T

J
:
:
JazzSaxophoneDuets
Tableof Contents

Preface.

Credits.

S u g g e s t e dU s eo f T h i s B o o ka n d C D S e t .

S t y l ea n d A n a l y s i s . 13

DetailedOverviewof the Etudes 15

Duetsfor Two Altos or Two Tenors:

C o l u m b u sD r i v e . 16
LakeShoreDrive 1B
N o r t hA v e n u e . 20
Ohio Street. 22
AdamsStreet, 24
H a r l e mA v e n u e 26
l l l i n o i sS t r e e t . 2B
MadisonStreet.. 30
WellsStreet, 32
L i n c o l nA v e n u e 34

Duetsfor One Alto and One Tenor:

C o l u m b u sD r i v e . 36
LakeShoreDrive. 3B
NorthAvenue. 40
Ohio Street. 42
AdamsStreet. 44
H a r l e mA v e n u e 46
l l l i n o i sS t r e e t . 4B
M a d i s o nS t r e e t . . 50
WellsStreet. 52
L i n c o l nA v e n u e 54

Aboutthe Author. 5l
02006 Greg Fishman
All rightsreserved.International
copyrightsecured.
 PREFACE

l'vealwaysbeena hugefan of the two-saxophone format.Al Cohn& ZootSims,Sonny

Stitt& GeneAmmons,DexterGordon& WardellGray,Lee Konitz& WarneMarsh,and
JohnnyGriffin& Eddie"Loc(aw" Davishaveall had a profoundinfluenceon bothmy
playingand writing.I lovethe excitementgeneratedby the interaction
betweenthe two
saxophonistsand theirrhythmsections.

As a youngplayer,hearingthosefamoustwo-saxophone groupswas very inspiring.I

wouldtranscribethe arrangements and playrightalongwiththe records.Later,when I
startedplayinginjazz clubs,I formedmy own two-tenorgroup.lt was alwaysfun and
exciting,and the interplaybetweenthe two saxophoneswas a constantsourceof new
m u s i c aild e a s .

I learnedso much on the bandstandplayingin this formatthat I decidedto createthis

bookof duets.I wantto give studentsthe opportunityto experience the excitementof
playingprofessional-level
sax duetswith a greatrhythmsection.

This bookoffersmaximumflexibility, givingsaxophoniststhe choiceof playingwithtwo

altos,two tenorsor altoand tenor.Additionally,
afterthe duet is playedoncethrough,
thereare extrachorusesfor soloing.This allowsthe saxophonists to musically
communicate with each otherby tradingchorusesor tradingphrasesduringthe solo
sectionsof the play-alongtracks.

J a z z i s a l a n g u a g eW . e a r ea l ls t r i v i n g
t o b e f l u e n ti n t h i sl a n g u a g ea, n d t h e b e s tw a y t o
learnany languageis to be constantlysurroundedby nativespeakers.lf you'veever
triedto learnto speaka foreignlanguagewith onlya bookas your source,you knowthat
you'llneversoundauthenticunlessyou imitatethe actualsoundof nativespeakers.The
s a m ei s t r u ei n t h e l a n g u a g eo fj a z z .J a z z i s a n a u r a la r t ,a n d i t c a n n o tb e d e v e l o p e bdy
r e a d i n ga l o n e .

One of the mostimportantthingsyou can do to improveyour own playingis to listento

fhejazz greats.In the finalanalysis,we all play by ear.This bookwill helpyou develop
your ear and mindso thatyou can becomeadeptat expressing yourselfthroughyour
own improvisations. I hopeyou enjoyitl

- - G r e oF i s h m a n

4
 P E R S O N N ECLR E D I T S

Greg Fishman - Alto and Tenor Saxophone

Saxophonist, recordingartistand educatorGreg Fishmanhas performedwith The

woody HermanBand,LouisBellson,Lou Levy,SlideHampton,conte candoli,Don
Menza,ClarkTerry,EddieHigginsand Jackie& Roy.He has performedaliazz festivals
and clubsnationallyand internationally, includingthe NorthSea Jazz Festivalin the
Netherlands, and the Fujitsu- ConcordJazzfestivalin Japan.Gregearnedhis master's
degreein Jazz Pedagogyat Northwestern University.
He is the authorof threeStan
Getz transcriptionbooks (publishedby Hal Leonard)as well as Jazz SaxophoneEtudes
( p u b l i s h ebdy G r e gF i s h m a nJ a z zS t u d i o s ) .

Web site:www.gregfishman.com
Web site:www.gregfishmanjazzstudios.com
E-mail: greg@gregfishmanjazzstudios.com

Mark Colby - Tenor Saxophone

Saxophonist, recordingartistand educatorMarkColbyhas performedand/orrecorded

with GerryMulligan,FrankSinatra,ClarkTerry,MaynardFerguson,Jaco pastorius,
c h u c k M a n g i o n el ,r a S u l l i v a nM
, o s eA l l i s o nc, h a r l i eH a d e n a
, n d B o b J a m e s .H e h a s
also releasedcriticallyacclaimedalbumsas a leader,and recordsfor HallwayRecords.
He has beena jazzfacullymemberat DePaulUniversitysince1983,and Elmhurst
Collegesince1998.As a representative of SelmerSaxophonesand Vandorenreeds,he
performsas a guestsoloistand clinician/adjudicator at highschoolsand colleges
nationwide.

Web site:www.markcolby.com
E - m a i: lm a r k . c o l b y @ s b c g l onbeatl .

Dennis Luxion - Piano

Pianist,recordingartistand educatorDennisLuxiontouredand recordedwith Chet

Baker,and has performedwith CurtisFuller,Von Freeman,Lee Konitz,lra Sullivan,
WoodyShaw,ArchieShepp,and TootsThielemans. He studiedmusicat the University
of lllinois,DePaulUniversity,
lllinoisBenedictine
University,
and the RoyalConservatory
of Musicin Liege,Belgium.He currentlyteachesj azz pianoat ColumbiaColleqein
Chicago.

E - m a i: ld e l u x m u s i c @ h o t m a i l . c o m

5
Eric Hochberg - Bass

Bassist,recordingartistand producerEricHochberghas performedand/orrecorded

with suchartistsas Cannonball Adderley,PharoahSanders,MarkMurphy,Pat Metheny,
LyleMays,Bob Mintzer,DaveLiebman,Bob Sheppard,and RandyBrecker.He is the
producerof severalacclaimedalbumson the BlueNoteand Emarcy/Sony Japanlabels.
Hestudied m u s i cat l n d i a n a a
Universityn d e a r n e dh i s d e g r e ei n c o m m u n i c a t i o nf rso m
NorthwesternUniversity.

