Creer eK — EBEOLA DE JAZZ DO PORTO Ay. Farno do Magainice, 95 Telpl. 666408 — 4900 PORTO GOUTBIB, EpDas050: For the saxophone student beginning the serious study of jazz and contem- porary styles, this book will help in many woys. Fist, phrasing and interpretation of rhythms is studied through ex2rcises and original pieces. t should be noted that the pieces contain many phrasing markings that would not appear in jazz ensemble pars or “fake books” where it is assumed that the player already knows how fo phrase in the jazz or rock idiom. Secondly, studies to teach both theoretical and technical skillsin scoles and ‘chords give basics necessary to study and develop improvisational skilis. We hope that the student will enjoy and learn from this book. The student shoutd listen to,as many recordings of jazz saxophonists as possib’e in order fo. gain a concept of the principles tcught in this text. ith, Thanks fo Rob Goldsmith for esiting this ext Bill Bay © Copyright 1979 Mel Bay Publications. nc. Pacific. Mo. Interctonal Copyright Secured Alsghisteseved Punled HUSA,Contents Basic Rhythmic Concep!s For Jaz ‘and Contemporary Prras.ng. Special Effects Heowy Accent Standard Stoceato Standard Legato . The Shake The Flip. The Smear. The Doit . UpGliss . Down-Gliss Lifts Spills The Plop. Indefinite or Mutfled Sound Be-Bop Phrasing ....... Rock and Soul Phrosing . Latin Rock. Blues. . Jazz Tectinique Jazz Articulation, Movad'e Pattems and Variations Chord Studies . : Scale Building . Chord Building Chart Order of Keys Dominant 7th ‘ . Blowin’ Dominant 7th Trvougn a Keys. Minor 7th Chord... Blowin’ Minor 7in through a! Keys 7 flat § Chord and Its Resciston . Blowin’ 7 fiat § Through A: Kes Minot 7 flat § Through Its Resoiuton Blowin’ minor 7 fiat § Through At Key Augmented 71h and Its Resciutcn. Blowin 7th #5 Thiough All Keys Diminished Chord and tts Res Diminished Sccie Vibrato Flexibility High ond Low RegstersPhrase #4 Basic Rhythmic Concepts for Jazz fi S and Contemporary ‘This phrase roe be played as if one was reading: Phrasing L Zz 3 z , L } t Doo Dit, Doo Dit Doo Dit Coral Riff = Written . i Doo-den Doo Dit Jazz style eight notes Wig PY Bon — tendoo- me _ Phrase #24 Easin’ Gn‘Dooden Doo Dah Phrase *2B Dooden Doo Dah Jazz Study ae a Sa | Se SE SR el ee i ee er ee eer ee ee ee air _ L Mixed Bag Up tempo b, —- Slow groove --: Medium rideShould be played like: e a Medium i Phrase *3B Doo-den Doo-den Doo Dit Doo-den Doo-den Doo Dit Dit = { ST ae me Ee eeePhrase *4 Doo Dit. Dit Dit’ Doo Doo Dit Dah volt eal coal toed ‘This phrase can also be written: Blues Riff L Lees : U L 5 mc ~ Phrase #5 a . Hea Keep’ Em ShortPhrase *6 Slowly any cet ‘The "DOT" sound is a heavy accent, while the "DIT" is short, but not meant to be heavily accented. Easy Groovin’ Phrase #7 | ‘Smooth legato tonguing is essential for much of jazz music. Give all notes full value, separate them with very light tonguing, and keep them "Swinging." oo Deo Doo Doo Dee Doo Doo Doo fp ——— 4 g “Smooth-Doo-Tonguing” = a (3 o —-TPhrase *8 “Slow-Doo-Dot” loys SB ne: Dot Doo L Starlight Seunds (ne) ee 2 Cc Camel co Phrase *9 “Swing Riff” Re rc Freddie’s Jump A A APhrase *41 Phrase #42 Dee) apxlion ow lon | mare, ion cat ea ee a =a Jersey Stomp Hits. al Use "Dood-en" tongulg on the eighth note phrases. a ee ee eePhrase *12 Doo Doo Deh Doo Doo Dit Dab Doo Doe Doo Dah Doo Doo Dab ol —— ro Medium Soft Winds £ : Phrase #43 Dot Dat Dot. Dot Dosh e x x a = Heppy Swing aPhrase #44 "3/4 Jazz” N\Nalkin’ Phrase *45 Doo Det Doo Dat Doo Deo Doo . a “Dao-Det-Doo-Doi”Revival Blues Fast-in one Bossa Nova Siyle In this style, and all othes latin