5

YEARS
OF JAZZ
EDUCATION

1-800-456-1388 • www.jazzbooks.com
 Cover Photo is Jamey Aebersold
CONTENTS
GENERAL INFORMATION ........................................2
Valuable Jazz Information........................................3
SOLOING by Jamey Aebersold ...............................4
Jazz: The Natural Music ...........................................5
Suggested Listening–Jazz Artists ..........................7
+LVWRULFDOO\6LJQL¿FDQW5HFRUGLQJV ........................8
Tips For Learning A New Tune ................................9
Practice Procedures For Memorizing Scales
and Chords To Any Song ....................................9
Practice Procedures–Musical Examples ..............10
SONG LIST for Beginners ......................................11
Habit ........................................................................11
SCALES ...................................................................12
Different Ways to Practice Scales, Melodies,
Chords, Intervals and Patterns .........................12
Introduction to the SCALE SYLLABUS ................13
SCALE SYLLABUS .................................................14
NOMENCLATURE ...................................................15
The Dominant 7th Tree of Scale Choices .............16
Ten Basic Exercises–TREBLE CLEF ....................17
Ten Basic Exercises–BASS CLEF.........................18
TREBLE CLEF SCALES .........................................19
BASS CLEF SCALES..............................................20
Ear Training .............................................................21
Interval Chart ..........................................................22
Basic Keyboard and the Chromatic Scale ...........23
The Circle or Cycle of Fourths ..............................24
Scales/Modes Based on the Major Scale .............24
HOW TO PRACTICE by Jerry Coker .....................25
HOW TO PRACTICE by David Liebman................25
This booklet is provided FREE OF CHARGE by Jamey Aebersold Jazz.
If you would like a complete catalog of the thousands of jazz educational materials available,
please call 1-800-456-1388 or visit www.jazzbooks.com
SUMMER JAZZ WORKSHOPS
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Things That Create Interest When Soloing ..........26
Starting A Phrase or Melody..................................26
Jamey's Articulation Wisdom ................................26
Jazz ARTICULATIONS ............................................27
Jazz RHYTHMS .......................................................29
The BLUES SCALE and Its Use.............................30
F BLUES & Bb BLUES PROGRESSIONS:
For TREBLE CLEF C Instruments ....................31
For Bb Instruments ............................................31
For Eb Instruments ............................................32
For BASS CLEF C Instruments .........................32
PLAYING THE BLUES ............................................33
What Does “To Hear” Really Mean? .....................34
VARIATIONS ON BLUES ........................................35
Values–Plato Quote–Bill Evans Quote .................36
Typical Songs To Memorize ...................................36
BEBOP CHARACTERISTICS by David Baker ......37
Short List of Bebop Players ..................................38
BEBOP SCALES .....................................................38
Transposition Chart................................................39
Two Interesting Short Stories................................39
Jamey’s JAZZ THEORY ASSIGNMENTS ..............41
II/V7/I Progression With Emphasis On The
7th Resolving To The 3rd ..................................46
PIANO VOICINGS:
Blues Voicings....................................................47
Major and Dominant 7th Voicings ....................48
II/V7/I Voicings ....................................................49
Jamey’s POINTS TO REMEMBER .........................52
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Published by
JAMEY AEBERSOLD JAZZ
P.O. Box 1244
New Albany, IN 47151-1244
www.jazzbooks.com
Copyright © 2000, 2010, 2013, 2017 by Jamey Aebersold Jazz®. All Rights Reserved. Printed in U.S.A.
International Copyright secured. All copyrights used by permission
No portion of this book may be reproduced in any way w/o express written permission.
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Some of Jamey’s Recommended Play-A-Long Volumes are:

1, 24, 3, 21, 116, 84, 54, 70, 47, and 120

New Play-A-Long
lay A Long Upgrades -- Slow Tempo CDs

VOL. 1 VOL. 3 VOL. 6 VOL. 14 VOL. 16 VOL. 17 VOL. 18 VOL. 36

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8
 TIPS FOR LEARNING A NEW TUNE
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DQGPHDQLQJIXO´-- tenor saxophonist Joe Henderson
(Taken from Jamey’s volume 1 book: “How to Play and Improvise”)

PRACTICE PROCEDURES FOR MEMORIZING

SCALES AND CHORDS TO ANY SONG
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9
 PRACTICE PROCEDURE FOR MEMORIZING SCALES AND CHORDS TO ANY SONG
The eight exercises listed below represent the typical jazz approach to learning the basic har-
mony for the blues in Bb. You’ll want to vary the rhythms to add variety and make them sound
more improvised. You can use this approach for learning ANY scale or chord to ANY song. The
Bb blues progression is taken from the Volume 42 “Blues In All Keys.”
As you play, memorize the chord/scale progression as well as the chord and scale tones. After
playing through these eight choruses, I think you’ll be surprised how easy it is to memorize.
Concentrate on the SOUND of each note.
Think of the blues progression as being three four-bar sections. It has a beginning (4-bars), a
middle section (4-bars), and an ending (4-bars). After you become familiar with various scales
and chords, you won’t need to go through ths practice procedure when working on a new tune.
You’ll already have the needed scales and chords memorized. This is what the professional jazz
musician has done. Commit to memory and enjoy making music. Remember, the purpose of
any exercise is to help you truly MAKE MUSIC. Your OWN music.

