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T R U M P E T M E T H O D
B O O K 2
HARMONIC STUDIES
Intermediate/Advanced
Method
Allen Vizzutti
Alfred
E D
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TRUMPET ME T HO D
B O O K 2
HARMONIC STUDIES
An Intermediate/Advanced Method in Three Books
Allen Vizzutti
B O O K 2 1• • B O O K 2 •HARMONIC STUDIES
Practicing 3
The Warm Up 4
Performance Anxiety .... 6
Interval Studies 7
Chordal Studies 19
B O O K 3
'МЕЮЪГС STUDIE,
Щ
f l ixie.iyf-
Ш1ШйЙ {Eudes.
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INTRODUCTION TO BOOK 2
ПНЕ SPECIFIC STUDY of intervals, chords and scales wll directly affect your ability to make music on Uatrumpet. Wth a solid foundation in all keys, the performer wll seldom run across music that is not based
on harmonic material already somewhat famliar. This high level of competency is the medium in which mu :is made. Gradual advancement through all of the material wll result in great success over the long term. »epatient. Be persistent.
Pease note that the many chord types in the Chordal Studies section have been named. Understandi_jwhat notes are represented by a chord symbol is very useful, especially for those interested in jazz improvsation.
As always, trumpet players should warm up thoroughly as detailed on the next two pages before payi 3anything demanding. The performance techniques developed in Books 1 and 2 of this method are presented inBook 3 in a purely musical setting.
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3
PRACTICING
USIC HAS THE POWER to enable anyone to feel good. Trumpet is one of the most versatile of instru-LkU ments, an instrument that is capable of crossing any stylistic or cultural boundary. The gifts of studying
music include:
® Greater emotional expression
© Acquired skills in the art of self-discipline
© Raised social status
® Creative interaction wth other people
® Raised awareness of art, beauty and more
These skills are as basic and useful as any other skills taught in school. The freedom and enjoyment avail
able in music can be had through daily practice.
The more organized your practicing is, the more fruitful it wll be. Here, then, is a suggestion. Practice in
three 15- to 30-mnute segments, resting where necessary. Segment one is the warm up, segment two is technical
study and segment three is playing music material such as solos, etudes, orchestral literature, etc. Vary the materi
al to avoid formng bad habits, boredom and to learn newthings each day. You must be your own best teacher. Listen wth honest ears. Always try to improve. When problems occur, refer back to fundamental thoughts
on breathing and sound. Most problems wll correct themselves. Best wshes and good luck.
© Creative problem solving
© Controlled concentration
© Developed motor skills
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4
THE WARM UP
D N ORDER TO ENSURE consistent improvement through practice, it is absolutely essential to warm u .
Preparation is required, not only to meet the physical demands of trumpet playing, but also to initiate the
mental focus and concentration necessary for making music. The followng is a warm-up routine in four pa i
wth variations for each day of the week. Remember to concentrate on the basic fundamentals from the first
note of each newpractice day (i.e., beauty of tone and utilizing large volumes of air when inhaling and when
blowng through the horn). Finally, prepare mentally to approach whatever exercise or piece of music you a
about to play in the most musical and artistic way possible.
© Buzz the mouthpiece in the approximate range indicated.
The sound should be fat, full and wthout gaps as you slide
downward. Keep repeating until there are no gaps. Buzz any
where from a fewseconds to a fewmnutes. Be aggressive and
demanding of yourself. It is possible to improve your trumpet
sound almost immediately by working on the mouthpiece.
For extended buzzing, use the followng triads. Check pitches at the piano while buzzing whenever possibl
Be sure you are producing a fat, forte tone.
1 1
X i J
vb
f
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5
А А А А
© Approach the followng exercisesmentally as if playing one long note.Articulate heavily. Make the legatonotes very long and the marcato notesfat and spaced—no breathing allowed
in the mddle of a line. This method isan excellent tool for relaxing the lipsand warmng down as well.
For additional "loosening up,"repeat the preceding exercise 8va,resting wherever necessary.
A A A A A A A A
A A A A A A A A
© Pay long tone exercise #1, 3 or 4 wth as beautiful a sound as possible.
Start each playing day wth the three steps above. Some days may require more warmng up than others dueto the paying demands of the prevous day or your biorhythmc cycle, but warmng up well never hurts, it only helps.
Finally, play the technical studies found in Book 1 that are indicated for each appropriate day. In this wayyou can vary your warm up, maintain interest and learn newscales and fingering patterns quickly. Work gradually day to day through all of the keys until you can play each study wth a mnimum of technical "hang-ups."It is not necessary to play the studies higher than third space "C" in your warm up, though advanced payersmay wsh to do so. Ideal warm-up time should eventually be 15-20 mnutes.
® Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
Sunday
Book 1, Technical Study # 1
Book 1, Technical Study #2Book 1, Technical Study #3
Book 1, Technical Study #4
Book 1, Technical Study #6
Book 1, Technical Study #7
Book 1, Technical Study #8
In my opinion, lip slurs (except in the lowest seven partials) are not a particularly good warm up. They arephysically demanding and, therefore, useful later in your practice time. Lp strength (more accurately, thestrength of the muscle structure around the lips) as a goal is greatly overemphasized. Although strength is
important to a degree, range, endurance, a beautiful sound and advanced technique as a compete packageare based on efficiency of breath control, not brute strength.
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PERFORMANCE ANXIETY
ERFORMANCE ANXIETY (i.e., nervousness) is a common and natural thing. Payers at all levels of conpetency experience butterflies, dryness and other symptoms of nervousness before a performance, h
goal one should pursue is not to be totally relaxed, but to maintain sufficient mental and physical contrc. iorder to enjoy playing music and play well. Experience is the real key. The more often one performs, the egser it gets. Take every possible opportunity to perform. Play for friends and famly. Casual settings can b сgreat help when done frequently. As a useful by-product, the more one performs and is heard, the more li*elone wll be asked to participate in other musical settings. That is the process through which one rises to theJoof the music community, no matter how large or small the community.
Here are a couple of practical pointers to help you defeat performance anxiety:
© Warm up well several hours before performance time to ensure lip suppeness and good response.
Ф When the butterflies come, don't resist them. Resistence causes tension. Tension causes playing problemsLet the wave pass through your body. Observe the feeling as it happens. Don't panic.
© Scrape your tongue lightly across your top teeth to cause saliva to flow. The less you concentrate on «rmouth, the sooner moisture wll return.
© Let go of the inevitable mstakes. Do not dwell on them. There is always time to think about that later.
© Think musically, not technically, except for breathing. Breathe deeply and project the air confide H
through the instrument. This is the one fundamental you should always fall back on when you find your о ifdence faltering.
© Finally, stay in present time. Don't worry about what has happened or what is comng. Don't sacrifice 31entire piece for the sake of a high note or a tricky passage. Make the note or phrase you are playing as beaitifu as possible. The rest wll fall into place. Present time is the key to performng from memory wthout slip awell.
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Interval Studies 7
Interval Studies
Use your ears to play intervals accurately. Listen for thepitch of the"next" note. Do not consciously adjust
your embouchure. It wll adjust naturally if you stay out of theway. Remember many large intervals that lookdifficult on paper are not difficult acoustically on thetrumpet. Play wth confidence
Pause and rest during this exercise whenever necessary.
mf
J J J J J JJ 1
i i i i i i i i 1
<
— •
p
1 J J J J I J 1
# ,
•V9 1—1—1—1—1— i i i i г~И i i i i i i i i— r~ .. ff
1
J . i - i i J J J-J-
«R ii i i i i j
41
J i i i i i i i J i i i J J
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8 Interval Studies
& 1 1II 1 II 1II М II * '1
ГГГГГГГ 1ГГГГГ Га.• • • • • • ш я _• т т т ш т
P — = Г Г Г Г Г ' Г Г Г Г ГГ J 1 г_ 1 и • «1 1
• 4Щ — = ГГГГГ 1г г г Г Г r =»=ГГГГГГ чГГГГГ.M
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=Ь
w — = ггггггг irrr^HJ
ггггг irrrrrr e
% Г Г ГГГГГ1
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5 5
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2
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f"J * 1 • • Qi" J J а
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• • P ш P J m\p m Г
— V
3 3 3 , 5 5 5
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Interval Studies 9
Л /Л
о 'Л . ' i i
^ t /7\ /7\ <Ъ r?\ JS
r-r. : 1 r*fe= ш f-03
§ i J I
mff
1 V - J Г I
*—I $f~ \f—IN . /•> |
— • 1
n9m-—x
Ь I 1 I 1
T* йЯ г: ----v I•1 v v 1 :—-\ :
I Г I •m
I "l Л =
J J J J
-Г » / - с
=#=
/?*^ T*—^ IF*
1
Г г - J ' I "i J H F
•— km— ^F=4 Wrf=v —
1 J ' J J
^ 1 J r J* ' J "i j i j f j " U " U К з
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10 Interval Studies
4 t,j3 W J3 a9 J3 P j"r jt
^
J *й ^ * i-T 1
4 =
% г j Y i 0 ^ 4
p Л Л Л . - г * -пгГ , f
' i ' ^ J ^ W W a i P > 1 i 1 i 1 1 1 1
J7\ , /C\ /О <Tv t /TN i /Уч
Щ Щ s f^4, jElq -I *i iJ " i J [,J J I J IJrt\ ^ rt\ /?