Web site:www,erichochbergmusic.com
E - m a i: le h o c h b e r g @ a o l , c o m

Phil Gratteau - Drums

Drummer,recordingartistand educatorPhilGratteaureceivedhis bachelor'sdegreein

MusicEducationat the University of lllinois,and his master'sdegreein Jazz Pedagogy
at Northwestern He has performedand/orrecordedwith Joe Henderson,
University.
RichieCole,KevinMahogany,MarianMcPartland, FrankMantooth,DorothyDonegan,
and Herb Ellis.
He has taught at the American Conservatory of Music,and currently
teachesat NorthParkUniversity, and the Chicago Collegeof Performing Arts at
RooseveltUniversity.

E-mail: pgratteau@earthlink.net

CREDITS
PRODUCTION

Composedby: Greg Fishman

P u b l i s h e bd y : G r e gF i s h m a nJ a z zS t u d i o sE , v a n s t o nl ,l l i n o i s
Musiceditor:DennisLuxion
Texteditor:Judy Roberts
C o v e rp h o t o J: o s . L . K n a e p e n
Bookprinting:Omnigraphix, MortonGrove,lllinois
C D p r i n t i n gU: n i v e r s aRl e c o r d i n S
g u p p l i e sI,n c . ,S t a t e nl s l a n d N
, e wY o r k
M u s i ce n g r a v i n gG: r e gF i s h m a n
P r o o f r e a d i nP g :a u lM a s l i n
Recordedat: Studiomedia, Evanston,lllinois
Engineered, mixedand masteredby: ScottSteinman

RICO
The WorldJMost PopalarReed'"

Greg Fishman plays Rico reeds exclusively.

6
 SUGGESTED
USEOF THISBOOKAND CD SET

T H E I D I O M A T I CC O N G E P T

This duet bookwas writtenwith the idiomatictendenciesof the saxophonein mind.

Whilesometechnicalchallengesare present,theseetudeswill feel comfortable ano
naturalfor all saxophoneplayers.

lf you'veevertriedplayingan altosolotransposedfor tenor(or vice-versa), you know

thatthe transposedversionof the solo neverseemsto "layright"on the non-native horn.
This is becauseall of the fingeringsof the noteshavechanged.In additionto the
fingeringchanges,some noteswill be beyondthe normalrangeof the saxophone. As a
result,portionsof some phrasesneedto be transposedup or downan octave.This
transpositiondisruptsthe naturalflow of the originalmelodicline.

My solutionfor this problemis to havethe boththe altoand tenorsaxophonists

readthe
same writtenpart and have the rhythmsectiontransposeto accommodatethe
saxophonists.

T H EA L T O & T E N O R

One of my goalsfor this bookwas to ensuremaximumflexibility for all players.I needed

to find a way in which I couldemploythe idiomaticconceptdiscussedabove,yet give
saxophonists the optionto playthe duetswiththe combinationof one altoand one renor
in additionto the more commontwo-altoor two-tenorapproach.

My solutionfor this challengewas to writeduetsin whichthe firstsax partfavorsthe

upperrangeof the instrument. This meansthatwhatwas originallya high"F" in the
tenorpartwill now be a "C"
two ledgerlinesabovethe staffwhen transposed for alto.
This minimizesthe negativeeffectsof playinga transposedpart,becauseall noteswill
be in a comfortablerangeof the horn,and there'sno need to changeoctavesto
accommodate the writtenmusic.

Noticethat on pages36 through55, the two stavesof the duetsare in two differentkey
signatures.The top staff is the alto part and the bottomstaffis the tenor part.The alto
part has been transposeddown a fourthfrom the same writtenpartsthat appearin the
first half of the book.The tenor part is exactlythe same as it was in the first half of the
book. For ease of reading,letters"A" for alto and "T" for tenor have been used at the left
side of each staff.

7
U S I N GT H E C D S
Thereare threeCDs includedwith this book:

Eb Alto SaxophoneVersion - Use this discto playthe duetswith two altosor two
withthis CD starton page 16.
The duetscorresponding
baritones.

Bb Tenor SaxophoneVersion - Use this discto playthe duetswith two tenorsor two
withthis CD starton page 16.
sopranos.The duetscorresponding

Alto & Tenor Version - Use this discto playthe duetswith alto playingthe firstpart
(top staff)and tenor playingthe secondpart (bottomstaff).The duetscorresponding with
this CD starton page36.

SELECTINGTHE CD TRACKS

In orderto providethe playerwith multiplepracticeoptions,l've includedfour different

recordedversionsof each duet.

Each CD has forty-onetracks.Tracks 1 - 40 containfour differentversionsof each of

the ten duets.Track41 is a tuningtrackwith a pianoplayingconcertA and concertBb.

H O WT O U S E T H E F O U RG O R R E S P O N D I NCGD T R A C K S

The firstCD trackincludesbothsaxophonepartsplusthe rhvthmsection.The duet is

playedoncethrough,goingto the finalending.

Use this track to becomefamiliarwith the way the two sax partsfit together.You can
play eitherthe firstor secondsax part alongwith this track.

The secondCD trackfeaturesthe secondsaxophonepartplusthe rhythmsection.lt's

identicalto the firsttrack,but with the first sax part muted.This track can be used two
ways:

1. Playthe firstsax partalongwiththe CD so that you can hearbothpartsof the

duet simultaneously,even if you don'thaveanothersaxophonist availableto play
"live."
the duet

2. Playthe secondsax partalongwiththe CD, matchingthe recordedsax for tone,

etc.
style,adiculation,

The thirdCD trackfeaturesthe firstsaxophonepartplusthe rhythmsection.lt's identical

to the firsttrack,but with the secondsax part muted.This track can be used two ways:

1. Playthe secondsax partalongwith the CD so that you can hearboth partsof the
even if you don'thaveanothersaxophonist
duet simultaneously, availableto play
"live."
the duet

2. Playthe firstsax partalongwiththe CD, matchingthe recordedsax for tone,

etc.
style,articulation,

B
The fourthtrackis plavedwiththe rhvthmsectiononlv.and includesextrachorusesfor
soloinq.Use thistrackto playthe duetwith anothersaxophonistpresent,as well as for
soloingover the chordchanges.Afterplayingonce throughthe melody,improviseover
the chordprogressions for the specifiednumberof chorusesbeforeplayingthe melody
to concludethe pieceon the finalchorusof the track.

When playingalongwith the fourthtrack,the duetsuse this format:

Melody/ 4 Solo Choruses/ Melody

This meansthat afteryou'veplayedthe melody,if thereare two playerspresent,you

can each playtwo solo chorusesand then playthe melodyagain,or you can trade
chorusesor eight-barphrasesfour timesthroughthe form beforeplayingthe melody
again.Solosectionsare usuallyfour choruseslong,with the exceptionof lllinoisSfree/
and WellsSfreef,which have two chorussolo sections,and HarlemAvenue,which has
just one chorusfor solos.

Of course,if two playersare not present,the fourthtrack can still be used to practice
soloingoverthe chordprogressions. Playthe top or bottomstaffof the duet and then
solofor four chorusesbeforeplayingthe finalmelodychorus.