styles, the eighth notes are played "Straight", and not in the "Swing" style. Medium : “to Carlos” —__ Se , Light Latin HolidayBasie Style Easy Blowin’ Whose Biues Medium bluesSpecial Effects = —= — L The Standardization of Stage Band Ariiculations L z. HEAVY ACCENT a = ion vate, Full fone ~ not mule. UP. Slide into® A nareniee SHORT GLISS UP Stide int ——— Loney ae aT TG note from below (usually one Seer deer to three steps). LONG GLISS UP a HEAVY ACCENT == Sune as above except Se Short as possible. japebaere STACCATO SHORT GLISS DOWN The reverse Short — not heavy. SS of the short Mss up. LONG GLISS DOWN eliss up in reves LEGATO TONGUE Hold full value. Same as long THE SHAKE . SHORT LIFT Enter note via rma Se" Bronte clone pa eee upwards — much like a trill beginning about a third below. LIP TRILL Similer to shake LONG LIFT ‘but slower and with more Same as above except longer lip control. entrance, Kt | IDE LIP TRILL Same as ee SUCRE, Bavie atatanie jove except slower and $= or chromatic drop. The reverse with wider interval ————_of the short lift. THE FLIP Sound note, raise pitch, drop into following note (done with lip on brass) LONG SPILL Same as above except longer exit. ri THE SMEAR Slide into note from below and reach correct Pitch just before next note. Do not rob preceding note. THEPLOP A rapid slide down harmonic or distonic scale before sounding note. = THE DOIT Sound note then INDEFINITE SOUND zliss upwards from one to Deadened tone — indefinite ~ five steps. pitch, bu %* NOTE: No individual notes are heard False of muffled tone when executing a gliss - Used by permission from the National Association of Jaz EducatorsArticulations Heavy Accent #4 (Hold Full Value) amie SS Up tempo a = Mcent teenel’ Genel ted teen beend ieee Heavy Accent *2 (Hold Less Than Full Value) A J J Sei Pe : j Heavy Accent *3 Fa (Short As Possible) J scence ———— Medium 4 > =Standard Staccato Tn jazz and contemporary music, the staccato hote is played short, but light and not with a heavy tongue. eS - | - = L Standard Legato 1 (Hold Full Value, Use Light Tongue) { L Bossa nova = ale cr c The Shake Like a trill; usually done by trilling a minor third (three half steps) from the written note. MW mfp would be played aS = ateeee beseech ——— ae oe ee, éThe Flip A type of “turn” involving notes abore and below the written note. Sas ——— = === #= would be played d The Smear Sounding a note below pitch, then slowly bringing it up to pitch just before the nert note. This is done by relaxing the embouchure and slightly dropping the jaw to flatten the note, and then bringing the note up to pitch close to the end of its duration. The smear may also be achieved by half-closing the key one-half step below the written note, while also fingering the actual note. Te 9 This techique is also called "bending", and is some times notated as: —eThe Doit [ Gound the written note, then "Slide" up one to five steps. The notes in the ‘| glide" (or gliss) should not sound individually. == Slow blues 4 a cer r er ere - - cm ft ; Short Up Gliss "Sliding" into a note from one to three steps below its written pitch. This can be done with the embouchure and jaw with or without fingering the gliss notes. Sa ~— Long Up Gliss Same as short gliss up, but from a greater distance below the written note. ~ Fingering the notes would be neccessary. Start three steps to an octave below the written i == | In both cases the actual pitch should be reached at the time that the note would be played i if there was no gliss. In other words, the gliss must be played "before the beat”.Gliss Study Short Down Gliss : Also called short