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g Prici piewres eS TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK te et ee ee & BARITONE SAXOPHONE BOOK 1 ESSENTIAL TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK Gh i. Baking emusic with frm of lifelong frends Understanding how commitment and dedication lead to success ‘Sharing the joy and rewards of working together Individuals who develop se confidence. Geeativty—expressing yourself ina universal ang and is... MUSICE “a Stike up the band. fk Tiny Lautaenbeise Wace 140s ote Sax invented the srophone family In today's concert bar sarophones ee ee The saxophone family includes the 8s Soprano, Es Alto (the most common), 86 Tenor, E> Baritone ‘nud Bs Wass Saxophone. Fingerings are virtually the same on all saxophones, making it possible to play any saxophone, John Philip Sousa wrote for saxophones in his band compositions size, Ravel, Debussy and Prokofiev included saxophones in their orchestral writing. Duke Ellington's jazz arrangements, greatly defined the unique sound of the instruments, oth jn solo and ensemble playing. ‘Suine famous saxophone performers are Eugene Rousseau, Sigurd Rascher and Gerry Mulligan, ANOHAOXVS INOLINVE IHL JO AMOISIH ya SBN o634.00319-4 ‘Copyright© 1999 by HAL LEONARD CORPORATION International Copyright Secured All RightsReserved HAL*LEONARD® THE BASICS Posture Sit on the edge of your chait,and always keep your Spine straight and tall Shoulders back and relaxed Feet flat an the floor Breathing & Airstream Taking Care Of Breathing isa natural thing weal do constantly. To discover the correct Your Instrument sirstream to play your instrument + lace the palm of your hand near your mouth, «Inhale deeply through the commer of your mouth, Keeping your shoulders steady. Your wast should expand tke a ball + Slowiy whisper‘tooas you gradually exhale ar into your palm Before putting your instrument back in its case after playing, do. the following + Remove the reed, wipe off ex cess moisture and return it to ‘The air you feel isthe airstream. It produces sound through the instiument. the reed case, Your tongue is like a faucet or valve that releases the airstream. + Remove the mouthpiece and wipe the inside with a clean | Producing The Essential Tone ee Your erbouche at-bat shureis your meus poston onthe bd ima aati Siecmierc of a ease A gesscbeice ene ed fl Garou ieee ‘oval low these sep or suecess i Sapeinn wer a ere ‘out excess moisture. Dry with REED PLACEMENT neck cleaner. + Put the thin end of thé reed in your mouth to moisten it thoroughly. + Drop the weight of the chamois + Looking at the ‘at side of the mouthpiece, the ligature screws extend to ace ee cececeareen nes aa ae CF cotton swab into the bel your right. Slide the ligature up with your thumb, Place the flat side of the read against the mouthpiece under the ligature. Lower the ligature and position the reed so that only a hairline of the ‘mouthpiece can be seen above the reed. + Gently tighten the ligature screws. Pull the swab through the body several times. Return the instrument toits case + Your case is designed to hold only specific objects. Ifyou EMBOUCHURE try to force anything else into + Moisten your lias and roll the lower lip aver your bottorn teeth, the ease, it may damage your + Center the mouthpiece on your lips and place it in your mouth about instrument, 3/4inch Place your upper teeth directly on the mouthpiece. The reed rests on sees the lower lip over the teeth, + Close your mouth around the mouthpiece, ike a rubber band. Your facial muscles all support and cushion your lips on the mouthpiece. + Keep your chin down and slighty relaxed. MOUTHPIECE WORKOUT Form your embouchure around the mouthpiece, and take a deep breath without raising your shoulders. Whisper “too and gradually exhele your full airstream, Stive for an even tone z | REST | o——— | REST Brat “ea”