A G U I D E F O R P L A Y I N G T H E S A X O P H O N E O R I G I N A L L Y C O M P I L E D B Y A N T H O N Y C . S A L I C A N D R O R E V I S E D B Y S K I P S P R A T T P R O V I D E D B Y S A X S H E D . C O M L E S S O N S B Y M A I L

2

I. A P P R O A C H I N G T H E S A X O P H O N E

1. T H E S A X O P H O N E S H O U L D H A N G O N T H E N E C K S T R A P T O Y O U R R I G H T S I D E , N O T I N T H E M I D D L E .

2. S U P P O R T T H E I N S T R U M E N T W I T H Y O U R R I G H T T H U M B , K E E P I N G I T A W A Y F R O M Y O U R B O D Y S L I G H T L Y . W H I L E S I T T I N G T H E S A X O P H O N E S H O U L D R E S T A G A I N S T T H E R I G H T L E G , A B O U T H A L F W A Y B E T W E E N T H E K N E E A N D H I P .

3. K E E P Y O U R B O D Y P O S I T I O N S T R A I G H T , H E A D E R E C T A N D A L W A Y S B R I N G T H E M O U T H P I E C E T O Y O U R L I P S W I T H T H E N E C K S T R A P I S A D J U S T E D C O R R E C T L Y , T H E M O U T H P I E C E S H O U L D L I N E U P D I R E C T L Y T O T H E L I P S W H I L E S I T T I N G U P S T R A I G H T .

4. P L A C E T H E F I N G E R S " O N T H E P E A R L S " ( W H I T E M O T H E R O F P E A R L I N L A Y O N K E Y S ) A T A L L T I M E S . L E F T H A N D O N T O P , R I G H T H A N D O N T H E B O T T O M . T H E L E F T T H U M B G O E S O N T H E T H U M B R E S T U N D E R T H E O C T A V E K E Y . T H E R I G H T T H U M B H O O K S U N D E R T H E T H U M B H O O K .

5. P L A C E T H E M O U T H P I E C E I N T H E M O U T H A N D A N C H O R T H E W E I G H T O F Y O U R H E A D A N D T E E T H D O W N O N T O T H E M O U T H P I E C E . T H E T O P T E E T H A N D B O T T O M L I P S H O U L D B E A P P R O X I M A T E L Y 3/8 I N C H I N F R O M T H E T I P O F T H E R E E D .

T H E T O P T E E T H A N D B O T T O M L I P S H O U L D M E E T A T A R R O W S :

T H I N G S T O R E M E M B E R :

A . N E V E R R E M O V E T H E T E E T H O R T O P L I P F R O M T H E M O U T H P I E C E .

B . D R O P T H E J A W T O T A K E A B R E A T H . C . T H E N A T U R A L R E S T I N G P O S I T I O N F O R T H E T O N G U E I S O N

T H E R E E D ( R E A D Y T O B E R E L E A S E D ) . D . T H E N A T U R A L P O S I T I O N O F T H E H A N D F O R M S A " C " . E . P L A C E T I P S O F F I N G E R S I N T H E C E N T E R O F T H E P E A R L S .

3

F . K E E P T H E T I P S O F T H E F I N G E R S ( F L E S H Y P A R T ) O N T H E P E A R L S W H E N P L A Y I N G . S Q U E E Z E K E Y S D O W N , D O N ' T H A M M E R .

G . K E E P T H E F I N G E R S A R C H E D S L I G H T L Y , A S I N P L A Y I N G T H E P I A N O .

H . R E L A X H A N D S . T R Y T H I S : D R O P Y O U R H A N D S B Y Y O U R S I D E A N D T R Y T O C O M P L E T E L Y R E L A X T H E M . R A I S E T H E M I N F R O N T O F Y O U W I T H O U T T E N S I N G U P . T H I S I S T H E N A T U R A L C U R V E O F Y O U R H A N D S A N D T H E S A X O P H O N E W A S D E S I G N E D T O W O R K W I T H T H E N A T U R A L C U R V E O F Y O U R H A N D S .

