M.I.T.a. - Root Cycles I

M.I.T.A. talks about ...
... Root Cycles I - Basics!
by Thomas Chase Jones

& Frank Herrlinger
www.MusicIntervalTheory.Academy
Preface
In the M.I.T.A. course "Root Cycles" appear in the very first lesson. Although "Root Cycles"
are basic and fundamental materials, they are also very powerful and provide inspiration to the
composer using them. That's why every "composer in training" spends quite some time with
"Root Cycles" while studying at M.I.T.A.!
In this ebook you will find deep and clear explanations about what "Root Cycles" are and
how to use them in your own writing. We also refer to the Diatonic System quite often in
order to make fluent transitions between pure interval thinking and traditional writing.
At the end of the ebook you will find a musical experiment in which we use "Root Cycles" to
create harmonic structures. The piece "Torn Sky" was built completely on those ideas and
we hope that this example inspires you to try something new and to have a deeper look into
the world of intervals!
For more information about the course, please visit http://musicintervaltheory.academy or

send us an email to office@musicintervaltheory.academy.
Have fun with this ebook and best always,
Frank
Chapter I - Isolated Root Cycles
Root Cycles (RCs) are a powerful tool in the process of composing. Before we discuss
their value in actual applications, we need to familiarize ourselves with the various types
of RCs and how to construct them.
When writing out RCs, we restrict ourselves to the bass range. We avoid exceeding this
range by simply using an octave position of that note to bring it back into range.
?2 4
Bass range
1 w 4
w
The most popular RC is well-known from the Diatonic System as the 'Circle of Fifths'
and can be found in almost any Pop or Rock tune.
There are 6 different RCs. Each RC can move in two directions, ascending and
descending. We'll begin with the most popular one, the desc. RC5.
Descending RCs
2
?4 w
Descending by 5 chromatic steps ...
4 w w w
w bw b w b w
bw w
w bw w
RC5 Octave positioning
to maintain bass range
15
? w
bw w
RC4
w
19
? w
w #w bw
RC3
w
Copyright © MUSIC INTERVAL THEORY ACADEMY PUBLISHING

3
24
? w
bw bw bw w w w
RC2
31
? w
Descending by 1 chromatic step ...
w bw w bw w bw w w bw w bw w
RC1
44
? w
bw
RC6
w
Here are some important things to point out:
1) Only RC5 and RC1 go through all the tones of the octave. That means that
there is actually just one cycle, no matter which starting note you choose.
That is not true for all the other cycles! Those RCs can be started on
different tones (for example, RC4 has 4 different starting positions and
RC2 has only 2; see next page for an example).
2) With RCs we are not writing in a key or on a scale! RCs are only related to
an interval, not to any tonal center. That's why RCs are perfect for ear training.
3) You might have noticed that we listed RC6 last. It's because RC6 is special.
It splits the octave in two equal parts and it can bring you into the world of
bitonality. It is also connected to 'equivalents'.
4) Each RC follows a very simple pattern which is even easier to remember!

This comes in very handy when you need to gather some ideas for your
composition. We are going to give some examples of how to use RCs to
create and develop musical ideas later in this ebook.
5) RCs help you with correct voice-leading (VL), even if you're working with
imaginary roots. They also provide you with information about how quickly
or slowly a voice ascends or descends, provided that you are following correct
VL. Small RCs give you bigger movement in the treble and vice versa.

4
Starting positions of RCs
As previously stated, RC5 and RC1 cycle through all tones available, hence, those RCs contain all
starting positions. The remaining RCs require multiple starting positions to reach all tones available.
Below is a descending RC4 in each of its starting positions. This concept can be applied to RC2,
RC3 and RC6 as well.
47
? w
1st starting position
bw w
RC4
w
51 raised to oct. position (blue note)
? w
2nd starting position in order to stay within the bass range
w w
bw w
RC4
55
? bw
3rd starting position
bw bw
RC4
w bw
59
?
4th starting position
w w w
RC4
bw w
If the next starting position were lowered once more (to 'Ab'), we would simply join the cycle
from the first starting position! In this way, you will find that RC2 has 2 starting positions,
RC3 has 3, RC4 has 4 and RC6 has 6.
To become more familiar with RCs, I encourage everybody to write out all descending RCs
from all starting positions. Be sure to stay within the bass range, and use the octave position
whenever a note exceeds it.

5
You may have noticed that RC6 is the 'biggest' one we have listed so far. Let's see
what happens when we write out a descending RC7.
63
? w
w bw bw
bw
RC7
Whenever we use an octave position, the distance between the roots is 5 chromatic
steps, not 7. This is a first indication that 5s and 7s are related to each other, not only
because they are complementary intervals but they actually create the same note
when going into opposite directions. That means that a descending RC7 equals
an ascending RC5!
At M.I.T.A. we determine the interval between our root tones by going to the closest
distance. Whenever the distance between your roots exceeds 6, use the octave
position of one note and you get to the smaller interval (the complementary interval).
This also changes the direction of your physical movement.
Now you might ask: "Why should I even care about all that anyway?" - Well, knowing
the direction of your movement is important for applying correct VL! Of course, you are
free to write any distance between your root tones. You just have to know the
actual interval (that is in between 1 and 6) and the direction (descending or ascending)!
As you see, the direction descends Using an oct. position of the In order to stay within the bass range,
by 9 chromatic steps. 2nd note, we get a movement of 3 up. we put the 1st note into an octave position.
(But we are exceeding the bass range!) Now it is a clear that we have an asc. RC3!
68
? w w bw
bw bw w bw
RC9 ?? RC3
The example above shows a physical movement of 9 chromatic steps downwards. If you
went to the octave position, we would get a movement of 3 upwards. The closest distance
between a "C" and an "Eb" is 3 upwards, not 9 downwards. Hence, it is not a RC9
descending, but a RC3 ascending. All 6 ascending RCs are listed on the following page.

6
Ascending RCs
Before we explore the connection(s) between descending and ascending RCs, here is a list of
all ascending RCs:
74
?
Ascending by 5 chromatic steps ...
w
w w bw b w bw b w #w w
w w
w w
RC5
87
?
bw w
w w
RC4
91
? Ascending by 3 chromatic steps ...
w
bw #w w
w
RC3
96
? Ascending by 2 chromatic steps ...
w
bw bw bw
w w w
RC2
103
? w
Ascending by 1 chromatic step ...
w bw nw bw nw w bw nw bw nw bw nw
RC1
116
? w
bw
w
RC6
Of course, all starting positions apply to ascending RCs as well. Take some time to write them all
out. Become familiar with them and how they sound!

