Professional Documents
Culture Documents
Saxophone Methods Packet
Saxophone Methods Packet
MUS 2635
Course Packet
School of Music
Ohio University
Flat
Sharp
Flat
Sharp
Piano Forte
Enhancing Intonation:
Strategies for High School & Middle School Saxophonists
OMEA Presentation
Matthew James
Professor of Saxophone/Jazz Studies
576 Music Bldg., Ohio University - Athens, OH 45701
Phone: (740)593-0957 email: jamesm1@ohio.edu
I. Introduction
Jazz Etudes
Basic, Intermediate and Advanced Jazz Conception for Saxophone - Lennie Niehaus
Reading Key Jazz Rhythms - Fred Lipsius
Mintzer: 15 Easy Etudes
Solo Collections
Band Methods
•Intercostals are the muscles between the ribs that serve to expand and contract the lungs
•The diaphragm is an involuntary muscle. It forces air out when it relaxes; air moves
from greater to lower pressure areas when the lung cavity expands.
Exercises:
1. Breathe quickly through your nose as if water were pouring into you (think of a glass
filling with water from the bottom up). The diaphragm pushes down and your
stomach expands forward and sideways. There should be little movement in the chest
and none at all in the shoulders. Hold your hands on either side of your stomach,
with your thumbs under the ribs in back and the remaining fingers in front under the
lower ribs. Feel the expansion of your hand as you try to push the fingers outwards.
2. Hold a sheet of paper against a smooth wall or window. Stand with your face about 9
inches away. Take a good breath and blast the paper with a thin, fast, strong jet of air.
See how long before the paper drops! Try increasing the distance between you and
the paper, or time yourself.
3. Get in a situation where you can really blast your saxophone – let your horn ring and
really crescendo. Find different environments in which to do this: a closet full of
clothes, an open classroom, a recital hall, outdoors, etc. Avoid playing too much in
flattering “echoey” rooms such as large classrooms, bathrooms, kitchens. A
blanketed, dampened situation can really help in your efforts to produce a good tone.
Outdoor practice can be very revealing.
4. Practice with a rag in the bell of your saxophone and play fortississimo. This inhibits
the extreme low tones, but can assist with volume production.
5. Warm vs. cold air: your goal should be the production of a “warm” airstream when
you play. To produce this, try fogging a mirror or window with some warm air. Feel
the throat position when you do this. In contrast, try a “cold” airstream, which
constricts the throat.
6. Conceptualize your tone projecting completely across the room when you blow.
7. Breathe in and out without changing the throat position, or try yawning to illustrate
the open throat position.
8. To understand the muscles involved with breathing: pant like a dog and feel your
stomach, shout “hey” very loud and feel your stomach, lie flat on the floor, breathe in
and place a heavy book on the stomach, lie flat on the floor, breathe in and have a
friend push hard on the abdomen.
9. As an exercise to illustrate how NOT to breathe, take in some air and expand only the
upper chest and raise the shoulders. Then try a correct breath with the lower
abdomen expanding.
