Kelly Bucheger’s Saxophone Pages: The Daily Grind, Part 2

©1999 Kelly Bucheger.
All Rights Reserved.

Scale Studies
Scales are the building blocks of technique on nearly every instrument, and you want to be entirely fluent with them on the saxophone. That means that when you want to play any scale, in any key, you can instantly do so without thinking of the spellings of the individual notes — instead, the pattern of every scale should be &#0147built into” your fingers, ingrained, ready to be called upon when desired.

“Divide & Conquer”
Scales!
This level of proficiency is actually not all that difficult to accomplish — you just need to work on it! To develop this fluency, &#0147divide and conquer” scales by breaking them into five-note groups.
For example, here’s the C scale, over most of the range of the sax, broken into 4 five-note groups:
Five Note Groups
Notice that the last note of each group serves as the first note of the following group. I describe what you should do with each five-note group below, but before you begin playing, here are some things to consider:

Keep in mind
the “feel” of
playing long tones.
This is very important: whether playing the five-note groups or entire scales, you should play the horn with the same feel as when you played long tones, with the only difference being that now you’re moving your fingers! In other words, you need to keep in mind the same things you kept track of when doing long tones, as discussed in the first part of The Daily Grind: Inhalation, Attack, Tone Quality, Focus & Intonation, Stance & Posture, and Release of the Note.
So, while playing, call to mind the feeling of the long tones. Don’t let the fact that now you’re playing scales and moving your fingers distract you from focusing on all of the important stuff: a full sound with good intonation, a relaxed posture, etc.
You’ll play the first five-note group slurred, without tonguing at all, as sixteenth notes, at a tempo of quarter note = 80:
Five Note Group Starting on C, Slurred

DON’T PRACTICE
TOO FAST!
Important Note: if you feel tense or confused while playing these patterns (or any patterns, for that matter...), then you’re playing too fast! Slow it down! If the above recommended tempo feels harried, slow it down! (I can’t say it enough...)
The idea is to build a foundation for faster playing, but to do so you need to begin at a tempo where you can execute the five-note groups perfectly, with no stumbling! You can’t build on top of a poor foundation, so you want to get it right the first time!

While playing scales, you need to focus on some new items:
Finger Position & Feel:

Gently curl
your fingers
to the keys
You want to gently curl your fingers to the keys, almost as if holding a ball. Use no more force than necessary the hold the horn and press down the
keys!

Keep your
fingers from
flailing about!
Also, try to keep your fingers from flailing about above the keys! I remember the first time I saw a video of Charlie Parker soloing: he was playing his typically fast, complex passages, and you couldn’t see his fingers moving at all! I couldn’t believe it! He kept his fingers right on the keys at all times, which minimized the amount of unnecessary finger motion he needed to execute his ideas. This kind of very efficient fingering is something you should strive for.

Practice in front
of a mirror
occasionally
Many players find it useful to practice in front of a mirror occasionally, watching their fingers to see how much they move over the keys. The first time you try this you might be quite surprised — “what are those appendages flying high into the air above my horn?” By watching yourself, you can become conscious of just what your hand position and finger movement is.

Finger the horn
without blowing
Here’s another way to practice bringing your fingers &#0147down to earth”: just pick up your saxophone from time to time and finger the horn without blowing. This permits you to concentrate entirely on how you’re moving your fingers. Try as much as possible to keep your fingers on the keys. You can even set the horn on your lap, if you’re sitting down, and watch your fingers in action while fingering scales, licks, tunes, or whatever. This is a kind of practicing you can do any time, day or night, without bothering anyone around you... (well, unless they’re one of those “Princess & the Pea” types who’s bothered by the sounds of the keys clicking — in which case, they really need to get out of the house more!).
Time Feel

You need
a metronome
In addition to the tuner mentioned in the first part of the Daily Grind, there is another practice tool that is absolutely indispensable: a metronome. A metronome will help you track your progress as you play scales and passages with increasing speed, as well as providing you with a reality check to ensure that you’re not unconsciously slowing down on the more technically challenging parts of whatever you’re working on.
You want to be able to hear your metronome (rather than relying on the flashing light) while still playing with a full sound that fills the room — so you need a metronome with a good loud click. If you can’t hear the metronome while playing, don’t bring your sound down in order to hear it — instead, reposition the metronome (with a music stand or whatever) nearer to one of your ears.