r7\ t?\
i р щ p p _[j jj _tj jjj p pp/7\ /7\ /7\
р j Г .r jTf
Л И и 1% - И — J — 1 J J 11
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Interval Studies 11
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12 Interval Studies
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Interval Studies 13
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14 Interval Studies
Ф 5
^ 1
Major & Minor Sevenths
8 4* Лда3
3 E
to*
1 rz:
- © -
7 * *
6
2Ж- — w
±5
4=*
53
• b - J — •fr.—— Its 4r
я
Mp-i о
flm— v., У 4 J 4 J •±=й J v _ 4 Ш m- •H H
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Interval Studies 15
Major Seventh
45
^ IK ^
¥ b*
1
*P \d s
k1 m--4• ip—1
- i i — •
p mw \iw 4» • 1—• • ь » о
3 3 3 3
Ш mз з з з
3 3
—¥
f 0.Г. i f „ II • - i i * —
3
; • :
5
->-3
•t l*
5 5- © -
5 £ . 5 3 , ?
ф ——уф _ L — _ 1 1 1 1 i —
з 3 з з
Щшз 3 3
fit1
Ш5
5 5 j5 5
Minor Seventh
т о Ш
з з з з
Шi
з 3 3
• 3 з 3XX
0 f 1#-
Y ГbГ — г — -0 \m ^
3 3 3
5— u -
5
0. Лm
5 з 3
• -0-m• У
? 3
Г г Г Р
3 33 5
4=
m3
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~±3
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•? 3
ГЛ
3
3
:
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^ ==
5 5
&•=— *3 3
3
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з
— b J — J -
? 5 ?
n г п г т
bJ 1 1
5
-r 1
и3
г Г п
3
dff=i3
J — WW 4W~T?4W—
К • m
9- -щ
я « •r bJ J
• w - J 1
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mf
-Я h—
f = ^ t —P" - 'j m
ci j -• с
^
-
t i t-a
Iе —
•
•
1=#=
У.mVei
«: 1
P = s = *r—1»
. = Й = *
E Г 1 hp *
F = t =
L-J —«L
- i —i r f 1
f~
=И= 51
1—
m——
• 4 » Г Ш •4 i Da
im\L- «1 — » — i
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Interval Studies 17
1>T J 1 ' N T iJ ' Г i ; 1_[Д Г J- я
24 f r f r l J l ^ l g ^ g
IP
i r Г r i •р*Г r [—? 2=
' c J r '
i if 1
"P P 'И
гз*г . i
" ' Г i
mЛ mm т Ш
1 P P 1
fflr л iГ ,N P1 P 1—•I 1 P lb« P 1 . P 1 1 1 f 1
(W7
13 •1 J ^mf -0
J J * — L - J —-0
— и — — О
Г Л " ] i J - i - * ' — U
J 1— Ш —* •w m
J
У
г г р Г Г р , Г Ш
••с
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18 Interval Studies
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Major ( J = 120 )
Chordal StudiesTriads
Chordal Studies 19
m
w
P P
p p
P
г i'J P Щ
m
P
zzz:3e
P i P
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20 Chor dal Studies
P
Minor (J =120)- . :
Ifm;
i 1 I P Г е*
m W
T
2Zn
P P m и м
P
Rest wherever necessary during this lengthy exercise.
Major ( J = 132 )Minor
P m wmf
Augmented
mm i i gag
l»5
P* •
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Chordal Studies 21
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24 Chordal Studies
Play theupper notes of thefollowng series as lightly as possible.
Play only theexercises in which theupper notes come easily.
Major Triads ( J =138 )
5 Щ
V Vsimile
w m w
4 • p •
#=f f f f
>—- J 1—>
T*~I—jp
1* 1f r |»
• L T '
-p-fm——i i 11 i и
3 bJ J J JV Ш If V
- J - "— ^—
• •
p » —i
J ^ J ^ Ur
; n - n
ljm—[ d—
J - - 1
Ш Ш
T P
I* • — f p r
JJ 1V
-f-W~-e
-p F
" W^' l T
9 i J J J <
7 £ — ir
' J d g Ы
[ I ЕЭ I to г k f
I T M г г г
ft> I rbrt ч1
g J e J 1 =
1
J W '"CXI
t
r f f ?
Й Р Р Р Р — —
*>r iflf,p qi
% Ji ij
JJ
"
I'FIL I'Ff• г'Тг ^
= £ | ==
1
; u 11
г Г1 TJJ
гт—Л
1 1 1
V f f ffer tip
Ц JtHJ-1 •Lp_» Ё
Г п И• • p
L 1 1 1 P
tnfrrr— L J , - - I I
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26 Chordal Studies
Augmented Triads ( J = 138 )
•ш ш - -ш •
9
mf m\ Х Л
simile
р # - р - И ie
—4r-
U
-m SX
^#%=-T] i I III
_=p = :
9 J J J J « J J J — = = = L - U J —
fя f —f м-—ft»—p~<r flf •
Jjt J J J J J J " 1 ££^ • F — f 1 —т + — WT+- W
mma9
m -]—8»-- rn-—
III 1 J tp l M
j n П 11 1 Г1 ,Lr1 [£f
ГгГГгП Г Г ^ г Г г ь г 1Г¥
feJJJJL =
—0 _
gf J J J J J 1 fj_ _j—-J— — i — 1 1 1 1 .—
' Г Г Г " Г Г Г | ^ ^ Г Г Г Р | ¥ Г
f- w » • •-•ibo
т f*
•i— ггп k n - V
- Г M i l л 1 J —— :-4—
frrfrf i ^^гГГ' пГ' г
Inf JIj J 1 о ==
• . . .
