Learn to Play Rhythm 'n' Blues Saxophone for Tenor Saxophone blows away the technical mysteries that surround the famous sounds of Honkers and Bar-walkers such as Sam 'The Man' Taylor, Lee Allen and Red Prysock. Here for the first time, you get the answers to the question "How did they do that?", broken down into logical, easy-to-follow steps, that get results.

*** Full Colour Pictures Inside The Book ***

By the end of the book/CD, you'll have the knowledge to be able to play:
 
The Growl 
False Fingerings
Harmonics / Altissimo
The Great Shake
Chicken Sax
Screams, Pops. . . and much more.
 
Each topic is carefully explained. Can't read music ? Not a problem. Mark has devised his own very clear system that will have you playing these fun and exciting effects in no time. Colour plates make it easy to see the correct hand and lip positions and the text is very easy to read - just like being in your own master-class with a pro saxophonist!

The accompanying CD is packed with examples and backing tracks of all the exercises in the book, so you can copy Mark as he demonstrates each one and then use the play-along tracks to perfect your own gutsy R 'n B sound. Also includes a comprehensive 'Recommended Listening' list of big-name players, who you should definitely check out to fully enjoy this fun style of music.

Bk/CD, for Tenor Saxophone, 47 pages

*** Below Are Some Abridged Pages From The Book *** 

What Is Rhythm 'n' Blues Saxophone

Listen to Illinois Jacquet's blistering solo on the Lionel Hampton version of 'Flying Home', and you very well might have the blueprint. This type of horn playing can be found in many different forms of music; from Rhythm 'n' Blues and Swing, to Rock 'n' Roll and Jump Jive. The main ingredient in all these styles is the sound; your Saxophone needs to have that Honk, that Wail or that Buzz. Most of the great players of this style in the late 1940s and 1950s, were called 'Honkers'...

Using This Book

Playing Rhythm 'n' Blues Saxophone is not an Exact Science; a lot of players use different techniques and tricks to shape their own style of playing. Some Honkers use certain tricks much more frequently in their shows than others, and just because you hear two players growling on their horn does not necessarily mean they are producing the sound in the same way. You may find that when you start trying some of the exercises in this book, some work better than others. When trying false fingerings you may find you hear no difference in the note, as on certain makes of Horn some work better than others. If I try a G false fingered note on my old Selmer...

Chapter Two – False Fingering

This technique can be known by two names, depending on which part of the World you live; False Fingering or Alternate Fingering. For the purposes of this Chapter we will use the first name. This trick will show you how to Vamp on one single note; useful for bringing your one note solos to life. For example, if I was to play a repeated riff on the note A…it would sound okay, but probably not as good Rhythmically as it could sound. By using these fingerings, you will still be playing one single note on the A, but a slight variation on the sound of the note will be heard. As well as concentrating on one Rhythm Pattern that can be used with this technique, at first we will also need to learn the different fingerings that are involved. These different sound variations are found by using keys on your Horn that you would not normally play together, and also by blowing certain notes in a way that you would not usually blow them. When trying these exercises you may find that some fingerings work better than others, you will probably discover a few alternative ways of playing certain notes yourself. Remember, on certain Saxophones the fingerings may differ. You will also hear variations on certain notes a lot stronger than others, and some should be easier to play than others. Although there can be many different fingerings to pick from, we shall only concentrate on seven. Take your time when doing these exercises. Study the photos and learn the fingerings. Try and make up Rhythm Patterns that are suited to your own style of playing. And as always, for best results….USE SPARINGLY.

Chapters and Guidelines

1. Growl : Learn how to give your Horn that all important sound.
2. False Fingering : A list of some alternative fingerings, a lesson on how to play different Rhythms on one note.
3. Harmonics : Easy to follow fingering charts to help you with those all important high notes, and to extend your horn to a third octave range.
4. The Great Shake : Give your Vibrato some attitude.
5. The Dancin' Tongue : A great exercise to help you achieve tonguing at speed.
6. Chicken Sax : A lesson in using lead - in notes in phrasing.
7. Screams : Move on up to the top floor of your horn, for that show stopping note.
8. Pops : A trick to use when playing down the basement end of your horn.
9. Fall Offs : How to finish off your riffs in style.
10. Trills : Great Four Note Semi-Tone Walks at speed....

C.D. TRACK LISTING

INTRODUCTION AND TUNING NOTE - Track 1
GROWL - Tracks 2 - 5.
FALSE FINGERING - Tracks 6 - 19.
HARMONICS - Tracks 20 - 23.
THE GREAT SHAKE - Tracks 24 - 27.
THE DANCIN' TONGUE - Tracks 28 - 30.
CHICKEN SAX - Tracks 31 - 35.
SCREAMS - Tracks 36 - 37.
POPS - Tracks 38 - 42.
FALL OFFS - Tracks 43 - 45.
TRILLS - Tracks 46 - 49...

This book on the 'Lost Art' of Rhythm n' Blues Saxophone is written for Music Readers and Non Music Readers.
It is easy to follow and comes with a full play-along C.D.
It concentrates more on the actual technique and old tricks of the Rhythm n' Blues Saxophone Players, rather than playing tunes.

This Book is written for Tenor Saxophone.