JA z Z TRUIMPET

T ECTHTNllQUES
FOR DEVELOPING ARTICULATION AND FAST FINGEBS
by J0HN McNEIL

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 JA ZZ
RUIMPET
EClHlNlt QUES
FOR DEVELOPING ARTICUTATION AND FAST FINGERS

by JOHN McNEIL

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STUDIO P/R, 1nc.,224 S. Lebanon St., Lebanon, 1nd.46052

 INSRODUCTION

To make thls book as compact as posslble, Ttm-assunlng--tlg student

has at- Ieast a rudlmenta-ry grasP of_trumiet playing. Id¡i1e not
geared ror coñpi;ü uegldleig;-f belleve-players of alL levels will
Itno thls book of some beneflt.
Thls book contains no specifi-c method(s) for lncreasing range and.
endurance. ffré-méciranl-es ói-soun¿ próOúctlon, b¡eath support., ?ng
embouchure O".ráfop*ent havé-Uéen detailed in 3o many boo-ks-, that I
fnciuáe
fett lt unnecé""áiy-io thouáitlg ány speclfle treatment of these sub-
jects. Some ;¡-*V"own ql l"yppet playlng are included
find useful. my per-
lói"iv ln the hope someone vlptmethod forthem Though
sonal concepts fbrm a coheti.t" Ine, ,I donlt intend them
as a panacea io" áff problems encountered 6y trumpet players'
lihat I have dealt wlth for the most part is valve teehnique
-párticularly and
artlculatron, as relateá to the iazz trumpet q1?y9r'
Slnce the of Jazz is-tmprovisation, I have.oriented this
"rr"ñ"u
nóof. toward problems occurri-ng in the improvised line.
I assume the reader knows something about ehords and scales' If
not, there is-á iiit of ¡aáá theorf and lmprovlsation books 1n the
Appendlx. Other books référred to herein áre also listed with
tñéir publlshers in the APPendix.
Jazz improvisation is a very_ personalized art fOrm. Because of
the music is golng to be some-
thls, every piayert s approaóft- toexerclles,
what different. The "ott""pit, and^methods of practice
ln this Uoot áre ones tfiat-i-óersonally frave found helpful'. It
is my hope th;¿ thls material"will save the student at least a
iitti" time in hls or her musical development.

.'jn-. .lnr r..*;

- {,..: ..., ,. 1a,,"¡..,
John McNeil

*'xil'¡bo*'31:-*'j1f
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 TOI^¡ARD PRXCTSION VALlru 1ECHNIQUE

Technique problems are usually the result of poor fundamentals.

Pushing down a trumpet valve seems to be a fairly simple maneuver,
v¡hich lt ls, to be sure. Almost everyone has the sheer anlma1
cunning necessary to work a valve mechanlsm. However, it ls pos-
sible to become so engrossed i^¡ith other aspects of trumpet playing,
making the ehord changes, etc. that you lose sight of the basi-c
task of your flngers. At the risk of belaboring the obvious, Iet
me point out that when playing the trumpet, your fingers are alter-
nately pushing down and releasing the valves in varlous combinatlons.
Forgetting this fundamental point ean result ln not gettlng the
valves all the way down every time.

If all this sounds very sirnple and baslc, thatrs because it is.
Itrs also important. Not getting the valves dovin firrnly results
in garbled, run-together-sounding lines, especlally when you try
to move rapidly,

I haye heard too many trumpet players play very fast but fall to
generate intenslty, sirnply because nothlng came out clean1y. For
this reason, itrs a good idea to periodically back up and reafflrrn
some baslc concepts of finger technlque.

The valve technlqueI personally use conslsts of transferrlng the

weight of the arn to the flngertlps, feeling as though the welght
of the arm is doing the actual work of pushing down the valves.
This way of playtng makes lt possible to keep my flngers very
T,?y = lsn¡r.nr 'f.a¡r,.-¡',-r,( "''*i¿
' - *t - 'C "" * *-rr'r.,,,
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 ar-

relaxed. flngers snap from one valve combination to

ldhen my

another, I try to have the feellng of simply shlfting the weight

il
from one finger t o the next.
ir

I have talked with some exeellent trumpet players who donft thlnk
of playing the above way at all, and wonder why anyone would, Irm
the last one to argue with success. If somethlng works for you,
use 1t.

