Greg Fishman Jazz Saxophone Etudes Pdf Files

“Jazz Anecdotes” by Bill CrowThis book came out in 1990. I own a first edition, hard-cover copy of the book. Bill Crow is a wonderful bassist, probably best known for playing with the piano-less (and wildly successfull) Gerry Mulligan Quartet in the 1950’s. It was so much fun to read, I remember that I just couldn’t put the book down.

Greg Fishman: Jazz Saxophone Duets 3 - Sheet music, 3 Playback-CDs. A version for alto & Tenor, with each etude played by Greg Fishman and Mark Colby.

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Since then, I’ve reread it a few times, and I’m about to read it once again. I find that a great book is always worth re-reading, just as a great album is worth listening over and over, through many years. I’ve found that as I’ve gotten older, when I reread a book, I get a new perspective with each new reading.Bill Crow played and toured with many of the jazz greats of all time, and he gives a first-hand account of what many of these players were like, on a personal level. There are also tons of great stories of the old-days. There was a simple question on one of the facebook saxophone forums.

A saxophonist named Dieter asked this:“For jazzers and other improvising musicians – What is your favorite book for practicing and studying the ii V I progression?”What followed his question were many comments, some with good advice, some not so good, with some folks disagreeing with others. Here’s what I wrote to Dieter, in a private message:Hi Dieter,Thanks for your question regarding playing over ii / V / I progressions. I’ve chosen to write privately so that my words will not incite people waste time arguing with each other, when we should all be practicing our horns!I see all kinds of advice on this thread.

Some of it good, some of it not so good. Everyone’s got an opinion, and opinions are so easy to give. Of course, until you hear each of these people play, there’s no way to tell if what they’re suggesting should be taken seriously.For example, I can’t tell you how many times I’ve seen flaming, angry posts from people fighting with each other about the best way. Recently, someone asked me about licks and stated that “using licks is not improvising.” I agree with that statement, but only to a point. After all, licks are like vocabulary.

It’s all in how you put things together in the moment.Someone with a good vocabulary may or may not be a good writer / story teller. The same goes for licks. They can serve a useful purposeI’ve used all of these words before, but I’m putting them together right now for this sentence. The way that I use words is the same way that I use musical vocabulary.Hearing in harmonic contexthearing multiple ways of playing something, keeping track of what you just played, interacting with the musicians, using theme and variation, using voiceleading to tie everything togetherthat’s improvising.Licks are not improvisation, any more than a vocabulary list for a spelling bee is a poem or a story.

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And yet, someone that knows the meaning of the words, and how to use them spontaneously and in multiple contexts, can incorporate some of those words with others, off the top of their head to express an idea. We can still get plenty of work done in the hour if you’d like to still have the lesson. Here’s the thingIf every student cancelled because they didn’t get as much work done as they’d hoped, nobody would have more than one lesson.While there’s always more that can be done in preparation for a lesson, even if you feel that you’re not 100% ready, you should still take the lesson.

In that one hour lesson, we’ll cover many things that you’d never arrive at, even if you’d practiced five hours per day, so it’s always worth the time. I could teach you a new melody, we could work on ear-training, jazz vocabulary, theory, chords, etc. There’s plenty we can still work on in the hour. I’m very excited about the launch of the new Greg Fishman Jazz Studios video lesson subscription site. Thanks to my good friend, Russ Paladino for all of the great design work and suggestions for the organization of the site.

Also thanks to all of my Skype students and book customers around the world who have been so kind with their letters and friendship though the years.When I began teaching in my hometown of Chicago in the 1980’s, I had no idea that in 2017, thanks to technology, I’d routinely be in touch with saxophone students in over 40 countries. It’s truly an amazing time.If you’re reading this blog, you’re probably familiar with my books and with my unique approach to teaching the saxophone and jazz improvisation. One of my favorite things is to take a complex subject and break it down in a creative way and then explain the concept to a student in terms that they can immediately understand and use.In my youth, I was a practice nut! I just loved playing and transcribing solos!