CD TRACK SUMMARY

lf you'dliketo playthroughthe entirebookwith one particularinstrumentation

format,
use the tablebelowto determinethe propertracksto programon your CD player.

CD
Instrumentation CD Track Numbers
S a x e s1 & 2
+ Rhvthm Section I 5 13 17 21 25 29 33 37
Sax 2
+ Rhvthm Section 2 o 10 14 18 22 zo 30 34 38
Sax 1
+ Rhvthm Section 3 7 11 15 19 23 27 31 J3 39
Rhythm Section
Onlv 4 8 12 16 20 24 28 32 JO 40

A B O U TT H E M U S I C
TEMPOS

The temposfor someof the duetsmay be fasterthanthoseto whichthe advancing

playeris accustomed.However,thesetemposare actuallyquiteconservativeby
professionalstandards.

Each duet was writtento be playedat the markedtempo. lf you'renot comfortable

playingat thesehighspeeds,set your metronomeat halfthe markedtempoand play
throughthe duet,circlingany passagesthat posea technicalchallenge.Practicethe
circledareasuntilyou can playthem smoothlyand accurately.

9
 a time'and
As yourtechniqueimproves,increasethe metronomespeedone clickat
tempo. Your goal is to play the entireduetat the
slowlywork yourway up to the marked
marfóOtempo with Ào mistakes,and with the correctstyle and articulation.

S F NOTES
S P E C I A LF I N G E R I N G O

Throughoutthis book I'veusedstandardsaxophone fingerings'However'thereare a

"s" oversome notes.lf the "s" is over a "c"
few instancesin whichI've indicateda letter
"s" is overa D naturalon the fourthlineof the
natural,use the side C fingering.lf the
staff,use the D palm key fingeringwithoutthe octavekey'

DYNAMICS
parts'As a
The duetshavea naturaldynamicbalancebetweenthe two saxophone
but let your ear be
generalstarlingpointfor thó dynamiclevelof the duets,use forfe,
or softer.Listencarefullyto the play-along
iour guidetor úhen to playstighttylouder
bO, io'.an exampleof itre,suUlleàynamicvariationsin the individuallinesas well as the
dynamicbalancebetweenthe two saxophoneparts'

SUBSTITUTECHORDCHANGES

chordchangesduringthe melody,but use different

some of the duetsutilizesubstitute
the first
chordsfor soloing.The substitutechordsare notatedin parenthesesbetween
of each CD track'
and secondstaves.They are only playedon the firstand lastchorus
When alw the the fi

partand the tenorplays

ln the secondhalfof the book,when the alto playsthe firstsax
the secondsax part,substitutechordsare not indicated'Both players shouldreadthe
chordchangeswrittendirectlyover their own part'

COURTESYACCIDENTALS
l've
Sincethe temposare on the fast sideand the duetshavemanyaccidentals'
of
includedcourtesyaccidentalsto improvethe readability the pafts'

OUTLININGTHE GOALS FOR THREELEVELS

advanced
This bookis designedto workwell for threelevelsof players:intermediate,
approaches
l've outlinedthreedifferent for the duets'
practicing
anJ protessional.-Below,

LEVEL
INTERMEDIATE

The intermediateplayerusuallyhas severalyearsof experienceplayingjazzin big

to get comfortable
bandsor combos,rrusmemoriiedchordsand scales,and is starting
with the conceptof improvisation.

player,this bookwill providea good modelof lazz phrasingand

Forthe intermediate
of musicalideas,as well as sometechnicalchallenges. lt will also
logicaldevelopment
sharpensightreadingskills-

10
The basicgoal of the intermediate
playeris to emulatethe saxophoneplayingon the
recordedexamples.Closeattentionshouldbe paidto all stylisticaspectsas
demonstratedon the play-alongCDs, includingarticulation,time-feel,phrasing,etc.

lf you'rean intermediateplayerand you'd liketo moveup to the nextplayinglevel,you

shouldpracticearpeggiating the chordsfor each duetfromthe rootup to the seventh.
The rootof the chordis especiallyimportantfor ear trainingpurposes.I suggestplaying
the rootsof each chordalongwith the CD.

Onceyou'veplayedthroughthe duet likethis a few times,try to accuratelysingthe

bass-notepitcheswith the differentversionsof the play-along
tracks.Thiswill helptrain
your ear to hearthe relationship
betweenthe melodiesof the duetsand the root
movementof the chords.Oncethesegoalsare accomplished, you'rereadyto moveon
to the advancedlevel.

ADVANCEDLEVEL

The goal for the advancedplayeris to understand the way in whicheach phraseis
developed,how the notesin the phrasesrelateto each chord,and how bothsax partsin
the duet progresslogicallyfrom one ideato the next.

As an advancedplayer,you shouldbe adeptat arpeggiating the chordsfromthe rootup

You shouldalso practiceplayingisolatednotesin eachchordup to
to the thirteenth.
tempo.For example,you shouldbe ableto playall of the thirds,fifths,sevenths,ninths,
eleventhsand thirteenthsof each chordaccuratelyand in timewiththe rhythmsection.

When improvising overthe rhythmsectiontracks,try to makeyour improvised choruses

soundlikethey'rein the samegeneralstyleas the openingchorus,usingsomeof the
musicalphrasesin your partof the duet as a pointof departurefor your own
improvisation.

To preparefor the next level,memorizethe chordprogressions as well as boththe first

and secondsax partsof the duets.I also suggestchoosingyourfavoritephrasesor licks
from each duet,and practicing them in all twelvekeys,up to tempo.Onceyou've
achievedthesegoals,you'rereadyto moveon to the professional level.

P R O F E S S I O N ALLE V E L

By the time you'vereachedthis level,you'rean extremelyaccomplished player,probably

a professional musicianand/oreducator,and are stilltotallyabsorbedand inspired,as I
am, by this greatart form.

Studythe duetsfrom an analyticaland compositional standpoint. I recommenddoinga

measure-by-measure analysisof eachduet.Determinewhattype of writingis being
usedto createa particulareffect.For example,parallelthirdsalwayssoundpleasingto
the ear and producea uniformrhythmiceffect.On the otherhand,sometimesa counter-
melodyin the secondsax part will nicelyoffsetthe lead-linein the first sax part.

In somesituations,
the musicalfocusmightbe on a particularly dissonantinterval,such
as a minorsecondor majorseventh.Analyzeeach intervalproducedby the two sax
partsand notethe effectthey haveon the feelingof tensionor releasethroughoutthe

11
duets.Onceyou'vedone someanalysis,writeyourown duetsusingthesevarious
devices.
compositional

Here are some strategiesfrom my own practiceroutine:

Practicethe duetsin all twelvekeys.lt's a greatchallengeto both my ear and my

technique,but it alwaysstrengthens the connectionbetweenwhat I hearin my headand
what notesare comingout of my horn. I try to make each key soundas smoothand
the melodiesof the duets,I also
fluentas the originalkey. In additionto transposing
practiceimprovising overthe chordprogressions in all twelvekeys.