All goodplayers, however, stress relaxatlon as one of the keys to

good valve technique. This means relaxation of the wrlst as weII
as the fingers, sÍ-nce tension in the wrist automatically cancels
any looseness ln the fingers. If you are used to playing with
tense flngers or "squeezing" the valves down, eoneentrating on
keeping your wrist loose will relax your playing. Try to make
your fingers feel "heavy. " If you are accustomed to tension, you
w111 probably feel that playing this relaxed leaves you no con-
trol. It mlght feel uncomfortable at first, but it will soon be-
come the natural way to play, and your valve technique should be-
eome crl-sper and cleaner. Relaxation helps speed and coordination
come more easily, and lets your improvisation flow more naturally.

Even thouglr this is a seemingly effortless lray of playing, valve

movements should never, repeat NE\IER, be weak. Valve changes
should always be strong, positlve, and quick, l{hen playlng, I
feel as though Itm "throwlng" the valves down. Throwing, banglng,
snapplng, think of 1t any way you like--Just get the valves down
hard and completely. (ff you have trouble reconelllng relaxation
J¡¿lF* É t,t¡,t,,¿4 - ;/+t¿ ;;,:; é¡
v¡ith strong, powerfur actlon, thlnk of a basebatr player. In
basebarl, a good hitter arrvays has a relaxed swing, yet at the
same tj-me, it is very qulck, strong, and declslve.)

Slow valve releases are another thlng that can really hlnder you.
Remember: getting the varves gp quickly and positlvety is Just
as irnportant as getting them down. Sometimes swltchlng your con-
centration from snapping down the valves to releasing them quickly
will help clear up a flngeri_ng probtem.
Poor coordination 1n releasing the valves results in "extra notes. "
For example, when playing this,

if the thlrd valve ls late coming up, yourll get

Overcomlng this type of problem can be very tedious. Over-compen-

satlon--in this ease deliberately forcing the flrst valve to be
late instead of the third valve--ls a technique that can be help-
ful. Sometimes ltts good to approach a problem such as the above
in a nonmusical vüayr i.e.r BS pure coordlnation. Ask yourself,
'rVühat are my fingers actually dolng? blhlch flnger moves where
and when?rt Get your head into your flngers. Concentratton is
the key ln this area as well as ln every faeet of playlng.
 vf

A mlnor polnt: most teachers advise keeping your little finger

out of the ring on the lead pipe. Many iazz players, myself 1"-
cluded, use the ring more than half the tlme, but thls doesntt
il
make lt deslrable. Restrlctlng the little finger llmits the
ii
t; motlon of the third fi-nger. For this reason, most great players
free the llttle finger v¡hen playing somethlng technlcally demand-
ing. Freddle Hubbard is a classlc example of this. Using the
ri rlng can aLso make you use too much pressure. llhen practieing,
therefore, it would be a good ldea to lteep free of the ring.
*iT*t(tT*lF*

Most mistakes, wrong notes, fumble-fingered llnes, etc. are the

result of mental lapses or lack of mental preparation. If you
know a scale uel1 enough to vlsuaLLze it and all of its nuances,
as well as all of the fingerings involved, chances are that you
will make very few mlstakes when playing it. You will probably
be able to improvi-se freely with that scale at a pretty fast
tempo as weIl. tr^le all know jazz players who are not technical
wlzards at all, and yet always seem to be able to execute their
ldeas, The faet is, if you know v¡here youtre golng (netter Yetr
if you can hear where youtre going) ¡ Vou usually have the tech-
nlque to get there.

Ttrere are, however, certain valve changes which involve coordi-

natlon problems. These are sometimes referred to as "cross
flngerings, " somewhat of a misnomer, since many times the dif-
ficulty Iles in executing a particular sequence of fingerlngs,
each one of which is not particularly difficult.
The followlng pages contaln exercises with many such coordlnatlon
probrems. You will no doubt find many slmilar probrems in your
or^,n experj-ence. trürat r have tried to do here, at least ln the

shorter examples, is to condense a flngering probrem into as

short a figure as possible. I¿Ihen working out your own problems,
try to find just those elements that are causing the difflculty,
and eoncentrate on them.

Robert Nagel I s Speed Studies eontains many worthwhile exerclses

in this same vein. I reconmend this book very hlghly.
All exercises should be slurred unless otherwise marked. Your
goal should b" ) =160 or faster. Use regular fingeringst not alternates,
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9
 SOME I,fAYS TO PRACTTCE

Many books and teachers emphasize the lmportance of practlcing

slow}y, but almost no one tells you the reasons why. Here are a
couple: the valves move just as quickly in changi-ng from whole
note to whole note as they do ln playing a Ilne of eighth notes'
The difference is, you have a longer time between valve changest
which enables you to coneentrate and real]y ze¡a in on the exact
coordlnation of your fingers. A slov¡ tempo also gives you time
to listen to your sound, and helps you maintain fullness from one
note to the next.

