Uf PROFESSIONAL, DRUM SHOP INC. Reece 854 Vine Street, | TRY PUBLISHING COMPANY Hollywood, California — U.S.A, Hollywood, California — U.S.A.FOREWORD As a sequel to "Jazz Conception For Saxophone Volume |", this method further developes those fundamentals so necessary to the professional musician. Although the text of this method stresses the various rhythmic patterns found in Volume I, the material is more advanced and includes the latest meters (3/4 and 5/4) ina series of 20 etudes. As reviewed in Volume 1, one of the most important things to keep in mind while playing the etudes, is toploy the eighth notes correctly. Inthe past, abar of eighth notes (Jd dddddd ) wos played os dotted eighths followed by sixteenth notes (de Jae das dah a) )- It was believed thot eighth notes played in this manner best exemplified the syncopated fee! of jazz. However, modern conception demands that a bar of eighth notes be played as quarter notes followed by eighth notes in atriplet figure J od du dd ). This notation most accurately defines the 2 2 4+ proper jazz conception to employ when playing ei ghth note patterns. There are three phrasing marks which are used continually inthis method > The note is accented and held its full value. A The note is accented and played short. — The note is given full value ond attacked with a legato tongue. I must also stress that the legato tongue should be used frequently. With legato tonguing, one can effectively play a steady flow of moving notes intermingled with accents and tongued notes on different parts of the beat.ETUDE 1 Medium Swing Tempo