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Get Ahead!
A Practical Guide for the Developing Jazz Trombonist

SAMPLE USE ONLY

By Nick Finzer
Sold to Alan Blanchard (#9PJ8QX9Y)

Published by Outside in Music (OiM)

244 W 109 St
New York, NY

www.nickfinzermusic.com
www.outsideinmusic.com

Copyright © 2014 Outside in Music All Rights Reserved

No part of this publication may be reproduced, stored

in retrieval System, or transmitted, in any form or by any
means electronic, mechanical, photocopying, recording,
or otherwise without prior consent of Nick Finzer and
Outside in Music.
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Forward
In this book I have attempted to share a number of items that I wish
that I had been able to address earlier in my trombone playing career.
Everything in this book can be worked on by players of any level,
adjusting for your comfortable range and abilities. I wish that I had
worked on these topics right from the beginning of my musical training,
or at least before I went to college for music. Being an active educator,
I see many students who lack the basic understanding of how to
approach their instrument. These students have even less of an idea of
how to apply the trombone as a tool for improvisation.

As a student of the trombone and of music, sometimes the demands of

the instrument and the music can become overwhelming. The technical
challenges that result because of the physics of the instrument can
occasionally seem insurmountable, but with patience and persistence,
just about anything is possible! (except fast passages with consecutive
Bb to B, at the bottom of the bass clef, without an ‘F’ Attachment!)

While each exercise or idea might seem simple, executing it with

perfection and intense intent is paramount. There is always a deeper
level to reach with even the most basic of long tone exercises! Every
successful trombonist I’ve ever met has an intense commitment to the
basics of the instrument and to playing music at the highest level. Pay
attention to the details as you practice and you shall be rewarded for
your intensity of focus and purpose. I hope that this sheds some light on
a few simple concepts to work on that will make a large difference down
the road.

I must thank my many teachers, mentors, and musical heroes for helping
to shape the ideas in these pages. Thank you Curtis Fuller, JJ Johnson,
Steve Turre, Wycliffe Gordon, Mark Kellogg, Steve Davis, James Burton
III, Michael Davis, Ryan Keberle, John Marcellus, Michael Dease, Elliot
Mason, Marshall Gilkes, Conrad Herwig, and Joe McDonough for your
years of inspiration and trombone guidance.

Without the musical genius of all of the great trombonists of this music,
none of us would be here!

- Nick Finzer

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Table of Contents
Forward 3

Chapter 1
Developing a Practice Schedule/Routine 6
Utilizing a Practice Journal 7

Chapter 2
Developing the Fundamentals 10
Whisper Tones 14
Flexibility 14
Articulation 18
Range 20

SAMPLE USE ONLY

Chapter 3
Jazz Vocabulary and Implementation 24
Transcriptions as Jazz Etudes 27
Miles Davis 28
Slide Hampton 30
JJ Johnson 35
Curtis Fuller 38
Developing Active Listening Skills: 42
Tune Learning Strategies 44
Components of a Tune 45
Eight Steps to Learning Any Tune 45
Improvising Melodies! 52

Chapter 4
Dealing In-Depth with the Major Scale 56
When do I use Alternate Positions? 57

Chapter 5
Dealing with the Piano 62

Chapter 6
Ear Training 68

Chapter 7
The Goal Setting Process 74

That’s it! 79
Need Help? 79
About the Author: 80
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Developing a Practice Schedule/Routine

Common questions that I receive from students often include: “How
much should I practice?” “What should I practice?” and “How do I
organize my practice?” The simple answer is: as much as you can!
Practice the trombone fundamentals and the music that you feel
passionate about, in an organized way.

In order to fully take advantage of your practice time, mapping out your
practice is a great tool. Having an idea of what you will focus on before
you start will help keep your session focused. Your practice schedule
should remain fluid, and you can constantly adjust it. It took about four

SAMPLE USE ONLY

or five years for me to find the most effective practice routine for me.
Everyone is different, and you need to find the ideal practice schedule
for you. Maybe 45 minute sessions are better with 15 minute breaks.
Keep track of your sessions in a notebook and notice any patterns of
length vs quality of practice session.

It’s not everyday that I can get to this exact schedule, and of course it
fluctuates, but I know this will yield positive, productive results.

