Saturday 5 November 11am - 4pm
Free SAXOPHONE WORKSHOPS with GILAD ATZMON & Chris Gumbley
Venue: Howarth Sax Dept, 33 Chiltern Street
Dear Saxophone Players and Teachers,
We are very pleased to be the venue for the launch of 'Gilad Uncovered', a book of 10 saxophone solos by Gilad Atzmon transcribed and edited by Chris Gumbley of Gumbles Publications.
Gilad has been a client for many years and he is exciting to be around and exciting to watch. He is celebrating the launch of his new book with two workshops in which he talks about the book, his life and his playing. There promises to be a lot of fast fingers and some eye-opening advice which should leave you with plenty to think about!
The workshops are at 12noon & 2pm - BRING YOUR INSTRUMENTS! (but please let us know in advance which workshop you will be coming to since space is limited).
Gilad and Chris Gumbley will be around in the shop from 11am until 4pm to talk about the book & Chris's new publications for sax solo and ensemble, which will also be available.
If you want to find a bit more about Gilad in advance please check out http://www.gilad.co.uk/ .
A Book of my solo transcriptions is out
One can imagine how delighted I am to see a book of my solo transcriptions being published. I’d like to use this opportunity to thank Chris Gumbley, a great friend, a superb educator and an excellent musician for making the effort and looking deeply into my music and improvising skills. To a certain extent it makes my musical journey into a meaningful event. The fact that someone out there believes that my work is worthy of intellectual scrutiny is indeed reassuring and nothing less than a great compliment.
As an educator, I feel that it is necessary to mention that I do believe in the primacy of the ear. I stress rather often that music should be learned primarily through listening. Those who are interested in my music vocabulary and improvised shapes will probably benefit from trying to understand my sound through listening. I guess that once an intuitive understanding of my musical language, rhythm, scales, micro-tonality and dynamics is explored, only then should the reading exercise be put into practice.
Looking into solo transcriptions is no doubt part of a healthy jazz diet. I’ve done it myself in the past, in spite of the fact that my music reading skills are far from being advanced. In general I use every opportunity to look into other musicians’ work.
Playing a transcribed solo is not an easy task. I can only wish luck to those who take the challenge on board.