COMPLETE INCLUDING VOL. 1, VOL. 2 and VOL. 3 by Dr. Charles Colin I I i I i. I I I I i 1 I i I I ISp nrrerrreerrc tree HPA gic ce eee eee ee eee » -pyoa sonmapeouy dry gente ree eres oneeme cman ones drama m4, eee aopoeig pue Supury, 196 y12%01 gece et eee eee eeeeeneees aoueysysoy dojenod gecrressnesaerenmsens rita oun go cmp perce eens ee eeeee es Suppreng pue Suan dr sOpMaety dy] S]U9JUOD JO 31qe,LLip Flexibilities elentitic trumpet playing degends largely upon intalligent concentration. Attention should be placad on every minute Gelail The major and important subjacts that will Be delved inte are the preteuding tense dlaphragm applied in dlaphrag. matie breathing, ard the flexible erching tongue. “Trumpet players who aro disiliusioned have taken the jine of least resistance In believing that briliant performance can ‘be attained enly acoording to one’s nature, or his physical ‘prowose. Ths falsity ie used especially In sidetracking fe /n Formation seekers. It one reetly has ithe Is not going to give tuay nig secrets, There are a few who Know its value, and hey feel that it ts not to be given away. ironically, some never roc Sanize of even appreciate a good, progressive suggestion ‘even though It Is Trevly given to them. Fear Unnecessary performing Ia a brilliant fashion ean be developed. Not through "hocus-pocus” methods, but by applying oneselt Gitigently with Inteliigent Instruction. | shall unfold all (he porploxing problems that new students fave previously Bevoloped defore coming to me, To some, this talk about ‘iglaphraghm’” may appear to be ferfetched and somathing te avoid. They fear that what progress they have attalnes wil! be fostenever to be regeined—-t they experiment with this much discussed subject, Little do they know how many times they have unconsciously attained @ degree of pertect coor ination of all thelr faculties, and not recognizing their valve, they discarded It ‘The benefit of diaphragmatic development is: pressure that te lakon away trom the mouthpfece is transferred t0 the diaphragm muscles. These muscles, developad, wil give ease tand relaxation in every register, and lead tc added endurance, more power with a sizzling briflance, which all go to butld up an ego of much needed contidence. ‘Trove are aivferent types of tones for different types of work, ‘Tones ave said to be natural, but | belleva any type of fone can be cultivated according to type of work required. filkancy in performance is most in demand. Those lacking in thre quality sROviG take time out to analyze why they havent fgot H. When concentrating on this Tt will bo discovesce {rrough Inteligent observation that a co-ordination of cerain unetions must be empioyed. Lips vibrating freely is the fst (gavential, In order to make the ips vibrate with a minimum smount of pressure, itis necessary to use a full steady stream af att up through the throat. The sharp stream of alr which Controls velocity hits the roof of the mouth. This bone struc: ture of the inner mouth acts as a sounding board. Tongue Plays Vital Part ‘The tongue, acting as a valve, plays the most important pert im controliing the air passage. Low notes consisting of wider © Cooytiant 1960 by Enas. Colm. 3 Inernalonat Canyignt Seeutes vibrations call for less tensity in the dlaphragm. The opposite ve used for the high tones. The arching of ihe tongue con vate that stteam of ait which becomes most forceful. The tip ‘of the tongue, i releasing the air, makes the lips vibrate very tnuch faster. This automatically pushes the range upward Resonance is formed by vowsl singing, This narcows down to ine alfferent syliabias which are formed inside the mouth Tiwee. distinct ranges are crestad by employing these syliables: “Al EE” put in two word form, We use Sheany" for "AR" and "Two" fer “OO" and “Tea” for “ER 1a ‘speaking the word “Army” notice the position of the tondue this almost flat on the bottom of tha mouth. Doing this opens the thyoat, In speaking the word "Two" notice the rear of he tongue Ie tlexed, This does not close the