Chop-Monster, Book 2: Trombone 1 Book

Book 2 moves students forward without overwhelming them: the ii-V-I progression in three keys gives trombone players real harmonic vocabulary they'll encounter in actual jazz charts, while the call-and-response format keeps the learning active and internalized rather than theoretical. Trombone 1 players get material that builds logically from Book 1 and sits in a comfortable part of the horn, making this ideal for middle school and early high school jazz programs ready to deepen improvisation skills.

The call-and-response structure feels conversational and exploratory rather than rigid; you hear an idea, absorb it, then make it your own. Moving through three keys keeps the work fresh and builds real harmonic confidence without the drudgery of rote exercises.

Trombone 1 players in middle school and high school jazz ensembles who have completed Chop-Monster Book 1 and are ready to tackle the ii-V-I progression in multiple keys. This book works well for improvisation programs that blend ensemble playing with individual skill development.

• Record yourself playing the written examples before tackling improvisation; hearing your own tone and phrasing helps you internalize the patterns more quickly than reading alone.
• Practice the ii-V-I progression in each key separately until muscle memory sets in, then switch between them without hesitation to build harmonic fluency.
• Listen to trombone soloists improvising over these progressions (J.J. Johnson, Curtis Fuller, or modern players) to absorb phrasing and rhythmic vocabulary beyond the written exercises.
• Use a metronome at varied tempos; starting slower builds accuracy, but speeding up forces your ear and fingers to work together without lag.

Assign Book 2 as part of your jazz ensemble's curriculum once students finish Book 1, using rehearsal time to work through new progressions and check in on improvisation homework. These exercises also pair well with beginning-level jazz standards that use ii-V-I progressions, giving students a direct connection between the method work and the tunes they're playing in ensemble.

• Improvisation over the ii-V-I progression in concert B-flat, E-flat, and F
• Internalization of jazz chord vocabulary through call-and-response listening
• Transposition across multiple keys on trombone
• Phrase construction and imitation in a jazz context
• Muscle memory for harmonic progressions used in jazz standards