Nick’s ideal practice schedule:

Session 1: (90 Minutes) Warm Ups, Sound Development, Articulation,

Scales, other basics (endurance, high range development, etc).

Session 2: (90 Minutes) Etudes (both Jazz and Classical), Working out
transcriptions, other Repertoire, Piano.

Session 3: (90-120 Minutes) Transposing licks and patterns, Tune

learning, Improvisation over chord changes, Piano.

Optional Session 4: (90 Minutes) Composition, Transcription, Piano.

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Long Tones

Long tones are the bread and butter of sound development. In order
to actualize your sound concept into your physical sound, one must
hear that sound in your head and mentally envision creating that sound.
Playing the usual Remington long tone studies (or another long tone
exercise that you’re familiar with) works fine. It is essential to pay acute
attention to your sound while doing any long tone exercise. Mindlessly
going through the motions of the exercise will not help to develop your
sound. Using a recording device to document your sound will keep
you honest. Listen back and reflect if what you want to hear is being
actualized. The process is slow going, but having a reference from six-
months ago will allow you to hear your growth in the long term.

Here a few types of long tones I do to get my sound resonating:

These first three examples are based on the popular Remington Long
Tone Studies.
Trombone Strategy Guide Musical Examples
Many people like to start
Trombone on the lowest
Strategy Guide partial,
Musical but I think it makes sense
Examples
to get the middle
LONG TONE SECTION register resonating first, as I think it’s the easiest to
get Trombone
working Strategy Guide Musical Examples
at the beginning of the practice day. It’s like the “speaking”
? b
LONG TONE SECTION
voice of the trombone. b b
?
SAMPLE USE ONLY
b Strategy Guide
Trombone
LONG TONE SECTION
b Musical Examples b
? TONE SECTION b
Fig.1.)

LONG b b
?
? b b b b b b b b b
b
?b
Fig.2.)

b b b b b b
?
Fig.3.)b b b b b b
?b b b b b b bb b b
? b b
?b bb b b b b b bb b b b b b
b
?b b b b b b b
b b b
Example 4 is a departure from the usual long tone studies, and offers
? additional b w b Do theseb ones
b b b motion. wb descending
b b and b b wb
?b b b both b b ascending
b you
some
in?half steps.b Use thewscale degree relationships
w b b b bw
b (i.e.b 5-1-4-1-5).
to help transpose
b
? b
the exercise
b b w w b b b b bw
Fig.4.)
? b w w b b bw
b b b b
b b ~~~ 1 b w
PITCH BENDS