- - 1 1 1 1 U4E
Гг г * Г г Г l ^ ^ f f f r i Y rи •_ __
— ^ p U^U —
"t" /• Л
т
r r f t r f i ^ ^ r f r r i f r
g - - J - y —
i • ====
W) :* ...• i| B - • • r,
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Chordal Studies 27
Chordal Etude
J = 168
8 Щ p P P P Ш 1 » — — »sempre staccato
— - /
i Ш г г
U' Us
. , „ i i J T И Д i г тtp— Mr — г — i 1
Ь J 1
cres<
LOT J 1 J
/
Г 7
at• 9
- 3 я i J- j J- j J T l
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28 Chordal Studies
fhis series of exerc
Domir
e 4 ^ = \
ises should also be tongue
iant7 { J B 132)
" Т Я Д Т п i —
d.
•rfj P jf ^ T r - 1 1 — i —
*J -J
mf
J J J J J =* =
-m9
* * s
j ^ r -
*
4 £ г J ' =
T H
i Г i»
Hm—
1J 5 11- _
г^н *—~-
&. i.J
VZfL
LJI 1 -Pffjj i I г S f l i •531 - —~ -£ P ^ J — i _ y .
m : 07
m
-m к -ff- —
Чжт,
J J - 1
r Г > 1: 1 ' П - Г
6 — -
i -
i ^ f J ' 1 У
jf
... ... .
—1 кfc=4
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Chordal Studies 29
-i—*—'fH.i ; ^
fe J * 1 ц Д г *
4 * • ^ • l : *
J ' 1 hij J
'WW J
(en l/ ba4 4
v —
fa 1
1 ^Ff>—
J JJ * =H=
._ •_. =*вУ| Г ' '
*
jk -i -F-
tf1 ' 'J
rT i Гr*~S
— « u J - 1
• i
: fr- f
i
~ i1 ' ' gUj
> i 1 <T»ffTVr l—>—rf
£
M a jo
1 Л /1. 4
J = 132 ) ^— к -ST=F JJp i
да
: E fTp
i*
>W -TO-* #
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30 Chor dal Studies
' г > 1
1, J 1
4
£ г i -*bJ—J > r J ^ -
' •
Ы wL.
» Ж7Т .
'J — 1
F f > 1
• —С
i—
— — -s J U
1*
—1
4
-f
frjp—
|рлгп
% — ^
JJJJ'r j bfe
г Д - Н J -ff
- ^ J *
•
* .г
^ > =
$ JJJP' J 7 J J j - ME gUK С
* Яг». .1
=4J -
Maor7|5) J=132
— Tl*JT-i—J—
-ф С „
^Щ -г i—
j 1 * 1
L V ^ —t — =1 1 1<P 4
mf- эд=J J Г '
4 р р
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32 Chor dal Studies
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C hordal Studies 33
Chordal Etude
Slowly (J в 80)
1VI Л Я ш г -П —ш -ft—.==— •
—Ig , fli
-r—
» ' - И— J
— I » — ( • —
J g 1
^—r 1
" J '
* <> -Ьч—
-L 0*-u i —
mf
0p_
т (
- 0—
*=г= »— =-
i H
• • sb
Г p—*—
4 J -mf
|
=b=£= к«1—
• — i —-4=^ •
•
J
•—m
Г3 [J *
T-S——0
^ — f 3 -J 1
= p
=fcd=t
- ч
' i [J 1
- m/ k
=--b=—0—#
J — • — J —
• Ш
f~~~0 •J L
rJ Tl—
_J 1—
3 =P
mf
: rt,
— — VЫ • 1 LJ 1 ' ' "C J i
— mp T
1 7 p
™—1
~м
J ^1
ж - Ш e
p—X
-ту. 1
IS J
« Lr J J .Г П ^—К —i
r— J — 1 — J ) Ь* J -
1 11
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34 Chor dal Studies
Major Triad ( J = 126 ) Minor Triad
15
mf 0 m LT JUbp i m\/m Г"| ps r
Jr r ... Pi Pr
и i. а
bd b»^
у» -—ж
ЙЙ1 0 Lf J i 1 j
I "LT*# I
•Ш
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C hordal Studies
J . . 92
1 6 8/ ТУ
« J _;
I bJ J J b T J 1 1 g g I j ^
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36 C hordal Studies
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Chordal Studies 37
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38 C hordal Studies
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Chordal Studies 39
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40 C hordal Studies
