For Saxophone (and other instruments) By LENNIE NIEHAUS UEVELUrING JAZZ LUNUCr Io a ree |07259805 AENIIE NIEHAUS Alter gratoaling Gum Laude trom California Ste Unwersiry Las Angeles, Lennie Niehaus joined the Stan Kenton archecira, During his stay with the Kan Yon orgaruratinn, he performed a5 9 teatured jazz bilo tale-st and won Downbeat's new star award in the alte saxnphone calegory He alse arrangsd mony albums tor Kenton ang recorded aitume under ns awn name, using many of the lamout ja77 stars hee Shetty Manne, Sv Perkins, Mei lewis and simmy Glutte. Recently, Nighaus has concentiater his etforts on writing lor telewsion, motion pictures, recording Groups and maior account commercials. He nae ar Fangad for suminaies sucn as Jota Denver, Mel Tarme, John Divioser, Florence Henderson and Gammy Davis Jr, He hae actwely served the educa: oral field for meny years, 96 3 published com. poseriatangat and as an adjdiceterictinictan in hugh sehoalt and calieges throughout the country. IRE LEORARD PUBLISHING SORPORATION- ° e e e e e e e e e * e e e e e e e e e e e e e e e e e e e e e e e e e e ° e e e e e e e e e e DEVELOPING JAZZ CONCEPTS For Saxophone (and other instruments) By LENNIE NIEHAUS INTRODUCTION The 20 exereipas and 2 etudes in Ihis ook are intended Io help in the development of the basic conceals uf jozz style, phrasing, rhyihms and progressions, N is excellent 36 4 upplement To lesson Tateriat 0 foe Gaily warnags avd oractice Each exercise neoduces @ common, two bar ja7z rhvilim shown at the beginning of each exercise, This yin Is laugh in an interesting, melodie mannar through a com- mon iazz progression. Articuiations have deen carefully chosen so that the rhythms are piaelleed and learned in the correct jazz style. When a similar myinm is then ene Eountered fy 9 jazz arrangement usually without articulations), fhe inythe and its €or fect imerpietation will alrcady be farwiar, faciltating sigin reading and nhrasing: Each etude cumbings thythms deveicned in the exercises in a moe realistic. lass repentve manner, similar te @ jazz tune This helos to further develop sight reading, phrasing, and a conceot of jez2 Siyle, Ax in me exeecises, all articulations and phrasigs re included to show me common stylist< Injeipretasion When practicing, remember that all migath notes are piaye aviglet ws aomng she ie feehy Abaro! eighth nates writen ood «TDs isplayeds da ed t's ATempcs and Gynamics have teen ourposely omitted thiougreut the hcok. The exerorses should De playse Sowly al feet, graduatty Increasing the fempo to a comfartabre. playable pace a8 thay became mare familar. The geneval rules foe dynamics apoly - orescendo on secer: ‘ing tee, decrescando on rlascencing tines, snd (usually) crescerde at the end of a phrase Chord eyriscs are included in all exercises and e'udes. The chords are use in reteting ime notes to fe pragresnens ond identifying the use of scales. gassing iones, Dive nutes and phher improvisational techniques. The chords can aleo ba used to adapt the exer cises and etudes to 2 combo setting with piano, rhythm guitar, bass, and drums, hough nis book te writen primarily lor waxophone, it gan be used successfully Dy other instruments, I werks very welt tor guitar, mallet percussion, ather woodwinds. and tp. good challenge for trumpet, (If some passages ara toc hard (or trumpet, they Gan be played an ociave lower) £02 bass clef instruments such as trombone, the exercrses can be tead 19 bass clef A basa clef key signature nas Deen added parentheses ai the eginning ol each exercise and etude for this psrpose In addition, a baa clef charcl anc acodenial transposition quids has. been proviosd, © 1981 HAL LEONARD PURL SWING COHBORATION Iniersaiional Copyright Secured Al Fighls Reserved