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    studi jazz per tromba

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    1K views35 pages

    24 Jazz Etudes For Trumpet0001

    Uploaded by

    Gigi Ghezzi
    studi jazz per tromba

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 35
    sei | ABOUT THE AUTHOR A Juilliard graduate, Sy Platt studied with the legendary trumpet teacher William Vacchiano, as well as Harry Glantz, Carmine Caruso and Lennie Tristano, one of the major innovators in modern jazz. As a performer, Sy has had a colorful and varied career which has included stints at the renowned Harlem Club The Savoy Ballroom, performances and recordings with P.D.Q. Bach, a solo in Handel's Messiah at Carnegie Hall, the original Broadway produc- tion and recording of Fiddler on the Roof, many years of playing with name Salsa bands in the New York area, and most recently, appearances at the Kool Jazz Festival. SY PLATT — For the last fifteen years, Sy Platt has taught trumpet, jazz improvisation and jazz history at Bucks County Community College in Newtown, PA. Currently, Sy devotes most of his time to teaching, writing and playing jazz in the Philadelphia area, During his tenure at Bucks, he has developed a Viable jazz studies program that includes courses in improvisation, jazz history, vocal jazz and master solo studies. = 24 JAZZ ETUDES FOR TRUMPET TP801 Book w/CD $18.95 | ‘goSIANS TP101 Book wiCassette $14.95 es ¥ S804 CD Alone $12.95 C8004 Cassette Alone $8.95 JE002 Book Alone $10.95 Pa, acieaTON® MUSICIANS PUBLICATIONS P.O. BOX 7160 W. TRENTON, NJ 08628 PC ie BILL HOLCOMBE PRESENTS 24 AZZ ETUDES FOR TRUMPET SY PLATT Ct DEDICATION All rights reserved; no part of this book may be reproduced without the r the publisher. This book is dedicated 10 ry a parang Tne i ronse On ‘My children, Fennifer and David Who were born into, lived surrounded by And slept through 100,00 hours plus For performance rights please Inquire to: Of trumpet playing Entire contents © 1985 Musicians Publications ‘Musicians Publications 609-882-8139 1076 River Road West Trenton, NJ 08628 i ee Ged 1 Printed in the USA / Book Design Eric Stedman = ie cMasor | Fast d=104-108 al (en ou on ae ee F a = | te a (38) (7) = (m7) ay (Cm7) (FT) [Jase (em) . cor99) or (nibs) lars e (28) Dm? c |At this tempo ( d =104-108) the eighth notes should be played literally ‘as eighth notes (ie., not played as J °4) or fj). Proper observation fof the aceents and the chthmie configurations will make the etude swing z ® oot 1687) omer) on = A" EN > Dons? (2n7) #7 ame?) er (ant) on ia! & tom7) (cn) fem?) Dm? (33) ee (eer) & (20) = (7) fom?) (#7) (33) Dm? a7 > een: e = G Sais. 3rd valve may be substituted for the Ist valve. ‘4% Cue notes in tbe last 2 bars are optional Gs BR RE BBR RRR EEE ERM Ee ee Fer) a (20) c 4 AMINOR Ps Bon ee om 6) ies (ams) mis) (1) 1sg On ante) ET = = pane a oo. | Sea eae Sag S fa A me as (E06) Gm? oS Tam7?S) 08) (hor) Pat L aan) iat hey, (Gm 6) a Pay P= SO ee (Em ary on ang) 7) L ed 2 tbs 7 (Gm5) (Am?) wn (omg) Ame Bm? 7 oa (m7) (07) 1206) a aa (39°?) | (Bb Ma?) tamg25] ~~ (07) (ans) cwar ear) 7 S (Gn? 63), ee ee p75) (7) (364) tan? a7) tam?) ort) (ane) es) to) a 3 fof fifo fi ferro ese (201) oT J 3 3 3] a8 (om) tant) (07) gl) l (m7) (as) (s6Men) FM, c9) 4 tame) ony (ons) = | | pin eal (oome7) taming cma7 ea (208) ibe Alfie etude ae bed on ehord propesins rr aes fon ere peje Peery ‘ gq improvise. Most of the etudes are in the key dictated ty ns sonmon pice offi urns Some nyt L atten atemate to wanspotion Beaute fat Seite aie areca ney Hwee | thee ie the wmpetr vale prt n manip iting the instrument hough unt Hgeing cambio tam? (07) alm em) ey St (omen) FM7, Nee tam) on (Gn6) o> 5007) u (361407) tamig) 7 Mal @ - = eS _ pa) g @ a) Mike neg 0. = SBN Sn eee =e : i SSS ae Sal , “= Eudes towel known at nes upon which payers equnty Wf) inrerse toserteeuerain ite fy coed : bye common patie of mutans Some ays efter no alemstve to teaspoon Beate tees i SeeteriSt ane wneeie noe Howes thee ge the tumpeter able prctin in manip lating the intrument hough unusual ageing comb 4. erat | i] ‘| '] ‘| ‘| ‘| avon Moderey quick boss nove : woneosa91 Jens (Guess 3 e o ae, 3) (Foy (Fm 9) (a0? ee Go cma c7'b9) (£68) (s6ms) (409) (om) (097) Fo aba ‘abei7 E07 3a (007) (am9) aa ‘Ab? Doma Ean ran 8 17?) (Ams) ams If played at 144, its 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 “eatch breaths: ae & fAm3) (07) (m9) Bm3 = os Le q ten?) 1 peng $14 749) io 05) 17 1007/0) Ff Fis fi Ot ae =—_ 2 (oma) FT "ms ven) (m9) aa 9 (m8) ns bee Neh. ort) e it ae aT a er ‘ i fe tain enti | era) | 2 som wer) crlf9) Fen(a7) sigh riterd 2nd time = ++ Improvise «cadenza utilizing any ofthese notes in env combination. @ FMAJOR mie L (E97 (Fm) f ae Gra = , L el (im Ha) = (Pn) 18) = mins?) Gms ‘ * ‘(Bb¢7) a. 1,3 (ate: (Ab Ma?) ae Bb Ma7 eae cl int (FT) (Fm?) (B07) Da Scr (E647) (m7 03) ten Am7 b5 Ct) © FMT > =| = ro 7,89) ex (007) (m7). (Boe) (EB) abe) UB) On? Gmc or F ae tn) ja Gor eg Be certain to divide the eighth notes evenly! Please ignore the erroneous advice given to novices about distorting the eighth notes into.longshort configurations. If you play it that way, you'll sound dated and unaware of what real improvisers play, There fare some exceptions, so you've got to listen to the interpretations cof good players. fo) ©") © yj for L L B° MAJOR Medium swing 4 ten?) [B0m7) (ab) 144° Gm7 cm (pu Bo 3 es (053147) (on toma7) __EeMaT al DMAT tomy (Fn7) (807) (ema) Gn? 3 7 3 FMAT 3 (ab mar) Bb MAT tam?) (7) fosa7y > ‘AMAT 3 ee (Fn) fart (eo7) 1407) ya (Db MAT} (007) fom7) = az) EDMAT ab7 (Cathe ew pa 9) (gem?) (2 tan mata em? F709) 1 = somartt = Pee ‘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. a & & GB ff & & Se & & S&S ee