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Chordal Studies 41
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42 C hordal Studies
Ma jor 7 (| 5) / Dominant 7 (l>5)
20T H — J r T P — i ь 1 * -
4* J•
4=- 1 * _ -m -•
4 J ^ P ^ ' ^ J *
5ЁЕЕЕ£
•If[ f o r> , i
— r =
1 b H ^ i L g ^ s—
r r i l r r ^
n }i C_ >•» — —
1 _ e ft
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44 Chor dal Studies
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Chordal Studies 45
Chordal Etude
i — id ire
V ,1
J ' 1. m
•
FT* m——1
•— •
•1 n
*—I*— 1*» rl " к
7tr4 rf#= Г >
• - f e r
1=1 • •
•1
- 1 I J1
1 Г 1 ^b
L U L p aw1
и ' II
1/J ft
f
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46 Chordal Studies
Major 13 (111) J = 112
mf
л ? 3
j J J J |»
; ^i _ 4^4f*-i - pttr r г p _ ц n-1
^-4 4 i
4—
i7j л и j
- s — - P4
— i . _ 4. •? H L• _ т
— p Г p Г p F*r
1XX
^
3
L4-J г
J J J J 1 pgp]— — 3
• r J J
у
1
1
з
3 з
Г Т
— ' J
3.?
m
u
m
m
m T"-
4
J
±-3
—f Г Т
и —ш —B » fi |— - — 3
3
™4 : — U J
L f > T J .
— — it*———— Г""*™
и=г—
i—=4 \
24
Min
i l l
or 11 (13) J
^f~~~ з
а 112
i f i T ' T f i 1 '
* I F
a n ™
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C hordal Studies 47
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48 C hordal Studies
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6V saiprus РР »оЦЭ
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ScalesScale exercises should be practiced at a variety of tempos.
Major
Scales 51
ГТТЗ | .071 , j lEggjE,P5 *
1 Л П П г г Л П Г Г Х Г ^ и Ш г г Л Д I ^TJ
1
L£_ rj J Tj J I J TJ i g
aj j j 3 JTT 1/ J I J jjj Я ] J JXJ 1JXJ J
"J . J «i f f
i
s
j X l J J T P l JTJ 3л j 1 - Г О j JTJ Щ
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52 Scales
- m J 7TJ Г П Л г =J J J ^ - -
т п П Т -
I J J J J J J
II ЛТ ) n ,
g J j ]1
* * 9 J. ' «HJ - 1 J W г
Т П Л г 1Oy ti H—
2 4=
j #—
itural Minor
i—i
rTП i j m:
-P^T ГТ- г
J »* * Г-J
it rrГ1 » i r •==Г* /" * 1 p r r . Л' П 11
TJ -1 J 1
Г П » г Г 1
& rr
1 J С -Ш '
—m r f—
L1TJ J J J
•ГЛЛ n i - 0 - л— гт* — —
1 J * С -:
Г П , » г;-j •> [ г LT 1
i n i j Л
* 0 Jm
0
Г] p p=i— I Л J I r i i-i 1 i •
1JJC/r »
M J T
J J •< J
л с rr Г - T f . Л -
J —* * ^ J j j j '
i rrr . J Tj>f=i
i J J J J Г3
, r г Г ~- 1L J
¥ = ^ J J r Г Г -
--1JU J
1 ГГ г , Л F1 rr |». ЛТ 1 i Г
X J U ' 1
ППгГГ IIJ Т. П - -
- п ЛУ- 1
- - - X T J «-
i п п ri,
— -1 г/ —
i jy-nn =р р
——-1
П 1 П r HJ » *
н и Г Г Л
1 J J
I J TJ 1 n r I ГЛЛ r n * r F F
i=» J d Г д
г н П г i) J J J J J =
Г П г i» г -- - • f r «.P —
W
0 0
• - * J J. W«
1 ГГ Г Г Л П 1 Г Лггг iJ J сг и 'LLLT'1 j j 1 LT ' J -1 J *
- Г "TO
——1—1
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Scales 53
^ 4 1 *
Ш m i . r r 1 1 Т Т ] д I*т я
J J - J ' i«r«
- m 1 rT
J J J г J
Г 1 1 - j J J C J 1 ШЛгJ
-I—-* Г г »J
J J UJ '
7 l i i I T J i» i» *у П" . J »' Q
** TJ—T* -I -
• iLLL/ J
1ГТ | -|
J — J LT1 »
т — H
ljI J J J J
.
_TTl -
} J - J J •
i - — I — 1
У H i, j- j j j .
