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Practical Course in Jazz Improvisation On The Violin
Practical Course in Jazz Improvisation On The Violin
Book I
A PRACTICAL COURSE IN
JAZZ IMPROVISATON ON THE
VIOLIN
2010
Foreword
This book is aimed at musicians who which to enter the world of Jazz music by ear and
bypass the complicated rules of jazz rhythm, melody, harmony and styles.
This book will guide the student in how to perform jazz music, how to improvise in a variety
of styles and also prepare you for more advanced jazz studies.
Before beginning the course it is required that the student has undertaken several years of
classical violin study.
Teaching music, in particular jazz, has much in common with the teaching of other skills
where the aural transmission of knowledge is at the core of good teaching, in fact, the basic
principle of Do as I do lies at the heart of this course. This method works by the student
understanding and reproducing the musical material and through this step by step, continuous
repetition of the teachers performance the student will slowly absorbed the methodologies
involved.
There are twelve compositions by the author which make up the musical content of this book.
Each of the pieces demonstrates a different aspect of jazz including the Most commonly
repeated passages and Harmonic patterns.
Composition Structure
Each piece consists of a theme and several choruses of improvisations which are designed to
illustrate the specifics of one style or another. Each piece is included in both the keys of C
and Bb along with the authors comments and instrumental accompaniments of the study. The
authors comments are aimed to resolve the problems present by each tude and its unique
educational features.
The compositions are presented in order of their melodic and harmonic complexity beginning
with the simplest ones.
ii
Supplemental CD
The author of this book has recorded each piece on a CD which comes as a supplement to the
book. The CD also contains accompaniment tracks for all the pieces.
***********************************************
Although this book is primarily aimed at violinists, virtually any musician on any kind of
instrument, including scat singers can use the material presented to their benefit. The book
can be of great value to music teachers as well as composers and arrangers.
The author hopes that this book will facilitate the study of jazz music for many musicians.
iii
Table of Contents
About the Author
Foreword
Composition Structure
Supplemental CD
Table of Contents
Introduction
Basic Jazz Traditions
Jazz Violin Problems & Recommended Solutions
Fingering
Intonation
Articulation
Rhythm
Improvisation
Method of Study
Comments on the Supplemental tudes
Specific Features of Each tude
tude No. 1
tude No. 2
tude No. 3
tude No. 4
tude No. 5
tude No. 6
tude No. 7
tude No. 8
tude No. 9
tude No. 10
tude No. 11
tude No. 12
i
ii
ii
iii
1
2
3
4
4
6
6
6
6
7
9
11
11
11
11
12
12
12
13
13
13
14
14
14
Introduction
Jazz as a genre of music originated at the beginning of the 20th century and the use of the
violin as a solo instrument within jazz arose within the first few decades of the century. At
first the development of the violin as a solo instrument within jazz took some time, mainly
due to the prominence of more traditional jazz solo instruments such as the trumpet, clarinet,
trombone, saxophone, piano etc. However, the 1920s saw the formation of the first jazz
orchestras which began to include some string sections. Shortly after this a number of world
famous and superb improvising violinists emerged such as Eddie South, Joe Venuti, Stuff
Smith, Stphane Grappelli and many others. This group of prominent violinists created a
bright violin style based on the New Orleans Jazz style and on the swing style.
During the 50s and especially during the 60s and 70s of the last century a new generation
of jazz violinists came to the stage, players like Harry Lookofsky, Jean-Luc Ponty, Michael
Urbaniek, Didier Lockwood, David Goloschekin, Jerry Goodman and many others, who
played in more contemporary jazz styles such as bebop, jazz-rock, modal jazz, etc
Today the violin is accepted as an integral part of jazz music all over the world, this is despite
the fact that it is used less in concerts that many other jazz instruments.
Despite a fairly rich history, the violin as a jazz instrument, with its vast array of expressive
musical possibilities still awaits its full realisation as a jazz instrument
Intonation
In jazz precision of intonation is more important that in classical music. This is due to the
melodies in jazz being based on complicated harmonies, with many complex chords and
dissonances. This is why one should only practise with a harmonic accompaniment all the
whilst listening as an outsider to check for tuning problems.
Articulation
Jazz music requires highly expressive articulation, precise and bright attack with a clear
release of the sound or instantaneous drop in volume. To achieve this one must hold the bow
tighter than in classical music and press it against the string with more force. The left hand is
responsible for effects such as intonation shifts during a note, glissandos, slow deep vibrato
or a quick trill, all of which requires a very light touch on the fingerboard. To achieve this,
the left hand must not be supporting the violin. It must be held firmly between the chin and
shoulder.
Rhythm
Rhythm in jazz is the main medium of expression and is characterised by the feeling of
swing.
One can play on the beat or slightly after the beat but never before it. Therefore, the first
recommendation is not to hurry, do not speed the tempo up.
The second recommendation is to sharpen triples slightly
is usually played as
means that the quarter note in the triplet is played slightly longer than it should be.
The third recommendation is to listen to the great masters of swing such as Stuff Smith.
this
Jazz rhythms are a complicated and vast field. Subsequent books of the Jazz Violin Method
will look at the theory of jazz music specifically from the point of view of violin techniques.
Improvisation
Musical improvisation is creating music whilst performing; composing it just a fraction of a
second before it must sound. This is quite similar to the way we formulate our thoughts just
before articulating them. Improvisation is based upon mastery of the musical language and on
some qualities of the melodic and harmonic ear. These qualities can be trained and techniques
to achieve this are explained later.
In this book it is recommended that the technique widely used along language students, that is
memorising standard wordings and language used in speech, is applied, in this case the
memorisation of standard musical passages.
Method of Study
The main goal of this book is to root into the students subconscious memory some complex
reflexes, feelings and knowledge based upon the existing basic jazz norms seen from the
point of view of the violins specific features.
It is suggested that notated music is avoided at all costs (like black New Orleans musicians
once did at the beginning of the jazz era, who were often not even acquainted with notes), and
that it is referred to only in extreme circumstances only for the most complicated or difficult
passages.
The main learning technique for working with the given music material is to memorise it by
ear from the supplied recording together with the book, to sing it with accompaniment
(naming the note that is sung as is often done in sight singing). Only after that, can one
proceed to play the melodic material on the violin, trying to copy the tune, and using the
printed notes only in order to verify the fingering and the neatness of the selected piece.
The following procedure is suggested:
1) Listen several times to the chosen piece from beginning to the end.
2) Listen to the accompaniment repeatedly, in order to memorize its chord progression
3) Return to the notated violin part of the piece, listen to the first phrase of the violin solo
(usually two bars) and try to sing it. It is normal for it to take as many as twenty attempts
before a good result is obtained.
4) Move to the second phrase and learn it in a similar way.
5) Join those two phrases together. Then, the resulting passage should be sung repeatedly
with the accompaniment, using the supplemental CD.
