For Saxophone (and other instruments) By LENNIE NIEHAUS UEVELUrING JAZZ LUNUCr Io TREAT TE Hm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 07259805 LENNIE NIEHAUS Alter graduating Gum Laude rom California Stale Usnestiy Use Angeles, Lennie Nivhaus joined the Sion Kanien archertra, During mis Stay with the Kans ton urganuratinn, he performed a5 9 teatured jazz allo salo:si And won DoWnbedt's new ster award in the dite saxnanone calegory. He also arvangad many albums for Kenton ang recordes aitums under hve own name, using many of the !amous a7? stars fice Shetty Manne, Sil Perkins, Mei Lewis and ienmy Gluttie Recently, Niahaus hay concentated his allons on writing lor telowaon, motion pictures, recording Gloups and meiar eecount comnmercials. He nae oF: Tanged ‘or wminaies suca as Jone Denver, Mel Torme, John Davioser, Florence Henderson and Sammy Davis Jr, He ies actwely served the educa: tional field for many years, a8 9 Dublished com: poseriarrangar and as an adj.cicaterictiniclan in high cehoalt and caliages throughout the ceuntry IDEs LEORARD PUBLISHING. ‘CORPORATION- ° 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 exeicises and 25 etudes in this book are intended Io help in the development of the basic conceals af jazz style, phrasing, rnyihies and pragrectens. W's uxcollent 36.8 supplement To lesson ‘material or foc daily warm: and oractice Each exercise mteeduces a common, (we bar jazz riytlim shown at the taginnang ot each exercise, This ryther 1S laugnt in an interesting, melodic mannar through @ cam mon jazz progression. Articuatlons have been carefully chasen so that the rhythms are practiced and learnc3 in the corroct jazz style. When a similar rhyinm is then @n- Countereg a jaZz arrangement {usually without articulations}, fhe rhythm and its ¢or fect inverpestation will alrcady be farwhar, facilitating sigin readi-g and phrasing: Each etude cumzings rhythms deveicued in the exercises in a moi raatistic: Fepelitve manner, similar te a jazz tune Ths he'gs tO further Uevelop sight reading, Dhrating. and a concent of jazz style, As in ine exercises, all articulations ard phrasings: bre included lo show me cemman stylist Iniaipralaon When practicing, semember that all eighth notes are played mi a swing style (ima iriolet Rage dy feel) A bar o! eignth nates writen vv esd ds isplayeds a al De Atempes and dynamics have een aurposely omitted thiqugncut the nook. The exercises should ve played stowly at feet, gradustly increasing Ine tempo to a comfortable. playable pece as they become rrave familar. The genaal rules For dynamics apaly - crarcenda cn ascen- ding tines, decresconde on ascending tines, ard (usually) crescerda at the end of @ phrase. Chord symiels aie included nall exercises and euudes, The chords nre uselut in rotating ‘the notas Io he progressions and identitying the use af scales. pessing 1ones, blue nutes ‘and other improvigational techniques. The chards can also be used to edapt the exer ses and etudes to @ combo setting with piano, rhytnm gutar, bass, and drums. Ahough this book #e wntten primarily lar saxophone, it can be used successtully Dy omner instruments, I werks very welt tor guitar, mallet percussion, other woodwinds, and ig good challenge fot trumpet. some pessages ara too hard (or trumpet, they can be played an oclave lower) £0 bass clef instruments such as trombone, the exercises can bo read ia bass clef A bass clef key signature has Deen added 1 paventneses at the beginning ol each exereise and studs for this purpose In addition, 4 bass clef chard anti acodenial ransposition quis has, been provided. @ v981 HAL LEGMAAD PUBL SHING COHPORATION Iniarnailonal Copynghl Secured Al Pigs FeservedARTICULATIONS USED IN THtS BOOK Honzorlal accent accel, hold full value. Vemwal ance accent. play snarl Legate hold full value, ce secant up poe oe OO 0:0 010 66 6:0 0:8 668 The flip is introduced in exercise 18, ozcuring on the first bar and every other ber mnoughout FF | ne inp es payed in the tellowing manner: 4st wrtten @ rt ‘he first grace note is 2 hal! step, whole step, oF higher than the preceeding half rote. The seuond grace note relumns to the Same note 2 the nail rete, All of the notes are siurred (veuaily a lip clur on brass instruments) The fip should be executed belore the fourth beat, with the quarter nate landing squaraly on deat four, Thare sould be a sfight crescendo trom the Beginning of the figure fa te enc. The tame genarai rules apply to the thps in etude 15 (allhough azcuring on different beats) PFO EHH HHH 9H9E THOS S000 00090 = @ @ al es= 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 e eo BASS CLEF TRANSPOSITION GUIDE lone BC, ete ),the 91 bass ciel, Ta chord quide e chard are When reading the exercises and eludes in bass cle’ (Trombone, tart! chord symbers must De tansnesed 10 match the new notes aud key Transpose the chords, tind ine ariginal chord i ihe treble clef column o! the [and move ACrOSS 10 Tie bass clef column lor the new cherd All forms ol th (changed ir a Srmigr manner (for example, CMA becomms YMA) 16 clot natn A, B. and E} must ziso be Aacidenials an ihe weble clel nates F, G, ame tbo ‘sare shown bslow 14 the ac: changed when reading n bass cle! The accidental change cidental guicie, Agcidentals an all other notes remain the Sarre. 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