Trumpet Jazz Techniques

TRUMPET JAZZ TECHNIQUES Eddie Henderson

TRUMPET JAZZ TECHNIQUES First of all, music improvisation is a language just like the language we speak through our mouth. In order to speak language through our mouths, one must first learn to vocalize a sound through the vocal cords, after that, one must learn words, sentences, grammar, and all the subsequent brace building blocks of language in order to express an idea eloquently to others. Analogously, in order to speak fluently through one’s instrument one must learn to make a sound first, then learn to read music, know all your scales: major and minor (relative, harmonic, melodic), theory, harmony counterpoint, etc. Only then, can one express a musical idea fluently without any restrictions.

Motivation

Historically, man used music as a sacred rite to worship the “Almighty Creator”. It seems, in present times, for the most part music is used only for entertainment or “background music” while we focus our attention on other things. I always ask student who want to learn to play “JAZZ”, why? Is it for the love of the art form itself, or is it for the possibility of fortune and fame. Believe me, it is as simple as the “Cause and Effect Law”, if one enters into the endeavors with shallow motivation, one will definitely get back shallow results, and vice versa.

MAJOR AND RELATIVE MINOR SCALE EXERCISES

It is of the utmost importance to learn each major scale with its appropriate “Relative minor” in every key. This understanding must become second nature, without having to think about it, of course, I assume the student already knows the Harmonic and Melodic Scales.

Other exercises in scales are Major and relative Minor

WHOLE TONE SCALE EXERCISES

Note: There are only 2 whole tone scales.

DIMINISHED SCALE EXERCISES

Note! Workout the above exercise starting on Eb and E since there are only 3 diminished scales.

Note! This is really a combination of a diminished type exercise descending in whole steps (note that the beginning of each bar descends by whole steps, so work this exercise out ½ step lower).

Note! The beginning of each bar comes down in minor 3rds.

Note! The beginning of each bar comes down in whole steps. DOUBLE DININISHED SACLE (Two diminished scale in one)

Work the above exercise out starting on Ab and then on G all the way to the bottom of the horn.

Note! Work the above exercise out in every key.

3–6–2–5–1 As we started before the relationship of 2 – 5 – 1 is 1: 1: 2 Although there is more movement in 3 – 6 – 2 – 5 – 1, the one chord must Hit at the same time as it did in 2 – 5 – 1, that is to say, “all roads lead to Rome”. Rome is analogous to the I chord, therefore every one must get to Rome (I chord) at the same time. In the key of C: 2–5–1

3–6–2–5–1







1 bar

1 bar

2 bars





2 beats 2 beats

2–5–1





2 beats 2 beats

 2 bars

In ancient times, there was not much movement in terms of harmonic progression. As time went on , there arose the brilliant idea of how to make music more interesting, and along came the cadence, 2 – 5 – 1. This is the invaluable tool in terms of how to play changes and improvise. Traditionally

2 = minor 7 chord 5 = dominant 7 chord 1 = Major 7 chord The relationship of 2 – 5 – 1 is mathematical 2 chord 1 bar

5 chord 1 bar

1 chord 2 bars

(2) (5) (1) 1:1:2

Learn the above simple “lick” in every key and observe how appropriate each note is in terms of the chord. Even more important, is how this simple “lick” makes logical musical sense.

More Studies on 2 – 5 – 1 In the key of C: On the 2 chord:  play  minor scale  pretend in your mind’s eye play  scale play  relative minor scale On the 5 chord:  Play  scale play  minor scale play  scale play  relative minor scale On the 1 chord:  play  scale play  minor scale Play  scale play  relative minor scale Therefore we see that on a simple 2 – 5 – 1 cadence there are 12 possibilities or avenues or approach. This basic operation must be worked out in every key(under your fingers and in your mind’s eye). PENTATONIC EXERCISE (5 note scale)

Learn the above exercise in every key. Pentatonic scales are very useful when playing modally. John Coltrane is a prime example of utilization of pentatonic scales in his early period. TRITONE In medieval tones the b5 chord was considered “The devil’s Chord” and was not allowed to be played during that time.

Thus implies 2 ways to look at it. (C triad F triad)

Tritone exercise

Learn above exercise in every key. Exercises for Fluid Fingering Practice chromatics from the bottom of the horn to the top softly as a whisper. Start slowly at first, making sure that the chromatics are even, then gradually get faster so the chromatics sounds as smoothes as “oil”.

Work the above exercise out in every key.

Work the above exercise out in every key.

Work the above exercise out in every key.

Work the above exercise out in every key.

More 2 – 5 – 1 studies The most basic way to resolve to the I chord is via 2 – 5 – 1 (– – ) The next variation is to start on 2 end go down in ½ steps (– ) Note: is the 5 of . The rule is on any dominant7 chord (dom.7), one can substitute the dom.7 which leads to the I chord.

SUBSTITUTIONS As we discussed earlier Dom.7 chord implies resolution to the I chord. The first variation of the substitution on a Dom.7 chord is the 5 of the Dom.7 , as we discussed earlier. Example: ––  Now, to extend this a little farther, on any dominant7 chord, one can pretend that he is playing a minor 3rd above the dominant7 chord and that will resolve to the one chord. Example: original – –  Var. I – –  Var. II ––  Var. III –  –  Note: the , , , and  all imply a diminish chord/scale. Blues Var. II

Var. III