Chromaticism, Rhythm and Syncronism
Carlos Averhoff

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Item# JAL139
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Writing this book for you has given me a great deal of satisfaction. My intention was to establish a connection between the textbooks written on the subject of improvisation and those relating to technique. My book is not limited to one or the other, but helps to improve both aspects. Its content reflects frequently used chordal structures and in its different SECTIONS, you will find valuable tools to improve such aspects as articulation, internal rhythm, phrasing, finger synchronism and speed.
Thirty-five years of experience, both as a teacher and a performer, have led me to develop this system of exercises that has consistently produced excellent results for all my students. Even though the exercises in this book were written for the saxophone, all Bohem System instruments (flute, clarinet and oboe) can utilize them equally well by making small adjustments to their registers. I have personally incorporated these exercises into my own daily routine and have stressed their usefulness with all my students. I sincerely believe that if you, too, practice them faithfully with discipline, you will achieve deeply satisfying results. Remember, in order to run you must first learn how to walk.

Like it or not, we musicians must deal with the matter of instrumental technique. To make things worse, different musical idioms present us with different technical demands. In the case of the saxophone, the classical repertoire requires the development of techniques that are often quite different than those needed to enunciate the jazz language-different relative dynamic ranges, different types of articulation, phrasing, vibrato, accents, expressive devices, and so forth. Regardless of the idiom, however, we are dealing with the same elements of mind and body. Concentration, relaxation, control of the breath, embouchure, arms, hands, fingers, etc. are all required for the best performance of any music.
With the writing of this book, Averhoff has documented his unique and compelling system of exercises that addresses all of the technical areas mentioned above. His knowledge of, and experience with the music of the saxophone embrace the classical repertoire, American jazz, and Afro-Cuban idioms. This broad range of expertise has enabled him to focus with precision on particular technical dilemmas that all saxophonists encounter, making these ,exercises a must for any serious woodwind player. Good luck, and by all means, disfrutelos! .

- Gary Campbell
Gary Campbell is a jazz saxophonist, author, and Assistant Professor of Jazz Studies, Saxophone at Florida International University, Miami.

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