7
Descending - Ascending
(Connections)
{
1) Retrogrades
119
? w
RC5
w w bw bw
w w w b w bw b w w w
RC5
_
Our first observation is that the direction of a RC is changed when the line is reversed. The
example above is a descending RC5 but when we read it backwards, it obviously becomes
an ascending RC5! This technique is known as a retrograde in music theory.
2) Reflections
w
example of PC from close
bw
132 RC4
? ww
bw
to open harmony
w w
RC4
w
Our second observation is that the direction of a RC is changed when the line is reflected.
This is often described as "inversion" in music theory but the problem is that this term
actually has several different meanings. That's why at M.I.T.A. we refer to this kind of
movement as reflection. Simply count the chromatic steps from one note to the following
but then reverse the direction.
In bars 133 and 134 we can also see a good example of "Position Change" (PC), combined
with going from close harmony into open harmony. This is a great technique to open up
some space for a line to move through without changing any of the harmonic structure.
3) RC6
136
? 6
w w
6
bw bw
w w w w
6 6
RC6 RC6
As stated before, RC6 is special! We determine the direction of the RC by the movement of
the smallest interval possible. Because RC6 splits the octave into two equal parts, there is no
'smaller interval'! This means that RC6 descending equals RC6 ascending and we are free
to choose the direction!

8
Chapter II - Interlaced Root Cycles
Before we dive into combinations of RCs, remind yourself of the fact that roots alone do not
create any tonal center! We need to provide information about the harmonic content used over
a particular root tone in order to determine a key or even a scale. In simple words, when
dealing only with root tones, we can change the musical context later. (Actually, the same is
true for the opposite. You can write your treble structures first and add the root last in order
to put everything into perspective.) We are not writing in a key, but in pure intervals!
The most obvious way to create more complex root movement is to switch between RCs,
as demonstrated in the example below:
142 Changing between RCs

? w
w bw w w
RC5 RC3
At M.I.T.A. we only have two kinds of root movement! If the root moves in equal distances,
it is an RC, if the root moves in unequal distances, it is a Root Progression (RP)!
Although our example consists of different RCs, the whole thing is considered a RP
because the distance between the roots is not consistent.
Of course, it is totally possible to base a composition only on one RC (and we have done
that several times in the M.I.T.A. course), but it is much more common to use RPs. However,
there are many conceptual ways in which to construct RPs. Here's another example:
Alternating between RCs

147
?
w w w w #w bw
RC2 RC3
153 -3 -3
?
Root Progression
w w w #w w bw
2 2

9
When choosing RCs (and also their directions and starting notes), be sure to spend some time
experimenting. In musical context, some RCs sound better than others but there are no restrictions.
Also, you can increase complexity by alternating three or even four different RCs. As long as you
follow 'a' method, you will know how to make changes or alterations quickly without having to
rely on luck and fortune!
Bear in mind: Having a method will help you to find ideas, and will give you confidence!
By keeping track of your process, you will be able to recreate creative steps with minimum
effort. This will help you to find your own compositional 'Bag of Tricks'!
Let's have a quick look at the RP that we created on the previous page.
159 A
?
w w w #w w bw
4 -2 -1 3 -6
Although this bass line might look like a bunch of notes put together randomly, it has
been created using a very simple method. The majority of composers would never have
written such a line! How do I know? - Most people base their compositions and musical
lines on keys and scales - and this is great because it sounds good! But you should have
more tools in your arsenal to separate yourself from your competitors though.
Did you know that none of our standard 'classical' western scales contain three chromatics
in a row? You see that we created this case with the notes 'F', 'F#' and G. Hence, this bass
line does not follow any of our seven main modes, like Ionian, Dorian, Phrygian, etc. ...
(Note: I'm leaving out Jazz or Blues scales at this moment.)
Please do not overrate these 'tricks'. They might not give you perfect sounding results
'out of the box', but they are inspirational starting points. Also, they are just one source
of inspiration (next to countless more)! Above all, if you don't like how this progressions
sounds in your chosen musical context, feel free to make changes and to break patterns any
time!
You are the author, you decide!

10
Roots and 'Inversions'
The term inversion is not being clearly defined in the Diatonic System as it has several
different meanings (for example different positions of chord structures or complementary
intervals or the reflection of a line).
At M.I.T.A. the term inversion means that you are using a note other than the root in the
bass. However, this doesn't mean that we changed the original root! Here are some examples
to make this clear!
165 Let us choose our root tone first!

? bw
Now, let's write a simple major triad over this root. Below you will see how the term
inversion is used in the Diatonic System. Noticed that we only show the triad in different
positions but the bass note is still the same for all positions.
166 Inversion according to the Diatonic System.
bw
{& b w
bw
w w
w
w
w w
root position 1st inversion 2nd inversion
? bw
{ bw bw
At M.I.T.A., none of these structures are considered inversions but different positions of
the triad. The top note is the lead voice and because it can be recognized the easiest, we
use that voice to determine the name of the position, as shown below.
169 The positions of a triad taught at M.I.T.A.!
{& b w bw
w bw
w
w
w
w w
position of the 5th position of the root position of the 3rd
? bw
{ bw bw

11
Thus far, we have not made any changes to the lowest note, the root. Let's do that right now:
172 Inversion according to M.I.T.A.!
{& b w
w
w bw
w bw
w
w
w
? bw
{ w w
using the root (in the bass) using the 3rd using the 5th
Observe that all of these structures still are plain triads based on the same root but using
different bass tones. Did you notice the vertical structure over 'D'? Whenever scale tone
3 is being used as a bass note, we don't double it in the upper chord structure as this would
adversely affect the overall balance.
Instead, try to look at the movement in the bass and the treble separately. This will enable
you to write more interesting lines and will open doors to techniques and devices in the
M.I.T.A. course (which will teach you how to create rich and complex structures from
simple ideas).
Although this ebook is not meant to cover vertical structures, this little digression was
necessary because just like RPs, inversions also affect the bass tones!
In general, RPs create root tones (we haven't yet discussed vertical structures). How to
interpret a bass note is your personal decision as a composer! Either as a root tone or an
inversion. It's important to be aware of your options when experimenting.