MORE RESOURCESAVAILABLEONLINE

lf you'dliketo readmoreaboutmy conceptson jazz improvisation, pleasevisitmy

educational Web site at: www.gregfishmanjazzstudios.com. find
You'll downloadable
as well as a varietyof licksand usefulpracticetips.
articleson theoryand ear-trainìng,

CLINICS,SEMINARSAND MASTERCLASSES
pleasecontact
in the U.S.and internationally,
For clinics,seminarsand masterclasses
me at the followingaddress:

Greg Fishman
Greg FishmanJazz Studios
824 CusterAve.
Evanston,lllinois60202
(847)334-3634
Web site:www.gregfishmanjazzstudios.com
E-mail: greg@gregfishmanjazzstudios.com

PRIVATELESSONS

Lessonsincludethe following:studyof the saxophone transcription,

, iazzimprovisation,
membrization
ear{raining,repertoire, techniques,theory, and chord Students
substitution.
who studyfith me at my Chicago area studio a
receive CD of
recording each lesson.

I offerprivatelessonsin personat my chicagoareastudio,and also by telephoneand

overthe internetvia web-cam.Pleasecontactme by phoneor e-mailto schedulea private
lesson.

CONGERTAND FESTIVALPERFORMANCES
To view my
For concert andjazz festivalbookings,pleasecontactme at (847)334-3634.
performance and CDs,pleasevisit:
schedule,reviews,photos,bio information
www.gregfishman.com

12
 $tque{Axluvsrs

W R I T I N GS T Y L E S

Beloware examplesof some of the differentwritingstylesused throughoutthis book.These duetswere

writtenin a postboplazzstyle,and I've adaptedthe writingstylesto fit the idiom.At times, I've used
a liberalinterpretation
of some of the strictrules usuallyassociatedwith these writingstyles.lt shouldbe
notedthat the duets sometimesemploya particularwritingstylefor only a few beatsor measuresat a time.

lmitation

lmitationis a device in which a theme is statedin one voice and repeatedin a differentvoice. In the example
below,the upper voice statesa theme in measurenine,and the lowervoice imitatesthat theme in measure
eleven.

gvr? [ui? Qui? ql Quil g1 Qui? ql

"Lincoln
A v e n u e ,m
" m.9-12
lmitationof Theme

Parallel Motion

With parallelmotion,the voicesmove in the same directionby the same interval.In the examplebelow,l've
u s e d p a r a l l em
l o t i o ni n 3 r d s .

Iut t O+?lbe) 9"fr/g

"Madison
Street,"
mm.19-2'l

02006 Greg FishmanJazz Studios

All RightsReserved.InternationalCopyrightSecured

13
ContraryMotion

by any interval.
Withcontrarymotion,the voicesmovein oppositedirections

$ui1 eil',el [ui? Ahr.ril Q,r,ri? gr{*t)

"North
Avenue,"mm. 22-24

ObliqueMotion

With obliquemotion,one voice moves up or down whilethe othervoice stayson the same pitch.Oblique
"Ohio
Motionis demonstratedin the firsttwo beatsof measure30 from the duet Street."Noticethe smooth
transitionbetweenparallel,obliqueand contrarymotionin the examplebelow.

Iui? g?

" O h i oS t r e e t ,m
" m .2 9 - 3 0

Counterpoint

Counterpointinvolvesthe use of two or more independent,simultaneousmelodies.The intervalsresulting

from the independentl i n e si mp l yth e so n g' shar monic
str uctur e
2ue1 0o? gr^i1. {(bel

+,
+ r t ' ,
" W e l l sS t r e e t ,m
" m.1-4

02006 Greg FìshmanJazz Studios

All RightsReserved.International
CopyrightSecured

T4
 DETAILED
OVERVIEW
OF THEDUETS

Ti t le Tempo Form Length Saxophone Page Page CD

of Form Key Number Number Track
Signature TwoforAltos for
Alto
Numbers
or and
Iwo Tenors Tenor
AABA
Colu m b u sD r i v e )= 224 (Rhythm 32 Bars G Major 16 36 1- 4
C h a n q e s)

LakeShoreDrive )= 200 ABAC 32 Bars F Major 18 3B 5-B

NorthAvenue )= 132 ABAC 32 Bar s C Major 20 40 9-12

Ohio Street )= 192 ABAC 32 Bar s G Major 22 42 1 3- 1 6

AdamsStreet J= 216 Blues 12Bars F Major 24 44 1 7- 2 0

HarlemAvenue J =6 9 AABA 32 Bar s B Minor 26 46 21-24

ll lin o isSt r e e t )= 126 ABAC 32 Bars Eb Major 28 4B 25-28

MadisonStreet )= zl6 ABAC 32 Bar s G Major 30 50 29 32

WellsStreet ) =1 s z AABA 44 Bar s E Major 32 52 33-36

AABA
LincolnAvenue )= z4o (Rhythm 32 Bars C Major 34 54 37-40
C h a n q e s)

@2006 Greg Fishman Jazz Srudios

All Rights Reserved. InternationalCopyright Secured.

15
 cD TRACK #1 (SAXES 1 & 2 + RHYTHM SECTION)
CD TRACK #2 (SAX 2 + RHYTHM SECTION)
qTÉqFIÉHMAN
CD
CD
TRACK #3
TRACK #4
(SAX 1 + RHYTHM SECTION)
(RHWHM SECTION ONLY) OouuusuÉ
O?lrtÉ
couNT oFF: 2 BARS (6 CLTCKS)

PLAY 6X (MELODY/ 4 SOLO CHORUSES/ MELODY)

ÉOlNq
)= eza
qY /ui1 [ui? g7 $ui1 61 Iui? g?
6
6rxI

ítxl,

ilrnl gr(ht)

@ qufl Quil lr'ri7 g? $ui1 é1 Ir,rí? g7

02006 Greg FlshmanJazz Studios

All RightsReserved.International
CopyrightSecured.

16
 Iui? 01.
7r

02006 Greg FishmanJazz Studios

All RightsReserved.Internaîional
CopyrightSecured

t7
CD TRACK #5 (SAXES 1 & 2 + RHYTHM SECTTON)
cD TRACK #6 (SAX 2 + RHYTHM SECTTON) qqÉq
ÉrÉ[{MAN
CD TRACK #7 (SAX 1 + RHYTHM SECTION)
cD TRACK #B (RHYTHM SECTION ONLY)

COUNTOFF: 2 BARS (6 CLICKS) Lnus

É+toee
Oerve
PLAY 6X (MELODY / 4 SOLO CHORUSES/ MELODY)

É0tNq
)=zoo m Fufl îAfl,/r51 A?(,e)
Énx
I

Ttxl,

0ui guilal) 0ui?

6bun I ur?

(F*nt A1/€ Ouir)

(qu,t r*a

02006 Greg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured.

1B
 evilill51
^ f t !

