renard.d.hoover - right hand development for jazz guitar

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RIGHT-HAN ..... DEVELOPMEN

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BY RENARD D. HOOVER

PREFACE

The material contained in this book is the result of countless hours of playing, observation, and teaching. The concept evolved while studying classical gu1tar and I began to realize that the immense musical and technical demands placed on the right hand in classic guitar were, generally, ignored in modern methods for pick-style guitar These modern methods assume the right hand will automatically follow the left in the curse of its development Many of my own students' musical and technical problems were directly related to the inability to execute the right hand properly.

This right-hand tecnhique began as an attempt to correct these dificiencies, and resulted in a marked and rapid improvement in my students' playing. On this basis, it is my contention that the right hand in pick-style deserves the same attention that our classical colleagues spend time developing with Paparraro, Pujol, and Giuliani. Practicing with these studies will improve clarity in single-line improvisation, reading, musical phrasing, and chord melody playing. In short, the overall quality of musicianship will be raised.

The arrangement of this book assumes the level of beginner. Advanced players may find the latter exercises more appropriate to their immediate needs. However. I cannot stress too strongly, the need to practice this book from the beginning. The right hand must be allowed time to adapt to the appropriate moves required in each set of exerc1ses.

It is my hope that this book provides a means for all serious students of this beautiful instrument towards attainment of self-expression-regardless of style or idiom.

THE BASIS

Why study the right-hand of pick-style guitar, independently from the left hand? Namely, it is important to develop a technique (always with a view to a musical statement), which will allow modern guitarists to play all types and styles of music. It becomes necessary to focus on the right hand because this is where the instrument's sound is initiated. Some of the requirements placed on the right hand are: dynamics, differences in texture, repeated notes, rapid scalar and arpeggiated figures, wide leaps between strings. The hand must be trained to respond accurately and quickly, according to a wide variety of musical demands.

The following method is one of several methods for right hand and right arm movement. Some players advocate playing with the arm and wrist locked, with motion occurring only at the elbow. Still others advocate all three possible motions, fingers, wrist and arm.

These studies fall under the last category. Approximately 90% of the motion comes from the fingers and wrist (depending on whether one is playing chords or single lines). This technique provides for the most efficiency and its usage is widespread amongst prominent guitarists today.

STARTING POINTS

Two fundamental axioms must be remembered in regards to right hand movement: 1. The pick moves flat across the picked string (no slicing). 2. The shorter the stroke (distance) the pick travels, the better.

In the first instance, this insures good tone production. The latter is a necessity for eventually attaining a rapid picking technique.

Further, there exists a plethora of pick gauges and shapes. It is recommended the student use a heavy gauge, jazz-style pick. The heavy gauge will allow the guitarist to vary the hardness or softness of the attack. The jazz-style pick will enable the player to maintain better control of it.

HOLDING THE PICK

The hand should be suspended above the guitar. with no anchoring of the second, third, or fourth fingers on the pick guard or guitar body. The pick is held between the thumb and side of the forefinger. See Photos A and B.

A

B

The thumb and forefinger work together as a single unit. For single line playing, the arm and the wrist remain relatively stationary, with the movement coming only from these two fingers.

PICKING THE STRINGS

Next, initiate the down(~)stroke on the first (or E) string. Position the right hand so that the pick will move flat across the string and only move a short sidtance. Do not rest the pick on the string prior to attack. The pick is then pushed across the first string (E) with the collapse of the thumb knuckle. See Photo C, below.

c

To initiate the up (V) stroke, the thumb knuckle arches with the forefinger pushing upward; this moves the pick back up, and across the string. See Photo D, below.

D

This is a subtle movement, so observe it carefully and diligently in all of its applications.

To initiate pick attacks on the remaining open strings, the hand shifts to the aporopr1ate position for each string. This assures that all six strings will be picked in the same mannw assuring continuity of sound and form, as well as accuracy.

In the following exercises, begin practice by setting a slow tempo. Beginnmg and M:e·mediate students should use a metronome until an "even" sense of rhythm 1s de.e ::::e::: Concentrate on all required movements and the two fundamental axioms. When ~h1s ::·:::::ess becomes accurate and second nature, velocity will come automatically

6

These notes are to be picked as indicated, playing each note as loudly as possible. Remember the thumb knuckle collapses on 1"1, and arches on V. Don't reach for the next string with the fingers, shift the hand.

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II: g J J ~ r F r -w J J UR E r=r J J g J J j r

This is the introduction to repeated note picking. Groups of two, three, and four notes will have an accent placed over the first note of each group.

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etc. rl v rl v rl v rl v rl

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This exercise is in preparation for the tremolo. Begin slowly, so you will be able to play the thirty-second notes in the last measure.

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F F F Ul= E E F F E F E E Jtfiit c E E E F E E E F 3 3 3 3

r1 y r1 y etc. V r1 V r1 etc.

r1 V ~ y - , etc. V i V - v - etc. i_ ::> ::> ::> ::> ::> ::> ::> ::>

~ II= r r r r r r r r r r r r r r r r Ul= j : : : : : cj 6 j j r r r j r r r r r r r r r 6 6 6 6

- - -- --- -Apply the above formula to .all strings.

Here, we encounter cross-string picking involving two adjacent strings. Its mastery is essential. Watch for thE different demands placed on your hand. The i1 or V can be initiated on the "outside" or on the "inside" of two adjacen· strings. The latter tends to be more tricky. Note: beginning with No. 30, play each repeat four (4) times, then D.C and play straight through without repeats. In future, apply this procedure to all similarly notated exercises.

30. .., V ., V etc. D c

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This section combines cross-string with repeated note picking. Play all notes evenly, as there is a tendency to speed up on the repeated notes, especially the sixteenth notes. Remember, the shorter the stroke the better.

11

42. ._ V r"'1 V r"'1 V r"'1 V etc.

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D.C.

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62. V r1 ~ etc. D.C. a > etc.~ ~

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63. V r1 ~ etc. D.C. ~ > etc. ~ t'±j

~ 9 II= ED 111= ili !II= j J J ~II= J J J lll= J J d lll= J J J !II= j J J lll= ili l

64. \ , , etc. D.C ± :> etc. ~ ~

~ §-JI ill !II= W ~II= j J J Allq J J JVg g J !II= J J J lll= J J J lll= W =I

65. V r1 r"1 etc. D.C i_ :> etc. ~ ~

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66. r1 r1 r1 etc. D.C i_ :> etc. ~ ~

~ 9 II= EU lll= OJ =Ill= j J J lll= J J J IEJ d @ ill= J J J !II: j J J lll= ~

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68. r"1 ., r"1 etc. D.C

4 ~ II= ffi l'~; ffl lll= j J J ~II= J J J lll= g J g 111= J J J lll= j J J lll= i"1"b

69. , r1 r1 etc. D.C

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70. V V V etc. D.C -i_ :> etc. ~ _ ~:- __

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71. V V Vetc. D.C i_ :> etc. ~ -_

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16

72. V V V etc. D.C.

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73. V V Vetc. D.C.

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r-, V r-, V etc. 74. V r-, V r-, etc. D.C.

& II: [ r c r iii; J J J J lll: J j ] J I= J JJJI' J@@@ 18JJJ 111: J j J j 111: J ] ] J ll

r-, V r-, V etc. 75. V r-, V r-, etc. D.C.

g II: C [ [ f iii; J J 3 3 lll~ j J J J jll: J J J ]'I @JJJ lll= J J J J lll= j J J J =Ill: J J J J ll

r-, V r-, V etc 76. V r-, V r-, etc: D.C.