Unsolicited Testimonial
Despite my advice above, I never use a metronome anymore, except as a paperweight. Instead, I use a software accompaniment program called
Band In A Box, which works with my Mac and my MIDI keyboard to generate an excellent piano-bass-drums backing I can practice with. While I would never gig with BIAB, in a practice session it gives me all the benefits of a metronome, while providing a setting that more closely mimics a real performance situation (unless you regularly gig with your metronome!). BIAB permits me to type in any chord progression and work through it in any key and at any tempo, allowing me to hear and understand the progression and check my intonation as well. I regularly call the program The Metronome of the Gods, and it’s the best practice tool I’ve ever had — other than the horn itself!
If you’re reading this document on the World Wide Web, then you’ve presumably already got the computer. The further investment in BIAB, along with a sound card (often standard equipment on a computer these days) is minimal, but the benefits are great. Buy Band In A Box. Really! Do it now! I’ll wait here....
Now, back to our original program....

The saxophone
is a
rhythm
instrument

Let’s see, where were we? Oh yeah, Time Feel! Here’s the deal: think of your saxophone as a rhythm instrument. The better your time sense, the more effective your playing will be. So be relaxed, and make sure that you are right in the pocket with the metronome. As mentioned above, you should occasionally finger the horn without blowing through it. Finger these scale exercises along with a metronome, and listen to how your keys sound. It should sound like a small, exotic percussion ensemble, playing in perfect time.... Don’t let your fingering be mushy — instead, be very precise while fingering.
Also, be especially careful not to rush as you come to the end of an inhalation (a popular mistake that also suggests the player is tensing up as they run out of air — a no-no).
After you’ve played the five-note group several times, and as you come to the end of your inhalation, stop on the first note of the group and hold it as you would a long tone. Check the intonation of the note on your tuner. Your sound should be strong and full.
Articulation
After you’ve played the first five-note group slurred several times, aiming each time to improve your sound, focus, and time-feel, you’re ready to start playing the group using the jazz articulation:
Five Note Group Starting on C, Jazz Articulation