0ui guib?l 0r'ri7

A

t\ tA >

ebq ú!'i?(b5) ilbel

>-
h7_:i

(F*nt A1/é Oui q#.t

jurl sht g?

firt/A 61 1? g?sw 0?)

02006 Greg FishmanJazz Studios

All RightsReserved.InternationalCopyrightSecured
19
 TRACK #9 (SAXES 1 & 2 + RHYTHM SECTION)
cD
cD TRACK #10 (SAX 2 + RHYTHM SECTTON)
qr,Éq
FrÉt{MAN
CD TRACK #11 (SAX 1 + RHYTHM SECTION)
CD TRACK #12 (RHWHM SECTION ONLY)

COUNT OFF: 2 BARS (6 CLTCKS) AveHue

Nocr+t
PLAY 6X (MELODY / 4 SOLO CHORUSES/ MELODY)
I

É0lNq. - rs2 rn 0vr? p1 04flb51 A?lbel g? AMtr

. r i J z h

ÉnxI

ílrx î,

Ouil79 6uiilbd Iui? o?l,e) Qr.ri? 0?(be)

3. ?A

' t \

(Cunt qsurl(fl)

(ui1 1r(*tl

02006 Greg FishmanJazz Sîudìos

All RightsReserved.InternalionalCopyrightSecured

20
 avnÍl5| A?fbe)

t-r)-

OuilP 7buí1 Qui? c?l+t

pfuirlbs)
g+1$el( ui1 A+?0e)
t L?n

02006 Greg FishmanJazz Studios

All RightsReserved.Inîernational
CopyrightSecured
2I
CD TRACK #13 (SAXES I & 2 + RHYTHM SECTTON)
CD TRACK #14 (SAX 2 + RHWHM SECTTON) FIÉHMAN
OgÉq
cD TRACK #15 (SAX I + RHYTHM SECTION)
CD TRACK #16 (RHWHM SECTION ONLY)

COUNT OFF: 2 BARS (6 CLTCKS)

Ttzeet
O+tro
PLAY 6X (MELODY/ 4 SOLO CHORUSES/ MELODY)

I
É$tNq)= 82 h Axi'l 0?
u J ^7
ÉlxI

ílrx L

o?lhe)

Iui? quú 0#uirllsl

@ >-
2 C >

(Otr" O$(be))

0#*ir

(s,..n q#, o#yir sfu.'*

7{t)

02006 Greg FishmanJazz Studios

All RightsReserved.InlernationalCopyrightSecured.

22
 guitÍr51

Iui? llitlq l#uit|lsl g$el luil A?lte)

fixt
A

02006 Greg FishmanJazz Studios

AII RightsReserved.Intèrnatjonal
CopyrightSecured.
23
cD TRACK #17 (SAXES 1 & 2 + RHYTHM SECTION)
cD TRACK #18 (SAX 2 + RHYTHM SECTION) qqÉqflÉHMAN
CD TRACK #19 (SAX 1 + RHYTHM SECTION)
cD TRACK #20 (RHYTHM SECTTON ONLY)

couNT oFF: 2 BARS (6 CLTCKS)

AonuE
ítwet
PIAY 6X (MELODY / 4 CHORUSESX//MELODY)
xNote: Each chorus is 24 measures long.

I
60tNq)= zG

ght fiHtl

$nxl,

ght got lutl Ir,ri?

Qr'ri? Q+llbt)
0t '1,.

I - t t t ? -h-,t

Qui? n+1
b Iui? 0rlbr) Qxí? n1
h

02006 creg FishmanJazz Studìos

All RightsReserved.lnternationalCopyrightSecured.

24
 ght

AM I '

QuiT g*l0t)

02006 Greg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured

25
 CD TRACK #21 (SAXES 1 & 2 + RHYTHM SECTTON)
CD TRACK #22 (SAX 2 + RHYTHM SECTION)
qCÉq
FIÉ|{MAN
CD TRACK #23 (SAX 1 + RHYTHM SECTION)
cD TRACK #24 (RHYTHM SECTTON ONLY)

COUNTOFF: 1 BAR (4 CLICKS) l{neueu

Avexue
PLAY 3X (MELODY/ 1 SOLO CHORUS/ MELODY)

gui,(oll qr fittrù
ÉrxI
ftrq
6flPLÉf

ítxî,

C#uir j{tllll nLl

>r-r t t 1rJ

I
qel*n) $ui1 6î ui1
l l > t
í--- 7+ ha

$ui9 o?0t)

(ÉfqArqHf
8fl{É)

02006 Greg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured
26
 9#uis sltl;il j{un

gulotl qt 7{tbtl

ftir)
6qtPLÉf

0#uir crs tui

, , '

- | - '

qel*n) qr

Qtr.

,
02006 Greg FishmanJazz Studìos
All RightsReserved.Internalional
CopyrightSecured
27
 CD TRACK #25 (SAXES 1 & 2 + RHYTHM SECTION) qfÉqllÉl{},tAN
CD TRACK #26 (SAX 2 + RHYTHM SECTION)
cD
cD
TRACK #27 (SAX 1 + RHYTHM SECTION)
TRACK #28 (RHYTHM SECTTON ONLY) gîeaeî
luurnon
COUNT OFF: 2 BARS (6 CLICKS)

PLAY 4X (MELODY/ 2 SOLO CHORUSES/ MELODY)

I
É $ l N ql = 8 6 Qhun Qui? I ui? shlbel
?-
6
ÉrxI

$txl,

Qhun

guir0s) q+?('e) AMi?(b5)

otfil) Qui?

0?0e) 0?0e) úuit f ui? th1

02006 Greg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured
2B
ghun Qui? shilnl Qui? c*f luil th1

guil tbuit €h1

A Ol,{i?(,5)

guit6b nhuiloî (hun1q

Qui? 0?0e) Qui? duit

Abun,
au

(PICKUPS FOR FINAL MELODY CHORUS)

02006 Greg FishmanJazz Studios

All RightsReserved.InternationalCopyrightSecured.

29
CD TRACK #29 (SAXES 1 & 2 + RHYTHM SECTION)
CD TRACK #30 (SAX 2 + RHYTHM SECTTON)
ÉIÉHMAN
GgÉq
CD TMCK #31 (SAX 1 + RHYTHM SECTION)
CD TRACK #32 (RHYTHM SECTION ONLY)

COUNT OFF: 2 BARS (6 CLTCKS)

gîeeeî
Mnorsou-
PLAY 6X (MELODY / 4 SOLO CHORUSES/ MELODY)

)= uu
sCItNq qunt gho1 Iui?
O
ÉlxI

TtxI,

9"n/8 gbo1 luilo?l

Or,{ib?i

ghufl Iui7 g?

A ^

@2006Greg FishmanJazz Studios

All RìghîsReserved.InternationalCopyrightSecured
30
qur? g+l(ftl

!ri? q?sus Ir,ri?

