allen vizzutti método para trompeta - libro # 2
TRANSCRIPT
T R U M P E T M E T H O D
B O O K 2
H A R M O N I C S T U D I E S
Intermediate/Advanced Method
Allen Vizzutti
Alfred
E D
T R U M P E T M E T H O D
B O O K 2
H A R M O N I C S T U D I E S
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
' М Е Ю Ъ Г С STUDIE, Щ
^f^l^^ixie. iyf-Ш 1 Ш й Й {Etudes.
I N T R O D U C T I O N TO B O O K 2
П НЕ SPECIFIC STUDY of intervals, chords and scales will directly affect your ability to make music on Ua trumpet. With a solid foundation in all keys, the performer will seldom run across music that is not based
on harmonic material already somewhat familiar. This high level of competency is the medium in which mu : is made. Gradual advancement through all of the material will result in great success over the long term. »e patient. Be persistent.
Please note that the many chord types in the Chordal Studies section have been named. Understandi_j what notes are represented by a chord symbol is very useful, especially for those interested in jazz improvisation.
As always, trumpet players should warm up thoroughly as detailed on the next two pages before playi 3 anything demanding. The performance techniques developed in Books 1 and 2 of this method are presented in Book 3 in a purely musical setting.
3
P R A C T I C I N G
USIC HAS THE POWER to enable anyone to feel good. Trumpet is one of the most versatile of instru-L k U ments, an instrument that is capable of crossing any stylistic or cultural boundary. The gifts of studying music include:
® Greater emotional expression
© Acquired skills in the art of self-discipline
© Raised social status
® Creative interaction with 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 available in music can be had through daily practice.
The more organized your practicing is, the more fruitful it will be. Here, then, is a suggestion. Practice in three 15- to 30-minute 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 material to avoid forming bad habits, boredom and to learn new things each day. You must be your own best teacher. Listen with honest ears. Always try to improve. When problems occur, refer back to fundamental thoughts on breathing and sound. Most problems will correct themselves. Best wishes and good luck.
© Creative problem solving
© Controlled concentration
© Developed motor skills
4
THE W A R M 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 following is a warm-up routine in four pa i with variations for each day of the week. Remember to concentrate on the basic fundamentals from the first note of each new practice day (i.e., beauty of tone and utilizing large volumes of air when inhaling and when blowing 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.
© Buzz the mouthpiece in the approximate range indicated. The sound should be "fat," full and without gaps as you slide downward. Keep repeating until there are no gaps. Buzz anywhere from a few seconds to a few minutes. 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 following triads. Check pitches at the piano while buzzing whenever possibl Be sure you are producing a fat, forte tone.
1 1 • * X i J
8vb f
5
А А А А
© Approach the following exercises mentally as if playing one long note. Articulate heavily. Make the legato notes very long and the marcato notes fat and spaced—no breathing allowed in the middle of a line. This method is an excellent tool for relaxing the lips and warming down as well.
For additional "loosening up," repeat the preceding exercise 8va, resting wherever necessary.
A A A A A A A A
A A A A A A A A
© Play long tone exercise #1, 3 or 4 with as beautiful a sound as possible.
Start each playing day with the three steps above. Some days may require more warming up than others due to the playing demands of the previous day or your biorhythmic cycle, but warming 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 way you can vary your warm up, maintain interest and learn new scales and fingering patterns quickly. Work gradually day to day through all of the keys until you can play each study with a minimum of technical "hang-ups." It is not necessary to play the studies higher than third space " C " in your warm up, though advanced players may wish to do so. Ideal warm-up time should eventually be 15-20 minutes.
® Monday Tuesday Wednesday Thursday Friday Saturday Sunday
Book 1, Technical Study # 1 Book 1, Technical Study #2 Book 1, Technical Study #3 Book 1, Technical Study #4 Book 1, Technical Study #6 Book 1, Technical Study #7 Book 1, Technical Study #8
In my opinion, lip slurs (except in the lowest seven partials) are not a particularly good warm up. They are physically demanding and, therefore, useful later in your practice time. Lip strength (more accurately, the strength 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 complete package are based on efficiency of breath control, not brute strength.
P E R F O R M A N C E A N X I E T Y
ERFORMANCE ANXIETY (i.e., nervousness) is a common and natural thing. Players at all levels of con petency 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. i order to enjoy playing music and play well. Experience is the real key. The more often one performs, the egs er it gets. Take every possible opportunity to perform. Play for friends and family. Casual settings can b с great help when done frequently. As a useful by-product, the more one performs and is heard, the more li*el one will be asked to participate in other musical settings. That is the process through which one rises to theJo of the music community, no matter how large or small the community.
