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The Beato Book.pdf
Introduction
Chapter 1: Theory and Harmony
Interval Names and Symbols
Ex. 1
Naming Intervals
Ex. 2
Ex. 3
Ex. 4
Ex. 5
Ex. 6
Enharmonic Intervals
Ex. 7
Chords and their formulars
Diatonic Triads in C major
Ex. 8
Building Diatonic Triads
Interval Composition
Ex. 9
Ex. 10
Ex. 11
Ex. 12
Building Diatonic Seventh Chords
Ex. 13
Major Scale (Triads & Seventh)
Ex. 14a
Natural Minor Scale
Ex. 14b
Melodic Minor Scale
Ex. 15
Harmonic Minor Scale
Ex. 16
Harmonic Major Scale
Ex. 17
Double Harmonic Major Scale
Ex. 18
More about seventh chords
Ex. 19
Suspended Triads and other three note structures
Ex. 20a
Ex. 20b
Ex. 21
Ex. 22
Ex. 23
Ex. 24
Ex. 25
Chord Scales
Major Scale Modes
Melodic Minor Modes
Harmonic Minor Modes
Miscellaneous Scales
Chord families and their scales
Major7 Type
Minor7 Type
Minor7b5 Type
Dom7 Type
Diminished Type
Augmented Type
Scale Degree Names and Basic Progressions
Ex. 26
Ex. 27
Basic Progressions
Ex. 28
Ex. 29
Ex. 30
Ex. 31
Ex. 32
Ex. 33
Ex. 34
Ex. 35
Ex. 36
Ex. 37
More About Roman Numeral Analysis
Secondary Dominant and Diminished Seventh:
Ex. 38
Ex. 39
Ex. 40
Ex. 41
Cycle of Fifth and Back Cycling
Cycle of Fifths
Ex. 42
Back Cycling
Ex. 43
Roman Numeral Analysis and Chord Scale Choice
Ex. 44a
Ex. 44b
Basic Rules for Chord Substitutions
Ex. 45
Ex. 46
Ex. 47
Rule I:
Ex. 48
Rule II: Major Chords
Ex. 49
Rule III: Minor Chords
Ex. 50
Rule IV: Dom.7 Chords (V7)
Ex. 51
Ex. 52
Rule V: All Chords
Ex. 53
Rule VI: Dom7 Chords (V7)
Ex. 54
Rule VII: Dom7 Chords (V7)
Ex. 55
Rule VIII: Dom7 Chords (V7)
Ex. 56
Ex. 57
Extension of Dim7 chords
Ex. 58
Ex. 59
Rule IX:
Ex. 60
Rule X: Dom7 (V7) chords
Ex. 61
Rule XI: Dom7 (V7) chords
Rule XII:
Ex. 62
Ex. 63
Ex. 64
Rule XIII
Ex. 65
Ex. 66
Rule XIV:
Ex. 67a
Ex. 67b
Rule XV:
Ex. 68
Rule XVI:
Ex. 69
Rule XVII:
Ex. 70
Rule XVIII:
Ex. 71
Rule XIX:
Ex. 72
Rule XX: Symetrical Scales
Rule XXI: Dom7 Chords (V7)
Ex. 73
Rule XXII: Modal Chords
Ex. 74
Rule XXIII:
Ex. 75
Rule XXIV
Ex. 76
Rule XXV:
Ex. 77
Rule XXVI:
Ex. 78
Rule XXVII
Ex. 79
Rule XXVIII:
Ex. 80
Rule XXIX
Ex. 81
Triad and Seventh Chords over Bass Notes and Polychords
Ex. 82a
Ex. 82b
Ex. 83
Ex. 84a
Ex. 84b
Ex. 85
Ex. 86
Triads over Bass Notes
Ex. 87
Ex. 88
Ex. 89
Ex. 90
Reharmonization and Chord Substitutions
„Countdown Changes“
Ex. 91
„Bird Blues“
Ex. 92a
Ex. 92b
Advanced Reharmonizations
Blues
F Blues Basic
Substitution Characteristics
F Blues ①
Ex. 93
F Blues ②
Rule XXX: Dom7 chords
Ex. 94a
Ex. 94b
Ex. 95a
Ex. 95b
Ex. 95c
F Blues ③
Rule XXXI
Ex. 96
Rule XXXI cont.