:' A

$ui1

Ftrtt
-l-

02006 creg FishmanJazz Studios

All RightsReserved.InternationalCopyrightSecured
31
 CD TRACK #33 (SAXES I & 2 + RHYTHM SECUON) qrÉqfl6l{}'{AN
cD TRACK #34 (SAX 2 + RHYTHM SECTTON)
(SAX 1 +
cD
cD
TRACK #35
TRACK #36 (RHYTHM
RHYTHM SECTION)
SECTTON ONLY) l0euus
ítzeet
COUNT OFF: 2 BARS (6 CLICKS)

PLAY4X (MELODY/ 2 SOLOCHORUSES

/ MELODY)
I
I
80ÉÉA J= rsz
N0VA
e*^1 0o? ailbel
6
ÉlxI

ítx I,

shrl{t) ghrlb'l

firf,l

0?(,e)

02006 creg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured
32
 g(btl

o I > - r - l , > -

. t '

shrl*d gbrlDl
b-6' e

r#q

I L''

l l,*,, , t >

Quil ge

02006 Greg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured.
33
cD TRACK #37 (SAXES 1 & 2 + RHYTHM SECTTON) qrÉqrr6l{MAN
CD TRACK #38 (SAX 2 + RHWHM SECTION)
cD
cD
TRACK #39
TRACK #40
(SAX 1 + RHWHM SECTION)
(RHWHM SECTTON ONLY) LrxoouN
AvÉNuÉ
COUNT OFF: 2 BARS (6 CLTCKS)

PLAY 6X (MELODY/ 4 SOLO CHORUSES/ MELODY)

É$tNq)= 24o

C*n7 !ui? Quil A?lbe)!r,ri? ql

@ :' A

ÉrxI

ítxl,

Qui? g?(be) gî LN A+?0e) q+?(,e)

A

@ gut' Ir,ri?

Qui? gvLb !ui? qr

(# qr{br);

02006 Greg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured.
34
 o'ffi) q'lÍ$l

gur? Ir.ri7 Qr.ri? qr Quil A?lbe) Qui? qr

h , l

Qr,ri? g+tl*l) gufi ghLl 0','ú qr e,fviln#

02006 Greg FishmanJazz Studios

All RightsReserved.lnternational
CopyrightSecured.
35
CD TRACK #1 (ALTO & TENOR + RHYTHM SECTTON) qsÉqflÉHMAN
cD TRACK #2 (TENOR + RHWHM SECTION)
CD
cD
TRACK #3
TRACK #4
ALTO + RHWHM SECTION)
(RHYTHM SECTTON ONLY) 0ouuuguÉ
0ettlÉ
COUNT OFF: 2 BARS (6 CLICKS)

PLAY 6X (MELODY/ 4 SOLO CHORUSES/ MELODY)

I
' .- 224
6CItNq
r=r gur?
tlj $uí1
- Quil liuit
Auro

[ui? ;r'

feuoe

g(btl A?{te)

gut? g1 guil 7btl

gur? $ui1

qurT 6,ui? [ui? g',' guil 61 A*il s?

[ui? 91

02006 Greg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured.
36

_r
 t l
2î ui1 Aî1

6xr? 6ui1 lui? a? guil g?

- r / - 7r" u 61 fiui?

gur? j1 [ui? g?

02006 Greg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured
3l
CD TRACK #5 (ALTO & TENOR + RHYTHM SECTION) TIÉHMAN
GEÉq
CD TRACK #6 (TENOR + RHWHM SECTION)
CD TRACK #7 (ALTO + RHYTHM SECTION)
TRACK TB (RHYTHM SECTTON ONLY)
CD

COUNT OFF: 2 BARS (6 CLTCKS)

Oetve
LlueÉ+toea
PLAY 6X (MELODY / 4 SOLO CHORUSES/ MELODY)
I
6$lNqo--2oo 61 guú
lnl

Auro
evillJ51 A?(be)

A!'ih?l Aui? g?
Aui Qui?
A

-
I
gui 0ui? j1
OHib?l 0ui?
I I t h > f-l-l , l-t

ge 0ui? qr
?.

I
qt g?
t
Qr'ri?
lt + -l:+',-l-eh;-
î
02006 Greg FishmanJazz Studios
All RightsReserved.InternationalCopyrightSecured
3B
 |,i1 g vr?
tLl gunú,51 ilbel
- l t A

AÉ
I
h.l
7ur1 Quillb>t A?úe)
ì A , > h >

Avi A!{ila?) Aui? Qui? g?

h

- L | 2
1
0ui Oliila?) 0r.ri? 0r'ri7 71
ì ^ t A r A f-'T--r,t-

7ur1
0
AlÉ
gvnhsl ghtl

0ui? qr

lurl ght Aui? g? g7 Frxt

Qui?

02006 Greg FishmanJazz Studios

All RightsReserved.lnternationalCopyrightSecured.

39
CD TRACK #9 (ALTO & TENOR + RHYTHM SECTTON) qqÉq
FrÉr{MAN
CD TRACK #10 (TENOR + RHYTHM SECTTON)
CD TRACK #11 (ALTO + RHYTHM SECTTON)
CD TRACK #12 (RHYTHM SECTTONONLY)

COUNT OFF: 2 BARS (6 CLTCKS)

Avexua
Noer+t
PLAY 6X (MELODY / 4 SOLO CHORUSES/ MELODY)

É$rNq)=,r, qxr? g? 6ui?(b5){(bt,l 1? Quil 1?

6 A _

Auro
guitbsl A?01) g? [uí?

fexoc

Auilq 7{uit$ù g+1hel Quil A?(he) !r.ri? q?(be)

QuiT Ouilp gunbsl ?1bel [r.ri? O?{,e) Qui? gl(bt)

, '

î ut?

0#!{i?(b5) $ti1 ail*el

r#uitÍlsl Quil A?(*e)

02006 Greg FishmanJazz Studios

CopyrightSecured.
All RightsReserved.International
g qur? g? g}4nÍ]51eilbql g e Quil ge
-- l--
AlÉ
t
CI,il? 71 AuilÍ,5| A?0e) o2--\

N^i1/q !ui? q?{*9)

I
$ui1 6tbtl [ui? l? ui1 Qui? g?l*e)

o gurT
,- l"]
gfuir(b5)
r#a$qlg_t^i1 6+tbtl
AIE
9fuir(bdg+1belQuil A+?09)

O+?úe) o?lbe)

!ui? q+?(,e) nuirlbsl ^?l,t

Y
A

02006 Greg FishmanJazz Studios

All RightsReserved.InternationalCopyrightSecured.

