THE COMPLETE SAXOPHONE PLAYER OMNIBUS EDITION aaTHE COMPLETE SAXOPHONE PLAYER BOOK! bby Raphael Ravenscroft, MUSIC ARTE i Baldessin Giordano STRUMENTI MUSICAL! DI OGNI GENERE ACCESSOR! — MATERIALE DIDATTICO ‘Via Manin, 618 ~ Tel. 0£36/62615 ‘34015 CONEGLIANO Part. VA 00455280268, Wise Publications London/New York/Paris/Sydney /Copenhagen/Madrid OntContents About This Book About The Saxophone Parts of The Alto Saxophone ‘Taking The Saxophone From Its Case And Getting To Know Your Instrument Your First Note Breathing Is The Key — Using Your Diaphragm Finger Positions Session 1: Learning To Read Music Session 2: Basic Fingering Chart Session 3: Your First Tune Session 4: The Note ‘A’ And Tonguing, Between Different Notes Session 5: The Note ‘G’ And Note Values Session 6: The Note ‘F’; Ties And Rests Session 7: The Note ‘C’; Time Signatures And Dotted Notes Session 8: The Notes ‘E’ And 'D’, And ‘D’ Again With Octave Key Session 9: Sharps And Flats, ‘And The Note ‘F Sharp’ 12 13 16 19 20 22 24 26 30 34 38 42 ‘The Songs Yellow Submarine 22 Jingle Bells 22 Love Me Tender 23 Chopsticks 23 Streets Of London 25,47 ‘Strangers In The Night 25,31, 44 ObLaDi, ObLaDa 27 Breathless 28 Imagine 29,33 Alouette 29 What Now My Love 31 Blue Moon 31 Woman 32 Mamma Mia 32 Guantanamera 33 Barcarolle 36 Largo (From The New World Symphony) 36 Fly Me To The Moon a Money, Money, Money a Matchmaker 46 If You Gould Read My Mind 46About This Book ‘This series will enable you to join the thousands of lucky people who play the saxophone and who have made it the most popular reed instrument in the world. Gone are the days when the saxophone was only for the jazz or big band lover. Listen to any kind of popular music and it won't be long before you hear it. Everyone is listening to it, and with this series, everyone can play it. It is for this exciting, modern instrument that ‘The Complete Saxophone Player series has been written. No previous knowledge of the instrument, or of music, is needed to start this course. And, if you wish, takes you all the way to the professional stage. My intention is to help you (quickly and easily) to develop your skill as a saxophone player. From the very first session, the mysteries of playing the saxophone will disappear as the fun and enjoyment of playing takes over. Based on popular songs, with easy-to-follow text and clear diagrams, this course will show you rather than lecture you, encourage you, rather than demand from you, and always keep you insterested, Good Luck. ifad Gower Raphael Ravenscroft. About The Saxophone ‘The saxophone is seen in almost every jazz, marching and concert band, it is also occasionally used in symphony orchestras. ‘The saxophone was patented by Adolphe Sax in 1846 and is classed as a woodwind instrument. because it uses a wooden reed. Adolphe Sax created the instrument as a link between the brass and woodwind families. Itis made of brass, but uses keys like a woodwind instrument and its mouthpiece and reed are very similar to a clarinet. There were originally fourteen different sizes in the saxophone family, but today the only models in common use are the B flat soprano saxophone, the E flat alto saxophone, the B flat tenor saxophone and the E flat baritone saxophone. ‘The saxophone is a transposing instrument, that is to say it is not in concert pitch. For example, when a tenor saxophone plays written Cit sounds Bflat on the piano. It is interesting to note that even though the inventor of the saxophone was Belgian, it was made popular in this country by visiting American musicians and became known as the “American Novelty Instrument”.Parts Of The Alto Saxophone Fel UcATURE NOUTHPECE MOUTHPIECE CORK tf a octaveney KeyGuoe OUTHE KEYSCREW. TENSION SCREW ourspe sue octaveney, PALMREYS THUMB RESTISUPPORT (BACK) KEY PEARLS TABLE KEYS STRAPRING (ACK) BLAM TuUNE HOOK @ACK) SELL BRACE a KEY GUARD sow powcat KEYGUARDTaking The Saxophone From Its Case ‘And now here's that nail biting moment you've een waiting for, but don’t forget to follow all the step by step instructions exactly as written. These first basic steps will soon become second nature. Step | Getting To Know Your Saxophone. Your case should contain the following: 1. Asling/neck strap/ete. (there are many different brands, the common denominator being a hook atone end). 2. The main body of the saxophone. 3. The erook (with cork around one end). Pe2 4. A mouthpiece. It could be made of either black plastic/ebonite or metal. 5. The ligature (holds the reed on to the mouthpiece), 6. The mouthpiece cap. 7. An end stopper (known as a bung) 8. Abox of reeds (medium soft) Cork grease and cleaning accessories should also be there. Before you go any further, make sure you know the names of all the components Right, now let’s assemble your saxophone.Step 2 Checking And Moistening The Reed. Take one medium soft reed (strength 2). Examine it closely, checking that it has no cracks or chips. Now, place one end of the reed in your mouth, and soak it with saliva, Then do the same with the other end, Golden Rule: Don't handle the reed by the thin end. Fe3 PARTS OFTHE SAXOPHONE REED HEART TP speStep 3 Preparing The Mouthpiece. With the reed still in your mouth, remove the mouthpiece cap from the mouthpiece, and gently loosen the screw (or screws) that you will find on the side of the ligature. Remove the ligature from the mouthpiece. Step 4 Placing The Reed. Gently place the reed on the mouthpiece, flat surface downwards with the thinnest part on the tip of the mouthpiece. Be careful of the reed’s delicate tip. Check that it is exactly inline with the tip of the mouthpiece (figures 4 and 5). Step 5 Securing The Reed. Pull the ligature back over the reed until all three components (ligature, reed and mouthpiece) are in position (fig. 6). Lastly, tighten the ligature screws until finger tight (fig. 7). Replace the mouthpiece cover and return the complete unit to your saxophone case. Important Tip. Before moving on, check that the reed is still in position, Fiat Fe7Step 6 Connecting The Mouthpiece To The Crook. Take both the crook and the cork grease and, following the diagram, coat the cork with grease. Fee Step 6a Take the completed mouthpiece unit from your case and place it on the crook. Gently twist it from side to side until it covers roughly half the cork. Put the mouthpiece and crook back into your case. Note: Cork grease should be applied to the crook only when the mouthpiece will not slide easily on toit. (Once a week with regular playing), Step 7 Connecting The Crook To The Main Body. a) Place the sling around your neck. b) Placing your right hand in the bell, pick up the main body of the instrument (fig. 1), and ‘support the saxophone in an upright position resting on the bottom of the case. Remove the bung and loosen the tension screw. Now, taking the combined crook and mouthpiece unit, gently but firmly insert the open end of the crook into the top of the main instrument body. Listen for the soft click indicating that the crook is firmly seated. Adjust the crook, and tighten the tension screw until ‘finger tight’. Golden Rule: Never pick the instrument up by the crook. Fes ne=D MouTHPEce METAL SCREWS i REMOVED METAL MOUTHPIECE CAP {i ETALUGATURE) FaveAlways keep the mouthpiece cover in your pocket while playing, and replace it as soon as you finish even if itis only for a few minutes. This will