JAZZ SAXOPHONE ETUDES iBY GREG FISHMAN FOR ALTO AND TENOR BOOK & TWO CD PLAY-ALONG SET :Jazz Saxophone Etudes by Greg Fishman Published by Greg Fishman Jazz Studios Evanston, Illinois 60202PREFACE This book of etudes was created to fill a gap in the musical resources available to the aspiring jazz musician. Its purpose is to demonstrate the concepts of soloing to those students who know their chords and scales but lack the musical vocabulary to create professional-level solos, | have written twelve jazz etudes that are enjoyable to play, yet present some technical challenges. However, the technical benefits are secondary to the primary purpose of the etudes: to be able to play through the chord changes in a musical manner while clearly expressing the song's harmonic structure. The eludes are based on familiar chord progressions, including blues, rhythm changes, and a variety of common “standard” 32-bar song forms. Careful attention should be paid to the following elements used in the construction of these etudes: + Theme and development, including the use of sequence. + Syntax — the order in which musical events occur. + Voice-leading — the smooth connection of chords by moving no more than a whole step. + Phrasing — a wide variety of starting and ending points. + Eighth-note lines — the use of long streams of eighth-notes. + Idiomatic construction — these etudes were written for saxophone, and use patterns, scales and intervals common to the jazz saxophone lexicon, + Chord changes — try to hear the chords in your head while playing these etudes. Use this book as a part of your complete practice regimen, one which should always include playing long tones, scales and chords; sight-reading; learning new songs and reviewing those you already know, ear-training, transcription, composition and jazz piano voicings; and playing licks and tunes in all twelve keys.Jazz is a language. We are alll striving to be fluent in this language, and the best way to learn any language is to be constantly surrounded by native speakers. If you've ever tried learning to speak a foreign language from a book alone, you know that you'll never sound authentic unless you imitate the sound of native speakers, The same is true in the language of jazz. This is an aural art, and it cannot be developed by reading alone. One of the most important things you can do to improve your own playing is to listen to the jazz greats. In the final analysis, we all play by ear, and this book is a means to an end. Its intended use is to help you develop your ear and mind so that you can become adept at expressing yourself through your own improvisations. | hope you enjoy it! —- Greg FishmanCREDITS Published by Greg Fishman Jazz Studios, Evanston, Illinois Edited by: Keith Schap and Judy Roberts Proofreading: Sal Marchetti Music editor: Dennis Luxion Cover photo: Jos. L. Knaepen Graphic design: Francisco Mufioz and Gene Blalock Book printing: Omnigraphix, Morton Grove, Illinois CD graphics: Gene Blalock CD printing: Seraph Digital, Inc., Northfield, Illinois Music engraving: Greg Fishman CDs Recorded at Studiomedia, Evanston, Illinois, Engineered, mixed and mastered by Scott Steinman Greg Fishman — Alto and Tenor Saxophone Dennis Luxion — Piano Eric Hochburg — Bass Phil Gratteau — DrumsSUGGESTED USE OF THIS BOOK AND CD SET THE IDIOMATIC CONCEPT This etude book was written with the idiomatic tendencies of the saxophone in mind. The etudes cover the full range of both the tenor and the alto. While some technical challenges are present, these etudes will feel comfortable and natural for all saxophone players. If you've ever tried playing an alto solo transposed for tenor (or vice-versa), you know that the transposed version of the solo never seems to “lay right” on the non-native horn. This is because all of the fingerings of the notes have changed. In addition to the fingering changes, when a solo is transposed for a different horn, some notes will be out of the normal range of the saxophone. As a result, portions of phrases have to be