Creative Saxophone + Cd: a Fresh Approach for Beginners Featuring Jazz and Improvisation Pdf

FREE CREATIVE SAXOPHONE + CD: A FRESH APPROACH FOR BEGINNERS FEATURING JAZZ AND IMPROVISATION PDF

Read more Read less. Pre-order Books. Order now from our extensive selection of books coming soon with Pre-order Price Guarantee. If the Amazon. Shop now. Customers who bought this item also bought. Page 1 of 1 Start over Page 1 of 1. Previous page. Learn to Play Sax. Ollie Weston. Tina Tomlins. Perfect Paperback. Only 2 left in stock. Universal Method for Saxophone. Paul DeVille. Usually dispatched within 4 to 5 days. Only 1 left in stock. Next page. Customers who viewed this item also viewed. Tell the Publisher! Review At the last count there are about sax tutor books out there, so why bother with this one? Because it teaches a lot about the saxophone and music in a fun, well-paced and modern manner. The book gets you up and playing but is mindful of important things needed to make a good sound on sax. The accompanying CD is Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation - 15 cool tunes - in a variety of styles you're playing rock from track one. Another great feature is that improvisation skills are developed, with heaps of help given by the authors. It is ideal for a sax teacher as well, because it's all there and both children and adult pupils wanting to learn will get into it. Highly recommended. Jazzwise online store Summer 05 If I could give awards for sheer value it would have to go to Creative Saxophone. Kellie Santin is widely recognized for her unique voice on the alto saxophone. Greatly influenced by Charlie Parker, Paul Desmond and others, her style of playing combines exceptional technique with a strong sense of melody and an infectious ability to groove. Kellie also freelances with a wide range of artists including Nina Ferro and Al Start. Cheryl Clark is an accomplished musician who specializes on saxophone, oboe, flute and Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation. A regular member of the leading big bands in Melbourne, Cheryl has toured with international acts including Ray Charles and Jerry Lewis. She has made numerous television appearances and has worked in musicals and commercial recording sessions including movie soundtracks and commercial recordings. What other items do customers buy after viewing this item? John Davies. Customer reviews. How are ratings calculated? Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyses reviews to verify trustworthiness. Review this product Share your thoughts with other customers. Write a customer review. Top reviews Most recent Top reviews. Top review from Australia. There was a problem filtering reviews right now. Please try again later. Verified Purchase. See all reviews. Top reviews from other countries. This was for my daughter, when she was learning to play the sax. It is a great book, which is complemented by the CD. She spent many hours playing along to the CD and enjoying it so I do recommend it Report abuse. As how do I continue with the steps Bought this in November, but have just realised there are missing pages, as have gradually began using the book in private lessons! Obviously this is no good! As how do I continue with the steps while I learn to play?! My husbands Christmas present which although he has played trombone for over 40 years and he said he thought he knew everything still came in very useful when playing saxophone this morning. Terrible delivery service and the cd doesn't work. Back to top. Get to Know Us. Books, CDs and Videos of Uncommon Interest

To browse Academia. Skip to main content. Log In Sign Up. Download Free PDF. Guiding principles for the concurrent teaching of jazz and classical saxophone: Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation view from the Melbourne secondary school sector. Braam de Villiers. Guiding principles for the concurrent teaching of jazz and classical saxophone; a view from the Melbourne secondary school sector Student Researcher: Abraham Albertus de Villiers Responsible Researcher: Dr. Abstract This study investigates the pedagogical methods of saxophone teachers who teach classical and jazz saxophone students in secondary schools in Melbourne. Currently, there is no significant academic study that has analysed the differences in classical and jazz saxophone teaching at secondary school level. This study aims to give saxophone teachers guiding principles to teach both jazz and classical saxophone styles concurrently. Most secondary school saxophone teachers are not proficient at teaching different styles to their students. The difficulty of teaching across classical and jazz saxophone styles has been exacerbated by a lack of consensus amongst researchers as well as a dearth of literature relating to secondary school saxophone teaching in Australia. Saxophone teachers at secondary school level are generally expected to teach both jazz and classical saxophone styles to their students, but lack guiding pedagogical principles. The Student Researcher proposed that a structured investigation of the professional teaching practice of experienced saxophone teachers would reveal pragmatic principles for this quandary in saxophone pedagogy. The study employed a qualitative research methodology, with a strong emphasis on interpretivism. Participants for the study were chosen according to their continuing professional involvement in saxophone pedagogy, qualifications and experience. Participants were asked to explain their pedagogical approach and elaborate on their views of particular aspects of teaching jazz and classical saxophone while being recorded for data collection purposes. The researcher then transcribed the interview recordings. Once the necessary fieldwork was completed the findings were compared with the available literature apposite to the subject area. The Student Researcher wrote the final dissertation once data analysis was completed. The study has found some useful guiding principles for teachers interested