increase the reed life many times over, as the majority of reeds are not broken during playing, far from it! Most reed accidents are caused by careless handling either before, or after, playing, Step 8 Connecting The Sling. Look at the back of the main body of the saxophone. About half way down you will find a small ring. Connect the sling hook to this ring (fig. 10). Now lift the whole saxophone out of the case, step back and allow the sling to take the full weight of the instrument. Step 9 Holding Your Saxophone. Just below the sling hook you will see a thumb rest (fig. 11). This is for your right hand thumb Look above the sling hook and you will find a thumb rest button for your left hand thumb. With your hands in those positions gently grasp the~ main body and bring your saxophone into the upright position. Your neck should take most of the weight. Maybe push out a little with your arms REARKEYWORK ‘THENECK STRAP MUST BE ATTACHED TO THE RNG ANO ADJUSTED SO) THAT THe MOUTHPIECE 6 LEVEL WITHTHE MOUTH. RIGHT THUMB POSITION "THE RGHT THUMSIS PLACED UNDER THE THU SUFPORT. THE CONTACT POINT SHOULD B= BETWEEN THE FNUCKLE AND THE THUMB NALStep 10 Adjusting The Sling. Adjust the sling so that the mouthpiece is parallel to your mouth, Do not bend your head down. With your head up and shoulders relaxed let the saxophone come comfortably to you (fig.12 for correct position). Ifyou are having to bend your head forward to get to the mouthpiece, try adjusting the sling upwards while pushing the right hand away from your body. This will bring the mouthpiece back in the direction of your mouth and will stop your head bending forward. Conversely, ifthe mouthpiece is too high adjust the sling downwards. You may find some assistance useful when initially adjusting the strap. Now you will see that the left hand operates the upper keys and the right hand operates the lower keys. So there you have it. Ten easy steps for building up your saxophone, Follow this routine in reverse when dismantling. After Use Cleaning Routine, Before putting your instrument away spend a short time wiping down and cleaning it, both inside and out. Your breath, being warm and moist, will cause a small amount of liquid to condense in the body of the instrument. Use your crook swab to carefully clean inside the crook and the instrument body, and gently clean the mouthpiece and reed with a soft cloth. This will not only prolong your saxophone’s life, but will also help retain its value. Well done You can now assemble, dismantle, clean and maintain your saxophone.Your First Note Learning to play the saxophone is like learning to ride a bicycle. Once you have mastered the fundamentals you never look back. With the saxophone two of the basies are breathing and mouthing (embouchure). These basics will be covered shortly. But Now For The Impatient! Instant Gratification . . . Ifyou just can’t wait another second before hearing your new saxophone, I understand. So, if you must try your first note, without going through all the correct procedures, now ts the time, But don't be disappointed if the results are not what you expect. ‘It’s not quite as easy as it may look’ and these frst few steps really do require alot more brain than brawn, Producing A Note In Its Shortest Form: 1, Breathing deeply, lower your shoulders and tense your stomach. 2, Lightly draw the lower lip inwards over your bottom teeth. 3. Place a quarter of the mouthpiece (reed downwards) on the lower lip. 4, Rest your upper front teeth firmly on top of the mouthpiece. Don't bite your lower lip and don’t raise your head. Place your tongue on the reed tip. Inhale deeply. . Now, gently but firmly, close your lips around the mouthpiece to prevent air escaping from your mouth 8. Now say ‘TU’, Well done! You have produced your first note. Before you move on have some fun, get to know your horn, some sounds and enjoy yourself. Unhook your sax, and put it down somewhere safe,Breathing Is The Key Correct breathing is vital in order to play the saxophone. Although we have been breathing all our lives, as saxophonists we must now use a special breathing technique. As you know, without a good supply of air your brain won’t function, your hands and fingers will not move, and most important — without air your saxophone will not work. So let’s now explore this special breathing technique. Breathing: Using Your Diaphragm. Your diaphragm is the long flat muscle situated at the bottom of your lungs. The easiest way to make yourself conscious of itis to cough. When you cough, you will feel a ripple of muscle across your stomach, This has the effect of pulling your stomach inward, forcing an uncontrolled column of air out of your mouth. Now, what we want to do is use this selfsame technique, but instead of a momentary contraction of the diaphragm, we need a prolonged contraction. Like a long cough! This will force a controlled column of air to pass from your lungs and into the instrument. To do this requires the correct diaphragmatic breathing procedure. It sounds very complicated but, using this technique, I will show you how to produce a wonderfully full tone. Fig 4 SE VIEW = INDICATES NORMAL POSTION Fe (5Diaphragmatic Breathing This is a medical term for deep breathing. You could already be breathing correctly with your diaphragm, but if not, a few slight adjustments will be needed. Astrong, uniform column of air is vital for the following reasons: 1. The saxophone needs a certain amount of air to make it work, so if you are playing constantly you need a constant supply. 2. Your diaphragm is your volume control and consequently the louder you play the more air you need. 3, Itis impossible to produce your full tone potential without good support from the diaphragm. When you take a really deep breath, your diaphragm descends, your ribs rise outwards and your lungs are filled to capacity. ‘Using the diaphragm correctly allows us to take in, and control, more air than we would normally use, Itis this breath control that delivers an even flow of air from the lungs to the instrument's mouthpiece and makes the reed vibrate, which fives us a correctly pitched note. In short: we have been breathing all our lives, but itis this very special method of controlled breathing which is the key to playing the sax. ‘Think about it. It’s your fuel, and your capacity to harness its energy economically is your open ticket to success. Getting To Know Your Diaphragm Let's do some experiments to help you recognise when your diaphragm is working. Experiment 1. ‘Try singing one long note. Do it again but this time gradually lessen the amount of air that you are breathing out through your mouth. When you have tried this test you will agree that not only does the note get quieter but also that its pitch gets progressively flatter (lower). ‘The same principle applies to the sax. Never forget the effects of irregular breathing: dizziness, bad sound, ‘wobbles’, lack of concentration, temporary memory loss, tiredness, bad tuning and inability to sustain notes. Experiment 2. Stand up. Find a heavyish portable object, for instance a large book. Hold it firmly with both hands, lift it above your head and breathe in and out slowly and deeply. Feel the muscle beneath your rib cage working. Now you know where your diaphragm is, put the object down. Now continue to breathe deeply but do not puff your chest or