Ex. 97
F Blues ④
Ex. 98
F Blues ⑤
Ex. 99
Ex. 100
Ex. 101
F Blues ⑥
Ex. 102
Rhythm Changes
Ex. 103
Ex. 104
Rule XXXII
Ex. 105
Ex. 106a
Ex. 106b
The Bridge of Rhythm Changes
Ex. 107
Ex. 108a
Ex. 108b
Ex. 109
Ex. 110
Ex. 111
Ex. 112
Ex. 113
Ex. 114
Reharmonization of Standard Forms
Reharmonization No.1
Reharmonization No.2
Common Tone Reharmonization
Rule XXXII
Ex. 115
Modal Harmony and Theory
Ex. 116
Ex. 117
Ex. 118
Ex. 119
Sharp and Flat Direction Modal Modulation
Ex. 120
Upward Modulation
Ex. 121a
Ex. 121b
Ex. 122
Downward Modulations
Ex. 123a
Ex. 123b
Ex. 124
Sharp Direction (melodic minor)
Ex. 125
Flat Direction (melodic minor)
Ex. 126
Sharp Direction (harmonic minor)
Ex. 127
Flat Direction (harmonic minor)
Ex. 128
Resolution Tendencies between Modal Groups
Ex. 129
Voiceleading
Ex. 130
Resolution
Ex. 131
Ex. 132a
Ex. 132b
Ex. 133
Ex. 134
Ex. 135
Chapter 2: Chord Forms
Triad (and Suspension) Chord Forms
Major Triads
Minor Triads
Diminished Triads
Augmented Triads
Suspended Triads
Lydian Triads
Locrian Triads
Drop Voicings
Voicings of Cmaj7
Ex. 136
Drop 2
Maj6
Maj 7
Dom7
Min7
Min6
Minmaj7
Min7b5
Dim7
Dimmaj7
Augmaj7
Aug7
Maj7b5
Dom7b5
Maj7sus4
Dom7sus4
Lydianmaj7
LydianDom7
Dimmaj7b13
Drop 3
Maj6
Maj7
Dom7
Min6
Min7
Minmaj7
Min7b5
Dim7
Dimmaj7
Augmaj7
Aug7
Maj7b5
Dom7b5
Maj7sus4
Dom7sus4
Lydianmaj7
LydianDom7
Dimmaj7b13
Drop 2 + 3
Maj6
Maj7
Dom7
Min6
Min7
Minmaj7
Min7b5
Dim7
Dimmaj7
Augmaj7
Aug7
Maj7b5
Dom7b5
Maj7sus4
Dom7sus4
Lydianmaj7
LydianDom7
Dimmaj7b13
Drop 2 + 4
Maj6
Maj7
Dom7
Min6
Min7
Minmaj7
Min7b5
Dim7
Dimmaj7
Augmaj7
Aug7
Maj7b5
Dom7b5
Maj7sus4
Dom7sus4
Lydianmaj7
LydianDom7
Dimmaj7b13
Triads over Bass Notes
Ex. 137
Major Triads Bass Notes
Minor Triads Bass Notes
Sus4 Triads Bass Notes
Spread triads over bass notes
Ex. 138
Ex. 139
Major Type Spread Triads Bass Notes (C)
Minor Type Spread Triads Bass Notes (C)
Dom7 Type Spread Triads Bass Notes (C)
Diminished Type Spread Triads Bass Notes (C)
Twelve Tone Type Spread Triads Bass Notes (C)
Quartal Voicings
Three Part Quartal Voicings
Ex. 140
Ex. 141
3part-Quartal Voicings – Major Scale
4part-Quartal Voicings – Major Scale
5part-Quartal Voicings – Major Scale
6part-Quartal Voicings – Major Scale
3part-Quartal Voicings – Melodic Minor
4part-Quartal Voicings – Melodic Minor
5part-Quartal Voicings – Melodic Minor
6part-Quartal Voicings – Melodic Minor
3part-Quartal Voicings – Harmonic Minor
4part-Quartal Voicings – Harmonic Minor
5part-Quartal Voicings – Harmonic Minor
6part-Quartal Voicings – Harmonic Minor
Skipped String Voicings
Ex. 142
Major Scale Skipped String Voicings
Melodic Minor Scale Skipped String Voicings
Dominant Diminished Skipped String Voicings
Ex. 143
Open String Voicings
Polychords (Triads over Triads)
Using Comping Voicings in new Ways
Ex. 144
Constructing Chord Scales
Ex. 145
Ex. 146
Ex. 147
Chordal Scales
Major Scale (Bebop)
Major Scale (modern)
Dorian/Minor (Bebop)
Dorian/Minor (modern)
Aeolian/Minor
Dom7 (unaltered)
Dom7 (altered Dom)
Dom7 (Dominant Dim)
Diminished Scale Voicings
Ex. 148
Ex. 149
Ex. 150
Dim7 Type Comping Voicings
Stretch Voicings
Ex. 151
Stretch Voicings
Chordal Lines (ii7 V7 Imaj7)
Ex. 152a
Ex. 152b
Ex. 152c
Ex. 152d
Ex. 152e
Ex. 153a
Ex. 153b
Ex. 153c
Ex. 153d
Chapter 3: Scales and Arpeggios
Mode (Scale) Practice
Triads
Modes of the Major Scale
Modes of the Melodic Minor Scale
Modes of the Harmonic Minor Scale
Miscellaneous Scales
Blues and Pentatonic Scales
Pentatonic Scales:
Blues Scales:
Close Position Fingerings
Major Scale
Melodic Minor Scale
Harmonic Minor Scale
Scales with two notes per string
Modes of the Major Scale
Modes of the Melodic Minor Scale
Modes of the Harmonic Minor Scale
Examples of Extended Range Scale Fingerings
Diatonic Intervals
Ex. 154a
Ex. 154b
Ex. 154c
Ex. 154d
Ex. 154e
Ex. 154f
Diatonic Arpeggios
Triads (in C Major)
Ex. 155a
Ex. 155b
Ex. 155c
Ex. 155d
Seventh Chords
Ex. 156a
Ex. 156b
Ex. 156c
Ex. 156d
Triad Variation
Ex. 157
Seventh Chord Variation
Ex. 158
Seventh Chord Arpeggios
Seventh Chord Formulas
Triads and Suspensions
Seventh Chord Arpeggios Root 6
Seventh Chord Arpeggios Root 5
Bitonal Arpeggios
Ex. 159a
Ex. 159b
Ex. 159c
Major and Minor Bitonal Arpeggios
Major Bitonal Arpeggios (over C at the 8th fret)
Minor Bitonal Arpeggios (over C- at the 8th fret)
Diminished Bitonal Arpeggios (over Co at the 8th fret)
Augmented Bitonal Arpeggios (over C+ at the 8th fret)
More about practicing scales and arpeggios
Ex. 160
Ex. 161
Ex. 162
Chapter 4: Linear Studies
ii V I Progressions
Ex. 163
Ex. 164
Ex. 165
ii V´s in One Measure
Ex. 166
ii V´s in Major One Measure Apiece
Ex. 167a
Ex. 167b
Ex. 167c
Ex. 167d
Ex. 167e
Ex. 167f
Ex. 167g
Ex. 167h
Ex. 167i
Ex. 167j
Ex. 167k