6) Using the same techniques sing the whole chorus and later the whole piece which will help
you to memorise it.
7) After this, take the violin and begin to work with it. Take the first phrase again and play it
by memory on the violin. Check yourself against the sheet music pay particular attention to
tuning and fingering. Then repeat and play again and again until you have learnt this phrase
by heart.
8) Afterwards learn the whole chorus in a similar way one phrase at a time. Then repeat the
whole piece on the violin many times. This whole process should only be done with the
accompaniment.
It is important to resist the temptation of learning the whole piece by looking at the sheet
music. This is a very important basic principle: aside from memorising the tune itself, one
needs to form the reflex, which connects the imagined (anticipated) pitch heard by the inner ear to
the finger positions on the fingerboard, and not the position of the notes on the page to the
positions on the fingerboard. This will be unavoidable if one learns the whole piece at once
straight from the page: this effect is well known in psychology - the first impression is
immediately registered in the subconscious.
7
is played as a triplet
The accompanying chords are written above the staff line in Roman numeral notation. If one
chord is marked above the bar it means that it is played on the first beat of the bar. If two
chords are marked, then they are played on the first and the third beat. If there is no chord
above the bar, then it means that the chord from the previous bar is being repeated.
Chords are marked in the following manner (in this example each chord is built upon the note
C):
To mark a chord progression that is not in a particular key degrees of the scale are used. For
example Im would signify a minor chord built on the first degree of the scale that the tude
is in.
10
11
IIm7 - V7 - Imaj
This tude presents the most common chord progression and the simplest way of building an
improvisation - development of the theme with the help of additional melodic figurations.
The study consists of three independent themes. Each one of these themes has its
corresponding improvisation.
TUDE #2
Key: F major
Tempo: = 110
Basic chord progression:
IIm7 V7 - Imaj
The chord progression is similar in its use to the previous tude. Although at first, the
improvisation is developed around the theme, it later moves much further away from the
theme than in the previous tude. A more complex musical language is used as well as a
more intricate rhythmic structure.
TUDE #3
Key: Eb major
Tempo: = 130
Basic chord progression:
12
I6 - VI7 - II7 - V7
As in the first two tudes, at first the improvisation is musically linked to the
theme, but later it is developed independently. Attention must be paid to the more flexible
articulation here, compared with the previous tudes.
TUDE #5
The key: = F major
Tempo: 170
Basic chord progression:
TUDE #6
Key: Db major
Tempo: = 140
Basic chord progression:
13
VIOLIN METHOD
TUDE # 7
Key: Ab major
Tempo: = 90
Basic chord progression:
I-IIIb7-I-VI7
This is an uncomfortable key. It is difficult however, the jump at the beginning of the chord
progression sounds fresh and interesting.
TUDE #8
Key: G major
Tempo: = 140
Basic chord progression:
b
7
I - IIbdim IIm7 III dim IIIm
This chord progression was extremely popular in the 30' s. Easy and pleasant to memorise
TUDE #9
Key: D major
Tempo: = 120
Two basic chord progressions:
From all points of view this is probably the most difficult TUDE of them all.
14
Tempo: = 170
Basic chord progression:
| I6 | I 6 | I 6 | I 7 |
| IV7 | IV7 | I6 | I6 |
| IIm7 | V7 | I6 | I6 |
This is one of the simplest and most popular blues chord progressions scheme. It has been
arranged in the style of the 30's.
TUDE # 11
Key: C minor
Tempo: = 125
Basic chord progression:
| Im7 | Im7 | Im7 | Im7 |
| IVm7 | IVm7 | Im7 | Im7 |
| VIbm7 | VIbm7 | Im7 | Im7 |
This is one of the variations of the minor blues. It is arranged in the style of the 80's - 90's.
TUDE # 12
Key: Bb major
Tempo: = 140
Basic chord progression:
| I6 | IV7 | I6 | I7 |
| IV7 | IV7 | I6 VII7 | VIIb7 VI7|
| IIm7 | V7 | I6 VI7 | IIm7 V7 |
This tude is composed in the form of the classic blues, one of the most widely practiced
forms of blues.
Improvising with small durations (in the 4th and 5th choruses) always creates a real
complication for the violinist: it is not so difficult to think of the "music" itself, but it is
difficult to manage in time to which fingers to play it with. This is why in difficult situations
one must resort to use "prepareds" i.e. pre-learned passages and phrases composed and
memorised beforehand.
15
16
Etudes in C
17
Etude #1
In C
& 44
&
Theme I
Intro
Dm7
Gm7
B 7
& . b .
&
. b
C maj
A7
. #.
G7
D7
& .
3
r
b . #.
#
3
G7
. .
Gm7
b
& . b . . b
Fm7
b
3
3
b b
B 7
D7
Theme II
# w
&
#
& .
Dm7
C maj
. b .
A7
C7
Fm7
b . . b #.
& . .
C maj
Gm7
& . . #. #. .
#
G7
Dm7
C maj
F maj
. . w
Impr. I
Dm7
F maj
b
b b
Fm7
C maj
C7
G7
B 7
C maj
Dm7
. .
C7
A7
F maj
. .
D7
G7
18
Impr. II
Dm7
G7
. . . . # . . . . .
# .
Dm7
&w
G7
C maj
. . b . . b . .
& .
. . .
. b
3
Gm7
C7
Fm7
B 7
F maj
C maj
A7
.
& . b . b. . . . . .
b .
3
D7
. b # . .
#
Theme III
Dm7
&
G7
. # . . .
C maj
& . # . .
&
.
.
Gm7
.
r
r
.
# .
Dm7
G7
.
. .
.
.
.
R #
R
.
C7
F maj
. # . w
. R . b . .
. .
Fm7
B 7
C maj
C maj
& . b . . # n . .
. b
. r
# .
. .
r
.
#.
# . # .
G7
Gm7
D7
Impr. III
r
.
. .
& . .
# . b w
.
Dm7
A7
Dm7
G7
. # . . . R b . .
.
R #
.
C7
F maj
.
& . . . . . R b. . b . . . .
b
Fm7
B 7
Coda
D7
&
. r
.
# . . .
C maj
r
. .
G7
# . #. n
A7
C6
# . .
19
Etude #2
In C
Theme I
F - dur
& 44
Gm7
. R
. .
r
.
w
&
Dm7
& #
C7
F maj
Gm7
r
.
w
& . r . .
& . . . . . .
#
& . . .
. . .
. .
.
. .
. .
. . . . .
r
& . . #.
# .
. .
Gm7
. .
. R . . .
Gm7
Impr. II
&
Gm7
F maj
F maj
F maj
. r . . . .
Dm7
C7
. r
# . .
Impr. I
F maj
C7
. .
C7
# . .
C7
F maj
. . .
C7
C7
m
# . #
. R . b . . b . b. b n .
. b #. . . b . .
. b. n . . . . .