1. F O R M A N " O " O R " O U " P O S I T I O N , E V E N L Y A R O U N D T H E M O U T H P I E C E .

2. T U R N C O R N E R S I N T O T H E M O U T H P I E C E W H I L E P U L L I N G D O W N SLIGHTLY.

3. D R O P J A W F R O M T H E H I N G E S ( N E A R E A R S ) . T H E J A W M U S T B E R E L A X E D .

4. T H E J A W A N D L O W E R T E E T H P U L L A W A Y F R O M T H E R E E D , W H I L E T H E L O W E R L I P L I F T S U P O N T O T H E R E E D I N T H E O P P O S I T E D I R E C T I O N . ( L I K E E X A G G E R A T I N G T H E L E T T E R F )

THIS DYNAMIC OF THE JAW, LOWER LIP AND TEETH WORKING THE REED WITH JUST THE CORRECT AMOUNT OF OPPOSITE TENSION, IS ONE OF THE MOST IMPORTANT ELEMENTS IN PLAYING THE SAXOPHONE. P E R H A P S T H E S A X O P H O N E E M B O U C H U R E C A N B E T T E R B E D E S C R I B E D A S A N " O U F " P O S I T I O N . R E M E M B E R - J U S T F O R M T H E L E T T E R " F " W I T H Y O U R

II. E M B O U C H U R E

4

L I P S . D O I N G T H I S W I L L G E T Y O U W E L L O N T H E W A Y T O F O R M I N G T H E C O R R E C T E M B O U C H U R E .

5. W H E N T H E P O S I T I O N D E S C R I B E D I N S T E P 4 I S C O R R E C T , I T S H O U L D C R E A T E A N O P E N I N G I N Y O U R M O U T H W H E N P L A Y I N G , A S I F T H E R E W E R E A P I N G - P O N G B A L L I N Y O U R M O U T H . Y O U C A N T R Y T O F A K E A Y A W N T O C R E A T E A S I M I L A R S E N S A T I O N .

6. B O T T O M L I P M U S T B E R O L L E D I N E N O U G H T O C R E A T E A G O O D C U S H I O N T O W O R K T H E R E E D , B U T T O O M U C H W I L L D A M A G E T H E T O N E A N D Y O U R L I P . DON'T SWALLOW YOUR LIP. T H E C O R R E C T P O S I T I O N I S M U C H L I K E T H E N A T U R A L F O R M A T I O N Y O U G E T W H E N S A Y I N G " F " .

III. E M B O U C H U R E E X E R C I S E S

1. P U T T H E I N D E X F I N G E R O N Y O U R B O T T O M L I P . P R E S S L I P O V E R B O T T O M T E E T H A N D P U L L D O W N . T H I S W I L L H U R T U N L E S S Y O U R E S I S T B Y L I F T I N G Y O U R B O T T O M L I P U P A N D A W A Y F R O M T H E T E E T H , U S I N G T H E F A C I A L M U S C L E S I N C O N J U N C T I O N W I T H M U S C L E S I N T H E B O T T O M L I P . ( F )

2. P L A Y L O N G T O N E S W I T H U P P E R L I P O F F T H E M O U T H P I E C E . T H I S I S O N L Y A N E X E R C I S E . A S S T A T E D B E F O R E , T H E T O P L I P S H O U L D N E V E R C O M E O F F T H E T O P O F T H E M O U T H P I E C E U N D E R N O R M A L P L A Y I N G C O N D I T I O N S .

3. B R I N G T H E C O R N E R S O F T H E M O U T H D O W N A S F A R A S Y O U C A N , I N D E P E N D E N T O F A L L O T H E R F A C I A L , L I P A N D C H I N M U S C L E S . T H I S I S S I M I L A R T O A F R O W N W I T H O U T P O U T I N G .