Ex. 167l
Ex. 167m
Ex. 167n
Ex. 167o
Ex. 167p
Ex. 167q
Ex. 167r
Ex. 167s
Ex. 167t
ii V´s in Minor One Measure Apiece
Ex. 168a
Ex. 168b
Ex. 168c
Ex. 168d
Ex. 168e
Ex. 168f
Ex. 168g
Ex. 168h
Ex. 168i
Ex. 168j
Ex. 168k
Ex. 168l
Ex. 168m
Ex. 168n
Ex. 168o
ii7 V7 Imaj7 substitute patterns
Ex. 169
Examples of ii7 V7 Imaj7 Substitutions
Ex. 170
Turnarounds
I V7/ii7 ii7 V7 Exercise
Ex. 171
Turnarounds over four measures
Ex. 172a
Ex. 172b
Ex. 172c
Ex. 172d
Ex. 172e
Ex. 172f
Ex. 172g
Ex. 172h
Turnaround Substitues
Ex. 173
Cycle of Fifths
Ex. 174
Ex. 175a
Ex. 175b
Ex. 175c
Ex. 175d
Cycle of Fifth Exercise
Ex. 176
Ex. 177
Pentatonic Scales
Ex. 178a
Ex. 178b
Ex. 178c
Ex. 178d
Ex. 179
Pentatonic Scales over Maj(7) Chords
Pentatonic Scales over Min(7) Chords
Pentatonic Scales over Dom7th Chords
Or in Relation to One Pentatonic
Melodic Minor Pentatonics
Ex. 180a
Ex. 180b
Ex. 181a
Ex. 181b
Triadic Superimposition
Ex. 182a
Ex. 182b
Ex. 182c
Triadic Superimposition Chart (Maj7)
Triadic Superimposition Chart (Min7 (b5))
Triadic Superimposition Chart (Dom7)
Triadic Improvisation
Ex. 183a
Ex. 183b
Ex. 183c
Ex. 183d
Ex. 183e
Seventh Chord Superimposition
Ex. 184a
Ex. 184b
Seventh Chord Superimposition Chart (Maj7)
Seventh Chord Superimposition Chart (Min7 (b5)(♮7))
Seventh Chord Superimposition Chart (Dom7)
Also from the Dominant Diminished Scale
Hybrid Arpeggios
Ex. 185a-c
Hybrid Arpeggio Chart (Maj7)
Hybrid Arpeggio Chart (Minor7)
Hybrid Arpeggio Chart (Min7b5)
Hybrid Arpeggio Chart (Dom7)
Playing over unusual Resolutions
① Dim7 chords resolving down by ½ step to minor
Ex. 186a
Ex. 186b
Ex. 186c
Ex. 186d
② Dom7 chords resolving up by whole step
Ex. 187a
Ex. 187b
Ex. 187c
Ex. 187d
Ex. 188
Other Resolutions to become familiar with
Ex. 189
Ex. 190a
Ex. 190b
Ex. 191
Melodic Ideas (Stackes)
Ex. 192
Ex. 193
Ex. 194a
Ex. 194b
Ex. 194c
Ex. 194d
Ex. 194e
Ex. 194f
Ex. 194g
Major Scale Impressions
Ex. 195a
Ex. 195b
Ex. 195c
Ex. 195d
Ex. 195e
Ex. 195f
Ex. 195g
Ex. 195h
Ex. 195i
Ex. 195j
Ex. 195k
Ex. 195l
Ex. 195m
Ex. 195n
Ex. 195o
Ex. 195p
Ex. 195q
Ex. 195r
Ex. 195s
Ex. 195t
Modes: Linear Approach
Ex. 196
Modal Lines (Major Scale)
Ex. 197a
Ex. 197b
Ex. 197c
Ex. 197d
Ex. 197e
Ex. 197f
Ex. 197g
Ex. 197h
Ex. 197i
Ex. 197j
Ex. 197k
Ex. 197l
Ex. 197m
Ex. 197n
Ex. 197o
Ex. 197p
Ex. 197q
Modal Lines (Melodic Minor)
Ex. 198a
Ex. 198b
Ex. 198c
Ex. 198d
Ex. 198e
Ex. 198f
Ex. 198g
Ex. 198h
Ex. 198i
Ex. 198j
Ex. 198k
Ex. 198l
Ex. 198m
Ex. 198n
Ex. 198o
Ex. 198p
Ex. 198q
Blues Sounds
Ex. 199a
Ex. 199b
Ex. 199c
Ex. 199d
Ex. 199e
Ex. 199f
Ex. 199g
Ex. 199h
Ex. 199i
Ex. 199j
Diminished Sounds
Ex. 200a
Ex. 200b
Ex. 200c
Ex. 200d
Ex. 200e
Ex. 200f
Ex. 200g
Ex. 200h
Ex. 200i
Ex. 200j
Ex. 200k
Ex. 200l
Ex. 200m
Ex. 200n
Ex. 200o
Ex. 200p
Ex. 200q
Whole Tone Lines
Ex. 201a
Ex. 201b
Ex. 201c
Ex. 201d
Ex. 201e
Ex. 201f
Modal Mixture
Ex. 202
Minor Sounds
Ex. 203
Dominant Sounds
Ex. 204
Using One Interval Set Over Many Chords
Ex. 205
Ex. 206a
Ex. 206b
Ex. 207a
Ex. 207b
Ex. 208
Ex. 209
Outside Playing Over One Chord
Ex. 210a
Ex. 210b
Ex. 210c
Ex. 210d
Ex. 210e
Ex. 210f
Ex. 210g
Ex. 210h
Ex. 210i
Ex. 210j
Ex. 210k
Chromaticism And Twelve Tone Applications
Ex. 211a
Ex. 211b
Ex. 211c
Ex. 212a
Ex. 212b
Ex. 212c
Ex. 213
Ex. 214
Ex. 215a
Ex. 215b
Twelve Tone Triadic Formulas
Ex. 216a
Ex. 216b
Ex. 217
Ex. 218
Twelve Tone Formulars Using Seventh Chords
Ex. 219
Ex. 220
Ex. 221
Non Tertian Twelve Tone Rows
Ex. 222
Ex. 223
Non Systematic Row
Ex. 224
12-Tone Triad Etude No.1
Modal Shapes
Ex. 225
Ex. 226
Ex. 227
Ex. 228
Ex. 229
Ex. 230
Tonic and Dominant Diminished Scale Shapes
Ex. 231
Ex. 232
Unorthodox Left Hand Techniques
Ex. 233a
Ex. 233b
Ex. 233c
Ex. 233d
Ex. 233e
Modern Linear Examples
Ex. 234a
Ex. 234b
Ex. 234c
Ex. 234d
Ex. 234e
Ex. 234f
Ex. 234g
Ex. 234h
Ex. 234i
Ex. 234j
Pedal Point Soloing
Ex. 235
Ex. 236
Ex. 237a
Ex. 237b
Ex. 237c
Chapter 5: Technique and Practice
Bass Lines
Two chords per bar:
Ex. 238
Ex. 239
Ex. 240
Ex. 241
One chord per bar:
Ex. 242
Ex. 243
Ex. 244
Ex. 245
Ex. 246a
Ex. 246b
Ex. 246c
One chord for two bars
Ex. 247a
Ex. 247b
Ex. 248
Pedal Points
Ex. 249
Ex. 250
Ex. 251
Ex. 252
Ex. 253a
Ex. 253b
Ex. 254a
Ex. 254b
Ex. 254c
Bassline Comping Variations
Ex. 255a
Ex. 255b
Ex. 255c
Comping Rhythms
Ex. 256
Solos Over Standard Forms
Practicing
Technique
Left Hand
Right Hand
Review Material
New Material
Ear Training
1
Copyright © 1990 Rick Beato
This book is dedicated to my Mom and Dad.
"Special thanks to my wife Nina and our three beautiful children Dylan, Lennon and Layla; my
brothers and sisters Pat, Nancy, Mike, Lou, Ray and Jon; and my teachers and friends Steve
Brown, Mick Goodrick, Glen Cummings, Paul Smith, Pat Ryan, Tom Wadsworth, Keith Williams