throat, but sutomatically contracts the stream of air thus making it Fossible for the tips to vibrate faster then the previous Syllable, In speaking the sytlabie “Taal” the rear cf the fondue Trrataed so that the back testh feel the spreading of The tongue, Thi contracts the columa of alt so fine that the dive Ig more forcetul. Therefore the lips vibrate with exterie rapiaity, In these positions, there Is ample room for {we ay sjeeam to pass over the arched tongue vakampered. Notice particulary the al stream when raised trom protruding tense Giaphragm ascends io a straight line, As it gets behind We tongue tt does not curve and pase in arounélike manner over the tongue. The foree of the airstream shoots up [fon atense laohragm divectly straight through the throat unlit tnally hits the roof of the mouth, which acts ae a sound chember Disproving Theories Run your finger up against the watls of the rool of your moun and notice Row much space the air has to circulate round. Therofora, the theory of the arched tongue disap Groves what [s said about this aystem.closing the throat. In correct breathing, |e. breathing from the chest and not taking Inenough air. will suraly choka ihe tone and tighten the throat aovgetes, not the arching tongue. The sound chamber (or foo! Srthe mouih) is ikened to that ot a viotin sounding board. The gir stream with its pressure when it ascends to the roo! of Ine asin with the desired amount of velocity (Speed) is held track by placing the tip of the tongue against the top (eel ava storus up added intense powar and as soon as the IP of the tongue (alve) is immediately released In a gunike Fashion, the air stream shoots up In a ‘lery spirit forcing the fips to vibrate at any controlled speed. When released the tp pene tongue descends to a stationary position behing the Contam teeth to make room for the aitpressure passing through the lips. This results in the fips vibrating autornal ically and creates a sizzling briiance with bigness of tone 7 every range. 08 “Ai Fighia Pasocens 15 wen 52 St. New Yor Sadenu SA“J IP trtting” has been the most mlsnamed action In the trumpat vocabulary. This adopted ttle carries the general consensus of opinion that fp stretching is the medium to ob. tain the tell. Stretching the fips and wiggling the cornars of the mouth is not a progressive method, It has never reached permanent perfection because It must be exercised painstak Ingly. Whatever flexibility is altalned by this method will be ost; one becomes a slave to a lip trill. Controlting the air stream results In a natural and perm: nent development whereas tho alr stream Is governed by a flexible arched tongue. This knack of ‘lip trilling” le not forced; therefore It is consistent, It Is necessary for vowel syllables to be shaped Into unobstructed alr-streams Penetrating from well-controlled dlaphragmatic breathing, Tongue Position ‘The position of the tongua in whistling is the correct tongue formation, Visualize the rear of the tongue being ‘edged close to the upner molars, This candanses the air col- ‘umn and controls the velocity of alt. Unobstruction in the air stream is vitally Important. Therefora the tip of the tongue must descend behind the bottom teath, For corract lip-trilling development, the first objective is to become conscious of the working mechanisms inside the ‘mouth, Sense the activity of the alr stream simultaneously with the placement of the rear, center, and forward sections of the tongue. For control, the tongue Is molded In arched: form so the alr column can produce vowol syllables in tha form of "hissing," “hoolng,” or “harring.” Since the tongue is, ‘connected with the Jaw, as soons as the rear tongue Is press ed up against the top molars the jaw ascends with it: conse. quently this drawing together of the embouchure constructs the necessary resistance, The tenseness of the rear longue against the top molars Is In proportion with the rising jaw, thus the ambouchure is either compressed or relaxed accor ding to the intanded registers. A simple test