stomach out or lift your shoulders. Experiment 3. Sit down, put your hands on your waist with your thumbs forward, bend forward and once again breathe in slowly and deeply through your nose. Dizzy? The reason is that you are taking in much more air than usual and your brain is getting too much oxygen. Once you start to feel dizzy stop the experiment.Making Your Diaphragm Stronger First. Pull your stomach muscle in very slightly so that itis just under control. Second. Push every bit of air out of your lungs, close your mouth and very slowly take in the deepest breath you can through your nose. Time yourself. The slower the better. Your stomach should not bulge and your shoulders should not rise. If you take a deep enough breath you will feel your back and sides expand just above your waist. Your diaphragm is now working. ‘Third. Hold that breath for the same amount of time (inhalation time). Fourth. Inthe same amount of time again, breathe out through your mouth (exhalation time) Fifth, Without moving any other part of your body (all, the movement should be inside) ‘flick’ your diaphragm so that the air spurts out through your pursed lips. (Imagine coughing without restricting the flow of air with the throat). As the diaphragm gets stronger purse your lips a little tighter. Now do the whole thing again leaving the tiniest of gaps between your lips, and push the air out very slowly in a constant hiss, as you would if you were blowing out the candles on a cake. Remember, ifyou start to feel dizzy stop and rest for a while. So, apart from inviting the people around you to question your sanity! you have now discovered your diaphragm muscle. If you exercise it every day you will learn to evenly control the air flow, to deliver just the right amount of air for the job, be ita rock'n'roll studio date or a concert with the London Symphony Orchestra. Golden Rule: Breathe from deep down at your belt buckle and not just your chest. So, now, not only do you know how to build, dismantle, clean and maintain your sax, but you also know the principle of correct breathing to make it operate. So let’s move on to finger positions.Finger Positions Have a look at the pull-out saxophone chart and compare it with your instrument. Try to find everything that's illustrated on the chart (all the numbered keys ete) Let's give each finger a number (fig. 16). Ifyou can remember that both your forefingers are index number 1 (Li and R1) you cannot go wrong. Hook your sax back on to the sling and take up the playing position referred to on page 11. Right Hand. ‘As you saw when learning to hold your sax, put your right hand thumb under the thumb hook and curl your hand round the instrument. Now place Ri, R2 and R3 just over the pear! finger cushions 1, 2 and 3 as shown in figure 17. Just like L4, Rd has options as to which note to play but we shall come back to that later on in the series, For now just hold the horn and feel the balance. Get comfortable and relax into it. Left Hand. Curve your left hand round the sax and let fingers L1,L2 and 13 rest above the left hand keys 1, 2 and 3 ready to play the notes when required (fig 18a and 18b). Now that you know the main finger positions I can show you how to get to know them even better. ‘Warm up and stretch your fingers before playing. Look very carefully at the photograph and see where I have positioned my fingers. Now place your fingers over the same keys on your sax.Starting with finger L1 press and hold down one key after another, going down the sax in order (1, L2, L3 then R1, R2 and R3), When all six fingers are holding their keys down start to release them one by one in reverse order. Keep the mouthpiece in your mouth but don’t play any notes. Instead, just hum imaginary notes as you go down the sax, Hum the same notes through the sax on the way back up again. If you use your imagination and concentrate you will find that your fingers will start to respond quickly and accurately. Singing imaginary notes will help the connections between your brain and your fingers, Make sure that as each key is depressed none of the previous ones has been lifted off. Nowlet’s move on to the last, but most important step. Correct Mouth Position ‘Your lips must be drawn gently over your teeth to prevent your forward teeth from touching the reed or, in fact, the mouthpiece (fig. 19). Now bring the mouthpiece up to your lower lip. Remember: Do not bend your head forward, Keep your head up and bring the mouthpiece up to your mouth. Rest the reed and mouthpiece very gently on your bottom lip. Now very slowly push the mouthpiece into your mouth in such a way that it drags a little of your lower lip over your bottom teeth. Support, the mouthpiece and reed with your lower lip muscles, not your teeth. ‘The lower lip and muscles should continue to cushion the reed at all times. Now gently, but firmly, close your lips round the mouthpiece so as to stop any air escaping. Please don’t be disappointed if the results are not what you expect. It’s not as easy as it looks. Anyway, inflate your lungs, not with a huge gulp, Just slightly more than usual. Place your tongue tip gently on the reed and push with your diaphragm: As soon as the diaphragm begins to push and you feel gentle air pressure in your mouth, release your tongue (fig. 22). Try saying Tw’. This is called tonguing Golden Rule: Do not bend your head forward to get to the mouthpiece. Fig 8 connect MUSCLES SUPPORT LOWERLIP icomecr TEETIBITENTOLOWERUPSo, now you know the correct routine for starting a note, let's choose a note and have a go. Remember finger L1 (with correct hand position) (fig. 16) should be resting above the correct key. Press the key down, Procedure: 1. Check mouth position. 2. Take a breath. 3. Place tongue tip gently on the reed. 4, Push from your diaphragm. 5, Release your tongue. ‘The sudden release of the tongue from the reed allows a current of air to come from your lungs and flow through the mouthpiece causing the reed to vibrate. This vibration makes the whole sax vibrate producing a note — Gulp! These vibrations vary according to which keys are being pressed. Continue this note for as long as your breath will allow, without discomfort. Keep on doing this until the neighbours ring the police! I am pretty sure that you will be feeling dizzy long before they arrive. Itis not advisable to let your lungs get empty before you take another breath and this must be done very carefully. Take a fresh supply of air (cither through your nostrils or via the sides of your mouth) without disturbing the position of the mouthpiece in your mouth. Do not breathe in through the mouthpiece — you will not get enough air and it makes a shocking noise. It is best not to puff your cheeks out either as this will cause oral discomfort, the end result being poor sound with no control of tone or volume. The Tongue. By now you will realise the importance of the tongue, and as it plays such a major part in the development of a complete saxophonist, we will go into alittle more detail about what can only be described as the sax player's plectrum. Have another look at figures 19 and 22, What does the tongue do? It starts the notes. It ends the notes. It dictates whether the note is loud or soft. It plays the leading role in phrasing and is as important to the sax player as drum sticks are to the percussionist. Practise stopping and