? ~~~ 1 w
2 1 2 2
1

b b ~~~ 1 b w b b ~~~ 1 b w
PITCH BENDS

? BENDS ~~~Bend w
2 2 2
PITCH
b 2 b Lip~~Bend
~ 1 bw b b Lip~~Bend bw
? w ~
Lip Lip Bend

~~~7/b5
2 2 1
1

? b BENDS b Lip~~~Bend 7/b3b w Lip Bend

b 27/b2 b Bend b b Lip Bend b b b ~~~ b b w 7/1

7/b2 7/b4 7/b6 b7 7/1
12
b
PITCH

?? b ~ b w
b ~~7/b5 b
2

b b 7/1
1 7/b3 7/b4 2 Lip
b7 Bend
1

bb b ~b~~ b7/b3b w b b
Lip 7/b5
1 7/b6

? b
b b b b b Lip Bend b b b b
7/b2 7/b4 7/b6 b7

b7/b5
Lip Bend Lip Bend

WHISPER TONES 7/b3 7/b4 7/b6 b

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Trombone Guide Examples 5

Trombone Guide Examples 5
Wide Range Slurs:
? œ œ œ œ œ break œ œ œ b œ b œ œ œ œ œ œ mold œ œ œ # œandœ skip œ œ n œone
n œ œ œpartial
œ œ on œ œtheœ œway œœœ
? œ b œ œslurs
These œ œ œ œ œ œ œtheb œ traditional
œ œ œ œ œ œ œ # œ # œ œ œ œ œ œ œ
up orb œdown.œ œ œ Ifœyouœ took bœ œ œ œ œ œ
a traditional three #œ œ œ nœ œ œ œ œ œ œ œ œ œ
œ œ
note n œ
slur œ œ
(see œ œ
above),œ œ
and œ
redistributed it like this: Bottom – Top – Middle, Top – Bottom – Middle.
? œ œ œ b œ œ œ
It can be applied to any three partial combinations. These examples
n œ œ œ œ œ œ . use
? ## œœ # œstep
whole œ œ position
œ
œ œ œ œ pairs
œ œ œ œ œ(1&3, b œ bb œœ2&4,
œ œœ 3&5,
œ œœ nn œœ4&6,
n œ œœ 5&7).
œ œœ œ You œ bb œœ can
œ œœ expand
œ œœ . to
other# slide œ œ œcombinations
œ œ position œ (half steps, minor thirds, etc).

Fig.17)

œSAMPLE USE ONLY

? b œ bb œœ œ bb œœ b œ nn œœ n œ œ œ bb œœ b œ b œ b œ n œ n œ
? b œ bœ bœ nœ nœ œ œ œ bœ bœ bœ bœ bœ nœ nœ nœ
bœ nœ œ bœ bœ nœ
œ
œ #œ
#œ œ
œ nœ
nœ œ
œ œ œœ # œ # œ ## œœ œ œ œœ n œ n œ nn œœ œ œ œœ
œ

? bœ bœ bœ nœ nœ nœ bœ bœ bœ œ
? bœ bœ bœ b œ b œ b œ n œ n œ n œ n œ n œ nn œœ
b œ bœ bœ bœ bœ bœ œ .
.
bœ bœ nœ nœ bœ bœ

œ œ #œ œ
? œ œ bb œœ œ b œ bb œœ n œ # œ nn œœ nn œœ œ œ b œ œ bb œœ bb œœ b œ b œ n œ nn œœ n œ nn œœ œ œ b œ bb œœ b œ # œ œ œ œ œœ œ nn œœ n œ n œ
Fig.18)

?œ bœ nœ œ œ bœ bœ bœ nœ nœ œ œ bœ bœ #œ œ œ œ œ nœ nœ

œ #œ œ œ
? b œ bb œœ b œ œ b œ bb œœ n œ nn œœ n œ # œ n œ nn œœ b œ œ bb œœ œ œ bb œœ .
? bœ bœ bœ nœ nœ nœ bœ œ .

œ œ bœ nœ œ bœ bœ
Fig.19)
nœ bœ nœ
? bb œœ œ œ b œ bb œœ œœ nn œœ n œ ## œœ œ œ nn œœ bb œœ b œ œœ b œ b œ bb œœ n œ n œ nn œœ œœ œ nn œœ b œ b œ bb œœ nn œœ œ # œ œ œœ œœ n œ n œ œœ
œ bœ nœ œ bœ œ #œ œ nœ
SAMPLE USE ONLY
?

bœ bœ nœ nœ bœ œ
? b œ b œ bb œœ b œ bb œœ œœ n œ n œ nn œœ n œ nn œœ ## œœ b œ b œ œœ œ b œ œœ .
? bœ nœ bœ bœ .

16
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After you’ve transcribed a few phrases try this to take it to the next
level: while improvising, try and force yourself to make the line that
you’ve transcribed fit into your improvisation. For example, on a blues
you might transcribe a line in the 9th and 10th bar of the form – how
can you lead into and out of that line? To illustrate, we’ll use a line from
Curtis [Title]
Score Fuller’s solo on a Bb blues called “The Stroller” by Benny Golson
from the album Groovin with Golson. See the full solo later in the book. [Composer]

Fig.28B)

SAMPLE USE ONLY

? b b 44
’ ’ ’ ’
B b7 E b7

’ ’ ’ ’
B b7

’ ’ ’ ’ ’ ’ ’ ’

E b7 B b7
bœ nœ œ nœ
G7

? bb Ó
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

œœ œœœ
C m7 F7
œ œ œ- œ. œ-
B b7
>œ F7

? bb œ œ nœ œ œ ‰ J ’ ’ ’ ’

? b bstep to making these transcriptions worth your time and effort!

The implementation of the ideas you’ve transcribed is the essential
third
Integrating the line(s) into your improvisations makes it yours to draw