in teaching both styles concurrently. The study suggests that the introduction of improvisation at the initial stages of learning is beneficial in opening up possibilities of learning the jazz style. The research also indicates that articulation should be taught differently in the jazz and classical styles. Critical listening to recordings of both jazz and classical repertoire was also described as essential to teaching the styles concurrently. Introduction 1 1. Literature Review on the pedagogy of the concurrent teaching of jazz and classical saxophone 6 2. Research methodology 12 3. Presentation and discussion of research data 18 4. Teaching the different techniques in jazz and classical saxophone 32 4. Conclusion 40 5. As a pedagogue, I have observed the artistic benefits that saxophone Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation experience when they are instructed to play in both the jazz and classical saxophone styles. I have noted that students who are able to play both styles proficiently are able to participate in more performing opportunities in schools and possess a broader musical knowledge and appreciation. I have also experienced the difficulties of teaching both classical and jazz saxophone styles, since each genre emphasises different aspects of musical performance. Jazz pedagogy emphasises improvisation, Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation classical saxophone music focuses on learning repertoire mainly through a notation-based model of instruction. This topic is worthy of discussion, as a detailed investigation would aid teachers in structuring methodologies in which jazz and classical saxophone could be taught concurrently. Guiding pedagogical principles for saxophone teachers that outline a viable approach to teaching the divergent styles concurrently would contribute to the scholarly literature of saxophone pedagogy. As key terms, jazz and classical saxophone as they are used throughout this discussion need to be clarified. The term jazz saxophone refers broadly to styles of American jazz and popular music, such as Dixieland, Blues, Swing, Bebop, Fusion and Funk, which include an element of improvisation. The discussion of classical saxophone music for the purposes of this dissertation refers to repertoire from the canon of Western Art Music, taking in Baroque, Classical, Romantic and Twentieth Century styles. However, most saxophonists are only trained in one style at tertiary level and may lack knowledge in either the jazz or classical saxophone styles Ingham, Contemporary saxophonists are pressured to be proficient to teach both jazz and classical styles Vanderheyden, Jazz saxophonists often lack pedagogical knowledge in the classical style. Their options in the wider field of music teaching are consequently restricted, because they do not possess sufficient skills to instruct their students to perform classical repertoire appropriately. Similarly, classical saxophonists often have a dearth of knowledge in the jazz style. Institutions in the United States have attempted to remedy the problem presented by specialist training of saxophonists in either the jazz or classical style at tertiary level. Recent research has shown that the University of Colorado is attempting to reverse the trend of saxophone specialisation in only one style at tertiary level by providing students with two years of compulsory study in the two styles to develop more versatile teachers and musicians Erikson, Banaszak believes that the dominant artistic trends in saxophone playing, such as the ability to play both styles, should influence pedagogy. In accordance with this view, multi-skilled saxophonists should be the preferred outcome of the tertiary music education system. Educators have expressed divergent views on the subject of teaching multiple styles. Brodie and Roe allege that, in general, saxophone players are unable to interpret both the jazz and classical saxophone styles with proficiency. More recently, Haar has argued that many artistic benefits can be derived from studying jazz and classical saxophone styles contemporaneously. He highlights the fact that many eminent classical saxophone pieces are influenced by jazz harmonic and stylistic concepts. Skills in jazz improvisation can inspire the saxophonist to make the melodic line more inventive when performing classical saxophone repertoire. Alternatively, a rigorous study of classical saxophone music can assist the jazz saxophonist with technical proficiencies that cannot be obtained through exclusive jazz study. In his summary, Haar concludes that numerous similarities exist in both styles and it is beneficial for the saxophonist to learn aspects of both jazz and classical saxophone styles. While the need has been identified, clear pedagogical principles that explain how to teach jazz and classical saxophone concurrently at secondary school level are lacking. In the United States, research has shown that school budgets do not allow for specialist teachers in each style Erikson, Saxophone teachers from Australia are not immune to this issue as the country possesses expert players in both styles, but saxophone teachers mostly specialise in one or the other style. In Australia, many students prepare general AMEB Australian Music Education Board examinations which focus on classical repertoire and technique1, but their participation in a secondary school stage band requires a jazz approach to the saxophone. For this reason, Melbourne, in particular, requires saxophone pedagogues to be proficient in teaching both styles at secondary school level. In addition, the Victorian Certificate of Education VCE 2 saxophone syllabus demands that students select a stylistically diverse program, featuring both jazz and classical saxophone styles for their final examination to satisfy the assessment criteria Victorian Curriculum and Assessment Authority, Auxiliary research questions were needed in order to answer the main research question. These questions included: 1. What are