118. George Coleman, tenor saxophone (“Maiden Voyage”) Sonny Rollins, tenor saxophone (“Eternal Triangle”) co fe” er eee 116. Sonny Stitt, tenor saxophone (“By Accident”) Gi 2 a 171. Ways to Practice/Ingrain The bebop lick is an easily acquired item, due to its brevity and simplicity of structure. It is nonetheless a valuable addition to the player’s style. Be sure to learn ways to integrate the lick into linear substance as well. Note that many of the examples given here weave the bebop lick into an ongoing line, preceded and left by non-bebop lick substance. Begin, however, by learning the lick (motive) in its isolated form, against exercise tracks and tunes which have a preponderance of minor seventh chords and dominant seventh chords. Another interesting way to apply the bebop lick against dominant seventh chords is to use it as a means of playing tri-tone substitutions (or altered dominants), an element that will be taken up later in this book: 4, e DF (or Ge) caine Sack + henarard yee (ut V) trun with DV (took Z)46 Hence a comparison between a single harmonic minor scale and what has been rendered in the above listing would yield the following results (collision tones are symbolized by +) + Y Gis G Correct scales C harm, minor Now before the reader jumps to the conclusion that this sort of harmonic generalization is ill-advised, understand that it does work, though less than ideal and risky to use, for a certainty. The three considerations that make it a modified success are: (1) most Il-V-I progressions in minor transpire about twice as quickly (shorter chord durations) as their major counterpart; (2) although each of the three chords requires a different scale, the sum total of the effect on the hearer is a minor key; and (3) most players instinctively avoid the collision tones, perhaps because their ears warn them in advance of the potential danger. Closely related to the foregoing type of harmonic generalization, still another variation comes about when an improviser combines the II and V chords in a minor key (but not the I chord) under a single diminished scale. Again, there are collision tones present, but it can and does work, especially in the hands of the more capable improviser. correct scales dim. SealeHank Mobley, tenor saxophone (“Remember”) ae (dim. scale) we 190. Sonny Stitt, tenor saxophone (“Eternal Triangle”) (A dim. seale) 4 1 c a is. Sonny Stitt, tenor saxophone (“By Accident”) €" (A dim, seale) fe 492. Keith Jarrett, piano (“Forest Flower”) EY (ah nj pentetonic) f # 193, 3 Though too lengthy to reprint in this study, the reader is encouraged to investigate transcriptions of Randy Brecker (trumpet) on Horace Silver’s recording of “Liberated Brother”, and Stanley Turrentine (tenor saxophone) on his recording of “Sugar.” Both are excellent examples of harmonic generalizations that use the blues scale almost exclusively over their entire solo lengths. Ways to Practice/Ingrain Its difficult for this author to suggest the seeming ‘cop-out’ of learning to play harmonic generalizations. Most students have the opposite problem, namely that of learning to be thorough with working up the ‘correct’ scales for every situation, Nonetheless, it’s also important to learn ‘fudging’ short cuts for those times when it is truly unreasonable to do | | | | i | | |VOL. 092: LIRE LA MUSIQUE PAR LA CONNAISSANCE DES INTERVALLES CO) ena A SMU ins) Deas ang ere LEaiLsd Petree MARIE CLAUDE ARBARETAZPour qu'un cuvrage pédegogique ait un intérét et une efficacité réels, le lecteur doit chercher @découwrir l'esprit dans lequel il a été congu, e ie considérer comme le point de départ d'une réflexion personnelle, Ce préambule s'adresse tous ceux qui seraient tentés de chercher dans les ouvrages mis & leur disposition, des “livres de recettes infaillibles", 4 tous ceux qui auraient tendance a oublier que la pédagogie est un “acte vivant” nécessitant un perpétuel renouvellement, une perpétuelle adaptation. Fixer dans un livre, c’est-adire définitivement, une expérience pédagogique est donc une opération fondamentalement fausse. Néanmoins, I'improvisation indispensable 4 un bon ensei- gnement doit s'appuyer sur des principes clairomont définis. C'est pourquoi il me semble important d'exposer ici les principaux sujets de réflexion qui ont gouverné cet ouvrage. LA MUSIQUE EST UN LANGAGE Qu'est-co que : "Lire la Musique’ ? cations a des formes graphiques ou “signes” qui "Pour qui ne comprend pas une iangue, il n'y “Lracte de lire consiste a associer des sign sont le code d'un langage, quel que soit ce langage. a pas de lecture possible.’’ (Larousse) La Musique est un langage. Ce langage s‘adresse a Ia sensibilité par I'intermédiaire de sensations sonores, Comprendre la Musique, c'est la ressentir. Lire la Musique, c'est l'entendre, grace a I'associa- tion de signos composés de ~ un élément graphique ou IMAGE — un élément oral ou MOTS, et des sensations qu'ils représentent. image Comment : “Apprendre a lire la Musique” ? 1) jusqu’’s 2 ans, l'enfant est 4 écoute du monde : il associe objets, sensations, gestes, avec les mots qui leur correspondent. 2) de 2 ans 46 ans, l'enfant apprend & parlor : il répéte tout U’abord des mots, puis des phrases, et enfin maitrise suffisamment les sonorités du fangage recu, pour les plier a sa propre volonté, et “s'exprimer’. 