The Sax Section - Volume II

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I have played in professional big bands since I was sixteen. My favorite position to play
in the sax section is the lead alto chair, and I have had many opportunities to do this
with so many great bands. I even had the fortunate (and daunting) opportunity to play
lead on a big band recording with Phil Woods playing under me.

But the position I have found myself most often occupying throughout my career is the
second alto chair. Between residencies with the Mel Lewis Band and the Jazz at
Lincoln Center Orchestra I have spent thirty years holding down this position. I have
had the pleasure of playing under the great Chuck Wilson, Dick Oatts, Jerry Dodgion,
Jerome Richardson, Sherman Irby, Ann Paterson, Frank Wess, Dick Spencer and many
others. Each has their unique style leading the section. Playing second alto may not
seem as prestigious as playing lead, but the role in the section is just as important.
Every chair in the sax section has its own personality and responsibility.

In this four-volume collection you will experience a range of styles, feels and tempos.
There are straight-8th grooves, a variety of swing feels, ballads, shuffles, waltzes and
odd-time signatures. The music represented in this compilation cover almost a hundred
years of influences, from the 1920s to the present. There is a range of technical
demands and opportunity for expression. You will experience just about every situation
you may encounter in a saxophone section.

Most of the material found in these four volumes is excerpted from big band
arrangements I have done over the years, mostly for the Jazz at Lincoln Center
Orchestra but also from the Mel Lewis Band, my own big band and other projects.

Some directions from the original charts (like “backgrounds,” “on cue,” “behind
trumpet,” etc.) have been left in to provide a context. In many cases longer sections of
rests found in the original arrangements are truncated for the purpose of this book.
Occasionally, as a result, there are quick changes to other instruments which may be
difficult. in this case you can pause and re-count off.

One trick I have found often helps when playing in the lowest register of the saxophone
is to drop a mouthpiece cap into the bell. If you find it difficult for the notes to speak in
this register, this might help redirect the airflow. You can experiment with items of
different sizes and materials. I used this trick when I recorded some of the tenor parts
for this recording.

Regarding breathing: sometimes it is harder, or impossible, when playing the larger

saxophones to play long phrases without needing a breath. If you find you cannot play
a long phrase without needing to breathe, it is okay to grab one quickly where
necessary. It’s good for the lead player to establish places for breaths, taking into
consideration the needs of the other players.

Clicks have been provided for count-ins and larger areas of rest. For the first and
second alto books, the default instrument is always alto. Soprano will be indicated.

I hope you get years of enjoyment out of this book.

All arrangements by Ted Nash. All parts recorded by Ted Nash.

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Volume II - Advanced Saxes

These selections made it into the “advanced” volume for a number of reasons. First,
many of the passages are more technically challenging than in Volume I. Depending on
your level, many of these will require some “shedding” to play them smoothly. Believe
me, I had to play through some of these a few times before recording them for this
book. Also, I have introduced the soprano sax on both the first and second alto books.
Lastly, some of the material is conceptually a bit more sophisticated than in Volume I.

If possible, you should check out the original recordings of the following pieces. This
will be an important guide to the interpretation of your parts, and will also give you a
context for better understanding how the parts fit into the larger picture. I have
included information at the end of the descriptions.

A disclaimer: I am not the greatest baritone saxophonist, but had a lot of fun recording
these parts. This book can be especially helpful for you to work on a type of
saxophone with which you are less familiar or comfortable.

Notes about the music:

Scope
This incorporates a transcription of an improvised solo Bill Evans played on his
composition Peri’s Scope. It’s always important to listen to the original recording of
anything you are playing, particularly improvised solos. The attitude is carefree and
optimistic and should be played like that. Always bring some emotional element to the
performance. Notice the small accents and dynamics the lead also is providing and
how the section follows these quite closely. These nuances are important for the
section to sound together, like one entity. It doesn’t mean it should be mechanical and
without personality. Notice the slight laying back in the first bar of B? This is based on
Mr. Evans’ original phrasing. At letter D the section becomes background for a brass
soli. Also notice the drop in intensity while they play a supportive role. Even though it is
simply marked mf there is still room for ups and downs in volume, particularly with the
rise in register going into measure 45. Notice the slight bends the lead establishes on
certain phrases. It’s great when the other players learn to anticipate these kinds of
choices by the lead player.