Coordinate your
fingers & tongue
You want your tonguing to be light, clean, and precise. You also want your tongue to be in coordination with your fingers, so that you’re not inadvertently making sloppy “grace notes” while playing; this happens when you finger a note a millisecond before or after tonguing the note.
You also want to maintain a good, full sound — don’t let your sound get muffled while you’re tonguing.
After you’ve played the first group with the jazz articulation several times, you’re ready to move on to the next five-note group, which you’ll play again at quarter note = 80, first slurred, then with the jazz articulation — and keeping all of the above in mind:
Five Note Group Starting on G
Do the same for the third and fourth groups:
Five Note Group Starting on D
Five Note Group Starting on A
Once you’ve played all the groups that make up the scale, you’re ready to put the parts together and play the entire scale, first slurred, then with the jazz articulation, over the entire range of the horn:
Full Scale in C
But Wait, There’s More!
The last thing you should do is play the scales in triads throughout the range of the horn. Here, for example, is how you&#0146d play the C major scale in triads. First, play ascending triads in triplets, slurred: <CENTER><IMG SRC="images/SaxAsc3.gif" ALT="Ascending Triads" WIDTH=288 HEIGHT=60 ALIGN=TOP></CENTER> When you reach the top of your range, bring the triads down as shown below: <CENTER><IMG SRC="images/SaxAsc3Down.gif" ALT="Ascending Triads Down" WIDTH=275 HEIGHT=66 ALIGN=TOP></CENTER> Next, play the ascending triads up and down with the following articulations: <CENTER><IMG SRC="images/SaxAsc3st.gif"ALT="Ascending Triads, Slur 2 Tongue 1" WIDTH=294 HEIGHT=56 ALIGN=TOP></CENTER> <CENTER><IMG SRC="images/SaxAsc3ts.gif"ALT="Ascending Triads, Tongue 1 Slur 2" WIDTH=292 HEIGHT=56 ALIGN=TOP></CENTER> Then, descending triads up and down, again with the 3 articulations as described above: <CENTER><IMG SRC="images/SaxDes3.gif"ALT="Descending Triads" WIDTH=289 HEIGHT=52 ALIGN=TOP></CENTER> Then alternate ascending-descending up and down, with articulations as above: <CENTER><IMG SRC="images/Sax3AD.gif"ALT="Alternating Triads, Ascending/Descending" WIDTH=294 HEIGHT=51 ALIGN=TOP></CENTER> Finally, alternate descending-ascending up and down, with articulations as above: <CENTER><IMG SRC="images/Sax3DA.gif"ALT="Alternating Triads, Descending/Ascending" WIDTH=292 HEIGHT=49 ALIGN=TOP></CENTER> Don&#0146t forget: the whole while you&#0146re playing these, you should be assessing your sound, your intonation, your stance, your time feel, your articulation, etc. Whew! Now What? After you&#0146ve done all of the above, the long tones from Part 1 and the scale studies here at, say, quarter note = 80, you&#0146re done with the Daily Grind portion of your practice session. You&#0146ll do it all over again tomorrow, with the metronome moved up a couple of notches (and no more than that!). Over the course of a few days you&#0146ll keep on increasing the tempo on the scale studies, strengthening your sound and solidifying your technique, until you&#0146ve mastered the scale studies at quarter note = 120.   </TD> </TR> <TR VALIGN=TOP> <TD WIDTH=150, align="center"> Movin on up!</TD> <TD WIDTH=450> Once you&#0146ve gotten to that point, you&#0146re done with C major for now. The next day, everything goes up a half step, and the metronome goes back to 80. Now you do the long tones starting on Db, moving up by fourths, and you&#0146ll play the Db major scale and go through the whole thing again! After you&#0146ve done all 12 major scales, you&#0146re ready to do the Grind on the Dominant 7th scale, starting on C. You should work on all of these scales, in all 12 keys, using the same scale studies routine presented above: <CENTER> <IMG SRC="images/SaxMajor.gif"ALT="Major Scale" WIDTH=246 HEIGHT=46 ALIGN=TOP> Major <IMG SRC="images/SaxMixolydian.gif"ALT="Mixolydian Scale" WIDTH=247 HEIGHT=47 ALIGN=TOP> Dominant 7th (Mixolydian) <IMG SRC="images/SaxDorian.gif"ALT="Dorian Scale" WIDTH=247 HEIGHT=47 ALIGN=TOP> Dorian <IMG SRC="images/SaxLydianDominant.gif"ALT="Lydian Dominant Scale" WIDTH=246 HEIGHT=47 ALIGN=TOP> Lydian Dominant <IMG SRC="images/SaxLydian.gif"ALT="Lydian Scale" WIDTH=246 HEIGHT=46 ALIGN=TOP> Lydian <IMG SRC="images/SaxWholeTone.gif"ALT="Whole Tone Scale" WIDTH=247 HEIGHT=46 ALIGN=TOP> Whole Tone <IMG SRC="images/SaxDiminished.gif"ALT="Diminished Scale" WIDTH=247 HEIGHT=47 ALIGN=TOP> Diminished <IMG SRC="images/SaxHarmonic.gif"ALT="Harmonic Minor Scale" WIDTH=247 HEIGHT=46 ALIGN=TOP> Harmonic Minor <IMG SRC="images/SaxDiminishedWT.gif"ALT="Diminished Whole Tone Scale" WIDTH=247 HEIGHT=48 ALIGN=TOP> Diminished Whole Tone </CENTER> Believe it or not, as you become proficient with your scales, The Daily Grind routine, long tones and scale studies, will only take about 20 minutes or less to do. And when you&#0146ve done all of those scales in all keys using the Daily Grind, you&#0146ll OWN them! <HR> <BLOCKQUOTE> <LI>The <A HREF="SaxPages3.html">Transcriptions Page</A> features the first couple of pages from transcriptions Ive done of solos by Sonny Rollins, John Coltrane, and Dexter Gordon. Ive worked to make these, well, the best damned transcriptions Ive seen! <LI>There are also some articles of interest to saxophonists and saxophiles on my <A HREF="WritingsAboutJazz.html">Writings About Jazz</A> page, including an article about James Carter as a youngster, an interview with Jamey Aebersold, and reviews of books about Coleman Hawkins and Ornette Coleman. </BLOCKQUOTE> <HR> Send your comments and suggestions about these Saxophone Pages to me at <a href="mailto:kelly@jazztenor.com">kelly@jazztenor.com</a>. Id enjoy hearing from you. <CITE>Kelly Bucheger, Buffalo, New York</CITE> <HR> <A HREF="JazzPages.html"> <IMG SRC="images/headermini.jpg" ALT="Kelly Bucheger's Jazz Pages" WIDTH="300" HEIGHT="169" ALIGN="top" BORDER="0"></A> <HR> <a href=http://the-tech.mit.edu/Macmade/><IMG SRC="images/macos_stc.gif" WIDTH=88 HEIGHT=31 ALIGN=TOP border=0></a> </TD> </TR> </TABLE> </BODY> </HTML>

