Sixty Progressive Studies

Progressive studies for unaccompanied saxophone-Sixty For Sax is an unmissible collection of studies that cover the full range of musical styles with challenges for players of all abilities. Discover the versatility of your Saxophone - this progressive set of sixty studies varies from the sad sorrowful and bluesy to jumping Jazz and elegant Classical tunes. Each study is designed to address a particular Saxophone technique from legato slurs to stuttering staccatos and each study is written in a characterful style that reflects the style of playing. The studies are intended to provide a systematic coverage of different aspects of technique from Grades 1 all the way up to 8 and all aredirectly applicable to the playing standards required for the ABRSM examination program for both Tenor and Alto Saxophones.

Over sixty original studies in a variety of Jazz styles. The book is divided into three parts with part one introducing the beginner to jazz rhythms including swing quavers syncopation and displaced accents. Part two contains twenty carefully graded melodic jazz studies and part three encourages the budding jazz trombonist to use these studies as the basis for further creative jazz improvisation. Through its systematic methodical approach Progressive Jazz Studies helps you play stylish jazz from the very beginning.

Par RAE JAMES. Over sixty original studies in a variety of jazz styles. Part One introduces the beginner to jazz rhythms, including swing quavers, syncopation and displaced accents, while Part Two contains twenty carefully graded melodic jazz studies. Part three, Improvisation and Blues , encourages the budding jazz saxophonist to use these studies as the basis for further creative jazz improvisation. / Niveau : Facile / Recueil / Trompette

Douze Cahiers D'Etudes Revues, Annotées et Doigtées Par Mathieu Crickboom. Par CRICKBOOM MATHIEU. The masters of the violin have left us an inheritance of numerous books of remarkable studies and caprices. But the very abundance of this precious inheritance makes that an important part of it remains without profit, because it is impossible for the pupils to acquire or study these few thousands studies scattered in fifty big volumes. Very frequently, however, these studies are not classified in a progressive manner. Result of an inspiration which the pedagogical spirit could not always dominate or guide as it liked to, the first studies address themselves sometimes to the pupils who conjugate yet their first shifts with the most easy bow strokes, while the last are always of transcendent difficulty. Whatever be the chosen studies, once the first step is sourmounted, the pupils must do great efforts to realize imperfectly and in divided movements, difficulties which are beyond them. The result of this is: a considerable loss of time and sometimes even much discouragement. It follows at all events, that instead of practising fifty or sixty caprice studies in one year's time, the pupils can hardly study thirty. It is the desire to remedy these multiple inconveniences, that has incited us to realize the present work and in order to accomplish it to search in the greatest works of the masters, the elements the most apt to insure rapidly to the young violinists, the most complete mecanism of the left hand and bow. These exceedingly numerous and diverse elements chosen in the old editions, have been re-examined, fingered and sometimes the nuances (shades) set by us, with the most care and then classified by degrees from the second to the eight year of study in a progressive manner. These books of studies will not bear their fruits however, unless the work is regulated from the second to the fifth year of teaching, by a good method and appropriated exercises. The studies cannot in reality during this period, replace neither a method nor the exercises, they have to be considered rather as an amplified rehearsal of elements learned elsewhere but still badly assimilated./ Méthode / Violon