TRUMPET Level 2

CURRICULUM BOOK
trumpet Level 2
CURRICULUM BOOK
 ©2022 | THE EAR ACADEMY (20230427)
FIRST PUBLISHED IN SOUTH AFRICA IN 2022 BY THE EAR ACADEMY PUBLISHING
ALL RIGHTS RESERVED | ISBN XXX-X-XXXXXXX-X-X

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INTRODUCTION
FOUNDATION:
At the heart and base of our curriculum lies the belief that learning music should be a playful

process. A process that might be compared to a combination of learning a language and

learning a sport.

The main focus is on the power of listening, imitating and using intuition to bridge the listening

to the playing and not on the cerebral understanding of the elements used in the notation of

music. The explanation of theoretical concepts is one that should follow the practice of

playing; not vice-versa.

The eAr elevates the development of the ear-hand coordination above the more traditionally

used eye-hand coordination. Audiation, i.e. the inner understanding of musical meaning, is

fundamental to all our teaching.

The eAr elevates the development of the ear-hand coordination above the more traditionally

used eye-hand coordination. Audiation, i.e. the inner understanding of musical meaning,

is fundamental to all our teaching.

Target:
The eAr’s curriculum, and the presentation of it, is focused on learners of all ages. Children will

initially work best with The eAr’s content through the guidance of a teacher or facilitator. This

can be done during individual lessons, as well as in group lessons.

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 Structure:
The eAr has organised learning material into levels (e.g., Introductory Level; Level 2). Each

level consists of 12 so-called Playgrounds (6 Playgrounds on the Introductory Level).

On each Playground, we placed 7 facets of music learning:

• TUNES: Concrete pieces organised in a structured and progressive order.

• ETUDES: Musical pieces that elaborate on one or two specific aspects of playing.

• EXERCISES: Instrumental workout pieces, such as scales, arpeggios, etc.

• READING: he student is presented with a part that goes together with a backing track.
The repertoire is taken from the history of popular music over the last 70 years.

• IMPROVISATION: Backing tracks form the basis of the student’s guided improvisations.

Explanations and strategies are offered to put the student on a working path.

• HEARING: This trains the student’s ear. It is presented in 4 modes:

Hear & Sing; Hear & Play; Hear & Write; Read & Sing.

• THEORY: Specific theoretical subjects are presented and explained, accompanied by

PDF material.

Shedding Sessions:
The Tunes and Etudes are accompanied by guided practice sessions in which the eAr teacher

plays a small unit of the whole tune, and the student then repeats it one unit at a time. These

unique and specially designed Shedding Sessions present the music in units that move from

small to large.

Educational Material:
All written material is accompanied by backing tracks and downloadable PDFs. Backing tracks

come in two forms: one with the teacher playing, and one without. This way students can make
a choice according to their level of independence.

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Overview of content:
Here is a list of the educational material per facet:
TUNES: IMPROVISATION:
1. A video lesson, including a play-through of the 1. A video lesson discussing a possible approach to
tune with the backing track take with the improvisation
2. A backing track with the teacher playing 2. An audio-only version of the teacher playing over
3. A backing track without the teacher playing part of the improvisation track
4. An online PDF with the sheet music of the tune 3. The complete backing track to improvise over
5. A downloadable PDF with the sheet music of 4. A downloadable PDF with essential material and
the tune a concise explanation of a possible approach to
take
ETUDES: 5. An online PDF with essential material and
1. A video lesson, including a play-through of the a concise explanation of the possible approach
etude with the backing track to take
2. A backing track with the teacher playing
3. A backing track without the teacher playing HEARING:
4. An online PDF with the sheet music of the etude This facet addresses 4 modes of ear training:
5. A downloadable PDF with the sheet music of 1. A number of Hear & Sing exercises
the etude 2. A number of Hear & Play exercises
3. A number of Hear & Write exercises
EXERCISES: 4. A number of Read & Sing exercises
1. A video lesson, including a play-through of the
exercise THEORY:
2. An audio-only version of the teacher playing the 1. A video lesson discussing a specific theoretical
exercise concept in depth
3. An online PDF with the sheet music of the exercise 2. An online PDF with the theoretical concept
4. A downloadable PDF with the sheet music of the explained visually
exercise 3. A downloadable PDF with the theoretical
concept explained visually
READING:
1. A video lesson discussing the approach to take
when learning the song, starting with an excerpt
of the song
2. A backing track with all instruments
3. A backing track without the student’s part
4. An online PDF with the sheet music of the Hein Van de Geyn
student’s part of the song Education Director,
5. A downloadable PDF with the sheet music of the The eAr Academy
student’s part of the song