transposed up or down an octave. My solution for this problem was to record two separate CDs—one for Eb alto saxophone and one for Bb tenor saxophone. Rather than have the saxophone player transpose to accommodate the rhythm section, | decided to have rhythm section transpose to accommodate the saxophonist. The sax player, whether playing soprano, alto, tenor, or baritone, can read the same written part, and simply play along with the appropriate CD. USING THE CDs There are two CDs included with this book: one for Eb alto saxophone (or baritone), and one for Bb tenor saxophone (or soprano). Each CD contains twenty-five tracks. Tracks 1-24 contain two versions of each of the twelve etudes. Track 25 is a tuning track, with a piano playing concert A and concert Bb. The odd numbered tracks contain a short demonstration version of each etude, featuring my own alto tenor saxophone lead, plus the rhythm section. Each etude is played one time though. This means that any time you hear the saxophone playing on the CD, there will be no repeats taken, and you'll go to the final ending of each etude. The second version of each etude (the even numbered CD tracks) is the rhythm section, without saxophone, playing several choruses of each etude, and following all repeats as marked in the book. These tracks were designed so that you can improvise over the chords for the extra choruses, or repeat the etude for the entire length of the track. Perhaps you'll want to improvise for the first few choruses, and then play the etude for your final chorus. Or maybe you simplywant to practice arpeggiating the chords for the etude, or work on voice-leading lines. All of these scenarios work well, because the final ending of each etude always corresponds to the ending taken by the rhythm section on the CD. This applies to both the shortlength sax demonstration tracks (odd tracks), and the full-length rhythm section tracks (even tracks) These CDs were designed for maximum flexibility and ease of use. If you'd like to play along with the sax demonstration track, and then immediately play the same etude again with just you and the rhythm section (plus a few extra choruses), simply play through the entire CD, track by track. If you'd like to play through the entire book using only the sax demonstration tracks, simply program your CD player to play the odd numbered tracks only (1,3,,7, ete.) If you'd like to play through the entire book with just the rhythm section tracks, program your CD player to play the even numbered tracks only (2,4,6,8, etc, ) If you need a tuning note, play track 25 Use the odd numbered CD tracks to familiarize yourself with the phrasing, articulation, and general feel of each etude. Play along with these tracks and match the phrasing, time feel and articulation ‘Once you're comfortable playing along with the recorded sax, try to play some chord tones or voice-leading lines along with the track. You'll notice that they fit nicely with the etude's melody line. TEMPOS The tempos for some of the etudes may be faster than the intermediate player is accustomed to but are actually conservative by professional standards. Each etude was written to be played at the tempo marked. If you're not used to playing at these high speeds, set your metronome at half the marked tempo, and play through the etude. Circle any passage that poses a technical challenge, Practice the circled areas until you can play them smoothly and accurately. The final “test’ for any tempo is whether or not you can successfully play the entire etude in time, with the correct style and articulation, with no mistakes. Once you've achieved this goal, you're ready to turn the metronome one click faster and continue repeating this process until you've reached the marked tempo.OUTLINING THE GOALS FOR THREE LEVELS Your practice approach to this book will vary, depending on your level of ability and your own personal goals as a player. I've designed the book so that it will work well for three levels of players: intermediate, advanced and