24
Dear Musician, Thank you for your interest in the U.S. Marine Music Program. Please review the following letter and enclosed materials to familiarize yourself with the process of becoming a United States Marine Musician. There are two essential elements to the process; you must establish your entrance qualifications as a musician and as a United States Marine. The Musician Placement Director is the Marine responsible for reviewing and certifying your musical qualification. A local Marine Corps recruiter will help you determine your Marine Corps entrance qualifications and guide you through the process of becoming a Marine. In order to become eligible to serve as a Marine Musician, musical proficiency must be established in accordance with Marine Corps Audition Standards. By following a two round process, we will establish an applicant’s potential for service as a Marine Musician. The first round is a Screening Round, wherein we learn about your musical background and establish the likelihood of successfully meeting the requirements of the next round. Upon successful evaluation, you will be invited to participate in the Audition Round, which consists of a live audition proctored by the Musician Placement Director. This serves as the final determining factor for establishing musical entrance qualifications for service as a Marine Musician. Screening Round The Screening Round is used to establish musical background and potential to succeed in the Audition Round. The applicant will provide the following materials: audio OR video recordings performing required musical excerpts, a completed Musician Applicant Fact Sheet, and most recent résumé. Submission instructions are provided on the Applicant Fact Sheet. Audio recordings must be of good quality and in MP3 format only. One recording per excerpt. Please state your name, date of recording, and the excerpt name at the start of each recording. If you choose to submit video recordings please ensure the sound quality is good and the video is recorded in a professional setting. One continuous video file is preferred, but the video does not have to be done in one session. Video should be a full view of the applicant. Please dress in comfortable, but professional attire. Audition Round Based on successful evaluation of the Screening Round, the applicant may be invited to perform the Audition Round. The Musician Placement Director will hold the Audition Round within the applicant’s geographical area. Dates for the Audition Round may be previously published or, in some cases, individually scheduled. The Audition Round for all brass and woodwind instrumentalists consists of the following: Part 1 Perform included excerpts as directed. Part 2 Perform sight-reading as provided by proctor. Thank you again for your interest in becoming a Marine Musician. Sincerely, Gerald K. Ebo Gunnery Sergeant | Musician Placement Director Office: 817.782.6736 Mobile: 214.693.3524 Fax: 817.782.3514 [email protected] 8 th Marine Corps District 1513 Desert Storm Road Fort Worth, TX 76127

Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

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Page 1: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

Dear Musician,

Thank you for your interest in the U.S. Marine Music Program. Please review the following letter and enclosed materials to

familiarize yourself with the process of becoming a United States Marine Musician. There are two essential elements to the

process; you must establish your entrance qualifications as a musician and as a United States Marine. The Musician Placement

Director is the Marine responsible for reviewing and certifying your musical qualification. A local Marine Corps recruiter will

help you determine your Marine Corps entrance qualifications and guide you through the process of becoming a Marine.

In order to become eligible to serve as a Marine Musician, musical proficiency must be established in accordance with Marine

Corps Audition Standards. By following a two round process, we will establish an applicant’s potential for service as a Marine

Musician. The first round is a Screening Round, wherein we learn about your musical background and establish the likelihood

of successfully meeting the requirements of the next round. Upon successful evaluation, you will be invited to participate in the

Audition Round, which consists of a live audition proctored by the Musician Placement Director. This serves as the final

determining factor for establishing musical entrance qualifications for service as a Marine Musician.

Screening Round

The Screening Round is used to establish musical background and potential to succeed in the Audition Round. The applicant will

provide the following materials: audio OR video recordings performing required musical excerpts, a completed Musician

Applicant Fact Sheet, and most recent résumé. Submission instructions are provided on the Applicant Fact Sheet.

Audio recordings must be of good quality and in MP3 format only. One recording per excerpt. Please state your name, date of

recording, and the excerpt name at the start of each recording.