starting your note. Learn to control your diaphragm and breathing so that you Set a really smooth, even, long note. Having practised for a while you may well find that your jaws are starting to ache and the muscles around your mouth are tightening. This is quite normal in the beginning. As a basic rule I suggest that you play no longer than fifteen minutes after your mouth begins to get sore. Any more than that and you could damage your embouchure. Always aim for a really well organised practice session of, say, fifteen to forty-five minutes, Congratulations. You've made a great start so let’s 0 on and learn lots of other notes so that you can begin playing real tunes on your saxophone.Session |: Learning To Read Music Unlike a spoken language, written music is not___Note Position On The Stave. difficult to learn and understand as it has only two Notes are named after the line and spaces on which main variables: pitch and rhythm, Knowledge of they fal. these two aspects of music will enable you to read any music for any instrument. We have already encountered the note B (the first note you played), so let me use it to introduce you to some of the basic ingredients of written music. DE G This is how the note B is written. co : Bars And Bar Lines. To make the music easier to read the stave is divided into Bars. The dividers are called Bar Lines. At the end of the piece, or section of music, you will find a Double Bar Line, That is a kind of musical full stop. Stave (or Staff). ‘As you can see, the music is written on a series of Barlines Double bar line five lines. This we call The Stave (or Staff). J + 5 Lines 4 Spaces aoe ODS OO BAR BAR BAR Now you know some of the most important basics ‘The first step towards understanding written of reading music. Move on to Session 2 where music is being able to identify which notes are you'll play from written music. which i.e. the name of each line and the space between each line. ‘The Clef. Here is the clef sitting in its most usual position on the left of the stave. This is called the Treble Clef. Clef ‘These lines make \ up the stave Clef is the French word for ‘key’ and that’s exactly what itis. It is the key that unlocks the code of the stave.Session 2: This Is Your Basic Fingering Chart Mm oS 6 A G F ~—=- @ © © @ urine scoNoRMCER © @ ® e me. © © 6 ® a © © 0 6 Geo | setemen © © Oo oO m «© € © 6 | The Note ‘B’ And Starting To Count Let's see what this note B looks like in musical form and on the finger chart (fig. 23) 5 CO® 34 Oo © OR © ‘Now play the note. Well done. You have just played your first note from written music. Let’s play the note B again, but instead of just one note ata time, I would like you to play four B notes ina row. Rhythm And The Beat. ‘The beat is the rhythmic pulse that you can feel in most music. Try listening to a piece of music and counting along with it. When playing you should always keep the beat by counting it in your head. You may find it helps if you tap your foot. This is called keeping time. Silent count 1,2,3,4 fea s3eeae ale 223) cANow play four B notes again, but this time try keeping them all the same length. Always count a few beats in your head before starting to play a piece of music. This will help you to begin playing at the correct speed (properly called tempo). At this stage I will give you acount-in at the start of every piece, but will not specify the tempo (or speed). Play slowly and carefully (especially at this stage). Always count the beat very evenly and try not to speed up or slow down. Now play the four B notes again, this time counting them in. Later in this book you will learn about time signatures which appear at the beginning of a piece of music, for now just count and play as shown, Breath mark (Breathe here) ae linge oe ae sd Now play your note B again, this time holding the note for 4 counts and resting for 4 counts, and repeating according to the diagram. Breath mark -O-9-© 12 a 12340-@-O-O 1 2 4, Take a breath through your mouth without ‘moving the position of the reed and mouthpiece — just letting it rest on your lower lip? You didn’t? Welcome to the club of which we were all members at one time. Now go back and play it several times over until you can hit and hold each note. Then move on to Session 3 to play some melodies that I hope you will recognise. 3° O-@-O-O aaa Play and hold Do not play for 4 Play and hold Do not play for Play and hold for note for4 beats. —_ beats (keep counting). note for 4 beats. —_ four beats. four beats. How did you get on? Did you:— 1. Attack each note cleanly and exactly on beat 1 of every bar? 2, Hold each note smoothly and evenly for 4 full beats 3. Make sure you stopped playing (rested) for the full 4 beats in each rest bar? (Doing this will help discipline your breathing and relax your mouth). 2Session 3: Your First Tune Now that you've got this far you must be dying to play a tune. There are parts of tunes that you will probably recognise in the following examples. Yellow Submarine Words & Music by John Lennon & Paul McCartney. Still count 4 beats in the bar but this time repeat the note again on each beat, Remember to tongue each note separately. Here is how the chorus starts — Breathe. Tongue 4 times cont 1, 2% 3 4 21 2 3 4 We = all live in (a yellow submarine) The notes should be played evenly so that they ll Jingle Bells sound the same. ak NOTE: (For the purpose of this book, when you see these lines across the stave , they indicate 123471 2 »1 2@@ that there are other parts of the song which precede or follow the part you are playing). Jin - gle bells \_ jin - gle/bells Hold this note for two beats. These first two bars of Jingle Bells are good practice for your breathing as you will have to Introducing Breath Marks. learn to take very quick breaths. This sign 9 is called a breath mark. It tells you where to breathe, and helps you ration your air supply accordingly. Always check the piece of music, and accustom yourself as to where the breath marks are positioned. Running out of air, in mid-flight in a solo passage, is embarrassing and painful! 2Love Me Tender Words & Music by Elvis Presley & Vera Matson. Eventually you should be able to play this part of the Elvis classic in one breath. But for now use it to practise taking a quick breath at the end of bar 1 (again hitting the first note in bar 2 squarely on the first beat). Remember: Do not let your breathing interfere with your embouchure, do not forget to breathe from the side of your mouth, always keeping your teeth and mouthpiece in direct contact at all times. Hold for two beats. ‘Count in — 3 ks OH Love me ten - der love me true___ Chopsticks Traditional. raditional Possibly not the best tune in the world but I want You to use it to practise your tonguing. All the notes should be exactly the same length. Don’t try to play too fast, just make sure that you breathe without affecting the rhythm. The other point to notice is that this tune has 3 beats in the bar (Waltz). To feel the rhythm, give the first beat in every bar aslight accent. Accent mt 2a) 2 + a2)? T Well done! Move on to Session 4 to a new note and more songs.Session 4: The Note ‘A’ And Tonguing Between Different Notes Here is the note A. Now let’s play ‘A’ for a while, remembering to: 1. Count and breathe during the rest bars, 2. Hit the notes exactly on the first beat of every bar. 3. Make the notes start and end cleanly. 