©1999 Kelly Bucheger. All Rights Reserved.	Scale Studies Scales are the building blocks of technique on nearly every instrument, and you want to be entirely fluent with them on the saxophone. That means that when you want to play any scale, in any key, you can instantly do so without thinking of the spellings of the individual notes — instead, the pattern of every scale should be &#0147built into” your fingers, ingrained, ready to be called upon when desired.
“Divide & Conquer” Scales!	This level of proficiency is actually not all that difficult to accomplish — you just need to work on it! To develop this fluency, &#0147divide and conquer” scales by breaking them into five-note groups. For example, here’s the C scale, over most of the range of the sax, broken into 4 five-note groups: Notice that the last note of each group serves as the first note of the following group. I describe what you should do with each five-note group below, but before you begin playing, here are some things to consider:
Keep in mind the “feel” of playing long tones.	This is very important: whether playing the five-note groups or entire scales, you should play the horn with the same feel as when you played long tones, with the only difference being that now you’re moving your fingers! In other words, you need to keep in mind the same things you kept track of when doing long tones, as discussed in the first part of The Daily Grind: Inhalation, Attack, Tone Quality, Focus & Intonation, Stance & Posture, and Release of the Note. So, while playing, call to mind the feeling of the long tones. Don’t let the fact that now you’re playing scales and moving your fingers distract you from focusing on all of the important stuff: a full sound with good intonation, a relaxed posture, etc. You’ll play the first five-note group slurred, without tonguing at all, as sixteenth notes, at a tempo of quarter note = 80:
DON’T PRACTICE TOO FAST!	Important Note: if you feel tense or confused while playing these patterns (or any patterns, for that matter...), then you’re playing too fast! Slow it down! If the above recommended tempo feels harried, slow it down! (I can’t say it enough...) The idea is to build a foundation for faster playing, but to do so you need to begin at a tempo where you can execute the five-note groups perfectly, with no stumbling! You can’t build on top of a poor foundation, so you want to get it right the first time! While playing scales, you need to focus on some new items: Finger Position & Feel:
Gently curl your fingers to the keys	You want to gently curl your fingers to the keys, almost as if holding a ball. Use no more force than necessary the hold the horn and press down the keys!
Keep your fingers from flailing about!	Also, try to keep your fingers from flailing about above the keys! I remember the first time I saw a video of Charlie Parker soloing: he was playing his typically fast, complex passages, and you couldn’t see his fingers moving at all! I couldn’t believe it! He kept his fingers right on the keys at all times, which minimized the amount of unnecessary finger motion he needed to execute his ideas. This kind of very efficient fingering is something you should strive for.
Practice in front of a mirror occasionally	Many players find it useful to practice in front of a mirror occasionally, watching their fingers to see how much they move over the keys. The first time you try this you might be quite surprised — “what are those appendages flying high into the air above my horn?” By watching yourself, you can become conscious of just what your hand position and finger movement is.
Finger the horn without blowing	Here’s another way to practice bringing your fingers &#0147down to earth”: just pick up your saxophone from time to time and finger the horn without blowing. This permits you to concentrate entirely on how you’re moving your fingers. Try as much as possible to keep your fingers on the keys. You can even set the horn on your lap, if you’re sitting down, and watch your fingers in action while fingering scales, licks, tunes, or whatever. This is a kind of practicing you can do any time, day or night, without bothering anyone around you... (well, unless they’re one of those “Princess & the Pea” types who’s bothered by the sounds of the keys clicking — in which case, they really need to get out of the house more!). Time Feel
