: PURPOSE For some time now I have felt the need to write a method which stresses Uh: fundamental rhythas, drticulations and phrasings commonly used by jazz ups ‘Through experience gained from teaching and playing, I have discovered t these three elements are the keys to proper jazz conception and create v iversal difficulties for the students of jazz music It is the purpose of this method to overcome these difficulties by | .seuting a comprehensive approach to these basic organisms of jazt. CONTENTS ‘This method is divided into two sections. The first section consists twenty exercises which stress various rhychmic patterns. These patter then developed through a melodic song approach so that the playe: os them in an interesting mann The second section consists of nty-five etudes which utilize all of the material presented in the exer ws. In both the exercises and the etudes, care has been taken to phras Tof this material. This will eliminate any guess *azk on the part o student. [f a saxophore part in a jaze arrangement was taken fron ofessional library, such es Stan Kenton’s or Count Basie’s, “one wouly iad very few phrasing marks. Since jazz conception is a musical language YL of its own, professional saxophone players, due to their experi il pheuse correctly without the aid of phrusing marks. Mowever, Vayer hés not had this-experience, it would be impossible for him tu mgue, secent, slur, and phrase this music accurately. (ue of the most important things to keep in mind while playing the ex crcises and the etudes, is to play the eighth notes correctly. In the last. a bar of eighth notes (9799 49) was played as dotted cig!.! allowed by sixteenth noted (Sal Jd Jd Jed). Ue was believed that eic! notes played in this manner best exemplified the syncopated feel of ie However, modern conception dwmands that a bar of eighth ngtes be played : 7 ¢ : aoe eee reece ion nth notes in a triplet figure\dgPdy¥yd 25d This notation most accurately defines the proper jazz conception to empl. ; when playing eighth note peteerns. There are three phrasing marks which weethod! => The note is ucceated and held its full value. ‘a The note is accented and played short. — The note is given fuli value’ and attacked with a legato tong: e used continually in this I have intentionatly omitted staccato marks in order, to avid very short and detached notes. {must also stress that the legato tcngue should be used frequently. With legato tonguing, one can effectively play @ steady flow of moving notes intermingled with accents and tongued notes © different parts of the beat. There are no written tempo markings, however each piece of nwric shoul be ployed at s moderate to medium fast tempo. Naturally, the tem u ed will depend on the players ability.Catity EXERCISE a1 A pe paft eS a 4 Auah EXERCISE #2ih Di Gt EXERCISE #3 DP oD Bat ey EHD Bh Mt5 EXERCISE HY” > alle Bolgekel slj Shei. Hi : EXERCISE #5. = ane Greree ee ry,EXERCISE 116 <-> ccEXERCISE #7EXERCISE #6 9> > EXERCISE #9EXERGISE #I! = —¥ = == = Yeteh 4EXERCISE #13 4, SNe gcieeEXERCISE #14 15 - a4 vd. AT |. ODL oy ae ey nt eek :ential Do, Sg tas a ~ ae: .EXERCISE #16 1718 <= é = = PPh £ EXERCISEFI7 ={Fs 2 ep 3 A ite =t id. Pi rrrily AolEXERCISE #16 nomS)i Wid). WMD eo pale Sep __ Abmoit OME By Ebwoiy Dy (9) Swit et Colt ToAP — Sia ne Sr SE #20 ~a “E = EXER, Ay 2 anni “Ee.ETUDES ©ae ee Sa aa aeons sees24 éETUDEA3ETUDENSat ETUDE#SETUDEN6 20 ie SG Sees Ee = == Sos he i = & - ‘e. 27ETUDEH?ETUDE RS ete Aba oe i Ct. ~— tle 7 i —-aé getETUDEA9 aL32 ETUDEH1O ) ! =H It i]33 ETUDEM11ETUDEAL2ETUDEA13 3536 eTUDEN 4ETUDE#15 37ETUDE FTOETUDE#7 3940 ETUUEIN 8 fob tere raSeeee “pp Eat cet ee ae : ;ETUDEHI92 ETUDE#20ETUDEF21 4344 EYUDER223 45 ETunEN2346 ETUDSH24 ty, y TR> tH! Le i Ul i P . 1 TTt}> y, ) iv ») )ETUDE H25