10
 SONG LIST FOR BEGINNERS
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11
 SCALES
Major = ¨ = 1 2 3 4 5 6 7 8
Dom. 7th = 7 = 1 2 3 4 5 6 ∫7 8
__
Minor (Dorian) = = 1 2 ∫ 3 4 5 6 ∫7 8
These are the three most-used scales and chords.
Half-Dim. = Ø = 1 ∫2 ∫3 4 ∫5 ∫6 ∫7 8
=
CΔ = B C D E F G A B
BØ
Half-diminished scales are the same as a major scale 1/2 step above.
#2="Half-dim.#2", like: BØ#2 = B C# D E F G A B
Blues Scale = 1 ∫3 4 #4 5 ∫7 8
Major Pentatonic = 1 2 3 5 6 8
Minor Pentatonic = 1 ∫3 4 5 ∫7 8
Minor Pentatonic (J.Coltrane) = 1 2 ∫3 5 6 8
Scales are your best friends - get to know them inside out.
They'll do whatever you ask them to do. Make sure you know them well.
CHORDS 0DMRU     1) Δ = Major 7th, it can mean a major scale (CΔ)
7ULDGV  0LQRU   ∫  or it can mean a major 7th note (C−Δ)
 'LPLQLVKHG   ∫ ∫ 2) 7 = Lowered 7th
 $XJPHQWHG    ß 3) – = Minor (usually Dorian Minor)
4) O = Diminished scale or chord
7th CHORDS 0DMRU      &Δ 5) Ø = Half-diminished scale or chord
  'RPLQDQW     ∫ & 6) + or ß = Raise the note 1/2 step
 0LQRU   ∫  ∫ &− 7) − or ∫ = Lower the note 1/2 step
 'LPLQLVKHG   ∫ ∫ ∫∫WK &° 8) −3 = Minor third interval (= 3 half-steps)
 'RPWK    ß ∫ &+ 9) ∫9 after a letter (dom.7th chord) means there
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 +DOIGLPLQLVKHG   ∫ ∫ ∫ &Ø 10) ß9 after a letter (dom.7th chord) means there
are 4 altered tones: ∫9, ß9, ß4 & ß5
Different Ways To Practice Scales, Melodies, Chords, Intervals, and Patterns
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1. Chromatically Up (Ascending)
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2. Chromatically Down (Descending)
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3. Whole Step Progression - Up (Ascending)
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4. Whole Step Progression - Down (Descending)
&%∫ A∫ G∫('&&%$*)(∫&
5. Minor Thirds (Minor Third = 3 Half Steps)
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6. Whole and Half Step Progression
&''∫(∫'((∫)())**∫ A∫ G A A∫%∫$%%∫&%&&
7. Use the tones of any chord or scale. Example:
C7 Chord:&(*%∫F# Dim. Chord:)$&(∫Ab7+4 Scale: A∫%∫&'(∫ F G∫ A∫
8. Make up your own sequences.
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The more you play, the higher the ear percentage becomes.
12
 INTRODUCTION TO THE SCALE SYLLABUS
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13
 THE SCALE SYLLABUS
LEGEND:+ +DOI6WHS: :KROH6WHSΔ 0DMRUWKRUß UDLVH+∫RU ORZHU+ Ø +DOIGLPLQLVKHG— +0LQRU7KLUG
CHORD/SCALE SYMBOL SCALE NAME WHOLE & HALF STEP SCALE IN KEY OF C BASIC CHORD
CONSTRUCTION IN KEY OF C
C Major WWHWWWH CDEFGABC CEGBD
C7 FIVE BASIC Dominant 7th (Mixolydian) WWHWWHW C D E F G A B∫ C C E G B∫ D
C— CATEGORIES Minor (Dorian) WHWWWHW C D E∫ F G A B∫ C C E∫ G B∫ D
CØ Half Diminished (Locrian) HWWHWWW C D∫ E∫ F G∫ A∫ B∫ C C E∫ G∫ B∫
C° Diminished (8 tone scale) WHWHWHWH C D E∫ F G∫ A∫ A B C C E∫ G∫ A (B∫∫)
1. MAJOR SCALE SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD
CHOICES IN KEY OF C
CΔ (Can be written C) Major (don’t emphasize the 4th) WWHWWWH CDEFGABC CEGBD
C Major Pentatonic W W —3 W —3 CDEGAC CEGB
CΔ+4 Lydian (major scale with +4) WWWHWWH C D E Fß G A B C CEGBD
CΔ Bebop (Major) WWHWHHWH C D E F G Gß A B C CEGBD
CΔ∫6 Harmonic Major W W H W H —3 H C D E F G A∫ B C CEGBD
CΔ+5, +4 Lydian Augmented WWWWHWH C D E Fß Gß A B C C E Gß B D
C Augmented —3 H —3 H —3 H C Dß E G A∫ B C CEGBD
C 6th Mode of Harmonic Minor —3 H W H W W H C Dß E Fß G A B C CEGBD
C Diminished (begin with H step) HWHWHWHW C D∫ Dß E Fß G A B∫ C CEGBD
C Blues Scale —3 W H H —3 W C E∫ F Fß G B∫ C CEGBD
2. DOMINANT 7th SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD
SCALE CHOICES IN KEY OF C
C7 Dominant 7th WWHWWHW C D E F G A B∫ C C E G B∫ D
C7 Major Pentatonic W W —3 W —3 CDEGAC C E G B∫ D
C7 Bebop (Dominant) WWHWWHHH C D E F G A B∫ B C C E G B∫ D
C7∫9 Spanish or Jewish scale H —3 H W H W W C D∫ E F G A∫ B∫ C C E G B∫ (D∫)
C7+4 Lydian Dominant WWWHWHW C D E Fß G A B∫ C C E G B∫ D
C7∫6 Hindu WWHWHWW C D E F G A∫ B∫ C C E G B∫ D
C7+ (has ß4 & ß5) Whole Tone (6 tone scale) WWWWWW C D E Fß Gß B∫ C C E Gß B∫ D
C7∫9 (also has ß9 & ß4) Diminished (begin with H step) HWHWHWHW C D∫ Dß E Fß G A B∫ C C E G B∫ D∫ (Dß)
C7+9 (also has ∫9, ß4, ß5) Diminished Whole Tone HWHWWWW C D∫ Dß E Fß Gß B∫ C C E Gß B∫ Dß (D∫)
C7 Blues Scale —3 W H H —3 W C E∫ F Fß G B∫ C C E G B∫ D (Dß)
DOMINANT 7th
SUSPENDED 4th
C7 sus 4 MAY BE Dom. 7th scale but don’t emphasize the third WWHWWHW C D E F G A B∫ C C F G B∫ D
C7 sus 4 WRITTEN Major Pentatonic built on ∫7 W W —3 W —3 B∫ C D F G B∫ C F G B∫ D
C7 sus 4 G-/C Bebop Scale WWHWWHHH C D E F G A B∫ B C C F G B∫ D
3. MINOR SCALE SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD
CHOICES* IN KEY Of C
C— or C—7 Minor (Dorian) WHWWWHW C D E∫ F G A B∫ C C E∫ G B∫ D
C— or C—7 Pentatonic (Minor Pentatonic) —3 W W —3 W C E∫ F G B∫ C C E∫ G B∫ D
C— or C—7 Bebop (Minor) WHHHWWHW C D E∫ E F G A B∫ C C E∫ G B∫ D
C—Δ (maj. 7th) Melodic Minor (ascending) WHWWWWH C D E∫ F G A B C C E∫ G B D
C— or C—6 or C— Bebop Minor No. 2 WHWWHHWH C D E∫ F G Gß A B C C E∫ G B D
C— or C—7 Blues Scale —3 W H H —3 W C E∫ F Fß G B∫ C C E∫ G B∫ D
C—Δ (∫6 & maj. 7th) Harmonic Minor W H W W H —3 H C D E∫ F G A∫ B C C E∫ G B D
C— or C—7 Diminished (begin with W step) WHWHWHWH C D E∫ F Fß Gß A B C C E∫ G B D
C— or C—∫9∫6 Phrygian HWWWHWW C D∫ E∫ F G A∫ B∫ C C E∫ G B∫
C— or C—∫6 Pure or Natural Minor, Aeolian WHWWHWW C D E∫ F G A∫ B∫ C C E∫ G B∫ D
4. HALF DIMINISHED SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD
SCALE CHOICES IN KEY OF C
CØ Half Diminished (Locrian) HWWHWWW C D∫ E∫ F G∫ A∫ B∫ C C E∫ G∫ B∫
CØß2 (CØ9) Half Diminished #2 (Locrian #2) WHWHWWW C D E∫ F G∫ A∫ B∫ C C E∫ G∫ B∫ D
CØ (with or without ß2) Bebop Scale HWWHHHWW C D∫ E∫ F G∫ G A∫ B∫ C C E∫ G∫ B∫
5. DIMINISHED SCALE SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD
CHOICES IN KEY OF C
C° Diminished (8 tone scale) WHWHWHWH C D E∫ F G∫ A∫ A B C C E∫ G∫ A
NOTES: 1) The above chord symbol guide is my system of notation. I feel it best represents the sounds I hear in jazz.
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14
 NOMENCLATURE
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ZULWWHQSDJHDQGH[SUHVVZKDWLVEHLQJKHDUGLQWKHLUPLQG7KDWLVZK\,SUHIHUC, C7, C—, CØ, C7+9, C7∫9.5HPHPEHUZHDUH
SOD\LQJDPXVLFFDOOHGMD]]DQGLWFRQWDLQVPDQ\DOWHUHGWRQHV2QFHZHOHDUQWKHYDULRXVDOWHUDWLRQVDQGWKHLUFRUUHVSRQGLQJ
DEEUHYLDWHGFKRUGV\PEROZK\NHHSZULWLQJDOOWKHDOWHUDWLRQVEHVLGHWKHFKRUGV\PERO"&KHFNRXWFDUHIXOO\WKH6FDOH6\OODEXV
/LVWHQWR9ROXPH³7KH6FDOH6\OODEXV´
5HPHPEHUQG¶VDUHWKHVDPHDVWK¶VWK¶VDUHWKHVDPHDVWK¶VWK¶VDUHWKHVDPHDVWK¶V([DPSOH.H\RI&WKH
QG'LVWKHVDPHDVWKHWK'2IWHQDFRPSRVHUZLOOVLPSO\ZULWHWKHLUSUHIHUUHGQDPHRIWKHVFDOHEHVLGHWKHFKRUGV\PERO
VXFKDV(∫—ΔPHORGLFPLQRU)—SKU\JLDQ)—SKU\