4 II: f [ [fill; d J J J lll: J J J J lll: J 5 Jj lll= JJJ@ jll: J J JJ 111= J J J j !II: J 53 3 ll

r-, V r-, V etc. 77 • V r-, V r-, etc. D.C.

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78 r-, V r-, V etc.

· V r-, V r-, etc. D.C.

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1"1 V r-, V etc. 79. V ~ V r-, etc. D.C.

f II= [ H f jjj; j JJ J lll= J jJ J lll= J JJJ lll= @JJ@ lll= J JJJ !II= J jJ J lll= j J5 J !I

This section involves an awkward configuration between cross-string and repeated note pickings.

BOA. r1 V r"1 V r"1 V etc.

~ ~ II= f r f f r (iii= J J J J 3 J lli=J J J J j J =Ill= J J J J J J D.

' II= J @ J J @ J =Ill= J J J J J J ~II:J j J J j J ~II= j J J J J ~

808. V r"1 V r1 V r"1 etc.

' ~ II= f r f f r f .iii= j 3 J J J J !II= J J J J J J =Ill= J J 3 ~ J 3 •

D.1

' II= J J g J @ g =Ill= J J J J J J =Ill= J J J J j J =Ill= J ] J J ] J •

81 A. r1 V r1 V r"1 V etc.

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' II=@ J @ @ J d :ill= J J J J 3 J =Ill= j J j j J j =Ill: J J J J J W ·

81 B. V r1 - V r"1 V r1 etc.

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4 II=@ J @ @ g @ ~II= J J J J J J =Ill: J J j J J j =Ill= J j J 2 j ~.

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:2. ~ V V r1 V V etc.

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-$: jj: J d J J g J =Ill= J J J J J J IT j j J j J J =Ill= J B J J J J . =I

83. ,r-, V V r1 V V etc. f£ > > etc. ~ ~ ~ ~ ~ ~· . - ··.. . -; § II= r f r r [ r =ill= g 3 2 i 3 ; If~~-=~- :- ~ ~ =Ill= J J J J J g ~1

D.C.

~ II= @ J g g J g=lli= J J J j J rtn .r J J i J =ili=J J J J J l <I

84. i1 :"1 V i1 i1 V etc.

~ II= f E f f E (lii=J J 3 J J J ~II= f]f1 £j a =IF J J J J J J ill

D.C.

tJ!tJ @ J J @ J =111=-J J J J J j =ill= J-jiLftlJ J :J J J :J =II

85. , i1 V i1 i1 V etc.

~ If II= C f r C f r elii=J 3 J J J 3 =Ill= j J J J J J =lll=g J J J J g=ll

D.C.

~ lf.=J J J d J g =Ill= J J J J J J =ill= j OJ j j J J =ill= J J 3 J J J =II

86. V !"1 !"1 V ,-, ,-, etc.

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87. V !"1 ,-, V !"1 !"1 etc.

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88. V V ,-, V V !"1 etc.

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' II= 3 3 g J 3 g =Ill= J J J J j J =Ill= J J J J J J lll= ££ r .-_ .... -~ _ i

89. V V !"1 V V ,-, etc.

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' II= g J @ d J @ ~II= J J J J J J lll= j J j j J E~J • · ~ ~ • ~ ,

20

90. ~ ~ ~ ~ ~ ~ etc.

' § II: F r f F r r e:ili: J J J J J J :Ill: j a j j J J :Ill: J J J J J J :II D.C.

' II= g @ g g @ g !II= J J J J J J 'Ill: J J J J a J :Ill: J J J J ~ J •II

9 I. ~ ~ ~ ~ ~ ~ etc.

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92. V V V V V V etc.

' ~ II: F E f F E (ili:J J J J J J 911:J J J J J J :Ill: J J J J J J •II D.C.

' II: g g J g g g :Ill' J J J J J J •Ill• J j J J j :J :Ill: J J J J J J :II

93. V V V V V V etc.

~ § II: E [ r E F r e:lii: j J J j J J :Ill: J J J J J J 'IQ J J J J J 11 D.C. twg g @ @ g @ :Ill: J J J J J J :Ill: j J j j :J j :Ill: J J 3 J 3 3 11

This section involves the problem of the preceding one while adding a new one: skipping across the middle string in groups of three adjacent strings. This must be done cleanly. Postion the hand so that the reach of the fingers is equally distributed in each direction. Do not move the hand.

21

r-, V r-, V r-, V etc. 94. V r-, V r-, V r-, etc. D.C.

~ § II: WtrJ~i~"iNtP=III: WJDJJ:III: JQHJflll: WJDJllll: ffiffi=ll

,., V ,., V ,., V etc. 95. V r-, V r-, V r-, etc. D.C. :9: > > etc. ~ m rn ~ ~ ~ II= ffi ffi =Ill= A h =Ill= J Jjj Jj'lll= Q J@Q JQ'II= J 2JJ Jj'lll= A A =II

96. r-, V V r-, V V etc. D.C. -± > > etc. rn ~ ~ ~

%~ II= WW=III= $$=111= WJDJlill= JQJJJJ=III= JjJJJlill= $$ •II

97. r-, V V r-, V V etc. D.C.

~ > > etc. rn m m ~ ~ ~ II= ffi ffi =Ill= M A =Ill= J WJJ Jj'lll= J J@@ Jg'lll= J 2JJ Jj'lll= AM =II

98. r-, r-, V r-, r-, V etc. D.C.

i 9 II= EfJEfJ~iHffi ffi=lll= WJBjJ:ill= JQJJQJ'III= WJDJHI= flJ ip =II

99. r-, r-, V r-, r-, V etc. D.C. ~ > > etc. ~ rn ~ ~ i ~ II= Ef! E£(111= A h=III'J JjjJj'lll= J J@@Jg'lll= J2JJWJIII= j¥j ri =II

1;. ~,., ,.,~,.,,., :!~: ~ m ~ ~c. i B II= W W =Ill= f f =Ill= WJ J WJ J =Ill= JQ J WJ J =Ill= WJ J WJ J =Ill= f $ •II

22

I 0 I. V r1 r1 V r1 r1 etc. D.C

-i_ > > etc. ~ ~ ~ ~

~ ~ II= ffj Cf1 =Ill= fj h =Ill= J WJj WJIII= J 3JJ JQ'III= J WJJ WJIII= h fJ =I

102. V V r'1 V V r'1 etc. D.C

' ~ II= EfJEfJ=Ii~·ffiffl=lll= JjJJJllll= WJJJJJ=III= JjJJjJ=III= ffiffi =I

103. V V r'1 V V r1 etc. D.C

i > > etc. rn rn ~ ~

~ ~ II= ffj ffj =Ill= fj h =Ill= J WJJ WJIII= J UJJ Jg'lll= J WJJ WJIII= ri ri l

I 04. r1 r1 r1 r1 r1 r1 etc. D.C

E > > etc. ~ ~ ~ ~ ~§ II= WW=III= fif=lll= JjJJjJ:III= JQJJQJ=III= JjJJjJ=III= ¥¥ l

I OS. r1 r1 r1 r1 r1 r1 etc. D.C

-i > > etc. rn ~ ~ ~

~ § II= ffjffj=lll= hfJ=III=J'lJJWJIII=JJJJWg'lll=jJJJWJII= hri =I

';_6. ~ v v ~ v v =~~: ~ ~ ~ ~.c ~ M II= W W =Ill= ¥ 9 =Ill= Jj J WJ J =Ill= JQ d J@ J =Ill= WJ J WJ J =Ill= Ff ¥ =I

I 07. V V V V V V etc. D.C

i > > etc. ~ rn ~ ~

~ g II= Eff Cf1 =Ill= h h =Ill= J 2JJ Jj=lll= J WJJ JQIKJ WJJ JJIII= h h =I

'

·.