NOTE: Teachers are able to download a Teachers Book for each level, in which all the material is presented, providing an
easily accessible and complete overview of that specific level. There are also Students Books available, comprising all
the available material within one level.

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 TRUMPET LEVEL 2
General:
On this level the student controls an expanding range on the instrument, and knows the most

important flats and sharps. Students will also explore fine tuning and practice airspeed and

long phrasing. The usage of rhythms, swing feel, dots and ties will now have become a natural

part of the students musical tools. Students will have played with some fascinating Reading

tracks in which horn parts, melody playing and even some improvisations are presented.

Improvising skills will have expanded to even a few odd meters. Students now will feel quite

comfortable with their trumpet, their ear-hand connection should be on a solid level. Hearing

will have developed further, and the knowledge presented in Theory will now include subjects

beyond the basic necessities.

Essential Facets
READING:

The students will be presented with material that gives them three basic reading options:

1. Attractive melodies that are learned and played through a combination of reading (mainly
pitch), imitation (mainly rhythm) and memory (both elements);

2. Horn parts with a strong emphasis on performing tight rhythmical phrases;

3. Background parts that expose long notes; blending into the backing tracks is addressed

at this point.

There might be smaller, more complicated parts within a song that can be skipped over

initially and addressed later, when the basics of the song are becoming more solid. There

are some places where the students are invited to play a short improvisation. A non-

cerebral approach is highly advised here.

NOTE: The main goal of this facet is to their own listening experience. It is understand the song acoustically, use the
give students the opportunity to important for students to realise that the sheet music as a road map to manoeuvre
musically and instrumentally connect goal is not to understand everything they through the song from beginning to end,
with a song that might resonate with see on the paper. Rather, they need to and try to catch on as much as possible.

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This means they can simplify things, skip time is ripe. stimulate musical and instrumental
over things, ignore complicated This means that students can and will be intuition. The desire to stay with the
variations. They can also leave out part of presented with musical material music will push students to use all the
the written notation, play the left hand indifficult keys, or encounter written tools they have available: memory,
only, play the cymbal pattern only, etc. rhythms that may be impossible for them reading skills, imitative skills, physical
We simply want students to be excited to to decipher at their level, but which will intuition.
be part of the “band” and manoeuvre be executed anyhow through imitation These tools are, in fact, used by any
through the music as best as possible. and memory. musician at any level and in any genre.
Finer details will be addressed when the We expect that the above process will

IMPROVISATION:

On this level students will mostly be given one of the more mysterious modes and will

improvise within these still mostly from intuition. Some episodes will be within a groove, and

quite diverse grooves are presented on this level. Some of episodes will be without time,

groove or even tonality; shifting the emphasis towards creating phrases with a strong inner

logic and the exploration of a more abstract musical language. Odd meters are presented as

well. We still use easy keys on this level, with a maximum of 3 accidentals to solidify the

students development of a strong ear-hand connection. The intuitive approach starts to now

be enriched with some cognitive awareness.