Here are a couple of practical pointers to help you defeat performance anxiety:
© Warm up well several hours before performance time to ensure lip suppleness and good response.
Ф When the butterflies come, don't resist them. Resistence causes tension. Tension causes playing problems Let the wave pass through your body. Observe the feeling as it happens. Don't panic.
© Scrape your tongue lightly across your top teeth to cause saliva to flow. The less you concentrate on «r mouth, the sooner moisture will return.
© Let go of the inevitable mistakes. Do not dwell on them. There is always time to think about that later.
© Think musically, not technically, except for breathing. Breathe deeply and project the air confide H through the instrument. This is the one fundamental you should always fall back on when you find your о if dence faltering.
© Finally, stay in present time. Don't worry about what has happened or what is coming. Don't sacrifice 31 entire piece for the sake of a high note or a tricky passage. Make the note or phrase you are playing as beai tiful as possible. The rest will fall into place. Present time is the key to performing from memory without slip a well.
Interval Studies 7
Interval Studies Use your ears to play intervals accurately. Listen for the pitch of the "next" note. Do not consciously adjust your embouchure. It will adjust naturally if you stay out of the way. Remember many large intervals that look difficult on paper are not difficult acoustically on the trumpet. Play with confidence!
Pause and rest during this exercise whenever necessary.
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i i i i i i i i 1
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8 Interval Studies
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Interval Studies 9
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10 Interval Studies
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Interval Studies 11
12 Interval Studies
Interval Studies 13
14 Interval Studies
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Major & Minor Sevenths
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to*
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Interval Studies 15
Major Seventh
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Minor Seventh
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bJ 1 1
5 - r 1 и
3 г Г п
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я « • r b J J • w - J 1
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f = ^ t —P " - ' j m
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Interval Studies 17
1>T J 1 ' N T iJ' Г i ; 1_[Д Г J - я
2 5 4 frfrl' J l ^ l ' g ^ g IP
i r Г r i •р*Г r [ —? 2= ' c J r '
i if 1
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m Л mm тШ
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f f l r л i ! Г , N P 1 P 1—• I 1 P lb« 1 P 1 . P 1 1 1 f 1
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J J * — L-J— -0
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ГЛ"] i J - i - * ' — U J 1— Ш—
*'• w * *
m J У
ггр ГГр , Г Ш
• •с
18 Interval Studies
Major ( J = 120 )
Chordal Studies Triads
Chordal Studies 19
m f
w
P P
p p
P
г i' J P Щ
m
P
zzz: 3fe
P i P
20 Chordal Studies
P
Minor ( J = 1 2 0 ) J - . :
If m;
i 1 I P Г е p *
m W
T 2Zn P P m и м
P
Rest wherever necessary during this lengthy exercise.
Major ( J = 132 ) Minor
P m w mf
Augmented
mm i i g a g l»5
P* •
Chordal Studies 21
24 Chordal Studies Play the upper notes of the following series as lightly as possible. Play only the exercises in which the upper notes come easily.
Major Triads ( J = 138 )
5 Щ
V V simile
w m w
4 • p •
# = f f f f
> —- J 1—•>
T*~I— jp
1* 1 f r |»
• L T '
-p-fm——i i 11 i и 3 b J J J J V Ш If V
- J - " — ^ — • •
' p » —i
J ^ J ^ U r
; n - n
ljm—[#d—
J - - 1
Ш Ш
T P -
I* • — f f p r r
JJ 1 V
-f-W~-e-p F
" W ^ ' l T
9 i J J J <
7 £ — i r
' J d 1 g Ы
[ I ЕЭ I to г k f
I T M г г г
ft> r I rb r t ч1
g J e J 1 =
1
J W ' "CXI
t r f f ?
Й Р Р Р Р — —
*> r iflf ,p qi
% J i i j J J "
I'F IL I'Ff • г ' Т г Г ^
= £ |"= =
1
; u 11
г Г1 ' T J J
гт—Л
1 1 1
V f f f fer tip Ц JtHJ-1 •Lp_» Ё
Г п И • • p
L 1 1 1 ! P
t n f r r r — L J , * - - " I I
26 Chordal Studies
Augmented Triads ( J = 138 )
•ш ш-^-ш • 9 mf m\ ХЛ
simile
р # " - р - И ie—t4r-U-m SX ^#%=-T ] i I I I I
_ = p = : 9 J J J J « J J J ^
— = = = L - U J —
f я f —f м - — f t » — p ~ < r flf •
^ Jjt J J J J J J " 1 £ £ ^ • F " — f 1 — т + — W T+- W
mma%9m *-]—8»-- r n - —
I I I 1 J t p l M
j n П 11 1 Г1 ,Lr 1 [ £ f
Г г Г Г г П Г Г ^ г Г г ь г 1 Г ¥
fe'JJJJL =
—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 » • •-•i bo
т f*
•i—ггп k n - V
- Г M i l - л 1 J — — :-4— !
f r r f r f i ^ ^ г Г Г ' п Г ' г
In f JIj J 1 о = =
• . . .