12
Replacing steps in RCs
As you know by now, RCs are patterns! And patterns are great starting points because
they are easy to use and easy to remember. The biggest downside to using patterns is that
they become boring after a while. So the question really is: "How can you use patterns
without making them sound like patterns?"
Here is one little trick that can be applied to every RC! The further you move from a pattern,
the more complexity is added to your bass line. First, we have to commit to a RC:
175 Here is an ascending RC5.

?
w bw bw
w bw
RC5
Of course, we know the pattern of any RC. Above, we move 5 chromatic steps upwards (with
appropriate octave adjustments to stay within the bass range). Now, instead of following that
pattern from one note to the next, let's replace one bar with a movement that adds up to 5!
This allows us to keep the pattern alive but hide it at the same time. In order to keep things
easy to follow, we replaced a whole note with two half notes to demonstrate the concept within
the space of a bar.
180
? bw
w bw bw
˙ ˙
2+3=5
Let's replace another step to add even more complexity to our original pattern! If you want
to really stretch out, replace every step with 2-5 notes that add up to a movement of 5 chromatics.
Although this concept invites randomness, you should base your choice of notes on your
personal taste and experience as an artist! Context is everything!!
185
? 3
w b˙ ˙ bw
˙ ˙ ˙ bw
(-3) - 3 - 1 = -7
Remember, that 6 is the biggest distance we go

in our RCs? So, the movement of 7 downwards
equals a movement of 5 upwards!

13
Secondary Dominants
Secondary Dominants are a very useful tool in diatonic writing. They help to modulate and
establish new tonal centers whilst maintaining the musical flow.
That is all great, but actually, Secondary Dominants are nothing more than ascending 5s!
You maybe know from experience that you can place them before any root! Now, let's apply
this technique to one of our RCs.
190
?
Choose a RC, its direction and its starting point.
#w bw
w w
RC4
194 Using ascending 5s before each note of the RC.

?
#w nw bw w
w bw w
5 5 5
4 4
4
If we apply this trick again, we created one of the most common cadences in Western music,
especially in Jazz. According to the scale-step theory, this popular cadence is called "ii-V-I".
In our example, we created a constant modulation from one tonal center to the next (these
tonal centers are our original RC4) by using the double dominant going to the dominant going
to the tonic!
201 Using two sets of 5s before each note of the RC.

? w
bw #w w bw w
w bw w w
5 5
5 5 5
5
4 4
4
Remember that you can also apply this trick to any RP! This is a great technique to expand on
a little idea to build it into a big composition!

14
Since we based all additional notes in relation to our original RC, the result is a pattern of
interlocked ascending RCs in 4. This might not be a big surprise but it's also not that obvious
to see. Our original RC is marked in blue. The first one we added is labeled in green and the
last one in red.
211
? 4
w
4
bw #w w bw w
w bw w w
4 4
4
The color coding makes it quite obvious that we are just dealing with interlaced RCs of the
same type. Again, we are following a pattern! Don't forget that you can always break the
pattern, add to it or simply use an extraction of it!
Now that you know this concept, I encourage you to apply this technique to a RC3 descending.
When you are finished, use this pattern for a composition!
Dominants and RC6
You already know that RC6 is a special pattern. In Jazz theory, it is quite common to use a
substitute tone (ST) for the root on a dominant structure, that ST often is scale tone -5. The
relationship between the root and scale tone -5 is a RC6! Now, why does this work? ...
It becomes clearer when we look at the treble notes of a simple dominant structure:
221
{ & #w
Scale tones 3 and -7 Scale tones 3 and -7 Scale tones 3 and -7
w bw nw #w w
w w w w w w
?
{ w 5 w bw -1
w ˙
b˙ w
6 6
In order to create a dominant flavor you need to have scale tone 3 and -7! The interesting
thing to point out is that the actual notes don't change when you go through a RC6. Scale
tone 3 on 'D' root becomes scale tone -7 on 'Ab' root and vice versa! Hence, RC6 is a ST
for a dominant root. We created a movement from 'Ab' downwards to the 'G' root. Actually,
this is also a leading tone (LT). So, "1's" and "5's" in the bass are interchangeable (when
moving in opposite directions)!

15
Chapter III - Applications of RC1
Up until now, everything has been based on creating RPs for inspirational starting points.
Actually, RCs are also a great help when writing introductions or endings. Generally, it
makes sense to write an introduction after completing the main body of composition in
order to know what the introduction is leading up to.
It's possible to use any RC or RP for an introduction but it is helpful to use a strong line in
the bass that builds up to a dominant structure which leads to the main body. The strongest
line we can write is a chromatic line, that is a RC1.
. 3. . .j
Example of an introduction ...
b ˙˙ bnœœ nbœœ #nœœ nb œœ œœ

#˙˙
227
?
continue with main part ...
n œ œ bœ œ ‰
b˙ n˙ bœ . . b œJ bw
RC1
. 3 .
5
As previously mentioned, you probably wouldn't start a composition with the introduction.
The way the introduction above was written is quite simple: Start with the dominant structure
on 'Bb' that transitions into your main part. Then, the whole root line was written backwards
up to the 'Eb'. You see that the dominant flavor is maintained in almost every structure, except
for some chromatic movement in the triplet.
Below is a possible example which comes out of our main part on an 'Eb' root. Hence, the tied
note 'Eb' in the melody.
Example of an ending ...

230
bw w
{&
? Œ b œœ n œœ n#œœ nw
w
{ œ b˙ ˙
œ #œ
b˙
RC1

16
Using RCs as Outer Lines
You don't have to put RCs and RPs into the bass range if you don't want to use them as
bass notes! RC1 is also a wonderful tool to write lowest lines to an existing melody.
The example below is taken from the sketch found in our ebook about "The Overtone
Series" (starting at bar 92).
And now I reveal one of my secret weapons in composing: "Whenever I don't know what
I am going to do harmonically, I start with a chromatic line!" I know it sounds funny,
but I'm serious about this! This way I create outer lines which are very helpful for finding
middle parts later. If you are curious about how this part of the sketch sounds fully
orchestrated, go and grab this ebook at our website.
(http://musicintervaltheory.academy/store_ebooks/)
œ œ œ ˙
œ ˙
Extract from "A Magical Story"
#œ œ #œ œ J
232
œ œ œJ œ
{&
Ó œ #œ Ó
3 3
œ bœ
fill in middle
? Ó #œ nœ œ œ bœ œ œ ˙
{
w ˙ Ó
parts later ...
J
3
RC1 descending RC1 descending
Here is yet another example, which could be a sketch for brass or woodwinds. Notice that
the chromatic line in the lowest voice often doesn't carry the root? From time to time we
hit an inversion which means that we are using a chord tone in the lowest voice (in our case,
scale tone 5). The remaining notes in the chromatic lines act as 4th voice to complete 4-part
equivalents (3+3+3).
Position Change (PC)
™
with Leading Tones (LTs)
j j œ #œj œ
{ & œ œ #œn œœ œœ ™™ # œœ # œœ œœ## œœ œœ
237
œ b
œ œ œ
œ œ # œ œ bœ ‰ nœ ‰ n#œœœ nœœœ œœ #œœn nœœbbœœœ #œw
œ œ#œ w nœ ˙
? œ #œ nœ œ œ™ bœ œ œ #œ œ
‰ #œ #œ œ nœ œ bœ
{
root inversion root root inversion root
J w
J
RC1 descending
RC1 descending

