For Saxophone (and other instruments) By LENNIE NIEHAUS UEVELUrING JAZZ LUNUCr Io a ree |07259805 AENIIE NIEHAUS Alter gratoaling Gum Laude trom California Ste Unwersiry Las Angeles, Lennie Niehaus joined the Stan Kenton archecira, During his stay with the Kan Yon orgaruratinn, he performed a5 9 teatured jazz bilo tale-st and won Downbeat's new star award in the alte saxnphone calegory He alse arrangsd mony albums tor Kenton ang recorded aitume under ns awn name, using many of the lamout ja77 stars hee Shetty Manne, Sv Perkins, Mei lewis and simmy Glutte. Recently, Nighaus has concentiater his etforts on writing lor telewsion, motion pictures, recording Groups and maior account commercials. He nae ar Fangad for suminaies sucn as Jota Denver, Mel Tarme, John Divioser, Florence Henderson and Gammy Davis Jr, He hae actwely served the educa: oral field for meny years, 96 3 published com. poseriatangat and as an adjdiceterictinictan in hugh sehoalt and calieges throughout the country. IRE LEORARD PUBLISHING SORPORATION- ° e e e e e e e e e * e e e e e e e e e e e e e e e e e e e e e e e e e e ° e e e e e e e e e e DEVELOPING JAZZ CONCEPTS For Saxophone (and other instruments) By LENNIE NIEHAUS INTRODUCTION The 20 exereipas and 2 etudes in Ihis ook are intended Io help in the development of the basic conceals uf jozz style, phrasing, rhyihms and progressions, N is excellent 36 4 upplement To lesson Tateriat 0 foe Gaily warnags avd oractice Each exercise neoduces @ common, two bar ja7z rhvilim shown at the beginning of each exercise, This yin Is laugh in an interesting, melodie mannar through a com- mon iazz progression. Articuiations have deen carefully chosen so that the rhythms are piaelleed and learned in the correct jazz style. When a similar myinm is then ene Eountered fy 9 jazz arrangement usually without articulations), fhe inythe and its €or fect imerpietation will alrcady be farwiar, faciltating sigin reading and nhrasing: Each etude cumbings thythms deveicned in the exercises in a moe realistic. lass repentve manner, similar te @ jazz tune This helos to further develop sight reading, phrasing, and a conceot of jez2 Siyle, Ax in me exeecises, all articulations and phrasigs re included to show me common stylist< Injeipretasion When practicing, remember that all migath notes are piaye aviglet ws aomng she ie feehy Abaro! eighth nates writen ood «TDs isplayeds da ed t's ATempcs and Gynamics have teen ourposely omitted thiougreut the hcok. The exerorses should De playse Sowly al feet, graduatty Increasing the fempo to a comfartabre. playable pace a8 thay became mare familar. The geneval rules foe dynamics apoly - orescendo on secer: ‘ing tee, decrescando on rlascencing tines, snd (usually) crescerde at the end of a phrase Chord eyriscs are included in all exercises and e'udes. The chords are use in reteting ime notes to fe pragresnens ond identifying the use of scales. gassing iones, Dive nutes and phher improvisational techniques. The chords can aleo ba used to adapt the exer cises and etudes to 2 combo setting with piano, rhythm guitar, bass, and drums, hough nis book te writen primarily lor waxophone, it gan be used successfully Dy other instruments, I werks very welt tor guitar, mallet percussion, ather woodwinds. and tp. good challenge for trumpet, (If some passages ara toc hard (or trumpet, they Gan be played an ociave lower) £02 bass clef instruments such as trombone, the exercrses can be tead 19 bass clef A basa clef key signature nas Deen added parentheses ai the eginning ol each exercise and etude for this psrpose In addition, a baa clef charcl anc acodenial transposition quids has. been proviosd, © 1981 HAL LEONARD PURL SWING COHBORATION Iniersaiional Copyright Secured Al Fighls ReservedARTICULATIONS USED IN THtS BOOK Hunzontal aecent —scceni, hold full value. Vemwal ancem accent, play shor! Legatn hold full value, ro aecent Fup poo oe The flip is introduced in exercise 18, occuring on the firs! bar and every other bar Mhoughout ~, === # | te tapes prayed inthe allowing manner on , th cd é “the first grace note is s hal! step, whale step, or higher than the preceeding halt note. The seuone grace noie returns to the same note 25 the hail note, All of the notes are siurred (usually a lp Slut on brass instruments). The fip should be executed bolore the fourth beat, with the quarter note langing squarely on deat four. Thare shoud be asfight crescendo trom the beginning of the figure fo tne enc. The same general rutes apply to the tips in etude 15 fallhaugh azcuring on different beats. e e 6 e e ° @ e e ° @ e @ e e ° e ° e e e e e e e e e e « e@ e e «. e é | e e|| ° el e= e e e e e e e e e e e e e e e e e e e e ° e e e e e e e e e e e e e e e ° e e e e e e e e e e eo BASS CLEF TRANSPOSITION GUIDE Inbess cle! (Trombone, Maciione BC. ete 3, the 10 key 0! bass ciel, To ymin o| the chord quide ol the chord are When reading tha exercises and eludes chord symbers must De transoased 10 mach the new notes ai Iranspace the chords, tind ine original :hord in the treble clef colur land move aciass 10 the bass clef column lor the new cherd All forms (changed in a Srmigr manner (for example, CMA becomns EXMAT) Accideniais onthe ireble clal naves F, Gantt (bast clef notes A, B. and E) must zlso be Changed when reading m1 past cle! The accidental changas afe shown Below ia the ac cidental quide. Accidentals an all other notes vemain the samt CHORD GUIDE ACCIDENTAL GUIDE x c Eb CHiOb) E D F eb abr #) E 8 of FE Ab(GH) FRG) A G Bb AbIGH Cb(BY A c 8b Ob(C4) B D ‘Toe following examples ilustra'e the correct transposition fram treble to bass cet, Exercita 16 B76) —l_ 7 Become: —D7/p9)_ >E gts opin f Etudes F 2fh ey & ax SSE Becomes: abEXERCISE #1 1h Syd dad Jai. pe Ob bn tty nly Gly Mn? nil ott) SAE Vet ipte = rar VPP ib oe. e. e e e rr. e e o eo e e s e. oe e 6000000 OO O88 O08 0HOHOO8HHHOHHHHHHHEHHHOOEO88EEEG') Wd Hyd. | EXERCISE #2EXERCISE #3 wads Td | tel - A ‘ A Bunt 1 4g 4 cope f= cre ttt Gl, my ne P= eee t=. a nem) 81 ~ AE) \ ee 1 eenenecesececesd: \ eevsese' eesesecsenese e e e e e e e e e e e e e e eiy Gove 63. a 3et hee’ =pEVTE ° : : : q 2 : : : : @ ; a ° : :EXERCISE #5 yaddad 1d dd Hoa A > oe) biones ARLE LP OI: pene £: COKE OTC HOHCTOCOCOECOE! | 3) e e je! e. e = e 7 : le e G54 ZB Ee petits - > »f7 e Gos) > Cm? FETS FeAl ag et te = ay ey Bape ém 6 ieastiet babe . 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