allen vizzutti - trumpet method book ii (1991).pdf

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T R U M P E T M E T H O D

B O O K 2

HARMONIC STUDIES

Intermediate/Advanced

Method

Allen Vizzutti

Alfred

TRUMPET ME T HO D

B O O K 2

HARMONIC STUDIES

An Intermediate/Advanced Method in Three Books

Allen Vizzutti

B O O K 2 1• • B O O K 2 •HARMONIC STUDIES

Practicing 3

The Warm Up 4

Performance Anxiety .... 6

Interval Studies 7

Chordal Studies 19

B O O K 3

'МЕЮЪГС STUDIE,

f l ixie.iyf-

Ш1ШйЙ {Eudes.

INTRODUCTION TO BOOK 2

ПНЕ SPECIFIC STUDY of intervals, chords and scales wll directly affect your ability to make music on Uatrumpet. Wth a solid foundation in all keys, the performer wll seldom run across music that is not based

on harmonic material already somewhat famliar. This high level of competency is the medium in which mu :is made. Gradual advancement through all of the material wll result in great success over the long term. »epatient. Be persistent.

Pease note that the many chord types in the Chordal Studies section have been named. Understandi_jwhat notes are represented by a chord symbol is very useful, especially for those interested in jazz improvsation.

As always, trumpet players should warm up thoroughly as detailed on the next two pages before payi 3anything demanding. The performance techniques developed in Books 1 and 2 of this method are presented inBook 3 in a purely musical setting.

PRACTICING

USIC HAS THE POWER to enable anyone to feel good. Trumpet is one of the most versatile of instru-LkU ments, an instrument that is capable of crossing any stylistic or cultural boundary. The gifts of studying

music include:

® Greater emotional expression

® Creative interaction wth other people

® Raised awareness of art, beauty and more

These skills are as basic and useful as any other skills taught in school. The freedom and enjoyment avail

able in music can be had through daily practice.

The more organized your practicing is, the more fruitful it wll be. Here, then, is a suggestion. Practice in

three 15- to 30-mnute segments, resting where necessary. Segment one is the warm up, segment two is technical

study and segment three is playing music material such as solos, etudes, orchestral literature, etc. Vary the materi

al to avoid formng bad habits, boredom and to learn newthings each day. You must be your own best teacher. Listen wth honest ears. Always try to improve. When problems occur, refer back to fundamental thoughts

on breathing and sound. Most problems wll correct themselves. Best wshes and good luck.

THE WARM UP

D N ORDER TO ENSURE consistent improvement through practice, it is absolutely essential to warm u .

Preparation is required, not only to meet the physical demands of trumpet playing, but also to initiate the

mental focus and concentration necessary for making music. The followng is a warm-up routine in four pa i

wth variations for each day of the week. Remember to concentrate on the basic fundamentals from the first

note of each newpractice day (i.e., beauty of tone and utilizing large volumes of air when inhaling and when

blowng through the horn). Finally, prepare mentally to approach whatever exercise or piece of music you a

about to play in the most musical and artistic way possible.

The sound should be fat, full and wthout gaps as you slide

downward. Keep repeating until there are no gaps. Buzz any

where from a fewseconds to a fewmnutes. Be aggressive and

demanding of yourself. It is possible to improve your trumpet

sound almost immediately by working on the mouthpiece.

For extended buzzing, use the followng triads. Check pitches at the piano while buzzing whenever possibl

Be sure you are producing a fat, forte tone.

А А А А

in the mddle of a line. This method isan excellent tool for relaxing the lipsand warmng down as well.

For additional "loosening up,"repeat the preceding exercise 8va,resting wherever necessary.

A A A A A A A A

Start each playing day wth the three steps above. Some days may require more warmng up than others dueto the paying demands of the prevous day or your biorhythmc cycle, but warmng up well never hurts, it only helps.

Finally, play the technical studies found in Book 1 that are indicated for each appropriate day. In this wayyou can vary your warm up, maintain interest and learn newscales and fingering patterns quickly. Work gradually day to day through all of the keys until you can play each study wth a mnimum of technical "hang-ups."It is not necessary to play the studies higher than third space "C" in your warm up, though advanced payersmay wsh to do so. Ideal warm-up time should eventually be 15-20 mnutes.

® Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

Book 1, Technical Study # 1

Book 1, Technical Study #2Book 1, Technical Study #3

Book 1, Technical Study #4

In my opinion, lip slurs (except in the lowest seven partials) are not a particularly good warm up. They arephysically demanding and, therefore, useful later in your practice time. Lp strength (more accurately, thestrength of the muscle structure around the lips) as a goal is greatly overemphasized. Although strength is

important to a degree, range, endurance, a beautiful sound and advanced technique as a compete packageare based on efficiency of breath control, not brute strength.

PERFORMANCE ANXIETY

ERFORMANCE ANXIETY (i.e., nervousness) is a common and natural thing. Payers at all levels of conpetency experience butterflies, dryness and other symptoms of nervousness before a performance, h

goal one should pursue is not to be totally relaxed, but to maintain sufficient mental and physical contrc. iorder to enjoy playing music and play well. Experience is the real key. The more often one performs, the egser it gets. Take every possible opportunity to perform. Play for friends and famly. Casual settings can b сgreat help when done frequently. As a useful by-product, the more one performs and is heard, the more li*elone wll be asked to participate in other musical settings. That is the process through which one rises to theJoof the music community, no matter how large or small the community.

Here are a couple of practical pointers to help you defeat performance anxiety:

Ф When the butterflies come, don't resist them. Resistence causes tension. Tension causes playing problemsLet the wave pass through your body. Observe the feeling as it happens. Don't panic.

through the instrument. This is the one fundamental you should always fall back on when you find your о ifdence faltering.

© Finally, stay in present time. Don't worry about what has happened or what is comng. Don't sacrifice 31entire piece for the sake of a high note or a tricky passage. Make the note or phrase you are playing as beaitifu as possible. The rest wll fall into place. Present time is the key to performng from memory wthout slip awell.

Interval Studies 7

Interval Studies

Use your ears to play intervals accurately. Listen for thepitch of the"next" note. Do not consciously adjust

your embouchure. It wll adjust naturally if you stay out of theway. Remember many large intervals that lookdifficult on paper are not difficult acoustically on thetrumpet. Play wth confidence

Pause and rest during this exercise whenever necessary.

J J J J J JJ 1

i i i i i i i i 1

— •

1 J J J J I J 1

•V9 1—1—1—1—1— i i i i г~И i i i i i i i i— r~ .. ff

J . i - i i J J J-J-

«R ii i i i i j

J i i i i i i i J i i i J J

8 Interval Studies

& 1 1II 1 II 1II М II * '1

ГГГГГГГ 1ГГГГГ Га.• • • • • • ш я _• т т т ш т

P — = Г Г Г Г Г ' Г Г Г Г ГГ J 1 г_ 1 и • «1 1

• 4Щ — = ГГГГГ 1г г г Г Г r =»=ГГГГГГ чГГГГГ.M

Щ =-= Г Г Г Г Г 1Г Г Г Г Г TJ 1 г=

w — = ггггггг irrr^HJ

ггггг irrrrrr e

% Г Г ГГГГГ1

Г Г Г Г Г Г Ш. 1 , 5 5 , ?

1 1 II 1 1 1 М М МIP

—1•

J 5 5 5 5 5

f"J * 1 • • Qi" J J а

/ к • , — р - р •—р —tr—^ГР-

• ВТ • el • • ^ • 1

5 5 55

- т а — • — • .. * TBI. ВТ

5 5 5 о

Ш Ш л Ш . • в

7s:—Г i Г

5 5 5 5 5

«Лр Ъ U

ж-* » * . * J'

• • P ш P J m\p m Г

3 3 3 , 5 5 5

Interval Studies 9

Л /Л

о 'Л . ' i i

^ t /7\ /7\ <Ъ r?\ JS

r-r. : 1 r*fe= ш f-03

§ i J I

1 V - J Г I

*—I $f~ \f—IN . /•> |

— • 1

n9m-—x

Ь I 1 I 1

T* йЯ г: ----v I•1 v v 1 :—-\ :

I Г I •m

I "l Л =

J J J J

-Г » / - с

/?*^ T*—^ IF*

Г г - J ' I "i J H F

•— km— ^F=4 Wrf=v —

1 J ' J J

^ 1 J r J* ' J "i j i j f j " U " U К з

10 Interval Studies

4 t,j3 W J3 a9 J3 P j"r jt

J *й ^ * i-T 1

% г j Y i 0 ^ 4

p Л Л Л . - г * -пгГ , f

' i ' ^ J ^ W W a i P > 1 i 1 i 1 1 1 1

J7\ , /C\ /О <Tv t /TN i /Уч

Щ Щ s f^4, jElq -I *i iJ " i J [,J J I J IJrt\ ^ rt\ /?