professional. Intermediate Level The intermediate level player usually has several years of experience playing in jazz big bands or combos, has memorized chords and scales, and is starting to get comfortable with the concept of improvisation. For this level of player, this book will provide a good model of jazz phrasing and logical development of musical ideas, as well as some technical challenges. It will also sharpen your sight reading skills, as there are many syncopated rhythms in the etudes. The basic goal of the intermediate level player is to match, as closely as possible, the saxophone playing on the recorded examples, and to be able to play the etudes in time with the rhythm section accompaniment tracks of the CD. The intermediate player wanting to move up to the advanced level should start arpeggiating the chords for each etude from the root up to the seventh. The root of the chord is especially important for ear training purposes. | suggest playing the roots of each chord along with the CD. Once you've played through the etude like this a few times, try tofaccurately sing the bass-note pitches with the CD. The reason for doing this is té-trairr your ear to hear the relationship between the melodies of the etudes and the root movement of the chords. Once you've accomplished these goals, you're ready to move on to the advanced level Advanced Level The goal for the advanced player is to understand the way in which each phrase is developed, how the notes in the phrases relate to each chord, and how each etude progresses logically from one idea to the next The advanced player should be able to achieve all of the goals of the intermediate player, as outlined above, Additionally, he she should be adept at |Btpeagiating the chord forward and backward up to tempo, as well as playing iSotated notes in each Chord up to tempo. For example, the advanced player should be able to play all of the thirds, fifths, sevenths, and ninths of each chord accurately and in time with the rhythm section. When playing along with the rhythm section tracks of the CD, think of the etude as the beginning of a solo which you'll continue on your own. Try to make the10 subsequent improvised choruses sound like they're in the same style as the opening chorus, using some of the compositional devices mentioned in the "Style and Analysis" section of this book. The advanced player wanting to move up to the professional level should write out voice-leading lines (half notes and whole notes) from the root, third, fifth, severith and ninth of each chord, and play them while listening to the sax on the CD. Notice how the voice leading lines fit in with the etudes. Next, | recommend writing your own etude based on each voice-leading line To prepare for the next level, you should inemorize 8 ‘Bach etude.and, chord progression. | also suggest picking out your favorite phrase of, lick from each etude, and practicing it in all twelve keys. up to tempo. Once you've achieved these goals, you're ready to move on to the professional level, Professional Level By the time you've reached this level, you're an extremely accomplished player, probably a professional musician and or educator and still totally absorbed and inspired, as | am, by this great art form. Listed below are some strategies from ret ‘own daily practice routine. =\ Guudyine etudes from an analytical and compositional standpoint. | recommend “Jomng a measure- by-measiire analysis of each etude. Notice the varying lengths of each phrase, and also take note of where each phrase starts or ends (the downbeat or upbeat of one, two, three or four). Observe all of the chord substitutions made in the etudes with more than one chorus. For example, note the descending chromatic ii-7 V7 chords in the second chorus of "Clark Street,” or the subtle difference in the progressions between the last eight bars of the form (letter D and letter H) in “Waveland Avenue.” Notice how the etude smoothly adapts to fit the substitute chords. | like to practice displacing the phrases if the etudes. This