. Harmonic N
#» vr 4 —
inor
щ Г In J r 1 i _T7J r f I i i »i
J J - - J ' И
•r- i ц—
tft ГГ71 . Г —1'r P Л1 in n*
J J JJH W »
lg> J - J w C i
TO T - 8 ^ 2
и Г Ц Х Г
Иг Г IJt-QT TTn
' LLEJ J
T 'F-* -1 I11 I f
I Г Г П ,
•1 -U1 J J
— 1I i г—Г
• » ртГ-
т л Д , иfr1 J X J J J •
A .1, J TT- r f
J J
'*г Г i ¥ r r 1 ^1 rttrr r J
J J X 1 J J
7 7 H .
д и « j* 11
ш грйр f II• f t * — J - ^ - 5 1 —
M rJ TJ rf»¥ Г l¥ r r
Ls r
1 rilp r r
J J 1 rx
r r n 1 J T T r ¥ r _ l|W3—. « • [_
fjhh i i n Г
•
, 1 r r n • П Д Г и
is TO л• *
j. 4* * J ё • J J- ' J *
T n IJT
J • Г—
Л А р »
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54 Scales
g £ да г т IT r j u л J
j-jjj ItJTJTJ J л j I J~J-J7 I j-JI Pf
p j m gii i t i i f ; J J 1 o u r ^ з' ft
i
Melodic Minor
У J J ^r J UJ I I j j p
^ J I J i L T j l r j
JT3I JJ tf
5 f
— fl~
• J J J .'J . ' J J J
r_rn-J jJ
P да rJc'T ГI [xju Л J i Г rj u Л Л i j 7 J > n " f
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Scales 55
^ JTP rl'T r i rxc j л J i г г rj л т з i № r r г а
j p | Я Л r W i Г rjj- Л j i LT г г Л Т ] ic j r X J - ИЦ- In
jgj rjl J I j л j I HH JJ37JI J J T ^ i ^
j A v j r j ] j f j l 11J 7 ] j j _ [ 1 J Л7 31 J 7 J ^ ^ »
Major Scale Exercises
У i j j j j f l i j j j J J J i J 7 j J J J i f l j j.rj UJ j Tj^ y
I l l ' J J rj ' l rjC J lC rc J -Lrirrc / rr Irj'Cj-Я :||,J |
j% j j j j J J I J J J J L T ic r- tJ irrcfc j-i-niJ i i.mj. i
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56 Scales
4k-и
J « » ' J
щ n П -n n Л Л Л ? т т п =- ;1- -
Г
М и. r Л Л I J1 - Pf * - - f
Lw-i J — -
. р Л -
£ f [|. r
J J » * »—J-
1 П Д I *1 . p f '—i• m a m л
L > f ' P •
U я
J -II 3±
• ш р J J • 1Г
1p
J
J? Ь-ЧЬ- II.
J J i * » -«СГ ц
11
J r j U 1 U r =tf=
J l п Л i Л Ш т
- [J
d
J - l-L
- г* n -11 —И Г
1
'—^-f
M i ||.
r 3 ^ J J |
и П Л 1Л H J ] i r ^ ^ ?—1*—
jfolft II- n n П 11 П r 1
' J ш J »0—Г Г я m я J
• . J J • ** • м * ш m 1 П П n -IF-P
Г JJ J
'J
I
n J 3 r .1Л rr c -
\JJ
U LT £ £ £ £
m я J- . 1—vp * —1-
и- J я F * F
I L I C J U |U=y=L£
г p i> p г Г Г Г г Г г г
= C J C f J
— Г ~ " Г F J J 1~ f0t>p
-*»—1—
M f e ||.
С Л - J L J
1 н Л , гJJ 1 .р—i* р р J J
— =s-^f J *-fc
• П п r ПГ
fmtt"m i-
J'IM, II. I П Л тГ Л П , г г г » г Л
IJ J J
J J J - H J.
i n n H-II j
<4 =#=ff=д. - л
< j jj w
n r
П I n r
1J J J J J j f l 4
- — 1 T .f-prr -<
I ~
•• и* J
'mf
— — -
J J j l л «г-л У = ^ «> f
-If -
r-1 r — i
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Scales 57
p i
i. Л Л Л 1
i t •LJ - ' J J J
_ -\ f
T I ^ - JП Я r j ;i
П П П :ll IIJ #%*# J J J - J J :Urf 1
)jp« ii- Л J i J - J i j j щ щ i j j j j p i j J л J 1 i l l
fa 11=
- ш m f> 0 я
mm —0 —(
i П 1 П - . с .11
J »
а*- * * • . j * 0
ft* ii- - П J j j-j i J j j J J J 14 J ^ J J J i J J J J J J «J
- Д
ft l l - L 'T L rr j i r j ^ O IJ J -H J Л I r j j I 1 Г I
p ll LriTCrirJU..nipPrj ifjTjrJ'^- и
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58 Scales
Ё CX4J-
№ L&E/ Ш [£ г g
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Scales 59
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60 Scales
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Scales 61
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Scales 63
r j
XT
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66 Scales
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Scales 69
i
331f
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70 Scales
17
p-f
J l j J J -1
№ Г Г [ Х ^ 1
f
э1 1
1
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Scales 71
J J J r rr TT~
W--- - - ^ Ш
& ГГГ г Тг ГГГ г Г г 1• _ » . » Г Т Г ^ — * P Я J
Г
flu —™
A J T] m ГЛ m i
J - J - J _ p г ГГГ1 Ц •1* -
fcy—I*I *L*1T •
, . , j i I i I i =f
J f1 -4j - 1 *
=— ГТГ- - - ГГ=—=c—1
• A
i Pf Г*~P» Г
* 1 J J J «i*> J J VLfbb^
> | дГрь ff? ffy f p=fbpj
Ш a ш Ш ф Ш .ф „.
• Т>ГГГГ :^ — и — - LU Li-J 1 1
Mft i i ГГГгТгГГГгТ • 9
Г 9
я Р ^я PfP «^ - ° 1 1 i
M . ЛИ m
i r i rf f f Г-ГГ - - 1 £я - а » • -Pw P T T • •
^ - Л Д « mф <_ a _ - , ^ U , _.
fr r=r= Г Г Г
J 1 J - j J J j j l J ' -е д а
т1г i—Р г г f *>
-^ jjj^J • —•
1 .j p - p г f-f-t~УР Г Г
» я ё -
P-mA
1 ^ р » —S SS
1—1—
ш
Ь Ш Ц-Г Ш LLT mw m w m m
1 • i i
—9
J * J
i 1 iiJJJ^ilJJJ)1 J J J J ,
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72 Scales
25. mi ф -я
55J — •1 » J J • l
I _ — V 1 ^ ~
0 m щ ) щ ) щ }P S
I t
m л m Г Г т Г^т f'T f 1^ 7 > Г Г Г P-=E=qm 9 W • W Ш
.. ... . ^ щ .
ME г Г r r m m
И г
0 0 0 0 0 0» F—0
«-r->
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74 Scales
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Scales 77
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78 Scales
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Scales 79
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Scales 81
F-p I-
Г? Й Ь> - f f R Л ? Ч Л ? 1 tlfr> 1 flfrs» ГГГ г ЙF-p r Ppjiм £ 5 v > - = ^
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82 Scales
25
1 Щ Ш
5 Р Щ
йBE Ш* w * *
^ crrcCrcUcCf I ЛЦЛЛЗ.Р ЗI JlJJJjjQjp
j c r r c C f c f j^ l ^ J j | J 3 J l j oi n'IP
даg J 1 g *
JM rfp rp-Hini UlFfF -—1—I • i i r~~
1У [ИГ[[Г J 1 J JJJJJJ j
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Minor Sc ale EtudeScales 83
Gently (J s П2)
76 lh J J r с l j T r I J J г л
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i fft
r-f
ft4
WW Щ
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Scales 85
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Scales 87
5 ^^^^я ^^^^^^^^щ
trt> t;J |J dp*
B < C ^ ' JbJ J J ^^j ^J J 3 ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ I
iT Е£зэ c2snds
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88 cales
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Scales 89
Whole Tone
32^4=
2
i i i i i
П i i П Д .r~ —;
и г 1 Ц
j—=- prff if-)
4 Г— • W —
—f4 »Vu—-p
Si—=
r i п а
-и-ГД г — р —
*W—LLI [ j J '
f* ii
•W—itJ J
J J C
- ^ i
Пи
^ r r r
^ J < K г 1 ц
| Л П r
—JbJ I/WPp
г т - П ГJ » -ttr - п —
1
1 J J J i i - • « » * — * * :
п Л , 1 J 1
— y ^ i w B
— II r—1—
i J f —
1 TMJIIJ lb J iТ П r
— L
*
* #w 1
1 1
г
i Г1 J 1 J
^ W U —
Т П г Г Т Т - 1 , • II I п —
J 1
mm W^ .
= ^
- i — "Г" - I
J •
td—
•л 1— F i „• 1— •
>+Uui
Зйн j 1 J
==—13J J |M NM
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90 Scales
3 3
p " JT: P 9 Ш
p-f
m II1 1
m ш яФ l\ 0 Z F ^
TJ
^ ' J J J J J J J -1 J JllJ -1 'll-
0—F k i - V — 1 1
-
w— 1 •* 01• —11 =L
i1 1 i J j j и i J i=L W=0
да
i J Щ Ш j j J j щ Щ
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Scales 91
X L — m— 1 1 j^ Г f — - — • \}ф я —4 r » — J •—0 4d—
— — \ 1
34 fl • =J*1 j J 4 jr 1
mi [ 0—0—J— a 1— • * J. . .
в : р
Щ =9
1
. 1V ~ 1—*—1
J д
й * 1 J 4 * * J g а
/ L • — • — Я Л — r=—1 * •>1 ^^л.
— 1
J i J Jit' J 1 gp
p 1 J JJ J i
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Scales 95
Ju Jl | —— » n= *~ 1.. « ml
f—kJ .
n—p—h »—r
JLB p—
J.> > >i*—г—l*—
>-p
J J
•
>— • —
> > > >
m> > > > > >
Ё> > > > >
j i - i J J>ririr P ¥ f > > > > >
li I I.J f— ^р т — f *>
f
_jp -
pUl
N
'l p p p
»> Р*1**
Р|>«*a - J > - p p p U U
/ =Ы=Ь - 'Г JJXJi^="> > > > >
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96 Scales
Diminished (Whole Step—Half Step / Half Step—Whole Step)
38 U 1 d\>ff d bJ b«
4—г — • • — prlr i - N1 •y-h.
b J • •щL.J . • *
i sv 9
Л_ г — г ™™ "P"-_ _ _ _ _ _ - TJ 1 J — 1- • и 1
1 j = ^1 • —d
1> bJ Ц Jft
IP bJ I/J hJ I/J b
^ JJте
I I § g bJ p bJ bJ i g j
IF
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Scales 97
3=
p 1 1'•— t==3кд L bp J>t: =5 5= ? « • i— = ~ ^ \
а
1
TГ Г-im mLLJ_j
БОЕ
tyjbJ j W | | j » | » ) J * I » J|jbJ^jlj|. j J j ijyjj
- I»
3X
1—ti—Ьр »h* ^ г ipirrffl ^ p P р-н• _ • ~-^т -л F - ™ - *
4 J [ Г Г Т1 [HTJ 1—' Г Г ^ . - п
гъ*4 » iftp, г г Г i Гп *"P~l Ш Л is> =
^_Т j | ,
i p ^ t ] J е
t=—• рЬE t a Г1 ^ Ч Р Г Й . ИЫТТ hph ^ 'р#> Я ~ ™ •
ii — 1—в
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1 Scales
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cales 101
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102 Scales
Diminished Sc ale Etude
Jazry ( J. s 132)
44 j i pJ J J i^Jjj4 J J J bp j-j,- I [
I H J U J J>
РГ Г1 1ы —
*~p*l
k г pi1 f 1
mf
I '9
ж
Ц у -\—5-J
rJ •
mp
22.
p
3 IP
Ё И T T T i г ^ г 'f
cresc.
~n I IT I bp bp frp IIPp "Г H Щ 1
t f\ 'r pTp ^ T T T f pf~?Tf bp j__r_r 'T
Шp Г P If f?r I sm,
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While growing up in Montana, Allen
Vizzutti was guided by his father, a self-
taught musician and trumpet player, to
performances of virtuoso literature, such os
the Haydn and Hummel concertos, the
Carnival of Venice and Hungari an Dance
No. 5. By the age of 16, Allen won the
concerto competition and wos awarded
first chair in the Worl d Youth SymphonyOrchestra at Interlochen, Michigan.
Allen earned a B.A ., M.M and a
Performer's Certificate from the famed
Eastman School of Music in Rochester,
New York . He was the only wind or
percussion player to have been awarded
the coveted "Artist's Diploma" in the
school's history. As first trumpet with the
Eastman Jazz Ensemble, he was chosen
People in Germany, Poland, England,
Sweden, Brazil, Canada, Japan ond the
United States have all heard his brill iant
sound over the airwaves of national
television. All en's growing status as on "
artist has led to solo performances at the
Aspen Music Festivol, Banff Center for the
Performing Arts, Israel Music Festival,
Vancouver's EXPO '86, Montreaux Jazz
Festival, "Live Under the Sky" in japan,
Teton Music Festival, International Trumpet
Guild, the Hollywood Bowl, Carnegie Hall ,
Newport Jazz Festivol, Notional MFNC,
TBA and IAJE.
Whil e living in Los Angel es, he per formed
on 100 motion picture soundtracks (such
as Back to he Future, Star Trek, The Black
Stallion, Rocky II, Poltergeist II, Fire Fox,
His latest recording. Hgh Cass Brass, is
a unique classical/jazz mixture
coproduced, written and performed with
Jeff Tyzik and the 90-piece national
repertoir e orchestra of the Keystone Music
Festival (available from Prophecy Record
102 Westlond Avenue, Rochester, New
York, 14618)
Allen s love of expression through compc
tion has led to world premiers by the Los
Angeles Philharmonic, Phoenix Symphony.
Rochester Philhaimonic, Now York
Philharmonic and the Tonight Show
Orchestra, as well as recorded works by the
Royal Philharmonic of London, the Wood^
Herman Band, the Summit Brass and the
London Symphony Orc hest ra. In foct, the
Tonight Show Band album (featuring Doc
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