Take the A-Train Exam and Worksheet

A Melody and chord changes

C6 D7(#11)



5 D7 G7 C6 C7

B
9 F7

13 D7 D7
G7 G7(b9)

Write a melody reduction. Use whole, half, and quarter notes only.
17 C6 D7(#11)

21 D7 G7 C6 C7

25 F7

29 D7 D7 G7 G7(b9)

2 Apply *ONE* of the following chromatic targeting devices to your melody reduction: 1a, 1b, 2a, 2b.
Use the targeting motif as a pickup to beat 1. See handout for Chromatic Targeting Devices.

33 C6 D7(#11)

37 D7 G7 C6 C7

41 F7

45 D7 D7 G7 G7(b9)

Write out both of the primary Guide Tone Lines (3rds and 7ths - or 6th on C6)
on this staff. The starting pitches are provided for you.

49 C6 D7(#11)

53 D7 G7 C6 C7

57 F7

61 D7 D7 G7 G7(b9)

 Write out both of the secondary Guide Tone Lines (5ths and 9ths) on this staff.
Use b5 and b9 on any V7 chord resolving to I. The starting pitches are provided for you.
3

65 C6 D7(#11)

69 D7 G7 C6 C7

73 F7

77 D7 D7 G7 G7(b9)

Take any one of the four Guide Tone Lines you realized in the previous two examples and apply
the chromatic targeting device shown below to each measure. Use the targeting motif as a pickup to beat 1.
81
Chr. below, emb. whole above, C.T


83 C6 D7(#11)

87 D7 G7 C6 C7

91 F7

95 D7 D7 G7 G7(b9)

 Use this section to create a quarter note arpeggio study. Use the notes R 3 5 7 in the first 8 bars and 3 5 7 9 in
the second 8 bars. Notes can be in any order and you don't have to use every pitch in every measure.
4

99 C6 D7(#11)

103 D7 G7 C6 C7

107 F7 (Use 3 5 7 9 here.)

111 D7 D7 G7 G7(b9)

Write each chord's corresponing scale in descending 8th notes. Label the name of the scale.
If you need a reminder of which scales go with what chords, please see the scales handout.

115 C6 D7(#11)
CLydian

D7 G7 C6 C7
119

F7
123

127 D7 D7 G7 G7(b9)