GEORGE VAN EPS HARMONIC MECHANISMS FOR GUITAR VOL.

2
Summary

page

1.Reductions 6 to 1 down 12 keys full range

Resolution = 1st inversion (Major) _________________________________________________11
Variation example of continued line, place in all keys major and minor____________________15
2. Reductions 6 to 1 up
Resolution = 2nd inversion (Major) ________________________________________________17
6 to 1 variations sustain the whole tone 'C' until restruck, then sustain again ______________22
3.Reductions 1 to 6 down
Resolution = 1st inversion (Major) _________________________________________________23
4.Reductions 1 to 6 up
Resolution = 2nd inversion (Major) ________________________________________________28
5.Reductions 6 to 1 down 12 keys
Resolution = 1st inversion (Harmonic minor)_________________________________________33
6. Reductions 6 to 1 up
Resolution = 2nd inversion (Harmonic minor)________________________________________38
7.Reductions 1 to 6 down
Resolution = 1st inversion (Harmonic minor) ________________________________________43
8.Reductions 1 to 6 up
Resolution = 2nd inversion (Harmonic minor) _______________________________________48
9.Reductions 6 to 1 down 12 keys full range
Resolution = 1st inversion (Melodic minor) __________________________________________53
10.Reductions 6 to 1 up
Resolution = 2nd inversion (Melodic minor)_________________________________________58
11.Reductions 1 to 6 down
Resolution = 1st inversion (Melodic minor) ________________________________________ 63
12.Reductions 1 to 6 up
Resolution = 2nd inversion (Melodic minor) ________________________________________ 68
13.Reductions Double 6 to 1 down (G Major) ________________________________________73
Reductions Double 6 to 1 down using ascending notation in both lines Resolution = both 6ths together (G Melodic minor) __________________________________75
14. 1 to 8 up 8 to 1 down (Melodic minor)________________________________________ 77
Compound 8 to 1 reduction examples______________________________________________88
15. 3 to 10 10 to 3, 10 to 3 3 to 10 Reductions (Major and Minor)_______________________89
3 to 10 down 10 to 3 up 12 keys full range (Major)______________________________90
Apply mixtures of the previous finger and set markings to the next six keys_______________96
3 to 10 down 10 to 3 up 12 keys full range (Harmonic minor)_____________________102
Apply mixtures of the previous finger and set markings to the next six keys_______________108

3 to 10 down 10 to 3 up 12 keys full range (Melodic minor)__________________________114

Apply mixtures of the previous finger and set markings to the next six keys_______________120
Sounding lowest note just once example (G Melodic minor)________________________126
10 to 3 down 3 to 10 up (Major)__________________________________________________129
Apply mixtures of the previous finger and set markings to the next six keys______________135
10 to 3 down 3 to 10 up (Harmonic minor)_________________________________________141
Apply mixtures of the previous finger and set markings to the next six keys______________147
10 to 3 down 3 to 10 up (Melodic minor)
Apply mixtures of the previous finger and set markings to the next six keys______________147
The lowest note of the upper line is sounding only one in each station (G Melodic minor)___165
TWO PART CONTRARY MOTION
6 to 8 to 10 to 12 (Major)____________________________________________________________174
(Harmonic minor)__________________________________________________________________178
3 to 10 to 3 example mixed minors = harmonic down melodic up place in all keys (G minor)__181
DIVIDED VOICINGS (open voicings)_________________________________________________183
MAJOR, HARMONIC MINOR 12 keys_______________________________________________185
5 keys All fingered________________________________________________________________195
Variation examples place in all keys Major and Minor____________________________________205
MELODIC MINOR 10 to 1 1 to 10
10 to 1 down 1 to 10 up (Major)______________________________________________________207
(Harmonic minor)___________________________________________________________________219
(Melodic minor)____________________________________________________________________231
12 to 3 to 10 dominant 7th to major through the cycle of the fifths____________________________244
10 to 5-3-1________________________________________________________________________245
10th reductions_____________________________________________________________________249
8 to 5 to 2 to 5 to 8 reductions_________________________________________________________251
10ths WITH INNER LINE MOTION_________________________________________________253
CHROMATIC CONCEPT____________________________________________________________276
applied to triads__________________________________________________________________279
open voiced triads________________________________________________________________311
scales within scales_______________________________________________________________343
contrary motion__________________________________________________________________358
thenths with inner line motion_______________________________________________________363