Week Two, Day Two

° ™
& # ™™ œœ ™™
##
Ossia
j
œ nœ nœ œ œœ
œ
### ™ Œ ™™
& ™ œ
œ
nœ nœ œ œœ
œ œ

™ 3™ ™
Ossia
j
⁄ ™ 0 ™
1 1 0 0
4 4
0

3fr
1 4fr
2
2

™ ™ ™
m
p
p j i4 p3 a p

™ ™
¢⁄
3 0
5
3 4 4
5
5

Once again, applying the idea that a little variety might be easy, I took l.h. finger 1 off, and tried it with the first treble note off or on.
At this point it might start to get confusing as you're moving two l.h. fingers along with all the r.h. action, so take it slowly.
Remember to think along the bar in vertical slices, bass and treble.
 Week Two, Day Five

° ### ™ Ossia
™ Œœ œ nœ nœ œ œ Œ œ nœ nœ œ œœ ™™
& œ œ œ
œ œ
œ

### ™ Œ ™™
™
1& 2 & 3 & 4& 1& 2 & 3 & 4&
œ nœ nœ œ œ Œ œ nœ nœ œ œœ
& œ œ œ œ
œ œ œ

1& 2 & 3 & 4& 1& 2 & 3 & 4&

™ Œ Œ ™
™ 2 ™
Ossia

⁄
0 0 0 0
3 3 3 3 0 0
1 1 1 1
2 2
0
6fr
5fr
1 4 3 1 2 3 1 4 3 2
2

™ ™
E7 2

™ ™
j j
p m i p m p p m i p m p
p p

™ ™
¢⁄
5 5 5 0
7 7
6 6 6 6
7
0 7 7

Having done the D7th alternating the bass from fifth string to sixth string, it can make musical sense to apply the same principle to the
E7th instead of dropping to the open E 6th string in the way we first looked at it, and by now we'll be a little more stable - in fact,
stable enough to start adding in a rising and falling bass line. This is going to be fiddly, because we're also dropping the treble
line to the open B string. Keep thinking in vertical slices and play it very slowly, I've added in ossias to help you move along with
the count in a variation.