15
 THE DOMINANT 7th TREE of SCALE CHOICES
7KHWZRPRVWLPSRUWDQWQRWHVLQDQ\VFDOHDUHWKHUGDQGWK7KH\WHOOWKHOLVWHQHUZKDWWKHTXDOLW\LVDQGLQGLFDWH
WKHKDUPRQLFPRWLRQ7KH3rdWHOOVXVLILW¶VPDMRURUPLQRU7KH7thWHOOVZKHWKHUWKHVRXQGLVVWDEOHGRHVQ¶WZDQW
WRPRYHWRDQRWKHUFKRUGRULILWZDQWVWRPRYHRQWRDFKRUGRIUHVROXWLRQ'RPLQDQWVW\SLFDOO\ZDQWWRUHVROYHWR
DFKRUGXSDSHUIHFWWK&ZDQWVWRUHVROYHWR)))HWF7KHrootRUWRQLFLVWDNHQIRUJUDQWHG,ILWZDVQ¶W
WKHUHZHZRXOGQ¶WEHDEOHWRLGHQWLI\WKHVRXQG

$Q\RIWKHVHVFDOHVTXDOLWLHVVRXQGVVRQRULWLHVPD\EHSOD\HGZKHQDGRPLQDQWWKFKRUGVFDOH5(62/9(6WR

DFKRUGVFDOHZKRVH5227OLHVDSHUIHFWWKKDOIVWHSVDERYHWKHURRWRIWKHGRPLQDQWWKFKRUG

EXAMPLE: ||&|&| F | F |$E|$E|'E|'E||

  (PEHOOLVKWKHPHDVXUHVZLWKWKHVHFKRUGV&DQG$E

The altered tones are in bold type7KRVHWRQHVXVXDOO\UHVROYHE\KDOIVWHSWRDVFDOHRUFKRUGWRQH7KLVDPRXQWV

to tension then release,W¶VDQDWXUDORFFXUUHQFHLQPXVLF7KHUG¶VDQGWK¶VDUHXQGHUOLQHG

SCALES

1. DOM.7th & &'( F G A %E& 7KLV LV WKH EDVLF GRPLQDQW WK VRXQG %H
FDUHIXOKRZ\RXWUHDWWKHWKWRQH8VHLWDV
DSDVVLQJWRQH

2. BEBOP & &'( F G A %E B& 3OD\ % QDWXUDO DV D SDVVLQJ WRQH ,W VKRXOG
DOZD\V DSSHDU RQ DQ XSEHDW never on the
GRZQEHDW

3. LYDIAN DOM. & &'( F# G A %E& 7KHZDVLVDIDYRULWHQRWH,WXVHGWREH

FDOOHGDE

4. WHOLE-TONE & &'( F# G# %E& 7KLVVFDOHRQO\KDVWRQHV,WLVDV\PPHWULFDO

scale used often in cartoon music and by
'H%XVV\DQG5DYHO[Has a #4 and #5]

5. DIMINISHED = &E &Db D# ( F# G A %E& 7KLVVFDOHKDVGLIIHUHQWWRQHV,WLVV\PPHWULFDO

DQG LV DOVR XVHG LQ FDUWRRQ PXVLF 0LFKDHO
%UHFNHULVDPDVWHURIWKLVVFDOHVRXQG[Has
a b9, #9 and #4]

6. DIM. WHOLE-TONE & &Db D# ( F# G# %E& 7KLVVFDOHKDVIRXUDOWHUHGWRQHVZKLFKKHOS

FUHDWHWHQVLRQ [Has a b9, #9, #4 and #5]

7. SPANISH or JEWISH SCALE &E &Db ( F G Ab %E& 7KLV VFDOH LV XVHG RIWHQ ZKHQ SOD\LQJ LQ D
PLQRUNH\,W¶VWKHVDPHDV)KDUPRQLFPLQRU
[Has a b9 and b6]

