Jazz Saxophone Etudes, Volume 3 features twelve melodic etudes for the advancing jazz saxophonist. These etudes focus primarily on medium tempos and demonstrate a melodic approach to soloing with authentic jazz vocabulary. The etudes are catchy, fun to play, and written idiomatically for the saxophone.Like all of Greg Fishman's books, all saxophonists (soprano/alto/tenor/bari) read the same written part, ensuring that the pieces lay perfectly on the horn, while the rhythm section transposes the accompaniment to accommodate the saxophonist's range.This book is the perfect follow-up for students who have completed Fishman's Jazz Phrasing for Beginners.

pour Alto Saxophone seul. Par RUEFF JANINE. Composed by Jeanine Rueff, Sonata for Alto Saxophone solo is a piece for advanced players lasting 12 and a half minutes. Written in 9 pages, this piece, quite challenging (tempo, key ranges), would be perfect for musicians of advanced level and above, while requiring some serious work to obtain the correct result. Wonderfully composed, very technical yet very lyrical, this piece is really enjoyable and can be used for recital or contests. Jeanine Rueff composed numerous pieces for Saxophones that were often used in contests, as well as many pieces for Saxhorn, Clarinet, Horn and Cornet./ Répertoire / Saxophone en Mib

Imagine someone who has worked as an international saxophonist, an educator, a technician, a consultant, and as a designer, and you can imagine Peter Ponzol. For the first time, Peter offers details from his famous Saxophone Workshops. Learn about: ' Maintenance ' Reeds ' Mouthpieces ' Ligatures ' Sound ' Flexibility This exciting and informational pocket book will be a much needed addition to your musical library! Convenient pocket-sized book - 3.5 x 5.5 - perfect to toss in your gig bag! 64 pages. Peter has been around saxophones for decades, doing it all from manufacturing horns to reeds to mouthpieces. As well, he is a seasoned player. What he discusses in this book is coming from one of the sources-read carefully! - David Liebman, Sax artist/ author/ clinician. Read this review from Sax On The Web: The information in this book is right up SOTW's alley, with answers regarding reeds, necks, mouthpieces, saxes, maintenance, and the like. I would assume that the number of redundant threads started could be reduced almost in half simply with a reading of this book and those owning it could refer back to it at their leisure, as needed. And there is enough info in this book which contradicts some of our SOTW urban legends to make an episode of MythBusters. If you catch the right posts at the right time, much of the info in this book is already posted here on SOTW. But you have to see it and if hunting for it, you have to find it. OTOH it's all conveniently gathered and organized here in this primer - plus more. There are suggestions such as replacing the neck cork once or twice a year, which I would, if posting a response, say is not necessary. But here's the difference. Many of us on the forum are experienced musicians but few have the experience and depth that Ponzol has. We can write with credibility - Ponzol writes with authority. And this is based on decades not only as a top-echelon player, but as a successful and innovative sax, neck and mpc designer. The book is a 61 page pocket reference booklet which, in addition to topics mentioned above, include thoughts on ligatures, sound and flexibility. It is based on items of interest asked by attendees at workshops he has given over the years, hence the title. He begins by pointing out that at these workshops one of the first things he does is look at the condition of attendees' equipment with the observation that at least 90% of them need some kind of work and adjustments. What follows in the book's 61 pages are recommendations generated by this observation. Included are interesting comments such as: aging store-bought reeds by letting them sit for several years is fairly useless since the aging process stops once the bark has been cut away from the reed; not earth-shattering but interesting and certainly myth debunking. Again something that fits right in with many of the conversations on this forum. Interesting thoughts follow regarding the future of natural cane reeds, or how to select and get the most from your reeds - things I wouldn't think of like sanding the heel of your reed. SOTWers might also get a kick out of, and relate to, the title of his section on mouthpieces, 'Now the Fun Begins'. There are also interesting side comments we don't often hear like: in the 70s so many young players like Ponzol were trying to get Trane's recorded sound by working on metal Links because that's what they saw in photos and yet, Trane often recorded with hard rubber mpcs because, in Trane's opinion, it didn't have as much spit in the sound for him. It's interesting how some things come around back to you. There are two exercises I recommend to my students and have recommended on the forum regarding volume and embouchure control and flexibility. I've never heard anyone else recommend these exercises and yet here they are in Peter's book. Then it hit me. The only other one I know who uses them is a former teacher of mine and I remembered that years ago he said he had had some lessons with Ponzol. So 'the circle is unbroken' LOL. I would highly recommend it for beginners and intermediates, as well as for more advanced players to recommend to their students. It has made me re-think even some of my most basic assumptions regarding equipment and maintenance, which has made the read well worth it. I wish every SOTW newbie would start out their Forum time with this booklet at their disposal.

