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”.