the views of experienced and qualified teachers on the concurrent teaching of jazz and classical saxophone? How do these views relate to the available literature on the topic? Are there any significant Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation in the techniques of teaching jazz and classical saxophone? Which methodologies and concepts can be employed to improve the professional practice of saxophone teachers to teach both styles concurrently? Saxophone teachers in Melbourne require pedagogical principles to guide them to teach different styles concurrently, but scholarly resources on the topic are limited. Since most saxophonists would probably gravitate more to one or the other style it is probable that they will lack practical and pedagogical knowledge from different sides of the pedagogical spectrum. The variables with regards to producing different sonorities in both styles on the instrument are complex. Factors such as embouchure, articulation, vibrato, equipment and oral cavity placement can have marked effects on the sound that a saxophonist produces. The complexity of this problem allows for many views to co-exist. Some of the views expressed might be relevant to saxophone pedagogues worldwide, but the researcher recognises that these views strictly correlate to the unique pedagogical situation of Melbourne. Their approach to curriculum and professional practice is the main topic of discourse. Literature Review on the pedagogy of the concurrent teaching of jazz and classical saxophone 2. Classical saxophone Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation is based on a Eurocentric pedagogical model which emphasises notation-based performance. In contrast, jazz saxophone pedagogy is associated with an African American influenced musical expression that is largely an aural tradition featuring improvisation and idiosyncratic inflections. Duke indicates that players might have a definite inclination towards a specific style. For example, certain somatic habits such as bending notes in the jazz style become inappropriate when the jazz saxophonist endeavours to play classical saxophone repertoire. Subsequently, he recommends that the saxophonist should also identify the differences that are present in the facial area and throat when switching Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation styles. Numerous articles in The Saxophone Journal address the various differences in conceptual approach between the two styles that players need to adopt when learning Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation perform and teach both styles effectively. Pertinent articles highlighting the differences in conceptual approach have been written by Bongiorno and Haar These two documents propose that players must adjust their conceptual approach to performance in order to play both styles proficiently. It is believed that the conceptual approach to performing both styles should be informed by listening and making a meticulous study of the nuances that are evident in the two styles. In addition, Banaszak believes that the apparent difference in performance practice leads to a wholly different pedagogical approach for each style. Conversely, jazz players frequently utilise what is termed the straight lip embouchure, although there is much debate on utilising this technique in the style. According to Heavnerthe straight lip embouchure is formed by allowing the lower lip to fold over and cover a part of the lower teeth. Heavner indicates that this embouchure is looser and it allows the saxophonist to play with a brighter and strident tone. It is believed that this embouchure enables players to play in the jazz style. During an interview, presented by VanderheydenBranford Marsalis contested the straight-lip embouchure concept in Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation by stating that no embouchure differences should be apparent when switching styles. It is understood that a characteristic classical saxophone embouchure would produce homogeneity of tone across the entire saxophone range. This emphasis on consistent tone across the complete register of the saxophone is particularly evident in views expressed by saxophone virtuoso, Sigurd Rascher Rascher has written various exercises to aid students to maintain uniformity of timbre. On the whole, classical saxophone players endeavour to maintain a stable embouchure and purity of tone across the register. Jazz Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation often do the opposite; they frequently move the jaw and lip to achieve specific harsh effects on accents which is seen as inappropriate when performing classical saxophone repertoire. Angeli has contested the traditional views regarding classical saxophone embouchure; he suggests that even classical saxophonists need to adjust their embouchure with regards to different dynamics to facilitate better intonation. Joe Allard, a praised teacher of both jazz and classical saxophonists, such as Harvey Pittel and Michael Brecker proposed that the embouchure position should never move, regardless of register or style Segall There has been particular disagreement among educators in terms of teaching classical saxophonists how to articulate notes in jazz, the placement of the tongue in classical saxophone music and using different syllabic formations as a means to achieve the correct articulation in styles. Trezona contends that copying inflection, articulation and tone on jazz recordings does not necessarily predicate success in jazz articulation for classical musicians. Beginner - Most efficient exercises for beginners? | CafeSaxophone Forum