108.

6

6

' 109.

113.

6

'

~ v >

l ltL(

~ v v ~ >

II= f F

~ v ~ v ~ v >

II= C r r

I~ v >

i II= (

~ v v ~ >

II= F F

This is a variation of No. 29; quintuplets and septuplets are introduced. Play all accents as shown. Again, concentrate first on accuracy.

v ~ v ~ v ~ v ~ v ~~ v ~ V etc. ~ v ~ v ~ v ~ v ~ v ~ v ~etc.

> > > > >

r €8 r =Ill= f r r f r r =Ill= f f r r f F r r 3 3

~ v ~ v ~ v ~ v ~ v ~ v ~ V etc. v ~ v ~ v ~ v ~ v ~ v ~ v ~etc.

> > >

F F f f r f r r liF f c F F F f f f f F f r 5 5 6 6

v ~ v ~ v ~ v ~ v ~ v ~ v ~ v ~ v ~ v etc. ~ v ~ v ~ v ~ v ~ v ~ v ~ v ~ v ~ v ~ etc. D.<

> > >

f f f f TJf f f r r f :1: f f f f f f f r f f r r r r f !

7 7

Apply the above formula to the following sets of adjacent strings.

110. Ill. 112.

v ~ v ~ v ~ v ~ v ~ ~ v ~ v .~ v ~ v ~ v V ~ V etc.

~ V ·~etc. > > > > > • • =Ill= [ 7f [ f =Ill= j E J f r r r r f ~ r c~t --

3

~ V ~ V ~ V etc. V ~ V ~ V ~ etc.

> > >

f f f f t f E f =Ill= 5::! c C:E f F [ [ f [ ~ 5 5 6 6

~ v ~ v ~ v ~ v ~ v ~ v ~ v v ~ v ~ v ~ v ~ v ~ v ~ v ~

~ V ~ V ~ V ~ V etc. V ~ V ~ V ~ V ~ etc.

6 II: [ [ f [ [ [ f r 0.1

>

f f f f [ f =Ill= 5 f F F f F f f r f f f f f [ F 7 7


114. liS. 116.

& a fJ fJ II .... 6~fJjJII 4~JOjJ II

24

~ v ~ v ~ v ~ v ~ v ~ v ~ V etc. 118. v ~ v ~ v ~ v ~ v ~ v ~ v ~ etc.

6 > p

~ >

~~ ~ > j ~ ~-· ~ a -11= c ~ =liFT? =Ill~ f

..

=II ~ r r F F r j > > 3 > 3

~ v ~ v ~ V etc. v ~ v ~ v ~etc.

-------- > 5

> j J J J J ] =Ill= [ r ~ ~ ' r =II > 6

6 5

~ V ~ V ~ V ~ V ~ V ~ V 1"'1 V etc. V ~ V ~ V ~ V ~ V ~ V ~ V :-,etc. D.C.

@.· > ~ J ~ il J J =Ill= F r , r r r r I' E 5 5 5 5 5 5 5 =II

7 --7


119. 120.

6~BjJII ' ~ J J :f11

1"'1 v ~ v ~ v ~ v ~ v ~ - v etc. I v 122. v ~ v ~ v ~ v 1"'1 v ~ v - \ :-,etc.

* > > > > > >

~ II: [ __, E r :Ill: t E r t E r :Ill: ~ r : r t F F r :II J

3 3

~ v 1"'1 v ~ v 1"'1 v ~ v ~ v 1"'1 v :-, y etc. v ~ v ~ v 1"'1 v 1"'1 v 1"'1 v ~ v ~ v ; etc.

~ > > > >

II= ~ ~ =Ill= ~ E -· :II r r r r ~ ~ ~ r ~ ~ ~ ~ • : j f f r

5 5 6 6

~ v ~ v ~ v ~ v ~ v ~ v ~ v ~ v ,, v ... ~ etc. I v I v v ~ v ~ v ~ v ~ v ~ v ~ v ~ v ~ v , v ., \ - etc. D.C.

* > > > >

II: ~ ~ =Ill= 6 --

i =II r r r F r F F F F F F F F F 5 F F F r c c c c c F r 7 7

Apply the above formula to the following sets of strings.

123. 124. 125.

6 a ~ ~ II 6 a J J J J II 6 a J Q J Q II

I

J

ri v i"'l v 126. v i"'l v i"'l

' > >

a II= C • • J E :f

i"'l v i"'l v i"'l v v i"'l v ~ v i"'l

' > >

II= r i i i f F 5

i"'l v i"'l v i"'l v i"'l v v i"'l v i"'l v i"'l v i"'l

' > >

II= r i i i i i f ~ 7

i"'l v i"'l v i"'l v

>

=Ill= r ~ f 3

i"'l v i"'l v v i"'l v i"'l

i i i f 5

i"'l v i"'l v i"'l v i"'l v i"'l v

i i i i i 7

v i"'l >

c

v i"'l

F

i"'l v i"'l v i"'l v i"'l v i"'l v

>

~ f Ul= r t t 3

i"'l V i"'l V i"'l V etc. V i"'l V i"'l V i"'l etc.

6

V etc. i"'l etc.

>

f r t t f

6

i"'l V i"'l V i"'l V i"'l V etc. V i"'l V i"'l V i"'l V i"'l etc. > > D.1

=Ill= c § i i i i i f r i i i i i i F


127.

PDQ II

130.

' '

i"'l v >

a II= f

i"'l v >

II= i i"'l v

v i"'l

r

v i"'l i"'l v

F"

J ~ j >

i"'l v v i"'l

r r 5

128.

6lJWJ211

v i"'l v i"'l i"'l v i"'l v ~

>

=Ill= e r r 3

i"'l v i"'l v i"'l v v i"'l v i"'l v i"'l

j j J J J r 5 >

6 II= [ F F F F F r 2 7 7

-

v i"'l

~ >

129.

6 ~ '"J ~ J II a a i"'l v i"'l v i"'l v i"'l v i"'l v

~ ~ >

=Ill= i r r 3

.i"'l v i"'l v i"'l V etc. v i"'l v i"'l v i"'l etc. >

V etc. i"'l etc.

j J --J ~

r • ->

a 3 3 J 3 =Ill= i r r r r r • > 6

6

i"'l V i"'l V i"'l V i"'l V etc. V i"'l V i"'l V i"'l V i"'l etc. D.<

=Ill= f 5 5 5 5 r q r Q3 3 3 3 3 2 2

131.


132.

'~ n 1a 1 'j J J fO II

26

These exercises are closely related to studies for right-hand in classical guitar literature. All possible picking patterns are not given. The student, along with the guidance of a qualified teacher, will have to determine those other poss i b iIi ties.

r-, V r-, V etc.

133. ~ ~ ~ Q etc. r"l r"l r"l V r"l r"l r"l ~ r"l V V V r"l V V V r"l V V V D.C.

& II= J J j j =Ill=~ j J a =IIEJfE =Ill= j J J J =Ill= J J J ] =Ill= d J ~ J =II > > > > > >

r-, V r-, V etc. V r-, V r-, etc. V V V r-, V V V r-, V V V r-, V r-, r-, ,., V i1 r-, r-, V r-, i1 r-, D.C.