Practieing slowly, much slower than you are capable of playing,

takes patience, but ltts worth lt. Not only does it help your
speed tremendously, it also makes your time lock in more solidly.

Fol}owing are some more concepts whieh you ralght find useful.

SILENT PRACTICE. Silent practice consists of banging away at

varlous valve combinatlons while not actually blowing the horn.
Itrs a way to improve your technique while you are restlng your
chops or watching T.V. or whatever.

If you make thls valve-banging part of your practlce, it w111

also help you maintain your coneentratlon throughout your prac-

tlce time. Trumpet players need to rest qulte often, so this is
a way to put this rest time to good use. Another advantage of
sllent practice ls that you ean do it anphere (atmost)--on a
bus, ln a weather balloon, ln bed, etc. The exerelses j-n thÍs
book are all good for silent praqtice.

IO
I¡lhen you are practiclng this to lj-sten closely to
w&Vr be sure
the valves. If your coordlnation is perfect, there should be one
short click for every valve change. More than one cllck means
your valves arentt moving preclsely together.

Another good way to use this silent practice is to sing improvised

lines and finger the approprÍ-ate notes on the trumpet. This rnight
be a little difflcurt at first, but itrs great for establlshlng a
direct connection from ears to fingers.
LEFT HAND PRACTT,CE. Switching hands ancl v¡orking out fingeri-ng
problems wlth your left hand l¡ill greatly speed the coordination
of your right. I donrt knorru vihy this l^¡orks, but it does. You
really have to try it to believe it. The v;ay to approach this is
to v¡ork on a problem very slow1y and deliberately with your teft
hanci, and then gradually increase the speed. use a metronome to
insure evenness, and ecncentrate very hard. 'v,Ihen you switch back
to normal, your executlon will have J-mproved dramaticalty. Using
this method, you can conquer problems in ninutes that might other-
v¡ise harre taken days to work out. Again, T must stress concentra-
tion. The more you coneentrate, the better resul-ts irou will get.
qUICE__qE4NGI. Take a phrase that?s giving you fingering problems,
say for example,

11
A to flnd out exactly where the problems are and comect
?,¡ay them

at the same time ls to first play the phrase ]ike ,thls:

and then Ilke this:

It may very v¡ell be that one way of playing the phrase is more
difflcult than the other. Repeated practice of both ways will
iron out a problem quickly. You might also try:

This "quick change'r method works especially well when comblned

with left-handed praetice.

FfNGERING AI{EAD. Set your metronome at a slov¡ tenpc. Then take

any exercise (a Clarke study for example) and play each note very
staccato, snapping immediately to the next valve posltlon as soon
as the note is sounded. Try to change instantaneously. If the
valve change ls quick enough, it wiII almost seem as though yourve
gotten ahead of yourself. In time, you can try to lncrease the
tempo.

L2
 Practlcing this will help coordinate your tongue with your
way
flngers, and, more i-mportant1y, speed up your reactions. To im-
provise at fast tempos, you need the qulckest reactlons you can
get.

I{ENTAL PRACTICE. Practiclng mentally (without the horn) fr one

of the most valuable things you can do. You can run through
changes, play tunes in different keys, do any number of things,
and get as much good out of it as if you had aetually been playing
your horn. The next ti-me yourre stuck in traffic or r,¡aiting i-n a
doctorts offiee, try mentally playing a tune through all keys.
You w1Il be surprised at how diffieult it can be at first, and
how relvarding it can be after a short wh1le.

SOME FURT}MR CONSIDERATIONS. . .

Lack of response in the valve mechanlsn itself can hlnder you

tremendously. I think itrs a good idea to experlment with using
heavler springs. Personally, I like my valves to offer a lot of
resistance. If I throw the valves down firnly, I want to feel a
correspondingly strong return action. I feel this helps my timing
and helps eliminate slow, uncoordlnated releases.

Rather than getting i."#ffif JJri.gr, some people simply stretch

their present springs to lncrease the resistanee. Either way will
work.

or not harder valve aetlon makes for better response is

trühether
somethlng the individual has to decide. Use whatever u¡orks for you.

