May/June 2008 , Volume 32, No. 5
FEATURING
Euge Groove, Sal Lozano, Andrew Dahlke
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ARTICLES THIS ISSUE
MayJune 2008

Repairing Your Saxophone
by Emilio Lyons
"How To Fix Leaking Octave Vent Tubes"
"Fixing Noisy Keys"

New Saxophone Publications
by David Demsey
"The Altissimo Register by Paul Cohen"
"Seven Duets For Sax by Ed Harlow"


Creative Jazz Improvisation
by David Pope
"Improvising & The Diminished Major 7th"

Rock 'n Roll Saxophone
by Andrew Clark
"A Day In The Life Of A Rock Star"

A Lesson With
by Greg Banaszak
"Mike DiRubbo"

New Saxophone Publicatons
by David Demsey
"The Jazz Musician's Guide To Creative Practicing"
"Music Medals Series For Saxophone"

Growing Arundo Donax In Argentina
by Florencia Maidana
"Gonsalez Reeds"

Remembering Paul Brodie
by Eugene Rousseau, James Houlik, Daniel Rubinoff, Ted Hegvik, David Gibson

RECOMMENDED RECORDINGS
Paul Wagner's Reviews
Mountain Roads
Masao Kumoi Sax Quartet

Crosscurrents
Noah Getz

Billy Kerr's Reviews
Interplay (5-CD set)
John Coltrane
Nights At The Inn
Dave Tofani



Frank Bongiorno's Reviews
The Path To Infinity
Todd Herbert
Lo Que Somos Lo Que Sea
Grupo Los Santos

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Elliot Del Borgo's
Quartet For Saxophones

Masterclass/Play-Along CD
by The Washington Sax Quartet

Elliot Del Borgo's Quartet For Saxophones
"The piece is neo-tonal and uses a technique that I call cell construction that is related to serial writing but not nearly as rigid. The cell I use in this piece is made up of the minor 2nd, minor 3rd and the tritone with inversions of these intervals. While there is other material incorporated into the piece, quartal harmonies and modal scales, the cell gives the piece a very biting and contemporary harmonic flavor. As in much of music, the rhythmic drive and energy are used to propel the individual lines, especially in the contrapuntal sections.

The contrasting second movement is quite Romantic in nature and gives the players the opportunity for incorporation of personal expression.

The third movement, like the first, is very vigorous and requires a rather aggressive approach to performance.

When writing chamber pieces I always have each of the performers in mind both as a soloist and as part of the ensemble. I like to give each player significant material so that he or she can achieve a sense of satisfaction that I feel is important to communicate to the audience."

SAXOPHONE JOURNAL CD TRACKS
Quartet for Saxophones, Elliot Del Borgo

Track Title
1. Movement I (complete performance)
2. Movement II (complete performance)
3. Movement III (complete performance)
4. Introduction, discussion of track 5
5. Recording of Movement I, page 1
6. Discussion of measure 10, Movement I
7. Recording of measure 10, Movement I
8. Discussion of measures 129-137, Movement I
9. Recording of measures 129-137, Movement I
10. Discussion of measures 171-177, Movement I
11. Recording of measures 171-177, Movement I
12. Discussion of measures 1-8, Movement III
13. Recording of measures 1-8, Movement III
14. Discussion of measures 17-24, Movement III
15. Recording of measures 17-24, Movement III
16. Tuning notes
17. Movement I minus soprano saxophone
(soprano saxophone play-along)
18. Movement II minus soprano saxophone
(soprano saxophone play-along)


Remembering Paul Brodie

by Eugene Rousseau, James Houlik, Daniel Rubinoff, Ted Hegvik, David Gibson
Click here for a high resolution PDF of our tribute to Paul.
Click here for a low resolution PDF of our tribute to Paul.
click here for a high resolution .JPG of Paul's photo above.