In sensing the corract tongue position Is ‘whistling thirds repoatedly at the same time, tealing the posl- tion of the tongue as It rubs in an up and down mation against the top motars. Coordinately sense the condensed alr as it asses over the tonguo. Thus both a fast moving tongue and Jaw supply tho embouchure with an oper-closad rasiatance, Lip Trilling and Stretching Lip stretching is the backward method handed down tre the old school. Such teaching requires from six months year batore a student Is able to show any signa of lp tllir Slurting by way of stretching the lip tissues across the tee weakens the lips and thins out the tone. Increased development can be obtained by the arching tongue. Range can be developed by alr control. The tongt controiled air stream will Increase range In avary form of sl ting. Corractiy applied, glissandos up to © above high © Possible without employing any freak methods. Add pucker ‘ips and both resistance and power will be surprlelng. Withe realizing, added strength wlll be gathared trom the eye, cha ‘and lip muscles, ail dirocted toward the embouchure. Shot fone be more conscious of this fact, muscles not 3 doveloped wili be put Into use for strengthening results. The mastery of lip tiling is the complete mental visuall: tion of the position of the tongue. Refraln from lip-stratchi ‘and use @ closed puckered lip. Tongue behind the teeth release the air stream. Practice G below middle C false ting Ing [1st & 3rd), Raise the alr stream to “B" (1st & 3rd) @ lower the alr-siream back to "G" by slightly easing the te sion of the tongue against the top molars. Note the rasistan ‘created by the puckered embouchuro. It Is always best to str slowly and softly in an easy register; gradually ascend, Lip tliling by flexible arched tongue develops a stabilizes the embouchure. The base of the tongue riveted the top molars raises the Jaw enough to make a natural cc tact In the embouchure, thereby forming the correct amo of resistance for the vibrating embouchure, All these fore brought together increase range. An extendad full dlaphrag reales vacuum pressure by locking the alr behind the tip the tongue placed simly againet the top teeth, Th stimulates an unlimited alr pressure as it prepares to | roleased, Upon release a definite contact of the top molars again the tat surface of (ha rear tongue molds a tube-iike sandwis effect thru which tha air passes. This originates a controllit device for the air stream by means of althar tightening relaxing the tongue against the upper molars, Simultaneous the tongue in an up and down motlon makas the resistance the embouchure extra floxible. As the alr passas troely ov the tongus, the speed in which one wage the tongue whistles determines how fast and clean the trill wlll move,Importance of the Tongue RUMPETERS have more varied “Iheorias” about the work: Ing embouchure and lip placement than about any other single phase of their playing. Among the many formulas used fo got more of I9ss lip into the mouthplace vaguely aro: (1) Rad eart of top lip on rim, not in mouthpiece; (2) Two-thirds ‘of mouthpiece on top Ilp; (3) Half top lip, half bottom tip; (4) Red of both lips rounding around moutnplece; (5) Top and bottom tips curled In mouthpiece. The most sensible group, however, advocates that wherever the mouthplece feels most comfortable and the lips vibrate most freely, that Is the correct placement. Lip form tions of every player are 98 different as the individual Itself. Therefore it 's obviously foolish to say that the best piace ment is “half and half: Embouchure Security A commend often heard by beginners Is “smile slightly.” ‘This can ba magnified too greatly. Instead of unnecessary |p stretching, if the lips are puckered and pressed more firmly together, more of the meaty substance of the lip is instine- tively absorbed inside the mouthpiece resulting In much more security in the emboucnute, The vibrating tissues should be Used solely for the purpose of vibrating: not for vibrato or for pressure, 0 fr shitting regi