r7\ t?\

i р щ p p _[j jj _tj jjj p pp/7\ /7\ /7\

р j Г .r jTf

Л И и 1% - И — J — 1 J J 11

Interval Studies 11

12 Interval Studies

Interval Studies 13

14 Interval Studies

Major & Minor Sevenths

8 4* Лда3

2Ж- — w

• b - J — •fr.—— Its 4r

Mp-i о

flm— v., У 4 J 4 J •±=й J v _ 4 Ш m- •H H

Interval Studies 15

Major Seventh

^ IK ^

*P \d s

k1 m--4• ip—1

- i i — •

p mw \iw 4» • 1—• • ь » о

3 3 3 3

Ш mз з з з

f 0.Г. i f „ II • - i i * —

; • :

•t l*

5 5- © -

5 £ . 5 3 , ?

ф ——уф _ L — _ 1 1 1 1 i —

з 3 з з

Щшз 3 3

5 5 j5 5

Minor Seventh

т о Ш

з з з з

з 3 3

• 3 з 3XX

0 f 1#-

Y ГbГ — г — -0 \m ^

5— u -

0. Лm

5 з 3

• -0-m• У

Г г Г Р

3 33 5

*-*—fArf

•? 3

&•=— *3 3

—1—0-

— b J — J -

n г п г т

bJ 1 1

г Г п

dff=i3

J — WW 4W~T?4W—

К • m

9- -щ

я « •r bJ J

• w - J 1

-Я h—

f = ^ t —P" - 'j m

ci j -• с

t i t-a

Iе —

У.mVei

P = s = *r—1»

. = Й = *

E Г 1 hp *

F = t =

L-J —«L

- i —i r f 1

=И= 51

m——

• 4 » Г Ш •4 i Da

im\L- «1 — » — i

Interval Studies 17

1>T J 1 ' N T iJ ' Г i ; 1_[Д Г J- я

24 f r f r l J l ^ l g ^ g

i r Г r i •р*Г r [—? 2=

' c J r '

i if 1

"P P 'И

гз*г . i

" ' Г i

mЛ mm т Ш

1 P P 1

fflr л iГ ,N P1 P 1—•I 1 P lb« P 1 . P 1 1 1 f 1

13 •1 J ^mf -0

J J * — L - J —-0

— и — — О

Г Л " ] i J - i - * ' — U

J 1— Ш —* •w m

г г р Г Г р , Г Ш

••с

18 Interval Studies

Major ( J = 120 )

Chordal StudiesTriads

Chordal Studies 19

г i'J P Щ

zzz:3e

20 Chor dal Studies

Minor (J =120)- . :

i 1 I P Г е*

P P m и м

Rest wherever necessary during this lengthy exercise.

Major ( J = 132 )Minor

P m wmf

Augmented

mm i i gag

P* •

Chordal Studies 21

24 Chordal Studies

Play theupper notes of thefollowng series as lightly as possible.

Play only theexercises in which theupper notes come easily.

Major Triads ( J =138 )

V Vsimile

4 • p •

#=f f f f

>—- J 1—>

T*~I—jp

1* 1f r |»

• L T '

-p-fm——i i 11 i и

3 bJ J J JV Ш If V

- J - "— ^—

• •

p » —i

J ^ J ^ Ur

; n - n

ljm—[ d—

J - - 1

I* • — f p r

-f-W~-e

" W^' l T

9 i J J J <

7 £ — ir

' J d g Ы

[ I ЕЭ I to г k f

I T M г г г

ft> I rbrt ч1

g J e J 1 =

J W '"CXI

r f f ?

Й Р Р Р Р — —

*>r iflf,p qi

% Ji ij

I'FIL I'Ff• г'Тг ^

= £ | ==

; u 11

г Г1 TJJ

гт—Л

V f f ffer tip

Ц JtHJ-1 •Lp_» Ё

Г п И• • p

L 1 1 1 P

tnfrrr— L J , - - I I

26 Chordal Studies

Augmented Triads ( J = 138 )

•ш ш - -ш •

mf m\ Х Л

simile

р # - р - И ie

—4r-

^#%=-T] i I III

_=p = :

9 J J J J « J J J — = = = L - U J —

fя f —f м-—ft»—p~<r flf •

Jjt J J J J J J " 1 ££^ • F — f 1 —т + — WT+- W

m -]—8»-- rn-—

III 1 J tp l M

j n П 11 1 Г1 ,Lr1 [£f

ГгГГгП Г Г ^ г Г г ь г 1Г¥

feJJJJL =

—0 _

gf J J J J J 1 fj_ _j—-J— — i — 1 1 1 1 .—

' Г Г Г " Г Г Г | ^ ^ Г Г Г Р | ¥ Г

f- w » • •-•ibo

•i— ггп k n - V

- Г M i l л 1 J —— :-4—

frrfrf i ^^гГГ' пГ' г

Inf JIj J 1 о ==

• . . .