R
F maj
Dm7
& #. n . . # .
b
3
3
3
Gm7
C7
. b . b . b . . # n . . . .
& R
. . . . .
3
F maj
C7
F maj
20
Impr. III
Gm7
& . . .
C7
. r
. .
. r
. .
. # n . .
.
#. 3
& . . . . .
# n . .
3
3
F maj
Dm
.
& . . . # .
C7
Gm7
F maj
C7
. R # . . . .
. . . .
# .
Impr. IV
F maj
& . . . . . .
C7
&
b n b #
b
Dm7
&
b b
b
Gm7
w
3
. . .
. r
.
.
. .
F maj
Gm7
C7
& b n b # # b n
C7
&
b
3
F maj
b n b
3
3
F maj
Theme II
. r # . . . r . . .
Gm7
. . . r . # n . . # . . .
.
.
.
&
.# .
.
3
C7
F maj
Gm7
& . . . # . . .
F maj
&
. # n .
3
b n
C7
Dm7
C7
. . .
J
F maj
b n
r
.
. #. . .
21
Etude #3
In C
E b - dur
4
&4
&
Fm7
& b
Theme
C7
3
#
b
b .
E 6
b
. b
. .
R
b
# b
&
b
bw
E 6
B 7
Gm7
F7
& n. b . . .
b . .
& . . . . . .
Fm7
C7
E 6
b.
. b
R
b b
.
B 7
b
. .
.
b
b. .
b
# b .
B 7
b
b . n. n bw
b.
E 6
. n b.
b . .
. b .
G7
F7
. b b. . . .
b .
.
.
. .
3
b
Gm7
Fm7
B 7
.
b
#
. .
. . .
b
& .
. b . b . b
b
& . .
Impr. I
. .
Fm7
Fm7
. b b .
C7
Impr. II
b b . n b.
E b6
.
b b
& . R
B 7
b
.
b
. r # . b .
& n. . b . .
. . b
C7
b.
C7
G7
Gm7
n . r .
b .
F7
. r . . b . b .
B 7
B 7
G7
22
B b7
E b6
.
. b . b .
.
# . #.
. b b
. .
C7
&
. b R . b
Fm7
b
E b6
,
3
. . b . .
.
.
.
#
&
# . b
. . b
.
Impr. III
B 7
. b.
#. . . b .
.
&
.
.
#.
. . . . .
b
3
F7
Fm7
B b7
b.
. r b . b .
. r
b
.
&
.
b
. . b. . b
.
G7
C7
Gm7
C7
& . . . b . b . .
b
b
E b6
b b b .
&
B 7
Impr. IV
b
E b6
. b . #. . n # . b . . . #.
R
B 7
Fm7
. b . b
.
.
.
b
.
.
&
. . b . . b # . #
G7
n. b .
b. n
.
&
.
. b . b .
Fm7
B b7
Gm7
r
& . . b . . # b. . .
b
Fm7
B b7
3
3
& b b
C7
&
B b7
#
b
. b R . b n .
E 6
F7
.
. b . . b . b . #
r
b.
b. n. . b . b . #.
C7
b
w
E 6
B 7
b .
. b
23
Etude #4
In C
& 44
1
A1 Theme
C7
&
B 6
C7
C7
b.
r
& .
b
A2 B 6
+5
F7
Gm7
C7
& b # . . w
w
G7
&
C7
. b
Cm7
b
bw
b
+5
F7
B 6
G7
& . . .
. . . #
F7
Dm7
2 Impr. I
A1 B 6
.
. # .
C7
Gm7
b .
#
b
b . . b n. . .
.
. b
3
b
A2 B 6
Dm7
.
&
b .
.
Cm7
&
. .
.
.
.
C7
F7
. b
b
.
.
.
& . . b
# . b . b .
.
. b
& R .
F7
C7
G7
+5
F7
b b
Cm7
G7
F7
G7
. b
F7
. r
& .
C7
Dm7
G7
. r
G7
. b. .
. b
C7
#. b
b . n b
3
24
# . . # . .
.
& . b
Cm7
F7
. b .
. b .
Dm7
+5
b
F7
. b . . # n . b . n
.
R
b
3
#
&
3
3 Impr.
II
A1 B b6
G7
. b. b n. b
. b . .
. . .
&
.
b.
. .
3
G7
C7
C7
F7
C7
B 6
Gm7
C7
. #.
C7
b .
. r
&
b
# . b . n b. . . b.
F7
^ . # .
3
.
.
.
. r
. R
&
. . . . b. # . . . b . b
. . b . b
&
G7
Dm7
b
.
.
&
A2 B 6
Cm7
b .
+5
F7
F7
. .
^ ^ b ^ ^
G7
. r
#
~~~~
.
.
.
b
.
.
.
&
. b . . #.
.
C7
. . . . . .
.
&
. b
+5
B b6
C7
F7
F7
3
3
%
bw
b
& . . b. n. #
3
3
Gm9
. .
Cm7
F7
. .
# w
b w
Dm7
b
w
&
Dm7
Cm7
F7
G7
# w
F7
&
Dm7
G7
G7
C7
C7
F7
F7
Dm7
B b6
bw
G7
25
Etude #5
In C
F - dur
& 44
E7
&
Impr. I
F6
. R . # . b . .
.
E b6
. .
b.
. .
. .
. R
.
#
# .
#
#
b
& b . . . # . b . R . b n . # . b . b. # . b .
b
3
3
D7
b
b b
.
.
.
.
& . R . # . . # . .
#
& b
D 6
b. b . b . b
. r b .
b
.
. b
b.
. r
.
. # . . #
. R
C7
F6
&
. r
C7
& . b. # . . b
o 2
Eb
C7/E
3
. b b. 3
. b b .
&
w
.
& .
& #. #.
D7
. R
E7
r
#
# .
Impr. II
F6
B /D
4
.
# r . b . .
4
3
r
.
# . . n # .
#.
4
b
. r
.
E 6
^ . ^
^
. b .
& #. #. . b. # . # . # . . .
4
4
# . # . n . n # . .
b
2
.
& b b . R b b . b n . . . b b . . b
b .
26
D 6
b
. b .
C7
& b . . . . . . . . . . . . . b .
F6
&
. R . # . w
B /D
& b n
bo
3
#
. R
C7
C7/E
. .
. b . n
Impr. III
F6
E7
.
.
.
. b . n .
& . R # . b .
.
E b6
. . . . .
& #. #.
# . . # #. b. .
& b . . .
b . . # . b # b n. b .
b .
3
# . # . # . n. n # . .
.
#. . #
& #. # .
#
.
#.
D b6
2
b . b . b b .
b b b
.
b
b n . . b .
&
. b . b . . b
.
D7
C7
&
F6
&
F6
&
. .
. .
. b
. . . . # . . n . #
C7
. . . b n . .
. b .
. . . . #. . . . .
^
.
3
27
Etude #6
In C
D b - dur
& 44
b
b .
