Jazz Saxophone: A Beginner’s Guide for Jazz Saxophonists

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No matter what instrument you play, there are fundamental aspects of jazz that every jazz musician needs to practice. However, there are also instrument-specific things you need to focus on to master jazz on your particular instrument.

All of these different aspects might seem overwhelming, but with the right bite-by-bite approach, you can make massive progress.

So what’s in today’s bite?

This post will focus on the instrument-specific things you need to practice to master jazz on the saxophone. We’ll explore the tactics that the best jazz saxophonists employ to master the technical side of jazz saxophone.

These tips will work whether you are an alto saxophonist, tenor saxophonist, or any saxophonist!

In this jazz saxophone primer, we’ll:

  • Help you overhaul your jazz saxophone practice habits to help you overcome roadblocks in your jazz saxophone playing.
  • Help you understand the sax better so you can play it with more confidence and authority.
  • Help you build your defining jazz saxophone sound through various tonguing and articulation techniques.
  • Provide guidance on what to shed to improve your jazz musicianship and music theory knowledge.

What’s separating your playing from that of the jazz greats? It’s time and process.

You will see measurable improvements in your saxophone tone, keyboard technique, and jazz knowledge with the right strategy.

This post will get you started on the right foot and set you off on your journey toward jazz music mastery. If you like what you read and are ready to begin the next level, check out the Learn Jazz Standards Inner Circle.

You’ll not only gain access to over a decade of accumulated jazz education courses, videos, masterclasses, and jazz standard studies, but you’ll also gain access to the Jazz Saxophone Accelerator course, which is designed to help beginner and intermediate saxophone players get to the next level.

Ready to accelerate your jazz saxophone playing and join the ranks of the best jazz saxophonists?

Come see what the Inner Circle has to offer.

How To Develop a Good Jazz Saxophone Tone in 3 Steps

Saxophone tone is a key factor separating professional-sounding sax players from amateur-sounding saxophone players. If you only focus on the mechanical aspects of playing saxophone, you’ll sound like a robot.

So much emotion and expression are conveyed through the voice of your sax. It’s integral to your musical identity as a jazz sax player.

1. It All Starts With the Mouthpiece

Whether you play soprano saxophone, alto saxophone, or tenor saxophone, most of your “sound” comes from how you interface with your mouthpiece. In fact, 90% of your tone comes down to your embouchure, lip pressure, jaw positioning, and tongue position.

Since all of these factors involve the mouthpiece, it makes sense that you’ll want to focus on the mouthpiece technique.

Intro to jazz saxophone: cutaway diagram of the saxophone mouthpiece

Experiment With Two Types of Embouchure

Saxophonists use two common types of embouchure:

  1. Jaw pressure embouchure: This embouchure is more common in classical playing but is also used by jazz saxophonists. It creates a dark, earthy tone compared to lip pressure embouchure. With jaw pressure embouchure, your lower lip stays relaxed and curls over your bottom teeth.
  2. Lip pressure embouchure: This is considered “jazz embouchure,” which has a characteristically brighter sound. With lip pressure embouchure, your lower lip must stick out past your lower teeth. Your lower lip needs to be firm, and the corners of your mouth held tight. Note: developing muscle strength and endurance for lip pressure embouchure can take several weeks of regular practice.

Jaw Pressure (Left) vs. Lip Pressure (Right):

Jaw pressure embouchure vs. Lip pressure embouchure

You should experiment with both types of embouchure. Many saxophonists don’t limit themselves to one or the other and instead take advantage of the tonal qualities of each to add more depth to their saxophone playing.

Mouthpiece Placement and Saxophone Tone

Where you position the mouthpiece has a profound influence on your saxophone tone.

Generally, regardless of the embouchure you are developing, you want your bottom lip to be in line with where the reed breaks away from the table of the mouthpiece (see mouthpiece diagram above).

Because lip pressure embouchure requires your lower lip to be extended, less of the mouthpiece should be in your mouth when practicing it compared to jaw pressure embouchure.

Jaw Position, Saxophone Tone, and Pitch

Where you place your jaw influences the tone and pitch of your saxophone.