Puckered lips have a sirengthening effect, but lip stretch Ing spreads the muscles in opposite directions and in so do- ing tends to weaken the lips. To Insure strength in the lips they should at all times be closed and puckered. By keeping the chin firmly sot the neoded vitaity for a healthy em- bouchure can be drawn from all the facial muscles, These are the eye, chin, upper tip, and muscles in the comers of the mouth. In ascending fram the low to the high register, the Ips should be drawn together. This is done by ralsing ths bottom lip slightly, thus tightening the muscles in the corners of the mouth. It also has a direct bearing in controlling the alr ‘stream. The process Is In raising and lowerIng the air stream, and thus controlled resistance reverts back fo the tightness, of the embouchure. The technique ts to lower the bottom lip for a slight opening, whlch gives both wider vibrations and a rasonant bottom register. The compression of the tips results In-a smatier opening and thus higher range. Vital Body Resistance ‘Toe tightness of compressed lips controis body resistance. ‘Such resistance is vital in playing a cup mouthpiece, Lot's discuse ways and means of obtaining It. Hera ara but a few methods: by creating a sensation from the pressureagalnst the back of the chair, when the muscles In the back of the laphragm are funetioning normally; and by placing a thick bolt around the diaphragm area In ordar to sense the correct pressure while performing. Still another is gripping the horn forcefully enough to stimulate encugh tension through one's, entire body. Some Keep the body tense, rarely relaxed. They keep {rom crossing thelr legs, or sitting in a siovched posi- ton; but always sitting up straight so that the lungs will have ample room to function traety ‘The tongue placement plays a vitally Important part In the ‘bullding of a strong embouchure. The accapted conception of the tongue placement hae a direct relation to the opening of the vibrating lips. A large opening between the lips jaopard las securlty in the upper range. Those having this difficulty ‘should tongue behind the top teeth starting ther attack close to the roof of the mouth. This slight change has the effect of gradually feeding the mouthplece with more top and bottom tip which detinitaly remedies this fault. Those using little top lip and tonguing between the lips use very little lip tlesue in ‘the mouthpiece, so much so that IMerally speaking they are “playing on thelr teeth.” This discomfort calls for a more pro- tectlve grip In the mouthpiece. Eventually It Ipads to ox- cessive lip pressure and stoppage of the blood circulation. To Insure against any such prossure we suggest tonguing behind and against tho top teath, If possible higher up toward the root of the mouth, This automatically pushes tho jaws and hips closer together. This In Itself counteracts any excessive pressure, Wo dotinitely advocate more lip in the moutnplecs for freer lip vibration. It Is interesting to observa sorne of the great ‘colored trumpaters who naturally are andowed with thick \lps. Without doubt they have mastered the art of endurance, stamina, and range. it was always a source of consclation to Histon to Louis Kieoptet (the late great trumpet teacher at the New England Conservatory) as he took such pleasure in folating to students his experiences teaching the big-lipped colored trumpeters; and especially how he rejoiced In shatter- Ing the stupid theories of kinds of lip textures best for vibra. tions. He proved that the thicker the Hip substance the mora cone has to work with.Develop Resistance ETS compare the Lrumpel studant’s present way of think: Ing, and then gaze Into a erystal bail to abserve the change unfold in his futuee progress, One should consider life a magnetic force that draws him toward the line of least resistance. However, by gradusily emerging from tnis adoles. cent stage, a new-born world of Intelligent thought gradually reveals isalt. In observing an outstanding performer, try not to become envious