/-,A<l< o ':,**r, '-.'¡'¿rj"".','r 4= t'f N4{ü,

'É,ar*"aoe =
r;A,L./ ¡¿ ..Ot tr¿)

Lo r .i i,::;t' *^ í'''^ | 't* ) 13 a ¡!Áa $r.rx - Hl*q. l1,e * -,.Le.",

A'*:Xvu;rq" * j, "ii 1'is\i:*?"'&q l¡
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//¡Á.,&,x,X ¿ iutq'*a¡'/.' - &sr¿¡?'*v*4

,SPQ/,-/66 ¿ ?¡*r,¿Ar-¡i
A eouple of more fine Polnts: You should check every so often to
see that your springs are the same length. Usually there w111 be
one that 1s shorter (trence neaker) . Uniformlty of response in
the valves makes Your iob easler.

You should also check to see that the holes in each piston line uP
precisely vlith the tubing t'¡hen the valve is depressed. If theY
dontt line üp: youtll need to add some fett rings, obtaÍ-nable at
any instrument repair shop. New felt often eliminates valve noise
as well. Using stiffer springs vril-I compress the felt sooner, so
therets another reason to check the valves out periodically.

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14
 ALT]ERNA]5 FINGERINGS

fn jazzo alternate flngerings are used widely, most often as a

means of creating excitement. A false finger trlIl can be an ef-
fective tension-building device if not over-used.
Alternate fingerlngs are also used to help get around the problem
of slurring over consecutlve lntervals where there is norrnally no
valve change. For example,

Instead of playlng the flrst three notes open, try fingerlng the
ItErr v¡ith the thtrd valve. The rrArr can also be flngered wlth the

thlrd va1ve, so the flngering for this example would be O-3-O-3.

You can hear Freddie Hubbard play this type of thlng in his solo
on "oliliqui Vat1ey (Herbie Hancock: Empyrean Isles, BST 84175).

Knowing your alternate fingerings can also help smooth out awkward
passages:

If you finger the low trgrr and all the "Ets" with the thlrd valve,
this passage becomes very easy.

15
 o *J 'o-3 -t-1,-*i 6 -t -o-t

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some of the following may be heard in Freddie Hubbardrs solo on

,,Tntrepld Fox'r (Freddie Hubbard, Red clay cTI #6001).

2-? -7 I -
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A , t -b-t
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16
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For examples of the following, see Freddie Hubbardrs solo on

"Ifrane" (Randy !.leston, Efue ¡&Sgg cTT #6ot6) .

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c - 3 - € -3 - o.1 ,^f i-z -|-z-'s {- i-t"-l--)-

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T7
 ARTT'ITLATT.N
i'' 'i "'" '* attacks
-L
I define artlculation as the combination of slurs and
used ln playing a line. Articulation is a very personal thing;
no two players approach it the same v¡ay. Together uith sound,
articulation gives individuality to a player, and is influenced
by the plaYerts PersonalitY.

Listen carefully and compare the artlculation of players like

clark Terry, Freddie Hubbard, clif ford Brot'in, and Mll-es Davis '
compare Lee Morgan and irtroody shaw, Don cherry and Dizzy
Gillespie'
Listen for attacks, how frequently they articulate in a line, and
where. Donrt cverlook saxophone players either. YOu can learn
a

lot from listening to Charlie Parkert s artleulation and the way

he nails down a line of eighth notes. Both he and sonny
Rolllns
play lines wlth tremendous vitality and drive, and their articu-
lation is a major faetor in this '

Artlculation eventually becomes secondnature to the imProvisor.

Oftentimes, however, even experienced players will come aeross
difflculties and have to i-ron out tlre eoordi-nation of slurs and
attacks in a given line.

An improvised line is usually composed of both leaps and stepwise

motlon. As a general rule of thumb, tongue the leaps and slur the
steps. (OUviously, if a line is almost all stepuiser Yoü shouldnrt
slur the whole thing. ) Slurrlng quickly over wide intervals' even
if you have the flexibility to do sor ereates a "mushytt effect in

I8
 a jazz trumpet 1ine. To see what f mean, try fi.rst slurrlng over
the following passage, and then artlculate 1t as sholrln.

A saxophone courd slur the v¡hore thing with no probrems. The

troubre is, v¡hat sounds good when played on a saxophone can be
unintelllgible whan prayed on a trumpet. Donrt ret thls stop you.
You just have to find htays of accommodating your instrument to the
music. Donft ever let your instrument and lts problems dlctate
what you ean and cannot play.

