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 ones 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 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.

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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:
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1 bar 1 bar 2 bars

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2 beats 2 beats 2 beats 2 beats 2 bars

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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 5 chord 1 chord

1 bar 1 bar 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 minds 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 minds 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 devils 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 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