134. ~ - - f= -' II= : J J ] =Ill= :1 j] lll= jij j rill= 1 J 1 =Ill= jj ] ] 911= :~J ===-J j =II

r-, V r-, V etc. 135. V r-, V r-, etc.

' II= F f f J 911= J ~ J l J 1 =Ill= J ~ J 1 J j J j 91 >

r--r--r-.,.-.,_,..-r-..,.....,r--T"'-r--r--r--r--r-~....;D.C.

& II= J ! J 1 J ) J J J J =Ill= J ~ J 1 J 1 J j J J J j J 1 J 1 J ! =II > @ > ~ >

> >

136. r-, V ,., V etc. -:i_ V r-, V ., etc.

i II=@ @ Q 2 =Ill= J Q @ Q 8 2 =Ill= J @ J J j Q J E =II

' II= J I J 1 J l J ~ J : 911= J J ffJ I J ~ J ~ J ~ J 1 J 1 J f~i ., V r-, V etc.

137. V ., V ., etc.

# II= J J j J 911= J J j J j J =Ill= J ~ · j J j J ~ J =II ~> > > > > > ~

> > >

r--r-,-..,.-~.....,....-,.......,._,...-,--~__,...""~""-~D.C.

4 II=! J 1 J ) J j J J J 111= ~ J 1 J 1 J j : J J j J 1 J l J ~ J li > § > @ >

> >

138. ., V ., V etc. v n v r-, etc.

& II= Q J 2 J =Ill= @ J Q J 2 @ =Ilk i Q Q J 1 J E 91

4 II= 1 j J j i j ~ j ~ J =Ill= J J li i j ~ ij ~ J ~ j J J 1 j j i·~j

139. ii IV ii y etc. v ii v ii etc.

~ J J J j J J J

' II= J J J J J J J J =Ill= J J j J j j j j =Ill= ::>

etc. ::>

a J J J j J J J D.C

' II= ( [ ~ F F F F =Ill= ~II= J J j J J J J j r . ~

ii v ii V etc. 140. v ii v ii etc.

& ::>

=Ill= d J ~ j =Ill= J II= [ ~ ~ f j j j j J J J J J J J J J J J ::> etc.

' A A D.C

II= j J J J @ @ @ g =lli=J J ~ j g J J J =liP ; j ; J S S S =

These sextuplets should also be played as follows:

a. b.

BBB1JJJJJJ ::> ::> ::> ::> ::>

141. ii v .~ v ii V etc. v r, v ~ v ii etc.

& II= J ~ J J J j J j J J J J =Ill=~ J J j J 9 J j J j ~ J =I

6 6 6 6 ::> >- etc.

~ ~ :j J

~ J ~ ~ ~ D.C.

~ II= =a J lll= J J J J J J J J j 3 ~ ~ :J J 6 6 6 6

ii v ii v v ii Vetc. 142. ii v ii v iietc.!!!!;

6 II= I J J J a 3

.r j J J J J =Ill= J J ~ J J J J J ~ J J 2 :j ::> >- etc.

6 6 6 6

' II= J J J J J J j J J J J J =Ill= j J J J J J J J ~ J j J --, =I

6 6 6 6

28

~ Vetc. V ~etc.

J J J j J j J J 111= J i l "1 j j J J J a J J =II 6 6 6

>-etc.

~ II= j j J J J J j J D.C.

J J a J J =II 6 6

~ v ~ v 144. v ~ v ~

~ Vetc.

J J J J v ~etcJ j J J J =Ill= d J d J ~ II= J J J J J J J a 5 J j u

>- >-6 etc. 6 6 6

D.C.

~ II:J J J ; J J J J ( J J J ~1P J ] ) ] J d j ] 6

J ] J =II 6

145. ~V ~ ~V ~ ~ yetc. I I I I v ~etC.

' II= J J J J J J J ; ; ~ J J =Ill= J S J J ; Jf!d j ~ il 6 6

6 >- etc. 6

D.C.

~ II= j J J j j ] 6

JJjJJll 6

146 ~ V ~ V ~ Vetc.

ci' V ~ ; ~ ,.V ~etc:P:::::;J==;:J =J=!==J~J ~ II= f f ~ ~ r: -~ _ ~ ~ ~ ~ =Ill= ; F I7 J J 1 l l ~ J J =II

>-6

J etc. 6 6 ~ ~ 6

D.C.

~HI:W J j 6

J J j OJ J J J J J ~II= J #16 9 j a J j ( J j ]21

6

Alternate accented rhythmic patterns for this group:

b.

I J Jfi= > >

These two variations are applicable to previous and future three-note figures.

r1 V r1 V r1 V etc. 147 V r1 V r1 V r1 etc. [

• r1 r1 V r1 r1 '/ etc. ~ ~ iJ :J ' II= :jJ 3 j j J :ill: fJ 3 d j E f3; 'll¥1[f3 J j J frl=d

> > > > > > > > >

r1 V r1 V r1 V etc. ~ r1 V V V r1 etc.

148. ~v r1 ~v r1 etc. ~ - - - - - - c

fJi=; J J J J] =Ill= Lffl I]] {j] =III=J ]] 1 JD Jj] Jijj > > > > > > > > >

149. r1 V r1{V V V) etc. V r1 V (r1 r1) etc. V r1r1V r1r1

r1 ,., v r1 r1 v >

v v r1 > v v r1

0 v v ..

r1 V r1 0L r1 V) etc 150. V r1 VV (T"1 V r"1) etc: r1 V r1 r1 V r1 r1 V ,., r1 V ,., r1 V D -i_ ,., r1 r1 ::"l > ::"l ,, , '

11\1 II= J J 3 :lll'f j HI I= f 3 ~ ~II= E E :f !II= f3 ~ =Ill= J j J 111= f d :

151.

> >

r1 V r1 (V r1 V)etc. V r1 V (M V r1)etc, vvn vVn > . .

r1 V r1 {V r1 V) etc.

v v ,., v v r1 ,., ,., v ,., r1 v D

- --~=

V r1 V (r1 V r1 etc. D 152. 1.. v ,., v- v r1 v v r1 v v r1 v v ,., v- v ,., ';! \ ..

' II= c f:j :Ill=~ J J :Ill= 2 J g u1: t g 3 !II=! J g lll= tJ J lll= c r_· ,., v r1 v ,., v v r1 v r1 v r1 etc.

153. r1 ,r-1 etc. r1 v v v v r1 ,., r1 v v v ,., r1 r1 '

' II= ~ t J J ~ 911= j 3 J ~ t =Ill=~ J j J t 1 r ~

> > etc. .J v v

J ,., ,., ,., r1 r1 ,., v v v v v v --,

J -

' J u.

II= ~ J j =Ill= F

ill J J J J =Ill= J J I ; F d ~ -- -# ....,

30

Play as written.

The four sixteenth notes should also be played as eighth notes and accented as follows:

a. b. c.

II J J J J II J J J J II J I J -j

II J ~ :> :>- :> :> :> :>

n v n v etc. 154. V n V n etc. D.C.

$ II= ( E [jell= i 3 J :J 111'J J J J =Ill= J J J 5 ~II= j J J J ~ll=i J J :lu]

n v n v etc. 155. v n v n etc. ~ ~ etc I A D.C.