áÉ{t***tetF*

To lmprovise successfulty at fast tempos, one of the thlngs you

need is a very fast, precise single tongue. The tendency of most
trunpet players ls to slur everything when playlng fast. some of
this is unavoidabte, but srurring everything makes for a borlng
solo. Artlcuratlon is necessary to rearry make a rlne rrpop.rt

single tonguing, try to feel as though the tongue is "float-

tr'lhen

lng" on the air stream. you should feer as though the tongue
never really stops the air, but slmply makes a dent ln lt. If you
use too much tongue motlon and too strong an attack, youtll never
get it fast enough.

A1most aII method boolrs contain

single tonguing exerclses. Try
to find some that w1Il cover the range of your horn, something
like the followlng.
L9
l{ax Schlossbergts Daily Drllls and Teehnical Studies contains many
good tonguing exercises, specifically Nos. 97 through tOI. The
etudes in the book are good for your speed and aecuracy, especially
Nos. 129 and 130.

practicing single tonguing, alr'¡ays use a metronome. This

'lrJhen

counteracts the tendeney to slow down as the tongue muscles get

tired. i'Jhen you can tongue sixteenth notes for an extended period
at J = 160, you will be in good shaPe.
xrÉl(tTlttc*t+

The concept of "swinging" is very closely bor.md up with artj-cu-

Iation. First of all, whatever you play has to suing, or it ls
really pointless. The hippest choj-ce of notes ln the l¡hole world
wont t help you if your concention is stiff and unswinging.

Here ls an exercise that v¡iII help free up your time feel:

This exercise over-compensates for eighth notes that are too even
and unswj-nglng. Make as big a contrast as Possi-ble between the
accented and unaccented notes, but ke.ep the s-ound going throughout.

20
 The unaccented notes are on the beatr so donrt get it turned
around. The aecents shourd be very, very 10ud. The voh¡me comes
from more air, however, not nrore tongue. Start thls exercise very
srow, mentarry subdividing each beat into triplets. rn tlme, this
way of accenting a line w1Ir carry over into your lmprovlsing.

Actuallyr ño exercj-se or method book can give you good conception.

rt is necessary to listen, risten, and risten some more. you
would never expect to soeak good French if you rarely heard good
French spoken, and the same is true of the jazz language.

+F tt )F )e te )e .,É ,E

you are improvising, you obvi-ousry cannot rely on any precon-

i'triren

ceived pattern of srurs and attacks. The rines. you pray take dlf_
ferent turns, unexDected reaps, etc., and you are constantry put
into new situations.. rt is necessary, therefore, to be able to
articulate in any way at any time v¡ithout hesitation. The follow-
ing is an exerci-se to herp you achleve this end.

Take any scare, in this case c major, and play it up to the nlnth
and baclc dolr¡n.

Not¡ articulate only the Crs and slur the rest. Then arttculate
only the Dt s, and so on. youtve gone through al1 seven tones,
I,,hen
start combining them, articulating every C and E, every D and G,
every E and A, and so on.

2L
Nextr go by number instead of by note: tongue every third note,
every fifth note, etc. Then use combinatlons like tonguing every
third note, every other note, every thlrd, every other, sometlmes
yout 1I have to run the seale up and dorr¡n a dozen tj-mes before the
pattern compretes itself and starts over. Begin slowry, as in
everythlng e1se, but work for speed.

Every third & every other.

22
 DOT'BI,E TONGUING

Doubre (or tripte) tongu:lng seems rlke itrs rarery used rn Jazz
trumpet pLaylng. The reason courd be fear of soundlng rlke a
bugler or something, or perhaps Just that thls artlculatlon was
never developed. trdhatever the reason, it seems a shame to lg-
nore something so potentially useful.

lüoody shaw uses double tonguing in some of hls

lntricate more
doubretime fÍ-gures. To my ears, he is the onry one to realry
explore the uses of this artlculatlon, at least at thls wrltlng,
Other prayers have used it for effects, chlefly rhythnlc. A good
example of this would be Lee Morganrs solo on Moanlnr (nle #4oo3¡ .

A good way to elean up your double tonguing ls to practlce rlke

thls:

Practiclng just the rrkrr sound,

is important, but ls not enough. The problem really lles 1n the

swltching from the trtrr to the ttkrtt as well as ln stopplng the
sound cleanly wlth a tlk, ll

23
Intervals wider than a third are difficult to double tongue
cleanly, especially in the high register, but practice brings aII
things to pass eventually.

Above aIr, the most important thing in double or triple tonguing

is to keep. the air going. A smooth, strong, steady brow-through
is absolutely necessary. Practlcing double tor:gulng on the mouth-
piece without buzzing can help you hear any hang-ups in your air-
stream.

