Ear Training for Trumpet  David Vining

Ear Training for Trumpet is one of the first methods to integrate performance on the instrument with singing to enable the player to internalize the music. Written by David Vining, a leading brass educator with extensive orchestral, chamber, and solo performance experience, Ear Training for Trumpet is a comprehensive and progressively organized method for improving the ear of students on any brass instrument. In turn, this brings marked improvement in tone, intonation, pitch accuracy, and musical understanding. The book contains more than 70 exercises in pitch, scales, arpeggios, and intervals, including melodious etudes and orchestral excerpts. A brass equivalent of the ear training method is long overdue, and this book is appropriate for not only young students, but brass students of all ages.

Performing Ensemble: Trumpet Unaccompanied

Instrumentation: trumpet

Item Number: WF82

Number of Pages: 64

Publisher: Carl Fischer LLC

Contents

Foreword by David R. Hickman

Introduction

About David Vining

I. Preliminary Studies

I. 1. Basic Pitch Matching (1)

I. 2. Basic Pitch Matching (2)

I. 3. Basic Pitch Matching with No Rest Before Singing

I. 4. Basic Pitch Matching: Scale-wise

I. 5. Two Familiar Songs

I. 6. Ode to Joy from Symphony No. 9

II. Intermediate Studies

II. 7. Scale-wise D Major

II. 8. Scale-wise Major/Minor

II. 9. Scale-wise Bb Major

II. 10. Amazing Grace

II. 11. Scale-wise Bb Major

II. 12. Scale-wise D Major and B Minor

II. 13. Scale-wise F Major: Singing Every Other Note

II. 14. Scale-wise B Major

II. 15. Danny Boy

II. 16. Scale-wise Major/Minor: Singing Every Other Note

II. 17. Scales and Arpeggios

II. 18. F#-Minor Chant

II. 19. E-Dorian Chant

"II. 20. O Come, O Come Emmanuel"

III. Advanced Studies

III. 21. F Major Arpeggio

III. 22. Major/Minor Scales

III. 23. Sonata in G (Movement I)

III. 24. I-IV-V7

III. 25. Scales/Arpeggios/Thirds: E Major/C# Minor

III. 26. Etude in G Major

III. 27. Lip Slurs

III. 28. 'Tis the Gift to be Simple

III. 29. Circle of Fourths

III. 30. Interval Study

III. 31. G Major Intervals

III. 32. Diminished Triads

III. 33. Octatonic Scale

III. 34. Whole Tone Scale

IV. Intervals

IV. 35. Scale-wise Widening Intervals

IV. 36. Chromatic Widening Intervals

IV. 37. Chromatic Intervals

IV. 38. Thirds (1)

IV. 39. Thirds (2)

IV. 40. Fourths

IV. 41. Fifths

IV. 42. Ascending Sixths

IV. 43. Descending Sixths

IV. 44. Ascending Sevenths

IV. 45. Descending Sevenths

IV. 46. Tritones

IV. 47. Wide Intervals

IV. 48. Random Intervals

V. Arpeggios

V. 49. Major Arpeggios (1)

V. 50. Major Arpeggios (2)

V. 51. Minor Arpeggios

V. 52. Major and Minor Arpeggios (1)

V. 53. Major and Minor Arpeggios (2)

V. 54. I-IV-V7

V. 55. I-IV-ii-V7

V. 56. I-IV-V Inverted

V. 57. ii-V-I Jazz Style

V. 58. Diminished Arpeggios

V. 59. Augmented Arpeggios

V. 60. Dominant-Seventh Arpeggios

V. 61. Seventh Arpeggios

V. 62. Mixed Arpeggios

VI. Melodious Etudes: Bordogni

VI. 63. No. 2

VI. 64. No. 5

VI. 65. No. 6

VI. 66. No. 12

VI. 67. No. 15

VII. Orchestral Excerpts

VII. 68. Prelude to Act I from the Opera Carmen

VII. 69. Promenade from Pictures at an Exhibition

VII. 70. Symphony No. 5 (Trauermarsch) Movement I

VII. 71. Neapolitan Dance from the Ballet Swan Lake

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