fall-off. Play the written note for about one-half of its value, them quickly "Slide" down chromatically. The chromatic notes should not sound individually, and there should not be any particular pitch in evidence at the end of the gliss! Ss Long Down Gliss Also called long fall-off. Similar to short gliss down except that the written note is held a little longer and the gliss goes lower and slower. Besie style blues aeKr Cer er eK c cc Conneciing Gliss ‘A gliss between two notes. If the notes are no more than a third (two steps) apart, use the chromatic scale to connect them. If the notes are more than a third apart, use an applicable major or minor scalelet the first note sound for at least half of its value before starting the gliss. Short Lift Start about three steps below the written note and "rip" into it using chromatic and/or diatonic movement. a se Long Lift Start about five or six steps below and use diatonic movement to "rip" into the SS note.Liffs — $pills ‘The reverse of the lift;keys should be heard moving after the air has stopped. a a Short Spill Long Spill " , SES SES Spill Spell Geet Smumd — Semnd bee Nd | aPlop es A type of spill, done from about a fifth above the written note. The scale is played very quickly and clarity of scale notes is not important. L L L L "Indefinite Sound Also called "ghosting". The note is played with a deadened tone, and is. "ihferred" rather than actually played out. The effect is produced by laying the top of the L tongue against the reed, which mutes the tone. Do not press hard against the reed as this can close off the mouthpiece completely. —— ae indefinitely =| Be-Bop ‘Much of today's jazz remains under the influence of "be-bop" phrasing. All of the following studies should be played slowly at first. Keep the tonguing light. Remember- the studies should swing. They should not sound mechanical. Use breath accents for phrasing instead of a lot of tonguing. Changes Up tempo ee a eat neal Riff Fer Clifford Very fast er ee ee ee ee | |Breezin’ z Be-Eop Blue { Medium groove -The Messenger se ss a ee Cookin’ Up tempo Cool Afiair =Rock | Rock music is characterised by hard-driving “even-eights" rhythms. The swing-style eighth note approach is not used in rock. = es = = Study #4 eee ee eq ~ rc Rhythm Exercise i RSE isa rhythm pattern frequently found in rock. The following exercise should i= help in understanding the rhythm. Slowly ce fe aeRhythm as Soul Riff Se ee ee ee ee ee I a eeL L L Deiroit Dance Disco-rock eae a Choctaw Bridge 3—Rhythm Adidnight Ride Blues RiffSoul Prelude [eo L ffotown GrooveBasically Soul a a a | a a) . = ] pe te ae == Sacer Sree 1 1Latin Rock West Sicle Slide Medium / The Rhin a be-bop style blues like this, almost no tongue is used, and most phrasing is achieved by the use of breath accents. etecerererrrcr ef 7 ang ee Jazz Techniques Jazz and Contemporary Music requires certain techniques (especially in solo performance) which frequently are not perfected in studying traditional saxophone literature. There are two extremes to avoid, | have heard players with great ideas who simply did not hove the technique to express themselves propetiy, Also, | have listened to players with great technique whe played so cleanly and “legitimately” that they sounded dated and squere. In studying the following pages, remembe* to achieve sharp and clean technique: but keep in mind that in applying technical facility—you must phrase propetly sO ‘as to convey the fecling and beat of the music. Remember this—Great Technique is on incomparable asset to any style.Technical Studies It is important to have control and technical facility over the whole range of the saxophone. These studies will work within the basic written range of; mc, Notes above F, while possible, will not be dealt’ with in this text. /fovable Patierns Pattern #4 Notice the “formula” used to build this patter: From the starting note, a sequence of half step down-whole step up is used: HWHWHWHWHWHWHWH HW aos A half-step is used to resolve the pattern.‘The student should continue this pattern, raising the starting note one-half step each time until reaching: be IP’ At this point - go to: ‘And continue, lowering the starting note one-half step each time until reaching: eo ee eee Or ‘And continue, lowering the starting note one-half step each time until reaching: ame ie tag ray ea wee ea = Rhythmic Nariations on Patiem m4 Learning to start each of these patterns on different parts of the | “beat will be of tremendous help when improvising. Each of the following variations should be practiced using all possible starting { ~ntes as described in the previous section. -b. = = Sa eeeMovable Paiierm *2 res W HOH WH wih WH WH The formula for this pattern is: 1) Half step down from starting note 2) Then alternate half step up-whole step down Continue the Pattern Up fo: ¢ tlele eleicle ofp aleteke pm — H HW H Taal ise l dacseall eel gee Ieee least Lonel And Down to: Celik Ceenlll:. Leonel fe She be Mariations on Pattern #2 to be played from all starting notes soonest ell) See at | eldArticulation ‘The following patterns are valuable as articulation studies and as helpful phrases for playing through chord changes when improvising. First-- Jearn the phrase and be able to "swing" on it. Second--memorize the phrase, Third--play the phrase down or up chromatically (Playing it up or down through the various keys by ear or memory is strongly recom- mended) Finally--play in all keys by ear.a Ah) en hieNariations on Pattern #4 = — continue up an: down chromatically continue ce rr continue co continue continue continue continue continue continueSee eRe oe eee ee oe ( Pattern 2° 4 oaminArticulation Nariations on Pattern #2 down __ continue continue continue continue continue continue continue = paesr =P r Pe] et 1 & teh : continue J continue up = chromatical a aa et a A a ee ae 1 | | J J | | J ] ] JPattern #3Articulation Natiations on Pattern #3 varrc er ere oe ha t r = Chord and Scale Studies In this section, effort should be made fo develop both technical and aural (hearing) skills. Jazz musicians speak of players who hove “good ears" This refers fo players who have developed their aural skills fo the point where they can instantly recognize and react to scales, chords, and intervals which are either played by someone else or that occur in a player's own mind as an “idea” To help develop these skills it is recommended that the student ploy and sing cll of the exercises in this section, The singing is very important as it will help: develop the aural skills intemally. Here is a procedure for practicing in this fashion: 4. Play the exercise until it sounds familiar, Really listen to whal is being played. Don't ever practice with your “ears closed” 2. Sing the exercise using either syllables, letler names, or scale step numbers. 