N m 2 = s es oO 8g , as ——SS €2 |. | Svss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 |, the material is more advanced and includes the latest meters (3/4 and 5/4) in a series of 20 etudes. As reviewed in Volume |, one of the most important things to keep in mind while playing the etudes, is to play the eighth notes correctly. Inthe past, abar of eighth notes (dd dddddd ) was played os dotted eighths followed by sixteenth notes (ae dae da dah d )» Itwas believed thot eighth notes played in this manner best exemplified the syncopated feel of jazz. However, modern conception demands that bar of eighth notes be played os quorter notes followed by eighth notes in otriplet figure ddl ds ded }. This notation most accurately defines the proper jazz conception to employ when playing eighth 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 and attacked with a legato tongue. Imust also stress that the legato tongue should be used frequently. With legato tonguing, one con effectively play ¢ steady flow of moving notes intermingled with accents and tongued notes on different parts of the beatMedium Swing Tempo ETUDE 1?