You need a metronome	In addition to the tuner mentioned in the first part of the Daily Grind, there is another practice tool that is absolutely indispensable: a metronome. A metronome will help you track your progress as you play scales and passages with increasing speed, as well as providing you with a reality check to ensure that you’re not unconsciously slowing down on the more technically challenging parts of whatever you’re working on. You want to be able to hear your metronome (rather than relying on the flashing light) while still playing with a full sound that fills the room — so you need a metronome with a good loud click. If you can’t hear the metronome while playing, don’t bring your sound down in order to hear it — instead, reposition the metronome (with a music stand or whatever) nearer to one of your ears.
	Unsolicited Testimonial Despite my advice above, I never use a metronome anymore, except as a paperweight. Instead, I use a software accompaniment program called Band In A Box, which works with my Mac and my MIDI keyboard to generate an excellent piano-bass-drums backing I can practice with. While I would never gig with BIAB, in a practice session it gives me all the benefits of a metronome, while providing a setting that more closely mimics a real performance situation (unless you regularly gig with your metronome!). BIAB permits me to type in any chord progression and work through it in any key and at any tempo, allowing me to hear and understand the progression and check my intonation as well. I regularly call the program The Metronome of the Gods, and it’s the best practice tool I’ve ever had — other than the horn itself! If you’re reading this document on the World Wide Web, then you’ve presumably already got the computer. The further investment in BIAB, along with a sound card (often standard equipment on a computer these days) is minimal, but the benefits are great. Buy Band In A Box. Really! Do it now! I’ll wait here.... Now, back to our original program....
The saxophone is a rhythm instrument	Let’s see, where were we? Oh yeah, Time Feel! Here’s the deal: think of your saxophone as a rhythm instrument. The better your time sense, the more effective your playing will be. So be relaxed, and make sure that you are right in the pocket with the metronome. As mentioned above, you should occasionally finger the horn without blowing through it. Finger these scale exercises along with a metronome, and listen to how your keys sound. It should sound like a small, exotic percussion ensemble, playing in perfect time.... Don’t let your fingering be mushy — instead, be very precise while fingering. Also, be especially careful not to rush as you come to the end of an inhalation (a popular mistake that also suggests the player is tensing up as they run out of air — a no-no). After you’ve played the five-note group several times, and as you come to the end of your inhalation, stop on the first note of the group and hold it as you would a long tone. Check the intonation of the note on your tuner. Your sound should be strong and full. Articulation After you’ve played the first five-note group slurred several times, aiming each time to improve your sound, focus, and time-feel, you’re ready to start playing the group using the jazz articulation:
Coordinate your fingers & tongue	You want your tonguing to be light, clean, and precise. You also want your tongue to be in coordination with your fingers, so that you’re not inadvertently making sloppy “grace notes” while playing; this happens when you finger a note a millisecond before or after tonguing the note. You also want to maintain a good, full sound — don’t let your sound get muffled while you’re tonguing. After you’ve played the first group with the jazz articulation several times, you’re ready to move on to the next five-note group, which you’ll play again at quarter note = 80, first slurred, then with the jazz articulation — and keeping all of the above in mind: Do the same for the third and fourth groups: Once you’ve played all the groups that make up the scale, you’re ready to put the parts together and play the entire scale, first slurred, then with the jazz articulation, over the entire range of the horn: But Wait, There’s More! The last thing you should do is play the scales in triads throughout the range of the horn. Here, for example, is how you&#0146d play the C major scale in triads. <P>First, play ascending triads in triplets, slurred: <P><CENTER><IMG SRC="images/SaxAsc3.gif" ALT="Ascending Triads" WIDTH=288 HEIGHT=60 ALIGN=TOP></CENTER> <P>When you reach the top of your range, bring the triads down as shown below: <P><CENTER><IMG SRC="images/SaxAsc3Down.gif" ALT="Ascending Triads Down" WIDTH=275 HEIGHT=66 ALIGN=TOP></CENTER> <P>Next, play the ascending triads up and down with the following articulations: <P><CENTER><IMG SRC="images/SaxAsc3st.gif"ALT="Ascending Triads, Slur 2 Tongue 1" WIDTH=294 HEIGHT=56 