NOTE: The goal of this facet is obvious beneficial emotional effects intellectual approach is kept to a bare
threefold: that go hand in hand with this process. minimum. It is only later in the
1. Stimulate the students to find 3. Develop a relationship with playing development that students will learn to
notes on their instrument that the instrument that is not based on use mathematical strategies to
originated in their own head. The composed expectation, but generated manoeuvre through more complex
importance of constantly triggering the within the player’s musical mind an harmonic situations.
development of proper ear-hand instant before the playing takes place.
coordination cannot be understated. As any mature improviser knows, the The most important sensitivity to
2. Trigger the students to think in learning of one’s own strengths, develop is the ability to hear and play in
artistic terms such as loud/soft, dense/ weaknesses, possibilities and impossi- a horizontal way; to experience the
spacious, tension/release, high/low, etc. bilities, and applying that realisation overall tonality above the individual
Since the music is generated in into the playing process, will strongly vertical harmonies, and be able to hear
students’ musical imaginations, there develop musical personality and the coherence between different
will be a great sense of ownership of individuality. chords.
the played material, as well as the An approach is taken in which, during
satisfaction that comes with the the initial phase, the improvisation
growing ability to control what is process depends heavily on the ear and
produced on the instrument. There are the intuition of the student. The

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 TRUMPET LEVEL 2
Supporting Facets

HEARING:

In Hear & Sing, students will start on any note of the tonic chord. Rhythmically things are

slowly being expanded. Relationships between triplets and eight notes are addressed. Phrases

are becoming longer.

In Hear & Play, the root and the fifth are the main starting points. Intervals include thirds, and

even larger intervals. Rhythmic complexity is growing. Phrase length is expanding.

In Hear & Write, students will be exposed to tonalities up to 3 accidentals, and different, more

varied note lengths and rests are offered. Knowledge now is becoming an essential tool in the

process as well.

Read & Sing is on a slightly more intricate level. Stepwise movements as well as 3rds. The

common tonalities are represented.

NOTE: In general, the Hearing facet’s stand the musical phrase, be able to ear-hand coordination has the highest
goal is to develop a solid inner ear with sing it, hear it and use auto-feedback priority. This facet addresses the
the student. The immediate goal is to connect the hearing with the complete realm of melodic ear training
audiation: to have students under- playing. Again, the development of in all its approaches.

THEORY:

Concepts that might have a more theoretical character are offered on this level. Students now

should have the theoretical knowledge needed for the practical issues they encounter whilst

playing, but also start to develop a more pure theoretical insight. This knowledge deepens and

enriches their musical life.

NOTE: The Theory facet will be used and investigate any lesson that fits will be watched, but a liberal use of all
somewhat independently of the their curiosity or answers imminent available Theory lessons on this and
Playground structure. Students will be questions at that moment. Obviously, previous levels is stimulated.
invited to browse the Theory offering the actual Playground Theory facet

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Instrumental Facets
TUNES:

Lip slurs and longer phrases are covered here. 16th notes and syncopation are practiced.

Different forms are discussed as well as the fermata, pentatonics and chromaticism.

NOTE: Tunes are relatively short culum in terms of key and time thorough progressive line is created
playing pieces that remain within the signatures, rhythmic complexity, per level, and between levels.
parameters set in the overall curri- range, intervals, and technical level. A

ETUDES:

Rhythmically we are expanding: notes on-and-off the beat, anticipations. Larger intervals

are practiced as well as diatonic triads. New time signatures are exposed and the use of the

tongue its further explored.

NOTE: In Etudes, one or two elements further elaborated upon in the form of a the curriculum.
(often originating from the tune on the musical playing piece. Again, a
same Playground) are addressed and progressive line is followed, laid out in

EXERCISES:

Air flow, non-pressure, breath control and the placement of the tongue are all covered here.

The range expands to 1.5 octave. Scale patterns and arpeggios are practiced as well.

Pentatonics are addressed as well as larger intervals.