from while improvising on other tunes in the future.

? bthink,
Just
b if you transcribe, transpose, and implement just one line per
week, in a year you’ll have 52 lines right at your fingertips to draw from.
This is one of the fastest ways to sounding like a seasoned veteran while
improvising in any musical style.

? bb

? b
b

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Miles Davis on So What

from Kind of Blue

œ. œ
1
œ œ œ œ
D m7

?4 Œ Œ
4 J œ Œ Œ Œ ‰ œ J œ. J œ œ Œ Ó ‰œœ œ

œ. œ œ œ ‰ œ œ œ œ œ
? œ œ œ œ œ J
œ œ œ œ œ œ œ Œ Œ

?
SAMPLE USE ONLY
Œ Œ Œ
œ œ. œ
J œ œ œ œ œ

œ #œ œ œ œ œ. œ
?Œ œ
‰ J œ œ J œ‰ œœ œ œ Œ

E b m7
bœ bœ
?Œ œ b œ b œ b œ œ œ b œ bœ œ bœ œ b œ œj œ.
bœ bœ bœ

bœ œ
b œ b œ b œ bœ bœ œ œ. b œ b œ œ n œ œ œ
? bœ œ Œ ‰ bœ bœ bœ bœ œ

œ œ œ ‰ œ
? œ œ
D m7

Œ Œ Œ œ œ œ Ó Œ Œ ‰

œ œ œ œ œ. œ
? Œ Ó œ J
Œ Ó

28
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Jazz in Paris: Exodus 1962

A 7( b 9)
>œ œ b œ D>œm7
œ œ >œ œ œ >œb œ
E m7 ( b 5)
œ b œ ‰ œ. .
œ # œ œ œ # œ^ œ œœœœœ
1 F maj7 G7 C m7 F7

? b 44 Ó Œ ‰ J ‰ œ Œ ‰
3

B b maj7 D 7( b 9)
n œ >
œ œ œ bœ œ #œ œ œ œ œ œ œ œœ œ b œ œ b œ b œ b >œ œ
A m7 G7 G m7 C7

? œ œb œ œ Œ œ œ #œ Œ
6

b
3

F maj7
œ‰œ
E m7 ( b 5)
œ
A 7( b 9)
œ œ œ bœ œ b œ N œ
D m7 G7 C m7
œ
œ œ œ œ œ bœ
b œ n
F7

œ‰œ
?b ‰ ‰ ‰ Œ
10

B b maj7 D 7( b 9)
œ^ œ œ œ . œ^ œ ‰ œ
A m7 G m7 C7 F maj7

œ bœ bœ œ b œ n œ œ œ
?b Œ œ œ œ œ Œ ‰
14

bœ œ œ œ œ œ œ œ
?b œ
18
C m7

œ
SAMPLE USE
>œ œ œ b >œ œ œONLY
>œ n œ œ >œ œ œ œ
F7

œ
œŒ Ó
b œ b >œ œ b œ^
B b maj7

3 3 3 3 3

E b m7 A b7 D b maj7

bœ œ œ œ œ bœ œ œ œ (5)œ œ b œ œ œ
G m7 C7

œ > . œ
b œ œ bœ nœ œ bœ œ bœ œ œ nœ œ œ
(4)

? ‰œ
22

b J
3 3 3

E m7 ( b 5) A 7( b 9)
>œ œ œ œ œ œ
F maj7 D m7 G7 C m7 F7

œ œ bœ œ œ œ œ œ œ œ^
? Œ Œ ‰ J ‰ J Œ Œ ‰ J œ .
œ bœ
26

b
3

B b maj7 D 7( b 9)
. œ^ >œ >œ
œ. >
A m7 G m7 C7 F maj7

? œ œ œ. œ œ bœ nœ œ œ ‰
‰ J Œ Œ ‰ J Œ ‰
30

b
30
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JJ Johnson on Yesterdays
from "Live at the Opera House"

D m B m7 b 5 () ()
E m7 b 5 A 7 () E m7 (b 5)
B m7 b 5

œ b œ œ^ . œ
Dm A7

. >œ œ œ >œ œ œ >œ œ œ.

‰ œ œ >œ œ ‰ œJ~~Œ
1

? b c ‰. œœ . Œ ‰ œ
D m/C # B m7 (b 5) B m7 (b 5)
3 3 3 3

~œ œ œ .
b œ n œ. n œ œ.
Dm D m/C C m7 F7 E7

? b Œ bœ nœ œ œ œ ‰ J Œ
5

. >œ w œ >œ œ œ >œ œ œ >œ œ œ. >

A7 3 D7 G7 C7

?b œ ‰ œ œ œ
Œ
9

B b Maj7 ( 3)
E m7 b 5

œ . œ^ . œ œ. œ œ. œ œ. ~~ œ
3 3 3

œ . . œ
F7 A7

œ b œ œ
?b JŒ ‰ J œ œ œ œ œ œ. œ œ ‰ J ‰ J
13

B m7 (b 5) E m7 (b 5) () E m7 (b 5)
B m7 b 5
œ œ. œ œ œ œ œ . œ œ œ œ œ œ.
~~ ‰ œ œ œ œ œ œ œ >œ œ œ œ
Dm A7 Dm A7

? J
17

b
D m/C # B m7 (b 5) B m7 (b 5)
3 3 3 3

. > >
b œ n œ œ œ œ œ >œ œ >œ .
Dm D m/C C m7 F7 E7

? b Œ œ bœ nœ œ œ œ œ bœ nœ bœ œ œ nœ nœ œ Œ
21

œ œ >œ œ œ >œ œ
3 3 3 3

~~ Jœ . >
3 3

œ œ
A7 D7 G7 C7

?b ‰ Œ ‰ ‰ œ œ œ
Œ
25

B b Maj7
œ( >œ) œ œ >œ œ Aœ7 >œ œ œ >œ œ Dœm >
E m7 b 5

œ. œ œ œ. ‰ œ œ œ œ
3 3

œ œ œ >œ œ œ # œ œ >œ œ œ
F7 A7

?b JŒ ‰J
29

B m7 (b 5) E m7 (b 5) B m7 (b 5) E m7 (b 5)
3 3 3 3 3 3 3 3 3 3

.
œ œ œ œ œ œ ‰ œ >œ œ œ œ œ œ b >œ œ b œ >œ œ œ >œ œ b œ n œ œ. œ œ œ œ
Dm A7 Dm A7

Œ ‰ Jœ
2

? ‰J ‰ œ
33

b
3 3 3 3 3 3 3 3

35
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Curtis Fuller on "The Stroller"

from Benny Golson's Groovin' with Golson

œ b œ. œ.
Bb Blues
.
? b b 44 b œ. œ- b œ œ
1

Œ Ó Ó Œ ‰ J

. œ œ œ nœ
œ. b .
? bb ~~~ œ
lay back
Ó Ó
5

œ œ œ œ œ - .
œ œ. n œ œ.
œ œ œ