8. CHROMATIC SCALE & &C#'D# ( F F# G G# A A#%&

WKH0XVLFDO$OSKDEHW &Db'Eb ( F Gb G Ab A Bb%&

$Q\WLPHWKHUHLVDGRPLQDQWWK\RXPD\ZDQWWRH[SHULPHQWZLWKWKHVHVFDOHV7KHSURSHUXVHRIWKHVHYDULRXV
VFDOHVLVSDUWRIZKDWPDNHVMD]]VRDSSHDOLQJ(QGOHVVYDULHW\LQWKHKDQGVRIDPDVWHUPDNHVEHDXWLIXOPXVLF
'RQ¶WEHDIUDLGWRWU\WKHVHVRXQGV,WPD\WDNHVRPHWLPHIRU\RXUHDUVWREHFRPHDFFXVWRPHGWRWKHVRXQGDQG
WKH¿QJHULQJV7KHERRNFDOOHG3DWWHUQV)RU-D]]$HEHUVROGSURGXFWFRGH³P-T´IRUWUHEOHFOHILQVWUXPHQWV³P-B´
IRUEDVVFOHIOLVWVMD]]SKUDVHVEDVHGRQPDQ\RIWKHVFDOHVDERYH

16
 PREPARATORY EXERCISES - TREBLE CLEF
Below are several exercises every musician should memorize and be able to play in all MAJOR, MINOR (Dorian Minor),
and DOMINANT 7th keys. These are basic exercises which will help you gain speed and dexterity. Begin by practicing
slowly, then gradually increase speed. Strive for smoothness and slur each exercise. Keyboard and string players should
play legato. After you get the feel of several, consult the ARTICULATIONS chapter. These exercises are great for warming
up each day. You can apply these to ANY scale or chord, regardless of quality. Due to space considerations, I have only
listed three qualities.

17
TREBLE CLEF
TEN BASIC EXERCISES

Author of “Intermediate Jazz Improvisation”

³$GXOWVRIWHQKDYHWR¿JKWWKHLUZD\EDFNWRLQWXLWLRQ´*HRUJH%RXFKDUG
 PREPARATORY EXERCISES - BASS CLEF
Below are several exercises every musician should memorize and be able to play in all MAJOR, MINOR (Dorian Minor), and
DOMINANT 7th keys. These are basic exercises which will help you gain speed and dexterity. Begin by practicing slowly,
then gradually increase speed. Strive for smoothness and slur each exercise. Keyboard and string players should play le-
gato. After you get the feel of several, consult the ARTICULATIONS chapter. These exercises are great for warming up each
day. You can apply these to ANY scale or chord, regardless of quality. Due to space considerations, I have only listed three
qualities.

18
BASS CLEF
TEN BASIC EXERCISES

Jazz is creative. Creation involves change. How much are you willing to change?
 TREBLE CLEF SCALES
TREBLE CLEF

Your voice has been with you much longer than your instrument.
Use it to sing with; then transfer the music to your instrument.

19
 BASS CLEF SCALES
BASS CLEF

It doesn’t hurt to think or to use your mind. Of course, your ego will tell you otherwise.

20
 EAR TRAINING
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21
 INTERVAL CHART
/ŚĂǀĞĨŽƵŶĚŝƚŚĞůƉĨƵůƚŽŵĞŵŽƌŝnjĞĂƐŽŶŐƟƚůĞƚŚĂƚďĞŐŝŶƐǁŝƚŚĂĐĞƌƚĂŝŶŝŶƚĞƌǀĂů͘&ŽƌŝŶƐƚĂŶĐĞ͕ƚŚĞŝŶƚĞƌǀĂůŽĨĂƉĞƌĨĞĐƚϰƚŚŝƐƚŚĞĮƌƐƚƚǁŽŶŽƚĞƐŽĨ
Here Comes The Bride͘LJƐŝŶŐŝŶŐƚŚĞĮƌƐƚƚǁŽŶŽƚĞƐŽĨHere Comes The BrideĂŶĚƌĞĂůŝnjŝŶŐŝƚŽƵƚůŝŶĞƐĂƉĞƌĨĞĐƚϰƚŚŝŶƚĞƌǀĂůLJŽƵĐĂŶďĞŐŝŶƚŽĐĞŶƚĞƌŝŶ
ŽŶƉĞƌĨĞĐƚϰƚŚΖƐǁŚĞŶĞǀĞƌƚŚĞLJĂƌĞƐŽƵŶĚĞĚ͘Kƌ͕ŝƚŵĂLJŚĞůƉLJŽƵƚŽĂĐƚƵĂůůLJƐŝŶŐ͕ŽƌƉůĂLJŽŶLJŽƵƌŝŶƐƚƌƵŵĞŶƚ͕ŝŶƚƵŶĞ͕ƚŚĞŝŶƚĞƌǀĂůŽĨĂƉĞƌĨĞĐƚϰƚŚ͘

ĂĐŚŽĨƚŚĞƐĞƐŽŶŐƐďĞŐŝŶƐǁŝƚŚƚŚĞ
ŝŶƚĞƌǀĂůůŝƐƚĞĚdKd,>&d͘
ASCENDING INTERVALS
ͻE/tKZ</&zKhE'd/d
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–2 ͻ/ZDDZzKh
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/ůŝŬĞƚŽƵƐĞƚŚĞĨŽůůŽǁŝŶŐƚĂďůĞĂƐĂŐƵŝĚĞƚŽŝĚĞŶƟĨLJ
ĐŽƌƌĞĐƚůLJǁŚĂƚĞǀĞƌŝŶƚĞƌǀĂůŝƐďĞŝŶŐƉůĂLJĞĚ͗
DESCENDING INTERVALS
ͻzz></Z ͻD:KZ^>;^E/E'Ϳ ͻ^d>>z^dZ>/',d
ͻt,dΖ^Et ͻK>/dd>dKtEK&d,>,D ͻd,>z/^dZDW
ͻ:t^ ͻ:KzdKd,tKZ> ͻ^K>Z;D͘s/^Ϳ
ͻd,d,D;D͘s/^Ϳ
ͻ^KW,/^d/d>z

ͻD:KZ^>;^E/E'Ϳ ͻdEE^^t>d ͻDZz,>/dd>>D ͻD͘͘^͘,͘

ͻ,WWz/Zd,z ͻDz&hEEzs>Ed/E ͻ<d,,>>^ ͻ>hDKKE
ͻtz/EDE'Z ͻ^d/EK>>
M2 ͻZhK>&͕ZEK^͘͘͘
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ͻ&Z/&Z>KZ ͻd,&/Z^dEK>

ͻtKZ<^KE' ͻ'KZ'/KEDzD/E ͻ&ZK^dzd,^EKtDE ͻ,z:h

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–3 ͻKE&/ZDd/KE ͻd,/DWK^^/>ZD ͻϱϬϬD/>^,/',;͘KZͿ ͻD/^dz
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ͻ'/Ed^dW^

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b5
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b6 ͻW>^KEΖdd><KhdDt,E/ΖD'KE

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ͻd<d,ΗΗdZ/E ͻ^W<>Kt

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b7 ͻd,DĨƌŽŵ^dZdZ< ͻ>/dd>ZΖ^&Ed^z;tKKz^,tͿ
ͻ/Ζ>>>K^Dzz^ ͻϭ^ddKϯZdKEK&,KEz^h<>ZK^

