Approaching the Standards, Volume 1: B-flat Instruments Book & Online Audio

Hill strips away the mystique that often surrounds jazz improvisation without sacrificing authenticity. The eight tunes span different harmonic landscapes and rhythmic feels, giving students real variety to work with rather than abstract exercises. Hearing the same charts played by working professionals grounds the learning in actual jazz practice rather than textbook theory.

Stepping into these eight standards feels like joining a conversation already in progress. The grooves are warm and conversational, the harmonies familiar enough to anchor you but sophisticated enough to reward close listening. There's a generosity to the writing; nothing feels punitive or overly theoretical.

This resource works for high school jazz band members ready to move beyond reading charts, college jazz students building improvisational foundation, and adult learners returning to jazz after years away. The B-flat edition serves saxophonists and trumpeters working independently or as part of an ensemble.

• Start with the demo recording first. Hear how the melody sits in the tune, how the soloist navigates the changes, where the tension and release happen. Your ear absorbs phrasing and timing that no written explanation can fully capture.
• Work through the written examples before you improvise over the play-along track. These aren't decoration; they're linguistic building blocks showing you specific solutions to harmonic moments you'll encounter.
• Use the transcription opportunities to study what the recorded soloist actually played, not what you thought they played. Notation forces precision and reveals choices you'd miss by ear alone.
• Approach each tune multiple times with different goals. First pass: follow the structure and keep time. Second pass: incorporate one of the written vocabulary examples. Third pass: trust what you've absorbed and create your own line.

Integrate these tunes into jazz band sectional time, assigning different standards to different students based on their progress level. Alternatively, build a semester-long unit where your ensemble works through one tune per week, combining full ensemble work on the head with small group improvisation over the recorded changes. This book also works as independent study material for students auditing or preparing for jazz competitions.

• Hearing and responding to chord changes in real time
• Applying jazz vocabulary to specific harmonic situations
• Balancing composition and spontaneity within a solo structure
• Understanding how professional soloists phrase within and around the beat
• Building personal vocabulary through transcription and analysis
• Navigating different jazz rhythmic feels and groove styles