4. Play each note with a smooth, even, round tone, 1234°O-@-O@-@ 123 4’7@O@® 12: 4’0OO@ Play. Rest 1 Play. Rest 1 Play. 1 Stop (& Count) (& Count) Play this sequence again, making it better each time. Now let's try some tunes that put the notes Aand B together. xStreets of London Words & Music by Ralph MeTel Iwant you to use this tune to practise one of the most important techniques in saxophone playing, Tonguing between two different notes. To go down from B to A you will have to keep L1 pressed down and then press L2 as well. Ifyou tongue into the new note as you are pressing the key, at best, you will hear the change, and at worst you could get a squeak! Press key here ie 2 1234°@—@ 3 4 How can you tell me The rule is always make sure that the pads are completely down (or completely released) before tonguing into the new note. ‘Try itnow. Strangers In The Night Music by Bere Kaer ‘Words by Charles Singleton & Eddle Snyder. Now try this one. Look at it carefully and plan each change of note — there are three. I have not written in when to tongue and when to press the keys. Just take it easy and try to think ahead about your finger positions. 123471 2 3 4 O-@-@-@ Strangers in the night What would happen if you didn’t tongue between adjacent notes? Try it, see what happens and then read the next section. Legato And Slurs Legato means ‘joined up’ and the way to play legato on the saxophone is not to tongue between. different notes. Notes played legato should flow into each other and should sound very lyrical. The slur is a curved line that musically instructs you to play legato between two or more notes of different pitch. Because legato playing must be extremely smooth, it is especially important to keep your breath very even and constant. Let's play the last two tunes again, except this time play legato into each change of note (watch out for the slurs), Streets of London Words & Matic by Ralph McTell 12347@-@ 3 4 1 2 a a T [ASiuJ Do not tongue this note. Strangers In The Night Music by Bert Kaempfert ‘Words by Charles Singleton & Eddie Snyder. naaAee 22) oe 4) Now you understand the notes A and B, and also about tonguing between different notes, and how to play legato, Move on to Session 5 where the note G is waiting, together with ties, note values and more tunes. 8Session 5: The Note ‘G’ And Note Values Play this short sequence to get to know G. 1234°O@-@-@-® Rest & Count Without blowing, press the keys for B then A then G. Now lift them off in reverse order. (Remember L1 stays down all the time). This allows you to get the fingers right without thinking about tonguing and breathing. When you fee! comfortable try this next piece of music. Like Chopsticks, it has 3 beats in the bar. There are no slurs so tongue each note. Use each bar of rest to look at the sequence of notes ahead. Think ahead. Rest & Count We so) eal a Rest & Count Rest & Count % Rest & Count‘The first and second groups of notes are quite easy, but you may have fun getting your fingers around the other two groups. Play it until you get it right every time. Note Values You will have realised that the amount of time given to each note is what gives a tune its rhythm. The whole tune can be played as fast or as slowly as you like, but relative to each other the note values must stay the same if the rhythm is to stay the same. So the note value is the amount of time given to a note compared with all the other notes. In all the music you have played so far this has been a 1 beat note called a crotchet or quarter note. Therefore, all our beats have been crotchet beats. —— Let me show you some note values measured in crotchet beats. (You have seen and played most of them already — but look carefully and understand how they compare with each other). From the whole note downwards the note values divide in half, so the breakdown could be shown ina family tree like this: i SERA — meme Julai — mA Jae ee (QUARTER NOTE on sen J gam, pap depen Quavers Quavers are the shortest notes that you are going to play in this book. If you get groups of them written together they demand accurate tonguing (unless they are differently pitched notes slurred together). Groups of quavers are written like this toaid sight-reading, ONE TT FOUR QUAVER QUAVERS How To Count Quavers Because quavers split the crotchet beat exactly in half, they are counted like this in a four-crotchet beat bar: So now let's play some tunes that will help put your knowledge of the note A and note values to the test. Here is a four-crotchet beat bar full of quavers. Remember to start slowly, counting very steadily and building up speed only when it’s correct — better to get it right slowly rather than get it wrong fast, Think ahead about tonguing and the change of finger positions for the last two notes in the bar. Ob-La-Di, Ob-La-Da Words & Music by John Lennon & Paul McCartney 1828384% 1 & 2&2 3&8 48 Desmond has a bar-row in the Now move on and try a combination of note values. yBreathless Words & Music by Oxi Bickel This is the start of a rock'n'roll song written in 1958. The points to watch out for are: 1, Counting quavers mixed in with crotchets. 2. Not playing until beat 4 of bar 1. 3. The short half-beat break in the music in the last beat of bar 3. 4, Making sure that the next note (end of bar 3) comes exactly on the ‘and’ of beat 4. at, Ve ‘Stop exactly on beat four 1234, 1 2 102 3:8 4 1 2 3 4 & ’ Now if you love me lots please don’t tease i Play this @ exactly on “&” 1 2 3 & 4 1 2 3 I can hold you then let me squeeze. Ifyou are finding the half beat silence/half beat note a little tricky at the end of bar 3 try: 1. Counting the rhythm out loud (without playing)ie.1 2 3 & leavinga gap where 4 should be. It is always a good idea to count rhythms out loud before you play them. 2. Thinking of the last note in bar 3 as a kind of half beat pick-up note into bar 4. Now play it through until you feel comfortable and get it right every time, Now try this pe) 2s ee ee 4 2 eo 4 23aImagine Words & Muse by john Lennon At the start of this piece of music there are quavers, crotchets and a minim. Watch out for: 1. The half beat silence right at the start which makes your first note fall on the “&” of beat 1. 2, The quaver that starts bar 2. Because of it, the minim will start on the “&” of beat 1. Count but don’t play 1 Start to play on “8” 4 waa? 1 2 2 & 3 &@€ 4 & 1 @@@@ Stop Im - ag - ine there's no hea - ven In this next tune you will be playing notes G, A and B, and also minims, crotchets and quavers There are no silence periods in the rhythm, and because itis less complex, I would like you to play ‘two versions. The first is without slurs — tongue every note, especially the quavers, very accurately. Alouette Traditional ay Weare A eee 1&2&@@ Al -ou-ett- ¢ gen-tile al -ou-ett- © al - ou- ett- e je te phu-merai Now play the piece with the slurs as marked. Remember that musical phrases under slurs should be played legato without tonguing. Tongue everything else very clearly. @ 1234, 1 2 4 14283 471 23 4 182&@~@ = ~~ —— aa Al -ou-ett-¢ gen-tileal-ouett-e© al -ou-ett-e je te plumerai ‘Now you know about the note G and about the time values of semibreves, minims, crotchets and quavers.Session 6: The Note ‘F’, Ties And Rests Here is the note F. Now you are going to have to use your right hand as well. Check your finger positions carefully. You now the notes F, G, A and B so, without playing, 40 from B down to F and back again several times pressing and releasing the keys very positively. Then play this sequence several times: 1234’0-O "0-0 Atie is a curved line that joins together notes of the same pitch, so that they are played as a continuous note. Here isa tie. This G would have to be held for 6 crotchet beats. pptstt to play here D—2 @ T EC eo Here are other ties. Remember: as long as the notes are of the same pitch, we can tie any number together. 