ͻ^dzKhZ&ddKd,t/E ͻKZ ͻ/>KszKh

M7 ͻd,D&ZKD&Ed^z/^>E

ͻ,Z/^dD^^KE';,^dEhd^͘͘͘Ϳ ͻ>d/d^EKt ͻ/>KszKh;d,Kd,ZKE͊Ϳ

8va ͻ^KDt,ZKsZd,Z/EKt ͻ>^^^Z ;d,ZZdtK/&&ZEd^KE'^d/d>͞/>KszKh͟Ϳ
(octave) ͻDĐKE>Ζ^KDDZ/> ͻ>hK^^ ͻt/>>KttW&KZD

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34
 S T U D I O
Improvisation / by Jamey Aebersold
V ariations on Blues

My last article dealt with the Blues (12 bar blues), so I would like to follow up with variations on the blues progressions that have been in
common use in the jazz idiom. The term “three chord songs” are usually referring to the simplest of blues progressions. If you are in the
key of F, the three chords which form the basis of the blues in that key are F7, Bb7, and C7. F7 is called a roman numeral I (one) chord.
7KH%ELVFDOOHGWKH,9IRXUEHFDXVHLWLVEXLOWRQWKHIRUWKVFDOHVWHSRIWKH)VFDOHDQGWKH&LVFDOOHGWKH9¿YHFKRUGXVXDOO\FDOOHG
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and V chords.
As blues evolved in the hands of the jazz musicians across the country by way of the radio and home stereos, more and more musicians
played blues and naturally some would take liberties with the chord structure and alter the chords to match what they were hearing in their
mind’s ear. As the various alterations were passed from musician to musician, they became part of the blues structure.
I have listed 17 different blues progressions found in Dan Haerle’s book “Jazz/Rock Voicings for the Contemporary Keyboard Player”, pub-
lished by Studio P/R, Inc. The progressions read from left to right! The ones at the top are the easier, simpler progressions. As you move
down the page they become more altered and present more of a challenge to the up anc coming jazz player. It is best to practice with one
complete progression until you feel comfortable with it, then move on to the next one. You may also want to substitute a measure in one
blues with the same measure in another blues below or above. Number 14 is one that Charlie Parker used on a blues called %OXHV)RU$OLFH
and another called /DLUG%LUG. Number 16 uses a steady stream of minor chords (ii) moving to dominant 7th chords (V7) usually called ii/
V7’s or a series of ii/V’s. Experiment with the various progressions.
Begin slowly so you can hear the root progression clearly. In time, your mind will remember it and you can move more rapidly. Try to
memorize each progression as you are working on it. Memory is a key process in improvising! Listen to jazz players on records and see
if you can hear when they are substituting chords or scales or licks or patterns over the basic three chord progression. The masters do
it all the time and with such ease that often our ears don’t even realize they have deviated from the basic progression being played by the
rhythm section. You may want to check out Volume 2 “Nothin’ But Blues” in my play-a-long book/cd series. It contains eleven different
blues progressions played by the rhythm section and you can play and practice along with them. Bass players and piano players can even
turn off one channel of their stereo and substitute themselves for the player on the recording. It is a great way to practice with a profes-
sional rhythm section.
,QRUGHUWRSOD\EOXHV\RXKDYHWROLVWHQWRSHRSOHZKRSOD\EOXHV/LVWHQWRWKH¿QHVWSOD\HUVDOZD\V

5HDGIURPOHIWWRULJKW EXAMPLES OF BLUES PROGRESSIONS by Dan Haerle

(In the Key of F)
Measure
No. 1 2 3 4 5 6 7 8 9 10 11 12

1. F7 F7 F7 F7 Bb7 Bb7 F7 F7 C7 C7 F7 F7
2. F7 F7 F7 F7 Bb7 Bb7 F7 F7 C7 Bb7 F7 C7
3. F7 Bb7 F7 F7 Bb7 Bb7 F7 F7 G7 C7 F7 C7
4. F7 Bb7 F7 F7 Bb7 Bb7 F7 D7 G7 C7 F7 C7
5. F7 Bb7 F7 F7 Bb7 Bb7 F7 D7 Gmi7 C7 F7 Gmi7 C7
6. F7 Bb7 F7 F7 Bb7 Eb7 F7 D7 Db7 C7 F7 Db7 C7
7. F7 Bb7 F7 Cmi7 F7 Bb7 Eb7 F7 Ami7 D7 Gmi7 C7 Ami7 D7 Gmi7 C7
_
8. F7 Bb7 F7 Cmi7 F7 Bb7 Eb7 A 7 D7 Gmi7 C7 Ami7 D7 Gmi7 C7
9. F7 Bb7 F7 Cmi7 F7 Bb7 Bmi7 E7 F7 E7 Eb7 D7 Gmi7 C7 Bb7 Ami7 D7 Gmi7 C7
_ _ _
10. FM7 Emi7 A7 Dmi7 G7 Cmi7 F7 Bb7 Bo7 A 7 D7 Ab 7 Db7 Gmi7 C7 Db 7 Gb7 F7 D7 Gmi7 C7
_ _ _ _
11. FM7 Emi7 Eb 7 Dmi7 Db 7 Cmi7 Cb7 BbM7 Bbmi7 Ami7 Ab 7 Gmi7 C7 Ami7 Ao 7 Gmi7 Gb
_ _ _ _ _
12. FM7 BbM7 A 7 G 7 Gb 7 Cb7 BbM7 Bbmi7 Ami7 Ab 7 Gmi7 Gb7 FM7 Ab 7 Gmi7 Gb
_ _ _ _
13. FM7 BbM7 A 7 G 7 Gb 7 Cb7 BbM7 Bbmi7 Eb7 AbM7 Ab 7 Db7 GbM7 Gmi7 C7 Ami7 D7 Dbmi7 Gb
_
14. FM7 Emi7 A7 Dmi7 G7 Cmi7 F7 BbM7 Bbmi7 Eb7 Ami7 Ab 7 Db7 Gmi7 C7 Ami7 D7 Gmi7 C7
_
15. FM7 Emi7 A7 Dmi7 G7 Gbmi7 Cb7 BbM7 Bmi7 E7 Ami7 Ab 7 Db7 Gmi7 C7 Bb7 Ami7 D7 Gmi7 C7
_
16. F#mi7 B7 Emi7 A7 Dmi7 G7 Cmi7 F7 BbM7 Bbmi7 Eb7 AbM7 Ab 7 Db7 GbM7 Gmi7 C7 Ami7 D7 Gmi7 C7
17. FM7 F#mi7 B7 EM7 EbM7 DbM7 BM7 BbM7 Bmi7 E7 AM7 Ami7 D7 GM7 GbM7 FM7 AbM7 GM7 Gb

NOTE: Portions of these progression could be combined with each other to create hundreds of slight variations of the above. Notice that
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returning to a I (one) chord.