ALIGN=TOP></CENTER> <BR><CENTER><IMG SRC="images/SaxAsc3ts.gif"ALT="Ascending Triads, Tongue 1 Slur 2" WIDTH=292 HEIGHT=56 ALIGN=TOP></CENTER> <P>Then, descending triads up and down, again with the 3 articulations as described above: <P><CENTER><IMG SRC="images/SaxDes3.gif"ALT="Descending Triads" WIDTH=289 HEIGHT=52 ALIGN=TOP></CENTER> <P>Then alternate ascending-descending up and down, with articulations as above: <P><CENTER><IMG SRC="images/Sax3AD.gif"ALT="Alternating Triads, Ascending/Descending" WIDTH=294 HEIGHT=51 ALIGN=TOP></CENTER> <P>Finally, alternate descending-ascending up and down, with articulations as above: <P><CENTER><IMG SRC="images/Sax3DA.gif"ALT="Alternating Triads, Descending/Ascending" WIDTH=292 HEIGHT=49 ALIGN=TOP></CENTER> <P>Don&#0146t forget: the whole while you&#0146re playing these, you should be assessing your sound, your intonation, your stance, your time feel, your articulation, etc. <P><FONT SIZE="+2">Whew! Now What?</FONT> <P>After you&#0146ve done all of the above, the long tones from Part 1 and the scale studies here at, say, quarter note = 80, you&#0146re done with the Daily Grind portion of your practice session. You&#0146ll do it all over again tomorrow, with the metronome moved up a couple of notches (and no more than that!). Over the course of a few days you&#0146ll keep on increasing the tempo on the scale studies, strengthening your sound and solidifying your technique, until you&#0146ve mastered the scale studies at quarter note = 120. <BR> </FONT> </TD> </TR> <TR VALIGN=TOP> <TD WIDTH=150, align="center"><FONT COLOR="#000066"> <FONT FACE="Arial, Helvetica"><B>Movin on up!</B></FONT></TD> <TD WIDTH=450> <FONT FACE="ARIAL, HELVETICA"> <P>Once you&#0146ve gotten to that point, you&#0146re done with C major for now. The next day, everything goes up a half step, and the metronome goes back to 80. Now you do the long tones starting on Db, moving up by fourths, and you&#0146ll play the Db major scale and go through the whole thing again! <P>After you&#0146ve done all 12 major scales, you&#0146re ready to do the Grind on the Dominant 7th scale, starting on C. <P>You should work on all of these scales, in all 12 keys, using the same scale studies routine presented above:</FONT> <CENTER> <FONT SIZE=2><B> <P><IMG SRC="images/SaxMajor.gif"ALT="Major Scale" WIDTH=246 HEIGHT=46 ALIGN=TOP><BR>Major <P><IMG SRC="images/SaxMixolydian.gif"ALT="Mixolydian Scale" WIDTH=247 HEIGHT=47 ALIGN=TOP><BR>Dominant 7th (Mixolydian) <P><IMG SRC="images/SaxDorian.gif"ALT="Dorian Scale" WIDTH=247 HEIGHT=47 ALIGN=TOP><BR>Dorian <P><IMG SRC="images/SaxLydianDominant.gif"ALT="Lydian Dominant Scale" WIDTH=246 HEIGHT=47 ALIGN=TOP><BR>Lydian Dominant <P><IMG SRC="images/SaxLydian.gif"ALT="Lydian Scale" WIDTH=246 HEIGHT=46 ALIGN=TOP><BR>Lydian <P><IMG SRC="images/SaxWholeTone.gif"ALT="Whole Tone Scale" WIDTH=247 HEIGHT=46 ALIGN=TOP><BR>Whole Tone <P><IMG SRC="images/SaxDiminished.gif"ALT="Diminished Scale" WIDTH=247 HEIGHT=47 ALIGN=TOP><BR>Diminished <P><IMG SRC="images/SaxHarmonic.gif"ALT="Harmonic Minor Scale" WIDTH=247 HEIGHT=46 ALIGN=TOP><BR>Harmonic Minor <P><IMG SRC="images/SaxDiminishedWT.gif"ALT="Diminished Whole Tone Scale" WIDTH=247 HEIGHT=48 ALIGN=TOP><BR>Diminished Whole Tone </CENTER></FONT></B> <FONT FACE="ARIAL, HELVETICA"> <P>Believe it or not, as you become proficient with your scales, The Daily Grind routine, long tones and scale studies, will only take about 20 minutes or less to do. <P>And <B>when you&#0146ve done all of those scales in all keys using the Daily Grind, you&#0146ll OWN them!</B> <HR> <BLOCKQUOTE> <P><LI>The <A HREF="SaxPages3.html">Transcriptions Page</A> features the first couple of pages from transcriptions Ive done of solos by Sonny Rollins, John Coltrane, and Dexter Gordon. Ive worked to make these, well, the best damned transcriptions Ive seen! <P><LI>There are also some articles of interest to saxophonists and saxophiles on my <A HREF="WritingsAboutJazz.html">Writings About Jazz</A> page, including an article about James Carter as a youngster, an interview with Jamey Aebersold, and reviews of books about Coleman Hawkins and Ornette Coleman. </BLOCKQUOTE> <HR> Send your comments and suggestions about these Saxophone Pages to me at <BR><a href="mailto:kelly@jazztenor.com">kelly@jazztenor.com</a>. Id enjoy hearing from you. <P><CITE>Kelly Bucheger, Buffalo, New York</CITE> <HR> <A HREF="JazzPages.html"> <IMG SRC="images/headermini.jpg" ALT="Kelly Bucheger's Jazz Pages" WIDTH="300" HEIGHT="169" ALIGN="top" BORDER="0"></A> <HR> <a href=http://the-tech.mit.edu/Macmade/><IMG SRC="images/macos_stc.gif" WIDTH=88 HEIGHT=31 ALIGN=TOP border=0></a> </TD> </TR> </TABLE> </BODY> </HTML>