Your jaw controls two important parameters of your saxophone sound:

  • Tone or Timbre is controlled by moving your lower jaw forward and backward. Moving your jaw forward greatest a brighter tonal quality and offers more resistance. Moving your jaw backward creates a darker, warmer, earthier tonal quality and offers less resistance.
  • Pitch is controlled by moving your lower jaw up and down. The more pressure you apply to the reed with your jaw (jaw up), the higher you can bend the pitch. The less pressure you apply with your jaw (jaw down), the lower you can bend the pitch. To maximize your range, starting somewhere in the middle makes sense.

Mouthpiece-Only Exercises To Build Strength, Endurance, and Control

Here are a few exercises you should do as part of your warm-up before attaching the mouthpiece to the saxophone (especially if you are trying to build strength and endurance).

Playing a full major or chromatic scale with only your mouthpiece is difficult! It should be a practice goal. Don’t be discouraged if building strength, control, and range takes time.

Long Tones Testing The Pitch Range of Your Mouthpiece

Try bending the pitch using both embouchures. As your strength and control increase, you can bend the pitch further in either direction. This also helps you find the right spot where you have a maximal range in both directions.

Playing a Diatonic Major Scale With Only Your Mouthpiece

This might take a while, so don’t be discouraged! After playing a long tone to the top of your mouthpiece range and back to the bottom, try to play a diatonic major scale using only your jaw/lip pressure. Aim for the first few intervals if a full scale is out of reach.

Playing a Chromatic Scale With Only Your Mouthpiece

The hardest exercise is playing a chromatic scale with only your mouthpiece. Isolating half steps requires intense precision and embouchure control.

2. Long Tones, Long Tones, Long Tones

Once you feel comfortable controlling the tone, timbre, and pitch on your mouthpiece, it’s time to bring that level of focus and dedication to the full sax. Jazz saxophonists know the best way to develop control and endurance on the full instrument is to get creative with long-tone practice.

Some jazz saxophonists want to skip this crucial part of saxophone development instead of other flashier things, but practicing long tones is something you should not skip. Musicians in the jazz scene can tell if a saxophonist has spent time practicing their long tones because a player’s long tone practice directly relates to their tone quality and endurance.

Get Meditative With Long Tones

You shouldn’t frame long-tone practice as another box to check or a means to an end. Instead, you should frame it as a meditative grounding exercise that helps you build a deeper, more intuitive connection with your saxophone.

Think about it—when you practice long tones, you already focus on breathing. That’s half of the battle. By framing the time you spend on long tones as a meditation session, you turn long-tone practice into an activity that not only helps your playing improve but also your mood and well-being.

Long Tone Practice Check-List

Now we know how to frame long-tone practice, but how should we actually do it?

There are several things you should consider when practicing long tones.

1. Frequency:

Ideally, you should practice long tones daily as a mental and physical warm-up. Doing so will keep your chops up and help you connect with your sax on a deeper level.

It is far better and more productive to practice every day for 10 minutes than once a week for 2 hours.

2. Variations:

Time is a limited resource, especially for adults trying to keep up with their love of music and jazz. As adult musicians, we need to get creative with how we practice so that we can cover as much ground as possible with our limited time.

While practicing long tones, you can also practice other important elements of jazz saxophone playing, such as dynamics and vibrato. Here is a long-tone/dynamics exercise you can use to practice long tones and dynamics at the same time:

Jazz Saxophonists guide: practicing long tones and dynamics at the same time.

Depending on how much time you have to practice, you should perform this exercise on at least a few pitches on your instrument daily. That way, after a few weeks, you’ll have practiced it on every pitch of your instrument.

How about a vibrato exercise? Long-tone practice also provides us a great opportunity to work on developing our tremulous vibrato. Before we get to the long-tone/vibrato exercise, here is a way to visualize your vibrato:

Jazz Saxaphonists guide to playing saxophone: visualizing vibrato

To create vibrato on any saxophone, you must use your jaw to bend the pitch.

  • To raise the pitch, push up with your jaw on the reed
  • To lower the pitch, relax your jaw down from the reed
  • To maintain pitch, keep the pressure on the reed consistent

Let’s move on to the long-tone/vibrato exercise.