but, rather, be gvatified to discover someone who not only hes become accomplished, but whe has perfected something we have long struggled for. Disregard gullible obsessions such as: the kind of metal that Instruments should contain; certain-fangied mouths pleces; thinner llps, more waight, playing two-thirds on the top lip, visa versa, ote....Give no thought that this holds the key to the secret of one’s success. Don't be obsessed with the Idea that a radical change will bring about immadiate suc- ‘cess and solve all your troubles. Let’s focus our attention on RESISTANCE, and discuss it thoroughly. Resistance Has any thought been given to why trainad singars in action kogp thelr tensity on the necessary parts of thair body, or trumpetors blow out their chesks? A solid grip on the instru ment? High note, shallow mouthpieces? Lip pressure? Dil- ference in bores in instruments? Edging agains the back of, or ‘wrapping thelr legs around a chair? Tensing the muscles in and around the diaphragm area? The use of belt for support? Puckered lips? Or, the protruding jaw? Buzz system? Non pressure system? Alr pockets In {he tips? Why eat nourishing food lor health? Then, why be healthy? This bells down to the fact that everyone consciously, or otherwise, is elthar permitting nature to build resistance within himself, or conscicusly preparing for It, Theretere, with ‘natural facilities everyone develops his awn resistance, and if applied intelligently along correct channels, this procedure ‘will make the differance between the average and the great, Let us take the unnecessary pressure away from the lips, and a 80 doing simultaneously, we cut down on the tron-fist and iron-arm that habltuaily grips the instrument Place this necessary resistance In and around the entire undeveloped area In the diaphragm muscles. The dlaphragm muscles is that layer of muscles (so seldom exercised} thet spread over the lower part of the lungs just below the ribs of the chesl, encircting the entire body. Regulated diaphragm {tensity pushing against the lower lungs sends up the cor amount of wind pressure. This can be adjusted ané contre by the use of the tongue. The alr-stream must first pass. the antire tongue before passing throught the vibrating bouchure. in order lo create such resistance in the alr-str« apply the middle-centered flatness of the tongue in < form, similar to the position ef an over-tlagping leat or pet a flower, Raise thls position of the longue high and sare. across the roof of the mouth against both walls of the w teeth. Use the tip of the tongua In valvedlike fashion In ret Ing the alt-stream. In getting ready for the attack the tip o longue should be pressed agalne! and pointed dlrectly be: lhe top teeth. The atiack is demonstrated when the tip o! longue Is lowered and releases the alr pressure with “E kreig lightning,” behind the bottom teeth and kept thera tlonary until ready for the next attack, This procedure regulate and condense the velocity of the airstream Iron fullnass of the lungs. Thus, the range desired will be easil tained due io all the lacilities, working harmonic together Another very Important requisite is ine closed emboue without any unecessary wilde spread In the lips befare | ing the mouthpiece. Regardiess of how tightened the lips, '8§ soon as the mouthpiece Is set, there becomes 4 na spread sufficient enough for the air to make the tips vit {reely. The longue passing between the lips always caus dangerous wide spread; especially in attempting the u range with the position of the lips set only for the mi register. This occasions oxcessive prossure, even the breathing and tongue position are correctly coordinated Reducing Pressure ‘The fallacy In tip stretching for ange weakens and pulls muscles away to all foroign drections. The great reveati displayed by bunching together all he muscles surroun the embouchure in a tense puckered manner, s0 as to 10 tigstened embouchure, Subsequently, the pressure of mouthpiece on the tips will be cul down to @ minin Doubts, the tins drawn mora closely together will disturb tho present embouchure, but will produce more | bie vibrations, thereby fotifying with rota security by € Ing in more lip to work with, resulting in an eniorged cnrlched tonst quality ‘This Is the ona school of thought that has been tried Used effectively by the better artists who cannot afford t. tangle themselves with unauthoritative sheorles. There by going along the correct channels, thelr work is unl rupted year after year with greater success.