and Ken Lanyon.
A very special thanks to my dear friend and never-ending source of musical inspiration Aydin Esen.
Additional thanks to Christan Lamby, Michelle Taylor, Aaron Shah, Rhett Shull and Carol Kuswanto
for making this book and my YouTube channel possible."
Cover design by Michael Murray
I would also like to thank all of you out there that have supported me through this journey!
Rick
2
Author's Note
I have spent many hours compiling this book in order to give my students a comprehensive
reference source from which to draw. Since this book is not copy-protected it would be easy to
make a photo copy of it for one of your friends. Please don´t. I make a small living as a musician
and am making even less from the sale of this book. I appeal to you as a fellow musician to respect
the work of others, whether it´s wri1en material or recorded works. If one of your friends is
interested in checking out the book, let them borrow it for a couple of days to get a feel for it. If
they like it, encourage them to pick up a copy. When a book or recording is illegally copied, the
publisher or record company has no way of monitoring interest in the project. This not only
steals from the ar%st but may prevent them from having an opportunity to again express
themselves in that medium. Good luck!
3
Table of Contents
Forward.................................................................................................................................................3
Chapter 1: Theory and Harmony..........................................................................................................7
Interval Names and Symbols...........................................................................................................7
Naming Intervals..............................................................................................................................8
Enharmonic Intervals.....................................................................................................................10
Chords and their formulars............................................................................................................11
Building Diatonic Triads.................................................................................................................12
Building Diatonic Seventh Chords..................................................................................................13
Major Scale (Triads & Seventh)......................................................................................................14
Natural Minor Scale.......................................................................................................................15
Melodic Minor Scale......................................................................................................................16
Harmonic Minor Scale...................................................................................................................17
Harmonic Major Scale....................................................................................................................18
Double Harmonic Major Scale.......................................................................................................19
More About Seventh Chords...........................................................................................................20
Suspended Triads and other three note structures.......................................................................21
Chord Scales...................................................................................................................................23
Chord Families and Their Scales......................................................................................................25
Scale Degree Names and Basic Progressions.................................................................................28
More About Roman Numeral Analysis..........................................................................................32
Cycle of FiDh and Back Cycling.......................................................................................................34
Roman Numeral Analysis and Chord Scale Choice........................................................................35
Basic Rules for Chord Subs%tu%ons...............................................................................................37
Triad and Seventh Chords over Bass Notes and Polychords..........................................................51
Triads Over Bass Notes...................................................................................................................54