T H I N G S T O R E M E M B E R : A. K E E P A S T A T I O N A R Y E M B O U C H U R E . I N I T I A L L Y T H E B E S T

A P P R O A C H I S T O U S E O N E E M B O U C H U R E S E T T I N G F O R T H E E N T I R E R A N G E O F T H E I N S T R U M E N T . L O W B F L A T A L L T H E W A Y U P T O H I G H F S H O U L D B E P L A Y E D U S I N G T H E S A M E E M B O U C H U R E S E T T I N G . "SET IT AND FORGET IT!"

5 B . I N T E G R A T E A L L O F T H I S W I T H L O N G T O N E S ,

E M B O U C H U R E S T U D I E S A N D S C A L E S T H R O U G H O U T T H E F U L L R A N G E O F T H E S A X O P H O N E .

IV. T H R O A T

1. T H E T H R O A T S H O U L D B E O P E N I N " H E E " P O S I T I O N .

2 . R E G A R D L E S S O F W H A T S Y L L A B L E Y O U A R E T H I N K I N G W H I L E P L A Y I N G , T H E T H R O A T S H O U L D B E O P E N A N D R E L A X E D .

V. B R E A T H I N G

1. B R E A T H F R O M T H E D I A P H R A G M . S T O M A C H M U S C L E S P R E S S A G A I N S T T H E R E S I S T A N C E O F T H E D I A P H R A G M .

2 . C O R R E C T B R E A T H I N G I N V O L V E S T H E S T O M A C H M U S C L E S A N D D I A P H R A G M W O R K I N G T O G E T H E R T O P U S H T H E A I R O U T O F T H E L U N G S .

T R Y T H I S : A . L I E F L A T O N Y O U R B A C K A N D P L A C E A L A R G E , H E A V Y

B O O K O N Y O U R S T O M A C H . B R E A T H I N T H R O U G H Y O U R M O U T H S L O W L Y . T H E B O O K S H O U L D R I S E A S Y O U I N H A L E . E X H A L E T H R O U G H T H E M O U T H . T H E B O O K S H O U L D L O W E R A S T H E D I A P H R A G M P U S H E S T H E A I R O U T O F T H E L U N G S . Y O U C A N A L S O C H E C K D I A P H R A G M A T I C B R E A T H I N G W H I L E S I T T I N G I N A C H A I R . H O L D T H E L E G S O F T H E C H A I R W H I L E S I T T I N G U P S T R A I G H T . I N H A L E A N D M A K E S U R E Y O U R S H O U L D E R S D O N O T R I S E . T H E S T O M A C H S H O U L D E X P A N D ( G E T F A T ) A S Y O U I N H A L E . W H E N Y O U E X H A L E T H E S T O M A C H S H O U L D G O I N . ( G E T S K I N N Y )

VI. T O N G U I N G

1. " E E " P O S I T I O N . T H E T I P O F T H E T O N G U E I S P L A C E D O N T H E T I P O F T H E R E E D . ( A P P R O X I M A T E L Y 1/16-1 /8 I N C H F R O M T H E T O P O F T H E R E E D ) . T H I S I S T H E N A T U R A L R E S T I N G P O S I T I O N O F T H E T O N G U E W H E N T H E M O U T H P I E C E I S I N Y O U R M O U T H . F O R M A N E M B O U C H U R E - A P P L Y A I R P R E S S U R E A N D T H E N R E L E A S E A N D R E T U R N T H E T O N G U E . T H E T O N E S H O U L D S O U N D F U L L I F T H E S U P P O R T I S S U F F I C I E N T A N D T H E R E L E A S E I S A C C U R A T E . A L L T H E W H I L E A I R P R E S S U R E M U S T

6

C O N T I N U E F R O M T H E A B D O M I N A L M U S C L E S , E V E N W H E N T H E R E I S N ' T A N Y S O U N D , D U E T O T H E P L A C E M E N T O F T H E T O N G U E O N T H E R E E D .