17
Chapter IV - Experimental Use of

Creating Harmony using RCs
Now, let's try a little experiment here. While creating this ebook I thought it might be very
interesting to use RCs not only in the bass but also as part of the harmony!
I consider this an experiment because I don't know what the gathered material will sound like.
However, do not confuse this with having no control over the music that we are about to write.
The starting point is determined randomly, but the use of this material is totally controlled as
you will see in the sketch and development.
It's like giving some random colors to a painter. For sure, he will create some nice results with
whatever color because of his skills and knowledge. Let's do the same but with music. First,
we are going to write out three different RCs (picked randomly). In order to keep everything
easy to see, let's limit the range of the RCs to one octave, starting on middle C.
241 1st RC
& w bw w
bw w
RC3
246 2nd RC
& w bw nw bw nw
RC1
251 3rd RC
& w w w
bw bw
RC2
last structure has been changed by

hand to create three individual parts
256 Superposition of RCs from above
& bbw
ww bbnw
ww
bw
bnww
n˙˙ ˙
b˙˙
n˙
The last chord really sticks out as the process only gave me two different notes instead of
three. As always, if you don't like it, change it! You don't have to stick to a method, this all
is meant to be an inspirational starting point, not a cage!

18
Gathering material
Now that we know what we are going to work with, it is about time to gather some musical
ideas we can draw from. Probably not all of these ideas will be used in the sketch but I want
to inspire myself. It's better to have more material than you really need in order to prevent
yourself from running into a musical dead end later.
But before we start, let's define the overall feel of our composition first. I want it to be in
the Thriller/Mystery/Spy-genre. I've heard this piece of advice from so many very successful
composers: Before you even write your first note, decide what your composition is going to be!
260 Source material ...
& bbw
ww bbnw
ww nbbw
ww
nw
bww
3+2 2+6 3+6 6+3
First thing that strikes me is the top line of the source material. I'll use that as a bass line and
{
figure out some vertical structures in the treble, everything in a dark and overall dangerous mood.
264 Idea #1
& bw
ww b ˙˙˙ ˙˙˙ bw
w #w
w
w w
? bw 6+3
w bw nw
Now I'm looking at the 2+6 and 3+6 structures. They could be used for an ostinato in the
low register. Also, did you realize that 6+3 is only a different position of 3+6 (or even 3+3)?
So, I will use that structure as well. However, I transposed it in order to match the tonal center
{
from my first idea.
™™ ™™
268 Idea #2
nbbw
& bbw ∑ ∑
ww ww
œ nnœœ ˙˙ ™™
™™ bœ œ bœ œ bœ nœ œ œ bœ œ b>œ œ ™
nœ ™
6 6
?
2+6 3+6
∑ ∑
bœ nœ bœ
bœ œ œbœ œ œ œ œ
>2+6
> 3+6
> >
2+6 3+6
3
6+3

19
The next idea has been developed by taking the two first structures. I shifted the 2+6 up by
{
1 chromatic step because I liked the 'Bb' being the top note of both structures. For a darker
sound, I moved everything down an octave and added roots.
™™ ™™
272 Idea #3
& bbw
ww bww
w
∑ ∑
3+2 2+6 3+2 ... 2+6 ...
™™ œw bœ bœ œ œ œ œ œ nœw œ #œ œ œ œ œ œ ™™
(shifted up 1)
? ∑ ∑
w nw
I especially liked the sound of bar 275 from above! So, let's use that 2+6 structure and place
it over a RC with correct voice-leading. RC4 and RC3 are great for that mystery feel. Just
because we used a RC3 above, let's try a RC4 right now with regular 3p-PC (this is regular
VL with 3 parts). It's worth mentioning that M.I.T.A. also teaches different types of VL which
{
come in handy when you write one instrument section against another.
276 Idea #4
& #w
ww
#w
ww bbw
ww #bw
w
w
#w
ww
? w
2+6
w w w
bw
RC4
Just in case I'd like to move into modal writing, here are some options derived from the 3+2
structure. The same process can be applied to the other structures as well. Look at how the
roots move. The triad roots (on the 3rd beat of each bar) have been written first. Then, I moved
into that root either by 5 ascending or 1 descending.
{
Idea #5
281
b˙ ˙
& bb˙˙˙ bb˙˙˙ bb˙˙˙ b ˙˙ bnb˙˙˙ b˙˙ bb˙˙˙ nn˙˙˙
? b˙
3+2 3+2 3+2 3+2
7 desc.
b˙ ˙ b˙ b˙ ˙ ˙ ˙
1
(= 5 asc.) 1 1

20
"Torn Sky"
{
(Sketch)
q = 102 bpm
285 Idea #1 used as Introduction ... FRANK HERRLINGER
& bw bw bw
ww w˙ ˙ w
w # ẇ
w ˙
? bw bw nw
w
{
289
& nb w bw bw w ˙˙
ww w˙ ˙ w
w bn w
w ˙ bb ˙˙˙
this is the same structure
shifted up by 1 used in the previous bar,
? bw b˙
a 3+3 (but shifted)
w bw w ˙
{
Idea #4 used as Main Motif ...
294
& #˙ n˙ ˙
#œ
œ
b˙ b˙ ˙ bœ bœ
these are the exact notes from the missing 3rd part will be
? w
idea #4, but used horizontally picked up in another voice
w
bw w
{
RC4 ascending
298
˙ ˙ #œ #œ b˙˙ ˙˙
& #˙ ˙ b˙ #
#˙
n˙ also 3+3, but shifted
? w
down by 1 or up by 2
bw
3+3
w b˙ ˙
repetition of previous 4 bars