Theme I
A1 D 6
& b n
b
b
&
&
&
b
D b6
b b
b b
b
b .
E m7
A 7
D 6
Fm7
B m7
E m7
. b w
b .
Fm7
. R b
D b6
. b w
B bm7
b .
b
G m6
. r
b
b .
D 6
B7
E m7
B 7
& . b r b n
B7
A 7
b .
A2
b n
b
b .
G m6
b
bD 6 .
b
b
B 7
. b R b n
E bm7 A b7
A1 D b6
. r
b. b
.
.
b
b b.
Impr. I
b . b . . # #
. # . #
& .
#
.
#
. # .
B7
. n r
B b7
.
. .
b . b. b . b .
b. .
& . b .
.
.
.
# b
#
Fm7
b
G bm6
. b . b
.
& b . b . . . b . b b. n b . b . b .
E m7
D b6
. b b. b
. b b .
&
b
b
. b
#. b
.
b
.
b. b n . b
A 7
D 6
b
. b .
B m7
28
E m7
A2 D 6
A 7
& . b . . b . . b . b. .
b. b . b. b
Fm7
w
#
# #.
. . b
.
.
&
#
n. # #.
b . n
B b7
E bm7
3
&
b . b . b . b . # b . b . . . b . b b . . .
b .
G bm7
D b6
A b7
.
b
b . b . r
. b . b
b
b.
n
.
.
.
.
b . b. b
&
b. b
B7
D 6
&w
B m7
E m7
b
b . . b. #. b. b. b .
Impr. II
A1 D 6
A 7
#. #
& . # #.
. .
# # #
B7
B 7
&
b .
b .
& b
b
. . b
B m7
b
b. b . . b . b
.
. b . . b b. b . .
b b . b b . b
.
b
. b
& . b .
3
b
^
^ ^ b ^
b
E m7
G m7
D 6
Fm7
E m7
Fm7
A 7
b
. b b. n . b b. n . b .
D 6
b
b
A2 D 6
A 7
. .
#
# #
B7
B 7
. b
b .
b . .
.
.
b. n b n.
b .
E bm7
G bm6
b
b b
.
b
.
b
& b . . b . . b . b . . b . b
&
b
.
b b b b
&
D 6
b
& b
A1
b
b b
& b
b
E m7
& b
. . b
b
b
. b
B m7
E m7
b b
A 7
B7
n . #
#. #. . # n
B b7
b.
. b . . b
b b
. .
b n
. b
b
. . b . b
b
Gm6
A 7
B m7
D 6
& . b .
& b
b
bB 7
. . b b .
b b
. #
B7
# . # . .
b
A b7
b b n
& . R
b
.
D 6
b
. b
D 6
b
b
b
A 7
. . b
b
E m7
bw
b
b . . b .
b
b . .
b n
. b
Fm7
b
b . b . b.
b b . b b
b
. b
D 6
b
b. b b
A 7
A2 D 6
A 7
b b n
E m7
b
b . b . b.
b. b b b b n
&
E m7
D 6
G m6
&
D 6
Theme II
D 6
Fm7
&
A 7
29
b
bw
D 6
b
b. b b
b
bw
A 7
b
bw
D 6
B m7
b
b
D 6
B m7
b
A b7
. b R b n
E m7
30
Etude #7
In C
A b - dur
4
&4
bmaj
Theme
A1 A
r b. . r . . r . . r b
b
b b
b
3
b b
& b b b b
3
b
3
3
3
B7
A maj
b .
. r . . r . b
B bm7
.
3
b b
b . . r . . r
& b
3
3
3
F7
b
B bm7
3
r
r
& b . . . r b . . r . . b . . . b b
1
2
G 7
E 7
&
b
b b
b
.
A maj
E7
E 7
bmaj
b. . . . . . b . . b
R
R
A2 A
b
. . . . b .
.
.
R
R
R
b b 4 b 3
b b b 3
&
b.
b
3
B7
A maj
3
b
3
3
&
b
b
3
F7
B m7
b. b .
b
3
b. . b . . b b
& b b b 3 . b b . b . . b R
. b .
R
R
b
3
E b7
& .
G 7
B m7
A b6
E7
r
b n.
. b n.
E b7
Impr. I
A1 A maj
. b
B7
& b . .
. b b b
b. b b .
b . b
3
. r
31
b
F7
3
3
b
.
.
.
.
b
b .
b
& b . .
A maj
b n
&
3
b
b . . b .
b . . b .
. R b. b .
B m7
b
B bm7
E b7
A bmaj
3
b . b. b
b b
b
&
b b b. b .
b b . b b n
A2 A bmaj
E7
E b7
B7
b .
b
.
.
b
. b b . b . b .
b .
& #
b . b b. b
b b b A bmaj
3
. r
. b . b . b . b . .
&
b
G 7
B bm7
3
3
b . b b .
b
3
& . b
b
3
3
G b7
3
.
b
b . b b .
b b
b . b b. b b . b . b
& J
. b b.
2 1
F7
B m7
E 7
& .
. b b n
b
b
b b #
A maj
b.
Impr. II
A1 A maj
E7
b b b b
E 7
b b b n
3
3
r . . r b. b . b b
b
r
.
.
& b .
b b b b
.
B7
b n b b . b b
. b b . . r . . r . b . b . .
3
3
A maj
&
3
b
&
b
3
3
F7
B m7
b. b . b .
32
b
3
& . b b . . . . b b. b b. b b . b b . b .
b b .
3
G 7
B m7
&
&
E 7
3
. b . b
3
b n
3
b
E7
E b7
b . b .
b . b n #
bmaj
b
A2 A
A maj
B7
b .
b . b. b b. b
b
.
b
b b .
b
n . b .
b b
b b
A maj
F7
. b
& . b .
b
b . .
b
B bm7
G b7
.
3
b
. b b . b b. .
b
.
b
.
& . b b. . b .
3
3
b
A bmaj
b . . . J . b b . b w
& . b b . b b. b b.
.
.
b
B m7
E7
E 7
Theme
E 7
A maj
& b . b . b . r b . . r . . r . b
&
b
b
b b
3
B7
b b b
3
A maj
F7
.
.
b . r . r . b
b
3
b
b
3
3
3
B bm7
.
r . . r .
b
.
.
b
b .
&
G 7
. b r
B m7
E7
#
r
r
r
& b . . b . . b . b . . n b b
E 7
b
bw
A maj
33
Etude #8
In C
& 44
% Theme
.. b
G6
bo
& #
B
# n
Bm7
b
&
G6
&
Bm7
& n
E7
2. Am7
D7
bo
bA
3
Am7
j
b
b n J J ..