II= F [ Ef =Iii= J ~ J j =Ill= J J j J =Ill= J J J @ =Ill= J J J J =Ill= J J ~ J =II


$ II= ( r (J e'=lil= £ J J S =Ill= J j j J =Ill= J J j J =Ill= J j j J =Ill= £ J J) =II

n v n v etc. 157. V n V n etc. D C

>- etc. . .

~ II= E G r r =Ill= J ~ J j =Ill= J J J J =Ill= J J J j .. =ll o J J J =Ill= J J J j =II -.


~ II= ( r cJ e;lil= £] J J =Ill= J J j J =Ill= J j j : =Ill= J J j J =Ill= f] ; J511

n v n v etc. 159. v n v n etc. ~ ~ etc. 1 q D.C.

II= C G rr =liP j J J =llld J J J =Ill= J J J g =llld j J J =liP q j =II w --,j

These quintuplets should be played as written in addition to the following accented rhythmic patterns:

a.) b.) c.) d.)r-3--, e.) r-3--, f.) r-3-

& JJDJiJH¥fflJTIJt£JJJJiJJ.rJJUJJJ. >- >- >- >- >- >- >- >- > >->- >- >-

This sequence of patterns applies to all future groups of quintuplets.

i1 V il V i1 (V i1 V i1 V)etc. 160. V i1 V i1 V (i1 V i1 V i1)etc. D.

& II: ( F f [J =Ill: f J J J J =Ill: J j J J J :Ill: J J J J ] :Ill: J J J J J :Ill= ~ J J: -

i1 V i1 V i1 (V ~ V V) t 161. V i1 V i1 V (~_ y ~ 9 ~):t~: _ D.

& II: ([ r u :Ill: n a J J :Ill= a J w J g :Ill: w a J JJ =Ill: w J w J J =Ill: n J A

i1 v i1 v i1 162. V i1 V i1 V (V ~ V ~ V) etc. D

>- (M V ~ V ~)etc. _ ·

& II: c r r u :Ill: D a JJ :Ill= fJ J J3 :Ill= p 4 g o :Ill= 41 u p =Ill: fJ n--

i1V i1V i1V i1V i1V (V M V ~ V) etc. 163. (~ V ~ V M)etc. D.

& II= Ec c u =Ill: fffl J :ill: J J J ag :Ill= w J g Jg :Ill= 11 J p :liKJ J ~ ;;i

i1 v i1 v i1 164. V i1 V i1 V (V ~ V ~ V) etc.

>- (~ v ~ V ~)etc. _D.

& II= cr E d =Ill= fJ J J1 :Ill= jJ J j J =Ill= fj J J J =Ill= J1 J J J :Ill= fJ ;-- ~ _

165 V V i1V V i1V (V ~ V ~ V) etc. • >- i1 i1 (M__ V ~ v ~)etc. _ D.

& II: [ F c N' :Ill= JBJ ] ] J :Ill: i] J J J :Ill: J J J J g =Ill: £j J j 2 :11: • .. ; ~l - ~ ------

32

This group is to be played as indicated. In addition, apply the following patterns:

a.) 3 3 b.) 6

II J J J J J J II J J J J J J II :::> :::> :::>

r'1 V r'1 V r'1 V etc. 166. V r'1 V r'1 V r'1 etc. D.C.

~ II: a E! Er ~lil fJ n Jj :Ill: F n n :Ill: :p fj fj :Ill: F h h :Ill: p .a n :II


~ II: E£ Ef ir ~Iii; H h lj :Ill: h h Jj :Ill: fj J5Jg :Ill: h rl JJ :Ill: h h fJ :II


~ II: a ff ir ~ifl; p E ]1 :Ill' fl Jj 0P :Ill: jJJlP :Ill: Jd Jj p :Ill: fl E S :II


f 1 Et U if ~jj; 13 .a lJ :Ill: tj jj 1j :Ill: Jj4Jd] :llf!j J1 1J :11P'l£1IJ I -,j


~·· II: ; U if ~jl fJ jj J) :Ill: jjj # :Ill: ~g;Jg~fO :Ill: JQJj p :Ill: 1J ~ n :II

r'1 V i1 V i1 V etc. I 7 I. V i1 V i1 V i1 etc. D.C.

~ lJi Er;; Qt ~jf:· JJ fi fJ :Ill: !lJJ=jJ :Ill: JJj'1@ :Ill: ljiJJ_jJ :Ill: Jj J1J3=l

33

i1 V i1 V i1 V etc. 172. V i1 V i1 V i1 etc. D.C.

' II: ad Er ~lil n p Jj :Ill: F p :a :Ill: J:J'F n :Ill: _;p # n :Ill: p tl n :II


' II: ij b ~ ~lil lh91J :Ill: n Jj jj :Ill: th'Jij :Ill: h lJ jj :Ill: n A tJ tll


' II: it ff if ~jfi; JJ n il :Ill= j fJ P :Ill: ~gg:p :Ill: j fJ )] :Ill: E :0 li 1

i1 V i1 V i1 V etc. 175. V 11 V i1 V i1 etc. D.C.

' II: Q it~ ~ifl; Jj E fl :Ill= !j j'j:jj :Ill: !J:fi~llll: ij jjj :Ill: ffiJ !JBII


i II: it a Ef ~jfi; n JJ n :Ill: JJJJ n :Ill: 1¥ n :Ill: JlfJ h :Ill: E ~ /:jl


' II= (if~ ~jfi; n fJ fl :Ill: h JJJJ :Ill: ngg=Jg :Ill: h dJfl :Ill: l#J ft-1

34 Use the following additional accented patterns for this group:

a. 3 3 3 b. 3 c. 3 d. 3 e. 3

ij--JJJ JIJ JJJ II JJJ JJ !J JJ II £9-JJJ J J J J II J J J J iJJ JJ II JJ 1t.Q JJJ ::> ::> ::> :> ::> ::> .> ::> ::> ::> > ::> > > ::> > ::> > ::>

r1 V r1 V r1 V r1 V r1 etc. 178. V r1 V r1 V r1 V r1 V etc. ~ ::> ::> ::> ::> ::> etc. =4 ::)

\'\ElRc r r E E f ff:f9lllq J J J f*=t ~ ~ =Ill= J J J4 J fi ±±j

4 II= @ J J J J J J J J =Ill= J J J J J OJ J J J =Ill= f J m J J nffij r1 v r1 v r1 v r, v li. etc.

179. V r1 V r1 V r1 V r1 V etc. -j:. >- > > > > etc. ~

~ II= L rr E f rr f Pill= J J J J J 3 J J = =Ill= J J j J J J J B =I,

$-411= fJ J J J J J J J =Ill= g J J J J J J J Hlf J J J J J J 3 J t·~: r1 V r1 V r1 V r1 V r1 etc.

180. V r1 V r1 V r1 V r1 V etc. ~ > > > > >etc. = ~

II= c E u r cf f F =Ill= fJ J j J J J ~ : =Ill= J J J J J J :J J J ~

~ II= j g g g J J J J J =lll=g J J J J J :JJ J =Ill= J J J J J J ¥F11 r1 V r1 V r1 V r1 V r1 etc.

181. V r1 V r1 V r1 V r1 V etc.

~ II: E r E [ E r F cJ eli!: j J J J J J J J 3 =Ill: J J j J J J J J J =II

~ II: j J J J J J 1 3 3 =III:J J j J j J J J g .J- i J J J J Jj J D.~i r1 V r1 V r1 V r1 V r1 etc.