? bb œ œ nœ œ œ œ J Ó ‰ J
9

œ
j b . œ œ n œ œ ‰ œ b œ. N œ. œ. nœ œ œ œ œ œ- œ.
œ œ bœ œ
2

? b J
b

œ SAMPLE
œ œ bœ b œ
USE
œ ‰ œ bœ œ
ONLY
bœ nœ œ nœ
lay back

? bb ‰ J ‰ J ‰ Ó Ó
17
~

- œ-
œ œ œ œ œ œ œ œ œ. >œ . .
? bb œ œ nœ œ œ ‰ J Œ ‰ œ œ bœ
21

J
3
œ. œ œ. œ. œ. œ œ. œ.
? bb J J Ó

œ. œ . œ œ œ nœ
? b J Ó Ó
29

b
38
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Developing Active Listening Skills:

The number one way to absorb, understand, and appreciate jazz
vocabulary (or vocabulary for any style of music) is to listen to that
music. A lot. Get to know your favorite recordings inside and out. Have
you listened enough to sing along with the melodies to all of the tunes?
What about the solos? Have you listened to the relationship between
the soloists and the rhythm section? Do you know who the sidemen
are? What are some identifiable characteristics about the players (i.e.
sound, rhythmic feel, signature phrases, etc). The names and composers
of the tunes on the album? All of these details serve to enhance your

SAMPLE USE ONLY

understanding of the music.

You can listen to a track for many details including those listed above.
Here are a few more suggestions:

The overall arrangement Phrasing of the melody

Dynamics Shape of each solo
Articulations How does the comping relate to
the soloist?
Time feel Rhythmic pulse/feel
Sound characteristics of players Style characteristics of players
Shape of the arrangement Alternate changes
Alternate bass note usage Relationship to other tunes/
players

This is only a partial list, think of other things you might listen to on just
your instrument alone. Listen for something new each time you sit down
for a listen.

When you are listening it is essential to devote your attention to

listening. Active listening requires the music to be in the foreground.
Music on in the background is passive listening. Sure, you’ll become
passively familiar with the material, but a more efficient use of your
listening time is to listen and pay attention to what is happening in the
music.

42
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Components of a Tune
No matter the time period or style, all songs are comprised of three
major elements: Melody, Harmony, and Rhythm. With the first tune on
your list, try to identify the following components of the song:

Melody
The recognizable tune that people will remember

Harmony
What common chord progressions do you recognize? What harmonic
movements are unique to this tune? Does the tune use a common chord
progression (like blues or rhythm changes) or the harmony from another

SAMPLE USE ONLY

tune (known as a contrafact)? Where are the tension and resolution
points?

Rhythm
What is the rhythmic identity of the song? Straight Eighths vs Swing,
bebop versus traditional, playful and syncopated or triplet shuffle?

Eight Steps to Learning Any Tune

For this example I’ll use a simple blues progression to outline the
concepts that can be applied to any tune/melody.

1. Melody
a. Sing it (many times) along with a reputable recording.
b. Play it along with a recording many times, until internalized.
c. Learn the lyrics (if applicable). This will help you with the
composer’s intended phrasing. e.g. not breathing in
the middle of a word, where a singer would not breath.
2. Root Melody Blues Workout
The root melody is the line that is built from playing the
roots of the song’s chord progression in succession.