2. T H E A I R D O E S M O S T O F T H E W O R K I N T O N G U I N G . W E O N L Y U S E T H E V E R Y F R O N T P A R T O F T H E T O N G U E - S I N G " E E " . T H A T K E E P S T H E R E S T O F O U R T O N G U E S T A T I O N A R Y - T H E N " T E E - T E E - T E E - T E E " .

A . A N E X C E L L E N T E X E R C I S E I S T O P R E T E N D T O S P I T A P I E C E O F R I C E O F F T H E T I P O F Y O U R T O N G U E . I T ' S A L M O S T L I K E " T " A N D " P " I N O N E M O T I O N .

B . A N O T H E R S I M I L A R E X E R C I S E I S T O F O R M A S M A L L A P E R T U R E ( F L U T E E M B O U C H U R E ) . B L O W A I R T H R O U G H T H E S M A L L H O L E F O R M E D I N T H E L I P S . T H E V E R Y T I P O F T H E T O N G U E S H O U L D R E L E A S E A N D R E T U R N T O T H E S M A L L A P E R T U R E C R E A T I N G T H E S O U N D " T - P O P . " W H E N Y O U R E T U R N T H E T O N G U E T O T H E H O L E C O R R E C T L Y I T C R E A T E S A R A T H E R P E R C U S S I V E " P O P " S O U N D . I T I S I M P E R A T I V E T O K E E P T H E A I R S P E E D I N T E N S E A L L T H E W H I L E .

T H E B E S T A P P R O A C H T O T O N G U I N G I S T H E A C H I E V E M E N T O F G O O D L E G A T O T O N G U I N G , W H I C H W I L L L E A D T O A G O O D S T A C C A T O T O N G U E .

(Tu)

- a F = •

— 1 •

m • •

o • • • •

4F=S 1—J — -f- P p # d d 0

H E R E W E U S E T H E S T O M A C H M U S C L E S T O K I C K T H E A I R " H A H A " W I T H T H E T O N G U E " T E H T E H " S O I T I S " T E H " N O T " T U T " . T H E M U S I C A L E F F E C T W E W A N T H E R E I S L I G H T A N D T A P E R E D S T A C C A T O . T H E A I R M U S T S T A R T F A S T A N D A B R U P T L Y , B U T S T O P S L O W L Y O R T A P E R E D L I K E A P I Z Z I C A T O O R P L U C K O F A S T R I N G .

J

E X E R C I S E S I N L E G A T O T O N G U I N G

7

L I G H T T O U C H T O N G U E A L L A I R . I T S H O U L D S O U N D A L M O S T L I K E Y O U A R E S U S T A I N I N G A N O T E .

L E G A T O T O N G U I N G

" D I T " O R " T E T "

m u 5 E X E R C I S E S I N S T A C C A T O T O N G U I N G

R ^ — ] — % * '—m 1—m 1—# y — •

Do this exercise in all keys,

tJ -4

5 H A L F T O N E S 1st x legato 2nd x legato tongue 3rd x staccato

a 3x 3x 3x Etc, through full range

3x

* W H E N P L A Y I N G C H R O M A T I C P A S S A G E S U S E T H E T R I L L F # K E Y A S W E L L A S T H E S I D E C . I F T H E C H R O M A T I C S C A L E I S W I T H I N T H E C O N T E X T O F A S L O W M E L O D I C L I N E , U S E R E G U L A R F # A N D C .

8

V I I . V I B R A T O

O N C E A S T U D E N T H A S A C H I E V E D A GOOD, HEALTHY SOUND, E V E N I F H E / S H E ' S O N L Y B E E N S T U D Y I N G S I X M O N T H S O R A Y E A R , V I B R A T O S H O U L D B E I N T R O D U C E D .

U S I N G T H E S Y L L A B L E " V A H - V A H - V A H - V A H " O R " W A H - W A H - W A H -W A H " W I L L C R E A T E T H E P U L S A T I O N S N E C E S S A R Y T O P R O D U C E A C O N T R O L L E D A N D E V E N M A N I P U L A T I O N O F T H E P I T C H .

