i: } AY Tas ; | | 3 SS 4 Improvisations: und Stilubungen —) fur Saxophon (PATTERNS FOR SAXOPHONE)INTRODUCTION First of all, it will be necessary to clear up one important point before the student Takes eny athoupt to play through these patterns: The approach to this book 1s based rae any ae efiede and unless otherwise indicated, ali examples are to be played with @ melodic, legato, Jazz concept. bx. 1, af played by # classically trained performer, would be played staccato simply Bre ne ee ne euetnce of Legato markings. As almost all of these examples are notated Decause of the weetnce, please bear in mind that they are pot to be pleyed in @ class- eal manner Te de aleo assumed that the student has elready mastered the Major and Minor Scales, Tf te aioe ee eun of simple chords and their inversions, plus en understanding of music forms, eter A sequence is a repetition of a pattern on different scale steps, As long as the ori- Asp eneteda LaTcorrects any irregularities which might appear in its sequence are Sustified. —— it the above statement is truc, then the music of Bach, Beethoven, Bartok, Charlie ree, Beka Coltrane, even some of todays electronic music is constructed much in the Par K Or men, The use of sequential misical devices is not by any means dry and mechan~ eee eee rca be e useful aid in the art of improvisation, with or without inspiration nd immense notural talent. Inepiration to a 20th Century Composer is nothing more than working with his m terials TREE the bicces fit properly. Natural talent to John Coltrane is long and tedious pure Gf practice anda greet insight and understanding of the materials of music. seer e oe perials are Musical Form and Construction, Chords, Combination Chords and their seeiants, the use of Modal Melodic appronches, and the ability to improvise with split becond timing with ease and confidence. ‘A performer who Amprovises has two or more choices to select when called upon to play. One is to play the chords vertically ae in the case of Coleman Hawkins. Another, to Giay melodicnlly and horizontally as Leeter Young did. Stil] another would be to play Pee sg thar dete dgnore the melody, chords, time, form, etc. One desirable approach sree; nutruct a sofe based upon the tune of piece you are playing, To select motif 2ka'tuila upon dt, expanding if until 4t becomes a new composition created from the old Attitudes Concerning Time And Time Signatures In Music. ‘Time Signatures: In most older forms of music, plus @ great deal of todays popular Fis Sigeetin notes will melodically be more important than others. These more import- mer bess sepear to have more Accent then the lesser important ones and this accent eiherally occurs at come reguier interval. This grouping of musical sounds by means of ener oduces one of the more important elements im music ~ Time, Time and Tompo are ee thePsaas and must not be thought of as euch, Tempo is the Tate of speed at which a Ret he same aeeion dato be perferaed, (slows fase). These patterns of atrong and veak wuconts are called Beats and the most common patterns produced, depending upon the MeeehtSnce of ihe strong accent, generally contain two, three and four beats, This is Called Duple time, Triple and Quadruple time. In order to indicate to a performer what time a piece of music is to be played ins we place a Tine Signature at the beginning of the composition. eg for $4, ote. ‘the uppor figure indicates the number of beats ina measure. The lower figure indicates The Kind of note to be used for each beat, The length of time « musical sound lasts is Ei Se"buration: when each beat of a measure is divisible by two, the time is called Simple Tine, Therefore we have Siepie Dupe Tine, Sinpie Triple Time, simple quadruple Tine. 2 eee aes 3% 3 2 2 zo 8 nen the beats of a measure are dotted, the tine is called Compound Tine. We have: Compound Duple Tine, Compound Triple Time, Compound Quadruple Time. pacers 9 W242 12 fF 8 a & BER If the student has already looked over some of the pages in this book, he might have reese sen elke Signatures which are not covered in the paragraphs concerning Duple and Triple time and their variants t & @ Te As gonoraily fe1t that 2 time 4s @ combination of 2 piue Zor Z pius Z- ‘This would stress the accents in the following ee eeBEER REE IB ER ER EK ELSES ES We should think in terms of Beats instead of placing eo much emphasis on Accents (strong or weak), as the key to how a piece is to be played. Fs 43 = Page 28 1s in f and as to be thought of in the following manners yt Te ts not to be thought of as indicated below: t ss Seer ee ‘he same musical attitude shald apply to Bx. Mb = Page 29 and Bx. U5 = Page 30. Most of the examples in this book have no tempo indications as I felt that many of the illustrations shown are flexible enough to allow for sone freedom of expression. This means unless indicated, they may be played as fast or as slowly as the performer wishes, The only exceptions are Ex. 77, Ex. 80 and Ex. 81, They are to be played fast, but how fast is again left up to the ability and to the desires of the performer. Nachstehend als praktisches Anwendungsbeispiel eine Improvisation des Mittelteile aer Dekannten Komposition "Cherokee" One use of a pattern is this example which utilizes the chords to the bridge of "Cherokee" : MM dete eo SF e Naturlich passen die meisten Uungsbeiepiele in diesem Hoft nicht auf den Mitteltes? von "Cherokee". Bei ernsthafter Durcharbeitung aller Ubungen wird der Ausfuhrende so- Viel Boweglichke1t und soviel Vertrauen in seinen Kinnen eriangen, daQ-es 4hn muglich Ast, mit fast jeder misikaliachen Situation fertig za werden. Please bear in mind that most of the patterns in this book will not fit the bridge to "Cherokee", but, they will give the player flexibility in all keys and the confidence to cope with almost any musical situations Oliver Nelson = July, 1966.ficee Faptetel bien t sripbnertle tet EE 4 N ' eS A mame e we SS SS a Se ae Oe Oe eee Oe OP Oe oeFetete ot aS 4, aa Co er oe fegeg pa ie a ai a eo Rit. om posso ss £: co i 3 Fy aa epee ete coo Ea eseaee, A Tempo== Saas Bhs ap ae we oe 8B on OW bs aa ee 8 Oe SB Berig re ee EEE eee eee ee oe3 Rit. 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