21
{
repetition of Main Motif but transposed; the use of octaves in the melody
reminds me that I decided to thicken up the orchestration ...
n˙ œ
302
˙ ˙ œ b˙ b˙ ˙ bœ bœ
& n˙ œ b˙ b˙ ˙ bœ bœ
˙ ˙ œ
? bw w
#w w
{
RC4 ascending
˙ ˙ ˙ #œ #œ
306 Idea #2
& ˙ ˙ ˙ #œ #œ w w
w w
œ œ
3
?
bœ œ #œ œ bœ œ œ œ œ nœ
3 3
#w w bw
bœ œ œ 3
{
repetition of previous 4 bars
310 make this section a bit more interesting by adding some lines ...
& ∑ ∑ ∑
bœnœ
? bœ œ#œ œ bœ œ œ œ œbœnœnœ bœ œ#œ œ bœ œ œ œ œ œ œnœ bœ œ#œ œ bœ œ œ œ œb œ nœ nnœœ
3 3 3 3 3 3 3 3 3
bœ œ œ bœ œ œ bœ œ œ
{
3 3 3
slight variation of main motif to avoid

313 any 13s with the ostinato ...
& ˙ ˙ ˙
œ
œ
b˙ b˙
this fragment of the main motif is
descending in 2s, so I continue that
in the following bar ...
? bœ œ#œ œ bœ œ œ œ œ œ œnœ bœ œ#œ œ bœ œ œ œ œbœnœnœ bœ œ#œ œ bœ œ œ œ œ œ œnœ

3 3 3 3 3 3 3 3 3
bœ œ œ 3 bœ œ œ 3 bœ œ œ 3

22
{
both structures (2+6 and 3+6) are taken
œœ œœ œœ
from the ostinato; this way we maintain
#œ œ œ œ œ œ
316 3
#bœœ œœ œœ œœœœ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
a similar sound and smooth flow
& ˙ ∑
˙ 2+6 with PC
3 3 3
w
? bœ œ#œ œ bœœ œ œœbœnœnœ b#œœœœœœœœœnœœœœœœœœœbœœœœœœœœœ œœœ œœœ œœœ w
3 3 3 3 just like the previous bar but
using a different register
bœ œ œ 3 3 w
{
3 3
6+3 with PC
œ
b#œœœ œœœ œœœ
3
œw #œ bœ
319
œœ bœ œ #œ nœ bœ Œ
3 3
∑
& #œ bœ œœ
w œ
œ #œ bœ w
basically the same thing as before but using leading tones
3+3+3 in open harmony (OH) (LTs) from above which are marked in red; noticed, the
?
with PC ...
∑ Ó Œ w
the line does not step on the whole notes?
{
one last quote of the main motif ...
b˙ œ bœ
322 Idea #1 used as Ending ...
b˙ ˙
& ##w
##w #˙ nbẇ bwnw
w b wnẇ
w
w˙ #˙ w˙ n ˙ # ˙w
w w w w
? w w
bw nw bw w
I shifted everything upwards by 1 ... and added a little bit of line movement in one voice
{
˙ œ
328
bœ bw
b˙ w w
& b ˙˙˙˙ ˙˙˙˙ bbbw
w
w ẇ
w ww
b w
w ww
w
w
w w
? bw
bw
bw bw ∑ w
w w
bw w
"Torn Sky" 23
(Development)
q = 96
° 4
FRANK HERRLINGER
Flute &4 ∑ ∑ ∑ ∑
Flute
4
&4 ∑ ∑ ∑ ∑
Oboe
4
&4 ∑ ∑ ∑ ∑
Clarinet in Bb
4
&4 ∑ ∑ ∑ ∑
?4 ∑ ∑ ∑ ∑
Bass Clarinet
in Bb 4
?4 ∑ ∑ ∑ ∑
Bassoon 4
?4
Contrabassoon
¢ 4 ∑ ∑ ∑ ∑
°? 4 ∑ ∑ ∑ ∑
3 Horns in F 4
3 Trumpets in Bb
4
&4 ∑ ∑ ∑ ∑
?4 ∑ ∑ ∑ ∑
3 Trombones 4
?4
Tuba
¢ 4 ∑ ∑ ∑ ∑
{
4
&4 ∑ ∑ ∑ ∑
Harp
?4 Œ bœ œ
4 bœ œ ˙ ∑ Œ bœ œ b˙ ∑
mf 3 3
?4
{ 4
Piano ∑ ∑ ∑ ∑
Idea #1 used as Introduction ...
° 4
q = 96
b˙ ™ b˙ ™
&4 w Œ Œ
w
Violin 1
p
˙™
4
&4 Œ Œ
Violin 2
w ˙™ bw
p
B 44 bw ˙ œ Œ w Œ
Viola ˙ œ
p
Violoncello
? 4 bw
4 ˙™ Œ bw n˙ ™ Œ
p
?4
Double Bass
¢ 4 ∑ ∑ ∑ ∑

24
° Ó ˙™ ˙ bœ œ œ œ œ
˙ œ
4
Œ Ó 5
Fl. & 4
pp 3
f
˙™
bœ œ œ
b˙ ˙ œ œ œ 5
Fl. & Ó Œ Ó 4
pp 3
f
œ œ bœ œ œ 5
Ob. & Ó ˙ ˙ œ Œ Ó #˙ nœ 4
pp 3
f
œ œ œ œ œ 5
Cl. & Ó b˙ ˙™ Œ Ó ˙ bœ 4
pp f 3
? ∑ ∑ ∑ ∑ 5
B. Cl. 4
? ∑ ∑ ∑ ∑ 5
Bsn. 4
? 5
Cbsn.
¢ ∑ ∑ ∑ ∑ 4
°? ∑ ∑ ∑ ∑ 5
Hn. 4
∑ ∑ ∑ ∑ 5
Tpt. & 4
? ∑ ∑ ∑ ∑ 5
Tbn. 4
? 5
Tba.
¢ ∑ ∑ ∑ ∑ 4
{
∑ ∑ ∑ Ó Œ œ œ bœ 5
& 4
bœ œ bœ œ 3
5
? Œ œ œ nœ
Hp.
œ b˙ ∑ Œ bœ ˙ Ó Œ 4
3 3 3
? 5
{
Pno. ∑ ∑ ∑ ∑ 4
° 5
b˙ ™
& w Œ 4
Vln. 1
w w
Œ 5
Vln. 2 & w ˙™ bw w 4
B bw ˙ œ Œ w 5
Vla. bw 4
? bw Œ w 5
Vc. ˙™ bw 4
? 5
Db.
¢ ∑ ∑ ∑ ∑ 4