“Intelligent Thinking and Practice NFORESEEN complications which result in “lip 1 Jactlona” are a dreaded menace to trumpeters. Such con tions are the result of negligence, untimely contentment, sd being guiilble. These evils when least expected blossom ‘a dafinite crisis, “Reactions” are appreciated most when ye damage has Uinally taken eerious effect. tronicaily, mis: \_dgad situations due (o ignorance result in unnecessary set- Sacks. Naturally, no one can afford a relapse to a healthy em- souchure. . Se pee # 4h postion _—___——, A gi6th positios IER " Mo ED AN 7th position ee bs ae Tat position } ® % 2nd position 2 3 oNSth position 13 3 6th positio 7th position = ETUDE NO. ll 1st position 2nd position, 3rd position gb C4 1 ic“th Bee ee ttst*~éi‘i SS z 5th position b 6th position Tih postion 2nd position z 3rd position La O”—~—ena 5 Th. pS — Cr rhe = ‘i : Le v lb. aeheD yy ba rs aa Thee. aalheD “a te es 6 48 6th position ‘ er aA #8 rion —— $$ z 4 2nd position a ee ge lfape ayBY ba 5 ba oN me am 5 4 ba ba a boo. 6 Oooo Ce On ¢ oe lS Ist position 2nd position 23d position 4 2 * ~ Be 4 iB. = + ta ath ee tes be a pst9 Oh A 4 A be cece ce cec eee @ aie A a 4 ~ aa #8 ETUDE NO. z - Ist position ~~ 5 A b. . 4M 2nd position x & 2 #21 cre, c coreceerce ENUDE NON =~ ——~ = sO a Aaa Patetat Dd Ty 1 4S, =~ aN WW2223 rere rare t2f Pe : if ot aS ThA aw = eer & aT A. 7. athatateta DS Tp ext a S_ =. fita 3 4~ 4, 5, thbbehe DS Os AZo atthe oP TF, ETUDE NO.VE 1 LooN24 ba A A AN > aNecerrerrerereecce VOL. 2 s Descending from first position ascending from seventh position aw . Boaerngg Meee Bere wre acpi RANGE TO D Descending from first position EXPANDING RANGE TO D ascending from seventh position LIP TRILLING TO D Descending from first Position — seperrrrs EE © cong 1975 CHARLES COL. 318 WS: St, New Yrk N¥ 10018 tniesnatlonal Copy iat Seau Made in USA. AUlRghts ReseedEXPANDING RANGE TO DD ascending from seventh position Sones sm 2ynprennmnn ane I pgessaeeeansctm ‘SPREADING INTERVALS TO D Descending from first posi RANGE TOF ascending from seventh positionree Ca On Cbs cere eee LIP TRILLING TO F Descending from first position a7 EXPANDING RANGE TO F ascending from seventh position28 SPREADING INTERVALS TO F Descending from first position RANGE TO Ab ascending from seventh positioneee rr rte Ce Cees LIP TRILLING TO Ab Descending from first position 29SPREADING INTERVALS TO Ab Descending from first position pcan ne nana enn com rusts naman Den aang bs Ss eS EE bbe = bb a. RANGE TO Bb ascending from seventh positionCOC ECO EE Ppa Fe Fs LIP TRILLING TO Bb Descendirg from first positionte | oe Pptatatat) fete ext cisfetetes elticfetetes efefetethe fo ose Ay = a SSeS ae ee pescinstn oes EXPANDING RANGE TO Bb ascending from seventh positionvot ofr fr fe Os Fe fu Fs my 33 EXPANDING INTERVALS TO Bb Descending from first position34 RANGE TO C ascending from seventh positionfare Pee Ce Caer LIP TRILLING TO C ractefetete, 2eSttteteben. th re == itt rite |. ate | rite |: rim |! yrite |! 1189) _ACESECERD Flee tefel)Reeaetes Spee ste iene —_ f og ic LEseeti er ct bey (FEEERLEREGERFS Er Ee (- Dheteterer’ orca eRe Te iar ies aa aecionagy © sean: pueptef tates 2 Ais oes tEPECRREE Ele =e = me |) F eeice se a : teaghatetete a ie SESteest aa at See e te |) he 12]36 EXPANDING RANGE TOC ascending from seventh positionre Cer Ce Fre Fru sy O05 EXPANDING RANGE TO C Descending from first position arRANGE TOD ascending from seventh position LIP TRILLING TO D Descending from first position seftetefeteter: # cebsepet F cette a = ft (efeferepyeCOeCEC OOOO EP ECCEEL | re i occa 1 gah ry ith] ths cteeee se: ws . 