sharpens my ability to hear where | can start or end a phrase. | do this by changing the starting points of each phrase. | start some phrases earlier than written, others later than written The challenge is to make sure that the phrase still adapts gracefully to its new position Sometimes | like to work on myediting skills. Ill use a “minimalist” approach to the etudes by editing them down to the minimum number of notes that will still get across the overall musical point of the phrase. Most of the eighth-note lines can be distilled down to a more streamlined, melodic essence. | enjoy the challenge of practicing these etudes( in all twelve keys: Because the etudes were written to cover the full range of the saxophone, there will be times when you'll have to adjust some phrases by shifting up or down an octave fromthe original etude. While the etudes were designed to feel most comfortable in the original written key, the professional player takes pride in making these adjustments sound easy, even if they're not. MORE RESOURCES AVAILABLE ONLINE If you'd like to read more about my concepts on jazz improvisation, please go to my educational website: www. gregfishmanjazzstudios.com. There are downloadable articles on theory and ear-training, as well as a variety of licks and practice tips that you can use. CLINICS, SEMINARS AND MASTERCLASSES I'm available for clinics and seminars in the U.S. and internationally. If you're interested in a clinic, seminar or masterclass, please contact me at: Greg Fishman Greg Fishman Jazz Studios 824 Custer Avenue Evanston, Illinois 60202 (847)334-3634 E-mail: greg@gregfishmanjazzstudios.com PRIVATE LESSONS If you live in the Chicago area and would like to schedule a private lesson, please contact me at (847)334-3634. Private lessons include the study of all the concepts used in this book, as well as training in improvisation, transcription, ear- training, repertoire, memorization techniques, theory, and chord substitution, Students receive a CD recording of each private lesson. CONCERT AND FESTIVAL PERFORMANCES If you are interested in booking one of my groups to perform at a concert or jazz festival, please contact me at (847)334-3634. To view my performance schedule, plus reviews, photos, bio information and CDs, please visit: wwww.gregfishman.com WSTYLE 4 ANALYSIS ARTICULATION The suggested articulation throughout this book is illustrated in the exerpt below. Note that all upbeats are tongued, and downbeats are slurred. Once you've mastered this approach, feel free to experiment with a more varied style of articulation ar) oui? 67 ove éui7 Ay iz >t. a >> le = ; a 7 "Halsted Street," mm.8-12 SPECIAL FINGERING OF MIDDLE D Sometimes you'll notice a small letter "s" over a fourth line "D" natural. In this case, use the palm key “D" fingering WITHOUT the octave key. This will produce a tone closer in character to the surrounding notes in the phrase than the normal "D" fingering. 709) Aui7 feet yo "Clark Street," mm.8-9 VOICE-LEADING Voice-leading is the smooth connection of chords by moving no more than a whole step from one chord tone to another chord tone, Many of the complex lines are based on simple voice-leadings In the example below, the lower line reveals voice-leading used to construct a phrase in "Michigan Avenue." Note that the voice-leading notes are sometimes anticipated. gu e270) quit 07 Bw €7 Aw fo] Ou? gr 24. —_ “Belmont Avenue," mm.33-37 12 ©2005 GREG FISHMANENCLOSURES Acommon element in the bebop style involves the use of a device known as the “enclosure.” The enclosure produces upper and lower neighboring tones to a targeted note. The chromatic enclosure is most common, but some enclosures are diatonic. The purpose of the enclosure is to bring attention to an important note in a phrase. Below are a few varieties of enclosures that are used in this book ui7 709) éui7 "Irving Park Road," mm.13-15 SEQUENCES Sequences help to make an improvised solo sound more structured and melodic. They involve the use of repeated melodic, rhythmic or harmonic