By Lennie Niehaus
One of many world's hottest jazz duet books. Designed for sax, yet compatible for many treble clef tools. very hot with lecturers as the Duets are hip and enjoyable to play! Please be aware: duets are written for two Eb saxes or 2BB (not certainly one of each). every one tune at the CD is recorded in 2 keys to facilitate 2 altos or 2 tenors.
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One of many world's preferred jazz etude books; renowned as the etudes are hip and enjoyable to play. extremely popular between academics! Designed for sax yet appropriate for all tools. This quantity, a continuation of Vol. 1, includes 12 effortless point workouts and 10 etudes. Like quantity 1, it contains a CD with a rythm part taking part in every one etude in 3 keys, so Eb, Bb, and C tools can play with a song of their key (so they may not need to transpose from the book).
One of many world's most well-liked jazz etude books; renowned as the etudes are hip and enjoyable to play. extremely popular between academics! Designed for sax yet compatible for all tools. This quantity comprises 20 intermediate point workouts and 25 etudes. incorporates a play alongside CD appropriate for Alto Sax (other tools must transpose to take advantage of the CD).
One of many world's most well liked jazz duet books. Designed for sax, yet appropriate for many treble clef tools. highly regarded with lecturers as the Duets are hip and enjoyable to play! Please notice: duets are written for two Eb saxes or 2BB (not considered one of each). every one tune at the CD is recorded in 2 keys to facilitate 2 altos or 2 tenors.
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Additional info for Jazz Conception for Saxophone Duets
Creatively, I was in Dundee. By now, I’d hoped at least to be in St Andrews. I’d been on television to two million viewers less than a year ago, but now it seemed there was no one out there interested in what I did. I sold out a new stand-up show called Stewart Lee’s Badly Mapped World for a month in a 150-seater in Edinburgh in August 2000, but lost money as usual. The show received dreary middling reviews, saying I was boring or monotonous or drunk. I performed it a few times subsequently, but the momentum soon petered out.
The romance of it! Me, Simon Munnery, the comedy musician Jim Tavare, our brave two-man management team and a German crusty they had press-ganged into joining them, all of us pasting over Jeremy Hardy’s face again and again and again and again, like pathetic and ungrateful schoolboys vandalising a photo of the headmaster. Nobody on the Fringe had ever seen anything like it. Advertising! It was outrageous, and flew in the face of all eighties ideals. But in retrospect, the Stage Left acts, smoking rollies in their Red Wedge T-shirts and supping pints of Special Brew in the Pleasance courtyard, were right to be annoyed.
On the back of the success of The Office, Ricky was suddenly able to do his first full-length solo stand-up shows, to large and enthusiastic audiences. It was drawn to my attention that he always praised me and Sean Lock in interviews, and cited us as his main inspirations. Ricky was preparing his second live tour, 2004’s Politics, when I drifted back onto the circuit. I hadn’t seen any of his stand-up. The first time I was informed that I had copied Ricky Gervais was at The Amused Moose in Soho, sometime in late 2003 or early 2004.