? 4 .. w w
Fig.29) C7 F7 C7

4 w w

?w w
F7 C7

w w

?w ..
D m7 G7 C7

w w w
45

? ..
C7 F7 C7
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7. Play the tune on Piano

** See Dealing with the Piano

Playing a tune on piano will allow you to see the harmony visually on the
keyboard, as well as to hear and feel the harmonies passing in real time.
As a horn player there is not a more important music learning tool than
the piano.
Fig.36)

C7 F7 C7

4
&4 w b ww
bw b ww b ww
? 44 w w w w

& bw
SAMPLE USE ONLY
F7 F7

b ww
C7 A7

w b ww # ww
? w w w w
D m7 G7 C7 G7

&w
w ww bw ww
w
?w w w w

8. Now try all of the above with this tune in another key!
The more keys you transpose this exercise through, the
more familiar you will be!

Now that you know the steps to being able to learn a few tunes,
organizing your list of tunes into categories will help keep you on track
of what you’ve learned, and create relationships between tunes that will
help with keeping the tunes memorized. For me, I organize tunes into
these general categories: Blues, Rhythm Changes, AABA, ABAC, and
Odd Forms (the “other” category).

NOTE: Consult college audition repertoire lists for some examples of

tunes to learn, if you need tune selection guidance.

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Dealing In-Depth with the Major Scale

Sure, you know your major scales, everyone does. But can you use it
to its full potential? There is a lot of melodic content to be discovered
inside of each major scale.

But before we get into the scales, a note about Alternate Positions:
To [Title]
be able to really know your instrument inside and out, and the most
Score
[Title]
efficient ways to play in each key – you have to take the time to think [Composer]
Score
about [Title]
Score alternate positions. With alternate positions comes a bit of extra[Composer]
, popularly
[Title]
used alternate ,positions, and
work to have them sound as full and resonant as the “home” positions.
Score
? 1 to match thew tone, intonation w between the
6 [Composer]
Here1are some of the most 1
an 6
, ,
[Composer]
exercise and resonance
? w, w,
6 1 6
“home” position and the alternate. Use a tuner to help you to match the
? 11 , between w , two w
1 6

, ,
1 6
intonation 6 the 1 notes.6 The goal is to1 reach a1point
6 where
? two
w positions sound w identical.w œ wœ œ œ w
6 1 1 6
the
, ,
? w1 , w6 , œ1 œ6 œ1 œ6 w1
6 1 6 1 6 1 6 1
1
Fig.38) F

? w1 , w6 , 1œ 6œ œ1 6œ w1
6 1

? w w œ œ œ œ w
6 1

, ,
b b w b5 bw b1
?
SAMPLE USE ONLY
1

, ,
5

? b1b b w ,
Fig.39)1Bb – slightly raised 5th position
b 55 bw , b 11 5

? 11 , b w , 1 b5 , b w5, b1 1 5

? ,b w b b w bbw b œ b wœ œ œ b bw
5 1 1 5

,
5

b
? b w1w , b b w55 , b œ1 œ5 œ1 œ5 b w11
5 1 1 5 1 5

b b w5 , b1œ 5œ œ1 œ b w1
1

? 1,
5 1

? 1b w b , b w4 bœ œ , œ œ bw
5 1 5

w w
? 1 , ,
1 4

w w,
Fig.40) D – slightly lowered 4th position

? 1, , 4 1

w w4,
4

? 1w1 , ,
4 1 4
4
w 1 w œ wœ
1
œ œ
1 4
w
? 1,
4 1

,
1 4

w1 , w44 , œ1 œ4 œ11 4œ4 w11

1 4

? w,
4 1

w4 , œ 4œ œ1 4œ w1
? w1
4 1

w œ œ
1
œ œ w
? E
4 1

, ,
Fig.41)

? 2 w w
2 7 2 7

? 2 , ,
w, w,
7 2 7

? 22 , 7 w w7, 2 7
7 2 7

? w , ,
w 2 w7 œ2 w7œ œ2 7œ w2
2 7 2 2 2 7

2, ,
? w2 , w7 , œ2 œ7 œ2 œ7 w2
7

? w2 , w7 , 2œ 7œ œ2 7œ w2
7 2

? w w œ œ œ œ w
7 2
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Starting with Third on Top

Fig.53)

D m7 G7 C maj7 C m7 F7 B b maj7 B b m7 E b7 A b maj7

ww bb ww bb ww
&

