Motion |
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My Funny Valentine Reharmonization of the 3rd Phrase
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Phrases in Chord Melody Style |
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Stepwise Diatonic Bass Harmonization via Diatonic Flavors |
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Technique of Diatonic Harmonization Derived from Bass Lines Part 1 |
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Technique of Diatonic Harmonization as Derived from Bass Lines Part 2 |
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Using Melodic Patterns for Intros, Interludes, and Endings |
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Varying Harmonic Rhythm Under a Melodic Pattern |
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Warm Harmonization of Diatonic Major Scale Melodies |
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Warm Harmonization of Melodies with b7 |
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You Are the Sunshine of My Life Bridge Variations |
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Voice Leading |
I, IV, and V Connections - 3 Voices, Asc. Stepwise 1-to-1 Melodies |
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Alternate Voice-Leading (1989-1990) |
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Multi-Possibilities of Voice-Leading via ii7-V7-I, Top 4 Strings |
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Progressions Through Voice-Leading |
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Open Triads Smoothest Voice Leading |
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Voice Leading (1975-01-08) |
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Voice Leading and Parallelism on Guitar |
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Voice Leading Reference Charts - Triads Only |
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Voice Leading Reference Charts - 3 Note Triads |
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Voice Leading - Understanding Voice Leading & Voice Splitting |
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4th Chords |
V7-I in Diatonic 4th Chords (More) |
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V7-I in Diatonic 4th Chords: Melodic Moves from 1st Chord |
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4-Note Diatonic 4th Chord Studies on the Middle Strings (Part1) |
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4-Note Diatonic 4th Chord Studies on the Middle Strings (Part2) |
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4-Note Diatonic 4th Chord Studies on the Top Strings |
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4ths |
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Approach Chord Concept: Diatonic 4th Chords, Major Scale |
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Contrary Motion with Lots of 4th Chords |
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Diatonic 4/3/4/4/ 4th Chord Studies |
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Diatonic 4th Chords: R 4 7 9 with String Crossing |
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Diatonic 4th Chords: R 4 7 9 Type on the Top Strings |
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Diatonic 4th Chords: R 4 7 9 Types on the Middle Strings |
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Diatonic 4th Chords - V-3 and Others |
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Diatonic 4ths: I-vi7-ii7-(I7)-V7 - Ascending Diatonic Melody |
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Learning R 4 7 5 (3 Notes and a Skip) Diatonic 4th Chords |
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Miscellaneous 4th Chord Studies |
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Seminal 4th Chords |
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Stacked 4ths |
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5-Note Chord Voicings |
5-Note Altered and Overtone Dominants, b7 on Top, Choice (from Half-Whole Dim. Scale) |
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5-Note Altered and Overtone Dominants, Root on Top, Choice (from Half-Whole Dim. Scale) |
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5-Note Amaj9 Systematic Inversion Rows Angle
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5-Note C6/9 Voicings Derived from Cmaj9
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5-Note C7/6, C9, and C13 Chords |
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5-Note Choice Diminished Scale Derived Voicings
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5-Note Chords in the Diminished Scale Names List |
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5-Note Chord Voicings A Brief Explanation |
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5-Note Dominant 7b9#5 Chord Voicings |
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5-Note Dominant 7#9#5 Chord Voicings |
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5-Note Diminished Voicings |
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5-Note Major Type Chords Locational Organization |
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5-Note Minor 7 Type Chords |
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5-Note Miscellaneous Choice Voicings (1989, 1986) |
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5-Note Normal Major Types, Reorganized by Soprano (pages 1-8) |
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5-Note Normal Major Types, Reorganized by Soprano (pages 9-16) |
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5-Note Normal Major Types, Reorganized by Soprano (pages 17-26) |
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5-Note Regular Major Type Chord Extensions |
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5-Note Voicings (Am9 and Cmajor7/6 Types and Others) |
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5-Note Voicings A Review |
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5-Note Voicings for Am11 and A9add11
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5-Note Voicings for Minor 7th Type Chords
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5-Note Voicings of the 8-Note Whole-half Diminished Scale (part 1) |
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5-Note Voicings of the 8-Note Whole-half Diminished Scale (part 2) |
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5-Note Voicings of the 8-Note Whole-half Diminished Scale (part 3) |
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5-Note Voicings Top and Bass Notes Constant |
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5-Voice Chord Types |
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Chord Homonyms for 5-Note Voice Chords |
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System for Discovering 5-Note Diminished 7 Scale Voicings |
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Voicings of 5-Voice and 5-Letter Name Pitches Chords for Guitar |
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Voicing Possibilities for 5-Note Chords for Guitar |
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