182. V r1 V r1 V r1 V r1 V etc. -p_ > > > > > etc. ___t::::]

~ II= C f r r L E r EJ =Ill= 7J J J J J J J G · ItT; J J J J J J gt1 -j. r~ o.c. ~ II= J J J J J J J J 3 =Ill= J J J J J J J J 3 =Ill= r J J J J j J J =II

r1 V r1 V r1 V r1 V r1 etc. 183. V r1 V r1 V r1 V ii V etc. -i: > > > > > etc. _r ~ ~ II= F F [ r [ t r CJ =Ill= JC ~ J J 3 j j J J =Ill= J J J J J J J J g5!1

ft II= J J J J J @ g g 3 =Ill= J J J J J J J J J =Ill= f J J 3 J j J J J jj

- -- ---------~~~~~~

35

Practice using previous accented patterns for five note groups.

V r1 V r1 etc.

184• V r1 V r1 V etc.

$HI: f J ] :l J •lttf j 3 J J illfJ4 J J t!f£ WJ jj :::=- etc.

V r1 etc.

185 r1 ~ V r1 V etc.

. v )

4±m j J J J :ill: J j 3 J 9= :Ill: J J J J l :Ill: j ji~ :::=- etc.

V r1 V r, etc. 186 r1 r1 V r1 V etc.

. VF J ~ J J J =" J = J J D.C. II: }.L_ 7 : :Ill: fJ=d J :Ill: j J J J J :Ill: j j J = - AI

r1 V r1 V r1 etc. 187. V r1 V r1 V etc. D

~ II: j J. J J J :Ill: j J j J 3 :Ill: ;f J J J J :Ill: f j j J 3 ·j

r1 v r1 v 189 V r1 V r1 etc.

• - r1 V etc

~ II: F J J J J :ill: i J J j J :llld J J J g :III:J J J tJF~ :::=- etc.

r1 v r1 v 190. V r1 V """ r1 etc.

1 1 V etc.

t II: : et~. J J ] =Ill= J J ] J J :III:J j J J g :Ill: J J ] j J f1 r1 v r1 v

191 V r1 V r1 etc. . r r1 v etc.

~ II= ~ et:. j ] J :III:J J ] j J =llld j J J § :Ill: J J ] J iii

36

Utilize the following accented patterns: a. s b. 3 c. 3

J J J

' J J J J J J J I FJ J J J Fl I J J J J

:::> :::> :::> :::> :::> :::> :::> :::> :::>

V i1 y i1 V i1 etc. 192. V i1 y

1

i1 V i1 V etc. D.C.

& II= j J J J J J J =Ill= J ] J J J J J =Ill= J J J J J J J =Ill= f] J J ffi :fl :::> :::> :::> :::> etc.

V V i1 V i1 etc. 193. V i1 V i1 V i1 V etc. D.C.

& II: f J Q J ~ J : ~l~~ J ] J J J 3 J :Ill= J J J J J j J :Ill= :fJ j J J J BJ V i1 y i1 etc.

194. V ~ V i1 V i1 V etc. D.C.

& II: fJ Q ] l J : ~~~!~ fl j ] ] J J :Ill: J J J J J ] J :Ill= ~1 J ] ] J 3 =II

V V i1 V i1 etc. 195 V i1 V i1 V i1 V etc. D.C.

& . II: j j l ] ~ J : ~\tj J J j J J 3 =Ill: J J J J j J J :Ill: J J J ] J J L1

i1 ~ i1 V i1 V i1 etc. 196. V V i1 V i1 V etc. D.C.

& II: J J J J J J ] :Ill: d J J J 3 ] J =Ill= J J J J J J J =I m ~ 3 J J =II :::> :::> :::> ::>e~ ~

i1 V i1 V i1 V i1 etc. 197. V i1 V i1 V i1 V etc. D.C.

$ II= J J J J J J ] :Ill= J J J 3 j j J :Ill: J ] J "'! ~~:Ill= J J J J ] J j :II :::> :::> :::> :::> etc. _.. _.. 7

i1 v i1 v v V i1 i1 i1 i1 etc.

198. V V i1 V etc. D.C.

$ II,J J ] J J j }Ill: JJ ]] j J J:lll= ifjj · illll= Jj ] j j J]'ll :::> :::> :::> :::>~. ..~ .. ~

V ~ i1 V i1 V i1 etc. 199. V i1 V i1 V etc. D.C.

~ II:: J ~ J 1 ] ] 1!t. J J J J J J J :Ill: J J J J J J g =Ill: J J J J J J J :II

37

Use these additional accented patterns: a. 3 3 b. 3 3 c. 3 3 & JJJJJJJJJJPJJJEJJJJ I BJJJJJJJJj

> >>> > >> > > > > >> > >

V r1 V r1 V r1 V etc. 200. r1V ~ Q 1'1 V 1'1 V ~x5 etc. DC JJ .. & "' D J J J J J :Ill: J J J 3 J J J J J J =Ill= JJJ J J J a a J J :Ill= J J J J J ;m J B311

> > > > > etc.

V r1 V r1 V r1 V etc. 20 I r1 V r1 r1 V r1 V r1 V r1 etc. · V r"1 VJ D.C. t II: 11! J I J ~ J ~ et~~~~: JJ J J J j j J jJ :Ill: JJJJJ J J J J J :Ill: JJ ] ] ] j ~ j jJ =II

V V r1 y r1 V etc. 202. Q ~ Q 1'1 Q 1'1 V 1'1 V 5 etc. D.C.

& II= lJ 1 J l J 1 J: et~~l= j]J J J J J J J J =Ill= JJJJJJJ j J J =lll=jj]]]] J fl;u V r1 V r1 V etc.

203 "'1 V ~ V r1V ~ v r"1 v r1 etc. D c

• v r1 v r1 ~ J JJ . ~ n· . & II= fJ 1)! J i ~ et~~l= J]JJ j J J J Ji =Ill= JJQJJ j J J J J =Ill= JJJJ J J J J C111

4 ~ > > > > > • etc. •• =i

r1Vr1Vr1V V

• ••

D.C. •.t~

V r1 V r1 V r1 r1 r1 V etc. 205. ~ V r1 V r1 etc. D.C.

ffl! J ~ j l J 1 J ~~~: i] J j ] ] J J JJ =Ill= W J J J J JJJQ@ =Ill= J J J J J j ] ] JJ J

r1Vr1Vr1V V r"1 V r1 V r1 y ~ r1 V etc.

206. J J V r1 etc. _ D c

& II=~ ~ J d J lJlJ ;~J~ n J J J J JJJJ =Ill= a a JJJJJJJQ =Ill= n J J J J JJJ] ~ r1Vr1Vr1V V r1 V r1 V r"1 r1 V r1 V etc.

207. -. V r1 V r1 etc

& II= : J : J ~ J j j j }Jk B J J J j JJJJ =Ill= J J J j j JJQQQ =Ill= J J J J 3 ] J g4· > > etc. J.=

38

Practice this group of eighth notes, accenting the first of two,

then as sixteenth notes.

208 i1 V i1 V i1 V i1 V etc. . v i1 v i1 v i1 v rl etc.

i-Jtg J @ J J J 1 J e;~I'J J J J j ¥ J =Ill= ffj Lld J 3 =II

~ D.C.

it 11=-er E r r r r 1 • J J J 3 £H = =Ill= i 1 J J J J J iHI

i1 V i1 V i1 V i1 V etc. 209. V i1 V i1 V i1 V i1 etc. ~ > > > > etc. --1 J ~ II= Gift r F E r: r =liP J W W ] j J =Ill= f J J j J J J J =II

D.C.