35
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THE BEST DAY --- TODAY
EASIEST THING TO DO --- FIND FAULT
MOST USELESS ASSET --- PRIDE
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THE GREATEST COMFORT --- WORK WELL DONE
MOST DISAGREEABLE PERSON --- THE COMPLAINER
WORST BANKRUPTCY --- LOSS OF ENTHUSIASM
BEST TEACHER --- ONE WHO MAKES YOU WANT TO LEARN
GREATEST NEED --- COMMON SENSE
MEANEST FEELING --- REGRET AT ANOTHER’S SUCCESS
BEST GIFT --- FORGIVENESS
GREATEST KNOWLEDGE --- GOD
GREATEST THING IN THE WORLD --- LOVE
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36
 BEBOP CHARACTERISTICS
Compiled by David Baker
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37
 A SHORT LIST OF BEBOP PLAYERS
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BEBOP SCALES
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LVSUREDEO\XVHGPRVWRIWHQRYHU'RPWKDQG'RULDQPLQRUFKRUGVFDOHV
C7 Bebop scale = C D E F G A Bb B C -- (This is also called the 7th scale.)
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DQGDUHGRZQEHDWV*RRGEHJLQQLQJVWDUWLQJQRWHVIRUDVFHQGLQJHLJKWQRWHV
OLQHVDUHE)RUGHVFHQGLQJHLJKWKQRWHOLQHVWKHVDPHDVDVFHQGLQJE
7KHVHDUH$//FKRUGWRQHV:KHQ\RXEHJLQDSKUDVHRQWKHQGWKRUWKQRWHRI
WKHVFDOH\RXPXVWXVHDSDVVLQJWRQHRUFKURPDWLFLVPVRPHZKHUHLQWKHSKUDVHLQRUGHU
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\RXPD\QHJDWHWKHHIIHFWLYHQHVVRIWKH%HERSVFDOHVRXQG
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RQUHFRUGV
The circled note is the extra, added tone.

BEBOP SCALES: MAJOR = 1, 2, 3, 4, 5, ß5, 6, 7, 1 -- C D E F G Gß A B C

DOM.7th = 1, 2, 3, 4, 5, 6, ∫7, 7, 1 -- C D E F G A B∫ B C
MINOR = 1, 2, ∫3, 3, 4, 5, 6, ∫7, 1 -- C D E∫ E F G A B∫ C
HALF-DIM = 1, 2, 3, 4, 5, ß5, 6, 7, 1 -- C D∫ E∫ F Fß G Gß B∫ C

3523(586(2)7+(%(%236&$/(:,//,167$17/<0$.(<285086,&$//,1(6025(0$785($1'$/,9(

CHECK OUT JOE RIPOSO'S BOOKS ON BEBOP SCALES:

• BEBOP SCALES AND PATTERNS - (Order Code: BEBOP (Treble) or BEBOP-BC (Bass Clef)
• TARGET AND APPROACH TONES (Order Code: TAT)

$OORIWKHVHERRNVDUHDYDLODEOHIURP-DPH\$HEHUVROG-D]]YLVLWRXUZHEVLWHDWwww.jazzbooks.com
38
 TRANSPOSITION CHART
C Concert Instruments: Trombone, Piano, Flute, Guitar, Oboe, Organ, Violin, Cello, Viola, Harp, C
Melody Sax, C Trumpet, Bass Guitar, Bass Violin,

Bb Instruments: Trumpet, Cornet, Clarinet, Tenor Sax, Soprano Sax

Eb Instruments: Alto and Baritone Sax, Eb Clarinet,

NOTE:&&RQFHUW,QVWUXPHQWVDUHQRQWUDQVSRVLQJ7KH\UHDGWKHLUPXVLFDVLV%ELQVWUXPHQWVPXVWSOD\
WKHLUQRWHV83D:+2/(67(37KLVLVFDOOHGWUDQVSRVLQJXSDVWHS(ELQVWUXPHQWVPXVWSOD\WKHLUQRWHV
'2:1WKUHHKDOIVWHSV0LQRUWKLUG7KLVLVFDOOHGWUDQVSRVLQJDPLQRUWKLUG

If we had a musical phrase comprised of these notes, here is how they would be transposed;

C Concert Instruments play: C E∫ G Bb A G F D D∫ G∫ B E A∫

Bb Instruments play: D F A C B A G E E∫ Ab Cß Fß B∫

Eb Instruments play: A C E G Fß E D B B∫ E∫ A∫ Cß F

TWO INTERESTING SHORT STORIES

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39
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PLAY-A-LONGS FROM JAMEY AEBERSOLD FEATURING CHARLIE PARKER

Vol. 6 - CHARLIE PARKER - “ALL BIRD”
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40
 THEORY ASSIGNMENTS &RQVXOWWKH6&$/(6<//$%86S 
USE PENCIL RU120(1&/$785(S for further info
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H = Half Step, W = Whole Step, -3 = Minor Third (3 half steps)
0DMRU6FDOH ::+:::+    :KROH7RQH6FDOHV ::::::
0LQRU6FDOH :+:::+:    'LP6FDOH :+:+:+:+EHJLQZLWK:
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_
[ # and + means to raise 1/2 step. b or - means to lower 1/2 step. 3 means 3 half steps ]
For additional study, I highly recommend Dan Haerle’s book, “The Jazz Language.”
WRITE THE NOTES USING LETTERS TO THE FOLLOWING CHORD/SCALE SYMBOLS
(use the above whole and half-step sequences as a guide)
1. B∫

2. A∫7
_
3. B 7

4. BØ
_
5. D

6. Cß7
_
7. Fß 7

8. EØ
_
9. F 7

10. D7
_
11. G

12. C7

13. F

14. AØß2

15. Bb Major ß4
_
16. A∫

17. E∫7
_
18. E

19. B7

20. C7ß4

41
 THEORY ASSIGNMENTS
USE PENCIL
WRITE THE NOTES USING LETTERS TO THE FOLLOWING CHORD/SCALE SYMBOLS
WRITE THE NAME OF THE SCALE TO THE LEFT
NAME

