The Wrong Note Rag

West Side Story Medley

Jazz Rock for the Moment- Valentin Hude 's Jaromo for Saxophone Quartet. Jaromo Comes with two written improvisations one 'Special Chorus' driving rhythms and more Action. It's time to rock your jazz groove and make rock music sound jazzy!

Rupert Hechensteiner 's Luna Libre for 5 Saxophones (S/AAATBar).

Completely revised and newly engraved ‘97 edition. This classic cross-over work by the legendary Phil Woods is now published exclusively by Advance Music.

15 Solo Etudes for Jazz Phrasing Interpretation and Improvisation-For jazz phrasing interpretation and improvisation. A new and exciting way for alto saxophone players to learn and practice basic jazz style.This book/CD set features 15 solo etudes based on blues and standard chord progressions demonstrated by Jim Snidero on alto saxophone along with a world-class rhythm section: Mike LeDonne piano; Peter Washington bass; and Kenny Washington drums. The recording features two separate versions of each etude: one with the soloist and rhythm section and one with the rhythm section only. See and hear how the soloist phrases play with or without the soloist on the CD and learn basic jazz style first-hand.

15 Technical Studies For Saxophone- This book brings together studies that focus on saxophone-specific technical difficulties such as register changes dexterity in the low register and coordination of the ring and little fingers. Similar to Buddhist meditation mantras the exercises are repeated gradually increasing the difficulty level. An ideal reference for advanced saxophonists that can be used in lessons or as concert preparation.

Traditional- Arranged in the tradition of the great saxophone sections of the Swing era.

Steve Prosser’s Intervallic Ear Training for Musicians is the product of 35 years studying and teaching interval awareness in music. The text provides a step-by-step method for assimilation of as well as graded exercises for each interval. Each Chapter concludes with Mastery Exercises and Etudes. After adequate study of the text the student will be able to hear recognize read and write music through the use of musical intervals. This skill is particularly helpful in dealing with music that is extremely chromatic tonally ambiguous or rapidly modulating.

10 great etudes for playing and improvising on the blues- The best-selling Advance author (Jazz Conception) and award-winning saxophonist (2017 Downbeat Critic's Poll) Jim Snidero now presents The Essence Of The Blues a new attractive method for beginners and moderately advanced players who wish to learn the language of the blues. Each edition contains 10 solo studies which have been transposed and arranged for the principal jazz instruments. The recordings on the professionally produced accompanying CD were performed by top-notch soloists and New York's best swinging rhythm section: Jim Snidero (alto saxophone) Eric Alexander (tenor saxophone) Jeremy Pelt (trumpet) Steve Davis (trombone) Jamie Baum (flute) Mike LeDonne Peter Washington Joe Farnsworth (rhythm section). The Essence Of The Blues is suitable for lessons with young pupils in particular but also for self-study or as performance pieces for jazz ensembles. Each piece comes with appropriate scale exercises tips for studying and practicing suggestions for own improvisations as well as recommended listening.

Eb Instruments-This CD (including music booklet) has not especially been worked out for the use in musical education. It is on the contrary an audio CD which has been recorded for sale as a trio CD under my name. Mixing the recordings at the studio however gave us the idea to offer this CD Legal Paradizer also as a play along CD. For this reason I have never taken a pedagogic approach to the musical conception of the pieces performed which in my opinion is exactly what makes these recordings so unique. The structure of none of the pieces is for instance as simple as that of the tunes on some other play along CDs. Therefore I have taken the liberty of adding a short explanationand/or comment on every piece meant to make it easier for you to follow the road map of the tunes. Additionally I have explained some stylistic features to help you interprete the individual pieces. Working with my students has shown me how much fun it can be to also offer groove and funk oriented music on a CD to play along. In most of the pieces you do not necessarily have to follow the changes; you should rather develop simple ideas in time. A real strong emphasis is here placed on the term groove.

Intermediate Jazz Conception is another addition to the popular series of etude books created by Jim Snidero featuring some of the finest jazz musicians in the world. This book/cd set includes 15 etudes based on standards modal tunes and blues demonstrated by Jim Rotondi on trumpet with the incredibly swinging rhythm section of Dave Hazeltine on piano Peter Washington on Bass and Kenny Washington on Drums. New to Intermediate Jazz Conception is an appendix dedicated to style and improvisation including a scales syllabus nomenclature and over 95 lines and ideas extracted for the study of improvisation!The recording features two separate versions of each etude; one withthe soloist and rhythm section and one with the rhythm section only. Hear how the soloist performs the etudes play with or without the soloist on the cd and learn about both jazz style and improvisation from some of the best.Other series available by Jim Snidero: Easy Jazz Conception and Jazz Conception.'A talented musician musical advocate and educator ... a genuinely significant figure in jazz composition' Penguin Guide to Jazz'A master musician' Down Beat Magazine

