The Arban’s Jazz Scale Connection for all 𝄢 bass clef instruments — Expanded Edition by Rich Willey
Here is a brilliant idea borne from Jean-Baptiste Arban’s “La grande méthode complète de cornet à piston et de saxhorn” (also known as Arban’s world renowned method for the cornet or trumpet). Rich has used one of Arban’s routines to create a way to practice “classical technique” and “jazz theory” simultaneously without compromising the integrity of either discipline.
How many times have you heard symphonically-oriented players ask how they can learn jazz without dragging down their legit chops? Or how many times have you heard jazz players ask how they can maintain proficiency in jazz playing and orchestral playing at the same time?
Here you have a tool that can definitely propel you forward in both areas without losing ground in either.
This resource works you out through major chords, dominant chords, altered dominant chords, minor chords, diminished scales, half-diminished chords, Charlie Parker blues changes and John Coltrane Giant Steps changes in a graduated series of studies that are designed to improve chordal comprehension while sustaining and maintaining precision and accuracy. The focus is on familiarization with jazz harmony while keeping your feet firmly planted in technical proficiency with orchestral precision on your instrument.
There are forty-eight pages chock full of material to keep you learning for years as well as many tips in the text of the book to assist in your understanding of the chords printed above each measure. The original edition contained thirty-two actual drills, the additional fifteen drills all presented in “upside-down” fashion as Dr. Donald S. Reinhardt would have enthusiastically endorsed.
54 pages, GBC comb bound, heavy-duty 10ml mylar cover, high quality paper, made to last a long time under heavy use.
Click here for PDF downloads of this book.
We were reluctant to put sample pages up here since there is so much in the book that a single page could never be a fair representation of the content of this volume. But we relented, and maybe you will be tempted to print out this page and put it on your music stand when you have one of those “What should I practice today?” moments.
“I’m very blown away by this Arban book, Rich. You’ve really hit it out of the park with this — just great!” — CHRIS GEKKER, trumpet, University of Maryland
“Rich’s new book is a very interesting take on Arban’s exercise 46 (pages 20–21 in the Edwin Franko Goldman Carl Fischer edition), geared towards jazz playing. The book takes the original exercise and gradually introduces harmonic and melodic variation into it, much the way a jazz player might take a common chord arpeggio and then apply leading-tone approaches to the chord tones.
“Rich’s explanations at the start of the book are clear and well-written.
“This book will serve as a great introduction for classically trained musicians to begin to understand how jazzers modify things and will be great for students who want to begin to learn about jazz. This shows clearly what the transformations can be when approaching improv from a chordal point of view and the gradual steps will be easy for students to understand and hopefully grasp for use in their own improv.” — DAVID H. BAILEY, trumpet, Nashua, NH
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