Reference: Bill Evans Peri’s Scope on his album Portrait in Jazz (Riverside)

LBJ
This material comes from the out chorus of The American Promise, one of the
movements from my album Presidential Suite. The saxes are mostly supportive of the
brass, but take over the lead at different times (mostly when they are in unison). This is
a bright tempo. It should have momentum but not feel nervous or rushed. It should be
tight but relaxed at the same time. At letter B the sax section play in unison, which
requires a different responsibility. When playing the same pitches, getting in tune is a
priority. But you need to do this without losing personality. The lead alto has to give a
very clear and consistent pitch for the others to be work with. It’s always good to use
accents to bring out the tightness of the rhythm, especially on syncopated passages,
or when the section comes down on a “big 4,” like in measure 92. This is a device
common to a lot of traditional New Orleans music, and it always asks for a bit more
emphasis.

Reference: The American Promise from Ted Nash’s Presidential Suite (Motema).

Woman
This is in three sections, each faster and more intense than the one before. The first
section should be a bit mysterious. Some of the voicings help create this feeling, but it
should also be played with this in mind. In bar 98 there are some independent lines,
and each of these should be brought out. It’s also important to identify the climaxes
throughout a piece, even if they aren’t loud or overly intense. One example of a mini-
climax is measure 101, where the section comes together rhythmically with triplets.
This is acknowledged by adding a little more accent. While the lead alto stays on the
same note, the others create harmonic movement. This is a good opportunity for the
baritone to come out a little, accentuating the bass function. Starting at letter B this
section swings and should be more animated. When there are short quarter notes, it’s
good to give them a little weight - not to play them too short or clipped. The tension
should really build up to measure 113. You notice the “big four” at the end of that bar?
At letter C it comes down, but you notice how even these four bars are like a little story,
with a live to it? The third section, starting at letter D, is even more spirited. It’s
important to exaggerate the accents at measures 127 and 128. And it’s good to
recognize the contrast between these measures and the ones just preceding them.

Light
The song is called “Light” and should have a light attitude. Notice it still has a bit of
accent to help keep the momentum. This starts out with the saxes in octaves, playing
the theme. Then at letter B they become supportive of the brass, who take over the
lead. The saxes here still play with a bit of accent, especially on the syncopated notes.
Notice how the first note in measure 164 is accented and played with a lot of weight. At
letter C the saxes divide into a type of fugue for a few measure and then come together
at the end of 174. It’s good to acknowledge this with a strong accent and crescendo.
These are phrasings that are not marked but are played instinctively. All this has been
building up to the passages at letter D and E which has the saxes fully harmonized in
fourths. This gives it an almost mechanistic feel, but notice how there are still moments
of bluesy expression, like the anticipation into measure 191. This is where the saxes
break away from the stacked fourths and play a chord that has more tension. These
kind of moments should have an affect on the choices we make in terms of phrasing
and expression. We need to always try to understand what the composer or arranger’s
musical goals are. Notice all the accents played by the section starting at G. None of
these are marked, but the section understands the language and makes these natural
choices. Also, hear how the lead alto bends the note in bar 215. This is a personal
choice. A different player might choose to do this a completely different way. Much of
what we choose to do is subjective; there is not always a “right way” to do it.

Reference: Light from Ted Nash’s Chakra (Plastic Sax).

Ether
This piece is medium swing with a lot of blues in it. It is quirky, particularly in some of
the harmonic choices I made. This tempo can be tricky in terms of choosing how much
swing should be used. There is no subjective way to do it - it is a feeling. The first
sixteen bars feature the full ensemble, with the brass and saxes playing huge, dense
chords. At bar 225 the tenor takes over the lead and should play a little more
soloistically. At letter A the lead alto is in the highest register, and needs to play this
material with control. This is doubling one of the trumpets. The second eight-bar
passage is in contrast to the more relaxed feel during the first eight bars and it can be
played with a little more edge. Notice how the each alto has pickups in bars 228 and
230. The other members of the section need to be aware of this so that they line up
rhythmically. The fp at 239 should be exaggerated, and everyone needs to end that
note together, right on the downbeat of measure 241. Many times a section sounds
sloppy because of the releases, even if the the attacks are together. There is a lot of
independence starting at letter C, and the players should recognize when they are
playing either solo or supportive roles and phrase accordingly. Letter F is a background
but still should be played with some shape. At the end of F the second alto comes in
with a note meant to create a lot of tension. At letter H some of the saxes are playing
mechanical phrases, while the lead alto, in contrast, sings over the top and plays more
melodically. Letter K signals that things are coming to end, and should return to an
easier feel. The last statement by the second alto is in unison with a trumpet, and
should buzz and vibrate.

Reference: Ether from Ted Nash’s Chakra (Plastic Sax).

