Ear Training for Trumpet - Vining WF82

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.

• 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