pattems. The pitches of the repeated pattern are often transposed to fit a new harmonic setting. The rhythm of a sequence is sometimes displaced, starting on a different beat than the original occurence of the idea. This is known as "rhythmic displacement.” Sequences usually occur in groups of two or three, with the original idea counting as the "model" sequence upon which subsequent sequences are based. There are two basic types of sequences, direct and indirect. With “direct sequence,” the model is immediately sequenced without the addition of different musical content. The example below, from "Rush Street," demonstrates use of direct sequence with rhythmic displacement. éui7 Ams a7 fun raw off MoE. ‘SEQUENCE OF MODEL "Rush Street," mm.9-12 Indirect sequence, in the example below from "State Street," involves the use of a sequence in which the "model" is separated from the subsequent sequence by new musical content. Ar ui7 @ éui7 ole wong ‘SEQUENCE OF MODEL “State Street,” mm.17-24 nt Ga FISHMAN 13REFERENCES References are restatements of short motives which occur earlier in the piece. They are similar to sequences in that they restate a musical idea. However, while sequences occur in close proximity to one another, references restate something which occured much earlier in the solo. “Halsted Street” uses two references to the motive which opens the piece. Play through the etude and notice how these musical references give the etude a unified quality. “Halsted Street," pickup to m.1 ow Gis a “Halsted Street,” m.12 Oui7 q7 > she "Halsted Street," m.24 ORNAMENTS, This motive first appears as a pickup to measure one of “Halsted Street." The first reference to the original motive is found in measure 12. An extra note has been added, and the idea is now transposed up an octave. The second reference to the motive is found in measure 24. This time, the original motive is added to a longer eighth-note line. | call this an "appended reference.” In this particular case, the motive was added to the end of an eighth-note line, but it can also be added to the beginning or middle of a phrase. However, in cases where the original motive is longer, the reference can appear with some notes deleted. In that case, it's called an "edited reference." Bebop is a highly ornamented style of music, The "ornaments" are usually sixteenth notes or sixteenth- note triplets within a line of mostly eighth notes. They add a polished, sophisticated quality to the lines. The ornaments can be embedded within the line or sometimes used as a pickup to an eighth note line. Qu earls) epitter fe bie potent "Clark Street,” mm.4-5 pha £ "Grand Avenue,” mm.27-28 14 ©1005 GREG FISHMANDETAILED OVERVIEW OF THE ETUDES Title Tempo | Form | Length |Saxophone| Page cD ofForm |} Key | Number | Track | Signature Numbers | Halsted Street 4=208 | Blues | 12Bars | C Major 16 1.82. fee ae Irving Park-Road «= 200 AABA | 32 Bars A Major 18 | 3.84, ” AABA to State Stréet 45264 | (Rhythm | 32 Bars | C Major 20 5.86. _ Changes) _ _ _ | Waveland Avenue ABAC | 32Bars | C Major 22 7.88 | Develand | | | Fullerton Avenue Blues | 12Bars | G Major 25 | 9.810. Belmont Avenue | #= 168 | AABA | 32Bars | G Major 28 | 11.812. Grand Avenue | #= 160 | ABAC | 32Bars | E Major 30 | 13.8 14. Rush Street ¢=126 | AABA | 32Bars | D Major 32 | 15. & 16. | AABA | —_ Michigan Avenue | #= 240 (Rhythm | 32 Bars G Major 34 17. & 18. - Changes) _ _ Clark Street 4=192 | AABC | 32Bars | EMinor 37 | 19. & 20. | Wabash Avenue = 66 AABA | 32Bars | Eb Major 40 21. & 22. | Addison Street | 4= 138. | AABC | 44 Bars | E Minor 43 | 23.824, - ICD TRACK #1 (GREG FISHMAN + RHYTHM SECTION) GREG FISHMAN CD TRACK #2 (RHYTHM SECTION ONLY) COUNT OFF: 1 BAR + 3 BEATS (5 CLICKS) (s cronuses) ‘\ HALSTED Steeer (Buves) SWING = 208 ao oui? Oui Gos Oui7 q7 Gui7 7 a7 ‘7 16 ©1005 GREG FISHMANfor 7 asl) oui7 Q7 C7) ew arb’) oui7 a? at A abe ee ce be abe et ea = = ptt 7 tu O06 GREG FISHMAN, 7(CD TRACK #3 (GREG FISHMAN + RHYTHM SECTION) GREG FISHMAN CD TRACK #4 (RHYTHM SECTION ONLY) COUNT OFF: 2 BARS (6 