Katheline – Continue to practice repertoire from both books. Go as far as you want. At this point, you can stop writing in your own markings and follow the composer’s. That said, there is still a degree of interpretation that goes on, but let’s try to make it internal (in your head) rather than external (written on the score).

Kristin – Practice 3 5 7 9, 7 9 3 5, and invented (your choice) voicings throughout Autumn Leaves. Try the tune starting from 3 5 7 9 and starting from 7 9 3 5. What do you notice?

Julie – Try doing IV-V-I progressions with 4 voices on the piano. Follow the rules we discussed: NO doubling the leading tone; NO parallel 5ths; NO parallel 8ves; keep common notes in common if possible; NO voice-crossing; if two chord have no common tones, have contrary motion against the bass if possible. In addition, look at the rules, and see if you can figure out WHY they’re rules. Do this in all the keys discussed: Ab major, Eb major, Bb major, F major, C major, G major, D major, A major, E major, and B major.