Cosmos
This is in two sections. The first is slow, but should be played with a certain intensity
and urgency. The voicings are not traditional and the strong harmonic tension indicates
that a different approach should be taken; it has a different emotional context than a
typical ballad. It’s more aggressive than sweet. This intro also sets up the vibe of the
next section, which is edgy and modern. Again, even though it has a certain
mechanistic flavor, there is always room for bending notes and finding the blues in the
phrasing. It is particularly important to pay attention and exaggerate the written
accents.

Reference: Cosmos from Ted Nash’s Chakra (Plastic Sax).

E-Max
This is a South African piece. It is a shuffle and the eighths should really be in the realm
of triplets, rather than in between triplet and straight-eight as with other pieces of a
similar tempo. The notes that are marked long, like bars 336, 348 and 350, should still
be played with a bit of accent, as they are syncopated and this helps give it flow and
forward movement. The notes marked short should still have a bit of weight to them. At
letter D, although it isn’t marked, the section should come down in volume a little and
play with a bit of mystery, to anticipate that something is coming. The whole section
should build to bar 385, delivering the trumpet solo at a high intensity. The
arrangement changes character here, becoming more a modern jazz vibe, rather than
the more folky material in the beginning. Letter E is a background. It should played as
tightly as possible. It’s important not to lay back too much on the syncopations. Then
the drummer will tell you are dragging! You don’t want to have the drummer as your
enemy :-)

Tropopause
The opening tenor lines are basically saying “I’m in Heaven.” So there should be a
heavenly feeling about this, which is contrasted by the entrance of the soprano. The
triplets should be very tight and staccato. The runs up at letter B are random and
should not line up with each other. Make sure you are ready to come in strong and tight
at letter C. This requires you to keep track of the time while you are playing the out-of-
time ascending runs. At letter D it’s important when you decrescendo not to lose
integrity with the pitch or control. Sometimes this requires us to make adjustments with
our embouchure. Letter G should be as tight as possible. Letter J is in contrast with the
material before and should be very smooth and comforting. At letter P, because of the
bright tempo, these eighth-note passages should be played more straight, rather than
too swung. This will help keep it moving forward and avoid feeling labored.

Reference: Reaching the Tropopause from Ted Nash’s Transformation (Tiger Turn).

Jack-ish
This is Monk. Very quirky. This arrangement takes apart and reassembles phrases of
the original composition. Players should be familiar with the original tune (Jackie-ing)
and the way Monk plays it. When we go back and forth between unisons and voiced
out passage, be aware that the unisons don’t need to be played too loudly. When a lot
of people are playing the same notes, it will naturally be quite powerful. When first
working on a piece like this it can be helpful to look at the score, to see how your part
fits in with the others. For example, knowing the exact rhythms the tenor 2 and
baritone are playing will help the alto, soprano and tenor play correctly in the time. The
backgrounds at letter G behind the soprano solo are transcribed from Monk’s actually
comping and it is good to check out how he accents and phrases in his left hand to get
the right quirkiness. These are played with the lower brass as well so it’s important to
identify which person you are playing your notes with. The material at letter K is
transcribed from Monk’s actual improvising.

Reference: Jackie-ing on Monk in Tokyo (Columbia)

Jumpin’ J
This is another beautifully quirky song, this time by the great alto saxophonist Charles
McPherson. There are a lot of unisons in this, and these need to be played with a
consistent approach between the players and as in tune as possible. Letter B is a good
example: each player should play with the same expression as the lead alto. Since this
is composed by an alto saxophonist I wanted to arrange this to feel very alto-dominant
and it is my hope that the players will channel Mr. McPherson’s wonderful spirit on this.
Even as we strive to be in tune, we can’t sacrifice the personality we need to play with.
At 692, these sixteenth lines should be seamless as to how they are passed from
player to player. On the eighth-note lines, in general, placing accents on certain notes
will help this swing and give it flow. At letter C, the second alto takes over lead and can
phrase this in whatever way he or she wants - a mini-moment to take a little
responsibility and shine.

Reference: Jumping Jacks from Charles McPherson’s Come Play With Me (Arabesque).

Poquito
This is Charlie Parker’s transcribed solo from Un Poquito de Tu Amor and it is
imperative the players listen to the original recording. Although the rhythm section is
playing a straight-eighth cha-cha groove, Bird plays with a subtle swing feel on top of
this. The approach I took is similar to the one the great group Super Sax used when the
arranged Bird’s solos. The voicings are all within one octave with the baritone doubling
the lead alto. The baritone, since it is also playing the melody, can play out a little more.
The tighter the section can play together the better, but is important not to become stiff
or rigid in attempting to do this. It should feel natural. Pay attention to the bebop
phrasing, particularly on the sixteenth-note lines. There is a “big four” at letter A, so it’s
good to give this a little weight. Notice how the section ghosts some of the notes (a la
Bird), like the last note in measure 729, for example. This really gives the lines shape
and should be done by all the members of the section.