3) a pardir de 6 ans, enfant azprend a lire et a écrire : il fait enfin connaissance avec les signes qui vont représenicr ces mots qu'il entend et utilise cléja depuis 6 ans. Viendront ensuite Tes régles grammaticales, les analyses de textes et les dissertations, La formation du langage musical doit suivre cxactement la méme évolution, quel que soit 'age_de l'éleve. CSA.- 14.273a ee a 28: LECON. a9 Laces Clef de Sol. Too —— si ) majeur deux bémols a la clef. Mesure —_Neuf-huit, dérivée de la mesure en trois temps, No4. a, 2 SSS 4. = Accord pirtait faajeurs SS =| * rrSee 0D ‘ee ‘kn nmna se a SSO ee GAKHES LocRiEWvEs 2#* ¢. ~~ SSS pS eS iTe ee ee ee ee ee ee ee ee ee ee ee ee. ee ee ee ee eea he GAHHES WiroMiQues * ATS FHC EE EES SS Oe i bt |~wep Dieses & bémols LES ALTERATIONS - L'ORDRE DES # ET b Les trois altérations sont : * Le diése (#) éléve le son d'un 1/2 ton (plus aigu). * Le bémol (b) baisse le son d'un 1/2 ton (plus grave). * Le bécarre (#) annule l'effet du diése ou du bémol. ATTENTION! Une altération affecte toutes les notes du méme nom dans la méme mesure. Exemple : Fag également $ =. ot E Lialtération & la clé en début de portée affecte toutes les notes du méme nom tant que cette altération reste a la clé et tant qu'il n'y a pas eu de bécarre pour annuler I’altération. Ss GAMMES MAJEURES AVEC DES # Les dieses se présentent sur la portée toujours dans I'ordre suivant : F'a - Do - Sol - Ré - La - Mi- Si. ————= dite dice + ——— 2 ditses = 3 dices: = tonalité de Do —e de Set tonal de Re =} wialite de La 4 didses a= == Sdidses 6 ditses: = tonalitéde Mi Gr sex Si FAP tonalite de Fat oe GAMMES MAJEURES AVEC DES b Les bémols se présentent sur la portée toujours dans l'ordre suivant : Si - Mi - La - Ré - Sol - Do - Fa. = Obémel a 1 démol — 2vemels Ps 3 bémols roma a Do = wouliear | tonatie eS [SE eon en a 2 3 apenas hemos 5 bbs <= Thimote e oe o © Bditions CONNECTION Juin 1902. “Toss droits reserves pot ous pays ‘eprotion iterateIGHT © 2017 er: The Publisher and Author make no representations or warranti: to the accuracy or completeness of the contents of this work and claim all warranties, including without limitation warranties of fitnes purpose. No warranty may be created or extended by sales or 5 aterials. The advice and strategies contained herin may not be suits uation. This work is sold with the understanding that the Publisher in rendering legal, accounting, or other professional services. If | ssistance is required, the services of a competent professional | sought. Neither the Publisher nor the Author shall be liable for da erefrom. The fact that an organization or website is referred to in thi tion and/or potential source of further information does not mean t the Publisher endorses the information the organization or websi or recommendations it may make. readers should be aware that the internet websites listed in this wo inged or disappeared between when this work was writen and why of this publication may be reproduced or transmitted in any form or mechanical or electronic, including photocopying and recording, or ion storage and retrieval system, without permission in writing fre w publisher (except by a reviewer, who may quote brief passages ef video clips in a review).110 sharps. In spite of this logical arrangement, the lack of availability of the D clar- inet means that many famous passages written for it, such as in R. Strauss’s Till Eulenspiegel, are routinely played on the E} clarinet, thus losing alll the “key” advantage. The lower range of the E, clarinet sounds like a very pale version of the chalumeau register of the B; clarinet, and the highest notes, when played at Jouder dynamics, can be very shrill with a clearly reedy quality. The B} clarinet is useful in the band, where it expands the range of the clarinet family upwards. The instrument is agile and has an incisive staccato. The E} clarinet sounds a minor third higher than written; the D clarinet sounds a major second higher than written, The Fb Alto Clarinet This instrument is primarily found in bands or clarinet choirs, where it provides a valuable tenor voice. It has a rich, reedy tone quality, not as dark as the bass clarinet, but more veiled and somber than the B} or A clarinets. The instrument has good agility and response. The alto clarinet at times has been pressed into service as a substitute for the basset horn, which it only slightly approximates. The alto clarinct is a little uscd solo voice that offers interesting possibilities to the imaginative orchestrator. It sounds a major sixth lower than written. The Bp Contrabass Clarinet This clarinet is not usually made of wood, but of metal. Because it is turned back on itself four times and the tone holes are spaced much farther apart than on the smaller instruments. A rather complex and delicate system of levers is employed to facilitate control. The tone quality of the contrabass clarinet is, in the lowest register, very, very dark and capable of great power and clear pianissimos. The higher range, while lacking, the chalumeau qualities that first recommend the instrument, has aunique, colorless quality that exists in no other instrument. Agility is of course not as great as on the smaller clarinets, but the instrument can easily match