4I
CD TRACK #13 (ALTO & TENOR + RHWHM SECTION) qTÉqFIÉÌ{MAN
CD TRACK #14 (TENOR + RHWHM SECTION)
CD TRACK #15 (ALTO + RHYTHM SECTION)
CD TRACK #16 (RHWHM SECTION ONLY)

COUNT OFF: 2 BARS (6 CLTCKS)

ítzeet
Ortro
PLAY 6X (MELODY/ 4 SOLO CHORUSES/ MELODY)

6$lNq)- rcz É*ir A? gufl fi(*el

6
Auro

fexoe

gufi

Avi luiloî fiui? g?(bel

c#ror)

' rl 'l

O?(he) gfvirlbs) f#tDl

ri,n 9#*it

v # v

c#xir r*t
A

@2006Greg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured

42
 l*uit|;sl

€uitlg Cfuidls) sfuMl

t
[ui? AuiTq t#uitbsl glhel

Itrte
A

0 2 0 0 6 G r e g F i s h m a nJ a z zS t u d i o s
All RightsReserved.InternationalCopyrightSecured.

43
cD TRACK #17 (ALTO & TENOR + RHYTHM SECTION)
CD TRACK #18 (TENOR + RHWHM SECTION)
qqÉqflsHMAN
CD TRACK #19 (ALTO + RHYTHM SECTION)
cD TRACK #20 (RHWHM SECTION ONLY)

COUNT OFF: 2 BARS (6 CLTCKS)

AonHs
$tceet
PLAY 6X (MELODY / 4 CHORUSESX/ MELODY)
*Note: Each chorus is 24 medsures long.

I
É$lNq)- 216

d,1

ú,1 [+l(lt)

pur? z Qui? [ui? O+?(be)

!ui? q+? Quí1 A?0e) !ui? q?

h

[ui? O?(be)

02006 Greg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured.

44
n1 l1 ú'1 c? C?(be)
Qui?

(1 gbt a eil
U (1 oJ; rtt

q+?lhe)

0+?0e) fluí? 0? Qui? 0?

QuiT 07 fi

02006 Greg FishmanJazz Studios

All RightsReserved.InternationalCopyrightSecured

45
CD TRACK #21 (ALTO & TENOR + RHYTHM SECTION) qqÉqflÉHMAN
CD TRACK #22 (TENOR + RHYTHM SECTION)
CD TRACK #23 (ALTO + RHWHM SECTION)
CD TRACK #24 (RHYTHM SECTION ONLY)

COUNT OFF: 1 BAR (4 CLICKS)

Avsxue
ltncueu
PLAY 3X (MELODY/ 1 SOLO CHORUS/ MELODY)

gfr(,e) tiui
6 s{*tnt se
J= es
6ALLA0 dui
.t /--

-l..- -; r-
6',{ila?) qr 8ui
t
;, 7{t(btl
| -l-

9#*it gt'r(be) ri*i l#uit

'-
, '<
- - /tal

r#4+qt ú*i CL$ guil l9fi1\

t l

oefinl

| ._r- ._r: t t
,
al{*lll pt'rr+r} 8*t C$ guil Sbuit

A?lbel glu?

b-r-)
(ÉfcAlqHf
8fr{6)
guie ilbel
[xi? 0?

02006 Greo FìshmanJazz Studios

CopyrightSecured.
Alì RightsReserved.International
 O#Yir g#r0tt gt',,r gt'r(*tl

g#uit gfr(te) [ui 11 c#ui d10iql

7{uibt) c_*rlnl úui

(fqlPLÉftefqt I t- -i t;Ì '

l
t
l
s
6ui'(nl qe Iu "ui
' A?
q C#lVtt
rtl 8ui
t ,

gt'tfbe) 6el*rî
t

-T +t'
*7- t , ,
,I
Qf,r'rit il1,l;el $ui CLN $vi Étl{1il
t t

, t

qefi!') lfutii,t qt t-.'

,'-"rt'J

t
02006 Greg FishmanJazz Studios
All RightsReserved.International
CopyrìghlSecured
47
 CD TRACK #25 (ALTO & TENOR + RHYTHM SECTTON)
qcÉqflÉl{l'{AN
CD TRACK #26 (TENOR + RHWHM SECTTON)
cD
CD
,RACK #27 (ALTO + RHYTHM SECTION)
TRACK #28 (RHYTHM SECTION ONLY)
gîeeeî
luurxorí
COUNT OFF: 2 BARS (6 CLICKS)

PLAY 4X (MELODY/ 2 SOLO CHORUSES/ MELODY)

I
É0tNq)= E6

Auro
Qhufi Qr.ri? luil ghilnl

fsxoe

AHie(t5)

Qui? Qui? fui? aî\gh1

/ -frl \,

O+?0e) A'{|il
6un,lst

'
q+?lbe) A',{i?(bs)
otft|}

q?(te)tr* Qui? 0#uir r#t Qui? p1

c?úe) tiuit 91

02006 Greg FishmanJazz Sludios

All RightsReserved.InternationalCopyrightSecured.
4B
 p1

Qhufi Qui? I ui? ghilnl aviT

vl
n
b
r.ri?

ghufi Qr,ri?
Qhuilpui? sh1 Qbun
h
luillbs) o?lte)
A

l l

Qbt,rl Qr.ri?guil 6hui1 eht lhun O!'i?lb5) q?l,e)

l r ^

Qui14 éun0151 ebuibt) ghunp

gufi6h ùt'ilttl {ut11q

l r

020' q?(be)

f ui? gh1 Qui? úuit

_
(PICKUPS FOR FINAL MELODY CHORUS)

luil gh1 Pr,ri?

f r.ri? $h1 th1

02006 Greg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured.

49
CD TRACK #29 ALTO & TENOR + RHYTHM SECTION) qrÉqFrÉHMAN
cD TRACK #30 (TENOR + RHYTHM SECTTON)
cD TRACK #31 (ALTO + RHYTHM SECTION)
cD TRACK #32 (RHWHM SECTTON ONLY)

COUNT OFF: 2 BARS (6 CLICKS) Mmrsort

íîeeeî
PLAY 6X (MELODY/ 4 SOLO CHORUSES/ MELODY)

)
50rNq O'{nl f1 1?
-* E
:,,
Auro

fexoe

gun
4fi

Aui At{ih?)

OMila?l q?
:-' :*'t

Qui?

QuiT ú(bel [ui? 97

A ^

02006 Greg FishmanJazz Studios

All RightsReserved.InternationalCopyrìghtSecured.

50
0 !uú Fo? Quil A*(frl

AÉ

Iui7

luiT

g?sus g?

q?sus ql (r,ri? p1

guil p? Frxt
61 [ui? -l-

02006 Greg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured.

51
cD TRACK #33 (ALTO & TENOR + RHYTHM SECTION) gCÉC'
FIÉI{MAN
cD TRACK #34 (TENOR+ RHYTHM SECTION)
cD
cD
TRACK #3s
TRACK #36
(ALTO + RHYTHM SECTTON)
(RHYTHM SECTTON ONLY) l[)euus
$tzeet
COUNT OFF: 2 BARS (6 CLTCKS)

PLAY 4X (MELODY/ 2 SOLO CHORUSES/ MELODY )

I
N0VAJ_ rsz
60ÉÉA
/il 6ut1
ÉJ
Auro

fsuoc
L- >t--)
r+

6ur1 ghrt|;tl

thil*s) ghrtbtl

Quil 19

Quil

o?0e)

02006 Greg FishmanJazz Studios

All RightsReserved.International
CopyrightSecured.
 7{t$il

--r- -l-

ebrl0r51 ghrtl;tl

shrl*s) gbrtiitl

0fe qt 'frt,,stt il-l

t'
ge il{bel Quil 19

$uí1 6e guil 2l $ui1 gur? 6;; l

c
3x'É 1z 1
Qurt ge Quil 19 pyl?