- - 1 1 1 1 U 4 E
! Г г г * Г г Г l ^ ^ f f f r i Y r и •_ __
— ^ p U ^ U —
"t" /• Лт
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
U' Us
. , „ i i J T ^ И Д i г т tp—i M r — г — i 1 Ь J 1
cres<: LOT J 1 J
/ Г 7
a t • 9
- 3 я i J - j J - j J T l
28 Chordal Studies
fhis series of exerc
Domir
e 4 ^ = \
ises should also be tongue
ian t7 { J B 132)
" Т Я Д Т п i —
d.
• r f j P jf ^ T r - 1 1 — i — *J -J
mf
J J J J J = * =
-m 9 * * s
j ^ r -
*
4 £ г J ' =
T H
i Г i»
Hm—
1 J 5 1 1 - _
г ^ н *—~-
&. i .J
V Z f L
LJI 1 - P f f j j i I г i S f l i • 5 3 1 - —r~ -£ P ^ J — i _ y .
• m : &07 — m-m к - f f - —
Ч ж т ,
J J - 1
r Г > 1 : 1 ' П - Г
6 — -
i -i ^ f J ' 1 У
jf
... ... .
—1 к fc=4
Chordal Studies 29
- i — * — l ' f H . i ; ^
fe J * 1 ц Д г *
4 * • " ^ • l : *
J ' 1 ' ' h i
j J
'WW J
(en l/^ba 4 4
v —
fa! 1
1 ^Ff>—
J J J * = H =
._ •_. ъ
=*вУ| Г ' '
*
jk -i^-F-
tf1 ' ' J
r T ^ i 1 Г "r*~S
— « u J - 1
• i
1 : ^ f r - f
i
~i i 1 ' ' g U j
> i 1 <T»ff T V r l — > — r f
£
*
Ma jo
1 Л / 1 . 4
J = 132 ) ^
— к - S ! T = F J J p i
да
: E f T p
i*
$ >W -TO-* ^#
30 Chordal Studies
' г > 1
1 , J 1
4
£ г i -*bJ— J > r J ^ -
' • Ы wL.
»- Ж7Т .
' J — 1
F f > 1
• —С-
i— -
! — — Щ-s J U
1*
—1
4
-f
frjp—
| р л г п
% — ^
JJJJ'r j bfe
г Д - Н J - f f
- ^ J * •
* .г
^ , > = $ J J J P ' I J 7 J J j - M E gUK С
* Яг». .1
=4J -
Ma jor7(|5) J=132 —^Tl*JT-i—J—
-ф С „
^Щ-г i—
j 1 * 1
L V ^ — t — =j 1 1 1<P 4
mf - эд= J J Г ' 4 р р
32 Chordal Studies
Chordal Studies 33
Chordal Etude Slowly (J в 80)
1VI Л Я шг-П—ш -ft—. = = — •
—Ig , ^ fli
-r— s
» ' - И — J
— I » — ( • —
J g 1
^ — r 1
" J '
* < •> -Ьч—
-L 0*- u i — mf
0 p_ т (
- 0—
*=г= i » — = -
i H
• • sb
Г " p — * —
4 J -mf
|^
=b=£= к « 1 —
• — i —
-4=
^ • •
J
•—m
Г 3 [ J *
T-S ——0 ^ — f 3 -
J 1
= p
=fcd=t
- ч
' i [J 1 - m/ k
=--b=—0— #^
J—^ • — J — • Ш
f~~~0 • J "L
f r J T l—
_J 1—
3 = P
mf
: rt ,
* — — V - Ы • 1 L J 1 ' ' " C J i
— mp T
1 7 p
™—1 ~м
J ^ 1
ж - Ш e
p—X
-ту. 1
$ IS J « L r J J . Г"вП ^ — К —i r — J — 1 — J ) Ь*1 J -
1 11
34 Chordal Studies
Major Triad ( J = 126 ) Minor Triad
1 5
mf 0 m LT^JU bp i m\/m Г " | p s r
Jr r ... Pi Pr
и i . а
bd* b» ^
у» -—ж
Й Й 1 0 Lf J i 1 j
I "LT*J#i I • Ш
Chordal Studies
¥
J . . 92
1 6 8 /ТУ
« J _ ;
I b J J J b T J 1 1 g g I j ^
36 Chordal Studies
Chordal Studies 37
38 Chordal Studies
Chordal Studies 39
40 Chordal Studies
Chordal Studies 41
42 Chordal Studies
Major 7 (|5) / Dominant 7 (l>5)
20 T 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 — 1
r r * i l A r r ^ n }
i C_ >•» —— 1 _ ! e . ft
44 Chordal Studies
Chordal Studies 45
Chordal Etude
- i — i d ire
V , 1
J ' 1 . m •
F T * m— m—1
• — •
• 1 n
* — I * — 1* » rl 2 " к
7tr4^ r f # = Г >
• - f e r
1=1 • •
•1
- 1 I J 1 1 Г 1 ^ b L U L p aw 1
и ' II
1/J ft
f
46 Chordal Studies
Major 13 (111) J = 112
mf л ? 3
j J J J |»
; ^ i _ 4 ^ 4 f * - i - p t t r r г p _ ц n - 1
6 ^ -4^4 i
4—
i7 j л и j
- s — - P4
— i . _ 4 . •? H L • _ т
— p Г p Г p F * r ^
1 XX
^
3
L 4 - J г
J J J J 1 pgp] — — 3
• r J J у 1
1
з
3 з
Г Т
— ' J
3 .?
m u m m m T " -
4 1
^ J
±- 3 — f Г Т
и —ш—B » fi | — - — 3
3 ™4 : — U J
L f > T J .
— — iti*——*—— Г""*™
и=г—1
i—=4 \
2 4
Min
ill or 11 (13) J
^f~~~ з
а 112
i f i ' T ' T f i 1 '
* I F
a n ™
Chordal Studies 47