the string basses and tuba in its ability to play rapid passages. It has a clear, focused pitch center that provides low notes with an casily perceived fundamental. The range downward extends to the lowest B} on the piano. It sounds two octaves and a major second below the written pitch. The Fy Contra Alto Clarinet Pitched one octave below the E, alto clarinet, the Eb contra alto (sometimes called E} contrabass) clarinet possesses a tone that is darker and more covered than the bass clarinet. This instrument is often used in bands to provide a woodwind bass that has the expressive capabilities and dynamic range of the clarinet.” The Eb contra alto has more inertia than the bass clarinet, due ® The contra alto clarinet performer can read bass clef tuba parts by simply changing the clef to the treble clef and adding three sharps to the key signature. This makes it possible to add E. contra alto clarinets to-an ensemble even when specific, printed parts are not provided. Instrumentatior124 Sonatina (continued) 28. Compose a short piece for flute, oboe, clarinet, and bassoon, Use only unpitched sounds or effects for which the pitches are not specified (such as “any multiphonic"). Have your piece performed THE SAXOPHONES English French German Ttalian singular saxophone (sax.) saxophone (sax.) Saxophon (Sax.) _ sassofono (sas.) plural saxophones (saxes) saxophones (sax.) Saxophone (Sax.) sassofoni (sas.) The Properties of the Saxophones The saxophones ate conical-bore, single-reed wind instruments made of brass. Invented by Adolph Sax in the nineteenth century, the saxophone family is a complete set of instruments covering a wide pitch range. The family ranges from the high sopranino in Eb to the equally rare contrabass in Ed. Included are the following members: 1. Eb alto saxophone (French: saxophone alto en miss German: Es Altsaxophon; \talian: sassophono contralto in mi}; Spanish: saxofén con- tralto in mi}). 2. B) tenor saxophone (French: saxophone rénor en sib; German: B Tenorsaxophon; Italian: sassophono tenore in sib; Spanish: saxofin tenor or saxo tenor in sib). 3. Eb baritone saxophone (French: saxophone baryton en mij; German: Es Baritonsaxophon; Ivalian: sassophono baritona in nail; Spanish: saxofon baritono or saxo baritono in mis). Instrumentation Spanish saxofon or saxéfono (sax) saxofones (saxs.)128 Alto Saxophone The alto has more literature than all the other saxophones and is the most fre- quently encountered member of the family. Its tone is rich and horn-like, sounding like a blend of the horn, bassoon, and cello. The EL alto saxophone sounds a major sixth lower than written. Tenor Saxophone ‘This instrument has a long and distinguished association with jazz and popu- lar music. The tone is more aggressive than that of the alto. If one describes the alto as being horn-like, then the tenor may well be considered organ-like. The B} tenor sounds a major ninth lower than written. Baritone Saxophone ‘The baritone saxophone in Eh is perhaps the most mellow of all the saxophones. It is pitched an octave below the alto and is the most commonly utilized bass member of the family, Due to the general shortage of low-pitched woodwinds, the writing for the baritone saxophone is traditionally bass-line writing. Nonetheless, the baritone has an excellent solo voice that is much like a reedy euphonium in quality. All saxophones are capable of very clear articulations, but this is most in evidence in the baritone, which is unexcelled in the delineation of marcato or staccato figures. It sounds an octave and a sixth lower than written. Soprano Saxophone The Bh soprano is the highest-pitched saxophone in common use. It is an excel- lent solo woodwind voice, possessing all necessary expressive properties need- ed for any situation. Its tone is reedy and slightly pungent in the lower register and it becomes sweeter and clearer in the higher range. It is a transposing instrument in B} and thus sounds a whole step lower than written. Bass Saxophone The B} bass saxophone is not heard as often as the other members of the fam- ily discussed above. Still, when well played, it can almost match the baritone quality for quality and add the additional advantage of four or five more semi- tones downward in range. The tone of the bass saxophone is more gravelly than that of the baritone and the articulation is a little less rapid. It is a very effec- tive bass instrument that can rival the pizzicato of an electronic bass in clarity, incisiveness, and—to an extent—power. Otber Saxophones ‘The Eb contrabass saxophone is pitched an octave below the baritone saxo- phone while the E} sopranino is pitched an octave above the alto. The former is very rarely encountered, but is a distinctive, heavy bass voice. The latter is even rarer and sounds like a cross between a clarinet and an oboe. ‘Two saxophones pitched in C are sometimes found. These are the C sopra- no and the C melody (a sort of C tenor). The C soprano is a nontransposing instrument sounding as written. The C melody is pitched a whole step above the tenor saxophone. These are remnants of a whole family of saxophones built in F and C rather than 5 and By. Included in the family were F mezzo-sopra- no (alto) saxophone and an F baritone. These are all very rare. Instrumentationee