The Essence of Bebop for Flute

Includes Online Audio

Although sax-based, this book easily transfers all it's material to the flute, allowing us access to real jazz repertoire. There's a wealth of information about how to play in this genre which is useful if you're a novice, but this is a good-time book simply to be enjoyed. Sometimes playing along with the greats is just what you need!

Following in the footsteps of New York-based saxophonist and composer Jim Snidero’s previous books on jazz and blues flute, The Essence of Bebop guides players through 10 original studies based on the most common forms of bebop, each written in the style of a different influential musician of the era. A summary of the main form, ideas and theory included in each study is provided at the beginning, which serves as a useful reference for those wishing to work on certain aspects of the style or their playing. A separate style guide with some of the main points of jazz to be aware of is included at the beginning (great for those less familiar with the genre) and after every study there is an accompanying guide (see below). As with any genre which relies heavily on feel, the book not only covers many helpful hints throughout as to how to practise to obtain a more natural style, but has a suggested reading and listening list, the latter referencing the original compositions used as inspiration for studies themselves (as someone who was not familiar with all of the musicians referenced I found this very useful).

Each individual study guide opens with a short historical context to the musician which the study is based upon, providing a nice basis for further research. The points given in the previously mentioned summary are then expanded upon, with clear references to bar numbers (indeed some of these points are marked on the actual score which I found useful and would have welcomed more of). The theoretical ideas are clearly explained, however perhaps it would be helpful if these were not then written enharmonically in the actual score (e.g. a flat 5 note to be written as a double flat and not a natural).

The studies themselves are challenging, progressing in difficulty throughout the book, with plenty of scope for working on ornamentation and articulation. The downloadable audio and accompaniment tracks are of a high standard and overall make the studies highly enjoyable to explore.

Whilst definitely more suited to those with previous jazz flute knowledge and experience, with help from the included style guide and a bit of filling in the blanks in terms of terminology and theory, this is an approachable resource for all advanced players and teachers alike who wish to explore bebop in detail. Whilst it won’t teach you to create your own improvisations, the book provides a solid foundation for understanding and much
encouragement for further research. A challenging, yet enjoyable and informative publication.