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Jazz Saxophone

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Abstract The saxophone is the most iconic instrument in jazz. Ask random people which instrument comes to mind when they think of jazz music, and it would surely be the saxophone. Saxophones play throughout charts and are required to navigate a variety of textures and roles, including beautiful unison melodies, technical harmonized solis, chordal comping, and slow-moving background chords, as well as to fill out the body of the band during full ensemble tuttis. This chapter introduces techniques and articulations specific to jazz saxophone style. Jazz-specific techniques such as subtone, tongue stopping, and half-tonguing are presented alongside teaching strategies and exercises. Other techniques discussed include methods of decorating or personalizing notes with scoops, fall offs, and terminal vibrato. Jazz saxophone pedagogical materials are presented in addition to a listening list of great historical saxophonists. The chapter concludes with a debate on the merits of mouthpieces, reeds, and saxophones marketed as jazz-specific items.
Oxford University PressNew York
Title: Jazz Saxophone
Description:
Abstract The saxophone is the most iconic instrument in jazz.
Ask random people which instrument comes to mind when they think of jazz music, and it would surely be the saxophone.
Saxophones play throughout charts and are required to navigate a variety of textures and roles, including beautiful unison melodies, technical harmonized solis, chordal comping, and slow-moving background chords, as well as to fill out the body of the band during full ensemble tuttis.
This chapter introduces techniques and articulations specific to jazz saxophone style.
Jazz-specific techniques such as subtone, tongue stopping, and half-tonguing are presented alongside teaching strategies and exercises.
Other techniques discussed include methods of decorating or personalizing notes with scoops, fall offs, and terminal vibrato.
Jazz saxophone pedagogical materials are presented in addition to a listening list of great historical saxophonists.
The chapter concludes with a debate on the merits of mouthpieces, reeds, and saxophones marketed as jazz-specific items.

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