Jazz Saxaphonists guide to playing saxophone: long-tone-vibrato excercise

Try practicing your vibrato in time! Using a metronome set to a lower BPM, try subdividing the big beat into smaller and smaller subdivisions.

3. How To Handle Extreme Registers On Your Saxophone

Whether you favor tenor sax, alto sax, soprano, or baritone sax, you’ll know that playing in the extreme registers of each is more challenging than playing in the middle registers. The best jazz saxophonists have perfected their jazz sax tone at all instrument registers.

To effortlessly flow between different registers of your saxophone, you need to control several different parameters of your mouth when playing. All three parameters are important for playing at extreme registers.

1. Jaw Position

As mentioned earlier, your jaw position controls two parameters of the jazz sax: pitch and timbre. You should strive for consistent pitch/intonation and tone quality across all registers of the instrument.

 

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2. Tongue Position or “Voicing”

Your tongue position affects the size of the opening at the back of your throat, which affects how much air you pass out of your mouth. The higher your tongue is, the faster air moves through. This airspeed influences your tone quality and intonation on the saxophone.

3. Air Support

How you breathe directly affects how much air you can push through the mouthpiece. When paired with the appropriate jaw position and voicing, breathing correctly will help you maintain consistent tone quality and intonation at various registers.

There isn’t one set combination of these parameters that will help you at all registers. You must think dynamically and practice manipulating these parameters to create your desired sound.

Here are some chromatic scale exercises to help you maintain consistency as you pass through all registers of your saxophone:

Jazz Saxaphonists guide to playing saxophone: playing saxaphone at extreme registers

Jazz Saxophone Tonguing Techniques and Time Feel

Now that you have a grasp on how to develop your saxophone sound, we can shift focus to developing your time feel. The best jazz saxophonists (and the best jazz musicians in general) spend countless hours focusing on their mastery of time.

A jazz saxophonist’s time feel is created through the interplay between their tonguing articulations and their fingers. In this section, we will talk about how to practice tonguing articulations to develop a strong time feel. We’ll focus on fingerings in the next section.

Move Your Tongue, Not Your Mouth

When we use our tongue automatically, like when we talk, it is in conjunction with our jaw. Our jaw and tongue must work together to speak with clarity.

However, with jazz saxophone, our jaw and our tongue control different aspects of the saxophone’s sound, and our tongues are responsible for starting and stopping notes. Essentially, we need to train our tongue to work independently from our jaw in a way that feels unnatural (at first).

To make things more complicated, different parts of our tongue have different responsibilities when producing sound on the saxophone. Remember from the previous section that the back of the tongue controls our “voicing” and changes how fast or slow air moves out of our mouths.

This aspect of tongue control needs to be isolated from what the tip of the tongue does, which obstructs the flow of air through the mouthpiece to produce rests.

To sum up, you need to:

  1. Control your tongue independently from your jaw.
  2. Use the back of your tongue to control voicing and the tip of your tongue to control tonguing articulations.

Keep this in mind when practicing tonguing articulations!

How To Practice Tonguing Articulations

There are several articulations you need to master to play jazz saxophone effectively. Here are the two most important ones:

Legato:

Legato notes are long, smooth, and connected, with no breaks between them. Therefore, with legato tonguing, your airstream should never stop completely. The tip of your tongue should not abruptly stop the airflow. Rather, it should gently interrupt or impede it.

  • Use the syllables “too,” “tea,” “tah,” or “tuh” to help perfect the articulation.

Staccato:

Staccato notes are abrupt and disconnected. There are two staccato articulations for jazz saxophone, and each articulation should result in a space or silence between the notes. The big difference is how this silence is produced.

For jazz staccato, use the tip of the tongue to choke off the airflow to the mouthpiece briefly.

  • Use the syllable “tut” to clip the sound

For classical staccato, don’t use your tongue to stop the sound. Instead, stop the airflow by closing the back of your throat.

