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EXERCISES & ETudES

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Bobby Shew
Born in Albuquerque, New Mexico, Bobby began playing the guitar at the age of eight and
then took up the trumpet at age ten. At age thirteen, he was playing around town for local
dances and parties and then by the age of fifteen managed to put together his own combo in
order to play the local jazz coffee houses. The bulk of Bobby's high school days were spent
playing a six-night a week supper club gig which he feels was a vital learning experience and
excellent career preparation.

After one year of college as a commercial art major, Bobby spent three years as the jazz
soloist in the famed NORAD multi-service band, alongside such greats as Phil Wilson, Paul
Fontaine and Bill Prince. After completing his military duties Bobby joined the Tommy Dorsey
Orchestra under the direction of Sam Donohue, and after touring with them for several months
was invited by Bill Chase to join the great Woody Herman big band. One year later Bobby
traveled for Delia Reese as lead trumpeter and then joined the Buddy Rich big band, just as it
was being formed. Many other positions followed, such as playing lead for Paul Anka, Robert
Goulet, Steve Allen, Roger Williams, Elvis Presley and Tom Jones. A break from full-time
touring found Bobby back in Las Vegas playing for various stars and the big production shows.

By 1972 Bobby was widely known as a lead player, but decided to move to the Los Angeles
area to become re-involved in developing as a jazz soloist. Since then Bobby has spent time
with the groups of Art Pepper, Bud Shank, Horace Silver Quintet, Frank Strazzeri-Sam Most
Quintet, plus numerous big bands: Bill Holman, Louis Bellson, Toshiko Akiyoshi/Lew Tabackin,
Oliver Nelson, Bill 'Berry, Nat Pierce / Frank Capp JUGGERNAUT, Ed Shaughnessy, Terry
Gibbs, Benny Goodman, Maynard Ferguson, Neal Hefti, Don Menza, and Bob Florence.
Amidst all the activity, Bobby put together his own quintet and has made numerous albums
and toured world-wide, concertizing in jazz clubs, festivals and campuses.

Several of Bobby's albums have received accolades from critics as well as high placement on
the charts. One such, Outstanding in His Field, was a Grammy nominee in 1980, while
another, Heavy Company (recorded while touring in New Zealand), was honored as the Jazz
Album of the Year in 1983.

In addition to performing, Bobby is heavily involved in music education, giving clinics on

campuses all over the world while maintaining a busy schedule of private teaching. Bobby has
been on the Board of Directors of the International Trumpet Guild, and has been the National
Trumpet Chairman for the International Association of Jazz Educators for 16 years. Bobby has
authored numerous articles for various trade magazines, which have been translated into
several languages for worldwide distribution. Bobby was the host for a weekly New Zealand
TV show called "Just Jazz", and has been Artist-in-Residence virtually all over the world. He
has done some acting for movies and TV, continues to produce and record music, and works
tirelessly to inspire the next generation of jazz players and teachers.

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PREFACE
The exercises in this book are ones that I have collected over a great number of years. The
earliest go back to my days in the NORAD band. Trumpeter Paul Fontaine showed me the
II-V7-I sequences which really ran me ragged at first but really opened up my technical facility
in more than just the favorite few easy keys that we all sometimes like to frequent. Perhaps of
greater importance was how much the exercises opened up my "ears" into hearing through
changes a lot better.

All of the remaining exercises herein are collected from listening closely to some of the great
jazz trumpet players who have been and are still with us. You'll perhaps recognize patterns
from Freddie Hubbard, Woody Shaw, Tom Harrell, Miles Davis, Clark Terry, Lee Morgan, et. al.
I owe a lot to several of my students who have "extracted" them and brought them in to me.

The purpose of these exercises is two-fold: first, it is quite obvious that they are there to help
with finger facility, as you'll see in the titling of them. Second, they are designed to open up
your ears and enable you to hear a bit more extended harmonically, sort of stepping a bit
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outside of the traditional diatonic approach. When I first wrote these out for my students a few
years ago, they sometimes complained to me that I should've written in the chord changes
above them so that they would know exactly when and where to use them. I had to explain to
them that if I were to do so, they would then most likely not develop any ears as to where they
might fit in. The point is that as you play through them, you will eventually start to hear tonal
centers as well as^how these work tonally or atonally in relationship to the tonal centers.
Nothing can replace nor teach you better than to just experiment with them. There will be an
eventual subliminal, inner ear development which will help you expand your harmonic playing a
great deal.

Take your time with them; once you have learned the pattern (where there is one), try to play
them by ear, not looking at the music at all. As any teacher would suggest to you, start slowly
with them. You've got forever. In many cases they are obviously written quite high into the .

upper register. DON'T take these exercises literally. It would be totally foolish to try to play
past your comfortable range. As you get more accustomed to them, your range might develop
to the point of being able to play the entire exercise. START AND STOP ANYWHERE YOU
WANT TO.

At the end of the book you'll find some "Solos as Etudes". These are quite basic, simplistic for
the most part, although you'll find some extremely challenging areas. I merely took a few basic
chord sequences that all jazz players must deal with on a regular basis and wrote out some
choruses which I felt might give a novice improviser a "feeling as well as HEARING" what it
would be like to play a chorus. You'll occasionally spot licks inserted that you would've run into
in the earlier patterns and perhaps it might help you see how they "fit in".

I'd suggest playing these "Solo Etudes" slowly, naturally, just working out the notes and
fingerings. When you reach a bit of comfort, use a metronome, setting the clicks on "ONE" and
"THREE". Play through the etudes with the metronome, trying to imagine a walking bass line
as well as a drummer playing to the pulse of the metronome. Good luck - I hope you'll enjoy
them.

Bobby Shew
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August 1995
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Minor Key Exercise
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Minor Key Exercise

For Finger Facility
(Ascending)

© 1995 Bobby Shew. All Rights Reserved. Published by Balquhidder Music PO Box 856 Montrose CA 91021 USA
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Major Key Exercise

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Augmented Exercises

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Rhythm Changes ("BrownieSpeaks")

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