48 Chordal Studies
6V saiprus РР-»оЦЭ
Scales Scale exercises should be practiced at a variety of tempos.
Major
Scales 51
Г Т Т З | .071 , j l E g g j E , P 5 *
1 Л П П г г Л П Г Г Х Г ^ и Ш г г Л Д I ^ T J
1
L £ _ r j J T j JI J T J i g
a j j j 3 JTT^ 1 / " J I J j j j 1 Я ] J JXJ^ 1JXJ J
"J. J « i f f
i
s
j X l J J T P l JTJ 3 л j 1 - Г О j JTJ Щ
52 Scales
- m J 7 T J Г П Л г = J J J ^ - -
т п ПТ-
I J J J J J J
II Л Т ) n ,
g J j ] 1 * * 9 J. ' «H
J - 1 J W г
Т"П Л г 1 Oy ti H —
2 ^4=
j #—
itural Minor
i—i r T П i j m : - P ^ T Г Т - г
J »* * Г-J
it r r Г 1 » i r •== Г* / " * 1 p r r . Л ' П 1 1
T J -1 J J 1
Г П » г Г 1
& r r
1 J С - Ш '
—m r f—
L 1 T J J J J
• Г Л Л n i - 0 - л—гт*^——
1 J * С -:
Г П , » г ;-j •> [ г LT 1
i n i j Л
* 0 J m 0
Г ] p p=i— I Л J I r i i-i 1 i •
1JJC/r »
M J T
J J •<J J
л с r r Г - T f . Л -J — * * ^ J j j j ' i r r r . J T j > f = i
i J J J J Г 3
, r г Г ~ - 1 " L J-
# ¥ = ^ J J r Г Г -
- -1JU J
1 Г Г г , Л F 1 r r |» . Л Т 1 i Г
X J U ' 1
П П г Г Г II J Т. П - -
- п Л У - 1
- - - X T J «-i п п r i ,
—-1 г / —
i j y - n n = р р
^——-1
П 1 П r H J » * н и Г Г Л
1 J J
I J T J 1 n r I Г Л Л 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 —
W 0 0
• - * J J. W « 1 Г Г Г Г Л П 1 Г Г Л г г г i
J J с г и 'LLLT ' 1 j j 1 LT ' J -1 J *
- ^ Г " T O
^—^—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 r T
J J j J г J
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54 Scales
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Scales 55
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j p | Я Л r W i Г r j j - Л j i LT г г Л Т ] i c j r X J - ИЦ- I n
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56 Scales
# 4k *-и
J « » ' J
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Scales 57
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58 Scales
to Ё Hi C X 4 J -
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Scales 59
60 Scales
Scales 61
Scales 63
WW
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66 Scales
1
Scales 69
P i
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70 Scales
17 p-f
J l j J J -1
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Scales 71
J J J r rr TT~
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74 Scales
Scales 77
78 Scales
Scales 79
Scales 81
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82 Scales
25
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Gently (J s П 2 )
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Scales 85
Scales 87
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88 Scales
Scales 89
Whole Tone
3 2 ^ 4 = 2
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90 Scales
3 3 p " ! JT: P 9 Ш p-f
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Scales 91
X L — m — 1 1 j
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Scales 95
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96 Scales
Diminished (Whole Step—Half Step / Half Step—Whole Step)
38 U 1 d\> ffJ d bJ b«
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Scales 97
3 =
p 1 1 '•— t==3 •кд L bp J> It: =5 5= ? « • i — = ~ ^ \
а 1 T Г Г-i m m LLJ_j
БОЕ
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t=— • р Ь E t a Г 1 ^ Ч Р Г Й . ИЫТТ hp h ^ ' р#> Я ~ ™ • ii — 1—в