NOTE: Exercises approach a specific it. The goal is to construct the exercise independent of the sheet music.
technical or mental element of playing in a logical way, such that students will
and offer a thorough investigation of be able to play and practice it by heart,

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 TABLE OF CONTENTS:
trumpet LEVEL 2
PLAYGROUND 1 | big moon

Facet Title Description Style Key Time BPM

Blues feeling - C minor pentatonic - On and off the

TUNE Big Mama beat - Dynamics - Articulation: accent, staccato, Swing C major 4/4 78
tenuto - Pick-up

Swing feel - Notes on and off the beat - C

ETUDE On And Off The Beat Swing C major 4/4 65
pentatonic scale

EXERCISE C Minor Pentatonic Pentatonic construction - Different possibilities n/a C minor n/a 50

Fly Me To The Moon Well known song, in a Jazz version with some
READING Jazz B minor 4/4 118
(Frank Sinatra) improvisation possibilities

Waltz - Swing feeling - How to resolve a tension -

IMPROV Jazz Waltz Swing C major 3/4 70
Secret Ab

A series of hearing exercises in four different

HEARING Quick Ears modes - (Hear & Sing - Hear & Play - Hear & Write - n/a n/a n/a n/a
Read & Sing) will help the development of your ear

THEORY Broken Chords Arpeggios - Broken chords n/a n/a n/a n/a

PLAYGROUND 2 | buttercup cadence

Facet Title Description Style Key Time BPM

A minor - Accidental - Waltz - Dynamics - Lip slur -

TUNE Buttercup Waltz A minor 3/4 102
Dotted rhythms - Pick-up - Fermata

3/4 time signature - Understanding rhythms - Tied

ETUDE Rhythms In 3 Pop C major 3/4 70
notes

Flow - No pressure - Single airstream - Relax -

EXERCISE 1st Flow Exercise n/a n/a 4/4 90
Tongue

Signed, Sealed,
READING Delivered Easy backing horns, till high g Motown G major 4/4 107
(Stevie Wonder)

Lydian - Tonal centre - Play varied phrases -

IMPROV Lydian Groove Funk C lydian n/a 140
Blending in with the groove

A series of hearing exercises in four different

HEARING Jumping High modes - (Hear & Sing - Hear & Play - Hear & Write - n/a n/a n/a n/a
Read & Sing) will help the development of your ear.

Breaking through the downbeats - Breaking

Syncopation |
THEORY through the invisible line - Syncopation in 4/4, 3/4 n/a n/a n/a n/a
Cadences or 6/8 - The 4 cadence types
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TABLE OF CONTENTS:
trumpet LEVEL 2
PLAYGROUND 3 | Sixteen leaves

Facet Title Description Style Key Time BPM

Sixteenth notes - D major - Articulation - Breath

TUNE Sweet Sixteenths Pop D major 4/4 50
marks

Sixteenth notes - Vocalise - 2/4 time signature -

ETUDE Simple Sixteenths General D major 2/4 50
Staccato

Crescendo, Crescendo and decrescendo - Change of sound -

EXERCISE n/a C major 4/4 80
Decrescendo Control your breathing

Georgia On My Mind Very well known song in a typical big band jazz,
READING Blues A major 4/4 63
(Ray Charles) singing setting

Predictable chords - Jazz feel - Natural minor vs

IMPROV Autumn Leaves Jazz harmonic minor - Sequence technique - Make Jazz A minor 4/4 70
variations - The expected vs the unexpected

A series of hearing exercises in four different

HEARING Accidents Happen modes - (Hear & Sing - Hear & Play - Hear & Write - n/a n/a n/a n/a
Read & Sing) will help the development of your ear

The triad - Root position - First inversion - Second

THEORY Inversions n/a n/a n/a n/a
inversion - Numeric notation

PLAYGROUND 4 | swinging valentine

Facet Title Description Style Key Time BPM

Slurs - Syncopation - Playing off the beats -

TUNE Mercy, Mercy, Mercy Soul Jazz A minor 4/4 80
Articulation: marcato - Pick-up

ETUDE Swing Low Low G - Open mouth - Swinging eight notes Jazz A minor 4/4 80

2 notes with the same valve combination - Avoid

EXERCISE Flexibility In 4ths pressure - Instrument pivoting - Airspeed - The n/a n/a 4/4 80
tongue - Mouthpiece only