If you choose to submit video recordings please ensure the sound quality is good and the video is recorded in a professional

setting. One continuous video file is preferred, but the video does not have to be done in one session. Video should be a full view

of the applicant. Please dress in comfortable, but professional attire.

Audition Round

Based on successful evaluation of the Screening Round, the applicant may be invited to perform the Audition Round. The

Musician Placement Director will hold the Audition Round within the applicant’s geographical area. Dates for the Audition

Round may be previously published or, in some cases, individually scheduled. The Audition Round for all brass and woodwind

instrumentalists consists of the following:

Part 1 – Perform included excerpts as directed.

Part 2 – Perform sight-reading as provided by proctor.

Thank you again for your interest in becoming a Marine Musician.

Sincerely,

Gerald K. Ebo

Gunnery Sergeant | Musician Placement Director

Office: 817.782.6736 • Mobile: 214.693.3524 • Fax: 817.782.3514

[email protected]

8th Marine Corps District

1513 Desert Storm Road

Fort Worth, TX 76127

Page 2: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

U.S. MARINE MUSIC – APPLICANT FACT SHEET

PRIVACY ACT STATEMENT This statement is provided in compliance with the provisions of the Privacy Act of 1974 (5 U.S.C. 552a) which requires Federal agencies to inform individuals who are requested to furnish personal information about themselves. The purpose of this questionnaire is to evaluate your musical education and experience in order to determine your propensity to qualify for the U.S. Marine Corps Musician Enlistment Option Program. The information you provide will not be disclosed to any other agency nor will it become part of your service record. The data will be used and maintained by the Musician Placement Director at the regional District headquarters solely for the purpose stated above. All requested information must be entered as completely and accurately as possible for proper evaluation.

Applicants provide the following information:

Name: Email: Phone:

Age: Do you have prior U.S. Military service? YES NO Are you currently on active duty or reserve status? YES NO

How long have you served? Years _____ Months _____ Please include your branch of service, rank, duty station, and contract ending date:

List the instrumental position for which you are applying: __________________________________

Highest education level (circle one): High School/College/Masters/Doctorate

Last school attended / years: Graduation date if currently in school:

Please submit a brief statement on why you desire to be a United States Marine Musician: Upon successful evaluation of your materials your name will be added to the audition list and you will receive an email confirming your appearance at the audition. If you are unable to attend or have further questions please call the Musician Placement Director at (214) 693-3524 or email at [email protected] OR [email protected].

TO BE FILLED OUT BY RECRUITER ONLY: RS: RSS / PCS: SNCOIC / NCOIC:

SNCOIC /NCOIC email: Office phone:

Office fax: Recruiter: Cell:

