Composed: 2018 Duration: 7 mins.
Instrumentation: Sax Solo Level E
ISMN: 979-0-720137-26-1 Catalogue: RM1102
Level: Country: United States
This volume (120+ pages) was created to provide a practice method for four years of study in jazz. The large majority of this book focuses on exercises and patterns that form the technical framework for this study and addresses the first element of this practice strategy. Exercises are in all twelve keys moving by step, chromatically, circle of 4ths, and minor thirds to prepare for common progressions. Key signatures in exercises are in the tonic key and some accidentals have been altered for ease of reading. The text in the beginning of this book explains how to take these technical exercises and create the eighth note lines which form the basis for many jazz solos.
The goal of these etudes is to help students gain technical command of multiphonics and to become familiar with the phrasing, interpretation and notation of contemporary music. Multiphonics, or the simultaneous production of more then one note, are an important element of the new experimental style know as musique contemporaine, or contemporary music. The following studies are not a compressive listing of multiphonics, rather they introduced them progressively in a musical context. Technical mastery of multiophonics will require students to gain fluency in two areas. The simpler task is to learn the often awkward cross-fingerings characteristic of multiphonics. This is just a question of practicing individual multiphonics as they are encountered. More challenging is learning how to make multiphonics speak which will require a mastery of voicing, the correct placement of everything behind the lips, including the tongue, oral cavity, soft palate and throat. The best way to accomplish this is to become fluent in harmonics or overtones. A series of exercises on harmonics have been provided as preliminary studies. In addition to helping produce multiphonics the study of harmonics will also facilitate altissimo and a general improvement in sound production. If harmonics and multiphonics speak it is a good indication that proper embouchure, air support and voicing are being used.
1. Voyage d'été, 2. Automne Voyage, 3. Voyage d'hiver, Voyage de Printemps
This lovely, slightly jazzy lullaby in the French style is perfect for students seeking a pleasing slow piece for recital or private study. The melody derives from my unpublished song setting of the poem "Let Evening Come" by Jane Kenyon, reworked and adapted for saxophone. The music resonantes with the tone of tender acceptance in Kenyon's poem, with a few spikes and harmonic twists reminiscent of Poulenc.
This lovely, slightly jazzy lullaby in the French style is perfect for students seeking a pleasing slow piece for recital or private study. The melody derives from my unpublished song setting of the poem "Let Evening Come" by Jane Kenyon, reworked and adapted for oboe. The music resonantes with the tone of tender acceptance in Kenyon's poem, with a few spikes and harmonic twists reminiscent of Poulenc.
Composed by Rossini, arranged by Jeffrey Vickers.