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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 Kellie Santin,Cheryl Clark | 72 pages | 22 Apr 2004 | Oxford University Press | 9780193223660 | English | Oxford, United Kingdom Bio — Ellery Eskelin 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
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