__________________ 1. A7ß4

_
__________________ 2. B Δ

__________________ 3. C7+9

__________________ 4. B∫Δß4

__________________ 5. DØ

__________________ 6. A∫Δß4

__________________ 7. CØß2

__________________ 8. FΔß4, ß5

_
__________________ 9. B∫ Δ

__________________ 10. E7ß4

__________________ 11. F7+5

__________________ 12. E∫7 ß4, ß5

__________________ 13. AΔß4

__________________ 14. D∫7∫9

__________________ 15. B7∫9

_
__________________ 16. G Δ

__________________ 17. C7∫9

__________________ 18. GØ

_
__________________ 19. D Δ

__________________ 20. A7ß9

42
 THEORY ASSIGNMENTS
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ĂĐŚ WůĂLJͲͲ>ŽŶŐ ĐŽŶƚĂŝŶƐ Ăƚ ůĞĂƐƚ ŽŶĞ ƐƚĞƌĞŽ  ĂŶĚ Ă ĐŽŽƌĚŝŶĂƚĞĚ ŬůĞƚ ǁŝƚŚ ƉĂƌƚƐ &KZ >> /E^dZhDEd^͘ dŚĞ ǀŽůƵŵĞƐ ĚŽ ŶŽƚ ŶĞĐĞƐƐĂƌŝůLJ ŐĞƚ
ƉƌŽŐƌĞƐƐŝǀĞůLJŵŽƌĞĚŝĸĐƵůƚ͘WŽƉƵůĂƌůLJƚĞƌŵĞĚ͞dŚĞDŽƐƚtŝĚĞůLJͲhƐĞĚ/ŵƉƌŽǀŝƐĂƟŽŶdŽŽůƐKŶdŚĞDĂƌŬĞƚ͊͟
ΗŶLJŽŶĞĂŶ/ŵƉƌŽǀŝƐĞΗďLJ:ĂŵĞLJĞďĞƌƐŽůĚ
dŚĞƐƉĞĐŝĂůƐƚĞƌĞŽƐĞƉĂƌĂƟŽŶƚĞĐŚŶŝƋƵĞŝƐŝĚĞĂůĨŽƌƵƐĞďLJƌŚLJƚŚŵƉůĂLJĞƌƐ͘ ^dͲ^>>/E'sKE:/DWZKs͊
dŚĞůĞŌĐŚĂŶŶĞůŝŶĐůƵĚĞƐďĂƐƐĂŶĚĚƌƵŵƐ͕ǁŚŝůĞƚŚĞƌŝŐŚƚĐŚĂŶŶĞůĐŽŶƚĂŝŶƐƉŝĂŶŽŽƌŐƵŝƚĂƌĂŶĚĚƌƵŵƐ͘ ϮͲ,KhZs&ĞĂƚƵƌŝŶŐ:ĂŵĞLJ

JAMEY'S SUGGESTED ORDER OF STUDY: sŽůƵŵĞƐϭ͕Ϯϰ͕ Ϯϭ͕ϭϭϲ͕Ϯ͕ϱϰ͕ϯ͕ϳϬ͕ϱ͕ϴϰ͕ĞƚĐ͘ sŽů͘ϭĂŶĚϮϰǁŽƌŬƚŽĨŽƌŵĂƐƚƌŽŶŐĨŽƵŶĚĂƟŽŶ͘