25
° 5 ˙ ˙ œ #œ œ œ œ œ #œ #œ œ bœ bœ œ bœ nœ œ
8
&4 Œ 4Œ œ #œ œ Œ Œ
Fl. 4
pp
Fl.
5
&4 ˙
˙ Œ 4Œ
4 œ #œ #œ œ œ #œ #œ œ œ œ œ Œ Œ bœ nœ bœ œ bœ
pp
5 b˙ 4Œ nœ #œ œ œ œ œ #œ #œ œ bœ bœ œ bœ nœ œ
Ob. &4 ˙ Œ 4 œ #œ œ Œ Œ
pp
Cl.
5
& 4 b˙ b˙ Œ 4Œ
4 œ #œ #œ œ nœ #œ #œ œ œ œ œ
Œ Œ bœ nœ bœ œ bœ
pp
B. Cl.
?5
4 ∑ 4w
4 ˙™ Œ bw
pp
bw
?5 ∑ 4w ˙™
Œ
Bsn. 4 4
pp
?5 4
Cbsn.
¢ 4 ∑ 4 Œ
bw
w ˙™
pp
°? 5 ∑ 4 ∑ ∑ ∑
Hn. 4 4
5
&4 ∑ 4 ∑ ∑ ∑
Tpt. 4
?5 ∑ 4 ∑ ∑ ∑
Tbn. 4 4
?5 4
Tba.
¢ 4 ∑ 4 ∑ ∑ ∑
{
5 b˙ 4Ó
Scale #11 (B) Scale #11 (Eb)
&4 ˙ Œ 4 Ó bbb˙˙˙
n˙ w
# ˙˙ w
w g lis
s.
?5 ˙ 4
Hp.
4 b˙ b˙˙ 4 ∑ ∑ bœ Œ Ó
.
gliss
mf nœ
?5 4
{ 4
∑
Piano plays 8vb until the end ...
Pno. 4 bw
p
w w
° 5
Idea #4 used as Main Motif ...
&4 ˙ Œ 4 b˙ ‰ bœ b˙
Vln. 1
˙ 4 ˙ œ™ œ b˙
f f
5
&4 ˙ Œ 4 b˙ ‰ bœ b˙
Vln. 2
b˙ 4 n˙ œ™ œ b˙
f f
B 45˙ b˙ Œ 4Ó
4 Œ Ó b˙
Vla.
#˙ ˙™
mf mf
?5 ˙ ˙™
b˙ Œ 4w Œ bw
Vc. 4 4
?5 ˙™
4w
¢ 4
Db. ∑ 4 Œ bw

26
° œ bœ bœ bœ œ #œ #œ nœ nœ #œ #œ œ œ bœ bœ nœ
12
œ Œ Œ œ œ œ Œ Œ nœ bœ
Fl. &
bœ bœ œ bœ œ œ
Œ Œ œ #œ nœ nœ #œ œ œ œ #œ #œ œ œ Œ Œ bœ b œ nœ bœ nœ œ
Fl. &
œ bœ bœ bœ œ œ #œ #œ nœ nœ #œ #œ œ œ œ bœ nœ bœ nœ bœ
Ob. & œ Œ Œ œ Œ Œ
bœ bœ œ bœ œ œ
Œ Œ œ #œ nœ nœ #œ œ œ œ #œ #œ œ œ Œ Œ bœ b œ nœ bœ nœ œ
Cl. &
? ˙ ™ Œ w ˙™ Œ bw
B. Cl.
 ˙ ™ bw ˙™ bw
Bsn.
? Œ Œ
?
¢
b˙
 ˙ ™
Œ Œ
b˙
Cbsn.
w ˙™
°? ∑ ∑ ∑ ∑
Hn.
Tpt. & ∑ ∑ ∑ ∑
Tbn.
? ∑ ∑ ∑ ∑
?
Tba.
¢ ∑ ∑ ∑ ∑
{
& w
Scale #11 (B) Scale #11 (Eb)
Ó Ó
 w
w ˙
#n ˙˙
w
w
w s.
bbb˙˙˙
liss. g lis
?
Hp.
∑ Œ Ó ∑ bœ Œ Ó
g
œ
?
Pno.
{ w bw
w w
° œ™
Vln. 1 & œ ™ ‰ bœ bœ b˙ ˙ ‰ bœ bœ ˙ b˙
f f
& œ ™ ‰ bœ bœ b˙ ˙ œ™ ‰ bœ bœ b˙
Vln. 2 ˙
f f
Vla. B b˙ ™ Œ Ó #˙ ˙™ Œ ˙ b˙
mf mf
Vc.
? ˙ ™ Œ w ˙™ Œ bw
? ˙ ™ ˙™
¢
Db. Œ w Œ bw

27
œ #œ
° œ bœ œ œ œ œ œ œ #œ
#˙ ™
b œ.
16
Fl. & bœ bœ Ó Œ Œ Ó Œ
3 3 3
f f
bœ œ bœ #œ œ œ œ œ œ.
Fl. & bœ Ó Œ #œ œ œ nœ ˙™ Œ Ó Œ
3 3 3
f f
œ bœ bœ bœ œ #œ bœ.
œ œ œ œ œ œ #œ
3
#˙ ™
Ó Œ Œ Ó Œ
3
Ob. &
3 f
f
bœ œ bœ #œ œ œ œ œ
Cl. & bœ Ó Œ #œ œ œ nœ ˙™ Œ Ó Œ bœ.
3 3 3
f f
? n˙ b˙ Œ Œ
B. Cl.
#œ ˙ ˙™ bw
mf mf
? b˙ #˙ Œ Œ
Bsn.
#œ ˙ ˙™ bw
mf
mf
? b˙
Cbsn.
¢ ˙ Œ
#œ ˙ ˙™
Œ
mf bw
mf
°? œ. #w
w bœ.
Hn. ∑ Ó Œ #œ Ó Œ bœ
mf fp
∑ Ó Œ œ Ó Œ bœ
Tpt. & # œœ. #w
w
w b œœ.
mf fp
? œ w .
Tbn. ∑ Ó Œ œ. #w Ó Œ bœœ
mf fp
?
¢
∑ Œ Œ
#œ ˙ ˙™
“‘
Tba.
bw
{
mf
#˙
mf
Ó Ó ∑ ∑
Scale #11 (F#)
& b˙
n˙
.
gliss
? Ó
Hp.
∑ ∑ ∑
#˙
ff
? b˙
Pno.
{ ˙ Œ
#œ ˙ w bw
°
Repetition of Main Motif
˙ œ
& œ
œ b˙
#œ œ œ œ œ #œ œ œ #œ œ œ b˙
6
Vln. 1 Œ ˙ œ™ ‰ œ
6 ff ff
˙ œ
& œ
œ b˙
#œ œ œ œ œ #œ œ œ #œ œ œ b˙
6
Vln. 2 Œ ˙ œ™ ‰ œ
6 ff ff
œ™
B bw ˙ ‰ œ b˙ b˙
Vla. ˙ œ
ff ff
? b˙ ˙ ‰ œ b˙ b˙
Vc. ˙ ˙ œ™ œ
f f
? b˙
¢ ˙ Œ Œ bw
Db.
#œ ˙ ˙™
f