Concerto in D Minor op. 9-2

Intermediate Jazz Conception is another addition to the popular series of etude books created by Jim Snidero featuring some of the finest jazz musicians in the world. This book/cd set includes 15 etudes based on standards modal tunes and blues demonstrated by Steve Davis on trombone with the incredibly swinging rhythm section of Dave Hazeltine on piano Peter Washington on Bass and Kenny Washington on Drums. New to Intermediate Jazz Conception is an appendix dedicated to style and improvisation including a scales syllabus nomenclature and over 95 lines and ideas extracted for the study of improvisation! The recording features two separate versions of each etude; one withthe soloist and rhythm section and one with the rhythm section only. Hear how the soloist performs the etudes play with or without the soloist on the cd and learn about both jazz style and improvisation from some of the best.

Trent Kynaston’s Saxophone Intonation Workbook is a thorough organized approach to approaching saxophone intonation. Basic concepts of embouchure and breathing understanding the role of your equipment and developing voicing techniques are all explored. Included is a tuning CD with numerous exercises along with additional scale and arpeggio studies. This is a must for all developing saxophonists.

K. G. Cape Town by Mike Rossi arranged for three wind instruments and percussion. In this piece the wind instruments whirl over a pedal with the drums navigating between solo and accompaniment. K. G. Cape Town is dedicated to Rossi's friend the drummer Kevin Gibson.

10 great etudes for playing and improvising on the blues- This new method provides beginners and moderately advanced musicians with an introduction to the language of blues. In 10 solo studies which can be accompanied by professionally performed and recorded playbacks the musician learns to master the essential basics step by step: Each piece comes with appropriate scale exercises tips for studying and practicing suggestions for own improvisations as well as recommended listening. The accompanying CD provides a unique band feeling with top-notch musicians: Steve Davis (trombone) Mike LeDonne (piano/organ) Peter Washington (bass) and Joe Farnsworth (drums).

C Instruments-This CD (including music booklet) has not especially been worked out for the use in musical education. It is on the contrary an audio CD which has been recorded for sale as a trio CD under my name. Mixing the recordings at the studio however gave us the idea to offer this CD Legal Paradizer also as a play along CD. For this reason I have never taken a pedagogic approach to the musical conception of the pieces performed which in my opinion is exactly what makes these recordings so unique. The structure of none of the pieces is for instance as simple as that of the tunes on some other play along CDs. Therefore I have taken the liberty of adding a short explanationand/or comment on every piece meant to make it easier for you to follow the road map of the tunes. Additionally I have explained some stylistic features to help you interprete the individual pieces. Working with my students has shown me how much fun it can be to also offer groove and funk oriented music on a CD to play along. In most of the pieces you do not necessarily have to follow the changes; you should rather develop simple ideas in time. A real strong emphasis is here placed on the term groove.

I have the pleasure of presenting the new Souza Lima playalong method series. This project is the result of extensive research and careful elaboration aiming at offering representative material on the most varied styles of Brazilian music to professional musicians students teachers and all those who take a general interest in this field of music.The focus of this series is on the language of instrumental music nowadays performed in Brazil based on elements of modern improvisation. Each volume contains two CDs with seven pieces of music which are presented in the following versions:1. Complete takes – in other words the full versions of the pieces included in the book which are performed by all the instruments playing simultaneously;2. Without melody / solo part – so that the melodic instruments can play along with the recording executing their own interpretations and practicing improvisations;3. Without harmony – so that the harmonic instruments can practice the language of accompaniment especially with regard to the rhythmic vocabulary of each style.4. Without bass – so that the bassists can practice their traditional task of accompaniment while working on the rhythmic but also the harmonic aspects;5. Without drums – so that the drummers can practice the rhythms characteristic of each piece of music but also create their own variations.Each book contains the scores in the form of lead sheets in four different versions: in C Bb Eb and bass clef. Due to the widely defined concept of this method it is important to point out that musicians playing transposing instruments might have to make adaptions when reading the scores. Wind instrumentalists are at liberty to carry out adjustments whenever these are called for in order to facilitate the musical execution.The Souza Lima playalong method series was not exclusively devised for musicians to learn and practise how to read scores and accompany the recordings. Try to be creative and explore each type of music in every way possible. Transcribing solos rhythmic comping phrases bass lines and drum grooves for instance can be an important tool in order to assimilate the elements of this language. The instrumentalists may place themselves in a new musical situation in addition

An easy way to improvise with 10 great tunes- This tune book by Ed Harlow contains cool grooves for beginners. The beat is provided by The Boston Horns band and the melody and accompanying grooves are set in easy arrangements and can be played by up to 3 players of the same instrument. This allows Easy Funk Play-Along to be used for individual practising or for (group) lessons. The solo passages are based around the pentatonic scale and particularly suitable for the first steps into improvisation. Each song comes with an alternative 'funky' solo song which can be practised with the play-along track.