? w bw b b bw
G # m7 C #7 F # maj7 F # m7 B7 E maj7 E m7 A7 D maj7

&# # # # ww # # # ww # # # ww
SAMPLE USE ONLY
?
# # #w #
w
w
C # m7 F #7 B maj7 B m7 E7 A maj7 A m7 D7 G maj7

& # # # ww # # # ww # # ww

?# #
w w w
G m7 C7 F maj7 F m7 B b7 E b maj7 E b m7 A b7 D b maj7

&b ww bb ww bb ww

? bw b bw
w b b

Starting with 7th on Top (inversion of the previous exercise)

In this exercise we start with the seventh of the minor ii chord on top,
which leads to the third of the dominant V chord, and then is repeated
to become the major seventh of the I chord.

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Partner exercises for identifying Intervals

Practicing ear training on your own can be challenging. Practicing with

a partner is a great idea. Get together and take turns playing intervals
on the piano and on your instruments for each other. Alternate back and
forth between demonstrating and answering. Play the intervals both
harmonically (at the same time) and melodically (one note following the
other either ascending or descending).

Breaking the intervals into related groups speeds up the learning

curve. The intervals are related by being the inverse of one another. For
example, C up to E is a major third, where C descending to E is a minor
sixth, its inverse.

Practice each group (one per session) until you feel extremely

SAMPLE USE ONLY

comfortable. Then move on to the next, and eventually open it up to all
of the intervals within the octave.

Group 1: Perfect Intervals

Perfect unison, perfect fourth perfect fifth, perfect octave.

Group 2: 3rds and 6ths

Major and minor thirds, and their inversions - major and minor sixths.

Group 2B:

Add in the tritone (six half steps)

Group 3:

Major and minor seconds, and their inversion - major and minor
sevenths.

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Chapter 7
The Goal Setting Process

SAMPLE USE ONLY

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That’s it!
Now it is time to get started with integrating these concepts and
ideas into your practice plans. These exercise are designed to help you
improve over the long-term. Work on these ideas bit by bit, and you will
see marked improvement over a year’s time. I hope you are inspired to
pursue your passion. Just thinking about these concepts makes me want
to jump into the practice room!

SAMPLE USE ONLY

Need Help?
I would be happy to provide consultations on any of the topics
presented in this book and related topics.

Want help with any worksheets from this book? Send a message along
with a scanned copy of the worksheet page(s) you would like help with.

If you’d like more practice journal or goal setting pages, please send an
email request.

Send all messages to: nick@nickfinzermusic.com

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About the Author:

Award winning musician Nick Finzer is a jazz trombonist and composer
whose musical prowess is firmly planted with one foot in the past and
another leading to the future. In January of 2013 Nick released his
recording debut as a bandleader “Exposition” on his label Outside in
Music. “Exposition” presents ten original compositions that draw on the
multifaceted influences that have shaped his musical development.

The onset of Nick’s love for jazz came through an exploration of Duke
Ellington’s music during his high school years. Ellington’s compositions
like “Harlem Airshaft” and “In a Sentimental Mood” started him on