Page 3: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

Establish Musical Qualification In order to become eligible to serve as a Marine Musician, musical proficiency must be established in accordance with Marine Corps Audition Standards. By following a two round process, we will establish an applicant’s potential for service as a Marine Musician. The first round is a Screening Round wherein we learn about the applicant’s musical background and establish the likelihood of successfully meeting the requirements of the next round. The second round is the Audition Round. This consists of a live audition proctored by the Musician Placement Director. This serves as the final determining factor for establishing musical entrance qualifications for service as a Marine Musician. Screening Round The Screening Round is used to establish musical background and potential to succeed in the Audition Round. The applicant will provide the following materials: Recorded video of applicant performing the supplied instrument specific musical excerpts, a completed Musician Screening and Evaluation Questionnaire and most recent Resume’ (resume optional). Audition Round Based on the Screening Round, the applicant may be invited to perform the Audition Round. The Musician Placement Director will hold the Audition Round within the applicant’s geographical area. The Audition Round for all Piano instrumentalists consists of the following: Event 1 – Perform 5 prepared songs in contrasting styles including at least (1) Jazz/Swing (Autumn Leaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature (Every Breath You Take, Misty or ‘Round Midnight) and (1) Concert Band/Orchestral styled piece (West Side Story, Appalachian Spring or Shepherd’s Hey). The applicant may use backing tracks. The included PDFs provide 3 options to choose from for each style. Choose one of each style. For the jazz and Latin styles, prepare each selected piece as follows: First chorus – stylistic presentation of the melody, Second chorus – stylistic comping and Third chorus – improvised solo. The order may be changed and further stylistic elements added as inspired. Embellishments of melodies should be consistent with the style. Comping should reflect rhythmic patterns stylistically consistent and demonstrate voice leading that is smooth and natural from chord to chord. Iconic recordings are recommended for reference and inspiration. For the Rock/Contemporary selection, it is suggested that the candidate perform with the original recording. The applicant should pay close attention to the tone for each style/genre. Choice of effects, amp settings and instrument choice are also essential elements of the audition. The Solo Feature should convey a complete performance. The concert band/orchestra pieces should be performed as written. Event 2 – Perform from memory Major, Natural Minor, Harmonic Minor and Melodic Minor Scales (all 2 octaves). There are a total of 12 scales per type for a total of 48 scales. The proctor will ask for a sample of 3 to 4 scales of his choosing per type for a total of 12 to 16 scales. Event 3 – Perform sight-reading as provided by proctor.

Page 4: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

°

¢

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CŒ†’7 F7 B¨²7 E¨²7(#4)Swing q = 100

ü

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A±7 D7(#9) GŒ†’7 D7(#9) GŒ†’71. 2.

A±7 D7(b9) GŒ†’7

CŒ†’7 F7 B¨²7 E¨²7(#4) A±7 D7(#9)

GŒ†’7 C7 FŒ†’7 B¨7 E¨7 A±7 D7(#9) GŒ†’7 G7(#9)

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Autumn Leaves

Joseph Kosma & Johnny Mercer

&bb

&bb

&bb

&bb

‰ œ ™ œ œ w œœ œ œ ˙ ˙ œ

œ œ œ

w œœ œn œ# w ‰ œ ™ œ œ œ œ œ œ w

Ó œ# œ œ œ ˙ œ œ œ œ w œ œ œ œ

w œ œœ œ w ˙ œ# œ œ œ œn œ ˙ ™ œ

˙ ˙ ˙ ˙ ˙ ™ œ ˙ œ œ w

Page 5: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

°

¢

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A¨- A¨-Swing q = 160

A¨- A¨- F©-

B7 E² A7&4 B¨- E¨7

ü

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A¨² A¨² A¨² E¨- A¨7 D¨² G- C71. 2.

F² F² F- B¨7 B¨- E¨7

A¨- A¨- A¨-

A¨- A¨- F©- B7

E² A7&4 B¨- E¨7 A¨² A¨²

44&. . . . . -

Duke Pearson

Jeannine

&. . . . . - . .

&- > > >

3

&3 3

&3 3

&. . . . . - . .

&. . . - . . - > >

&>

3

‰ œb ‰ œ Œ ‰ œb ‰ œ œ œb œ œb ˙ w

‰ œb ‰ œ Œ ‰ œb ‰ œ œ œb œ œb ˙ ˙ ‰œj œ# œ# œ ™ œj œ œ# œ œ

œb œn œb œ œ œ œ ˙ œ œb œn œ# ˙ ™ œ œb œ ™ œb j Ó ‰œb j œ œb œb œb œn œb

w<b> w ˙b œ œ œ ˙ ˙b ˙b œ œb œ œb œb œ ‰ œj œ œ œ œ

w ‰ œ ™ œ œ œ ˙b œ œ œ ˙b ˙ wb ˙ ™ Œ

‰ œb ‰ œ Œ ‰ œb ‰ œ œ œb œ œb ˙ w ‰ œb ‰ œ Œ

‰ œb ‰ œ œ œb œ œb ˙ ˙ ‰œj œ# œ# œ ™ œj œ œ# œ œ

œb œn œb œ œ œ œ

˙ œ œb œn œ# ˙ ™ œ œb œ ™ œb j Ó ‰œb j œ œb œb œb œn œb w w

Page 6: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

°

¢

™™

ü

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Swing q = 204

°

¢

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E¨² F- B¨7 E¨² E¨- A¨7 D¨²

ü

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GØ C7(#9) F² FØ B¨7 FØ B¨7 A7(b9)1. 2.

