SKU: HL.48182724

UPC: 888680865078. 9.0x12.0x0.11 inches.

“French saxophonist, Jean-Marie Londeix (b. 1932) graduated from the Paris Conservatoire with a First Prize and a Prize of Honour. As a fantastic all-around musician, he has a vast experience which makes his study books, including Scales and Modes, very well-informed. His career has taken him all over the world and many composers have written works specially for him. As an accomplished teacher of other famous saxophonists, he has deduced where the gaps in studies for the instrument are, composing six significant books of the kind. The second volume of Scales and Modes addresses scales and modes over three octaves and broken chords over three and a half octaves. Moreover, fingerings are helpfully included. For all aspiring saxophonists, Scales and Modes, compiled by renowned, contemporary saxophonist Jean-Marie Londeix, is an essential guide and aid to progression of technique on the instrument.”.

SKU: HL.48186494

In one complete volume, Hyacinthe Klose (1808-1880), a virtuoso wind player of his day, provides 72 pages of detailed, progressive exercises and studies for the Saxophone. Methode Complete pour tous les Saxophones is essential to all saxophonists seeking to improve their technique on the instrument. Klose's book focuses on elements including the mechanics of the instrument, lips and tuning, phrasing, intervals, scales, chromaticism and chords among other musical aspects. Moreover, Methode Complete pour tous les Saxophones also contains finger exercises, technical exercises, and short pieces, as well as a detailed fingering chart and labelled diagram of the instrument. It is stated in the introduction that this Klose book was compiled as a response to the considerable evolution of the instrument at the time. With notes in French and English, and with the book being adaptable to all Saxophones, Methode Complete pour tous les Saxophones is versatile and crucial to the progress of any Saxophone player..

SKU: HL.48184874

UPC: 888680796938. 9x12.25 inches.

“Initially composed by Paul Taffanel and Philippe Gaubert, this edition of Big Daily Finger Exercises was adapted for the Saxophone and transcribed by Frederic Juranville. It includes fourteen different exercises: 1. Scales 2. Scales by the chromatic order and according to the cycle of fifths 3. Intervals 4. Chromatic scales 5. Whole 'tones scales 6. Arpeggios 7. Broken arpeggios 8. Arpeggios 9. Broken arpeggios 10. Diminished fifth chords ' Arpeggios and broken arpeggios 11. Diminished seventh chords ' Arpeggios and broken arpeggios 12. IV-V-I progressions 13. IV-V-I progressions with different rhythmic combinations 14. II-V-I progressions Frédéric Juranville is a French musician born in 1957 who won the First Prize of the Paris Conservatoire for Chamber music and Saxophone. He is now a Saxophone professor in France and works on the composition of new pedagogic methods.&rdquo.

SKU: M7.AHW-4003

English.

The series starts on an intermediate easy level and progresses from there. This first book contains simple rhythms with very few technical problems on the horn. This book will hopefully sharpen the students' eye to the simple but tricky rhythms he or she will be confronted with throughout their musical career. Chord changes are also included on some of the studies with space for the student to improvise if he or she is so inclined.

SKU: CF.YPS232F

ISBN 9781491158197. UPC: 680160916795. 9 x 12 inches.

Jam on Top was commissioned by Thomas Wittig for the Forest Lakes Elementary School fifth grade band, under the direction of Amy Thornsen, in memory of beloved music teacher, Mr. Dominic (Nick) Selvi. Nick had a passion for jazz and loved playing the style with his students. This piece is written in a standard blues chord progression (with courtesy accidentals written to introduce the blues scale) and can be performed in a straight rock or a swing-jazz feel. Special care should be taken to play all articulations to ensure the proper style. Nick was a saxophonist, and m. 39 could feature a solo, duet, trio or a saxophone soli section. In addition, mm. 39a50 could be opened up to have multiple soloists perform the solo in the style of an open jazz vamp. The drum parts are written for multiple players or could feature one player on drum set and the others improvising on accessory instruments such as cowbell, shaker, tambourine, etc. It is my hope that the performers will use this piece learn about blues chord progressions, blues scales in a pop, rock or jazz style.
Jam on Top was commissioned by Thomas Wittig for the Forest Lakes Elementary School fifth grade band, under the direction of Amy Thornsen, in memory of beloved music teacher, Mr. Dominic (Nick) Selvi. Nick had a passion for jazz and loved playing the style with his students. This piece is written in a standard blues chord progression (with courtesy accidentals written to introduce the blues scale) and can be performed in a straight rock or a swing-jazz feel. Special care should be taken to play all articulations to ensure the proper style. Nick was a saxophonist, and m. 39 could feature a solo, duet, trio or a saxophone soli section. In addition, mm. 39-50 could be opened up to have multiple soloists perform the solo in the style of an open jazz vamp. The drum parts are written for multiple players or could feature one player on drum set and the others improvising on accessory instruments such as cowbell, shaker, tambourine, etc. It is my hope that the performers will use this piece learn about blues chord progressions, blues scales in a pop, rock or jazz style.
Jam on Top was commissioned by Thomas Wittig for the Forest Lakes Elementary School fifth grade band, under the direction of Amy Thornsen, in memory of beloved music teacher, Mr. Dominic (Nick) Selvi. Nick had a passion for jazz and loved playing the style with his students. This piece is written in a standard blues chord progression (with courtesy accidentals written to introduce the blues scale) and can be performed in a straight rock or a swing-jazz feel. Special care should be taken to play all articulations to ensure the proper style. Nick was a saxophonist, and m. 39 could feature a solo, duet, trio or a saxophone soli section. In addition, mm. 39–50 could be opened up to have multiple soloists perform the solo in the style of an open jazz vamp. The drum parts are written for multiple players or could feature one player on drum set and the others improvising on accessory instruments such as cowbell, shaker, tambourine, etc. It is my hope that the performers will use this piece learn about blues chord progressions, blues scales in a pop, rock or jazz style.