  • Use the syllable “tah” and stop the flow of air

When practicing these articulations, keep in mind that only the tip of your tongue should contact the very tip of the reed:

Jazz Saxaphonists guide to playing saxophone: tonguing articulation diagram

Tonguing Articulations Exercises

Remember the best practices we’ve covered in earlier sections for the following exercises!

  • Tongue lightly with the utmost tip of the tongue. Aim to contact the very tip of the reed.
  • Isolate the tip of your tongue from the back of the tongue, as both have separate functions.
  • Keep the back of the tongue high to create narrow voicing so that air moves faster through the mouthpiece and the tip of the tongue is closer to the tip of the reed.
  • Don’t allow your tonging to affect your embouchure and jaw position!

For best practices, be sure to try all the following exercises

  • With straight 8th-notes and with a swing 8th-note feel
  • With and without a metronome at various tempos

Try Legato and Staccato articulations on various rhythms using one pitch:

Jazz Saxaphonists guide to playing saxophone: tonguing articulation rhythms excercise

Five-note scale groupings to practice articulations on more than one pitch:

Five-note scale groupings to practice articulations on more than one pitch

Full-octave scales to practice articulations:

Full-octave scales to practice articulations:

Jazz Saxophone Finger Techniques

Let’s focus on the other crucial aspect of jazz saxophone time feel—your fingers!

The best jazz saxophonists have spent hours optimizing the best way to approach playing the saxophone keyboard. Though each jazz saxophonist will have a slightly different approach, there are some general best practices you should internalize when focusing on this aspect of your playing.

Remember to keep these best practices in mind when we talk about playing scales and arpeggios!

9 Jazz Saxophone Finger Techniques Best Practices

  1. Practice Light and Swift Finger Movements: When changing notes, even at slow tempos, move your fingers as lightly and swiftly as possible. Fast, rhythmic movement aids in coordinating multiple fingers across both hands.
  2. Avoid Hard Grips or Key Slamming: Avoid pressing the keys too hard or slamming them down when playing. This prevents potential hand pain and avoids loud, distracting key clicks.
  3. Isolate Challenging Intervals: If certain intervals are difficult to play, focus on practicing these exclusively and isolate the problem. Is it embouchure? Airflow? Voicing? Isolate the issue and practice going between these two notes until you’re comfortable with the transition.
  4. Balance Key Press and Lift: What goes down must come up! While pressing the key might feel natural, lifting them can be trickier. Practice lifting your fingers off the keys as if you’re lightly and quickly flicking tiny water droplets off your fingernails.
  5. Maintain Finger Distance and Flexibility: Don’t worry about keeping your fingers too close to the keys. They should be allowed to fly away a bit when lifted. Focusing on the lift can help you with time feel.
  6. Keep Hands and Fingers Relaxed: Shoot for a relaxed, gently-rounded hand position (like you’re loosely holding a softball). Don’t stiffen your fingers, and avoid white-knuckling.
  7. Start with Slurred Technique Exercises: Tonguing can cover up less-than-optimal finger technique. Initially, practice all your technique exercises completely slurred to reveal issues with your fingering.
  8. Use a Metronome for Practice: Practice technique exercises with a metronome. This helps you develop a steady rhythmic pulse which you can test by practicing without the metronome. Be sure to record and listen back!
  9. Mix Straight-8th and Swung Rhythmic Feels: Practice exercises with a straight-8th and swung rhythmic feel.

How To Practice Arpeggios in Jazz Music

For (mostly) monophonic instruments like the saxophone, scales and arpeggios are the building blocks of jazz language. Some beginners think that horn players never need to worry about chords, but this could not be further from the truth!

The best jazz saxophonists can outline the harmony of the moment with their single-note lines. Listen to Sonny Rollins recordings where he plays with only a drummer and bass player and no chordal accompaniment.

He didn’t need a piano because he could outline the harmony perfectly.

So how do you start shedding chords on the sax? Start with diatonic triads. Remember to keep the nine finger technique best practices we discussed earlier in mind!

Diatonic Triad Exercises on the Sax

Diatonic triads in C major excercise; ascending only.