" V " O R " W " I S T H E J A W M O V E M E N T ; " A H " I S T H E A I R S T R E A M . T H E " A H " O R A I R P O R T I O N O F T H E V I B R A T O I S V E R Y I M P O R T A N T . F I R S T S A Y " V A H - V A H - V A H - V A H " W I T H T H E A I R , N O T T H E V O I C E .

I T I S A C O M B I N A T I O N O F J A W A N D A I R - P U T T I N G T H E A I R

T H R O U G H T H E H O R N L I K E T H I S : O0QD0SD0D0O ( C Y C L I N G ) I N S T E A D O F T H I S : . — * * ^ ( P U L S A T I N G ) I T S H O U L D B E A S T H O U G H Y O U W E R E M A K I N G C I R C L E S O R O S C I L L A T I O N S , N O T J U S T A N U P A N D D O W N M O V E M E N T O F T H E J A W .

P L A Y T H E E X E R C I S E B E L O W A T T H E F O L L O W I N G O S C I L L A T I O N S A N D T E M P O S : 3 P U L S E S A T 108 M . M . 4 P U L S E S A T 72-80 M . M . 5 P U L S E S A T 56-63 M . M . 6 P U L S E S A T 48-60 M . M .

—I* ft —f—r 0"

v * J 4 ¥ 0- 1— * J

— f ML — —-

1—

[¥=± 4 = ^ 1 _e

VIBRATO EXERCISES SHOULD BE PLAYED IN ALL KEYS, AS WELL AS THE KEY OF G MAJOR IS REPRESENTED ABOVE.

1 3

9

A D D I T I O N A L T O N G U I N G E X E R C I S E S P L A Y T H E E X E R C I S E S B E L O W I N A L L K E Y S , S T A R T O N T H E T O N I C O R R O O T A N D D E S C E N D O N E O C T A V E . R E P E A T T H E S A M E E X E R C I S E A S C E N D I N G O N E O C T A V E A S D E T A I L E D B E L O W .

5 Stroke Rolls

0 i

jimile simile

P"* r —

9!

1

5troke Rolls

T

_^ \j-4r - -

simile

fQWB1 r -simile ^ ^ x j p

,«=£T. _1

-JUMHUHXI

^ j -

i : J Stroke Rolls

p 1

— * — * — simile simile ^

17!

mrccrccr1

3 3 3 Stroke Rolls

r—^—i—

A > > ^

simile p 1

simile ^ ^ J t

4 - — * — J — I r - u 1 -£ • '

CO

Z o

C/5

*I4

• I

i\

—i~ —1| | !

4 1

I 11

fm

ft

^ y ^ 9 < i 4 | t 9 <:Hd§p

1 * ^

i_ J • —^

r n

r 4

f~T~f ~ T i

1

u f i n i i

*

i > •

May 20, 2008 - Basic Saxophone Pedagogy - Allen Harrington

Some Basics

Assembly of the saxophone

- when putting on neckpiece hold at the crook — <_ /V i•••-/v / ^

- reed placement , - • . ^ > », ^ . - . , v

;

o wet the reed first t / / o centred from tip to butt " / V < 6 - 1 °v ; N

o just a hair down from tip d > > l / ? ^ * /

o ligature position ^IR/?.^^/' L/ / o effect of reed crooked, higher/lower on mouthpiece '' ' ' l /

- have mouthpiece rotated so that your head will be level

Embochure

- Fold bottom Hp over teeth, not too much, not too little (see red part of Hp) - Round mouth (think "oh") - Place bottom Hp at pivot point of reed (varies from mouthpiece to mouthpiece) - Top teeth on top of mouthpiece (I recommend using a mouthpiece patch) u _ {> f jad^ce* - • Corners of mouth forward (unlike clarinet) x 1 £)/v5s^re ^w^*" - Overall relaxed embouchure ^fr^Kcr - Firm Hp (demonstrate)

- Overall tension can be checked with mouthpiece pitch (CAGD for SATB)

Holding the instrument

- In front vs. side for alto - V>^;- -M/" • '•'/<" ^ '/ \-.J'c\• U - )