1 @O—@ is2 &aGRT® * 1 crotehet 2% crotchet 7 3 crotchet beats. beats. beats. So that you don't get ties confused with slurs here is a simple way to remember the difference: a) aslur connects two or more notes of different piteh. ) a tie connests two or more notes of the same pitch, ‘Therefore in practical terms: a) all the notes joined by or under a slur should be played as one phrase with no tonguing between each note (legato). b) all the notes joined by a tie should be played as. one continuous note. (Add their individual note values together.) ‘Ties therefore are extremely useful because they allow any number of notes of any value (all the same pitch of course) to be joined together to form many interesting and varied rhythms. Try some songs with the note F and Ties.What Now My Love English Words by Carl Sigman French Lyric by P Delanoe Music by G Becaud. There is only one tie here and it joins one semibreve to one crotchet to form a note thatis Scrotchet beats long, 12347 102003 4 D—O—O—O—D’2 3 4 ft what now my love now that you've Silence Strangers In The Night ‘Music by Bert Kaempfert ‘Words by Charles Singleton & Eddie Snyder Watch out for the Slur over the last phrase — play the 5 notes very smoothly (legato). 34? 10203 4 ODO@O—-O'2 3 4 Stran-gers in the night. Blue Moon Words by Lorenz Hart Music by Richard Rodgers Here is a semibreve joined to a quaver s0 it is best to count the whole semibreve in quavers. Also, take a good breath at the second breath mark to enable you to play the slurred notes very legato and to hold the G for its full four beats, 3 beats silence —— a 12347 1 2 3 4 iene wamsnemswe (vagal cores Vee 2 ese aRests Fe Silence is just as important as sound in forming NAMEOF REST HOWWRITTEN —_NUMBEROF the shape and rhythm of a tune. In some of the eee music that you have been playing, you have encountered certain signs above which I have oon instructed you to stop playing for a certain (onwmoue RT) dddd- number of beats. These signs on the stave are Tacs ooweron called Rests. ee ‘ARest is a musical sign indicating silence for a anne, al J =2 specific amount of time. Just as the note values tell you the number of beats to hold the note, so rest values tell you the number of beats to remain silent. ACROTCHETREST gSef ale GxeeaaTEANEH Therefore, rests should be thought of as ‘unplayed. ‘musical notes’. Iwill show you them exactly the same as Ishowed |, ouavennest d pe you note values. (oxneanes G-d% ‘Once again they can be shown in their family tree. You have already met many of these rests, but now you understand exactly what they are and how they relate to each other, let’s play some tunes concentrating specifically on them. Woman silences written in two different ways. The first ‘Words & Music by John Leanon. way is more commonly used because it helps the reader to see where the beat falls in the music. In this piece there are two individual 2-beat @—® 182838481 & Mamma Mia At the moment it is best to count the whole piece Words & Music by Benny Andersson, Stig Anderson & in quavers. Bjorn Unaeus. Make sure that the last quaver of each phrase Here is a combination of crotchet rests and ends accurately and definitely so that the mostly quaver notes. crotchet rests get their full one beat value. 1a2034@ D2 63 4@O @H'2 e243 & 4 e TCH 2438 Mam-ma mi-a here I go a- ga-in my my 2Guantanamera Words & Musicby Jose Mart As you have seen, if there is no note between two rests just add the values of the rests together. The same applies across bar lines (as in‘ Mamma Mia’) and to rests of totally different values. The key is, to keep counting. 1828384871 & 2 & 3 Guan = tan-a- mer-a Imagine Words & Music by John Lennon From time to time we come across rhythms that are difficult to work out in our heads. When this happens, tapping the beat (crotchet/quavers ete.) with the middle finger of one hand (ona table for instance) while tapping out the actual rhythm of the tune with the middle finger of your other hand, will remove most of the difficulty. Always ‘tap the music rhythm with your right hand if you are right handed, and left hand if you are left. handed. (This gives you more control). wl EVAN very 1428 344 & @e TET ED e+e Ca2 gua jira guan = ta ‘Try out a bit more of ‘Imagine’. I've simplified the thythm slightly but it still illustrates the effect of the rests and the ties. Try tapping out the beat in quavers (1 & 2 & ete). Hold your rhythm finger on the table for the duration of each note, raise it off the table between notes and for the duration of each rest. 1. Tap when you see this mark v , 2. Lift your finger when you see this mark a. 3. Hold your finger on the table when you see this mark Imagine there’sno heaven v, vv. 1 v ve 1&223&48 a &2RIR4E it’s easy if you try. Re Re vv 1828 3 no hell be - low us a-bove us only sky 33Session 7: The Note ‘C’ And Dotted Notes Here is the note C. Now play this tune to get to know how C fits into the family of notes. 12390-@ OO O08 OO, Time Signatures Before you start to play here are the notes that A Why 000-@ you know on your saxophone To remind yourself of all the finger positions, without blowing go up from F to C and back down ‘again several times. Make sure that each key is pressed or released very definitely and confidently, Your fingers should not be half oa, or half off, the keys; they can rest on them but must press them only when needed.‘Time Signatures, Until now I have shown you the number of beats in each bar, and the value of those beats (whether crotchet beats or quaver beats etc.) by putting numbers above the stave. From now on, unless a piece of music has a complex rhythm, I will put this information into a time signature. You will find it at the very start of the piece, just before the first note. If the piece has four crotchet (quarter note) beats in the bar the time signature will look like this: — The top number tells you how many beats in the bar, 4. The bottom number tells you the value of each beat, in this case quarter notes or crotchets. Here are the most common time signatures: 1. This is the most common time signature and that is why itis often written as a large ‘C’, Often written as 2. This time signature represents 3 crotchet beats in the bar. a 3. This time signature represents 2 crotchet beats inthe bar. —— 4. This is called split or cut-common time (also Allla Breve). It has the distinet feeling of two beats in the bar and is generally played slightly faster than music in common time. Alla Breve = 2 minim (half note) beats in the bar. i 5. This time signature represents 6 quaver (eighth note) beats in the bar. _— ‘There are other time signatures but as they are not as common I will introduce you to them as they appear. Dotted Notes. You will remember that a note can be extended by tying it to another note of the same pitch. It can also be extended by adding a dot after the note. This will increase the value of the note by half and will be played as one extended note, dele) dies All the other note values can be dotted in exactly the same way. Dots Apply To Rests In The Same Way. 35Let's play some tunes including the note C which show you time signatures, dotted notes anda way of making music easier to read by writing note stems above the middle of the stave (from B upwards) with downward pointing stems. ‘The stem direction has no musical effect. It is merely for ease of reading, This piece will show you: 1. The time signature 3/4 (3 crotchet beats ina bar). 