CLICKS) leving Paek 2oA0 PLAY 4X (4 CHORUSES) SWING # = 200 “at ‘ ui7 v e7) SOLO BREAK Oo Aw7 18 ©1005 GREG FISHMANui? ‘©1006 GREG FISHMAN 19ao CD TRACK #5 (GREG FISHMAN + RHYTHM SECTION) CD TRACK #6 (RHYTHM SECTION ONLY) 29 FISRHAN COUNT OFF: 4 BARS (8 CLICKS) 3 State Sreeer ye fecal AUSES) (GHYTHM CHANGES) SWING e204 Quit pS AM Ou a ei ar) oui? gy get 07 ; v4 : pte t psa = : a a fut pot eu abe) ou g7 & wi? Awi7 oui7 7 ui? uit oui? 7 gu Crs fut fo $ mw? : ovit/a 7 Qua ui7 ; (a) : wet se ett brett * ste pas fer PS ©1005 GREG FISHMANonr/e q7 gh 87 am ©1005 GREG FISHMAN, aGREG FISHMAN CD TRACK #8 (RHYTHM SECTION ONLY) WAVELANO AVENUE ( ; . Ce 2/6 COUNT OFF: 2 BARS (6 CLICKS) , a \y bee PLAY 2X (4 CHORUSES) hw? re SWING #= 1845 $0.0 Send oe Qui7 ©1005 GREG FISHMANon : 4 eu 7h) 9h ari) To a = = aA SECOND cHOeUS Lem eui7bs) Asal) ou7 gel) @ évi7 4 a7) - 7b) * obit) A A + e a ke = Ye x — fe ohualtt , Qw . ot te be fone be 4 = =— =i = = Ee aI 24 ©1005 GREG FISHMANCD TRACK #9 (GREG FISHMAN + RHYTHM SECTION) GREG FISHMAN Co Tack 916 usin Seon OnE cour on 4 mans citer wn { fete) 5) PULLEGTON AVENUE wv CLUES) Calatet Cuatilly Bho dor Be at Q efor SONG #216) a See tana Fre a ee == == —— 1 foe 2 # 25 ©1005 GREG FISHMANQui? ‘1 Qu? Avi? guib) §— 7b) ~ om oF gut shat tha 26 ‘©2006 GREG FISHMANwi 07 @7 atl x7) gual) [« gI eft qa) . gett) q7 a ¥ SS ea 2005 6266, FISHMAN, cyCD TRACK #11 (GREG FISHMAN + RHYTHM SECTION) CD TRACK #12 (RHYTHM SECTION ONLY) GRE6 FISHMAN COUNT OFF: 2 BARS (6 CLICKS) nave 5 BELMONT AVENUE (4 CHORUSES) T fis ite re 7 hI ® iT iy sei0ge toe tt ae a 28 ©1005 GREG FISHMANObs GREG FISHMANCD TRACK #13 (GREG FISHMAN + RHYTHM SECTION) 069 FISHMAN, CD TRACK #14 (RHYTHM SECTION ONLY) 2 GRANO AVENUE COUNT OFF: 2 BARS (6 CLICKS) PLAY 3X (3 CHORUSES) | SWING @= 160 eu - Or, 4! a ze led = 3a EEE yO i Gui7 Cas e7 eu 30 ©1005 GREG FISHMANet Aut gfurls) © 1005 G86 FISHMAN olCD TRACK #15 (GREG FISHMAN + RHYTHM SECTION) GREG FISHMAN CD TRACK #16 (RHYTHM SECTION ONLY) COUNT OFF: 2 BARS (6 CLICKS) PLAY 3X (3 CHORUSES) SUING #126 oh 5010 SREnd i} Aq let Pte pee 6 pee SR100€ 32 ©H05 BRED FISHMANGur Ge gui7 ©AN05 GREG FISHMAN 33CD TRACK #17 (GREG FISHMAN + RHYTHM SECTION) CD TRACK #18 (RHYTHM SECTION ONLY) counrore 261s scucsy 9 )MICHIGAN AVENUE (Garin CHaniges) PLAY 2x (4 CHORUSES) SWING, de 200 @ gut éui7 AMiT 07 GREG FISHMAN gui ¢79) er tty #9 4 y ANT —# tt ti 4 1s 34 © £005 GREG FISHMANAr Avi7 07 © 10005 GREG FISHMAN 35a of Avi Os gua 36 © £005 G86 FISHMANCD TRACK #19 (GREG FISHMAN + RHYTHM SECTION CD TRACK #20 (RAYTHM SECTION OMY) ? 4 FISHMAN Cuaek Sreeer COUNT OFF: 2 BARS (6 CLICKS) PLAY 2X (4 CHORUSES) fuk 4, S | SWING @= 192 Evi ae @ ou 047 Qui efui7hs) 7h) Ce @ shubs) 4 > “#01086 ©1005 6266 FISHMAN 37CD TRACK #19 (GREG FISHMAN + RIIYTHM SECTION) CD TRACK #20 (RHYTHM SECTION ONLY) GREG FISHMAN pus © Qhaek Steer vy 2x fo (4 CHORUSES) fh ay’ COUNT OFF: 2 BARS (6 CLICKS) SWING o= 192 Ei i (@AYTHM CE) V @ ‘Awi7 ou Qu? ehuirbs) 708) 07 Qua cw? ui ebui7h9) ©1005 BREG FISHMAN 37 sai0ge% ‘SECONO CHORUS, Gui7 phairl) gl ui en) ©2005 GREG FISHMAN® asa 0 f Ghai af te pet 5 j e Stet 6 Etat < ett pict tet yo Gui? 7 ehairbs) 7h) 34 be, - ui éuio 79) ‘AMT cui) rece 74) 2 Ee, oo > ge ee eT fa paced 7 aaa cae ou7 q7 Q ehh) 81 ©1005 GREG FISHMAN 39CD TRACK #21 (GREG FISHMAN + RHYTHM SECTION) CD TRACK #22 (RHYTHM SECTION ONLY) 6226 FISHMAN COUNT OFF: 1 BAR (4 CLICKS) nar2x 20) Wasagt AVENDE > (2 CHORUSES) omc “ m ei aes fui? ea ge ua abr qui? gis! eui7 euitfe? Oui? rl) oui? i ewi7 shrew cub eui7 78) er 5 eu fui Qui? bor oie 2] (See ee eae eee 40 ©1005 GREG, FISHMAN— a fun ofa chur col = —=e == ; = i v a ‘| = éu7 €ui7 Ae oe Feel ©2005 GREG FISHMAN 4“owi7hs) 7) 4 be s «hk ghee ft ie fee ——= Qu f7 ui - € ‘hur ell Pe gaa 42 ©1005 GREG FISHMANCO TRACK #23 (GREG FISHMAN + RHYTHM SECTION) ai CD TRACK #24 (RHYTHM SECTION ONLY) COUNT OFF: 2 BARS (6 CLICKS) ~~ ee pay 3x 12) AOOISON Steger , amore Nlove lerele: (3 CHORUSES) We. ‘SWING, d 138 Ei SOLO BREAK @ & A efi) gui7l)hal) gilt) gun hunt 7h) éui ofanls) a ch) gl) ui iN ell : | is