 VOL.# TITLE
U FORMAT  VOL.# TITLE
U FORMAT
T ϭ Η:͗,KtdKW>zE/DWZKs/^Η <ͬϮƐ T ϲϳ ΗdhEhWΗ <ͬ
T Ϯ ΗEKd,/EΖhd>h^Η <ͬ T 68 Η'/Ed^dW^Η <ͬ
T ϯ Ηd,//ͬsϳͬ/WZK'Z^^/KEΗ <ͬϮƐ T 69 ,Z>/WZ<ZͲΗ/Z'K^>d/EΗ <ͬ
T ϰ ΗDKs/EΖKEΗ <ͬ T ϳϬ Η</>>Z:KΗ <ͬ
T 5 Ηd/DdKW>zDh^/Η <ͬ T ϳϭ Η^dK&d,^hEΗ <ͬ
T 6 ,Z>/WZ<ZͲΗ>>/ZΗ <ͬϮƐ T ϳϮ Η^dZdK&ZD^Η <ͬ
T ϳ D/>^s/^ <ͬ T ϳϯ K>/sZE>^KEͲΗ^dK>EDKDEd^Η <ͬ
T 8 ^KEEzZK>>/E^ <ͬ T ϳϰ Η>d/E:Η <ͬ
T 9 tKKz^,t <ͬ T ϳϱ ΗKhEdKtEdK'/Ed^dW^Η <ͬϮƐ
T ϭϬ s/<ZͲΗ/',d>^^/:KZ/'/E>^Η <ͬ T ϳϲ s/<ZͲΗ,KtdK>ZEdhE^Η <ͬ
T ϭϭ ,Z/,EK< <ͬ T ϳϳ WYh/dKΖZ/sZ <ͬ
T ϭϮ h<>>/E'dKE <ͬ T ϳϴ Η:,K>/z>^^/^Η <ͬ
T ϭϯ EEKE>>Z>z <ͬ T ϳϵ Ηs>KEΗ <ͬ
T ϭϰ EEz'K>^KEͲΗ/',d:>^^/^Η <ͬϮƐ T ϴϬ Η/E/EΗ <ͬ
T ϭϱ ΗWz/EΖh^Η <ͬ T ϴϭ s/>/DEͲΗ^dEZ^ΘKZ/'/E>^Η <ͬ
T ϭϲ ΗdhZEZKhE^͕z>^͕Θ//ͬsϳƐΗ <ͬϰƐ T ϴϮ ydZ'KZKE <ͬ
T ϭϳ ,KZ^>/sZ <ͬϮƐ T ϴϯ d,Z<ZZKd,Z^ <ͬ
T ϭϴ ,KZ^/>sZ <ͬϮƐ T ϴϰ KD/EEdϳd,tKZ<Khd <ͬϮƐ
T ϭϵ s/>/DE <ͬ T 85 Ez>sZEͲΗdhE^zKhd,Kh',dzKh<EtΗ <ͬ
T ϮϬ :/DDzZEzǁͬ'h/dZ <ͬ T 86 ,KZ^/>sZͲΗ^,Khd/EΖKhdΗ <ͬ
T Ϯϭ Η'dd/EΖ/ddK'd,ZΗ <ͬϮƐ T ϴϳ EEzZdZͲΗt,E>/',d^Z>KtΗ <ͬ
T ϮϮ Η&sKZ/d^dEZ^Η <ͬϮƐ T 88 ΗD/>>EE/hD>h^Η <ͬ
T Ϯϯ ΗKEKE^dEZ^Η <ͬϮƐ T 89 ΗZEd,dZDΗ <ͬ
T Ϯϰ ΗD:KZΘD/EKZΗ <ͬϮƐ T ϵϬ ΗKd/D^Η <ͬ
T Ϯϱ Η>>Ͳd/D^dEZ^Η <ͬϮƐ T ϵϭ ΗW>zZΖ^,K/Η <ͬ
T Ϯϲ Ηd,^>^z>>h^Η <ͬϮƐ T ϵϮ >EE/E/,h^ <ͬ
T Ϯϳ :K,EK>dZE <ͬ T ϵϯ Ηt,dΖ^Et͍Η <ͬ
T Ϯϴ :K,EK>dZE <ͬ T ϵϰ Η,Kd,Kh^Η <ͬ
T Ϯϵ ΗW>zhd^t/d,:/DDzZEzΗǁͬ'h/dZ <ͬ T 95 ΗϱϬϬD/>^,/',Η <ͬ
T ϯϬ ΗZ,zd,D^d/KEtKZ<KhdΗͲW/EKΘ'h/dZ <ͬ T 96 s^Dh>^ͲΗ>d/EYhZdZΗ <ͬ
T ϯϬ ΗZ,zd,D^d/KEtKZ<KhdΗͲ^^ΘZhD^ <ͬ T ϵϳ Η^dEZ^t/d,^dZ/E'^Η <ͬ
T ϯϭ Η:K^^EKs^Η <ͬ T 98 EdKE/KZ>K^:K/Dǁͬ'h/dZ <ͬ
T ϯϮ Η>>^Η <ͬ T 99 dDZKEͲΗ^Kh>dZEΗ <ͬ
T ϯϯ tzE^,KZdZ <ͬϮƐ T ϭϬϬ Η^d>Kh/^>h^Η/y/>E <ͬ
T ϯϰ Η:D^^^/KEΗ <ͬϮƐ T ϭϬϭ Ez>sZEͲΗ^ZdK&d,E^Η <ͬ
T ϯϱ Zt>dKE <ͬ T ϭϬϮ :ZZzZ'KE/ͲΗ^KhEs/Η <ͬ
T ϯϲ ΗKWEzKEΗ <ͬϮƐ T ϭϬϯ s/^EKZE <ͬ
T ϯϳ ^DDzE^d/K <ͬ T ϭϬϰ <EEztZEZͲΗ&ZW>zΗ <ͬ
T ϯϴ Η>^^/^KE'^&ZKDd,>hEKd:ZΗ <ͬϮƐ T ϭϬϱ sZh<ͲΗ/EzKhZKtE^tdtzΗ <ͬ
T ϯϵ Η^t/E'͕^t/E'͕^t/E'Η <ͬ T ϭϬϲ >DKZ'EͲΗ^/t/EZΗ <ͬ
T ϰϬ ΗΖZKhED/E/',dΗ <ͬϮƐ T ϭϬϳ Η/d,dKzKh͊ΗͲ^dEZ^&KZ^/E'Z^ <ͬϮƐ
T ϰϭ ΗKzE^Kh>Η <ͬϮƐ T ϭϬϴ :K,EZ^KEͲΗ/EEZhZ'Η <ͬ
T ϰϮ Η>h^/E>><z^Η <ͬ T ϭϬϵ E,Z>ͲΗ&h^/KEΗ <ͬ
T ϰϯ Η'ZKKs/EΖ,/',Η <ͬ T ϭϭϬ Ηt,E/&>>/E>KsΗͲZKDEd/>>^ <ͬ
T ϰϰ ΗhdhDE>s^Η <ͬ T ϭϭϭ :::K,E^KE <ͬ
T ϰϱ />>sE^ <ͬ T ϭϭϮ K>WKZdZͲΗϮϭ'Zd^dEZ^Η <ͬϮƐ
T ϰϲ ΗKhdK&d,/^tKZ>Η <ͬ T ϭϭϯ ΗDZ>zKhΗͲ>>^&KZ>>^/E'Z^ <ͬϮƐ
T ϰϳ Η/'KdZ,zd,D,E'^ΗͲ/E>><z^ <ͬ T ϭϭϰ Η'KKd/DΗ <ͬϰƐ
T ϰϴ h<>>/E'dKEͲΗ/ED>>KtdKEΗ <ͬ T ϭϭϱ ZKEZdZ <ͬϮƐ
T ϰϵ Η^h'ZΗǁͬKZ'E <ͬ T ϭϭϲ ΗD/>^K&DK^ΗͲDK>: <ͬϮƐ
T ϱϬ D/>^s/^ͲΗd,D'/K&D/>^Η <ͬ T ϭϭϳ ΗK>WKZdZ&KZ^/E'Z^Η <ͬϮƐ
T ϱϭ ΗE/',dΘzΗ <ͬ T ϭϭϴ :Kz&ZE^KͲΗ'ZKKs/EΖ:ΗǁͬKZ'E <ͬ
T ϱϮ Η^dZh^dΗ <ͬ T ϭϭϵ Kztd^KE <ͬ
T ϱϰ ΗD/EsKz'Η <ͬ T ϭϮϬ Η&>/EΖ'KKΗͲ>h^/EͲϯǁͬKZ'E <ͬ
T 55 :ZKD<ZEͲΗz^dZz^Η <ͬ T ϭϮϭ W,/>tKK^ <ͬ
T 56 d,>KE/Kh^DKE< <ͬ T ϭϮϮ :/DDz,d, <ͬ
T ϱϳ ΗD/EKZ>h^/E>><z^Η <ͬ T ϭϮϯ ΗEKtΖ^d,d/DΗͲ:Kz&ZE^KdZ/KǁͬKZ'E <ͬ
T 58 ΗhE&KZ'dd>^dEZ^Η <ͬ T ϭϮϰ ΗZ/>/E:Η <ͬ
T 59 Η/Es/dd/KEΗǁͬKZ'E <ͬϮƐ T ϭϮϱ Η,Z/^dD^ZK>>^^/^Η <ͬ
T ϲϬ &Z/,hZ <ͬ T ϭϮϲ ZEzZ<ZǁͬZEzZ<Z <ͬϮƐ
T ϲϭ ΗhZE/EΖΗ <ͬ T ϭϮϳ /,ZZ/^ͲΗ>/^dE,ZΗ <ͬ
T ϲϮ t^DKEd'KDZz <ͬ T ϭϮϴ :E'KZ/E,ZdͲ͞'zW^z:͟ǁͬ'h/dZ <ͬ
T ϲϯ dKD,ZZ>> <ͬ T ϭϮϵ :z,Z/^dD^ <ͬ
T ϲϰ Η^>^͕>d/E͕:Η <ͬ T ϭϯϬ ΗWEE/^&ZKD,sEΗ <ͬϮƐ
T 65 Η&KhZΘDKZΗǁͬKZ'E <ͬϮƐ T ϭϯϭ ΗZzDZ/sZΗ <ͬ
T 66 />>z^dZz,KZEͲΗ>h^,>/&Η <ͬ T ϭϯϮ ΗKEd,^dZdt,ZzKh>/sΗ <ͬ
sŝƐŝƚǁǁǁ͘ũĂnjnjŬƐ͘ĐŽŵĨŽƌĐƵƌƌĞŶƚƉƌŝĐŝŶŐŝŶĨŽƌŵĂƟŽŶ͘ T ϭϯϯ ΗKtEzd,Z/sZ^/ΗͲ/y/>E>^^/^ <ͬ

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