Exercises for Developing Jazz Improvisation Volume II

This method book covers a further 2 techniques to help the developing jazz player expand their jazz skills. These can also be purchased individually:

Examining Diminished Scales

This section looks at Whole/Half and Half/Whole step diminished scales. It includes ascending/descending broken chord exercises plus scale patterns for both Whole/Half and Half/Whole step diminished scales. There are also 2 written sample solos with audio demonstration and backing tracks to accompany the exercises.

Triad Pairs and Hexatonic Scales

This section focuses on 4 common triad pairs and their related hexatonic scales - 2 major triads a whole step apart, 2 major triads a tritone apart, major/augmented triads a whole step apart and 2 minor triads a whole step apart. There are exercises and patterns for each triad pair/hexatonic scale plus suggested chord applications for each. There are also 2 written sample solos with audio demonstration and backing tracks to accompany the practice exercises and sample solos.

Although originally created for sax students, all books have now been adapted for C, Bb, Eb and Bass Clef instruments.

Jazzy scales & patterns in all 12 keys - jazz etudes

Have you ever found yourself struggling to play in certain 'tricky keys'? Why are these keys so tricky? Simply because we've not played them as much as the easy ones! That's it, no other reason. By practicing enough in ALL keys we can really take our playing and improvising to the next level, always executing what ever ideas we hear or come up with, perfectly.

Jazzy scales & patterns in all 12 keys is aimed at intermediate players to develop their jazz technique in all 12 keys. The scales and patterns are written in such a way, that you could use parts of them within your solos. By developing your playing in the key centers and in a jazzy way, we can develop our technique along with our listening skills. The book culminates with a section on playing II-V-I's in the key centre. An etude of the famous standard 'Cherokee' has also been added as a bonus to show how you can use many of the exercises in the book in real life playing situations!



Check out the testimonials -

Most brass players are familiar with the ubiquitous Clarke?s Technical Studies. Here are some creative variations on Studies I, II, III, V and VII. Click our free sample below to read the introduction and try some easy sample exercises. All the variations are progressive so I guarantee they get harder and will be useful to players at all levels and styles.

There are two essential books that just about every trumpet player has studied; Arban?s Conservatory Method and Clarke?s Technical Studies. The Arban is fondly referred to as ?the trumpet player?s bible?. If that is the case, then the Clarke should be ?the new testament?. I consider Herbert L. Clarke to be the ?George Washington? of trumpet, as he was the one of the first Americans to achieve greatness as a performer on the cornet. He was also one of the first notable pedagogues and taught such greats as Rafael Mendez and Claude Gordon, who was my teacher. I am fond of telling my students that they are the great-grandchildren of H. L. Clarke, one of our country?s first great virtuosos.

The impetus for this set of variations is based on the idea of an ?Expanding Scale? or ?Expanding Range?. Each set will start with a small range of notes covering an interval such as a 5th and will expand over the course of the study to the whole range of the trumpet. The idea is to imagine you are ?holding one note? and let your fingers do the rest. This concept is, of course, metaphorical but if employed will greatly enhance your technique and efficiency.

This is a progressive course, so it is recommended that you practice the studies in the order they are presented. Make note of the intervals in each study. Study 1 is all chromatic, so it is easier to transition from one note to another. The second group is based on Clarke Study 5 and is all diatonic. The third group is based on Clarke Study 2 which is diatonic with some thirds. The fourth group is based on Clarke Study 3 which is arpeggios. So with each group the intervals get a little more challenging. I?ve also included more chromatic work based on Studies 7 & 8.