~¥1 J J J j J @ J @ =I lid J j j J J J j :IJP oJ J J 3 j J J J1

2 I 0. i1 V i1 V i1 V i1 V etc. V i1 V i1 V i1 V i1 etc.

@ Ig g J=J J J 1 J =Ill: J J J J J J J 3 =Ill: f j J 3 t=tJ hJI ~ > > ek. >

~ :] D.C.

~ lf: : E F r f f i :Ill' j J J 3 J J J ~ =Ill] J J J J J J FJ

39

~ V ~ V ~ V ~ V etc. 21 1. V ~ V ~ V ~ V ~ etc.

' 11=1 F [ E F E ~ r et~ill: Ffij 3 J J 3 =llld J J J J J J fDll

212 ~ V ~ V ~ V ~ V etc. ~ D.C. . v ~ v ~ v ~ v ~ etc. ~ ua §= f=:tJnJ J Jfi =Ill= J #] J J J : =Ill= fHz= =Ill= J j J j Hbl

~ >- >- >- etc. >-

V V ~ V ~ V ~ V etc. 213. ~ V ~ V ~ y ~ etc - D.C.

f II= J J 13 J J J@ =IIi= fJ ± J ] j j J =l!d j j Jj J J¥ =Ill= R J J ] j JJ8!1 ->- >- >- >- etc. -:J

214 ~ V ~ V ~ V ~ V etc. J D.C. • V ~ V ~ V ~ V ~ etc. ~ ~ ~ J~

j- II= J J JTI J J F:lll= [ J j j J J J :: =Ill= fJ d J ; ; =Ill= J j JP W L =ll >- >- etc. -.

::::> >-

~ v ~ v P"! v y ~ V ~ 1 1 ~ y etc. 215. V ~ V ~etc. - D.C.

' II= J J J J J J J J =II PO llfftJ =Ill= J J J J J J J j =Ill= £J j 3 ] j j JZ:!I >- >- ..:>- >- etc. -#

~ V ~ V i'1 V ~ V etc. D C 216. v r1 v r1 v r1 v 1'1 etc. ~ ~ J a . . ' II=JJ@Ji j Q J J!!=JJ J] J J 3 J =lll=lfH j;; =lll=:f# j j W J= iJ1

>-

V ~ V V ~ V ~ y etc. 217. ~ V ~ V ~etc. - D.C.

' II= : J ~ J l J 1 ] j!!= j J J ] ] ] J J =Ill= J J j J J J J J =Ill= fj J ] ] jJ} 1

40

The studies should be played first as eighth notes, then sixteenth notes with appropriate accent placement. Two more challenging patterns can be applied to these, as well as all previous four-note groups.

a. 3 b. 3

tl J J J J II J J J J II > > > >

i1 V i1 V etc. 218. V i1 V i1 etc. D.C

'f IF ~ [ f; ·;~1: j a J J :ill: J J j j :Ill: J 3 J J :I IF J J j j :ill: j J J b ___,

i1 V i1 V etc. 219. V i1 V i1etc. D.C

' II: ; f [; ·:fil: j JJ 3 :Ill: J JJ j :Ill: J J J J :Ill: J J Jj :Ill: jJ Jj :1


' II: [ r fJ ·;fiF j ] J J :ill: J J J j :Ill: J J J J :Ill: J J J j :Ill: j ] ~ J :1


' II: [ r f=r ·;Iii: J J J ] :Ill: j J J J :Ill: J j ; J :Ill: j J J J :Ill: J J J b - -#-#

i1 V i1 V etc. 222. V i1 V i1 etc.

etc. D.C

& 11, c [ & :ill: w a a J :Ill: J a a J :Ill: 4 J J J :Ill: w a a J :Ill: w a a n i1 V i1 V etc.

223. V i1 V i1 etc. D.C

, 11, c r r 1 ·:llF j a J J :I IF J a J 3 :Ill] J a J :Ill: J a J 3 :Ill: j J J J :1

41

Apply all previous five note accented patterns.

r1 y r1 y r1 etc. 224. V r1 V r1 V etc. D.C.

' II= ( f f u ~1il j J J J J =Ill= J J j j J =Ill= J J J J 3 •Ill= J J j j j =Ill= j J J J J 'II

r1 V r1 y r1 etc. 225. V r1 V r1 V etc. D.C.

' II= ([ [ fJ ~j~ j J J J J =Ill= J J J J j =Ill: J J J J J =Ill: J J J J j =Ill: j J J J J :II


' IF ( r r [1 ~lil J ] ] J J :Ill: J J J J J :Ill: J J J J 3 •Ill: J J J J J =Ill= J ] ] J J =II


& II= ( r r fr ~Iii; J J J J ] :Ill: j J j J J =II~ J J J J Q :Ill= j J j Jj :Ill= j fiJTI

r1 V r1 V r1 etc. 228. V r1 V r1 V etc. D.C.

& II= f f [ f1 ~~~; J J J J ] :Ill= j J J J J =Ill= J J J J J :Ill= j J J J J =Ill= J J J J $:~

r1 V r1 V r1 etc. 229. y r'1 y r1 y etc. D.C.

& II= E [ r 0 ~{fl; J 2 J ] J :Ill= J J J J J :!IF J J g J J :I IF j J J J J :Ill= J J ~ ~ · J1

42

Apply all previous six-note accented patterns.

r"' V r"' V r"' V etc. 230. V r1 V r1 V r1 etc. D.C.

& II= ff f E ff l1; J J JJ JJ =Ill= jJ JJ JJ =Ill= J UJJJflll= J J JJ JJ =Ill= J J JJ JJ =II

r"' V r"' V r"' V etc. 231. V r"' V r"\ V r"' etc. D.C.

t II: 2r f E Er :ifl; J J J J J J =Ill: J J J J J J =Ill: J J J J JJ =Ill: J J J J J J =Ill: J J J J J J =II

r"' V r"' V r"' V etc. 232. V r"' V r"' V r"' etc. D.C.

& II= ff f rEf ~ifl; J]] J J 3 =Ill= JJJJ J j =Ill= -JJJJ JJ =Ill= JJJJ J j =Ill= j]]] J J 31

r"' V r"' V r"' V etc. 233. V r1 V r1 V r"\ etc. D.C.

& II= Er F r Fr ~iii= JJ JJ a J =Ill= JJ JJ WJIII=JJJJ urlll= JJ JJ WJIII= JJ JJ a J =II

r"' V r"' V r"' V etc. 234. V r1 V r"\ V r~etc. D.C.

& II= (g [ [ [r ~iii= J J J J J J =Ill= j J J J Jj =Ill= J J 2 J WJ =Ill= J J J J Jj =Ill= J J .J J J )ll

r"' V r"' V r"' V etc. 235. V r"\ V r1 V r"!etc. D.C.

~4= Ef; r (r ~if~ J J]]]] =Ill= j WJJJJ =III=JUJJJJ =Ill= j 2JJJJ =Ill= J J j j j j =II

i1 v 236.

v n

' II' j J :::>

i1 v v i1 237.

J ¥11: j :::>

i1 v 238.

v i1

II= j ~

' :::>

i1 v 239. v i1

' II= j J :::>

i1 v v i1 240.

J J

' II= :::>

i1 v 241. v i1

J J ' II= :::>

i1 v 242.

v i1

II= J J ' :::>

i1 v 243. v i1

J J ' II= :::>

r1 V i1 etc. V i1 V etc.