A¨² A¨7 A¨- D¨7 G¨²

G¨² F- B¨7 E¨² F- B¨7

E¨² E¨- A¨7 D¨² GØ C7(#9) F²

FØ B¨7 E¨7 D7 D¨7 C7(b9) F- F-/B¨ E¨²

°

¢

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ü

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44&bbbIntro: (play 4x)

Star EyesBy Don Raye & Gene dePaul

&bbbMelody

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&bbbBridge

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&bbb

&bbb3

fi

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fiPlay 3x with abrupt ending

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˙ ˙b Œ œ œ œ œ œ œ ˙ ˙ Œ œ œ œb œ œ œ ˙ ˙

Œ œb œ œ œ œ œ ˙ œ ™ œJ œb œb œ œ ˙ œb œb œ œ ˙

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˙ ˙ Œ œ œ œb œ œ œ ˙ ˙ Œ œb œ œ œ œ œ ˙ œ ™ œJ

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œ Œ œ œ œ ‰ œbJ œJ œn œn j œb

Page 7: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

™™

F² G7 G-Bossa Nova q = 146

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G¨7 F² G¨7 F² G¨² B7#41. 2.

B7#4 F©- A-/D D7 G-

G- B¨-/E¨ E¨7 A- D7[åÅ]

G- C7[âÅ] F² G7

G7 G- G¨7 F² G¨7

F² G¨7 F² G¨7 F²

44&b

The Girl From IpanemaA. C. Jobim

&b ∑ ∑3 3

&b3 3

&b3 3 3 3 3

&b 3 3

&b 3 ∑fi

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œj œ œj œ œ œŒ˙ ™ w œ œb œ œb œ œ œ# ™ œ# j ˙

˙<#> ™

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œœ œ œ œ œ ˙# ™

Œ œ ™ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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V V V V V V V V V V V V V V V V V V V V

Page 8: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

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¢

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F² BØ E7(#9)q = 165

B¨² E¨7

A- D7(b9) G- EØ A7(#9)1.

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D- G7 G- D¨7 C7

G- C7(b9) F² B¨7 F² G-/C2.

B¨7 F² B¨7 F²

B¨7 F² B¨7 F²(#11)

44&b

Summer SambaMarcos Valle/Sergio Valle

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&b ∑fi

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&b U

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Œ œ˙ ˙

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w ˙ œ œb œ œb œ œ œ œ œ œ œ œb œ œ œ Ó

w w œ œb œ œ œ# œn œ œb œn œ œ# œn wn

V V V V V V V V V V V V V V V V

V V V V V V V V V V V V+

Page 9: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

D- D¨7 C- B7(#4) D-Samba q = 218

D¨7 C- B7(#4) F- B¨7 E¨²

A¨7 D- D¨7 C- B7(#4) B¨² E¨-

A¨7 D¨² D¨² D¨- G¨7

B² CØ F7 D- D¨7 C- B7(#4)

D- D¨7 G¨² F7(#4) F- B¨7(#4)

E¨² A¨7 D¨² C7 B² B¨²

D¨² C7 B² B¨²

D¨² C7 B² B¨²

44&bb

Antonio Carlos Jobim

One Note Samba

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œ ™ œj ‰ œ œj œ œ œ œj œ œj ˙ ‰ œ œJ œ œ œ œJ œ œJ œ œ œ œJ œ œJ œ œ œ œJ œ œJ

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Œ œb œ œb œb œ œ œ œb œ œb œb œb œ œ œ œ