- hand position — 0 n>y c,^ *><Je M-^<< Jfa. < fc / . ^ .>,-« /V neck strap height -*>/•. - / , v c K >*/,, A 7 \ - ^<*. \tr..K<'^K ^,-1'^^

o type of neckstrap ' ',>•// . / right arm issues for tenor/baritone ^ „ ° A / \ / ^ S L^I/A

Fingerings u

- Bb issue / '•• ' | / 7 / o Side, bis,(l-1. 1-2/ - / Acfhs orJe^

- altemate fingerings / . ^ ^ , /

Articulation

- tip of reed only! . f * ,f

near tip of tongue — 4:.-,./, % v '< , A • / 1 •"•v " •*- ^/f-'^ >' keep tongue relaxed, move it quickly

/

1

- air is what makes the articulatioo and shapes the note ,

- tongue is a valve (water sprinjder analogy) 1- y/ •« y ;> ./'/?<'

Tuning/Intonation issue's

- bad notes are fairly consistent from one saxophone to another - 4 th line D, high and mid C#, palm key notes - alternate fingerings vs. voicing/embouchure adjustments

Reed/mouthpiece/ligature combination accounts for around 60% of your sound Neckpiece accounts for around 25% of your sound The body of the instruments accounts for around 15% of your sound

Reeds . , , , ..

o - for beginners no higher than a 2 14 strength Rico or Rico Royal /

o 2 is preferred, with an upgrade during the first year of playing o be aware of the differences in strengths when changing brands o good reeds need good mouthpieces (ex: Vandoren reed with Selmer C* . ( ;

mouthpiece) A / ^ n J i A f V ^ b f ^

Ligatures / \ o basic style is perfectly adequate, except if cracked or can't fully tighten

(diagram)

o leather/rubber ligatures vs. metal ligatures - explain difference

Mouthpieces o no-name mouthpieces that come with rentals are bad o it is worth it for beginners to pay extra for a good mouthpiece o Yamaha 4C is good and relatively cheap CL-o Selmer C* is high quality (used by many professionals) and I highly

recommend o Vandoren makes good quality mouthpieces as well, in many many

different models o For jazz I recommend Meyer (good quality and not too expensive), Otto-

Link, and Vandoren o Mouthpiece tip openings, facings, and chambers are different, so having a

variety of strengths and brands of reeds on hand is helpful (especially when going from a classical to jazz mouthpiece or vice versa)

Instruments o Yamaha makes the best student and intermediate models o Buffet makes a good intermediate model

2

o Selmer makes the best professional models, Yamaha professional models are also very good

o Beware music stores trying to sell you the coolest looking saxophone: it looks cool because that's the only way it will sell. Some makes are really overpriced for the quality that you get (Keilworth, Cannonball, etc.)

Equipment Issues

get saxophone checked a minimum of once a year for leaks - there are many adjustments, minor repairs that can be done yourself, you just need

screwdrivers and scotch tape - screws - Bis mechanism, G# stopper, right hand stack screws - octave key mechanism

Problems students have

Issues with switching size of saxophone

Saxophone embouchures should all be basically the same, they are just different sizes (although the angle that the mouthpiece enters your mouth is different on

Take enough mouthpiece in mouth oriHhe larger horns - Need more volume of air for the big saxophones

Tonguing on tenor and baritone can easily be "slappy" if not careful

Common problems encountered

players who switched to saxophone from a different instrument o clarinet is the worst problem - tight embouchure, corners of mouth pulled

o not playing a saxophone like it's a saxophone poor equipment

o mouthpiece/reed/ligature combination is very important o condition of reed poor o playing on too weak/too strong of a reed o poor reed placement o mouthpiece/neckpiece disgustingly dirty, affecting air flow

fingerings o poor choice of fingering for Bb o don't know the high and low note fingerings (with only a 2 Vz octave range

and one of the simplest fingering systems of any wind instrument this is not good)

air usage (almost always not enough air support) embouchure issues

o not folding bottom lip over teeth

soprano)

back

3

o not enough mouthpiece in mouth o too tight

- poor fundamentals o strictly jazz background o didn't start on saxophone as first instrument and/or didn't receive proper

instruction

Diagnosing common problems

- if reed is too weak: - thin tone quality - tone pinches off when playing loudly, especially in high register - high register very difficult to get to speak properly - pitch tends to be on the flat side