Reference: Un Poquito de Tu Amor from The Latin Bird (Charlie Parker with Machito),
and Charlie Parker, South of the Border.

Matisse
This sax soli is very much inspired by the arranging of Thad Jones. It should swing and
feel good. It starts with a sax background behind the last chorus of the bass solo. The
soprano says on the same note, while the others move, changing the harmonic
implication of the chords. Even though the soprano isn’t changing notes, there still
must be an awareness of the harmonica shift that occurs every two beats. This
awareness will help keep it it moving forward. In bar 762, the triplets become divided
into groups of four. This is a fairly common device. By slightly accenting the beginning
of each four-note grouping, the effect will create an interesting rhythmic tension. Even
when we have difficult technical passage to play, the focus should be on the
destination at the ends of the phrases so we don’t get bogged down on each individual
note. If we think of where the phrases land, our time will be better throughout the
phrase.

Reference: Matisse from Ted Nash/Jazz at Lincoln Center Orchestra’s Portrait in Seven
Shades (JALC).
Person
This starts with a very slight swing, almost none at all. There is a lot of independence
between the parts. The soprano can play the last eighth note in the first bar to line up
with the quarter note triplets in the other saxes. If not, it is still okay - it’s meant to be
on its own. In the third bar the second alto plays those eighth-notes straight. And the
other three saxes continue this in measure 789. But when the baritone plays the written
solo at 792 it is swung. This could possibly also be straight, but I like this change in
feel. Then the tenors play straight eighths again. This back and forth makes it
interesting and unpredictable. At 799 the tempo picks up and it is unabashedly
swinging. Notice how the whole section puts and accent and extra weight on the last
note in 810, and how in the following phrase there are many places where they bend
notes and crescendo together. This gives such a cohesive sound to the section. When
you play with the same people for a while you begin to be able to anticipate these
kinds of choices. Notice how the breath attacks on the long notes in 837 and 838 help
keep things moving forward.

Plastics
This is based on Kurt Rosenwinkel’s composition Synthetics. To get a “synthetic” vibe
on this I voiced out the full saxes in stacked fourths. This starts at letter A, where the
melody starts. It feels computer-like. The saxes don’t swing too much on this, to add to
the mechanical nature. On the original arrangement, which featured Kurt guesting with
the Jazz at Lincoln Center Orchestra, the first time through the melody is played by just
guitar and tenor sax, as it was done on Kurt’s original recording. Much of the material
starting at letter B comes from transcribing his improvised solo. I used this material as
a sort of “shout chorus,” passing the lines back and forth between the saxes and the
brass. At some point the saxes are spread out over three octaves, with the soprano in
its uppermost register. This can be a tricky area of the horn. Just let it sing out over the
top of the section (and try to stay in tune!).

Reference: Synthetics from Kurt Rosenwinkel’s Deep Song (Verve).

Picasso
I wrote this for the great artist and it is one of the movements of my suite, Portrait in
Seven Shades. I love using the inspiration of great artists and concepts to compose
music. In this case I focussed on the art movement Picasso was instrumental in
creating called Cubism. I wanted to use this as an opportunity to challenge myself, and
compose in a new way, in honor of Picasso finding a new way to express himself
through his painting. First, I based everything on 4ths, referencing the side view of a
cube. The thematic material has a lot of fourths in it, the bone chords are in fourths, the
material is often stacked in fourths, and there are four tonal centers. I used some
techniques I had never tried previously, like creating multiple layers by copying and
pasting, using mirror images of material, and composing completely on the computer
rather than at a piano or any other instrument. The lines are quite technically
challenging and will probably need a bit of practice, particularly on the tenors and
baritone in the lower registers. The swinging line at letter C is a kind background for the
trumpet solo. Even thought it is in a supporting role it can be played out. The phrases
starting at the fifth bar of letter D pass back and forth between the saxes and brass, so
it’s important to really listen to the brass to fit them together effectively. The line during
the first few bars at letter G is the thematic material heard earlier, just slowed down.

Reference: Picasso from Ted Nash/Jazz at Lincoln Center Orchestra’s Portrait in Seven
Shades (JALC).