100 Scales
Scales 101
102 Scales Diminished Scale Etude
Jazry ( J . s 132) 44 j )i pJ J) J i^J j j4 J J) J bp j-j,- I [
I H J U J J>
РГ" Г1 1 •ы—!*~ p*l
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t f\ 'r pTp ^ T T T f p f ~ ? T f bp j__r_r 'T
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' 3 8 0 8 1 0 1 0 5 7 " 1
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 Hungarian Dance
No. 5. By the age of 1 6, Allen won the
concerto competition and wos awarded
first chair in the World Youth Symphony
Orchestra 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
"Best Trumpet Soloist" at the Notre Dame
Collegiate Jazz Festival. By his sophomore
year, he was a regular member of the
Rochester Philharmonic, the Rochester
Chamber Orchestra, the Chuck Mangione
Orchestra ond the only student in the
Eastman Brass Quintet faculty touring
ensemble.
Equally at home in a multitude of musical
idioms, Allen has visited 30 countries to
perform with a rainbow of artists and
ensembles, including Chuck Mangione,
Woody Herman, Chick Coreo, the NBC
Tonight Show Band and North American
orchestras in Phoenix, Rochester, Buffalo,
St Louis, Milwaukee, Edmonton ond
Honolulu, to name a few
People in Germany, Poland, England,
Sweden, Brazil, Canada, Japan ond the
United States have all heard his brilliant
sound over the airwaves of national
television. Allen'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 M F N C ,
TBA and IAJE.
While living in Los Angeles, he performed
on 100 motion picture soundtracks (such
as Back to the Future, Star Trek, The Black
Stallion, Rocky II, Poltergeist II, Fire Fox,
Sudden Impact, 10, Under the Cherry
Moon, Broadcast News, The Electric
Horseman and 194 I), and countless
television shows, commercials and record
albums, with such stars as Frank Sinatra,
Barbra Streisand, Prince, Neil Diamond,
the Crusaders, the Tonight Show Band,
four albums with Woody Herman and
three albums with Chick Corea.
Allen's solo jazz recordings include Allen
Vizzutti (K-Tel/Head First), Red Metal
(available on the Bainbridge label), Live in
Montreaux with the Eastman Jazz
Ensemble, Rainbow (released in japan ond
Sweden) and Double Focus, a classical/
jazz mixture (released in Japan). His
classical solo recordings include The
Versatility of Allen Vizzutti (Golden Crest
Records) and Baroque and Beyond (CBS/
Sony Records in Japan).
His latest recording. High Class Brass, is
a unique classical/jazz mixture
coproduced, written and performed with
Jeff Tyzik and the 90-piece national
repertoire 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 W o o d ^
Herman Band, the Summit Brass and the
London Symphony Orchestra. In foct, the
Tonight Show Band album (featuring Doc
Severinsen), coproduced by Allen and
fellow trumpet artist Jeff Tyzik, won the
Grammy Award for the 'Best Big Band
Recording" of 1 9 8 6
Allen's continued interest in education an
the value of music in daily life has led to an
extensive schedule of concerts and c lmics_
universities throughout the United States,
Canadn ond Japan in both j ozz ond
classical idioms.
Allen Vizzutti performs exclusively on the
Yamaha В Hot, C, D. F Hot and piccolo
trumpets
A\hed\
ED