Leaps and Sounds Volume 2- Concert Instruments PDF only
After the success of “Leaps & Sounds: 12 Contemporary Etudes for Jazz Saxophone-Volume I”, I felt
inspired to continue writing pieces of similar scope and structure- this book is the result.
The goal of this book is the same as Volume I; to provide etudes that integrate the usage of large intervals, along with strong Be-Bop, modern vocabulary and good voice leading, that challenge the serious student looking for a contemporary counterpoint to other resources currently available.
Through study of this book, students will gain a practical approach to using these concepts in their own
improvisational pursuits. The student should find each etude to be a difficult test of their ability to play in all registers of the saxophone; especially the upper and lower extremities.
Volume II is available in Concert, Bb and Eb transpositions and while every effort has been made to keep
the integrity and intent of the lines the same regardless of transpositions, it should be noted that the Concert and Bb transpositions offer the greatest challenge for integration of the altissimo register.
Each of the etudes in this book are written over the chord changes to familiar jazz standards, many of them written in atypical key centers.
Although the primary goal of the etudes has already been addressed, a few of them have additional musical considerations, described in a short “Etude Insight”, that highlights specific techniques used
during that etude. It is the hope of the author that these insights prove helpful in tackling each of the pieces.
After the success of “Leaps & Sounds: 12 Contemporary Etudes for Jazz Saxophone-Volume I”, I felt
inspired to continue writing pieces of similar scope and structure- this book is the result.
The goal of this book is the same as Volume I; to provide etudes that integrate the usage of large intervals, along with strong Be-Bop, modern vocabulary and good voice leading, that challenge the serious student looking for a contemporary counterpoint to other resources currently available.
Through study of this book, students will gain a practical approach to using these concepts in their own
improvisational pursuits. The student should find each etude to be a difficult test of their ability to play in all registers of the saxophone; especially the upper and lower extremities.
Volume II is available in Concert, Bb and Eb transpositions and while every effort has been made to keep
the integrity and intent of the lines the same regardless of transpositions, it should be noted that the Concert and Bb transpositions offer the greatest challenge for integration of the altissimo register.
Each of the etudes in this book are written over the chord changes to familiar jazz standards, many of them written in atypical key centers.
Although the primary goal of the etudes has already been addressed, a few of them have additional musical considerations, described in a short “Etude Insight”, that highlights specific techniques used
during that etude. It is the hope of the author that these insights prove helpful in tackling each of the pieces.
After the success of “Leaps & Sounds: 12 Contemporary Etudes for Jazz Saxophone-Volume I”, I felt
inspired to continue writing pieces of similar scope and structure- this book is the result.
The goal of this book is the same as Volume I; to provide etudes that integrate the usage of large intervals, along with strong Be-Bop, modern vocabulary and good voice leading, that challenge the serious student looking for a contemporary counterpoint to other resources currently available.
Through study of this book, students will gain a practical approach to using these concepts in their own
improvisational pursuits. The student should find each etude to be a difficult test of their ability to play in all registers of the saxophone; especially the upper and lower extremities.
Volume II is available in Concert, Bb and Eb transpositions and while every effort has been made to keep
the integrity and intent of the lines the same regardless of transpositions, it should be noted that the Concert and Bb transpositions offer the greatest challenge for integration of the altissimo register.
Each of the etudes in this book are written over the chord changes to familiar jazz standards, many of them written in atypical key centers.
Although the primary goal of the etudes has already been addressed, a few of them have additional musical considerations, described in a short “Etude Insight”, that highlights specific techniques used
during that etude. It is the hope of the author that these insights prove helpful in tackling each of the pieces.