![]() ![]() While formal study with influential figures (players and teachers) is important, underpinning the whole learning process is the aural comprehension of sounds the end musical product being recorded performances submitted here as the primary source. Notwithstanding the limitations of traditional musical notation, transcriptions examined in this study show clearly influences both from past learning and from musicians who continue to have a powerful influence - consciously and sub-consciously - on the author's playing and thought processes in music. It is argued that deep investigation into one's own playing, complemented by critical contemplation, offers insights into improvised performance that can add a significant dimension to the analysis and observations made by other people. It is a practice-based research project with two objectives, the first to uncover degrees to which pre-learnt skills and idiosyncratic creations occur and interact in music-making, and the second to contribute to the body of knowledge in spontaneous improvised music research: an area of the art which at this time is beginning to invite intense enquiry. This exegesis examines influences, processes and idiosyncrasies in musical improvisation in a jazz context, identified through analysis and observation of selected, recorded performances by the author. The study determined the key elements of classical saxophone technique relevant to tertiary level students practice strategies for effective development of these techniques and presents a daily technical routine that could benefit Australian tertiary level classical saxophonists. The investigation involves consulting the literature regarding both classical saxophone technique and efficient practice strategies and combines this with original research including interviews with classical saxophone educators and a survey of Australian tertiary level classical saxophonists. To do this, the paper discusses the idea of a daily technical routine, or a daily program of technical study, that could benefit Australian tertiary level classical saxophonists. As there is a gap in the literature regarding classical saxophone research, this paper aims to provide thorough and informative feedback to the field regarding effective practice strategies to assist technical development on the instrument. This dissertation investigates classical saxophone technique through an exploration of efficient practice methodology and the benefits to Australian tertiary level classical saxophonists. By considering the saxophone as a “case study,” this paper also provides wider implications to non-saxophonists looking to expand their technique and creative potential by delving into the classical diction. By examining the teachings of Joe Allard, Jean-Marie Londeix, Larry Teal, Marcel Mule and others, the reader gains an overview of the most prominent classical pedagogy in the field, and may discover ways in which these techniques can be applied to their own jazz performance. As will be demonstrated, numerous esteemed saxophonists such as George Garzone, Michael Brecker, Branford Marsalis, Kenny Garrett and Eric Dolphy have sought classical tutelage during their careers, often recognizing that the classical diction can inspire fresh creative devices in jazz improvisation. Furthermore, the paper seeks to expand the reader's creative potential by uncovering a range of articulation techniques, many of which are borne from the classical tradition and have proved compatible with jazz styles. This article examines the numerous challenges faced by jazz saxophonists in developing an effective articulation technique, and investigates classical saxophone pedagogy to address the apparent gap in knowledge and proficiency. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |