BILL HOLCOMBE PRESENTS 24 AZZ ETUDES FOR TRUMPET SY PLATT DEDICATION All rights reserved; no part of this book may be reproduced with i of the publisher. a by any means without the prior consent of the publisher. My children, Jennifer and David pal hettatiden Entire contents © 1985 Musicians Publications Who were born int, lived surrounded by ‘And slepe through 100,00 hours plus For performance rights please inquire to Of trumpet playing Musicians Publications 609-882-8139 1076 River Road West Trenton, NJ 08628 Printed in the USA / Book Design Eric Stedman2 MAJOR Fast J =104-108 Bb) (+7) (25) (207) (66) (bm) io fom) Gey tom?) wer) Om? = 3 Dm 4 oT, (30) (+7) (86) (807) (zm) ¢ert8) pies (om?) (00) Dm? fea c = —— At this tempo (4 =104-108) the eighth notes should be played literally as eighth notes (i., not played as J °4\ orf). Proper observation of the accents and the rhthmic configurations will make the etude swing.(oo7) (cbata7) = EN > Dbma7 * (87) 7 4 Maz) Mar) (am) wn) ae Bm? 7 (Gm7) (c7) (Cm7) aad] a on . iden =Dm7 oT rai nd (Bo) c anaes ee =* wee ef % 3rd valve may be substituted for the Ist valve. #% Cue notes in the last 2 bars are optionalAMINOR Fast, lowing tempo 0 ‘om6) 25) (DT) hw I am? Hise Am rien ef = 3 (m7) betes > (£06) > nS) rh vam 3) (ton) PS ‘r(65) Shoo tor (om) re py = —— Penis) SP f a tam75) (7) Fim7l65) a 7 2 Pas (307) (86 M27) tam7 bs) (7) fom6) cor Car Bm7'05) 7 Am6 (Gn7 53) 3) wr &, pm7b5) OF?) (06) (m7) yp)ee (om) lama (07) pgm) eo S274 ‘am ami) ey (867) (ebsa7) Gm? rar 13) (83507) (Am on (Gn6) D9 > Cu cMta7 87105) All of the etudes are based on chord progressions to well known jazz tunes upon which players frequently improvise. Most of the etudes are in the key dictated by the common practice of jazz musicians, Some keys offer no alter tive f0 transposition because.there just aren't any jazz tunes written in those keys. However. these give the trumpeter valuable practice in manip lating the instrument through unusual fingering combin- ations and uncommon notationDMINOR Moderately quick bossa nova, ea l4g — (GmBaad 91 Dm6 add 9 a ion (es) (ns) (ov7?) fo co Gm cy) (E0m9) Fmo (ebm9) (409) (Abm7) (oo7) Fs bo os eb7 asa 7 BS . (27?) (amg) (aps fey oe a caer A If played at 144, it’s necessary to breath deeply and quickly to accomplish this piece. This could also be played at a much slower tempo in which case there is more opportunity to take “catch breaths’(amg) (7) (m9) Bmo 7 rey (Em7*5) $11) (e01 49) (os) wot (20716) Fr F13 av a aus Sf =—_— Ss (m9) mo (Fn) (Fm) (cms) or Gma Dmg > ee ed (cos) (6m9} Fr cr) Neh : b. 3 e789) a it (omy eT omg ©?) WI2_ seam aay tor ent 1. Fn) Cesk Soe 2. sm as —, tok 3 on Flt?) slight rterd 2nd time a ** Improvise a cadenza utilising any of thexe notes in any combination,FMAJOR Quickly (eo) J =200 F (ebMa7) (666) Fa F6 + a! F ee’ = (Fm Me?) (m7) (m6) _—sminta7) wor) ies} 1 ‘aon cu fe (p92) (gon (ab aa) Bhar lg? en eno) =~ 7 (om7 bs) (07, 69) (em?) a Pm tem7) (abe7) (Bo) (B47) (BD) aaa orb (Pl Pe? ante? oo Be certain to divide the eighth notes evenly! Please ignore the erroneous advice given to novices about distorting the eighth notes into.long-short configurations. If you play it that way, you'll sound dated and unaware of what real improvisers play. There are some exceptions, so you've got to listen to the interpretations of good players.BY MAJOR Medium swing 4 (em7) (B0m7) (av) 144 Gm7 m7 ee Bb 3 - 7 (Db MAT) (a7) tomar) EbMA7 DMA7 (om7) (m7) (507) (66 MA7) Dm? Gm? 3. 7, 3 MAT 3 (GMAT) (ab mar) aa hare - > Bb MAT fam?) (on (oman) > eo AMAT (em?) th (7) (v7) fa (Db MA?) (007) (om7) - (7) eoua7 ABT fu > (Bbm?7) (Bb) (Ab MA7 MIT eri Soar an As in most previous examples, the player should strive to play even eighths; as we've said before, the accents and slur groupings provide the swing feel.emnor be Serta tt sn Siar aoe ; ie 19) (c7) (evn) (Fm) ey G7 (Bbm) gem) (07) (Ab6) (p67) tn e749) fa a (cr) (oo7) Sy9) Fm) D7 Gmé ta) ‘Here is an example of two notes to the beat that are not played even. ‘The figure is purposely written as triplets in order to be played in a comy fashion because itis meant to be humorous.Eb MAJOR Laid back swing tempo (D6) (07) 3 wn om 7 Frit 147) (006) ‘mi Bb7 (4s7) 67 (G07) (06) (e0m7) (ose) Fm7 3.3 ed aur Eb6 : A \S9 2S (bm?) por (ob6) (Abm7) c 5) (Gom7) (067) m7 ‘Abm7 bor (FoMa7) (gom7) (407) (&6m7) (bm7)——Bb+7 EDs Fz % Quarter notes on the upbeat are almost always articulated short (they actually sound like an eighth note.)12 MINOR Swing to bop feel (bm) (oon J 2168-184 cms ABT (n (Bom6) (oor) en = 3 or one As7—— 67 = = 3 ee (0073) (Bbm6) (607) (7) (Bom) 7!) cms ‘Ab7 o7 cm6 a a (Bom6) (oon) po7) (e0m6) - (ov) ED Fm6 Db? 7 Fm6 a 7 1c07) (poms) = 7) Sn toe 3 67) (Bono) = (407) (Db.6) (007) “en Bb7 EDS Ab7 (Bom) (G07) (en) (Bom6) (67) (667) (7) m6 aby => GT m6 7 ‘ABT 7 De See Sa - ory et) om M7) em as? G7 mit) he = Jazz guitarist Charlie Christian’s superb jazz stylings inspired this etude.1B Ab MAJOR Jazz walt (cH) (6H) Yayg “ohm oy 1-162 ab eT pn ab a (oo) (006) (a0) (G0 Mar) (006) ae ae c ‘Ab Ma Ab6 (66) o fom7 3) (06) (oor (0b) (cb Mar) ee Ee7 Ab ‘Ab Ma7 ote = (Gb) sb5) et) (Abm?) (86) (atm? " sams) mn 9) es ab rate? era Bim? (cb Me?) (com) Db Maz (006) Dbm7 (F039) (Bbm) (Bbm7) oe Des aes GE cm? > ou —~ 424) 29) (e072) (207) (ab7) (v7) FT 867 —~ Eb? 30) pylbar Bars 24-31 have the progression rhythmically augmented; ive., 4 bars are extended by doubling to 8 bars. ‘A common accompaniment for a jazz. waltz is: SseFMINOR Mambo feel (0m Ma?) (Dbm Ma?) Fm(ts7) Ebmn(Ma7) Ja168 a 3 (Em MAT) at (Abmo) (os) FmiMa7) —— Bo 3. feo e749) (BMa7} 9) (Doms) 3 el Ge > Ebm 9 Leb ie trans, two) (om a7) (mrss) 867) Gm7!b5) c7 bs! Gm7! a (bm wer) (Dbm Mte7) Fm(Me7) Ebm(Ma7) > a (6m a7) Hey Or E67 FmiMa7) = Bbmo = Br Ee oe (wom) (8 Mar) (27) $9) (G9) la ay Ebma_ > Abo ball ed o7"9) _—— SS 25) tFm73) (67) (bm) m7!) = Fm —15 Swing feel (Abm9/Db) (Db?) (Bom PS E079) Bieag/Eb a ‘con7l5) £7109) pe oC a NS So la joa) (Gbm Ma?) fams) (on, Bb? 67 ‘Aben(Ma7) amo 7 —m™ asm?) (Abm9/D8) (0079) (aon) (66759) = Bbm9/Eb Ep7(b9) F709) wov7) com 75) wer) ao7) eur vont) a é Mambo feel as (Dom Ma) peal. Ebmita7) (EbmMe7) (v7) Fm(Ma7) fAbm7} Eb7 ~ Kho UR Bbm7 (Dbm9) (G07?) (a ae Ebmd ‘ab7(09) Soi? 27 glib - A (8m aa?) pem75) Ci Fmitta7) cm7b5) ‘c7!®9)16 Db>MAJOR Easy swing 9 (ohms) (v7) (cower) on) J = 120 Ebmg ‘Ab7 Db Ms? Bb7tb9) > = — (Ebm7 65), F765) (cba?) Db Ma7 7789) (Domgp oe (95) = ace to Ebm9 Erba. 0b6 Fm7 2S a ot (ours mart Ebmo—> aa i (607) (407) F7 S Bb7 (407) (067) (an Bb7 bo (Dm) (os7) 4o7) Ebm7 Ab? aN By. (6079) (cbMa7) (ap71b8) DbMo7} (bribes) (Ab7) Fm7b8 —Bb7 (Dama) Ebmd | ny (0013) (613) (Bbm7)——LA) (om7) (407) Ebma ne Fm7 y= “(Do7) ym won, ey (zon a Ebm7 a ad 87 Bb7 > (Dbm7) (7 F7_ (G07) {cb} Do ovr) (606) (C7) es) fhm? Gp? G7 ABT of ", (Ab7Ig7) Des = Be7A7 ABT Re < = 3 s#Much slower - trail off notes with a wide, breathy vibrato.Bb MINOR Slow Rock Ballad 4, =80 iet6) (Ma?) (Ghv 646) (EMa7) AbG GbMa7 (C#m) (hey Bom ‘Abs Gb Ma7 Bom Abs tome te) teary (ohms een (ewer) tema, A) Goh Goma im (a4 a7) tchm7 why chm tte eel, Baie? eam aur = (Ma?) (AMa7) wohn (chm) 287) (4m) (047) (omen) (2a?) GbMa7 cbMa? a Bbm fF? Bim F7 (cha) ae ad (Mar) (A Ma?) (ohn DbMa7 GoM? conta? 7 Bre (rhs) fe Mat) ‘Gots? ‘Ab6—GbM37 wh (om ito. (€sta7) ibe (a4 m) (te) ie ihe) (E Maz) ich my Bbm Abe 3 Ab6 GbMa7 ‘bmE> MINOR 4-92. (ctms) (aon Ebms een Bbt7 (dm7) (tn (At m7?) Ebm7 = Ab7 eS Cl 1otm7) cab m5 wh?) ang 7 (ot7) ‘Bom? yb “) ain (rtm7) (a7 Aten (Bm7) (ey (a7) Dim? Goi cb7 (a7) (cin (rt?) de) (67) by 7 Der (tm?) coh (ctms) ‘This etude should really have a double-time ballad feel. The rhythm section should play 2 to the bar, thus making one bar of 4/4 out of 2 bars of double-time.‘an (nr) 07 ebm (ab ms 79) wt) cnr Ad ich ms) ‘Ab ime. iat mies (087) Ce ‘cm7'b5) la (om7) (Fm?) (an) Dbm7 (etm?) (chr) Gom7) Bb) e07 Abn? fam?) oe jo?) (6 M07) For GoNa7 wetma an a7 oor TN —_ @ . cm M07) cat) EbmNta7 0720 Fi MAJOR Medium, easy swing waa (EMA7) 4-148 Cfnnar 1Gfe7) abo7 (r$m7) Bj Ser Ca pas (eMa7) FAMA7 m7 tom (hm?) v7) AmT tm? 7 (chor ator - (hr) (F}m7) (Brau) (8) (hms) at te Gim7 Chu, FT Dime #2 : ape at FS es whe dior OP gts iehng) wy 7 7 fe Mat) (rt7) 2 (87) _ ctr 07 a7 aeueee eo (ater) fo7 piety FEMa7 OSs (etn ‘m7 (es) (a He | IF) BAD) u & rbMa7 ae ‘The bridge is written in the most unusual tonality of A# Major. It would have been Bb Major if the etude had been written in G ’ Major.au Gt MINOR Rhumba 4 =120 a7) (Fhm6) a7 ich (hms) Stns of sins 3 gins) 7 (F fs) feo) oh) (eho) Gfns (52) tone tte) (en) as) ev) dn Wwhno) 7 (fms) te 49 722 B MAJOR Merengue (49) 4-92-12 B6 = mf (49) tatory (Bp?) “ 097 chm FRY (m7) “ey (inn pe, che ety Siar ‘fb (8p7) (#7) (49) (am7) en Ay chm Fe? of m7(b5) ot7 (B07) 167) 146) a A merengue offers the trumpeter a particularly good opportunity to display a brilliant technique. ‘The player should make a special effort to play the eighth notes evenly.23 23) (a7) (09) (as) m7 (Bm7) a7 (AMA?) m7 BMA7 m7) (en) (46) a : oo ey te os eel: SS SOME SUGGESTIONS ON HOW TO USE AND ENJOY THIS BOOK: The ettides are all written to be satisfying musical entities performed unaccompanied. However, once the trumpeter can play some of these etudes fluently at a relaxed, steady pace, wwe suggest that he or she consider performing with the cassette that's available. The player will find that this will add a new dimension of enjoyment. There are severat other possibilities that should be considered: (J) Find a friend who can read the chord symbols for piano or guitar (they are in italics and in concert key above the trumpet chords): Providing as little as a simple, sustained whole-note and half-note accompaniment can be satisfying, (2) A walking bass line to add rhythin and implied harmony can be quite adequate. (3) Even adding just tight percussion can be a help. (4) Of course the ultimate is to find a whole rhythm section with which to play. While the chief aim of this book is to provide 24 serious etudes (one in each major and minor key), that further the trumpeters understanding of jazz feet and styling, the ambitious advanced student could go further by reading the-chiord changes and alter the written melodic lines and shythms bit by bit, thus creating his or her own improvisation. Hope you derive as much pleasure from my friend Sy's etudes as I have had in editing and publishing this book Bl Yobeembe BILL HOLCOMBE24 EMAJOR Moderately fest swin [eee uaTy (chn7®5) t7) MAT > Se vo 4 (07) (ome) . (am7) 7 Cine mo ‘m7 (GMA?) (Gm7) 1D MA7) Amar - amr = Mar ron 3 3 ot) (e7) Henl8) an) 47 — (chm7 25) (b5) (47) a oie) PY EMAT (Bm6) fam7) 3 (omar) (Maz) AMAT EMAT ret) 4 (87) (B07) etm “1 , (47) (06) oman on 7 (57) (47) (D6) oy fs eMay J slight rit.- ‘The line indicates a partially choked valve gliss. Don’t overdo the effect.25 CHMINOR * Modal blues 4=158 (a7) (eT) (Bm7) (em7) chm? ebm? ch m7 (ana "f (at ou) ro (m7) i - trun oer chor femn fan) Am? (ann) (enn) eS = Smo Fin? = Ome = v ( (m7) (era em) ‘m2 m7 GFT sus, Fim? chm? (8m7) (em7) (Bm?) chm? Fea? chm? fa (a7) (e400) aay ch hoa (ey) 2 Fbm7 ‘® This is the only etude in the book that is not based on a well known tune. Of course, “the blues” is well known, but this blues is slightly unusual in that that it not only isin minor, but is primarily based on a pentatonic (five note) scale: C$,E ,F4,G fand B. Occasionally, other modal notes are added; D# and Ag , changing the pentatonic scale to aC dorian mode.26 AMAJOR Laid Back J =130 (omar) (o+7) (omar) (oe) AMAT a AMAT e7 (8m7) (ater) (Am7) Hace) (a) (ans) = o7 a Ftm6 f= = lan) Sina Fon 7 4 87 >a ie mer) (GMAT) Ye valve (D+7) AMa7(09) (D7) ata ey a son) tam) ~ Bm? Bho7 (e7) om?) (0m7) (omar or Se? cen) m7 (207) AMAT Pe (07) las) tomate?) (@.mas) (Bm7) 7 foae lan amar) AMAS Dt = J+ DD 1113 configuration ar equivalent + The melady in bars 15816 outlines a whole-tone scale.27 FA MINOR bn (Fm 75) (27) (Em) aD oh (a) fart ct? fim oe Star fam) Pe Sen (bm?) (87) oo tm7!®5) 7 tars (a7) Tee 17 iy oa (ap) aries) 3 oF ® Valves 1&38 DMAJOR pouble-time ballad feel (867) sens (2 ia ", (AbMe7) (pm765) (on) BbMa7 Em7!08) AT eh i@ey 1ae7) eae Bb7 oe (1) (7) 1c6) fam?) S ay (B0m7) (cMar) m7 DMa7 5 (607) i 3 wot) arin (as er) +s Bb ia? Onis) (ns) (ar) tom? ms ele a7 16) fom?) fer) This etude should have the feel of a slow 32 bar ballad. It has been written a5 a 64 bar tune in @ for ease of reading. The rhythm section should play 2 beats to a bar, so that 2 bars fee! like one bar in 4/4,29 (F Map) (e0m9) (47) G Meo Fimo 867 tom75) 167 ®9) (Doater) Eb Ma7 3 Am7 06) 7 (9) 3 (Fm6) cm P5; (c7 819) Gms i 7 (i119) tm) (om75y 1n (cma?) (abm7) (667) DM? m7 °7 (om (cr) (AbMe7) enalts) be Bb Ma? r34 3 (cMa9) 5 (om7*S) (7) ca Em7(b8) (oms)30 BMINOR Bossa nova feel aa (Bm 75) (B9) danas re) tam) tomPs) (87) ‘om ers) ba SEE (om) (7) (oma7) tan) = u Gut AT DMAT Ora Fim? (om7) (G7) : foe eo Ss teary (rua) ea GMAT (Bm7P5) 7 Chet) op tam) |. ae Bra 3 chart jz fam) (0m73) Bm re dart) (B71 tam) (om23) (27) coaet th om chm7 5) FB ten 73) (an) in (b5) ee fam7S) ul (87) WF Ma?) (om) tm ciggtsh — Hp} rea? 3 7 tan ons) (87) 67) d Chants) AT31 GMAJOR Fast swing feel / =180 thoy) Ged 6 tant) Shor! (Gm7) Am oo m7 (Bbm7) m7 fom7) (cn (F MAT) (m7 #7) om? G7 07 a GMa? (667) (Ab MAT) 67 aia Bb MAT ra ms) 3 (cr) fonn oe tanta on (nt) 7 Em? AT 1 en) (om7) Tn ‘Am? D7 tear) Gma7 D5) ‘i (Am? fon7 ‘em7t®S) ‘on aay (a0) —a a A a a A a so fam?) (Abm7) — (Db7) eb (Am7) FZ taomr fom7 (oo7) Cnty (eMA7) Maz el ‘Use the alternate fingering 3 forthe BB eeUse the alternate fingering, third valve for the A and the E32 EMINOR (Dm) ium Dixied =132 (47) Medium Dixie @ as (0+7) w (on) ar b bw " (7) “ay Tom) c tm, fam?) 7, fom) Bm? &7 Am (00) 3 a ee (Am?) ze ze s Be ea (cr) () Cal (a7) (Dm) (£8) (mo) "Ripping in the style of Louis Armstrong is appropriate in bar 8. It has a ‘ripping’, ‘rolled r’ sound and rises in pitch to the AF