For gainlng basic tongue-finger coordination, double tonguing any

of Herbert L. clarkets Technical.=rstudies is very good. soon, how-
everr you should try experimenting with improvisation using double
and,z'or trlple tongulng.
Over-use of this articulation, or use in the wrcng context, lvill
probably make you sound like something out of John Phi1ip Sousa.
(rnis you do not v¡ant. sousa hated jazz v¡ith a passion. ) rf you
have a modicum of musical taste, however, youtre bor.¡rrd to come up
with some r,iay of using double tonguing (orobably in cornbination
with other articulations) tirat appeals to ¡'6¿ v¡ithout sor.rnding
stiff or corny.

24
 DU.DTIL TONfirlNG

David Bakerts Advanced Improvisation contaj-ns some excellent ma_

teriar on the deveropment of the du-dul tongue (naker carls L-t
"tud-uIr" but no matter. said fast enough, it comes out
I'Ihen
"doodlett an¡rway). The Baker book contains a wealth of ldeas about
every facet of jazz praying, and r recommend it highry. Being the
type of person r BDr r have simpry pragiarized Bakerrs work un-
mercifully. . .

In brief, du-dul tonguing is a modified double tongue, more legato

and less agitated. I think of it as an al-ternative to ei-ther
tcnguing or slurulng. Du-dul tonguing a line gives it a very
unique effeet, one that you have to hear to rea1ly appreclate.

The nane most often associated with du-dul tonguing is Clark Terry.
Listening to Clark wj_ll give you an idea of the facllity it is pos-
sible to aehieve with this articulation.
Practice on a single tone at flrst. Getting a good sound out
the "-dul" harf of the motion mlght be a problern at first.

du - du{ d'¡ - du( á.¡ -Jui Ju -

I'Jhen you get both halves of the du-dul tongue pretty much equallzed,
go on to scalar exercises.

áo -dul dr.rdu¡l do-d"L

It ls dlfflcult to du-dul tongue ln the high regi-ster and across
Ltna of leap. The exerclses 1n Herbert L. Clarkets Technl-cal
".ty
studles are great for practlclng du-duI tonguing, slnce they have
a variety of motion and cover the range of the horn.

I'lhen youget fast enough, the du-duI artleuration will modify to

du-dul-l-u-du1-1u-du1, which ts smoother and faster.

Another use of du-dul articulation is the produetion of a "ghosted

note'r effect. Tttls particular effeet ean be heard extenslvely in
Mlles Davls I work and, more recentry, that of Eddie Henderson.
Llke many thlngs in jazz, it is hard to descrlbe this 'rghosting"
effect; for best results you should listen to Miles or someone do it
Here is approxlmately what happens:

You can also do it thls vray:

áo-t¿

YourIl notice I have written the ghosted note as a "G. " Actual-ly,
there is no deflnlte pltch for it. Dontt change flngerings for
the ghosted notes, but sfunply finger thls passage as though you
were playlng a serles of quarter notes.

26
 IüTDE INTERI¡ALS

Because of the nature of the tnrmpet and the difflcultles inherent

in playing the instrument, many trumpet prayers tend to avold
playing wide intervars in their improvisations.
They might begln
with a reap, as in the forrowlng example, but for the most part¡
their llnes w111 consi-st of stepwlse motlon with an occaslonal
thlrd interval,

There t s
nothing t{rong with this line; it has an interestlng
shape
and sounds very good. Thre polnt is, you rarely
hear trumpet
players ptay a llne such as the one below, except
possibly at a
slow tempo.

rt is true that stepwise motlon lends ltsetf a rlttre

more readlry
to trumpet playing than moving by wide intervals. Actualry,
though,
angular playing is dlf ficurt only at first. I^/ith practlce, rapld
changes of reglster become routlne. your lines
w111 tend to be
more interesting and exploratory when wlde
intervars eease to be
a problem for you.
 Practice things like this:
¡---F--Q

A1ways remember to keep a steady blov¡-through. Donrt alter the

air stream when changlng registers. Feel as though youfre bring-
ing the extreme high and low registers together. You should cul-
tivate the attitude that high and low notes are equally r.¡ithln
your grasp.