My Funny Valentine Well known melody, a surprising metric

READING Jazz D minor 4/4 104
(Frank Sinatra) modulation to 3/4

Alberti In Harmonic Melodic minor and Harmonic minor - Alberti bass - Quasi
IMPROV D minor 4/4 70
Minor Follow your intuition classical

A series of hearing exercises in four different

HEARING Pedalling Up modes - (Hear & Sing - Hear & Play - Hear & Write - n/a n/a n/a n/a
Read & Sing) will help the development of your ear

The 12 keys - The sharps - The flats - The overlap

THEORY Circle Of Fifths F# and Gb - Father Charles ... - The relative minor n/a n/a n/a n/a
keys - Your Swiss army knife
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 TABLE OF CONTENTS:
trumpet LEVEL 2
PLAYGROUND 5 | shady love

Facet Title Description Style Key Time BPM

Follow the lyrics - Adjusting the D - Slide out only

applicable to 3rd valve - Breath mark - Enharmonic
TUNE Where Is Love? Ballad C major 4/4 60
equivalent - High D - Courtesy accidental - Lip slur
- Dynamics

Combined Dotted
ETUDE Dotted rhythms - Different combinations Pop C major 4/4 60
Rhythms

Expand your range - Steady air stream - No

EXERCISE 2nd Flow Exercise n/a n/a 4/4 140
ballooning - High d

A Whiter Shade Of Pale Rhythmically involved melody (use imitation),

READING Pop D major 4/4 73
(Procol Harum) range 1.5 octave (a-d), more extended organ part

Minor pentatonic - Blue note - Major pentatonic -

IMPROV Jazz Blues Jazz G major 4/4 100
Think in phrases - Swing feel

A series of hearing exercises in four different

HEARING Silence Is Golden modes - (Hear & Sing - Hear & Play - Hear & Write - n/a n/a n/a n/a
Read & Sing) will help the development of your ear
The essential road signs in music - The repeat signs
- Da capo - DC al fine - DC al coda - Coda sign - Dal
THEORY Repeats And Forms segno - DS sign - DS al fine - DS al coda - first and n/a n/a n/a n/a
second ending - Third ending - On Q - Slash
notation - One- and two-bar repeat sign

PLAYGROUND 6 | clear ragtime

Facet Title Description Style Key Time BPM

Ragtime - Syncopation - Pick-up - Breath marks -

TUNE Ragtime Rally Ragtime D major 4/4 90
Dynamics - Chromaticism - Interpretation

ETUDE D Major Syncopated Syncopation - Play off the beat - Chromatic line Ghoema D major 4/4 90

D Major Scale And D major scale - Adjusting the note D - Scale

EXERCISE n/a D major 4/4 120
Arpeggio patterns

I Can See Clearly Now

READING Easy melody, yet in a challenging key Pop E major 4/4 121
(Jimmy Cliff)

Phrygian - Explore your instrument - Play in-and- A

IMPROV Phrygian Drone Ambient n/a n/a
out phrygian

A series of hearing exercises in four different

HEARING Three Against Two modes - (Hear & Sing - Hear & Play - Hear & Write - n/a n/a n/a n/a
Read & Sing) will help the development of your ear

Basic Harmonic Build triads on every scale tone - All degrees - The
THEORY n/a n/a n/a n/a
Functions diminished triad

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TABLE OF CONTENTS:
trumpet LEVEL 2
PLAYGROUND 7 | burning and wrecking

Facet Title Description Style Key Time BPM

Cut time - Courtesy accidental - Pick-up - Accent -

TUNE The Bare Necessities Slurs and ties - Minimise pressure - Breath Broadway F major 2/2 60
markings

Cut common time - Translate from 4/4 - Combining

ETUDE Rhythms Groove F major 2/4 60
rhythms

Placement of the tongue - Don't stop the airflow -

EXERCISE Tonguing n/a D major 4/4 120
Bounce the tongue

Wrecking Ball (Miley

READING Nice and easy melody, 6 notes only Pop G major 4/4 120
Cyrus)