Reharmoniza%on and Chord Subs%tu%ons....................................................................................60
Advanced Reharmoniza%ons.........................................................................................................62
Reharmoniza%on of Standard Forms.............................................................................................75
Common Tone Reharmoniza%on...................................................................................................77
Modal Harmony and Theory..........................................................................................................80
Sharp and Flat Direc%on Modal Modula%on.................................................................................82
Resolu%on Tendencies Between Modal Groups............................................................................88
Voiceleading...................................................................................................................................89
Chapter 2: Chord Forms......................................................................................................................93
Triad (and Suspension) Chord Forms.............................................................................................93
Drop Voicings...............................................................................................................................101
Triads Over Bass Notes.................................................................................................................174
Spread triads over bass notes......................................................................................................193
Quartal Voicings...........................................................................................................................215
Skipped String Voicings................................................................................................................234
Open String Voicings....................................................................................................................239
Polychords (Triads over Triads)....................................................................................................250
Using Comping Voicings in new Ways..........................................................................................253
Construc%ng Chord Scales...........................................................................................................254
Diminished Scale Voicings............................................................................................................264
Stretch Voicings............................................................................................................................268
Chordal Lines (ii7 V7 Imaj7)..............................................................................................................272
4
Chapter 3: Scales and Arpeggios.......................................................................................................275
Mode (Scale) Prac%ce..................................................................................................................275
Close Posi%on Fingerings.............................................................................................................284
Scales With Two Notes Per String..................................................................................................287
Diatonic Intervals.........................................................................................................................294
Diatonic Arpeggios.......................................................................................................................295
Seventh Chord Arpeggios............................................................................................................298
Seventh Chord Arpeggios Root 6.................................................................................................300
Seventh Chord Arpeggios Root 5.................................................................................................306
Bitonal Arpeggios.........................................................................................................................312
More About Prac%cing Scales and Arpeggios...............................................................................322
Chapter 4: Linear Studies.................................................................................................................324