- - 1 1 1 1 U4E

Гг г * Г г Г l ^ ^ f f f r i Y rи •_ __

— ^ p U^U —

"t" /• Л

r r f t r f i ^ ^ r f r r i f r

g - - J - y —

i • ====

W) :* ...• i| B - • • r,

Chordal Studies 27

Chordal Etude

J = 168

8 Щ p P P P Ш 1 » — — »sempre staccato

— - /

i Ш г г

. , „ i i J T И Д i г тtp— Mr — г — i 1

Ь J 1

LOT J 1 J

at• 9

- 3 я i J- j J- j J T l

28 Chordal Studies

fhis series of exerc

e 4 ^ = \

ises should also be tongue

iant7 { J B 132)

" Т Я Д Т п i —

•rfj P jf ^ T r - 1 1 — i —

J J J J J =* =

j ^ r -

4 £ г J ' =

i Г i»

1J 5 11- _

г^н *—~-

&. i.J

LJI 1 -Pffjj i I г S f l i •531 - —~ -£ P ^ J — i _ y .

m : 07

-m к -ff- —

Чжт,

J J - 1

r Г > 1: 1 ' П - Г

6 — -

i ^ f J ' 1 У

... ... .

—1 кfc=4

Chordal Studies 29

-i—*—'fH.i ; ^

fe J * 1 ц Д г *

4 * • ^ • l : *

J ' 1 hij J

(en l/ ba4 4

1 ^Ff>—

J JJ * =H=

._ •_. =*вУ| Г ' '

jk -i -F-

tf1 ' 'J

rT i Гr*~S

— « u J - 1

: fr- f

~ i1 ' ' gUj

> i 1 <T»ffTVr l—>—rf

M a jo

1 Л /1. 4

J = 132 ) ^— к -ST=F JJp i

: E fTp

>W -TO-* #

30 Chor dal Studies

' г > 1

1, J 1

£ г i -*bJ—J > r J ^ -

Ы wL.

» Ж7Т .

'J — 1

F f > 1

• —С

— — -s J U

frjp—

|рлгп

% — ^

JJJJ'r j bfe

г Д - Н J -ff

- ^ J *

$ JJJP' J 7 J J j - ME gUK С

* Яг». .1

Maor7|5) J=132

— Tl*JT-i—J—

-ф С „

^Щ -г i—

j 1 * 1

L V ^ —t — =1 1 1<P 4

mf- эд=J J Г '

4 р р

32 Chor dal Studies

C hordal Studies 33

Chordal Etude

Slowly (J в 80)

1VI Л Я ш г -П —ш -ft—.==— •

—Ig , fli

» ' - И— J

— I » — ( • —

^—r 1

* <> -Ьч—

-L 0*-u i —

- 0—

*=г= »— =-

• • sb

Г p—*—

4 J -mf

=b=£= к«1—

• — i —-4=^ •

•—m

Г3 [J *

T-S——0

^ — f 3 -J 1

=fcd=t

' i [J 1

- m/ k

=--b=—0—#

J — • — J —

• Ш

f~~~0 •J L

rJ Tl—

_J 1—

— — VЫ • 1 LJ 1 ' ' "C J i

— mp T

™—1

ж - Ш e

-ту. 1

« Lr J J .Г П ^—К —i

r— J — 1 — J ) Ь* J -

34 Chor dal Studies

Major Triad ( J = 126 ) Minor Triad

mf 0 m LT JUbp i m\/m Г"| ps r

Jr r ... Pi Pr

и i. а

bd b»^

у» -—ж

ЙЙ1 0 Lf J i 1 j

I "LT*# I

C hordal Studies

J . . 92

1 6 8/ ТУ

« J _;

I bJ J J b T J 1 1 g g I j ^

36 C hordal Studies

Chordal Studies 37

38 C hordal Studies

Chordal Studies 39

40 C hordal Studies

Chordal Studies 41

42 C hordal Studies

Ma jor 7 (| 5) / Dominant 7 (l>5)