28
œ #œ “”
° w œ œ œ œ œ œ #œ #œ ™
bœ bœ
20
Fl. & Œ ‰ nw
3 3 3 sfz
fp f f
bw #œ œ œ œ œ #œ œ bœ
Œ œ nœ ‰ bœ w
Fl. & œ™
fp 3 3 3
f f sfz
w œ #œ œ
3
#œ ™
Œ ‰
3
Ob. & œ œ œ œ œ #œ œ œ bw
fp f 3 f
#œ
sfz
œ œ œ œ #œ œ
& bw Œ œ œ œ™ ‰ œ bœ w
Cl.
3 3 3
fp f f sfz
? Œ Œ
 ˙ ™ #w ˙™
B. Cl.
bw
mf sfz
? Œ Œ
 ˙ ™ #w ˙™
Bsn.
bw
mf sfz
?
¢ Œ Œ
 ˙ ™ #w ˙™
Cbsn.
bw
mf sfz
°? w
w
# œœ. #w
w nw
w
Hn. Ó Œ
fp fp ff
Tpt. & bbw

w
w
Ó Œ œ
# œœ. #w
w
w
bw
bw
w
fp ff
fp
Tbn.
? bbw
w Ó Œ
.
#œœ
w
w bw
bw
w
fp fp ff
?
¢
Œ Œ
 ˙ ™
#w ˙™
“‘
Tba.
bw
{
mf
& ∑ ∑ ∑ ∑
?
Hp.
∑ ∑ ∑ ∑
?
{
 w #w w
Pno.
bw
° œ ™ bœ bœ ˙ ˙ œ™ bœ bœ
Vln. 1 & ‰ ‰ w
œ™
ff f sfz
™
& œ bœ bœ ˙ ˙ bœ bœ
Vln. 2 ‰ ‰ w
ff f sfz
B œ ™ bœ ˙ ˙ œ™ bœ bœ
Vla. ‰ bœ ‰ w
œ™
ff f sfz
Vc.
? œ ™ ‰ bœ bœ ˙ ˙ ‰ bœ bœ w
f f sfz
? ˙ ™
¢
Œ Œ bw
Db.
#w ˙™
sfz

29
œ#œ “”
° . . . œ. œœ
.. œœ . . .
#œ. œœœ .
#œœ œ ≈ ‰ #œJ bœ. bœ. œ œ. nœ.
r œ. b œ nœ. . > > b>œ b œ >œbœœ œ œ. #œ. œ. b œ œbœ œ n œ
‰ bœ. œ.
24
Fl. & ‰ Œ nœ Ó J
6 3 6 3 3
œ#œ
6 6 3 6
œœ . . > > b>œ . b œ. #œbœ œ n œ

f
. œ. b œ nœ. nœ. Ó . . . .
Fl.
.... . . .
& ‰ œœœœbœ œœ Œ #œœ œr ≈nœ. #œbœ. bœ. œ œ. œ. ‰ bœ. œ. J Œ ‰ œ. #œbœ bœ. œ nœ #œ. œ
6 3 6 6 3 3 6
6 6
œ #œ œ#œ r nœ. #œ. . bœ. œ. . .

œ. b œ nœ. nœ. Ó . . . . . b œ. #œbœ œ n œ
f
.... . . .
& ‰ bœœœœ œ œœŒ nœ œ œ ≈ bœ œ œ. ‰ j3 Œ ‰ œ. #œbœ bœ. œ nœ #œ. œ
3
b œ
b œ. >œ. >
Ob.
6 3 6
6
6 > 6 6
>. >œ. b>œ b œ >œbœœ œ œ

f
Cl. & ∑ ∑ Ó ‰ bœ J Œ
3 3 3
f
B. Cl.
? ∑ ∑ ∑ ∑
? ∑ ∑ Ó ‰
3 3
j 3 Œ
& bœ bœ œbœœ œ œ
b œ. >œ. > >
Bsn.
f >
? jŒ
¢ jŒ j Œ Œ j Œ jŒ j Œ Œ jŒ jŒ j Œ Œ j Œ jŒ jŒ Œ
3 3 3 3 3 3 3 3 3 3 3 3
Cbsn.
b œ. œ. œ. b œ. œ. œ. b œ. œ. œ. b œ. œ. œ.
f
°?
Hn. ∑ ∑ ∑ ∑ &
Tpt. & ∑ ∑ ∑ ∑
>- > . . >. b>œ. >œœ. œ>œœ.

