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40 Lessons in how to correctly play improvisations.

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Melody: Scale-Lines
tendency will still assert itself to the extent of demanding a return movement after the liberty has been taken, thus transferring a new activity to a formeny free tone. The 4th step may be made to leap up a third, provided an imĀ­mediate return is made. The 6th step may be treated similarly, and the 7th in reversed direction, thus:
Illustrations of the use of devices a, b, c, will be found on the pages of every composer. Of the remaining, the following will serve:
Exercise 24.
(a)   Play groups a, b, c, in Ex. 86 in every major key.
(b)   Play the same in every minor key, raising the 6th and 7th steps in ascending, and lowering them in deĀ­scending.
(c)   Play groups d, e and / in every major key, as if in duple and then in triple time, with the accent placed on each note in turn. Notice the striking difference this will make.
(d)   Play the foregoing in every minor key, employing the harmonic form of the scale in every case, remembering that the melodic forms are used in conjunct motion only.
(e)   Play phrases in the keys of C, G, E, F, A flat and G flat, in duple and in triple time, introducing any of these movements.
(f)   Play phrases similarly in e minor, c sharp minor, g minor, f minor, a minor and b flat minor.
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