You should be able to play diatonic triads from any note (root, 3rd, or 5th) in every key with as many variations as possible. Here is the same concept, but with an additional 3rd added at the end of the triad to better connect it to the next diatonic triad:

Diatonic triads in C major excercise, ascending and descending

Diatonic Seventh Chord Exercises on the Sax

After getting comfortable with triads, it’s time to switch your focus to the building blocks of jazz harmony—7th chords. For a more in-depth discussion of 7th chords, check out our ultimate guide to 7th chords.

Diatonic 7th chords in C major excercise; ascending only.

Listen to Jazz Saxophonists! The Best Jazz Saxophonists You Need to Check Out

There is one last thing you must do to guarantee you become the best saxophonist you can be. You need to listen to the jazz greats who have come before you.

In order to develop your own jazz saxophone sound, you need to understand the saxophone landscape in jazz music. There are so many different personalities, styles, and sounds you can use to influence your own playing.

When exploring different jazz saxophonists check out these key players from various jazz music eras (some of these players fit into multiple categories).

Swing Era:

  • Johnny Hodges
  • Ben Webster

Bebop:

  • Charlie Parker
  • Sonny Stitt
  • Dexter Gordon

Hard Bop:

  • Sonny Rollins
  • Joe Henderson
  • Hank Crawford
  • Wayne Shorter
  • Hank Mobley

Cool Jazz:

  • Paul Desmond
  • Gerry Mulligan
  • Lee Konitz
  • Zoot Sims
  • Stan Getz

Free Jazz/Avant-Garde:

  • Ornette Coleman
  • Rahsaan Roland Kirk

Post-Bop:

  • John Coltrane
  • Michael Brecker

Fusion/Smooth/Soul Jazz:

  • David Sanborn
  • Grover Washington Jr.
  • Dave Koz

Modern/Contemporary Jazz:

  • Joshua Redman
  • Chris Potter
  • Kamasi Washington
  • Miguel Zenón
  • Melissa Aldana
  • Ravi Coltrane

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If you found this jazz saxophone beginner’s guide useful and want to dive deeper into jazz saxophone, jazz theory, and improvisational concepts, then check out the Inner Circle.

Members have access to the Jazz Saxophone Accelerator course to help them tackle the technical challenges of the baritone sax, tenor sax, alto sax, and soprano saxophones.

Learn about false fingers, overtones, and multiphonics to take your saxophone playing to the next level.

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We help musicians of all instruments start improvising confidently over jazz standards in as little as 30 days without mind-numbing hours of practice or the overwhelm.

“Jazz music is the power of now. There is no script. It’s conversation. The emotion is given to you by musicians as they make split-second decisions to fulfill what they feel the moment requires.”
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Refund Policy

For play-alongs and eBooks:

Because these are digital downloads, and not returnable, we have a strict no refund policy. All purchases are final and cannot be reversed. Please be sure that you fully understand the product you are purchasing and what is and what is not included. Of course, if you ever have any questions about a product feel free to contact usor visit our FAQ page.

For 30 Days to Better Jazz Playing eCourse

Please make sure you completely understand the product you are buying before purchasing.

14 Day 100% Money Back Guarantee

  • This guarantee lasts 14 days, which completely covers almost half of the course, enough for you to observe its’ effectiveness.
  • We can’t guarantee you will be Miles Davis, Charlie Parker, or John Coltrane in 2 weeks. We’d be suspicious of anyone who could promise that. Becoming a better jazz musician is a process and it requires work.
  • If you’re not happy with the quality of this program…send us an email and showing you did the work. We’ll refund 100% of your money (We’ll even eat the credit-card processing fees) and we’ll part as friends. We believe in the power of this course and so we’ll take responsibility for it.

Rights of use

All digital products are for the use of the individual customer only. Redistribution or reselling of our digital products is strictly prohibited and a violation of United States and New York State law.