2. Dotted minims (3 crotchet beats long — in this case that is a full bar). Barcarolle Music by Jacques Offenbach Largo (From The New World Symphony) ‘Music by Antonin Dvofaik Here is a tune from ‘The New World Symphony’. Remember that the dotted crotehet is J d worth 1% beats. The rhythm pattern #+ (144% =2 full beats) is one of the most common 1828384& ° 36 3. Ties and slurs (ties same pitch — slurs different pitch). 4. Notice that the time signature is not repeated at the start of every line of music, ie. it stays the same unless replaced by a different time signature further on in the piece. And remember — just because the count has disappeared from above the stave it does not mean that you should stop counting. Always count the beats in your head. The time signature will tell you how many beats and what value to count. uses of the dotted crotchet. As you play more rhythmic patterns you will begin to recognise them without reading each note individually. This is called scanning and is exactly what you do when ‘you read words at average speed (you recognise words and entire phrases, never needing to look at each syllable).Fly Me To The Moon ‘Words & Musi by Bare Howard Here is the start of a wonderful song that is part of the standard saxophone repertoire. The dotted crotchet and quaver pattern give it the lilt or swing that is so characteristic of this type of song. Remember to look at the time signature and count this tune in quavers. Fly me to the © moon and let me play a - mong_ the (stars) Money, Money, Money ‘Words & Music by Benny Andersson, Stig Anderson & Bjorn Ulvaeus. Mo = ney mo-ney mo - ney must be fun - ny 2 in the rich man’s world mo-ney mo-ney mo-ney al - ways sun -ny in the ich man’s world 2 Mo - ney mo-ney mo - ney must be fun - ny ’ in the rich man’s world mo-ney mo-ney mo-ney al - ways sun -ny in the rich man’s world a7Session 8: The Notes ‘E’ ‘D’ And ‘D’ Again With Octave Key Here is the note Here is the note D Written: Written: (Remember: notes written immediately above and below the stave are also considered to be in ‘spaces’) To familiarise yourself with D and B play this tune and get comfortable with the new finger positions.‘You Now Know All The Following Notes: See how the keys go down logically as the notes go down in pitch. Fe 3s @-= LesTHAND. O~ CB nme OC @ wore @ O mone O_O women OO soonea OQ O nomen OO een eeeu F e e@ CO@ Cee eee | The notes from about F downward may be a little more difficult to start and maintain with a round tone. I suggest relaxing the lower jaw just a little, while retaining a tight diaphragm — giving the much needed support in the lower register. (This is particularly important on tenor and baritone sax). Ifyou count the number of notes between D and the next D you will find that there are eight (imeluding the two D’s). The gap between them (properly called the interval) is an octave (from the Greek word meaning eight). 2 23 Octave = | = 2: ==. = As you can now play from D up to C itis a simple matter to leamn one extra key, the octave key This will give you the notes exactly one octave above the notes you already know. You will find it on the back of your saxophone just above the thumb of your left hand, ”Octave Key Technique. Get into the habit, right from the start, of correct octave key technique. 1, The thumb should be situated on the thumb plate, and not on the octave key, with a small part of the end of the thumb over the key. 2. The octave key is depressed with a flick motion, (i. the joint of the thumb bends and depresses the key) 3. Avoid picking the thumb up off the thumb plate at all times. The notes from your new note D (with octave key) to high G use the same pattern of fingering as in the lower register, the only difference being that you press the octave key for all the notes above C, i.e. D upwards The octave key is illustrated on the pull-out fingering chart. Like any other key on your saxophone the octave ‘key must be fully pressed just before you tongue into anew note. Now play the following example and you will hear how the octave interval sounds for each note ‘Use octave pi, Ee aes Be £ a ‘The tone of each note should be as smooth and round as possible and the crossover when opening the octave key should be positive and noiseless. Play them in time, stopping to take a breath at the breath marks. 0Allyou have to do to play the next piece of music is to keep holding the correct finger position for each lower note and then press the octave key for the upper note. Slowly now — and keep that thumb on the instrument. No sliding or picking up the thumb. Note Pyramids. Before playing more tunes have a go at these note pyramids. First go up and down without playing, just to feel the pattern of playing the keys and to get the fingers comfortable and playing positively. Then play up and down the pyramid stopping at the dashes. Take a comfortable breath, and play on, As you develop your breathing and also the (as illustrated). Until then slur each bar separately, connecting each note smoothly as you go up and down. Keep in strict time within each group (of eight notes), with every note exactly the same length. As your fingering and breathing improves, ignore the shorter slurs and play the longer ones instead. In other words, play up and down the pyramid speed at which you can accurately play these before stopping to breathe. pyramids, attempt to breathe only at the bottom i.e. put two bars at a time under a slur Repeat ’ 9 each line = = = 2 a a= Repeat each line 41Session 9: Sharps And Flats And The Note ‘F Sharp’ In musical terms: Sharpening a note means going higher in pitch Flattening a note means going lower in pitch ‘You know the note F — You know the note G : G The difference in pitch (remember properly called the interval) between these two notes is known as one tone. The interval between many of the notes that you have been playing is one tone. For example: ct D GtoaA Here are the signs that indicate sharp, flat and natural, Sharp # Flat b Natural 4 cancels a sharp or flat that has appeared immediately before. ‘These signs (properly called accidentals) are placed on the same line or space just before the first note that they affect: Their effect lasts until the end of the bar, unless cancelled by a natural sign. At one time, in classical music an accidental introduced in a bar applied to every octave of that particular note. In modern writing it applies only to the octave in which it is written. As music doesn’t carry a label saying classical or modern this can be confusing, only the context can decide. All music in this series of tutors is written in the modern style. Exactly half way between F and G (and all the other pairs of notes above) there is another note. Because it divides each tone interval in half, it is