Saxophone Solos Vol. 2: Modal Classics: Saxophone Book & CD

Modal standards strip away chord-change complexity, but that simplicity demands deeper harmonic thinking and longer melodic phrasing. Dagradi's dual approach of analyzing what the masters do and then naming specific techniques gives students both the roadmap and the vocabulary to build real solo ideas. The inclusion of both alto and tenor transpositions plus rhythm section tracks means your players can start soloing immediately and build repertoire across the saxophone family.

Open, spacious, and introspective. Modal jazz trades the rapid harmonic movement of bebop for sustained harmonic territory, inviting longer, more sculptural phrases. These solos showcase the difference between playing *on* changes and playing *in* a sound.

Intermediate to advanced alto and tenor saxophonists ready to move beyond learning pre-written solos and start building their own improvisations. Depending on whether you're working with jazz ensemble students, competitive jazz soloists, or private studio players, this book gives everyone the harmonic grounding and technique library they need to play confidently in modal contexts.

• Listen through the full performance tracks first to hear how the solos navigate the modal space. Notice where tension and release occur over a single chord.
• Use the rhythm section play-along tracks to find your own phrasing without the guide of a recorded melody. Start by staying close to the chord tone, then venture further as your comfort grows.
• Pay attention to the specific techniques Dagradi highlights in each solo. Isolate one technique per practice session and apply it to your own ideas before moving to the next solo.
• Record yourself soloing over the play-alongs and listen back. Modal soloing often reveals inconsistent phrasing and timing much more clearly than changes-based playing.

Assign specific solos from this collection as part of a jazz ensemble's repertoire rotation or use it as the core resource for a unit on modal improvisation in a jazz combos class. The play-along tracks also work well for solo preparation if you have students competing in jazz festivals or preparing for solo recitals that include contemporary jazz standards.

• Improvising over static or modal harmony (single chords over extended periods)
• Building longer, more cohesive solo statements without relying on rapid chord changes
• Phrasing and rhythmic development specific to modal contexts
• Applying techniques like approach notes, enclosure, and modal interchange within a single harmonic environment
• Reading and transposing between alto and tenor saxophone
• Listening and transcription skills through guided solo analysis