Apply all previous six-note accented patterns.

43

j J J etj~l: j J ] J j :Ill: J J J j j :III:J J j J D.C.

J :I

i1 V i1 etc. V i1 V etc.

J J J j_ll: j 3 J J J :Ill: J J J J J :Ill: J J J J J D.~i i1 v i1 etc. v i1 v etc.

~ J J D.C.

:Ill: j J J J J :Ill= J J J J J =Ill= j J J J J :I etc.

i1 v i1 etc. v i1 V etc.

~ J J D.C.

:Ill= j J J J J =Ill= J J J J J :Ill: j 3 J J f±11 etc.


J J j D.C.

=Ill= j J J J J =Ill= j J J J ~ =Ill= j J J J J Jfl etc.


J ~ J

D.C.

=Ill= j J J J J =Ill= J J J J J =Ill= j J J J J ]I etc.


~ ~ j D.C.

=Ill= d J J J J =Ill= J J J J J =Ill= j J J J f]J etc. ....


~ j j D.C.

=Ill= J J J J J =Ill= J J J J J =Ill= J J J PJ tll etc.

44

Apply all previous six note accented patterns.

1"'1 V 1"'1 V 1"'1 V etc. V 1"'1 V 1"'1 V 1"'1 etc.

,

4

• II: J I J J J Llll: J J J J J J :Ill: J J J J J J :Ill: j J J J J t >- >- etc.

1"'1 V 1"'1 V 1"'1 V etc. V 1"'1 V 1"'1 V 1"'1 etc.

245. D,

& II: i J j 1 j J JJ!: j J ] ] ] J :Ill: J J J J J J :Ill: j J ] ] ] J ;

1"'1 V 1"'1 V 1"'1 V etc.

246 V 1"'1 V 1"'1 V 1"'1 etc.

'. II: J J J : J J :Ill: J J J J J J :Ill: J J J J 3 J :Ill: j J J J J J D.: >- etc.

1"'1 V 1"'1 V 1"'1 V etc. V 1"'1 V 1"'1 V 1"'1 etc.

247. D.(

& II: 1 j j : J j J!!: j j j J J J :Ill: J j j J J j :Ill: j j j J ] J :

1"'1 V 1"'1 V 1"'1 V etc.

248• V i"1 V 1"'1 V 1"'1 etc. D <

& II: J J J j J j :lll:d 3 3 ] J j :Ill: j j J J J J :lli:J J 3 ] J r >- >- etc.

1"'1 V 1"'1 V i"1 V etc.

2 9 V 1"'1 V 1"'1 V 1"'1 etc.

'. II:~ J J l J j :Ill: J J ] ] J J :Ill: J J J J J @ :Ill: J ] ] ] J f etc.

1"'1 V 1"'1 V 1"'1 V etc. V 1"'1 V 1"'1 V 1"'1 etc •

. 250. D <

& II:~ J J : J j •llld ] J J J j :Ill: J J J J J J :lll:d } J J J j": etc.

1"'1 V 1"'1 V 1"'1 V etc. V i"1 V 1"'1 V 1"'1 etc.

25 I. D.C

' II: ~ J J 1 j j .:l~l: j ] J j j j :Ill: J J J j @ J :Ill: J ] J j j j :1

Apply all previous seven note accented patterns.

i1 V i1 V i1 V i1 etc. V i1 V i1 V i1 V etc.

252. D.C.

& II=) J 1 j ~ j ~=Ill= j J ] J J J J =Ill= J J J j j j j =Ill= j J ] J J J J A etc.


253. D.C.

& II= j J 1 J 1 J ~=Ill= j J ] ] ] ] J =Ill= J J J J J J ] :ill= j J ] ] ] j bH ~ etc.


254. D.C.

& II= j J : J : J ~=Ill= j J J J J ] J =Ill= J J J J J J ] =Ill= j J J J J ] J :JI ~ etc.


255. D.C.

& II= 1 J 1 J : J ~ ~~~: j j J J J ] J =Ill= J J J J J J ] =Ill= j J J J J ] J =II

i1 V i1 V i1 V i1 etc.

256• V i1 V i1 V i1 V etc.

& II= ~ J ~ J 1 J j =Ill= J J J J ] J j =Ill= j j j j J J J =Ill= J J J J ] b] ~ek. •


257. D.C.

& II= i j 1 j 1 J L(~1~ J ] j ] j J j =Ill= j J J J J J J =Ill= J j j j j l }4


258. D.C.

& If~ J : J : J j =Ill= J j J J J J J =Ill= j J J J J J J =Ill= J j J J l ; _?il ~~. .

i1 V i1 V i1 V i1 etc.

259• V i1 V i1 V i1 V etc.

& II=~ j ~ j J j j =Ill= J ] J J J J j =Ill= j J J J J J J =Ill= J ] J ~ 1- t·~ ~ ~etc. • • • •

46

Apply all previous six note accented patterns.

ri V ri V ri V etc. V ri V ri V ri etc.

260. D.C.

& II= tJ jd 1 J :Ill= j J j J ] ] =II > etc.

>

ri V ri V ri V etc. V ri V ri V 11 etc.

262. D.C.

& II: J J 1 j ~ J :!!~ j J j j J ] :II

ri V ri V ri V etc. V ri V ri V 11 etc.

264. D.C.

& II= 1 j : j ~ J .1!~' j J J j J j =II


266. D.C.

& 1d j j j J j=lll= j JJ j J J =II tJ > > >

etc.

11 V ri V ri V etc. V ri V ri V ri etc.

268. D.C.

& II: 1 J 1 J : j =Ill= j J j n J =II etc.

ri V ri V ri V etc.

26 I. V ri V ri V ri etc. D C

& II: j J ) J ~ J =llr. j J j J J ] ·=II > etc.


263. DC

& II: j J : j ! J :Ill= J J J j J ] ·=I > etc.


265. DC

4 II= 1 j ~ j :J =Ill= j ] J j J J .:1 etc.


267. D.C

& II= 1 J 1 J :J=111= Pjj J J =I etc.

ri V ri V ~ V etc.

2 v r; v ri v ,i etc.

f II= 1 J 1 J j j =Ill= J J j J J f~ > etc.

47

Apply all previous seven note accented patterns.

r-, V r-, V r-, V r-, etc. V r-, V r-, V r-, V etc.

,o. II: j J j J i J i :Ill: j J ~ ~ ~ ~ ~-~j ~ etc.

~

r-, V r-, V r-, V r-, etc. V r-, V r-, V r-, V etc. 272. D.C.

& II: y j ]j J J:111:j Jjjj ~ J :II ~ ~ etc.

~


271. D.C.

& If j J 1 j ! J 1 :Ill: j J J ~ ~ ~ ] 31 ~ etc.


,J. IF j J : J ] J 1 :ill: J J J J J J T~ ~ etc

~ .

r-, V r-, V r-, V r-, etc. V r-, V r-, V r-, V etc. D C

275 ..

' . II: 1 J 1 J 1 J j :Ill: j ] ] J J J J :II ~ etc.

r-, V r-, V r-, V r-, etc.

277 V r-, V r-, V r-, V etc. D C

t II: 1 J 1 j 1 JJ :ill: j ~jjj J J~ ~etc. -_.

r-, V r-, V r-, V r-, etc. V r-, V r-, V r-, V etc. D C

,

9

• II: 1 J j JJJJ :Ill= j Jj • .. . J ~ ... ---

~ ~ etc. -,-, -,

renard.d.hoover - right hand development for jazz guitar

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