ii V I Progressions.........................................................................................................................324
ii7 V7 Imaj7 Subs%tute Pa1erns........................................................................................................336
Turnarounds.................................................................................................................................338
Turnarounds Over Four Measures................................................................................................340
Turnaround Subs%tues.................................................................................................................343
Cycle of Fiths................................................................................................................................344
Cycle of FiDh Exercise..................................................................................................................346
Pentatonic Scales.........................................................................................................................347
Triadic Superimposi%on...............................................................................................................352
Seventh Chord Superimposi%on..................................................................................................361
Hybrid Arpeggios.........................................................................................................................368
Playing Over Unusual Resolu%ons................................................................................................373
Melodic Ideas (Stackes)...............................................................................................................378
Modes: Linear Approach..............................................................................................................385
Modal Mixture.............................................................................................................................403
Using One Interval Set Over Many Chords..................................................................................405
Outside Playing Over One Chord.................................................................................................409
Chroma%cism And Twelve Tone Applica%ons..............................................................................413
Twelve Tone Triadic Formulas......................................................................................................416
Modal Shapes..............................................................................................................................425
Unorthodox LeD Hand Techniques..............................................................................................428
Modern Linear Examples.............................................................................................................429
Pedal Point Soloing......................................................................................................................433
Chapter 5: Technique and Prac%ce...................................................................................................436
Bass Lines.....................................................................................................................................436
Comping Rhythms........................................................................................................................446
Solos Over Standard Forms..........................................................................................................447
Prac%cing......................................................................................................................................457
5
6
Chapter 1: Theory and Harmony
A thorough understanding of intervals is of the utmost importance in studying all types of
music, as intervals are the building blocks of polyphonic music.
Each interval has vastly diKerent sound characteris%cs and must be commi1ed to memory aurally
and visually.
Intervals can be sounded together (harmonically) or sequen%ally (melodically).
There are twelve intervals in the space of an octave.
Interval Names and Symbols
Unison m2 M2 m3 M3
P4
A4/d
P5
m6 M6 m7 M7
½
steps
0
1
2
3
4
5
5
6
7
8
9
10
11
P8
12
Key: m
M
A
d
P = Perfect
minor
Major
Augmented
diminished
=
=
=
=
Ex. 1
½ steps
0
1
2
3
4
5
6
7
8
9
10
11
Perfect
1st Unison
4th Fourths
5th FiDhs
8th Octave
Augmented
Diminished
Major
Minor
Imperfect
2nds Seconds
7ths Sevenths
3rds Thirds
6ths Sixths
7
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