Reaerroniza igaralo ovida Zero *Crabins 2 “oud (é) @ J AI4 f) r Za Fm? Cw? Aan 2 Cat” "7p » Ob xg) @ L 7 7 be FA ony 2h = ie To 7 ome P tie 7 5 TL by? ify. Be Eala_ + t es 7s) é YP TH [ oTF | + Er/ey br ve _ Aa), hale U TT] t oh t 1 OMT )» CO OTT [ Nat Eads Cle x _ E Ts) be og Eas Ht ¢ Lt #T Al | . dD p aT ay 4 a SO 4 9/4 [6 6 9/4 (6 aa lis if 1 alas Hie tl, ie ih fe VhozartielloLu E (bs) Ba SS a Bho a” & r HS atte @t Fi iT 4 x ie) = th He Cyn? Fan Bp me La of FE (Pu ter iy | Hs Lf! le @ Ll r ovelztico OA £9) WT calévcinplaged * Fim? Ff? Lond v E br yo = Fe = Ae = Co tos #7?) bytes TE ke A Baby de A @ yelative menov de A (Fem) menor de E ( €ym?) "yt ie TLu € ah@ He lbe) h L : a tc) fot 9 Es”) rly HE so AH # ¥ T T 1 IB) r [4 $ ell He ts, 4 YY awe” al Cay ee > T 7 4 | pe Bi galing ae cs bil €° Crp” Fri, — Clint? § TB i BIT i ont @ TH tian S i. ; 3 Te be Out Long? 7 es A, + anh) Ae? @ Tier H g bs | i Qu] OF a Ane T6¢ Ang? Dil Aaa Tg 12s Ging? = GB &,) Th ae _ ~ id ud ott aca 1g 3/4ea | Fall Gy G * Ap Fon + Fant?) 1] Tf T41] + + [4 I? Bes 4 ii L UM H Em ft Gp? i Mm Non en" Aan 04 Cog? Dy? dele del | Ope v4 Seen fe tte | Se, ¢ Oy hy A ’ C&P Rea x 14 My oo & Fim” Ya (wit & Front F4. Vw fa Y — FGF Pid An Vara ea) Fan i om Tug 1) Adonded Y Invevscts / Tensbes 2) Capo Haemonico (ator /Wence.) 3) Expan ede L ees gy Yeh Sp sublz GL Labs Tap Tas Air’ “deci Om avalos yexatis [exeinplo F dom antes) Pe6 1) Campo Harménico (inside). Resumio de Harmonia. | Mazant Mello 2) DilatagGes c/ou empréstimos modai F , 3) Modulagées. 5) Fusées das anteriores. 4) Modal. Li €40 F [Dilatacsese/ ou empréstimos modais. F’*G’ Am’ Bg C7 Dm’ Em’ DOMINANTES (V7) | A B7 |_ C7 | E7 aconselhiivel Tim7 ou If m(Sb) 7#— V7 | f Em(5b)7 A7 F#m(Sb)7 B7 | Gm7 C7 ‘Am7 D7 ‘Bm(Sb)7 E7 também muito comum Em7A7____ F#m7B7 Bm7 E7 sub V7 Eb7 FT Gb7 ‘Ab7 Bb7 Il sub V7 4 Ep7 Eb) | Fin? F7 Gm7Gb7 | Am7Ab7 Bra? BY? Em(5b)7 Fam(Sb)7 Bm(Sb)7 Bf TV sub \Abm7 Db7 = Bbm7 Eb7 Cm7 F7 Dbm7 Gb7 Ebm7 Ab7 Fm7 Bb7 V7dom dim | |G7(Abdim) A7(Bbdim) — B7(Cdim) cr D7 E7 | Bb7(Bdim) D7(Ebdim) Eb7 F7 | G7 Db7(Ddim) F1(Gbdim) Gb7 Ab7 | Bb7 | E7(Fdim) Ab7(Adim) Ay B7 Db7 subdom. menor IVm(Fm7/6) Tim(Sby7 Ivm7/6 ‘Vbm(5b)7 Vib7+ VIIb7/sus Dm(b)7 Fm7/6 Gbm(5b)7 Ab7+ — BbT/sus mrs relatos Iv#m(Sb) oe F#m(5b)7 | ‘dominantes disponiveis mixolidio;mixo(b6)(b9) ou frigio 3; mixo(#4);mixo(b6);alt.7;dom dim; hexa... ete. ‘Ampliando o conceito de resolugio. V: Vm ; IV e IVm "a principio" resolvem em acordes maiores/menores. V 7( todos os dominantes);Vm7/6 (geralmente melo-doricos);1V7+/6(lidios);IV7(mixo#4) IVm7/6 (geralmente melo-doricos). 075: Um & “tolhves® 4 @/ opr Ebre < ons: vba 5 h fe Bb it Am’ | Fr fb’ |67° OP f° A? 6° 7 Vx Wille 4] Zong fy ia