an irreversible musical journey. These experiences culminated in a
performance of Ellington’s music as part of the Essentially Ellington
Festival hosted by Jazz at Lincoln Center, which ignited Nick’s ambition
to move to New York City to pursue a life in music.

During this time Finzer also came under the tutelage of former Jazz at
Lincoln Center Trombonist, Wycliffe Gordon. This relationship developed
into a four year commission project in which Gordon wrote four pieces
to feature Nick during his undergraduate studies at the Eastman
School of Music. While studying at Eastman, Nick was able to play with
many musicians who came through Rochester, New York including
engagements with the Tommy Dorsey Orchestra, Walt Weiskopf, John
Clayton and Slide Hampton.

Since moving to New York City in 2010, Finzer has completed a Masters
Degree from The Juilliard School, shared the stage with the likes of
Frank Wess at Dizzy’s Club, Lew Tabackin and Terrell Stafford at The
Blue Note, Lewis Nash and Ryan Truesdell’s Gil Evans Project at Jazz
Standard, and Nick continues to lead his own bands around the city and
across the country. While at Juilliard Nick had the opportunity to study
under jazz trombone innovator, Steve Turre.

Nick was selected as a recipient of a 2013 ASCAP Young Jazz

Composers award for his composition Alternate Agenda (which appears
on “Exposition”). In 2011 Nick was the winner of the Eastern Trombone
Workshop’s National Jazz Trombone Competition and was a finalist
in the 2010 International Trombone Association’s Carl Fontana Jazz
Trombone Competition.

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Nick currently serves as Co-Founder and Artistic Director of the Institute

for Creative Music (www.ifcmusic.org), which is dedicated to the
education and dissemination of jazz and creative music across the US.
In both 2012 and 2013 the IfCM won a “Great Classrooms” grant award
from the Plum Creek Foundation funding week long residencies in the
state of Montana. Since IfCM’s founding in 2011 Nick has lead workshops,
masterclasses, and residencies spanning from coast to coast.

Additionally, Nick has worked with students from universities like

the Eastman School of Music, Penn State, Ithaca College, Gonzaga
University, University of Montana, and Arizona State University, to name
a few. He has also served on the faculty of the Eastman Summer Jazz
Camp, and Juilliard Jazz Summer Camps in West Palm Beach, Florida
and Ephraim, Utah. In New York, Nick maintains an active teaching
schedule with the Jazz Standard Discovery Program which includes
informational jazz performances/presentations for elementary school
students, coaching small ensembles, and weekly performances at Jazz
Standard.

Nick’s current projects include his sextet featuring music from

“Exposition”, a chordless trio that performs regularly at Bar Next Door,
a two-trombone duo with fellow Juilliard alumnus Joe McDonough, and
freelancing with various ensembles and shows around the city. Nick
continues to perform, compose, and teach while maintaining an active
touring schedule, and formulating new projects. Finzer is determined
to continually develop his artistry from the lineage of the music, while
being honest to his musical voice and personality.

See more from Nick at:

www.nickfinzermusic.com

www.outsideinmusic.com

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