? œ. bœ bœ. w ‰ bœœœ
3
∑ Ó ‰ bœ J Ó
>. >
Tbn.
3 3 3
ff
?
¢
Tba. ∑ ∑ ∑ ∑
{
#œ œbœ œ bœ #œ œbœ œbœ #œ œbœ œbœ
#œœbœ œœ #œ œbœ œœ #œœbœ œœ œ
Scale #11/4+ (G)
& Ó bœ œ Ó bœ œ Ó bœ œ Œ ‰ J Ó
ss.
g li
ss.
6 6 6
g li
6 6 6
?
f
g li
Hp.
∑ ∑ ∑ ‰ j Œ ‰ œj
ss. Œ
œ
? j3 Œ bœ. œ. .
{ jŒ j Œ Œ j Œ jŒ j Œ Œ jŒ jŒ j Œ Œ j Œ jŒ jŒ
3 3 3 3 3 3 3 3 3 3 3
Pno. nœ
b œ. œ. œ. b œ. œ. œ. b œ. œ. œ. b œ. œ. œ. 3
mf
° Œ bœb œ œ b œ œ œ œ œœ bœb >œ œœ œ œ n œ

Idea #2 ... Ostinato
bœb œ œ œ œ œœ
b˙ ™
> >
& ˙™ Œ bœ œ œbœ œ bœ ≈‰ bœ œ œ œ bœ bœœ bœ ≈‰ bœœœœœbœœœœœœ
Vln. 1
6
R 6 6
R 6 6
mf 6 6
bœb œ œ b œ œ œ œ œœ bœb œ œ œ œ œœ > > bœb >œ œœ œ œ n œ

& Œ Œ Ó Œ œ bœbœ œ bœ ≈‰ œ œ œ bœ bœ œ bœ ≈‰ bœœœœœbœœœœœœ
Vln. 2
6
R 6 6
R 6 6
mf 6 6
˙™ bœb œ œ b œ œ œ œ œœ j ‰ bœb œ œ œ œ œœ r ≈‰ b>œœ œœbœ>œœœœœbœb >œ œœ œ œ n œ

B Œ b˙ ™ Œ bœ œ œbœ œ bœ bœ œ œ œ bœ bœ œ bœ œ
>
Vla.
6 6 6 6 6
mf 6 6
>œ. >. >œ. >. >.

? bœ œ #œ. >œ. bœ. œ. œ œ. œ.
.
œ. nœ. bœ œ. #œ. >œ. bœ. œ œ œ. bœ nœ. nœ. bœ œ#œ. >œ. bœ. œ. œ œ œ. .
œ. nœ. bœ œ. #œ. >œ. bœ. œ œ œ. œ. bœ nœ >
3 3 3 3 3 3 3 3
. .
œ. . . nœ.
f > >. >. >. >. >. >. >.
Vc.
3 3 3 3 3 3 3 3
? bœj Œ j3 j 3 j j3 j3 j 3 bœ. œ. . j3 Œ j3 Œ j 3 Œ j j j j b .
œ œ.
¢ nœ.
3 3 3 3 3 3
Db.
. œ. Œ œ. Œ Œ nœ. bœ. Œ œ. Œ œ. Œ nœ bœ. œ. œ. Œ nœ. bœ. Œ œ. Œ œ. Œ
f 3 3

30
:“;
. “” “”
° n œJ #œnœbœnœ œ b œ œ#œ
œ ≈ œ œ œbœ œ ≈ ‰ Œ #œ œ #œ
‰ bœ œbœ œ œ œ œ œ œ œ œ R ≈ ‰ Œ ‰ œbœ œbœ#œ
28
Fl. & ‰ Œ ‰ bœ ≈ ‰ ‰ R R ≈Ó
R bœ œ b œ
n œ. “” œ b œ œ#œ “”
‰ #œ œbœnœbœ ≈ ‰ œ ≈ œ œ œbœ œ ≈ ‰ Œ ‰ bœ œbœ œ#œ œ œ œ œ œ œ œ œR ≈ ‰ Œ ‰ #œ œbœ œbœ#œ
Fl. & J ‰ Œ R
‰ R R bœ œ b œ
≈Ó
n œ. “” œ b œ œ#œ “”
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32
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°
36
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Idea #1 used as Ending ...
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33
°
40
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34
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35
°
48 w w
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w w
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w w
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& ∑
w w
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ww ww Ó
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w w ∑
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Tbn.
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bw w ˙
° w w ˙ Ó
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Vla. B w bw ∑
Vc.
? bw w ˙ Ó
? bw
Db.
¢ w ˙ Ó

M.I.T.a. - Root Cycles I

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M.I.T.A. talks about ...

... Root Cycles I - Basics!

by Thomas Chase Jones

For more information about the course, please visit http://musicintervaltheory.academy or

Have fun with this ebook and best always,

Copyright © MUSIC INTERVAL THEORY ACADEMY PUBLISHING

Here are some important things to point out:

4) Each RC follows a very simple pattern which is even easier to remember!

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Starting positions of RCs

51 raised to oct. position (blue note)

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Copyright © MUSIC INTERVAL THEORY ACADEMY PUBLISHING

Copyright © MUSIC INTERVAL THEORY ACADEMY PUBLISHING

Copyright © MUSIC INTERVAL THEORY ACADEMY PUBLISHING

Chapter II - Interlaced Root Cycles

142 Changing between RCs

Alternating between RCs

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You are the author, you decide!

Copyright © MUSIC INTERVAL THEORY ACADEMY PUBLISHING

Roots and 'Inversions'

165 Let us choose our root tone first!

166 Inversion according to the Diatonic System.

169 The positions of a triad taught at M.I.T.A.!

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172 Inversion according to M.I.T.A.!

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Replacing steps in RCs

175 Here is an ascending RC5.

Remember, that 6 is the biggest distance we go

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194 Using ascending 5s before each note of the RC.

201 Using two sets of 5s before each note of the RC.

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Dominants and RC6

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Chapter III - Applications of RC1

b ˙˙ bnœœ nbœœ #nœœ nb œœ œœ

Example of an ending ...

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Using RCs as Outer Lines

Position Change (PC)

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Chapter IV - Experimental Use of

last structure has been changed by

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260 Source material ...

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285 Idea #1 used as Introduction ... FRANK HERRLINGER

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slight variation of main motif to avoid

? bœ œ#œ œ bœ œ œ œ œ œ œnœ bœ œ#œ œ bœ œ œ œ œbœnœnœ bœ œ#œ œ bœ œ œ œ œ œ œnœ

Copyright © MUSIC INTERVAL THEORY ACADEMY PUBLISHING

Copyright © MUSIC INTERVAL THEORY ACADEMY PUBLISHING

Copyright © MUSIC INTERVAL THEORY ACADEMY PUBLISHING

Copyright © MUSIC INTERVAL THEORY ACADEMY PUBLISHING

Copyright © MUSIC INTERVAL THEORY ACADEMY PUBLISHING

Copyright © MUSIC INTERVAL THEORY ACADEMY PUBLISHING

Tpt. & bbw

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œœ . . > > b>œ . b œ. #œbœ œ n œ

œ #œ œ#œ r nœ. #œ. . bœ. œ. . .