See ee eee [) emwor Cheerful 2 e192 minor (Fmd) Gms > 1 | (ca - on ‘con em ™ - ie i si eee i ne avi (en sn i i E rod ta o tnd) or els Font or \ i atte isan example of to notes wo the beat hatte not payed re. fale cy tonsa oder ta be payed in 8 [te eee ene S&S a ® u E> MAJOR Laid back swing tempo (pos) (a07) 48 eng 4407) (086) 5 en ay ue 7 sunt) 1497) 57 pos) (287) (06s) (Ebm7) m7 oe D6 ab7 Eb6 Ss (Abn7) ipo?) (a6) Bn? ey ter er oe (o07) ab? tare) 100) (ose) (bm?) eT a8 Fin? Rh %# Quarter notes on the upbeat are almost always articulated ay short (they actually sound like an eighth note.) af eee fe eke eee eee et ee ee n MINOR ‘Swing to bop feel Shee jltead) (co7) J e168 -184 cms a (FI) (bm6) (G07) (FT) 168 3 7 ms a (B0m5) fov7)-(E) (abr6) ctl > cms aby G7 ‘cmé Cn ee (#5m6) toon) (807) (Eons) = (007) ‘e Fé oy Fé @ iam) (358) 7 en es = 107) (407) (006) (o07) (#7) Bb? D6 ‘07 Gi = Da a2 = (Bom) (007) we) ee (7) rns as) > OT ns. A AT or sae S: Le gS fi ee jor) amar) om (ons) aot ils) he oh = Jazz guitarist Charlie Chuistian’s superb jazz stylings inspired this etude. ao oe ome ee ee ee ee a ee eS eS Se eS Ab MAJOR Jazz waltz (Abn?) (007) (on (comer) 1006) (o>) ‘Bb? a (a8) 688) (2) 1206) a ) 168 a7) 1086) Ab ‘abs . © pamar Aes c 2 3 Fi (9) (806) oi (c0) (cb Mer) tommy by AD AbMs7 Dm? ~ (¢06) 100) aim) 7 (omg) (abet) ‘ee as) ‘cribs Shed Bom? = een mg ah op fae ae A ee Soe oo cn? eo es (asm (ox (087) (086) EB? (00s) MS wssere fel wien Me eBars 2431 have the progression ehythmically augmented; ive. 4 bars are extended by doubling f0 8 bars. Acommon accompaniment for a jazz. waltz is 14 FMINOR Mambo feel (0m Ma?) (Dbm Me?) , Fm(Ma7) Ebm(Ma7) Je168 Deb ae | | en Nay fAbm9) (Db9) = is Bom 3 EbO a >. fe i 2Sa == oe (088) i | (Dom9) oS {6m Ma7) 5) 100709 013), (em7s) (07) (em765) en fem7bs) F(t) m7) c7 emi) cr pgbts = (0m Ma?) (Dom 3407) me) > Ebmn(a?) = = a (Ebm Ma) Abad eH = De 27 ‘Fim(Ma7) LS Monee Taam P . Mar) (62), to) (pmo) 1088) tomer Oe 3) Doar Go7 tay Laer! SS Les) 2 = (a07) (E6m) m7!) fr Pe a en ed Lat ee she 15 Sing tes ‘ats 0) oor) (tons sont BomalEb Laat 3 em7!85? 7b) ann a. SS —— a) on (com Me?) (ams) on be? Eb? ‘Abm(Ma7) Bm a a (Bom?) 9) (AbmsjDo) (0978) wn esioy wre cm7'¥5) F7lb9) an (on, (com75) ere 22 ca eb ‘amr 68D 7 ‘Mambo feel (Eom Mat (Dbm Mar) a?) Eom = (omster ov Fonte?) gama e7 A A ae = aed umd ae (Doms) (apP9) (2Ma7) ae 07) oa (or) yer) any Gf a (om m7) em) es Frltta7) fe =e see ae a. ge I a el Red Meal ana Beak Een eat Manel, 16 D>.tajor Easy swin 5 owl toot) (coMa7) tan?) J = 120 Ebma Ab7 ue ie as b7(b9) = Bont) im?) (on (con) as Een? Abt Dowa7 F769) ey es (Ge7) oa Tin ar) Pe oe) Ah pes b7b9 Ebm9 SS (coz) Somaren Dina] ‘av7l08) ™, (407) (E07), F7, = Pee ee Tan (37) (ary Bb7 bo Eu? at <1 ef ieee St === Sas © Sa eS Ta a ua ME = (omg) tot) oy Ebm7, Ab7 ies (pont) 0 #7, (007 sa Vane Sh bg : font Gun 67 867 Satay fy ons BY : ee 3 s#Much slower trail off notes with a wide, breathy vibrato. ot 8? MINOR J 46) (EMa7) ow Rock Ballad J, =80 te a me (eu fase Gove? (chm) (ror Bom ‘Ab Gb a7 5 bm Abs q i (Fo) tema7) (Gm) (FRO) (E8a7) UE ‘abs GoM? Bb ‘Abe GoM? ‘Goa? fo (etm) why) (chm) who) ge, “ou” Ebm7 87 £feon eee = eal $ (ot chm) 2b?) 108 hae (807) tane7) 1chm) O47) (chmy 1047) GbMa7 Chia? us Bhm = F7 Bbm == F7 ‘Ophia? (ct) wn (omer) emer) tame) ‘ot 7) eT a ‘DbMa7 GbMa7_ Coma? fF aS ou s (eae?) who) (ema?) woke vot a aa cna oe fae (ema whe) (ema) tc md) Hide ee 3 Abe 8M? Bm rit Eb MINOR #4 292. (chm che J 92 (chm) heyy bm ro idn7) wt (atm?) Ebm7 > Ab7 (ahs) —~ a es) cm7!®9) 1047) ina ” ms tas 85 (o¢m7) itn? tn . bags ohn Cont i it @) ee Smitty oo J (amt) (e (an) Dom? iG ce? He (chm7®3) scr) (en) eet) a7 7 2 tec tS eb Na) led el Din?) wate (Chms) Far) poriel Ebms 4eThis etude should really have a double-time balled feel. The thythm section should play 2 to the bar, thus making one bar of 4/4 out of 2 bars of double-time. | ee ee ee a eo ee B&B eee ege fe Bee fe SB 1047) (4m) BT Ebm7 asm) poh 78) 7) se ct m6) 7 ee ete) bos —— eaNray chm) apm wn Bom m7! Fr (m7) a (07) en (Fim) ye bm? ‘Gu a7 tein 75, e Cini wct7) Gom7) tam tam ‘on men gone fr oa? (Fim) 187) wet) ner a De o . jaa Eb oi nei PLikids oi bei eid FEMAJOR Medium, easy swing (Ma?) d= Fmar eee finn 1 47) tars wha tabmr BF gia u ‘ata f Miike Py dbo An fen bey! sis oy or a7 = Cai iH water) wear) FEMA? ef a (es) (ge 21 en tear dan or Bee er FEMA? ; rrr ‘The bridge is written in the most unusual tonality of A# Major. It would have been BY Major if the etude had been written in G > Major. savor Ruma! =120 an (tnd) a7 Cine tct7) iF hms) Ghné (eho) Gms (rns) “Gino. ip phe 187) (Moncunotike) #7 (C47) nat De7 Gas a (fms) é i (ct) (e}ns) i a7 be (Optional) 3 2s * See aes ace eo eee ee eee ee eee ee ee Co) eye |) [ L x Merengue 148) d=92-112 Be (as) tatony a7} t0m7) 1) thn) chaz Fy Dim 1307) en tas) (am) as > chm? tcing5) tmz FA Df m7\8) (amt) (27) 146) ‘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: (3) Fy chy | ny arc) 14s) (7) (Bm?) #7 fa maz) 5 ea > BMay me Ea = Gl ten a ug z ‘SOME SUGGESTIONS ON HOW TO USE AND ENJOY THIS BOOK: ‘The etudes are all written to be satisfying musical entities performed unaccompanied. However, once the trumpeter can play some of these etudes fluently at a relaxed, steedy pace, \We guggest 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 several other possibilities that should be considered: (2) 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 litte as « simple, sustained whole-note and half-note accompaniment can be satisfying. (2) A walking bass line to add shythm and implied harmony can be quite adequate. (3) Even adding just light percussion can be a help. (4) Of course the ultimate is to find a whole rhythm section with which to play. While the chief eim of this book is to provide 24 serious