1. Am7
Impr. I
bo
E7
Am7
Am7
# #
D7
bo
b b
end
b b
b
G6
b w
o
bo
Am7
Bb
b
b
n
b
&
n
Impr. II
E7
&
D7
b b n
G6
Am7
D7
G7
G6
o
bo
Am7
Bb
Bm7
b
b n # #
& b b b n # b b
A
Am7
D7
G6
#
#
34
o
bo
Am7
Bb
b b n b n b b b
&
#
A
Bm7
Impr. III
n # n b
#
&
#
b n
E7
&
bo
Am
D7
G6
Am7
G6
bo
Bm7
#
b
# b
b b n
Am7
D7
bo
j
b
& b b
A
Am7
G6
b b
J
# n #
# b
b
&
Bm7
E7
Am7
D7
35
Etude #9
In C
A1
& 44
Theme
E 7
D maj
D maj
E 7alt
& b
b .
B G maj69
& .
b
A2 D maj
E 7
b
b
Gm7
#.
b b n b
D maj
D7
C9
b
b #
& #
F m7sus
Gm7
j
#
E 7
& b
E 7alt
#
3
# j #
b
F m7
B7
F m7sus
b
E m7sus
Em7
3
3
3
3
#
& # n #
b
Fm7
B7
B 7
B 7
B 7
A7
& w
Gm7
&
& b
A3 D maj
E b7
#w
E 7alt
b .
D maj
#w
E 7alt
E b7
w
b .
Impr. I
A1 D maj
Gm7
b b
J
b b
E 7
b b n
36
D maj
E 7
&w
&
A2 D maj
Gm7
b
3
b b b
b
E 7
D maj
B G maj69
#
B7
#
#
#
&
#
#
#
# #w
F m7
B 7
b b
&
b
B 7
A7
& #w
b
B 7
&
C7
j
j
# # #
C7
B7
A3 D maj
b b
Em7
#
#
b b
E 7alt
#
# #
j#
F m7sus
E m7sus
b
D maj
B b7
b
j # b b
b b #
Gm7
E 7
Impr. II
15
D 7alt
j#
j #
F m7sus
& b
b b
3
C 7(add11,13)
& #
Fm7
E 7alt
G maj
j
#
b
b # # b # #
& #
F m7
b b b
b b
4
b
1 4
3
37
b b
b
& b n
4
B7
1
4 2
#
# n # n #
#
# # # # #
3
Fm7
B 7
b b
b
& b
b
b #
&
b
A7
b
&
b b
b
b
&
E 7alt
b
w
E 7
&
D maj
&w
E 7alt
E 7
# j
D maj
b
E 7alt
E 7
#w
E 7
Gm7
D maj
Coda
D maj
#w
&
E 7
D maj
E 7
#
J
D maj
Gm7
Em7
B 7
b
b
38
Etude #10
In C
12
& 44
Impr. I
C6
# . .
F7
&
#. .
C6
Dm7
#.
G7
C6
& . .
.
. . . . # n. # . . .
# .
. r # .
Impr. II
# . . # n . # . .
&
#. #. n . # . . . b . #
.
C6
3
b . b . . b .
.
.
.
.
&
# # . . n . # . . # #
F7
.
.
#
.
#
&
Dm7
C6
C6
. . # .
# . . b . # . .
#. # . . n . #
G7
Impr. III
3
3
& . . # . n . # . . # . # b # n #
C6
b . b . . b .
. # . b. n . b . # . . n # . # . n
&
F7
C6
. #. . .
.
.
.
.
.
.
& . . . # . . . b n
Dm7
Impr. IV
.
.
C6
&
G7
C6
. . . . . . . . .
. . . . . . . . .
39
. . .
b. .
. b
. . . . n .
&
. . . . # . #
. . b . # .
. # .
& . .
r
. .. .. ..
& # b n #
3
3
3
3
3
3
Impr. V
C6 3
&
3
3
b
b b
# b
# b
3
3
F7
C6
&
Dm7
& #
3
3
3
3
G7
C6
Impr. VI
C6
& .. .. .. .. .. .. .. .. .. .. .. ..
F7
C6
3
3
3
3
3
3
& b
3
&
. .
. .
&
G7
Theme
Dm7
& . #.
C6
. . .
. . .
.
. #
. . .
Dm7
3
F7
cresc.
. #.
b n
G7
C6
C6
40
Etude #11
In C
C - moll
& 44
..
b
b b b
&
& b
&
b
b
Cm7
Fm7
b b b b
A m7
b b b
b
b b
3
Cm7
3
b b
b
n b
Cm9
Impr. jI
Cm7
Fm7
& b
b n
b #
& b b
A bm7
Cm7
b b b
b
b
b
&
Cm7
Impr. II
b b b
&
b
&
b
&
Cm7
Fm7
b
Cm7
41
b b b
& b b b b
b
b b b b
b
A m7
&
Cm7
Impr. III
b b
b
b b
Cm7
b
&
Fm7
b b
b b
A bm7
Cm7
b
b
& b b b
b
b
3
b b b
Impr. IV
b b b b 3
b b
&
Cm7
&
b
b
Fm7
&
b
b
b
b b b
&
&
b b b
b
b
b b b
Cm7
A m7
b b
b
b b
3
b
b
b b b
b
A m7
&
Cm7
b b b b
A m7
&
b b b
A m7
b
3
Cm7
b b
b
b b b
3
b b b
Cm7
b b
b
Cm7
b b
n b
n b
Cm7
..
42
Etude #12
In C
B b - dur
& 44
b
4
# . #. n
Theme
B 6
B 7
& b . .
b
b
G7
& b . b .
b
A 7
E 7
b. b .
b
# . # . n .
B 6
E 7
B 6
# . . b n . .
#. # . .
Cm7
# . # . n
E 7
B b6
G7
r
. # .
# . n b . . b
F7
b
E b7
& # # . n . b . b . .
b
Impr. I
B 6
b . b
. .
A7
Cm7
F7
b
B b7
^
. r
b
. # . n . b
b # . # . .
B 6
B 6
A7
A 7
G7
& . . b . . . b . .
.
.
.
.
.
b .
b . #
Cm7
F7
B b6
G7
Cm7
F7
.
.
#
b n
b . # . b .
.
b
& # # . n
b .
3
4
b
E b7
B b6
B b7
.
.
& b b . # b b . . b R . # . . . b .
#
n b. b
Impr. II
B 6
B b6
A7
.
b
3
.
.
b .
b
b . .
&
b
b . b . . .
b
E 7
&
A 7
G7
b n
b
b .
B b6
G7
.
.
.
r
# . b .
b .
. . .
.
b
.
.
Cm7
F7
b 3
E b7
b
3
3
b # #
3
& . #. . #.
b # n
3
b
3
3
Cm7
F7
Impr. III
B 6
43
b
B b7
3
3
3
b # b
3
&
#
b
b
3
3
b
3
b b
3
3
b b
b
3
B 6
E 7
b
A7 3
A b7 3
G7
3
3
3
& 3 b b n b n # b # # b b
b n
3
B 6
Cm7
F7
& b
. . b . n
. r
#.