Learn Jazz Standards Messaging Terms & Conditions

Effective Date:

This SMS message program is a service of Learn Jazz Standards. By providing your cell phone number, you agree to receive recurring automated promotional and personalized marketing text messages (e.g., SMS/MMS cart reminders, sale notices, etc) from Learn Jazz Standards. These messages include text messages that may be sent using an automatic telephone dialing system, to the mobile telephone number you provided when signing up or any other number that you designate. You give Learn Jazz Standards permission to send text messages to the enrolled cell phone number through your wireless phone carrier, unless and until you end permission per these Terms & Conditions. Consent to receive automated marketing text messages is not a condition of any purchase. Message & data rates may apply.

Message frequency may vary. Learn Jazz Standards reserves the right to alter the frequency of messages sent at any time, so as to increase or decrease the total number of sent messages. Learn Jazz Standards also reserves the right to change the short code or phone number from which messages are sent and we will notify you if we do so.

Not all mobile devices or handsets may be supported and our messages may not be deliverable in all areas. Learn Jazz Standards, its service providers and the mobile carriers supported by the program are not liable for delayed or undelivered messages.

By enrolling in the Learn Jazz Standards messaging program, you also agree to these messaging terms & conditions (“Messaging Terms”), our Learn Jazz Standards Terms of Use and Learn Jazz Standards Privacy Policy.

Cancellation

Text the keyword STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message to cancel. After texting STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message you will receive one additional message confirming that your request has been processed. If you change your preferences, it may take up to 48 hours for it to take effect. You acknowledge that our text message platform may not recognize and respond to unsubscribe requests that do not include the STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT keyword commands and agree that Learn Jazz Standards and its service providers will have no liability for failing to honor such requests. If you unsubscribe from one of our text message programs, you may continue to receive text messages from Learn Jazz Standards through any other programs you have joined until you separately unsubscribe from those programs.

Help or Support

Text the keyword HELP to the telephone number, long code, or short code that sends you our initial confirmation message to receive a text with information on how to unsubscribe.

No Warranty

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU ACKNOWLEDGE AND AGREE THAT THE MESSAGING PROGRAM IS PROVIDED ON AN “AS IS” AND “AS AVAILABLE” BASIS WITHOUT WARRANTIES OF ANY KIND, WHETHER EXPRESS OR IMPLIED.

Limitation of Liability

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU AGREE THAT IN NO EVENT SHALL EITHER OF Learn Jazz Standards OR ANY PARTY ACTING ON BEHALF OF Learn Jazz Standards BE LIABLE FOR: (A) ANY CLAIMS, PROCEEDINGS, LIABILITIES, OBLIGATIONS, DAMAGES, LOSSES OR COSTS IN AN AGGREGATE AMOUNT EXCEEDING THE GREATER OF THE AMOUNT YOU PAID TO Learn Jazz Standards HEREUNDER OR $100.00; OR (B) ANY DIRECT, INDIRECT, CONSEQUENTIAL, SPECIAL, INCIDENTAL, PUNITIVE OR ANY OTHER DAMAGES. YOU AGREE EVEN IF Learn Jazz Standards HAS BEEN TOLD OF POSSIBLE DAMAGE OR LOSS ARISING OR RESULTING FROM OR IN ANY WAY RELATING TO YOUR USE OF THE Learn Jazz Standards MESSAGING PROGRAM. Learn Jazz Standards AND ITS REPRESENTATIVES ARE NOT LIABLE FOR THE ACTS OR OMISSIONS OF THIRD PARTIES, INCLUDING BUT NOT LIMITED TO DELAYS OR NON-DELIVERY IN THE TRANSMISSION OF MESSAGES.

Indemnity

To the maximum extent allowed by applicable law, you agree to indemnify, defend and hold harmless Learn Jazz Standards, its directors, officers, employees, servants, agents, representatives, independent contractors and affiliates from and against any and all claims, damages, liabilities, actions, causes of action, costs, expenses, including reasonable attorneys’ fees, judgments or penalties of any kind or nature arising from or in relation to the these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers.