etudes (one in 4 each major and minor key), that further the trumpeters understanding of jazz feel and styling, the ambitious advanced student could go further by reading the chord changes and alter the written melodic lines and rhythms 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 Mebeombe BILL HOLCOMBE . & & se se es Se ee ee ee Se ee eee ee 24 EMAJOR gains Modersteg eine (chart) MAT > = a Obngtl sty v een (on (ams) fam?) 4 tom7) fo MAI) (omar) ode ant 2 ea ran 3 => m7 35) 7) ima) a _—tin tcf 3) (es) wen) (0 a7) Dip gq EMAT (ms) fam?) gh E?. cn (oman o (waar) (=) oor 3g AMAT EWAT erty ict (a1) eng ay aod) ‘ (6) (a7) (08) (oma7) a err de bye Baar ae ston 87 es Tyee By slight rit, ‘The line indicates a partially choked valve gliss. Don’t overdo the effect. = Z Bee E GH SB Rf B2 BB BBB SE EE MINOR * Modal blues J=158 (80) tent) (ana) ten7) Chat Fe chao 1 in? Naas) (gm?) (am) Fm? (am) (9 7005.) (ém7} (Bm7) Orn? Gir Fim? chm? 807) tep7) (ant, jr So int Fm? —— ye, ot" at of ; tz ee Se eo St] 2 SS ton) 18927) (e410) 7 Cha? iu ten?) ae + This is the only etude in the book that is not based on a well known tune. Ofcourse, “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) seale:C4,E ,F $,G fand B. Occasionally, other modal notes are added; } and Ag, changing the pentatonic scale to 2 Cj dorian mode. 2% ABAIOR | Laid Back / =130 j (Gar) on) tomar) (o-7) | AMAT es AMAT 7 tong) aber) ant) 4 Ghar) 7) > (ené) a7 Fin | ce | (euan valve (047) ate 0-7) 2 fags + alee (ey 7 = im ou? ator) tant} Chat Pe en (7) on (8m?) | (oman o7 ‘ny! (cn) cmt 667) | | MAY 3g 1 | a6 (0 ma7ie9) 16 MAS) I ae ea (am) (aor) nash ANAS Dy + d+ BD Ans contiguntions ae equilent = Cy Te melody in bas 15416 outins a wholetone sal. pase FEMINOR ten) dais Hm > > tm 795) (ring wy 2 ay cfm7le8) en Fim cre i ay (em) = (ems a7) fm) fem) _ tAni?5 a, (am) etagth Ce a i SS fee i i (BT) (Em) 2. i bm Pe ah 7, Ga eee * Valves 183 ase ele ee ler ee ee LellULULUelLe Le le Le 8 | DMAJOR — pouble-time ballad feel (67) a ‘oes lee ip ", | sour) (on765) (on) ‘BbMa7 em7'05) AT eh (07) 7 (07) fam?) ies Bm? : (amt ‘ews BS wn os rs os 3 es (ab sar) tom7®5) (arti ‘Bos? Pros! aria (ons) ‘i (a7) (on? Om fom a7 : : : fon?) 1c7) i | ‘This etude should have the feel of a slow 32 bar ballad, It has been written as 0 64 bar tune in (for ease of reading. The rhythm section should play 2 beats to a bar, so that 2 bars feel like one bar in 4/4. em) | oe iF m3) Sms (0m) (ab?) 29 Am7'¥8) (ose eet) sy a ae ae —————— i ae rer eet — oz tent) (on) tery (abner) Bb Na? em7'b8) (on BMINOR Bossa nova feel fam) J-144'5m 4 (Am) (Dnt) Em? tam73) bnal¥8 tam) (anrt®3) cin 75) (om) Em? (o7) tom75) Sem7t¥5) 373 a DMa7 ew fam) (cMa7) DMA7 tear) (Am) ‘Bm (ames! (E) ‘hn®5) TEm7y Fim7 o (mar) GMAT (Bm PS) ctrl 7 (am73) chr) (eMan omar tomrbs), (82) Chants) FAT 5) a Charts) ey Ay

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