Chop-Monster, Book 2: Alto Saxophone 2 Book & 2 CDs

Shelly Berg built this method on a principle that actually works: imitation leads to internalization, which leads to ownership. The call-and-response format on the included CDs gives students a live model to follow, making the abstract idea of "learn to improvise" concrete and achievable.

The ii-V-I unfolds across three tonal centers, and with each key you work through, the progression starts to feel less like a harmonic puzzle and more like a conversation you're having. Berg's call-and-response design means you're never left guessing; you hear the idea first, then you answer it.

Alto saxophone players in your jazz ensemble who completed Book 1 and are ready to tackle the ii-V-I progression across multiple keys. This book works equally well for students in a school jazz program and for private jazz students seeking structured improvisation training.

• Listen to the recorded phrase multiple times before attempting to play along. Let your ear absorb the melodic shape, rhythmic feel, and articulation before your fingers get involved.
• Use the two-CD format strategically. Play the first disc during ensemble sectional work so alto 2 players can focus on listening and responding; reserve the second disc for individual or small-group practice outside rehearsal.
• Focus on matching the recorded alto saxophone tone and vibrato as closely as possible during the imitation phase. This develops not just the right notes, but the right sound.
• Record yourself playing each phrase and listen back immediately. You'll hear whether you've truly internalized the melodic contour or if you're still thinking note-by-note.

Assign one progression per rehearsal cycle or practice week. The 40-page format allows you to build improvisation skills gradually alongside your ensemble's other jazz repertoire without creating a second full curriculum. Alto 2 players can work through the book during downtime in sectionals or at home between rehearsals.

• Hearing and imitating jazz phrasing in ii-V-I progressions across multiple keys
• Internalizing harmonic motion through listening and call-and-response
• Transposing jazz vocabulary from concert B-flat to E-flat and F
• Building improvisational vocabulary grounded in harmonic function rather than scalewise thinking
• Listening to recorded jazz saxophone tone and articulation as a model for sound production