Atonality - From within and from outside - Be

IMPROV Atonal Fun Abstract n/a n/a n/a
aware and alert - Don't be afraid

A series of hearing exercises in four different

HEARING Quick Notes modes - (Hear & Sing - Hear & Play - Hear & Write - n/a n/a n/a n/a
Read & Sing) will help the development of your ear
Relative tonalities - 3 half steps removed - The
fundamental - The tonal centre of gravity - The
THEORY The Relatives | Why? leading tone in minor - Why read music? - Why play n/a n/a n/a n/a
by ear? - Why open your eyes? - Why learning
chord symbols? - Why learn theory? - Why not?

PLAYGROUND 8 | five mary

Facet Title Description Style Key Time BPM

Swinging 8th notes - Bb major tonality - ABA form

TUNE High Street Swing Bb major 4/4 94
- Sing articulations - Slur into staccato

The Bb key signature - Swing feel - Shorten the 4th

ETUDE Swinging In Bb Swing Bb major 4/4 104
notes - Syncopation

Control flexibility - Relax - The tongue controls -

EXERCISE Flexibility n/a n/a 4/4 86
Avoid pivoting - The lowest note on the trumpet

Proud Mary (Ike and

READING Famous and high horn part Soul E major 4/4 170
Tina Turner)

The division - Odd meters - The tricky 6th - Think

IMPROV Five-Four Groove C minor 5/4 80
in phrases

A series of hearing exercises in four different

HEARING Syncopated Fun modes - (Hear & Sing - Hear & Play - Hear & Write - n/a n/a n/a n/a
Read & Sing) will help the development of your ear
The top figure, the bottom figure - Simple time
Time Signatures | signatures - Compound time signatures - Duple,
THEORY n/a n/a n/a n/a
Hemiola triple or quadruple time signatures - Irregular time
signatures - Breaking through the expected
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 TABLE OF CONTENTS:
trumpet LEVEL 2
PLAYGROUND 9 | Latin mary

Facet Title Description Style Key Time BPM

Whole rest in 3/4 - Dal segno al coda - Coda -

TUNE Dragonfly Jazz Waltz F major 3/4 96
Dynamics - Swing feel - Fermata

Slurs And Ties In D D minor tonality - Accidental - Slurs and ties - Use
ETUDE Waltz D minor 3/4 96
Minor your tongue

Bb Major Scale And

EXERCISE Exploring Bb scale - Arpeggio - Scale patterns n/a Bb major 4/4 120
Arpeggio

Lowdown
READING Nice, tight horn part; 16th notes R&B E major 4/4 115
(Boz Scaggs)

Two chords with the same function - C dorian - Sit

IMPROV Latin Phrasing Latin D minor 2/2 120
in the groove - Listen and respond in any way

A series of hearing exercises in four different

HEARING Straightening Out modes - (Hear & Sing - Hear & Play - Hear & Write - n/a n/a n/a n/a
Read & Sing) will help the development of your ear
Chords function within a key - The tonic rules - The
dominant points home - The subdominant wanders
THEORY The Land Of Harmony n/a n/a n/a n/a
away - The 3 main functions - The 4 secondary
functions

PLAYGROUND 10 | swinging tears

Facet Title Description Style Key Time BPM

TUNE The Nuthatch Rhythmic anticipation - Long crescendo Swing D major 4/4 104

Swinging Variations In Swinging 8th notes - Staccato - Rhythmic

ETUDE Jazz D major 4/4 104
D Major anticipation

Natural sign - Enharmonics - Relax - Control air

EXERCISE Low Range n/a n/a 4/4 90
flow - Round, hollow mouth

Tears In Heaven
READING Wonderful and simply melody Pop Ballad C major 4/4 78
(Eric Clapton)

The relatives with 1 flat - Melodic minor - Connect

IMPROV Groove Platform the ear to the instrument - Play in the pocket - The Groove D minor 4/4 70
parameters of music