20T H — J r T P — i ь 1 * -

4* J•

4=- 1 * _ -m -•

4 J ^ P ^ ' ^ J *

5ЁЕЕЕ£

•If[ f o r> , i

— r =

1 b H ^ i L g ^ s—

r r i l r r ^

n }i C_ >•» — —

1 _ e ft

44 Chor dal Studies

Chordal Studies 45

Chordal Etude

i — id ire

J ' 1. m

FT* m——1

•— •

•1 n

*—I*— 1*» rl " к

7tr4 rf#= Г >

• - f e r

1=1 • •

- 1 I J1

1 Г 1 ^b

L U L p aw1

и ' II

1/J ft

46 Chordal Studies

Major 13 (111) J = 112

л ? 3

j J J J |»

; ^i _ 4^4f*-i - pttr r г p _ ц n-1

^-4 4 i

i7j л и j

- s — - P4

— i . _ 4. •? H L• _ т

— p Г p Г p F*r

L4-J г

J J J J 1 pgp]— — 3

• r J J

— ' J

—f Г Т

и —ш —B » fi |— - — 3

™4 : — U J

L f > T J .

— — it*———— Г""*™

и=г—

i—=4 \

or 11 (13) J

^f~~~ з

а 112

i f i T ' T f i 1 '

a n ™

C hordal Studies 47

48 C hordal Studies

6V saiprus РР »оЦЭ

ScalesScale exercises should be practiced at a variety of tempos.

Scales 51

ГТТЗ | .071 , j lEggjE,P5 *

1 Л П П г г Л П Г Г Х Г ^ и Ш г г Л Д I ^TJ

L£_ rj J Tj J I J TJ i g

aj j j 3 JTT 1/ J I J jjj Я ] J JXJ 1JXJ J

"J . J «i f f

j X l J J T P l JTJ 3л j 1 - Г О j JTJ Щ

52 Scales

- m J 7TJ Г П Л г =J J J ^ - -

т п П Т -

I J J J J J J

II ЛТ ) n ,

g J j ]1

* * 9 J. ' «HJ - 1 J W г

Т П Л г 1Oy ti H—

j #—

itural Minor

rTП i j m:

-P^T ГТ- г

J »* * Г-J

it rrГ1 » i r •==Г* /" * 1 p r r . Л' П 11

TJ -1 J 1

Г П » г Г 1

1 J С -Ш '

—m r f—

L1TJ J J J

•ГЛЛ n i - 0 - л— гт* — —

1 J * С -:

Г П , » г;-j •> [ г LT 1

i n i j Л

* 0 Jm

Г] p p=i— I Л J I r i i-i 1 i •

1JJC/r »

J J •< J

л с rr Г - T f . Л -

J —* * ^ J j j j '

i rrr . J Tj>f=i

i J J J J Г3

, r г Г ~- 1L J

¥ = ^ J J r Г Г -

--1JU J

1 ГГ г , Л F1 rr |». ЛТ 1 i Г

X J U ' 1

ППгГГ IIJ Т. П - -

- п ЛУ- 1

- - - X T J «-

i п п ri,

— -1 г/ —

i jy-nn =р р

——-1

П 1 П r HJ » *

н и Г Г Л

I J TJ 1 n r I ГЛЛ r n * r F F

i=» J d Г д

г н П г i) J J J J J =

Г П г i» г -- - • f r «.P —

• - * J J. W«

1 ГГ Г Г Л П 1 Г Лггг iJ J сг и 'LLLT'1 j j 1 LT ' J -1 J *

- Г "TO

——1—1

Scales 53

^ 4 1 *

Ш m i . r r 1 1 Т Т ] д I*т я

J J - J ' i«r«

- m 1 rT

J J J г J

Г 1 1 - j J J C J 1 ШЛгJ

-I—-* Г г »J

J J UJ '

7 l i i I T J i» i» *у П" . J »' Q

** TJ—T* -I -

• iLLL/ J

1ГТ | -|

J — J LT1 »

т — H

ljI J J J J

_TTl -

} J - J J •

i - — I — 1

У H i, j- j j j .

. Harmonic N

#» vr 4 —

щ Г In J r 1 i _T7J r f I i i »i

J J - - J ' И

•r- i ц—

tft ГГ71 . Г —1'r P Л1 in n*

J J JJH W »

lg> J - J w C i

TO T - 8 ^ 2

и Г Ц Х Г

Иг Г IJt-QT TTn

' LLEJ J

T 'F-* -1 I11 I f

I Г Г П ,

•1 -U1 J J

— 1I i г—Г

• » ртГ-

т л Д , иfr1 J X J J J •

A .1, J TT- r f

'*г Г i ¥ r r 1 ^1 rttrr r J

J J X 1 J J

7 7 H .

д и « j* 11

ш грйр f II• f t * — J - ^ - 5 1 —

M rJ TJ rf»¥ Г l¥ r r

1 rilp r r

J J 1 rx

r r n 1 J T T r ¥ r _ l|W3—. « • [_

fjhh i i n Г

, 1 r r n • П Д Г и

is TO л• *

j. 4* * J ё • J J- ' J *

T n IJT

J • Г—

Л А р »

54 Scales

g £ да г т IT r j u л J

j-jjj ItJTJTJ J л j I J~J-J7 I j-JI Pf

p j m gii i t i i f ; J J 1 o u r ^ з' ft

Melodic Minor

У J J ^r J UJ I I j j p

^ J I J i L T j l r j

JT3I JJ tf

— fl~

• J J J .'J . ' J J J

r_rn-J jJ

P да rJc'T ГI [xju Л J i Г rj u Л Л i j 7 J > n " f

Scales 55

^ JTP rl'T r i rxc j л J i г г rj л т з i № r r г а

j p | Я Л r W i Г rjj- Л j i LT г г Л Т ] ic j r X J - ИЦ- In

jgj rjl J I j л j I HH JJ37JI J J T ^ i ^

j A v j r j ] j f j l 11J 7 ] j j _ [ 1 J Л7 31 J 7 J ^ ^ »

Major Scale Exercises

У i j j j j f l i j j j J J J i J 7 j J J J i f l j j.rj UJ j Tj^ y

I l l ' J J rj ' l rjC J lC rc J -Lrirrc / rr Irj'Cj-Я :||,J |

j% j j j j J J I J J J J L T ic r- tJ irrcfc j-i-niJ i i.mj. i

56 Scales

J « » ' J

щ n П -n n Л Л Л ? т т п =- ;1- -

М и. r Л Л I J1 - Pf * - - f

Lw-i J — -

. р Л -

£ f [|. r

J J » * »—J-

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While growing up in Montana, Allen

Vizzutti was guided by his father, a self-

taught musician and trumpet player, to

performances of virtuoso literature, such os

the Haydn and Hummel concertos, the

Carnival of Venice and Hungari an Dance

No. 5. By the age of 16, Allen won the

concerto competition and wos awarded

first chair in the Worl d Youth SymphonyOrchestra at Interlochen, Michigan.

Allen earned a B.A ., M.M and a

Performer's Certificate from the famed

Eastman School of Music in Rochester,

New York . He was the only wind or

percussion player to have been awarded

the coveted "Artist's Diploma" in the

school's history. As first trumpet with the

Eastman Jazz Ensemble, he was chosen

People in Germany, Poland, England,

Sweden, Brazil, Canada, Japan ond the

United States have all heard his brill iant

sound over the airwaves of national

television. All en's growing status as on "

artist has led to solo performances at the

Aspen Music Festivol, Banff Center for the

Performing Arts, Israel Music Festival,

Vancouver's EXPO '86, Montreaux Jazz

Festival, "Live Under the Sky" in japan,

Teton Music Festival, International Trumpet

Guild, the Hollywood Bowl, Carnegie Hall ,

Newport Jazz Festivol, Notional MFNC,

TBA and IAJE.

Whil e living in Los Angel es, he per formed

on 100 motion picture soundtracks (such

as Back to he Future, Star Trek, The Black

Stallion, Rocky II, Poltergeist II, Fire Fox,

His latest recording. Hgh Cass Brass, is

a unique classical/jazz mixture

coproduced, written and performed with

Jeff Tyzik and the 90-piece national

repertoir e orchestra of the Keystone Music

Festival (available from Prophecy Record

102 Westlond Avenue, Rochester, New

York, 14618)

Allen s love of expression through compc

tion has led to world premiers by the Los

Angeles Philharmonic, Phoenix Symphony.

Rochester Philhaimonic, Now York

Philharmonic and the Tonight Show

Orchestra, as well as recorded works by the

Royal Philharmonic of London, the Wood^

Herman Band, the Summit Brass and the

London Symphony Orc hest ra. In foct, the

Tonight Show Band album (featuring Doc

allen vizzutti - trumpet method book ii (1991).pdf

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