Dispute Resolution

  1. General. Any dispute or claim arising out of or in any way related to these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers whether based in contract, tort, statute, fraud, misrepresentation, or any other legal theory, and regardless of when a dispute or claim arises will be resolved by binding arbitration. YOU UNDERSTAND AND AGREE THAT, BY AGREEING TO THESE MESSAGING TERMS, YOU AND Learn Jazz Standards ARE EACH WAIVING THE RIGHT TO A TRIAL BY JURY OR TO PARTICIPATE IN A CLASS ACTION AND THAT THESE MESSAGING TERMS SHALL BE SUBJECT TO AND GOVERNED BY ARBITRATION.
  2. Exceptions. Notwithstanding subsection (a) above, nothing in these Messaging Terms will be deemed to waive, preclude, or otherwise limit the right of you or Learn Jazz Standards to: (i) bring an individual action in small claims court; (ii) pursue an enforcement action through the applicable federal, state, or local agency if that action is available; (iii) seek injunctive relief in aid of arbitration from a court of competent jurisdiction; or (iv) file suit in a court of law to address an intellectual property infringement claim.
  3. Arbitrator. Any arbitration between you and Learn Jazz Standards will be governed by the JAMS, under the Optional Expedited Arbitration Procedures then in effect for JAMS, except as provided herein. JAMS may be contacted at www.jamsadr.com. The arbitrator has exclusive authority to resolve any dispute relating to the interpretation, applicability, or enforceability of this binding arbitration agreement.
  4. No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding. You agree that, by agreeing to these Messaging Terms, you and Learn Jazz Standards are each waiving the right to a trial by jury or to participate in a class action, collective action, private attorney general action, or other representative proceeding of any kind.
  5. No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding.
  6. Modifications to this Arbitration Provision. Notwithstanding anything to the contrary in these Messaging Terms, if Learn Jazz Standards makes any future change to this arbitration provision, you may reject the change by sending us written notice within 30 days of the change to Learn Jazz Standards’s contact information provided in the “Contact Us” section below, in which case this arbitration provision, as in effect immediately prior to the changes you rejected, will continue to govern any disputes between you and Learn Jazz Standards.
  7. Enforceability. If any provision of these Messaging Terms is found to be unenforceable, the applicable provision shall be deemed stricken and the remainder of these Messaging Terms shall remain in full force and effect.

Changes to the Messaging Terms

We reserve the right to change these Messaging Terms or cancel the messaging program at any time. By using and accepting messages from Learn Jazz Standards after we make changes to the Messaging Terms, you are accepting the Messaging Terms with those changes. Please check these Messaging Terms regularly.

Entire Agreement/Severability

These Messaging Terms, together with any amendments and any additional agreements you may enter into with us in connection herewith, will constitute the entire agreement between you and Learn Jazz Standards concerning the Messaging Program.

Contact

Please contact us with any inquiries or concerns at [email protected]

OUR PROVEN PROCESS FOR LEARNING JAZZ STANDARDS LIKE A PRO

Get our FREE eGuide “Learn Jazz Standards the Smart Way” and follow the 5 simple steps for crushing it with jazz standards.

Learn Jazz Standards The Smart Way Cover

OUR PROVEN PROCESS FOR IMPROVISING JAZZ SOLOS LIKE A PRO

Get our FREE “Jazz Improv Made Easy Fast Track Guide” and follow the 3 simple steps for improvising amazing jazz solos.

Jazz Improv Made Easy Fast Track Guide Ebook Cover

OUR PROVEN PROCESS FOR LEARNING JAZZ THEORY LIKE A PRO

Get our FREE “Jazz Theory Made Easy Fast Track Guide” and follow the 4 simple steps that make learning jazz theory easy.

Jazz Theory Made Easy Fast Track Guide Ebook Cover

DOWNLOAD THIS CHORD CHART

Get our FREE "Jazz Saxophone: A Beginner’s Guide for Jazz Saxophonists" chord chart and our entire library of 200+ jazz standards!

Chord Chart

DOWNLOAD THIS CHORD CHART

Get our FREE "Jazz Saxophone: A Beginner’s Guide for Jazz Saxophonists" chord chart and our entire library of 200+ jazz standards!

Chord Chart

DOWNLOAD THIS CHORD CHART

Get our FREE "Jazz Saxophone: A Beginner’s Guide for Jazz Saxophonists" chord chart and our entire library of 200+ jazz standards!

Chord Chart