Itrs also a good j-dea to use oetave dlsplacement when practiclng

scales. Instead of running a scale stepuise, try things like
thls:

ri
c
lii
h
li
t¡

ll
r'

28
 ST'MMARY

I have referred to several standard trumpet books ln the precedlng

pages. There are doubtlessly many others of equal merlt, deserv-
ing of mentlon. rt is my firm eonvlction, however, that-the
exercises and practice methods which do the most good are those,
devel.oped by the individual to meet his or her partlcular nee(tl'.
Thls ls an admittedry non-academj-c eoncept, but r belleve it to
be varid withln the parameters of jazz trumpet praying. Books
and methods, thls one incruded, shourd servé nainry
provlding you with ideas and materlars you mi_ght nótaá
guldes,
yourself. thlnlc of-

{?r, improvisation makes different demands on a trumpet prayer

than 9o9s symphonic prayfng, so it seems onry logicai tnát Lne
materials practiced should also be dtfferent. Cártain exerclses
such'as flexibility studLes should be standard fare for atl trum-
pgt players. Rather than pra_cticing classical repertoir{-however,
the.aspiring ja?z soroist would be 6'etter off prabticrng iran-
scribed iazz solos or II-V patterns, simply beóause the
tained v¡ould be more directly applióabte- tó improvisatlon.skllls ob-
J,azz trumpet praying also calls for a concept of sound that dlf-
fers radlcally from classical requirements. Though there are no
set_ rures regarding jazz trumpet sound, it is my éxperlence
a classical approach to sound is out oi place iñ a bona fidethat jázz
context. rt would behoove any aspiring jazz trumpet prayer tó
spend consi-derable time listening to himielf and ótfrei"sr-trying to
formulate a sound-eoncept with whieh he can identify, Souná il tne
single most important aspect of jazz prayi-ng, as weir as the most
personal.
By and large, standard trumpet books do not contaln enough material
geared to the needs of the jazzperson. Very few trwnp.et-methods
drlll you ln tle types of motion and'or articutatj-on á'ctuaffy iñ-
volved in playing jazz, so one has to be prepared to adapt aíalr-
able naterial and,'or compose new studies taliored to one-rs indl-
vidual needs. Books such as Jerry Cokerts Patterns fot Jazz are
of more benefit than most books of technicaTr -ñiiltñg
theoretlcal knowredge as welr as providing- knotty prónterni iñ yó,rr
-
finger coordination and register éhanges,
In the final analysis, the best practice for an improvlsor ls im-
provising. From a technical llqlopgint, improvlsution constant}y
ehallenges you with new and difficiüt sítuations. odd leaps and
turns, demandlng tempos, and a vari_ety of artlcurations are an
everyday part of iazz improvisation. Improvisation also makes you
grow musi-carry bI sharpenlng your discrj-ñrination, sense or form,
phrasing, and melodic oevelópmenlt expandlng yo.rí rrárnonic knowÍedge,
and lncreasing your rhythmic- sophistióationl "There ls really no (
aspect of musie not covered in lmprovisation; ror me, lt 1s trre
heart and soul of alr muslc, the iingle factor which makes for
ever-renewed lnterest.

29
 APPENDIX

Jazz Theory Books

o"o";:iH¿,i:-3Iá" (srx

naÉelr. Pi"i9: Advanced rmprovlsatlon, Down Beat,.Music !üorkshop

PublLcations
Coker, Jerry, Improvlslng Jazz, prentice-Hall, Inc.
Coker, Jerry, et sl., patterns for Jazz, Studlo PR.
Haerle, Dan, scales For Jazz rmprovisation, Studio p/R

Technlcal Aids

Bonpensigrl, lgigr, New Pathwayg to piano Technlque, out of

prlnt, publi sher-iñffi-wn.
Clarke, Herbert L., Clarkets Technical Studles. Carl Flscher, Inc.
collcchlo, Rqtph and Michael, Nu-Art reehnical Exerclses,
Charles Colln, New York,
col1n, charres, Frexibiritles, charres colln.
Advaqged
Nagel, Robert, Speed Studies for Trumpet, Mentor Muslc, Inc.

'"n'fi:'B:;3i,"4::, ,

C1ark, Fral\, Co+rempolarv_Srudies Fo! The-TrurnÉg,

Henry e¿lei

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31
 DISCOGRAPHY

NAT ADDERLEY
Introducing Nat Adderlev TLP 5564
The Scavenger MSP 9016
(Any Cannonball Adderley Quintet album)

CHET BAKER
Gerry Mulligan-Chet Baker, Carnegie Hall Concert Vol. 1 CTI 6054 SI
Vol. 2 CTI 6055 SI
She Was Too Good To Me CTI 6050 SI
(Numerous albums from the 1950's when available)