œ ™ œbj ‰ œj œn œ# œb ™ œj ‰ œ œj œ œ œ œj œ œj œ ™ œj ‰ œ œj œ œ œ œj œ œj ˙ ‰ œ œj

œ œ œ œj œ œj œ ™ œj ‰ œ œj œ œ œ œj œ œj ˙ ‰ œ œJ œ œ œ œJ œ œJ œ ™ œJ ‰ œ œJ

œ œ œ œJ œ œJ ˙ ‰ œ œJ œ œ œ œJ œ œJ œJ œ œJ œ œ œ œ œ œJ œ œJ ˙ Ó

V V V V V V V V V V V V V V V V

V V V V V V V V V V V V VŒ Ó

Page 10: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

D-7/G C-7 D-7/G C-7Funk q = 72

D-7/G C-7 D-7/G C-7 D-7/G

C-7 D-7/G C-7 D-7/GA

C-7 D-7/G C-7 G¨²/A¨

E¨-7 F-7/B¨ E¨-7 F-7/B¨

C-7 D-7/G C-7 G7(#5)

C-7 D-7/G C-7 D-7/GB

C-7 D-7/G C-7 G¨²/A¨

E¨-7 F-7/B¨ E¨-7 F-7/B¨

C-7 D-7/G C-7 D-7/G

44&bbb

Marcus Miller

Chicago Song

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Ó œ œ œ œ ‰ œj œ œ œj ‰ Œ Ó œ œ œb œ

Ó œ œ œb œ ‰ œJœb œ œJ ‰ Œ Ó œ œ œ œn

‰ œj œ œ œJ ‰ Œ Ó œ œ œ œ ‰ œj œ œ œj ‰ Œ

‰ œJ œJ ‰ œ œ œj ‰ Ó œ œ œ œ ‰ œj œ œ œj ‰ Œ Ó œ œ œ œ

Ó œ œ œ œ ‰ œj œ œ œj ‰ Œ Ó œ œ œb œ

Ó œ œ œb œ ‰ œJœb œ œJ ‰ Œ Ó œn œ œ œn

‰ œj œ œ œJ ‰ Œ Ó œ œ œ œ ‰ œj œ œ œj ‰ Œ Ó ‰ œ œ œ œœ

Page 11: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

D¨² D-7/G G7[äÁ] C-7C

D¨² D-7/G G7[äÁ] E¨-7/A¨ µ

°

¢

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C-7 C-7 C-7 C-7

E¨-7 E¨-7 C-7 C-7

C-7 C-7 C-7 C-7

E¨-7 E¨-7 C-7 C-7

D¨² D-7/G G7(#9) C-7 D¨² D-7/G G7(#9) E¨-7/A¨

ü

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µ µ1.2. 3.

rit.

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˙ œ œ œ œ œ œ œ œ œ œ œ œb œ ˙ ‰œœj

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Keyboards2

Page 12: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

Funk q = 120

D-7/G

G-7 G-7A

G-7 G-7

E¨²/G G² E¨²/GB

G² G-7 G²

G-7 D7[âÄ] G-7

G-7

G-7

G-7 G-7

44?bb2 Bass line

2Marcus Miller

Snakes

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Page 13: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

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Page 14: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

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Page 15: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

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Page 16: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

G E‹ C

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Page 17: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

C D E‹ G

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Page 18: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

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Page 19: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

A-7(b5) D7½ G-7(b5)

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C-7(b5) F7[äÁ] B¨7(b5) C-7(b5) F7[äÁ]B

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Page 20: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

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Page 21: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

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Page 22: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

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Page 23: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

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Page 24: Gerald K. EboLeaves, Jeannine or Star Eyes), (1) Latin (Girl from Ipanema, Summer Samba or One Note Samba), (1) Rock/Contemporary (Chicago Song, Snakes or What it is), (1) Solo Feature

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