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JazzSaxophoneDuets
Tableof Contents
Preface.
Credits.
S u g g e s t e dU s eo f T h i s B o o ka n d C D S e t .
S t y l ea n d A n a l y s i s . 13
C o l u m b u sD r i v e . 16
LakeShoreDrive 1B
N o r t hA v e n u e . 20
Ohio Street. 22
AdamsStreet, 24
H a r l e mA v e n u e 26
l l l i n o i sS t r e e t . 2B
MadisonStreet.. 30
WellsStreet, 32
L i n c o l nA v e n u e 34
C o l u m b u sD r i v e . 36
LakeShoreDrive. 3B
NorthAvenue. 40
Ohio Street. 42
AdamsStreet. 44
H a r l e mA v e n u e 46
l l l i n o i sS t r e e t . 4B
M a d i s o nS t r e e t . . 50
WellsStreet. 52
L i n c o l nA v e n u e 54
Aboutthe Author. 5l
02006 Greg Fishman
All rightsreserved.International
copyrightsecured.
PREFACE
J a z z i s a l a n g u a g eW . e a r ea l ls t r i v i n g
t o b e f l u e n ti n t h i sl a n g u a g ea, n d t h e b e s tw a y t o
learnany languageis to be constantlysurroundedby nativespeakers.lf you'veever
triedto learnto speaka foreignlanguagewith onlya bookas your source,you knowthat
you'llneversoundauthenticunlessyou imitatethe actualsoundof nativespeakers.The
s a m ei s t r u ei n t h e l a n g u a g eo fj a z z .J a z z i s a n a u r a la r t ,a n d i t c a n n o tb e d e v e l o p e bdy
r e a d i n ga l o n e .
- - G r e oF i s h m a n
4
P E R S O N N ECLR E D I T S
Web site:www.gregfishman.com
Web site:www.gregfishmanjazzstudios.com
E-mail: greg@gregfishmanjazzstudios.com
Web site:www.markcolby.com
E - m a i: lm a r k . c o l b y @ s b c g l onbeatl .
E - m a i: ld e l u x m u s i c @ h o t m a i l . c o m
5
Eric Hochberg - Bass
Web site:www,erichochbergmusic.com
E - m a i: le h o c h b e r g @ a o l , c o m
E-mail: pgratteau@earthlink.net
CREDITS
PRODUCTION
RICO
The WorldJMost PopalarReed'"
6
SUGGESTED
USEOF THISBOOKAND CD SET
T H E I D I O M A T I CC O N G E P T
T H EA L T O & T E N O R
Noticethat on pages36 through55, the two stavesof the duetsare in two differentkey
signatures.The top staff is the alto part and the bottomstaffis the tenor part.The alto
part has been transposeddown a fourthfrom the same writtenpartsthat appearin the
first half of the book.The tenor part is exactlythe same as it was in the first half of the
book. For ease of reading,letters"A" for alto and "T" for tenor have been used at the left
side of each staff.
7
U S I N GT H E C D S
Thereare threeCDs includedwith this book:
Eb Alto SaxophoneVersion - Use this discto playthe duetswith two altosor two
withthis CD starton page 16.
The duetscorresponding
baritones.
Bb Tenor SaxophoneVersion - Use this discto playthe duetswith two tenorsor two
withthis CD starton page 16.
sopranos.The duetscorresponding
Alto & Tenor Version - Use this discto playthe duetswith alto playingthe firstpart
(top staff)and tenor playingthe secondpart (bottomstaff).The duetscorresponding with
this CD starton page36.
SELECTINGTHE CD TRACKS
H O WT O U S E T H E F O U RG O R R E S P O N D I NCGD T R A C K S
Use this track to becomefamiliarwith the way the two sax partsfit together.You can
play eitherthe firstor secondsax part alongwith this track.