For the past thirty years Ellery Eskelin has been at the forefront of the global creative improvised music scene. Based in New York City, he has traveled widely performing, recording and amassing a very personal and iconoclastic body of work. And yet Ellery Eskelin has always remained deeply committed to the traditions of jazz and American music. Eskelin embodies this seeming contradiction with ease. He does not hear jazz as a style or idiom but as a process. Further, a process of creative development that has great relevancy to our time. In this pursuit Eskelin consistently delivers to the listening public unadulterated, passionate music with no excuses and no apologies. Ellery Eskelin born was raised in Baltimore and began playing the tenor saxophone at age ten, inspired by his mother "Bobbie Lee" who played Hammond B3 organ professionally in the early sixties. In Eskelin moved to New York City and in began recording with the cooperative group Joint Venture which also began his exposure on the European international touring circuit. Soon after, Eskelin formed the first of many projects as a leader beginning with a trio comprised of bassist Drew Gress and drummer Phil Haynes followed by a short lived group featuring Joe Daley on tuba and Arto Tuncboyaciyan on bakdav drums and percussion. In Eskelin formed the group most often associated with him including accordionist Andrea Parkins and drummer Jim Black. To date he has written over 50 compositions for this group, each of which has been documented on a series of CD releases on the Swiss hatHUT record label. The band has toured regularly and performed hundreds of concerts in the US, Canada and throughout Europe during the past twenty years. Along the way Eskelin has done a number of side projects including a group featuring guitarist Marc Ribot and drummer Kenny Wollesen dedicated to the music of Gene Ammons, improvisatory duos with Dutch drummer Han Bennink, an improvising ensemble consisting of strings, vibraphone and saxophone and most recently a group featuring Susan Alcorn on pedal steel guitar and bassist Michael Formanek. Over the years Eskelin has developed a number of other important associations with musicians such as Gerry Hemingway, Mark Helias, Sylvie Courvoisier, and Bobby Previte. As a side-person Eskelin has worked with a broad cross section of jazz, avant-pop and new-music figures such as organist Brother Jack McDuff, composer Mikel Rouse, guitarist Eugene Chadbourne, oud player and composer Rabih Abou-Khalil, drummer Daniel Humair and the pseudo- group "The Grassy Knoll" among many others. Eskelin's recordings as a leader and co-leader there are currently twenty six have been named in Best of the Year critics' polls in the New York Times, The Village Voiceand major jazz magazines in the US and abroad. He also appears on over fifty recordings as a side person. He has one of the great tenor sounds Eskelin continues to be the most inventive American tenor player in creative music The tenor saxophonist favors long sinuous phrases with enough twists and turns to keep his solos in a state of surprise, and his edgy tone lets you know it's all animated by a cagey authority" Village Voice, March That tone is all the alibi he'd need Certainly, his own playing is steeped in the blues, retaining an affable warmth and lanky swing even at its most abstract. Limbs flying in all directions, Black plays with unorthodox techniques that have yet to be named, let alone described. Sentimental kitsch and disquieting rumble emanate in equal measure from Parkins's bellows. On piano, she girds the band with stately figures; a moment later, she may steer her colleagues into a hall of fun-house mirrors with her sampler, occasionally pitting Eskelin against his own horn in an impromptu duet. Together, the three Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation taken jazz to previously unexplored areas; their string of hatOLOGY releases is without question one of the signal Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation of '90s improv. And yet, his experimental streak often places him well beyond the walls of the jazz establishment. Hence, Eskelin is an outcast, a Herculean player with an extremely fertile imagination who remains keen on collaborating with musical upstarts who also defy convention. Thankfully, they're as vital and idiosyncratic, as gorgeously strange as ever. Time Out New York, May It's partly about Eskelin's blustery lines intermixed with Parkins' swirling accordion maneuvers and Black's odd-metered backbeats. At times, the trio moves forward with the semblances of a rumbling freight train, via driving pulses and moments of compositional deconstruction. Nevertheless, the musicians seem equally comfortable when either engaging in a bit of controlled mayhem or executing trance-like choruses and soul-searching lyricism. This is yet another superb effort by one of the best groups in the business". All Music Guide. Arcanum Moderne is the eighth release by this trio, and, like its predecessors, is an excellent example of how vibrant jazz can be in a world where rock, hip-hop and electronic music are the dominant forms of artistic music expression. Equal parts brains and booty. Few would argue that this ensemble is perhaps one of the finest units Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation progressive jazz. This is smart, complex music, but it never lacks heart. This bravura track shows this trio at their best - both in their imaginative reconstructions and recombinations of generic material, and in their tremendous instrumental ability and appeal Don't miss it. Their collective rapport is phenomenal. They mine the tradition for its contradictions and use those as a place to Creative Saxophone + CD: A Fresh Approach for Beginners Featuring Jazz and Improvisation something new that can only be marked with an individual signature This is one of America's truly great offerings to the music of the world. Ellery Eskelin. The tenor saxophonist favors long sinuous phrases with enough twists and turns to keep his solos in a state of surprise, and his edgy tone lets you know it's all animated by a cagey authority" Village Voice, March " Time Out New York, May "Taken as a whole, the seven records on which the trio performs constitute a body of work as consistent as any since the glory days of the Coltrane Quartet's run on the Impulse label All Music Guide "