Each volume of Jazz Saxophone Etudes includes twelve etudes and two play-along CDs. Saxophonist Greg Fishman demonstrates each etude on both alto and tenor, backed by a world-class rhythm section featuring pianist Dennis Luxion, bassist Eric Hochberg, and drummer Phil Gratteau.

– Includes rhythm-section-only tracks with extra choruses to practice soloing over the chord progressions. – The rhythm section is recorded in two different keys, allowing all saxes to read the same written part, ensuring that each etude lays perfectly on all saxophones. – Written with the idiomatic tendencies of the saxophone in mind, these etudes demonstrate a melodic approach to soloing with authentic jazz vocabulary.

The etude series Jazz Guitar Etudes was created to fill a gap in the musical resources available to the aspiring jazz guitarist. Its purpose is to demonstrate the concepts of soloing to those students who know their chords and scales but lack the musical vocabulary to create professional-level solos.

I was recently asked to review the book Jazz Guitar Etudes by Chicago-based saxophonist Greg Fishman on my blog. It's a really wonderful book that has been adapted from his earlier Jazz Saxophone Etudes book with help from guitarist Mike Allemana.

I've had a blast working with it! If you or your students want to work on getting more of that horn-style phrasing into your playing the book will really help. Server Service File And Printer Sharing Ports Blocked. The full review and a youtube video of Mike Allemana playing one of the etudes here: Sorry if this sounds a little self-promotional. I really do dig the book, and encourage you to check it out! The book is very good, however I prefer the saxophone phrasing rather than the guitar version phrasing. Listen to both versions on the CD and work out how to get the best articulation and phrasing. Use the guitar tab as a start, just as they recommend in the book.

Each volume of Jazz Saxophone Etudes includes twelve etudes and two play-along CDs. Saxophonist Greg Fishman demonstrates each etude on both alto and tenor, backed by a world-class rhythm section featuring pianist Dennis Luxion, bassist Eric Hochberg, and drummer Phil Gratteau. Greg Fishman Jazz Etudes.pdf Free Download Here. All BM Jazz majors must own Jazz Saxophone Etudes by Greg Fishman. Samsung Scx 4321 Printer Driver Windows 7 on this page. Other materials are listed in the Jazz Studies.

State Street is a great Rhythm Changes improvisation/etude. Healthpointe 2 0 Program Management. I find that playing it a bit slower (around 200 bpm) and keeping more of the phrasing is preferable to playing it like a machine gun. Hp Pre Installed Programs Windows.

There is plenty of useful advice on using the etudes to develop your playing, no matter what level you are. Well, so let's talk articulation and phrasing on the guitar, since that's something I specifically have worked on in the past 6 months. I've been working out of the Dale Bruning book, and the overall idea there is to alter your fingerings so that you slur into each beat, particularly beats 1 & 3. This took me a while to get, because I had to throw out a lot of my old scale fingerings, but I can now pretty convincingly play all the modes of major, the blues scales, the 1st and 7th modes of melodic minor, and the harmonic minor scale with a swing inflection. It was frustrating while going though it, but ultimately worthwhile, since it freed me from the rigidity of staying in one particular 'box' on the fretboard (ingrained into me from years of classical training). I achieve the slurs in one of a few ways. I either slide up or down the neck into the next note (almost always a single fret); I slur (hammer-ons and/or pull-offs); and I take care not to pick every note; I try to pick only on the offbeats (not always possible).

Sometimes the realities of the fretboard get in the way, and I 'break' the swing feel, particularly when crossing strings. But for the most part, it's had a positive effect on my sound. I had one of the board members of my jury last semester comment on this aspect of my playing, which I took as a compliment. I've been transcribing a lot of Charlie Parker heads and solos lately, and I've noticed a definite difference (between now and half a year ago) in the way I approach my fingerings. I search for a lot of ways to finger things now, instead of being stuck in one spot. And I'm not afraid to move my hand position around anymore, which is quite freeing.

So, what exactly is it that is recommended in these books for the guitarist to do in order to get 'horn-like' phrases, beyond what I'm already doing? FatJeff - that is exactly what I meant by working out your own fingerings, in particular the use of hammer-ons, hammer-offs and slides. It is a good idea to start with picking only on the upbeats, or where this is impractical, you can emphasise the upbeat by picking slightly harder on each upbeat. A word of caution however, once you have this swing feel down, then you need to let your musical ear tell you what to emphasise with articulation and what not, irrespective of whether it is an upbeat or not. Charlie Parker did this all the time, with unusual (for the time) articulation and emphasis.