1. Playthe secondsax partalongwith the CD so that you can hearboth partsof the
even if you don'thaveanothersaxophonist
duet simultaneously, availableto play
"live."
the duet
B
The fourthtrackis plavedwiththe rhvthmsectiononlv.and includesextrachorusesfor
soloinq.Use thistrackto playthe duetwith anothersaxophonistpresent,as well as for
soloingover the chordchanges.Afterplayingonce throughthe melody,improviseover
the chordprogressions for the specifiednumberof chorusesbeforeplayingthe melody
to concludethe pieceon the finalchorusof the track.
Of course,if two playersare not present,the fourthtrack can still be used to practice
soloingoverthe chordprogressions. Playthe top or bottomstaffof the duet and then
solofor four chorusesbeforeplayingthe finalmelodychorus.
CD TRACK SUMMARY
CD
Instrumentation CD Track Numbers
S a x e s1 & 2
+ Rhvthm Section I 5 13 17 21 25 29 33 37
Sax 2
+ Rhvthm Section 2 o 10 14 18 22 zo 30 34 38
Sax 1
+ Rhvthm Section 3 7 11 15 19 23 27 31 J3 39
Rhythm Section
Onlv 4 8 12 16 20 24 28 32 JO 40
A B O U TT H E M U S I C
TEMPOS
9
a time'and
As yourtechniqueimproves,increasethe metronomespeedone clickat
tempo. Your goal is to play the entireduetat the
slowlywork yourway up to the marked
marfóOtempo with Ào mistakes,and with the correctstyle and articulation.
S F NOTES
S P E C I A LF I N G E R I N G O
DYNAMICS
parts'As a
The duetshavea naturaldynamicbalancebetweenthe two saxophone
but let your ear be
generalstarlingpointfor thó dynamiclevelof the duets,use forfe,
or softer.Listencarefullyto the play-along
iour guidetor úhen to playstighttylouder
bO, io'.an exampleof itre,suUlleàynamicvariationsin the individuallinesas well as the
dynamicbalancebetweenthe two saxophoneparts'
SUBSTITUTECHORDCHANGES
COURTESYACCIDENTALS
l've
Sincethe temposare on the fast sideand the duetshavemanyaccidentals'
of
includedcourtesyaccidentalsto improvethe readability the pafts'
LEVEL
INTERMEDIATE
10
The basicgoal of the intermediate
playeris to emulatethe saxophoneplayingon the
recordedexamples.Closeattentionshouldbe paidto all stylisticaspectsas
demonstratedon the play-alongCDs, includingarticulation,time-feel,phrasing,etc.
ADVANCEDLEVEL
The goal for the advancedplayeris to understand the way in whicheach phraseis
developed,how the notesin the phrasesrelateto each chord,and how bothsax partsin
the duet progresslogicallyfrom one ideato the next.
P R O F E S S I O N ALLE V E L
In somesituations,
the musicalfocusmightbe on a particularly dissonantinterval,such
as a minorsecondor majorseventh.Analyzeeach intervalproducedby the two sax
partsand notethe effectthey haveon the feelingof tensionor releasethroughoutthe
11
duets.Onceyou'vedone someanalysis,writeyourown duetsusingthesevarious
devices.
compositional
MORE RESOURCESAVAILABLEONLINE
CLINICS,SEMINARSAND MASTERCLASSES
pleasecontact
in the U.S.and internationally,
For clinics,seminarsand masterclasses
me at the followingaddress:
Greg Fishman
Greg FishmanJazz Studios
824 CusterAve.
Evanston,lllinois60202
(847)334-3634
Web site:www.gregfishmanjazzstudios.com
E-mail: greg@gregfishmanjazzstudios.com
PRIVATELESSONS
CONGERTAND FESTIVALPERFORMANCES
To view my
For concert andjazz festivalbookings,pleasecontactme at (847)334-3634.
performance and CDs,pleasevisit:
schedule,reviews,photos,bio information
www.gregfishman.com
12
$tque{Axluvsrs
W R I T I N GS T Y L E S
lmitation
lmitationis a device in which a theme is statedin one voice and repeatedin a differentvoice. In the example
below,the upper voice statesa theme in measurenine,and the lowervoice imitatesthat theme in measure
eleven.
