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Fig. 5-l YOU MUST BELIEVE IN SPRING
Wha lone - ly fwl- ings chill thc mqd - ox of vw mind. Just thirk if win-ter cm6. cu
springbe farbehind? Be-nqth the dep-st snom, the se- qet of a r6e Is merely ftat it knows yN
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It knom its mp- ti- n6s is just a time of yar. The fro-zen m$n- tain drqm
Of Ap - ril's melt - ing strqtr, How sys-tal cler it m, you mut bslieve in spring!
Drnft51 BW
You must be- lieve in love md tust it's on ls way, Jxt as the sleping rce a-
waits the kiss of May. So in a wcld of snow, Of things that cme md go,
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a-d) Demonsfiatedin the following four figures are examplesof the last
2 bars of "Y.M.B. in S.," incorporatingnotesof the diminishedchord.
Examples are notatedin the keys of F and C minor. C7 (in the key of F
minor) usesthe E diminished chord, while G7 (in the key of C minor)
usesthe B diminishedchord.
Warm-up exercises
5-3) The D diminishedchord
b) An Ab major arpeggio.
c) An Ab minor arpeggio.
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Fig.5-2
Fig.5-2a
Fig.5-2b
Fig.5-2d
Fig.5-3a
Fig.5-3b
Fig.5-3c
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5-6a) An Ab diminishedarpeggio.
b) An Ab diminishedchord.
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Fig.5-3d
Fig.5-4a
Fig.5-4b
Fig.5-5a
Fig.5-5b
Fig. 5-6a
Fig.5-6b
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Fig.5-7a
Fig.5-7b
Fig.5-8a
Fig.5-8b
Fig.5-9
Fig.5-10
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4. (On rhythm)
"Think about it-you'd rather hear a cat play rhythmic and wrong, than
non-rhythmic and right, causethey're going to be wrong anyway."
5. (On volume)
'?lay at your norm [volume level]. Know what your nofin is so that you
play the most relaxed. If you play a little louder than that, then you've
brought in some tension,and tension won't allow you to really do it.
The loud that you really want is the loud that comesfrom surety-positive-
ness-that's when you hear people really starting to speakout."
6. (On vibrato)
"How distinctive and easily recognizablethe tenor players were, one from
the other, becauseof their vibrato."
"Your vibrato is like your soul. Horn players nowadays aren't practicing
their vibrato and that's why you can't tell them apart."
100
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