Chop-Monster, Book 2: Alto Saxophone 2 Book

Book 2 graduates students from foundational chord tones into the progression that defines modern jazz: the ii-V-I. By working through three keys (B-flat, E-flat, F), your alto section builds genuine transposition fluency rather than mechanical repetition. The call-and-response methodology keeps ears engaged and internalization deep, so when students step into a real jazz standard, they already own these progressions in their bodies.

The progression feels inevitable once you've internalized it, like discovering a secret language. Each key unlocks a new sonic territory, but the underlying shape stays constant, creating a satisfying sense of mastery that builds across the 40 pages.

Alto saxophone players in grades 9 and up who have completed Chop-Monster Book 1 and are ready to tackle the harmonic backbone of jazz standards. This is for jazz ensemble students serious about improvisation, not casual readers.

• Match the exact inflection and articulation of the recorded model before personalizing. Berg's examples contain rhythmic subtleties and swing feel that written notation alone won't convey.
• Isolate each key for a full week rather than rotating through all three at once. Depth in one key produces confidence and faster transfer to the next.
• Record yourself during the "try it on your own" section and compare it against the original. Self-listening sharpens the ear faster than any feedback from outside.
• Practice the ii-V-I in context by playing it over full-length jazz standards in these keys once you've worked through the exercises.

Assign Book 2 during your jazz ensemble's study of standards that feature prominent ii-V-I changes, so classroom work feeds directly into repertoire. Stagger different sections through the method at their own pace; alto 2 can work independently while your lead saxes tackle more advanced material.

• ii-V-I chord progression vocabulary in concert B-flat, E-flat, and F
• Transposition across three related keys without relying on written examples
• Call-and-response listening and rapid internalization of jazz phrasing
• Swing feel and rhythmic inflection in a structured context
• Improvisation from chord changes rather than memorized patterns