B 6
G7
3
b n #
3
b
E b7
3
3
3
3
3
3
b
& b b # b
Impr. IV
Cm7
F7
B 6
b
B b7
3
3
3
b
3
3
b
&
b b #
3
b
b b
B 6
&
b b
Cm7
& b
b
n b
B 7
b
& #. # . n
B 6
B 6
E 7
b . b .
E7
F7
b .
G7
b
# . #. n
B 6
Cm7
B 7
b. b .
b . b
. # r .
b .
.
.
#
#
b
.
F7
b
A7
A b7
G7
b. b .
#. #. . #.
b
B 6
& #. . b n
A 7 3
.
R
. # . b
Theme
b
G7
3
b
3
b
#
b #
3
F7
& #. . n
#
E 7
A7
Cm7
B 6
ww
44
Etudes in B b
45
Etude #1
In B b
Intro
& 44
&
Theme I
Dm7
.
& b .
#
B 7
Dm7
. n
3
& . r # b # . #.
#
3
#
Gm7
&
# # #
C maj
& # .
. b
Fm7
&
.
.
Dm7
G7
3
#
C7
. b .
Fm7
A7
D7
Impr. I
b . # . # b n . b
#
& #.
Dm7
A7
# . # . # #
G7
. # . w
C maj
#
& . . # . . # .
.
C maj
F maj
C maj
F maj
C maj
C7
b
b
Fm7
& #
Gm7
G7
b
3
3
b
B 7
D7
Theme II
# w
# #
. .
G7
. .
Gm7
b
b
B 7
C maj
Dm7
C7
. # .
A7
. #
F maj
#
# .
G7
D7
# #
46
Impr. II
Dm7
G7
&w
C maj
. G7
.
#
. . .
#. . # . .
#.
Dm7
. . . . . . # . . #
& #.
.
. b
3
Gm7
C7
F maj
.
#.
& b . . . #. . . .
#
b
Fm7
B 7
C maj
A7
b #.
3
D7
#.
# n b.
3
# . b
Theme III
Dm7
G7
& b .
# #
b b . b n . b. n
C maj
.
& . #.
Gm7
Dm7
G7
. r
. .
R
#.
.
.
.
.
.
R #
R
# .
C7
F maj
Fm7
B b7
C maj
A7
.
#
.
#. # . w
. R b . . .
& .
# . #
D7
. r
# # .
Impr. III
Dm7
& #. . #.
G7
Dm7
. r
. . # . n #.
#.
. . n # .
. b w
R
C maj
& . b . .# n . # .
. b
Gm7
G7
b #. .
.
.
.
.
.
R
R #
#.
C7
F maj
#
.
. . b.
.
.
.
.
&
. b . . # . #
R
#. .
b
Fm7
B 7
C maj
A7
Coda
D7
& #
. r
#
#. . . #.
. . #.
.
R
G7
C6
47
Etude #2
In B b
F - dur
& 44
Theme I
Gm7
C7
. R
. .
Dm7
& . R # # w
Gm7
F maj
# . .
C7
. r
. .
#
# . .
Impr. I
& # #
F maj
C7
. #
R
. .
& . r
F maj
. r # . . . .
C7
Dm7
& . # . . # . . #.
F maj
. R . . . #
. . .
. . .
.
Gm7
. .
.
.
& #. #. . . # . . .
C7
F maj
Impr. II
F maj
r
& . . # .
# .
&
. .
Gm7
. .
Gm7
# . . .
C7
C7
m
#. # . #
. R . . . . b .
. #. . . # b . #.
R
. . # . . # . . .
F maj
Dm7
3
3
& #. n . # . # .
3
3
3
Gm7
C7
. b . . . # # n . . .
# . .
& R
. . . .
3
2
F maj
C7
F maj
48
Impr. III
Gm7
& . . .
F maj
C7
. r
. .
. b # . .
b
.# # .
# .
. r #
. .
Dm
& . . .# .
. . . . # .
&
C7
Gm7
# b #. .
3
. R # . . # . # . .
. # . . # .
F maj
C7
Impr. IV
F maj
.
.
.
.
.
.
& #
C7
&
# # n #
Dm7
&
#
# b
Gm7
b .
& # # n # #
3
& #
F maj
. .
#
.
.
r
. # . .
Gm7
C7
C7
F maj
#
b
3
#
3
#
3
F maj
Theme II
r
. # . . . r . . .
Gm7
Dm7
.
.
.
#
# . .
. .
. .
. .
. # . # .
&
#
3
R
C7
F maj
.
.
& . #. . #.
Gm7
#. b . #
F maj
&
C7
# . J . .
C7
F maj
# . # .
.
.
R #.
49
Etude #3
In B b
E b - dur
4
&4
&
Fm7
&
3
#
Theme
b
.
E 6
. r #. . . b .
C7
b
.
.
. .
R
B 7
b
#
&
B 7
b
w
Gm7
E 6
B 7
Gm7
C7
.
.
& . . . #.
Fm7
E 6
. .
Fm7
Impr. I
C7
Fm7
Impr. II
b b . n .
E b6
.
& . R
B 7
.
b
b
r
. # . .
& n. . . .
. .
3
. b.
& #. . . . . .
#
b
4
F7
C7
G7
F7
# . r .
.
G7
.
R
B 7
. .
.
.
# b .
B 7
b
. b. n . n w
E 6
. . . # b . . .
G7
. b . . . .
& . # .
. .
b . . b #. #.
.
3
3
Gm7
Fm7
B b7
.
. # .
. . # .
& .
C7
F7
50
B b7
E b6
. #. n.
. . #. #
. .
#. .
C7
&
Fm7
. R .
b
E b6
,
3
. b . .
.
.
. .
# . . #.
&
Impr. III
B 7
. .
G7
&
#. # . # .
.
# .
. # .
. # . # . . . #. #.
3
C7
F7
.
.
&
Gm7
& .
.
.
Fm7
B 7
. r . . b
. # r
. . b . . b
C7
.
# . . b . . b
b
E b6
.
b
&
b
E b6
. R . # . . n # . . . . # .
B 7
Impr. IV
B 7
Fm7
. b .
.
.
.
. . # n . . # . # .
&
.
G7
#. .
. # . .
#.
.
&
. . b . . #
. b . . #
C7
F7
b
Gm7
C7
r
r
b
. # . . . . . # . . . b . #. #
Fm7
B 7
& . . .
b
E b6
w
&
Fm7
&
B b7
#
B 7
b
.
E 6
.
R
#.
B 7
3
.
#
51
Etude #4
In B b
& 44
C7
&
1
A1 Theme
C7
Gm7
r
& .
b
A2 B 6
. r
B 6
C7
. r
& .
w
& #. .
Gm7
G7
&
C7
C7
G7
G7
. b
Cm7
F7
b
w
+5
F7
B 6
. b
F7
Dm7
C7
w
# . .
+5
F7
G7
Cm7
F7
C7
F7
Dm7
2 Impr. I
A1 B 6
.
. #.
&
. . # . . #
.
.
#
o.
1
C7
F7
.
.
& . # .
G7
C7
+5
F7
# . . # n . b .
.
. b
& R
Gm7
. . # . . # .
. #
.
3
b
Cm7
F7
A2 B 6
.
. b . .
&
.
.
.
.
G7
& . . . .
#
. # . #
Dm7
G7
#.
C7
. b
3
52
. 3 # .
#
.
.
& .
Cm7
F7
. . .
.
Dm7
+5
b
F7
. . . # . n . . #
R
#
# 3
&
#
3
3 Impr. II
A1 B b6
G7
. # n . b n. b
. . .
. . . .
&
#
.
.
3
#. #
G7
C7
F7
B 6
C7
. #.
. r
&
#. .
.
.
# . # . . # .
+5
^
F7
F7
.
.
.
.
#
w
r .
.
.
R
&
#
C7
C7
Gm7
C7
. # . . . b. #. . #. n .
# . . n . b
&
G7
Dm7
&
A2 B 6
Cm7
F7
. .
b .
^ # ^ n ^ ^
G7
. r
#
.
~~~~
.
.
.
.
&
. . . . # . .
C7
G7
.
.
.
# . . . #
. .
. #.
. . b
&
+5
B b6
1
C7
F7
F7
3
w
%
& . . . #. #
3
3
Gm9
F7
# w
F7
Dm7
Dm7
Cm7
&
Cm7
&
Dm7
F7
G7
# w
G7
F7
F7
C7
C7
Dm7
b
w
#G7w
B 6
53
Etude #5
In B b
F - dur
& 44
Impr. I
F6
. .
. .
# . ~~~
# # #
#
#
.
R
& # # .
3
E7
. R . # . . . .
# . .
E 6
. #.
.
.
. R
#
.
R
& . .
# . . b. # . .
D b6
2
. .
. . #. # . #
b
& . R
. # #. .
D7
. b . .
b . b
. r . b . b .
C7
& b
bo
C7/E
. b .
. b . w
&
C7
r
#
# .
Impr. II
& #.
& #. # #. #
E7
F6
& . r #
#
.
& b . # . . b
. # . . # # 4
#
. R
. r
.
F6
r
. # . . .
1
1
3
r
. #. # . n # . #
# . # #
2
b
^ . ^
. r
. #. .
E 6
b
#
B /D
# . # . n . n #.
.
#.
& #. # . # n. # . # . # . . .
D7
b
3 3
3 3
b . b . . b n2 . 2 .
b
&
R
# . b b . # . b . b . b . b
54
D 6
C7
&
. . . .
#. . . . #. . #. . . .
F6
&
. R . # . w
B /D
& # #
bo
#
. R
C7
# n
C7/E
. #
. . . #
Impr. III
F6
E7
. . .
#
.
.
. # .
& . R # . .
2
4
2
.
.
.
.
#. #. # #
& #. # #. #
. # .
2
E 6
. .
& . . . . . . # . # n . .
3
# . # . # . n. n #.
.
# . # . . #
.
& #. # .
#
# .
D7
b
b b
&
D 6
C7
& . # .
#
&
nF6
F6
&
. #
. . b . b . b n .
b
.
#. . b .
. . b .
. .
.
#
# .
. b #
. . . . #. . n . #
#
C7
. # . . n # . .
# . b .
. . . # . # . . . . .
^
. #
3
55
Etude #6
In B b
D b - dur
& 44
b
b .
Theme I
A1 D 6
B 7
& b n
& . b r #
&
&
&
b
D b6
b
b .
A 7
E m7
b
b .
D 6
. b w
b
D b6
. b w
B bm7
Fm7
b .
b
b .
G m6
. r
b
B m7
b .
E m7
Fm7
. R
E m7
D 6
bB7
B7
A 7
A2
b n
b
b .
G m6
bDb6 .
b
B 7
#
. b R
E bm7 A b7
A1 D b6
. r
b.
.
.
.
b
b .
Impr. I
B7
b
. . b . . b b b . b.
&
b. b b . b.
. r
B b7
. . b. .
& . b.
. # . . . b. b . . #
Fm7
b
G bm6
1
. b . b
b
.
.
.
.
& b b . . . . b b n b . . b
E m7
&
. b . b
D 6
. b .
b
b
. b .
# . # . b
.
b
b n.
A 7
D 6
b
. . #
B m7
b
& . b . # . . . b # . . . . b . .
b
56
E m7
A2 D 6
A 7
Fm7
w
#
# #.
.
.
.
&
#
n. # # .
B b7
E bm7
3
& .
. b. b. . # b. b . . .
G bm7
D b6
b
. b . b.
.
b
b.
.
.
& b b. . . b. b
B7
D 6
&w
B m7
E m7
A 7
& . .
. b b .
b
b
& b
b
# . . b
B m7
b .
Fm7
b
b . . . b. b .
. . . b. b. .
b
b b . b . b
b
.
b
.
. b
& .
3
b
. r b .
b
E m7
G m7
D 6
A 7
b
. . b. # . b. . b .
.
b . b . b
&
b
. b . . .
Impr. II
A1 D 6
B7
B 7
. b
b . n
E m7
A 7
. b . # . b . # . b .
D 6
b
b
A2 D 6
A 7
. .
b
b
B7
. b .
.
b . .
.
b.
b. n n . .
E bm7
G bm6
b
b b
.
b
& b . . b . b. b . . . . b .
&
Fm7
B 7
&
& b
b
& b
E m7
. .
b
B m7
b
. b
E m7
A 7
& . b .
& b
b
B 7
b . .
b
.
b
. .
.
b
A b7
b #
.
&
R
b
Gm6
b
b
D 6
bw
3
. b . .
b
. b
D 6
b
b
A 7
. . b
b
B m7
E m7
Fm7
b b . . b
.
A2 D 6
A 7
b . .
b 2 n
. b
b
b . b . .
b . b
b
. b
D 6
b
. b
A 7
b #
E m7
#
b . b b
E m7
b .
B 7
b n
b
b . b . .
b
.
A 7
bB7 . b 3
2
b
G m6
D 6
b. b
. b . .
. . .
&
D 6
B7
. .
. b
D 6
&
A 7
Theme II
D 6
Fm7
&
b
b
D 6
b
& b
A1
b
.
b b b
57
b
b
bw
D 6
b
2
b
. b
A 7
b
bw
D 6
4
b
bw
B m7
D 6
B m7
b
A b7
#
. b R
E m7
58
Etude #7
In B b
A b - dur
4
&4
bmaj
Theme
A1 A
r . . r . . r . . r b
b
b
b
b b
& b b
3
b
3
3
3
B7
A maj
. . r . . r . b
B bm7
3
r .
r
&
. . .
