Improvisation for Saxophone - Oliver Nelson

5/11/2018 Improvisation for Saxophone - Oliver Nelson

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Improvisationsund Stillibungen !fur Saxophon(PATTERNS FOR SAXOPHONE)


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I N T ROD U C T ION

First of all, it will be necessary to clear up one important point before the studentmakes any attempt to play through these patterns: The approach to this bO?k is basedon a Jazz attitude and unless otherwise indicated, !d examples are to be played witha melodic, legato, Jazz concept.Ex. 1, if played by a classically trained performer, would be played staccato simplybecause of the absence of legato markings .As almost all of these examples are notatedwithout these markings, please bear in mind that they are ~ to be played in a class-ical manner.It is also assumed that the student has already mastered the Major and Minor Scales,the construction of simple chords and their inversions, plus an understanding of musicforms, etc.A sequence is a repetition of a pattern on different scale steps. As long as the ori-ginal pattern is correct, any irregularities which might appear in its sequence arejustified. --------If the above statement is true, then the music of Bach, Beethoven, Bartok, CharlieParker, John Coltrane, even some of todays electronic music is constructed much in thesame manner. The use of sequential musical devices is not by any means dry and mechan-ical, but can be a useful aid in the art of improvisation, with or without inspirationand immense natural talent.Inspiration to a 20th Century Composer is nothing more than working with his materialsuntil the pieces fit properly. Natural talent to John Coltrane is long and tedioushours of practice and a great insight and understanding of the materials of music.These materials are Musical Form and Construction, Chords, Combination Chords and theirvariants, the use of Modal Melodic approaches, and the ability to improvise with splitsecond timing with ease and confidence.A performer who improvises has two or more choices to select when called upon to play.One is to play the chords vertically as in the case of Coleman Hawkins. Another, toplay melodically and horizontally as Lester Young did. Still another would be to playfreely; that is to ignore the melody, chords, time, form, etc. One desirable approachis to construct a solo based upon the tune or piece you are playing. To select a motifand build upon it, expanding it until it becomes a new composition created from the oldone.Attitudes Concerning Time And Time Signatures In Music.Time Signatures: In most older forms of music, plus a great deal of todays popularmusic, certain notes will melodically be more important than others. These more import-ant notes appear to have more Accent than the lesser important ones and this accentgenerally occurs at some regular interval. This grouping of musical sounds by means ofaccent produces one of the more important elements in music - Time. Time and Tempo arenot the same and must not be thought of as such. Terpo is the rate of speed at which amusical composition is to be performed, (slow, fast. These patterns of strong and weakaccents are called ~ and the most common patterns produced, depending upon therecurrence of the strong accent, generally contain two, three and four beats. This iscalled Duple time, Triple and Quadruple time.In order to indicate to a performer what time a piece of music is to be played in, weplace a Time Signature at the beginning of the composition.

4 6 2 -4 or 4' 2' etc.The upper figure indicates the nUmber of beats in a measure. The lower figure indicatesthe kind of note to be used for each beat. The length of time a musical sound lasts iscalled Duration. When each beat of a measure is divisible by two, the time is calledSimple Time. Therefore we have:

Simple Duple Time,222"248 Simple Triple Time,~ i i Simple Quadruple Time.444"248When the beats of a measure are dotted, the time is called Compound Time. We have:

Compound Duple Time, Compound Triple Time, Compound Quadruple Time.6 6 6 9 .2 .2 12 12 124 8 i " b 4 8 16 4" 8 Tb

If the student has already lOOked over some of the pages in this book, he might havenoticed a few time signatures which are not covered in the paragraphs concerning Dupleand Triple time and their variants:116

It is generally felt that t time is a combin~tion of i plus i or i plus t .This would stress the accents in the following manner:

and t


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1 We should think in terms of Beats instead of placing so much emphasis on Accents(strong or weak), as the key to how a piece is to be played.Ex. 43 - Page 28 is in t and is to be thought of in the following manner:It ~s not to be thought of as indicated below:

or

The same musical attitude shall apply to Ex. 44 - Page 29 and Ex. 45 - Page 30.Most of the examples in this book have no tempo indications as I felt that many ofthe illustrations shown are flexible enough to allow for some freedom of expression.This means unless indicated, they may be played as fast or as slowly as the performerwishes. The only exceptions are Ex. 77, Ex. 80 and Ex. 81. They are to be played fast,but how fast is again left up to the ability and to the desires of the performer.

Nachstehend als praktisches Anwendungsbeispiel eine Improvisation des Mittelteils derbekannten Komposition "Cherokee":One use of a pattern is this example which utilizes the chords to the bridge of"Cherokee":

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Ex. 41

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Ex. 42

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Ex. 45$ i t c r f i c p s r t l c t f f [ b c t l C r f r C b r T l c b r e n L u r P p I& ' r t r r r t : r r ! & ~ r ~ r r . r ' E 9 r n t f ! r I E ~ F i i # f r r~ , ! g r # r i 1 l * T " r i i l I J E q r ~ h B t 1 I ~ ~ f r f f j f ,~ . rt ridl, e S t E r f , b r-b f l r J l b E G e tr l IV c 6 E c r (II b ~b P i E r = f I ; P r C G r rJ I b ! r E r r k f ,~ ~~ ~ , , ~ , , ~1 1 , b e ' E f t : J = I , & c E rfFil,~s F k f w i E b e r H F r u = 1' c P r h P j b t t l T l b P C ab " r : ; t l ~ p r b o p r e r ! f l b ~ F c r b t l ,, f J ~ j .J . J a J ~ 1 J ) f t J . J . u D J t Q l ; o # J . J ~ J ~ F J 3 # J . 3 j U F F ,# ~ ~ ,' JJ .]~J#J]~1 ; . n ~ i j # J ~ I J J . ] n J f t U J ~ 1 ; E . J # 3 D J ) ~ ,, 1 3 # 5 J W Jl1JjjJJj% JJ#JJJ 'I~J}JJJ9= lf II30

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Ex. 53

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Ex. 60

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Ex. 68

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Ex. 70

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Ex. 72fir # E ' r # r ~ F F ' ~ t m r i t ~ r ' r # r ' r # r , r ' ~ c q E ot ' r' & 6 b E ( r~Pr- E f r # r ! f t I & r b r ~ r r p m I q [ ! e r T r' ~ rI T 0 r r r I t r c I t l~j~E0 F E r I ~ E c cit, E o f r t t r I b r ~ r fft I r Q C ' R r r F I P c 9 r fIr, r . I T ~ ~ r T # r 1 ~ t ! I T # r ! f t I o ' r # r t P r I - E C l e f t ,' ~ rr r m e r I g r # r f r ! f t I t c , r P E I g E # d d f t, r E t r r I T I b e E rft I E g o - r I I r I t f E l Y -, 0 -[tit r I ~ I Tr tll,Fffi E 1 - ( r i1 t,pfff i t I t#Ctl lr 1 0 c ~ r P r T Igrt tt, b E r r f t r i b E i f I b E r rf!r IL b t r f Y t I

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Ex. 76 l a -'tilffr t!t&c1I~E f j ; x tilr f t t r t c r ! f 1 F r t r I: , ~ E t i ; x y~tltr1rJ t r ~ ; I f F E ) .~y ~PIf r p r ~ r i c l f t [lIr!r I ~ F# 0 1 1 ; ) ~ l E r C f r ~ r r r t & ! 1

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Improvisation for Saxophone - Oliver Nelson