@2006Greg FishmanJazz Studios

All RightsReserved.InternationalCopyrìghtSecured

53
 CD TRACK #37 (ALTO & TENOR + RHWHM SECTI2N)
cD TRACK #38 (TENOR + RHWHM SECTION)
qeÉq
flÉHt{AN
CD
cD
TRACK #39
TRACK #40
(ALTO + RHWHM SECTION)
(RHYTHM SECTTONONLY) LrHoouN
AtlrNuÉ
COUNT OFF: 2 BARS (6 CLICKS)

PLAY 6X (MELODY/ 4 SOLO CHORUSES/ MELODY)

I
ÉUlNq)= 24o
q*^t Quil [ui? g? guil eilbl,l Ir,ri? g?
0 '>-
L
Auro
gur? fir.ri? !ui? ql Quil A?0e)
fsxoe

!ui? q?lbe) $ui1 e+1hq,l g+l(bl)

Qui? C?(be) Quil A+llbe) g? q+?l,e)

@ qur? Quil Ir,ri? g? $ui1 g1 Iuí? g7

ù - ,ll'
I

Qur? [ui? Qui? ql Quil 17 !ui? ,L'

I 1 l-F -I^ L
î

Q-r0tl

Qr,ri? Crl*e) putl gbn Qui? ql

02006 Greg FishmanJazz Studlos

All RightsReserved.International
CopyrightSecured.
s'lfil É'll$l

É'lt$l A'lfil

A'ltl}

q''li{)

qurT Quil Iui? g? $ui1 4btl Ir,ri7 g?

>-
h

gur? [ui? Or'ri? a? Quil qr

vt A?lbe) !ui?
-a

l+nl,
Qui? Q-ll*t) gur? gLl luiT g? qf6 gtlbqlrc{'

Qui? C-ll+t} gutl ghLN c,$iln#

02006 Greg FishmanJazz Studios

All RìghtsReserved,International
CopyrightSecured
55
 AbouttheAuthor

Saxophonist and flutistGreg Fishman is an accomplishedperformer,recordingartist,

author,teacherand clinician.Bornin Chicagoin 1967,he beganplayingprofesiionally
at age 14. He graduatedfrom DePaulUniversity in Chicagowith a bachelor's
degreein
Jazz Performance,and earneda master'sdegreein Jazz Pedagogyfrom Northwestern
University.

He is amongthe foremoslexpertson the musicof StanGetzand is the authorof three

Getztranscription bookspublishedby Hal Leonard.Gregis a contributingauthoroî jazz
theory articlesfor Jazz lmprov magazine and ChicagoJazz Magazine,and wrote the liner
notesfor the Verve reissueof the Getz recording,TheSteamer-.
He is the authorand
publisherof the book Jazz SaxophoneEtudes.

Greg has touredworldwidewith his own group,and has performedand/orrecordedwith

such artistsas LouisBellson,SlideHampton,the WoodyHermanBand,ConteCandoli,
Lou Levy,clark rerry, Jackieand Roy,Don Menza,lra sullivan,Judy Roberts,Jeremy
Monteiroand EddieHiggins.Greg is the co-founder, alongwith Brazilianguitarist/vocalist
PaulinhoGarcia,of the duo Two for Brazil.They performinternationally,
and have
recordedfive CDs.

He has been featuredat the Concord-Fujitsujazz feslivalin Japan,the NorthSea Jazz

Festivalín the Netherlands,
and in numerousconcertsin HongKong,Bangkok,Singapore,
Chinaand lsrael.When not on tour,Greg is basedin Chicago,wherehe pérformslocallv
and teachesin Evanstonat Greg FishmanJazz Studios.

Critic'sQuotes:
"...His
solosare shrewdlyconceivedyet deliveredwith apparenteaseand elegance.He
developsharmoniesthat sometimesstartlethe ear as he forgeslinesthattakà unexpected
twists and turns..."-Chicago Tribune
"Mr. Fishman
bringsa warm,soulful,singingtoneto balladsthat recallsthe logicand
lyricismof Stan Getz."-Washinqton post

57
 (w
LYb

ETUDES
JMZ SAXOPHONE
THls800K,
tf YouEllf0YHl
BESURE ||UT
Tf|GHEGK
ÍISHMAII'S
GNEG
OTHERTIIIT!
ETUDES
JMZ SAXOPHONE
"IHIS/S REALLY A GREAT BOOK!!!!A powertú sight
reoding, eor troining, swinging, improvising iozz
fool. Perfect for /he s/udent of iozz, WishI hod it
when lwos growing up, Glod I hove it now,"
MichoelBrecker
'Ihis is one of fhe most concise ond eosy /o dtgesl
collection of so/os over stondord tune chord
chonges thot I hwe seen, All the elements of
good voice leoding, possingnoles ond common
sco/e usoge ore here. Veryenjoyoble!!"
SET
BOOK& TWOCD PLAY-ALONG
-D o ve L i e b mo n

'7
wrsht hod moteild tikethiswhen / wos coming up. Ihese eludes are liltle mosterpieces,Ihere is
such o weolth of moteriol to leorn from here. Greot line constructionond greol concepfucl/ideos.
Hoving the rhythm seclion continue ofter the etude ls o greol ideo! lwill be usrnglhese with virtuolly
otl mV s/udenfsfrom now on. Greg Fishmonhos done o terrific job of pulling thisbook togefher,ond
the ploy-olong rhythm secfion ls iirsf c/oss/"
- MorkColby,DepoulUniversity, ElmhurstCollege

"Ihisbook is o wrillen versionof the woy jozz ls supposed to be tought - leorning from o greot ployer
who truty understandshow to distillthelonguoge into cleor understondobleferms.Chicogo-bosed
soxophonislGreg Fishmonhos composed o sef of efudes bosed on slondord tunesfhof ore one of
"lypel've seen. Ihe /ineshe composes ore textbook verslonso/ poslbop
/he besf collections of thls
soxophoneimprovising,ondwillgivesludenfsotollleye/soweolthof moteildîoprocticeondinter-
nolize.FishmonisequollywelLversedos o teocher ond os o soxophonist- it'so rore combinotion thot
lsshowcosedin thisbook."
- Dovid Demsey,WilliomPotersonUniversity, SoxophoneJournql