3
3
3
3
3
F7
b
B bm7
r . . r . . r .
r b
.
.
.
&
.
b
b
n
b.
n
G 7
E 7
&
A maj
b A2 A bmaj
. . b . .
# . . . . .
R
R
E7
3
bB7
b
b b 3
&
b b .
3
E 7
b
. . . . . . b .
.
R
R
R
A maj
3
3
&
3
3
F7
B m7
b.
B bm7
.
3
. . . b . . b
& b b . b b . b
. b .
R
R
R
G 7
&
E b7
.
A b6
. r # .
& b . .
E7
. #.
E b7
b
. b
Impr. I
A1 A maj
B7
. b b b
. b b.
b . b b
3
. r
59
b
F7
3
.
.
.
.
b.
b
& b . .
A maj
#
&
3
b
. b . b. . . b . .
. R
.
b
B bm7
3
b . . b
b b . b
&
. b . b
& b
&
B m7
G 7
E7
E 7
# b
A maj
b A2 A bmaj .
B7
.
. b .
. . b . b .
b
. . b b. b.
E 7
b
.
b b b
A maj
3
r . . b . b . . .
b
b .
3
& .
F7
B m7
G b7
3
b
b
. b . b .
& J
b . b b . . b .
b .
B m7
E 7
& . .
b #
b
b #
A maj
E7
b b b b
E 7
b b b n
4
Impr. II
A1 A maj
B7
r
r
3
3
r
b
b
b b
& . . . . . . b . .
b b
3
A bmaj
b
# n. b .
b b . . r . . r . b . . .
&
3
3
&
3
3
3
F7
B m7
. b . b .
60
b
3
.
.
.
b
b . b
.
& .
. b b . b . b . b .
3
3
A bmaj
B bm7
E b7
E7
E b7
A2 A bmaj
3
b
3
#
# # #
b
&
3
G 7
b
n . .
b
B7
b
. .
.
b
.
b . b .
&
b b b . . b
3
F7
.
& . .
.
b .
b
b
0
3
b .
.
& . b. . b.
B m7
A maj
b . b . b b . .
G 7
B bm7
E b7
A bmaj
.
.
.
& b . b b . b . . . b b . . J b . b w
E7
E 7
Theme
A maj
& b . b . . r . . r . . r . b
b b
& b b
3
3
B7
b b
b
A maj
. . r . . r . b
b
b
3
3
F7
B bm7
. . r . .
&
. . R
3
3
3
b
B bm7
E7 E b7
r . . r . . r b #
.
.
&
b
b.
n
G 7
b
bw
A maj
. b r
61
Etude #8
In B b
& 44
Theme
.. # b
G6
bo
# #
&
&
Bm7
& n
bo
b
A
&
# #
E7
# b
G6
bo
1 b 3
end
b b b
4 2
G6
bo
#
# #
2
D7
# 2 2
#
#
D7
#
n
# w
Am7
Am7
D7
Am7
n #
#
2 0
n b n
Am7
Am7
# # #
E7
&
2.
D7
o
bAb
G6
E7
# J J .. # n #
J
Am7
Impr. I
# #
Bm7
# n
1.
# n
Am7
# n # #
&
bo
#
Impr. II
G7
G6
o
bo
3
Am7
Bb
Bm7
2 1
4
b
b n # n b
# #
#
& b b
A
E7
Am7
D7
# > > > # #
#
&
G6
# n #
n #
62
o
bo
Am7
Bb
b # b n # # b b
&
A
E7
&
# #
Bm7
Impr. III
4
1
# # # b # # #
#
4 2 #
2
3 4
Am
D7
bo
Am7
2
3
&
b b n 3 # #
A
G6
G6
bo
Bm7
b 4 # #
b
D7
G6 >
# #
>
>
>
>
#
# #
& # #
E7
Am7
bo
b # n
& J
A
Am7
b # #
J
# # n #
b # # b # n
#
&
#
Bm7
E7
Am7
D7
63
Etude #9
In B b
Theme
A1
& 44
D maj
E 7
.
b
D maj
E 7
b .
Gm7
E 7alt
&
B G maj69
& # #
#
& .
F m7sus
#
b
E 7
n # n # n
D maj
D7
#
J
# n #
C9
#
# #
b
F m7 3
A2 D maj
Gm7
#.
& b
E 7alt
B7
B7
F m7sus
b
B b7 3
E m7sus
Em7
3
3
3
3
3
& # n #
# b
4
4
Fm7
B 7
B 7
&w
Gm7
&
A3 D maj
A7
#w
& # n
E b7
bw
E 7alt
n .
bw
D maj
E 7alt
E b7
# n .
Impr. I
A1 D maj
#
J
Gm7
J b #
b
E 7
b #
64
D maj
E 7
&w
#
&
A2 D maj
Gm7
#
.
b
D maj
D 7alt
3
b
b # j # # n # j
E 7
C 7(add11,13)
#
B7
#
#
#
# #
& # # # # #
# # #w
3
F m7sus
F m7
b
b
B 7
b
A7
& #w
b
B 7
Impr. II
15
&
B7
&
C7
j# # j #
& # #
&
b # b
B G maj69
Fm7
E 7alt
b
.
B 7
A3 D maj
# 3 .
j#
F m7sus
E m7sus
Em7
# # # # #
4
2
2
#
# # #
2
#
b
E 7alt
E b7
D maj
B b7
b # # # # b
J
3
Gm7
G maj
j
b b #
b
#
& # # # # b b b #
b
C7
F m7
65
&
b
b n b
b n b n b b b b
b
b b
b
b
B7
Fm7
&
b
B 7
# #
&
Em7
b #
&
b
#
b
B 7
b
b
E 7alt
&
A7
#
J
D maj
b
w
Gm7
E 7
# #
& #
D maj
&w
Gm7
& n
E 7alt
w
b
E 7
J
b
E 7
D maj
Gm7
bw
E 7
#w
Coda
D maj
D maj
E 7
E 7alt
b.
D maj
E 7
66
Etude #10
In B b
Impr. I
12
& 44
C6
. # .
F7
&
. # .
# n #
C6
#.
Dm7
G7
#
C6
& . .
. # . n. n #. . .
. . . #
# .
r
. # .
Impr. II
.
. # b . # . . # .
. b . b
&
. # #. . n # . .
C6
C6
3
. .
.
.
.
.
# . . #
& n
. . n #. . # . n #
F7
.
. # . #
Dm7
&
C6
. . #.
.
# . b . # . .
# . . #
. . n
G7
Impr. III
3
3
3
#
# n #
& #. . n # . . n # . . # . n #
C6
F7
C6
n . b . . . .
#. . # . b . #. . n # . . # n
&
. # . . #. . .
.
.
.
.
.
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68
Etude #11
In B b
C - moll
& 44
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70
Etude #12
In B b
B b - dur
& 44
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