called a semitone (half a tone). The note between Pand G can either be called F Sharp (one semitone higher that F) or G Flat (one semitone lower than G) depending on which is easier to read at the time. This applies equally to flats as it does to sharps. Play these intervals (including the F to G) and listen to the difference in their pitches. After you have done that — read on. a == p=Key Signatures If, instead of making just the occasional note sharp or flat, you wanted to make a note sharp or flat for a whole piece of music, you would have to write a sharp or flat sign in every bar in which it is needed. The whole point about the way we write music is that it should be easy to read, and so we use a key signature. When anote has to be sharp or flat all through a particular piece or section of music, akey signature is placed at the start of each line or stave just after the clef sign. The key signature will contain sharp or flat signs sitting on the lines and spaces that they affect. So if the note B is to be played as B flat throughout apiece of music the key signature would look like this = Every B, no matter how high or low, is played as B flat unless specifically cancelled by a natural sign. Ifthe note P is to be F sharp throughout a piece of music the key signature would look like this. _—— Every F, no matter how high or low, is played as, F sharp unless specifically cancelled by a natural sign. Let’s learn to play the note F sharp (or G flat). Here is the note F sharp (or G flat). Written like this: Add the octave key and you get — At the start of this session you were playing one tone intervals between several notes, including F and G. Now I want to use these notes to help you to hear the difference between the one tone interval (between F and G) and the semitone interval between F sharp and G. So play this: aNow, remembering what the F natural to G interval sounded like, play this: Play every F as F sharp Listen carefully to the difference. Play both F and F sharp in the same line. Play Funtil end of bar, ‘ Every Fis Ff Pay FH ey signature restored befo | end of bar so this note is Fj Can you hear how the F sharp splits the tone between F and G and consequently leads to the G much better than the F. This simple fact is the basis of good solo playing. That is: the creation and resolution of tension. To hear what I mean play this passage a few times: Does it sound complete? Does it sound like a conclusive musical phrase? I hope not! The reason is quite simple. The F sharp note in this instance, coupled with the rhythmic pattern, creates a tension that can be resolved only by moving to the note G. You should hear the note Gas the final note in this phrase, even though the note Acomes between F sharp and G. Remember: The Creation And Resolution Of Tension Is What Makes Music Interesting. ‘When you get involved in music making, listening carefully both to your own and other people's playing becomes vitally important. Learn how to recognise the intervals between notes, and their patterns as they are written down. Get to hear as many other players as possible — listen carefully and learn. Strangers In The Night Music by Bert Kaempfert Words by Charles Singleton & Eddie Snyder. ‘This tune is good practice for moving up and down between two- or three-note intervals. Ensure that the quavers are tongued, (unless slurred) but played very smoothly and lyrically (like singing). If you were singing this song you wouldn’t sing every syllable in a harsh, jagged way. Think about how you would sing it, and play it with the same feeling. Lastly, make sure that where a minim is tied to a quaver you ive it the full count of two and a half beats (taking breaths may shorten this time, but only fractionally). Now play the piece with the slurs as marked. Remember that musical phrases under slurs should be played legato without tonguing. Tongue everything else very clearly. Now you know about the note G and about the time values of semibreves, minims, crotchets and quavers.Strangers In The Night Music by Bert Kaempfert ‘Words by Charles Singleton & Eddie Snyder. ie 2) 2) a rerdraee)) 6 2 8) 9 ex-chang-ing glan - ces wondering in the night__ Strangers in the night 2 — — what were the chan - ces we'd be shar - ing love be-fore the night was # —- 2 : = » through. Something in your eyes was so ex- cit - ing something in my heart___ some-thing in your smile 2 ’ — told me I must have you. Strangers in the night ___ Oo — twolone-ly peo-ple we were strangers in the night up to that moment when we ’ > said our first hel-1o lit -tle did we know love was just a glance a- way a 2 we've been to - geth - er warm em -bra-cing dance a - way. Ev - er since that night —— lo- vers at first sight Tm lost for-ev - er it’ turned out al - right — for stran-gers in the night. 45Matchmaker Words by Sheldon Harnick Music by Jerry Bock Practise slowly at first, then increase the tempo, making sure that you are still able to articulate each note. 1 @@O@O OOo 2 2 Match- ma - ker match- ma - ker make me a match, Match -ma = ker match - ma - ker look through your book and make me a pore feed) match. If You Could Read My Mind ‘Words & Musi by Gordon Lightfoot Watch out for the quavers, dots and ties. on paper — memorise it. This forms the basis of Iwill help you count the more difficult rhythms, fluent sight-reading. when you know how a rhythmic group looks 2 If youcould read my mind love what a tale my thoughts could tell > just like an old time mo- vie *bout a ghost from a wish-in’ well__ 2 ’ in a cas-tle dark or a fortress strong_with chains up-on my feet you know that ghost is me and 1 will ne - ver > be set free as. dong as I'm a ghost that you can't see.Streets Of London Words & Music by Ralph MeTell This song will help you to hear the difference between F natural and F sharp, as they both appear frequently. Also watch the timing especially where ties appear, and also where a single quaver starts a bar. ’ Have you seen the old man in the closed down mar - ket Kick - ing up the pa - pers with his. ~ worm out. shoes. 1 ©0000, In his eyes you see no pride hand held loose -ly by his side__ 1 203 1 2 @@@0@® ©@@-@ yes -ter-day’s pa - pers telling yes. = terday’s news, -0-© ’ — So how can -you tell. «me ~— you're lone - 3 4 @—-@®2 & 3 GD y and say for you___ that the sun don't shine 9142 & 3 QO®@ 1&2 &@@@s Let me take— you by the hand and lead _you through— the streets of Lon -don Til show you some-thing to make you change your mind. aWell done! You've made it to the end of the beginning so to speak. Since starting this book, you have learned many of the basic principles of playing your saxophone, and further, of reading the music for it. You have learned about staves, clefs and pitch, the name of each note, and how to play two complete octaves of them, ledger lines, bars and bar lines, breathing and tonguing, counting the beats, legato and slurs, note values, ties, rest values, time signatures, dotted notes, sharps, flats and naturals etc. — to say nothing of the tunes. ‘So move on to Book 2 where you will build on the knowledge that you have accumulated and also learn many more exciting things about music and play many more exciting tunes. pemictos ree ove MAS pen cenroar nae Seo Re SaaS cn = EEE crn ObtaDl,obL2Ds Waren fanuenn Pattee Sepa rv ene tr Sng Ltn Sater Pen en. 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