3. Play it again on the instrument and compare. The development of these skills is not easy and will probably nol come quickly, but setious effort will pay off; ond the resulls are definitely worth the effortChord Studies ‘The important thing in studying chords is to learn to hear the relationship of invervals within a given chord. Training the ear by applying the following studies will help the Sax player begin to improvise with both technical and harmonic freedom. Scale Building Study the following section on scale building and constructing chords from scale degrees, so that you will understand the musical theory behind the studies that follow. Scale 4 a AAajor Scale A MAJOR SCALE IS A SERIES OF EIGHT NOTES ARRANGED IN A PATTERN OF WHOLE STEPS AND HALF STEPS. C Major De geek Ga A ie ze Ge (Frequently called the Root or Tonic), WITH THE C SCALE THIS WOULD BE THE NOTE = Root 2nd 3rd 4th 5th 6th 7thOctave Ser NZ 1/28TEP 1/28TEP TO CONSTRUCT A MAJOR SCALE WE FIRST START WITH THE NAME OF THE SCALE CtoD = Whole Step D to E = Whole Step EtoF = 1/2 Step F toG = Whole Step Gto A = Whole Step AtoB = Whole Step BtoC = 1/2 Step "C", THE REST OF THE SCALE WOULD FALL IN LINE AS FOLLOWS: G Maier Seate DISTANCE FROM SCALE TONES PRECEDING NOTE ROOT 2nd 3rd 4th Sth 6th ath Octave (c) (D) (e) (F) (cg) (a) (B) (c) WHOLE STEP WHOLE STEP 1/2 STEP WHOLE STEP WHOLE STEP WHOLE STEP 1/2 STEP WITH THE ABOVE FORMULA YOU CAN CONSTRUCT ANY MAJOR SCALE] TO CONSTRUCT THE G MAJOR SCALE, START WITH THE NOTE G, CONSTRUCT IT AS FOLLOWS: o4 iG ASS Cap) Hi G re E he: =e ov Root 2nd 3rd 4th Sth 6th 7th Octave et SE 1/2 STEP 1/2 STEP NOTICE THAT IN ORDER TO MAKE OUR FORMULA WORK WITH THE G SCALE WE MUST SHARP (}) THE F. THERE MUST BE A WHOLE STEP BETWEEN THE 6th AND - ‘th TONES OF THE SCALE. IN ORDER TO ESTABLISH A WHOLE STEP BETWEEN E AND F WE MUST SHARP THE F, SS. Note : The student's success in learning to hear chords in this section is entirely dependant upon his diligence in playing the chord study examples in all keys! oo ee eae 7CHORD BUILDING CHART* Chord Type ‘Scale Degrees Used Symbols [Lise Root, rd, Sth Mei ] Minor oot bard, stn [__ omits Root. bra, bsth, bbrth dime ] ‘Avomented Foot, ard, #5th +. aug, Dominant Seventh Root, 3rd th, 7th dom. 7.7 ] Minor Seventh Root, bard, 5th, b7th “T.min? Major Seventh oat, Sth, mal. 7th wz, ma7 | sion Sith M8, MB,6 Minor Sith Rost bard, stn, om mi6.-6 | Seventh F5th oot, ard. #5th, b7ih aa sevenmbsin ot 21a bstn, bth ae | Major 7tnbar Root bara, sth, ma, 7th a7 Minor 7inbsih Root bara, bsth, b7ih mit ] Seventh Suspended 4th oot 4th tn, bth Tau iS inth Root, 3rd, 5th, bth, oth ° | Minor Ninh Foot bara, Sn, b7th, Sth mio-9 Major Ninth oot. Sd, Sth m7, Sth Mao 3] Ninth Augmented 5th Root, 3rd, #5th, b 7th, 9th hgh Ninth Flatted 5th Root, arc, bsth, b7th, Sth oo | Seventhbo Root, 3rd, 5th, b7th, bath 76 ‘Augmented Ninth Root, 3d, 5th brth, #3th ar ] 976 oot 31d Sth, 6th, oth Teadao Eleventh Root, Sed Sth, th, Sth, 11th " ] ‘Auginented Eleventh Root 2rd Sth, b7th, Sth, 1th 1 Taug 11 Thirteenth Root, dd, Sth, b7th, 9th, 17%, 13th 13 ] Thiteenthbo: ool, 3rd, Sth. bth, bath, 11th, 13th 1a 2 Thiteonthbebs Root. a, bstn. brim born, 11th, 13th 1h ] Root b3rd.bsin bth 0... tm in, 30 continue your sala up 2 octaver anc Leas number The 286 eulerOrder of Keys for Practicing The circle is known as the “Cilcle of Fifihs” because each tone is the interval of a perfect fifth lower than the fone preceeding it. a ee Kamat Kd Senate mad Snmd Gana nes) ems Ged es Aaal olDominant 7th Chord + The dominant seventh chord usually resolves to a fourth. (Play the arpeggio and then sing it. Singing is esential for ear training.) E gh qe Dominant 7ih Scale 7 Study #4 L Study #2All chords, scales and studies should be played in all keys, using the following order and this procedure 1) Start on tiie lowest possible root: Example - in the key of F, start on =J= noton == 2) Play each as high as possible (up to and including high F) as determined by the notes in the particular chord, scale or study, and down as low as possible. 