pee g == 4 evi7bs) B BRIOGE a ©1005 6266 FISHMANoh) thee Gur Qu Bo éui ofunts) -4 furs) git) hurls) 37) eu a) Zz > pe am me — ch) gH) ui A cdunbs A = be > # ttre i ———— % F— a cree chuinbs) gab’) a ehainbs) grb’) tt p= —= | ‘bi 4 > % (©2005 GREG FISHMAN 45About the Author Saxophonist and flutist Greg Fishman is an accomplished performer, recording artist, author, teacher and clinician. Born in Chicago in 1967, he began playing professionally at age 14. Greg graduated from De Paul University in Chicago with a degree in Jazz Performance, and eamed a Masters Degree in jazz pedagogy from Northwestern University. He is among the foremost experts on the music of Stan Getz and is the author of three Getz transcription books published by Hal Leonard. Greg is a contributing author of jazz theory articles for Jazz Improv magazine and Chicago Jazz Magazine, and wrote the liner notes for the Verve reissue of the Getz recording The Steamer. He has toured and performed worldwide with his own group, and with such artists as Louis Bellson, Slide Hampton, the Woody Herman Band, Conte Candoli, Lou Levy, Clark Terry, Jackie and Roy, Don Menza, Ira Sullivan, Judy Roberts and Eddie Higgins. Greg is the co-founder, along with Brazilian guitarist vocalist, Paulinho Garcia, of the duo Two for Brazil.” They perform internationally, and have recorded four CDs Greg has been featured at the Concord-Fujitsu jazz festival in Japan, the NorthSea Jazz Festival in the Netherlands, and in numerous concerts in Hong Kong, Bangkok, Singapore, China and Israel, When not on tour, Greg is based in Chicago, where he performs locally and teaches in Evanston at Greg Fishman Jaz Studios Critic's Quotes: His solos are shrewdly conceived yet delivered with apparent ease and elegance. He develops harmonies that sometimes startle the ear as he forges lines that take unexpected twists and turns..."—Chicago Tribune “Mr. Fishman brings a warm, soulful, singing tone to ballads that recalls the logic and lyricism of Stan Getz.’ —Washington Post 47JAZZ SAXOPHONE ETUDES BY GREG FISHMAN “THIS IS REALLY A GREAT BOOKI!!! A powerful sight reading, ear training, swinging, improvis- Ing jazz tool. Perfect for the student of jazz. Wish | had it when | was growing up. Glad | have it now.” - Michael Brecker "This Is one of the most concise and easy to digest collection of solos over standard tune chord changes that | have seen. All the elements of good voice leading, passing notes and common scale usage are here. Very enjoyablel!" — Dave Liebman "wish | had material like this when | was coming up. These efudes are little masterpieces. There Is such a wealth of material fo learn from here. Great line construction and great conceptual ideas. Having the rhythm section continue after the etude Is a great idea! | will be using these with virtually all my students from now on. Greg Fishman has done a fer- tific Job of putting this book together, and the play-along rhythm section Is first class!" — Mark Colby, Depaul University, Elmhurst College “This book is a written version of the way jazz Is supposed fo be taught - learning from a great player who truly understands how to distill the language info clear, understandable terms. Chicago-based saxophonist Greg Fishman has composed a set of efudes based on standard tunes that are one of the best collections of this type I've seen. The lines he composes are textbook versions of postbop saxophone improvising, and will give students at all levels a wealth of material fo practice and internalize. Fishman is equally well-versed as a teacher and as a saxophonist - its a rare combination that Is showcased in this book.” — David Demsey, William Paterson University, Saxophone Journal 0 BN O-"7R4353-0-4 ISBN 0 PM Woodwind Repair, Inc. ERTS ES Greg Fishman Jazz Studios 822 Custer Ave, 824 Custer Ave. Evanston, IL 60202 Evanston, Il 60202 Phone: (847) 869-7049 Phone: (847) 334-3634 E-mal:: paul@pmwoodwing.com E-mal: greg@gregtishmanjazzstudios.com _ Website: pmwoodwind,com ali7a0976le Webstie: gtegtishmanjazzstudios.com