Par PAGANINI NICCOLO. Lorsque, en avril 1981, je jouai quelques-uns des 24 Caprices de N. Paganini au saxophone sopranino à Radio-France, j'imaginai réaliser une expérience trop personnelle pour mériter une large diffusion - l'exécution au saxophone de ces caprices me paraissait à l'extrême limite du possible. Grande fut ma surprise lorsque, en 1989, Didier Vadrot, alors étudiant en première année au Conservatoire de Paris, joua semaine après semaine chacun de ces redoutables Caprices dans une version parfaitement conforme à l'original. Très impressionnés, les autres étudiants de la classe de saxophone mettaient leurs pas sur ce chemin ardu au cours des mois suivants. L'immense bénéfice que chacun a retiré de ce travail, sur le plan technique - grands intervalles, détachés, perfectionnement du suraigu - et musical - longs phrasés, souplesse de l'expression associée à une grande vélocité - m'a convaincu qu'il était temps de présenter ce travail à un plus large public. Nous ne possédions pas à ce jour d'études transcendantes du niveau de celles proposées aux pianistes, violonistes, flûtistes. Après avoir travaillé les études de Mule, Loyon, Lacour, Bozza, Samyn et s'être déjà largement familiarisé avec le registre suraigu, tout saxophoniste peut se mesurer avec ce monument que Niccolo Paganini ne dédie pas aux violonistes, mais 'aux artistes'! Claude Delangle, Professeur au Conservatoire National Supérieur de Musique de Paris / Niveau : Difficile / classique / Répertoire / Saxophone

A diverse and timeless collection of 66 famous chorales arranged for concert band by Frank Erickson. The chorales are all arranged in four parts (SATB) and, in addition to full band, are playable by a wide variety of smaller groups, from quartet on up. Besides being an excellent warm-up tool, 66 Festive and Famous Chorales for Band provides a perfect opportunity to work on musicianship, phrasing, balance and intonation. / Saxophone

A diverse and timeless collection of 66 famous chorales arranged for concert band by Frank Erickson. The chorales are all arranged in four parts (SATB) and, in addition to full band, are playable by a wide variety of smaller groups, from quartet on up. Besides being an excellent warm-up tool, 66 Festive and Famous Chorales for Band provides a perfect opportunity to work on musicianship, phrasing, balance and intonation. / Saxophone

Alto Tenor Baritone Sax Trumpet or Clarinet-Performed by Bob Wilber tenor sax; Hilton Jefferson alto sax For Saxes Only is designed to give the jazz saxophonist (or clarinet or trumpet player) an opportunity to play with a top-flight sax section. Due to the comparative scarcity of big bands today this is the one area in which young players sorely lack experience. The problems of sight-reading intonation phrasing vibrato unisons subtone etc. which the player will encounter in working with this album are the same one would face playing with Ellington Basie or Goodman. If you haven't had the opportunity to work in a big band playing with this album should give you an idea of that special thrill one gets when theblend is perfect and everybody's swinging together! Includes printed musical score for E-flat and B-flat instruments and a compact disc featuring complete recordings (with alto sax as the solo instrument) and a second performance of the accompaniments only.

From best-selling author, John O'Neill, The Saxophone Method is a complete course for the beginner to intermediate saxophonist. Start by mastering the essential foundation techniques of breathing, embouchure, tone production, and tonguing required to be a great player in any style. With a wide range of tunes from all over the world you will be exposed to a great variety of musical styles to motivate and inspire.The mp3 backing tracks, available as free downloads, feature top professional musicians and will give you the feeling of playing in a great band from the very beginning.The Saxophone Method is supplemented by two Repertoire Books to give you even more music to practice and enjoy, and perfectly complements the Jazz Method for Saxophone. By the end of the method you will be able to:understand the fundamentals of good playing techniquehave explored the full range of the instrumentbe familiar with the most common rhythmshave a solid grounding in music theoryhave the confidence to play with a real band in many different styles / Alto Saxophone