Jazz Phrasing Vol.3

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.

Learn to play bluegrass jazz Guitar with this instructional book and 3 x CD set.When first listening to flatpicking Guitar legends Doc Watson and Clarence White Barry Solomon was particularly attracted to theiruse of swing and jazz licks and phrasing and their choices of songs straight from Tin Pan Alley and the Great American Songbook. Tunes like Limehouse Blues All of Me and Honeysuckle Rose were exciting challenges to exploreafter becoming comfortable with bluegrass and fiddle tunes.Barry Solomon always thought that bluegrass and jazz were a wonderful combination and the most gratifying challenge has been to create arrangements thatmeld both styles in a tasteful and exciting manner.This volume includes the songs Lady Be Good Take the A Train Solly's Blues Back Home In Indiana There'll Never Be Another You and Georgia On My Mind.Accompanying audio is included.

Par MALLAU ANDRE. Methode de batterie melodico-rythmique jazz a 3 sons. Methode originale en vue d'augmenter l'efficacite du phrase, l'equilibre sur les differents instruments, la liberte dans l'accompagnement. / Niveau : Facile / Méthode / Batterie

Grade 3-This collection of pieces was written for the Trinity Guildhall Examination Board syllabus. It is aimed principally at students of grades 1 to 5 and intended to combine technical challenges with that most vital musical ingredient: fun.Four pieces for bassoon and piano by Graham Sheen.Drunken Sailor - the sequelThis needs a plaintive tone especially in the upper register where the dynamics are particularly important. To capture the mood of the piece those slurs in bars 35 and 36 for example might even be close to a glissando. Use your imagination to recreate the sailor's state of health!The Vulgar BoatmanNot only more 'hidden' melodies but moreappalling puns! (Volga Boatman for those not versed in Russian folksongs). This is like a waltz: it is written in 3/4 time but played so as to give the impression of one beat in bar. The melodies need to be well sustained so that we hear four eight or even more bars as a single phrase. Clues for the musical detective:- in addition to the Volga Boatman you might spot just a hint of 'Sailing down the River on a Sunday Afternoon' 'We Sail the Ocean Blue' (H.M.S. Pinafore) The Eton Boat Song and even Wagner's Flying Dutchman.Last Tango in HarrisEveryone must surely know these thinly disguised Scottish tunes but can you make them sound like a tango? Bear in mind that tangos are not jazz: the rhythm is quite strict but the tango character is in the tone and the phrasing. Notice how expressive the occasional shorter note value can be as in bars 4 and 5 in the bassoon part.Rheumanian StretchesOr was that Rumanian Sketches? This is a chance to play the main melody in two registers of the bassoon. Try to make a good even sound in both octaves. This piece requires careful counting since the phrases in the bassoon part don't always begin where you might expect. Think of this piece as a song.