3) Play back up to finish on the starting note. Resolution of Dominant 7ih ‘The dom. 7th usually resolves to a chord down a fifth (or up a fourth). Thus: * Ge # cycle of a AT eae EbT a a At or se JBlowin’ Dom. 7th Through the Keys epee For a complete study into the technical and harmonic aspects of Jaz Improvising. See Bill | Bay's Sax Improvising.Minor 7th Chord = ( Pere) Dominant 7th Minor 7th [The basic resolution of a minor 7th chord is to IV7. (Thus, Cm7—>F7. Adinor 7ih Sealefudy #2 crc er Kr S| Stucly #3Blowin’ Miner 7th Through the Keys J F oe 44 Bor cb bs —L [L_Pray and sing! 7b5 Dom Min? 105 in 2 alternate ways. ‘oa 4th step thus: (C725—>) F 2. Or to a half step lower thus: (C75—>) B 7>b5 Chord <3 65 75 Seale ebe. beet Stucly #4Blowin 7) 5 Through the Keys FAfinor 7b5 Dom? ‘Min? 5, ‘Min 75 ly when Improvising. solves to a dominant 7th chord a 4th above. 1 Remember-Play and sing in all nave Se ee ee ee 1 13 bb oe Afinor 7) 5 Scale beet eet eee endl shee Study *4 eee tet eee let eet ot eetStudy #2. Li Study #3 ‘| Gommon Phrase Using Afi 75 JBlowin’ Afi 7) 5 Through the Keys j FAugmented 7th Min7th 15 ‘Min7>5 15 Domith = 3 ‘As with most 7th chords, the 745 chord resolves to a 4th above. Thus: C7#5—>F 7+5 by re 7+5 Scale = =eStudy #2: : Study #3 J i Changes Using 7+ 5 ;I- Blowin 7+5 Through the Keys FDiminished 7th Chord (dim 7, C°) 145 DimT Play and sing! Dom7th Min75. Min7th 15, - The diminished 7th chord could be called a minor 655. ‘A minor 625 tends, because of the 55, to resolve to a fourth above. ‘A diminished chord, however, serves as a passing chord resolving 1/2 step up or down. Thus: Cdim—> CHT or Cdim —, 37 ‘A diminished chord is constructed by using minor third intervals. “In order to create ‘a scale that will work with the diminished chord,we will construct the scale on a whole step —half basis. 3 (8 1 bt ‘The diminished chord is constructed using minor third intervals. The scale uses alternating whole steps and half steps. Diminished Scale *4 nabebabs: oe pOF LobeStudy *4 (Cont.) Study *2 Study *3 a 5 bthebebe ptghe 2 tet 2 S42 » eho hothcbebolia,sh‘sounding scale which will work well when played against chords built on diminished tervals. (ie 7>9, 729211, 759, or 729711, etc.) | if we begin our diminished scale with a 1/2 step, we have a slightly different type in Diminished Scale *2 hrbo-bebe pe pe = mamta Seams ed bee ‘ad Seal ‘aml a Study *4 “sat T is Ferd} pete e Ct socal Scant Salt cand at ‘a i saadowe Study #2 Siudy *3 be bateVibrato Vibrato is an important part of saxophone playing. It is recommended that the student listen fo both saxophonists and vocalists to gain a concept of how ‘and when vibrato is used. The vibrato is created by a slight movernent of the jaw. The syllable “wah” pro- duces a suiable jaw movement, Keep the support and the air stream steady. The following exercises will help in the development of a smooth and even vibrato, Do not leave an exercise until fhe vibrato is under control. Development of vibrato is nol an ovemight task. It requires daily practice. a eal Fe eee ee ie ee es A re eeNibrato Studies 4 Pulses Per Measure Slowly vib vib vib, cea eect nam an IR “aaa [eeinatae Per Aieasure 6 Pulses 3 vib 3 See — Ises Per Measure a w 40 Pulses Per Measure Poaraee para vw 42 Pulses Per Measure z = 2 zvw» 46 Bulses Per Aieasure pa ee Accelerating Pulse 3 3 ee a Lush Sounds Slowly ————__ ——. ee (ea 4 a) Sd a ee |Flexibility Studies—High Register je ele SEPM oh ieee cletele tect Ls te e ip nS ite ie tre ithe te He TR fe Lr o 1. “ey | Se ep cl tte rh. +e rte th b ie we te tS He eh — Flexibiiliy Stuclies-Low Regisiter