A series of hearing exercises in four different

HEARING Starting Low modes - (Hear & Sing - Hear & Play - Hear & Write - n/a n/a n/a n/a
Read & Sing) will help the development of your ear

Ties And The Imaginary Deeper into notation - The exceptions - In 3/4 - In
THEORY n/a n/a n/a n/a
Barline 6/8

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TABLE OF CONTENTS:
trumpet LEVEL 2
PLAYGROUND 11 | the groovy tears

Facet Title Description Style Key Time BPM

Andante - Dolce - DC al fine - Dynamics - Breath

TUNE Aria Classical G major 4/4 75
marks - 16th notes

Structure of diatonic triads - 4 permutations -

ETUDE Triads In D General D major 4/4 60
Double time

D Minor Scale And D minor scales - Relative major - Arpeggio - Scale

EXERCISE n/a D minor 4/4 120
Arpeggio patterns - Try different articulations

The Girl From Ipanema Nice, cool melody + background horns inserted as
READING Latin G major 4/4 140
(Frank Sinatra) well

Phrygian Drone The structure of phrygian - Play in or out - Be A

IMPROV Ambient 4/4 70
Groove aware of the groove - Use intuition, ear and mind phrygian

A series of hearing exercises in four different

HEARING Pedalling Down modes - (Hear & Sing - Hear & Play - Hear & Write - n/a n/a n/a n/a
Read & Sing) will help the development of your ear

The 4 main voices - The middle voices - The family

THEORY The Human Voices n/a n/a n/a n/a
structure applied

PLAYGROUND 12 | trampolines and stars

Facet Title Description Style Key Time BPM

Jazz Waltz - Swinging 8th notes - Don't force -

TUNE My Favorite Things Enharmonic equivalent - Rhythmic variations - Jazz Waltz E minor 3/4 150
Chromatic line - Marcato

Bigger intervals - Lean on the lower notes - Tenuto

ETUDE Trampolines Jazz Waltz E minor 3/4 130
- Dynamics

Small and large intervals - Use the tongue - Use

EXERCISE Intervals n/a D major 4/4 100
tuning slide - Anticipate the high notes

Shining Star Stabbing horn part. Needs to be rhythmically

READING R&B F# minor 4/4 100
(Earth, Wind & Fire) precise

The division within the bar - The pattern is the

IMPROV Seven-Four Jazz A minor 7/4 100
handrail - Resolve when needed

A series of hearing exercises in four different

HEARING Fast And Furious modes - (Hear & Sing - Hear & Play - Hear & Write - n/a n/a n/a n/a
Read & Sing) will help the development of your ear
The lowered 2nd in minor - The essence of
harmony - The subdominant function - The
THEORY The Neapolitan Chord n/a n/a n/a n/a
dominant function - II in first inversion -
Neapolitan in root position
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 TRUMPET LEVEL 2
Instrumental parameters

MU SICAL EL EMENT S COVER ED ON T H IS LEVEL

C min pentatonic, d maj scale and arpeggio, Bb maj scale and arpeggio, d min scale and
Scales and Arpeggios arpeggio, chromaticism and scale patterns

Chord Symbols min, maj, dim, half dim and dom

swing, pop, jazz, motown, funk, blues, bossa nova, soul jazz, ragtime, ghoema, R&B and jazz
Genres waltz

Ornamention n/a

Range F#3 to D5

flow exercises, 4th exercises, tonguing, lip flexibility, intervals, swing feeling and d-
Instrumental Techniques adjustment

Dynamics crescendo, diminuendo, mp, mf, f, ff, p and pp

Articulation accent, staccato, marcato and fermata

Key Signature 2 flats to 4 sharps

Time Signature 4/4, 3/4, 2/4, 2/2, 5/4 and 7/4

NOTE: Teachers are able to download a Teachers Book for each level, in which all the material is presented, providing an
easily accessible and complete overview of that specific level. There are also Students Books available, comprising all
the available material within one level.

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[Link]