- if reed is too strong: - articulations difficult, sluggish - tone airy - pitch sharper than normal - controlling the reed is taxing on the embouchure

- if embouchure is too tight: - excessive sharpness - reed buzz sound present, especially in notes just below the break - mouthpiece pitch too high (CAGD for SATB)

- if embouchure is too loose: - excessive flatness - unfocused tone quality - a general lack of control through the registers

- not using enough air: - small sound - slurred notes not very connected - can't play loud dynamics - often coupled with not enough mouthpiece in mouth

A few selected resources

- General resources o Jean Marie Londeix: "Hello, Mr. Sax!" o Larry Teal: "The art of saxophone playing" o The biographies of Adolphe Sax by Malou Haine and Leon Kochnitzky

- Reference o Londeix: "165 Years of Music for the Saxophone" [Repertoire] o Londeix: "Master of the Modern Saxophone" [biography, 40 essays on

important repertoire]

4

o Eugene Rousseau: "Saxophone High Tones Vol I I " [advanced][altissimo register]

o Daniel Kientzy: "Les sons multiples aux saxophones" [advanced][the multiphonics bible]

Method books o Rousseau: "the Eugene Rousseau Saxophone Method, Vol. I + II"

[beginner] o Rubank: "Saxophone Method: Beginner, Intermediate, Advanced Vol I,

Advanced Vol. II" [all 4 books quite useful] o Larry Teal: "The saxophonists workbook" [intermediate/advanced] o Londeix: "Les Gammes en interval.... [the only scale book you need] o Voxman: "Selected Studies" [intermediate/advanced]

Online resources o http://www.saxalliance.org/ - access to publications, dissertations,

recordings, discussion forums o http://www.saxontheweb.net/index.html - large selection of forums, lots

of information

f / C T / V t / j

K

r

Mouthpiece Pitch

To ensure an authentic saxophone sound on the soprano, alto, tenor and baritone, the player must be able to match the following mouthpiece pitches (concert pilches) at a forte dynamic level. A common problem is that students wi l l produce a sound higher than the concert pitches indicated which is a result of 'pinching' the reed and/or a tight throat (eg., alto players may incorrectly produce a concert C pitch but need to work for a concert A).CnS•/„•••/ ( /ass^h^/

—v

SOPRANO ALTO TENOR BARITONE

SAX ALTERNATE FINGERINGS FOR TUNING

— y

-rfk Lo 1 -43 :—

to raise +Cd*or Eb to raise +sidc F**lo raise •side Bb key to raise OK 3/(4X5X6) +sidc C key to raise

y o—: r-«—J<> " 1

+low B to lower +low C key to lower 44 or 5 or 6 to lower +4 to lower +2 & side Bb to lower

<> ^

+2 or -PK1 to lower -PK1 or PK2 to lower -PK1 or PK2 or both or -high E key to lower

Lixrnjj To\.lJrt-/eiisity mo e Press, Am ^rbor,1TiT , \qs%

CX - MECHANISMS - LOWER REGISTER Play each exercise four times: twice legato, twice staccato.

, ^ , ^

1 3. 14. 18.

"jj Q ~ j # ~0~ ~ff S~ f t ~40-

t 29 . 30. | • „ ^ ^ i i i n H I i ^ i j 31 . . — — —

32. 3 3 . 34.

t:_:: 3 3 i i - ^

3 7 .

,1 ,1 3 3 — ^ ^ —

3 9 . 4 0.

X X I - MECHANISMS - UPPER REGISTER. Play each exercise four times; twice legato, twice staccato.

38