1 i) 1% rT rte ir i” thy t fe rite in i ire Tt es % + nll . i fe pesitefeteten, 2 seRteteCeS (cree ec =E Tae ‘) 2 (etetetse\? 3 weft a2 CELE CECE F(epetetes) 2 perere separ)? & (efepates) 240 eetetetes fe eS a Eee 2 lereeetee Siaret ates)PE CE OE CECOCEE CI pe a EXPANDING RANGE TOD ascending from seventh position 4142 SPREADING INTERVALS TO D Descending from first positionRANGE TO E ascending from seventh position 43LIP TRILLING TO E Descending from first position eset EEEtEEC Retercren = (etek fet) Elcist ctet) E ecetcteee, tet pte FILER 7 tieptetesete,. er ttee te CEST set Pedal 2 ieiefeceel? e beter en? ette fsrerererorr eo ceerrcecrery ie te fpstterteten ateteteces eae ee napeteeteses S(erereee stetet Bapeeeren? a deal Pa ene pepe es ee oe ES] [ ey rs oeitngeste pate, ieptetetetes te Ete apsPPECEPECee peererer) 2(cpecerer ? arerseer\e | fabeb abe eitetet ye = : rh LSE 5S aad pafetittetetee peteerecerere »ebettetetetete.) See eee EEE preprectecerfireesecen\Pereeeter Prereerres pO peceienny46 T a ee gab et, i dae tte ne se aptiecleeteteten cee bee Bt ePrice saptetetetee. | T ce 3 i= ie | me i te i ie, Te | ay ie iy ng ty fe [i m eeEpteeee Fletecerr “a_| EXPANDING RANGE TO F+ ascending from seventh positionrereerrecoreece ers PCE # RANGE TO F+ ABOVE Bb ascending from seventh position 4748CT ECE REO CCE CECE: er VOL. 3 = Lip Flexibilities SECTION 1 A Lento Very Slowly Rest LA a aN Rest Re — 4 2 a — Sa SS Copyright © 1972 by CHARLES COLIN — 315 West 53rd St., New York, N. ¥, 10019 Alb Rights Reserved International Copyright Secured Mode In U.S.A,RestSECTION 1 B 51 PEOOCTE OO FE CEE CFE FR CH - SECTION 2 A to AD eee ha6A SECTION 3C to AP xp6G a Tye ae ta tte t YY v teCice Ce SECTION 3A. to HIGH BP 5556 SECTION 3B to HIGH BbPRO ELE OPER TERE 57 mt accel SECTION 3€58ee e Corer re ve ' SECTION 4A to HIGH C0G fe, Rest a eee ee eee ee Pe: "s £ er lea pfaetetefat ee pitatetetatts by Rest-reecerer ¢ rere ' SECTION 4B to HIGH C 6SECTION 4E to HIGH C to fo *fe RPE He FECL ER EE ES SE 63 12G leave 2S & ret Ne a mk Qe ee Pptatatfstatet atte? tatetatet Patetat SSS SS Se 2h64 BA Ta, SECTION 5A to HIGH D a b. BB 62 Pete PoE BS isd id fasta 3 1D —— SS Rest a 13 * £ 5 OT bee D babe en gees = ef afefata tts Ee igagesu oe cn Rest ae erbE ERE SE EERE ti re = mn a t £SECTION $B to D above HIGH BP 6566 SECTION 5€ to HIGH D 15A F? t Plat pte t ptt ets te opp better eeetecetec een, heb, b DyPEPE CR Rr rOC REE c re ' 6B a ehetetize fetettetetet 67 CP oP tot Y Rest ace trtes etatereasr Rest fa SECTION 6A toE b. b, yebabe 16C Sha b, Se a Sree es ceeetenn? a ctigteteeer Pere = ne i sal c;LESECESPestrr eoeetereee 4 + yi" ie Rest a - a69 coerce reeecertc e ¢ 6G in a x éSECTION 6C to HIGH E above HIGH BP ai. 18D 4 om12 SECTION 7A to F above HIGH BI 110 bee? pee D 19A9D uA Pe CPE PY SECTION 7B to F above HIGH Bbaccel D . 2 - 7 33 fo oes EeFEL eet °fror accel, SECTION 7C to F above HIGH Bb on be fete ens atabes Rest heh, don connah gt eee, . “ 2B 6 b ae Pete, re Geirieterteteeet estat Ret Get ies Seer e ester tres: S aABs 21E 3 babe 2 #h Res Om 2iF oe ee ip rCatrerteticerereratitettencerararitererer poetics icipertetrceceeteec rie res a piciataberectetepetettre totpeppentaee pat SECTION 8 to G above HIGH Bb 22A porbeeuetettetetetei¢nn? beretetaraciee b > Rest mn b24B ga be e_sieete rer artes a SEPP CES se Ee80| AS Ata: ‘Advanced Riythms + _ Three Octave Seales Contemporary Jazz Studies, Vols. 1, 2, 3, 4 Contemporary Jazz Rhythms Vol. 1 & 2 Contemporary Jazz Duets al Fihythms & Patterns wth Advanced Jazz Rock Rhythms Contemporary Jazz Rock Patios Vols. 1 & 2 rary Keyboard Exercises Complete Jazz Patterns Vols. 1, 2,3 Farmer: The Art of Art Farmer Maxwell: ‘The First Trumpeter Pancari: ‘The Encyclopedia of Pentatonic Seales Tranchina: Linear and Structural Improvisation wald: Guide to Creative Modal Jazz interpretation Yellin: Jazz Saxophone, Vols. 1, 2, 3 Write for catalogue OurCOMPLETE INCLUDING WOL. 1, VOL. 2 and VOL. 3 by Dr. Charles Colin _ oe Oe