LESTER BOWTE
Art Ensemble of Chicago, Message to Our Folks BYG 529.328

RANDY BRECKER
Horace Silver, tr Pursuit of the 27th Man BN.IAO54-5
Horace Silver, You Gotta Take a Little Love BST-84309
Hal Galper, The Guerilla Band Mainstream 337

CLIFFORD BROWN
Art Blakey, A Night at Birdland Vol. 1 BST 81521
YoI. 2 BST 81522
Brownie Eyes BN.I,A267-G
Clifford Brown in Paris Prestige 24020
The tsest of Max Eoach and Clifford Brown GNP 518
in Concert
Clifford with Strings TLP 5502
At Basin Street TLP 551r.
Brown & Roach Inc. TLP 5520
Study in Brown TLP 5530
Jordu TLP 5540
The Beginning and the End KC 32284

DONALD BYRD
Off to the Races Blue Note 4007
The Catwalk Blue Note ST 84075

JOHNNY COI,ES
Little Johnny C. BST 84144
Herbie Hancock, The Prisoner BST 84321

DON CHERRY
Ornette Coleman, Something Else Contemporary M 3551
Ornette Coleman, Ornette Atlantic 1378
Ornette Coleman, Change of the Century sD-1327

32
MILES DAVE
Jazz at the Plaza Columbia 32470
My tr\¡nny Valentine Columbia 9106
Milestones Columbia 9428
Seven Steps to Heaven Columbia CS 8851
Miles Davis Prestige 24001
ESP cL 2350
Miles Smiles cs 9401

KENNY DURHAM
Art Blakey, The Jazz Messengers at the Cafe Vol. 1 BST 81507
Bohemia Vol. 2 BST 81508
John Coltrane, Coltrane Time Solid State 18025
Blue Note 1524
Tmmpeta Toccata Blue Note 84181
Whistle Stop Blue Note 84063
ART FARMER
Homecoming MRL 332
Modern Art UAL 4OO7
DTZZY GILI,ESPIE
Jazz at Massey Hall Fantasy 6003
The Best of Dizzy Gillespie LPM-2398
Dizzy on the Riviera PHS 600-048
The Sonny Rollins-Stitt Sessions vI'-2-2505
(Any reissue with Dizzy and Charlie parker)

WILBUR HARDEN
John Coltrane-Wilbur Harden, Countdown SJL 2203
EDDIE HENDERSON
Norman Connors, Dark of Light csT 9035
Norman Connors, Dance of Magic CST 9024
Realization cP 0118
Sunburst Blue Note LA 464-G
FREDDTE }IUBBARD
Art Blakey, Free for All BST 84170
Art Blakey, Caravan Riverside 9438
Ready for Freddie BST 84085
Herbie Hancock, tVlaiden Voyage BST 84195
Herbie Hancock, Empyrean Isles BST 84175
Red Clay cTr 6001
Straight Life CTI 6007

33
THAD JONES
Thelonious Monk, 5 by Monk by 5 RLP 1150
The Magnificent Thad Jones Blue Note 1527
Detroit-New York Junction Blue Note 1513

BOOKER LTTTLE
Booker Little 4 + Max Roach uA 4034
Out Front Candid 9027
E ric Dolphy/Booker Little Memorial Album Prestige 7334
Eric Dolphy, Far Cry New Jazz 8270
CIruCK MANGIONE
Alive sRM-1-650
I¿nd of Make-Believe sRM-1-684
BLUE MITCHELL
Graffiti Blues MRL-4OO
Heads Up BST-84272
Blue Mitchell MRL-315
Horace Silver, Silverts Serenade BST-84131
LEE MORGAN
Art Blakey, Moaninr BST-84003
The Cooker BST-81575
The Sidewinder BST-84163
Cornbread B,ST-84222
Live at the Lighthouse BST-89906
Memorial Album BN-t^4224-G
Lee Morgan BST-84901
FATS NAVARRO
Good Bait RS 3019
Boppinr a Riff BYG-529102
WOODY SHAW
Larry Young, Unitv BST 84221
Horace Silver, Cape Verdean Blues BST 84220
Art Blakey, Childrs Dance Prestige 10047
Love Dance MR 5074
IRA SULLTVAN
Horizons Atlantic SD 1476
CLARK TERRY
Swahili TLP 5528
Oscar Peterson Trio Plus One Mercury 60975
Gingerbread Men Mainstream 373
Tonight Mainstream 6043
CIIARLES TOLLIVER
Charles Tolliver's AJI Stars Polydor 2460139
Live at Slugts ' sEs 1972
Jackie McClean, Action BST 84218
34