"Lincoln
A v e n u e ,m
" m.9-12
lmitationof Theme
Parallel Motion
With parallelmotion,the voicesmove in the same directionby the same interval.In the examplebelow,l've
u s e d p a r a l l em
l o t i o ni n 3 r d s .
"Madison
Street,"
mm.19-2'l
13
ContraryMotion
by any interval.
Withcontrarymotion,the voicesmovein oppositedirections
"North
Avenue,"mm. 22-24
ObliqueMotion
With obliquemotion,one voice moves up or down whilethe othervoice stayson the same pitch.Oblique
"Ohio
Motionis demonstratedin the firsttwo beatsof measure30 from the duet Street."Noticethe smooth
transitionbetweenparallel,obliqueand contrarymotionin the examplebelow.
Iui? g?
" O h i oS t r e e t ,m
" m .2 9 - 3 0
Counterpoint
+,
+ r t ' ,
" W e l l sS t r e e t ,m
" m.1-4
T4
DETAILED
OVERVIEW
OF THEDUETS
15
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27
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43
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Critic'sQuotes:
"...His
solosare shrewdlyconceivedyet deliveredwith apparenteaseand elegance.He
developsharmoniesthat sometimesstartlethe ear as he forgeslinesthattakà unexpected
twists and turns..."-Chicago Tribune
"Mr. Fishman
bringsa warm,soulful,singingtoneto balladsthat recallsthe logicand
lyricismof Stan Getz."-Washinqton post
57
(w
LYb
ETUDES
JMZ SAXOPHONE
THls800K,
tf YouEllf0YHl
BESURE ||UT
Tf|GHEGK
ÍISHMAII'S
GNEG
OTHERTIIIT!
ETUDES
JMZ SAXOPHONE
"IHIS/S REALLY A GREAT BOOK!!!!A powertú sight
reoding, eor troining, swinging, improvising iozz
fool. Perfect for /he s/udent of iozz, WishI hod it
when lwos growing up, Glod I hove it now,"
MichoelBrecker
'Ihis is one of fhe most concise ond eosy /o dtgesl
collection of so/os over stondord tune chord
chonges thot I hwe seen, All the elements of
good voice leoding, possingnoles ond common
sco/e usoge ore here. Veryenjoyoble!!"
SET
BOOK& TWOCD PLAY-ALONG
-D o ve L i e b mo n
'7
wrsht hod moteild tikethiswhen / wos coming up. Ihese eludes are liltle mosterpieces,Ihere is
such o weolth of moteriol to leorn from here. Greot line constructionond greol concepfucl/ideos.
Hoving the rhythm seclion continue ofter the etude ls o greol ideo! lwill be usrnglhese with virtuolly
otl mV s/udenfsfrom now on. Greg Fishmonhos done o terrific job of pulling thisbook togefher,ond
the ploy-olong rhythm secfion ls iirsf c/oss/"
- MorkColby,DepoulUniversity, ElmhurstCollege
"Ihisbook is o wrillen versionof the woy jozz ls supposed to be tought - leorning from o greot ployer
who truty understandshow to distillthelonguoge into cleor understondobleferms.Chicogo-bosed
soxophonislGreg Fishmonhos composed o sef of efudes bosed on slondord tunesfhof ore one of
"lypel've seen. Ihe /ineshe composes ore textbook verslonso/ poslbop
/he besf collections of thls
soxophoneimprovising,ondwillgivesludenfsotollleye/soweolthof moteildîoprocticeondinter-
nolize.FishmonisequollywelLversedos o teocher ond os o soxophonist- it'so rore combinotion thot
lsshowcosedin thisbook."
- Dovid Demsey,WilliomPotersonUniversity, SoxophoneJournql