10. Practice long tones from pianissimo to fortississimo and back on one breath.
---------------------------------------------------à-----------------------à-----------à
INHALE EXHALE REST
----------à-----------------------------------------------------------------------------------à----à
INHALE EXHALE REST
Inactive or deceased:
Sigurd Rascher – German born, later settled in U.S. Taught at Royal Danish
Conservatory, Manhattan School, Eastman
A. C-melody player and band leader (also played alto later on)
B. Earliest influence of the cool school (esp. L. Young)
C. Recorded "Singin' the Blues" w/ Beiderbecke
D. Light tone, graceful melodies and articulation
E. Influenced by Wiedoft
F. Played on Whiteman Orchestra
A. Cool school
B. Studied w/Tristano
C. Played w/Tristano, Miles, Kenton
D. Long lines, counterpoint, played ahead and behind the harmony
A. Influenced by Parker
B. Hard-bop, Blue Note records in 1960s
A. Donald Harrison
B. Kenny Garrett
C. Antonio Hart
D. Vincent Herring
E. Dick Oatts
F. Brad Leali
G. Bud Shank
H. David Sanborn
I. Dave Koz
J. Kenny G
K. Gerald Albright
L. Wessell Anderson
M. Arthur Blythe
O. Charles McPherson
P. Gary Bartz
Q. Anthony Braxton
R. Jerome Richardson
S. Jamey Aebersold
T. Bunky Green
U. Lennie Niehaus
A. Influenced by Trumbauer
B. Played w/Kansas City bands- King Oliver, Blue Devils, Count Basie
C. Cool player
D. Horizontal improviser w/lighter sound
E. Unique personality, featuring a fascinating lexicon
A. Earl Bostic
B. Warne Marsh
C. Paul Gonsalves
D. Zoot Sims and Al Cohn
E. Joshua Redman
F. Joe Lovano
G. Chris Potter
H. Chu Berry
I. Vido Musso
J. Charlie Barnet
K. Arnett Cobb
L. Illinois Jacquet
M. Bud Freeman
N. Gene Ammons
O. Al Cohn
P. James Moody
Q. Zoot Sims
R. Rashaan Roland Kirk
S. Yusef Lateef
T. Bob Berg
U. David Liebman
V. George Coleman
W. Steve Grossman
X. Branford Marsalis
Y. David Murray
Z. Jan Garbarek
AA. Pharoah Sanders
BB. Archie Shepp
CC. Sam Rivers
DD. Sam Butera
EE. Jimmy Heath
FF. Frank Foster
I. Serge Challoff
A. Cecil Payne
B. Hamiet Bluiett
C. Joe Temperley
Purchasing a Saxophone
Highlights from web site by Jason DuMars:
http://www.saxophone.org/buyersguide/
New vs. Used Saxophones
Purchasing Checklist
- Bring someone who knows how to play it and have them try it out
- If you are a player yourself, it is easy to get caught in the moment and not try a horn out
as thoroughly as possible - stay objective!
- For players, when you go to try a horn always pack the following essential items:
-Try to examine the horn as closely as possible. If it is a used horn, spend at least 10
minutes just examining the body for damage.
- Test every note against a tuner, and play loud and soft. Also, try a chromatic scale
slowly from the lowest to the highest notes so you can check for leaking pads. An
advanced "trick" is to play the overtones of Bb, B, C and D and compare them to their
fingered counterparts. There will be timbral differences, but on a great horn, there will
not be a change in the intonation.
Student models
-Choices abound for you, but so do pitfalls.
-There are a lot of differences in the quality and manufacturing of saxophones.
-The most significant differences between student and professional horns are in the
mechanics and materials. Student models generally use more rigorous materials, such as
nickel-silver rods, stronger bell braces, side-rod configurations, and heavy-duty lacquer.
-The trade offs are in sound, feel and appearance. Student horns are usually devoid of
decorative engraving and subtle artistic touches. The mechanics of the horn are usually
"stiffer," making it harder to press the keys down.
New brands
- Recently (within the last ten years), there has been a great influx of central-Asian made
instruments on the American market. These horns look and sometimes feel like
professional models, but are actually student models. How do you know? Sometimes you
can't. Just be careful of brands that are made anywhere but the USA, France, Germany,
and Japan. If the horn has no country of manufacture, be very wary. Also, these inferior
horns are usually lacquered all over the body and rods, just like a professional model
(recall that American, Japanese and German student models generally use silver rods
with a gold-lacquered body). This is to try and make you think it is a professional model,
even though it is not.
-A common trap is for parents to blindly go to the music store and take any offered given
to them for any price. This scenario is very common in rent-to-own situations. Be sure
that you evaluate the purchase price of the horn as a whole (including the interest) and
compare it to your other options.
-For the price of a new student model at the music store, you might be able to buy two
good vintage horns.
- The student models I see in the paper and Internet most frequently are the King 613 and
Cleveland, the Bundy, and the Vito. These three are fairly common, and each horn, if in
good condition, is a good horn to start on. The Bundy and Vito both have key structures
which are similar to prefessional horns (although because of this, they tend to have key
problems after being played by less than careful students) and have a solid reputation as
good instruments.
-Stay away from: Belmonte, Antigua Winds, Jupiter, El Dorado, Olds Parisian, Conns
after the M was dropped from the serial number, Grassi, Conservarte, and just about any
Chinese-manufactured horn.
Professional models
- Professional saxophones can run up to $4000 for soprano, $6000 for alto and tenor, and
up to $7,000 for baritone.
- Yamaha, Selmer, Keilworth, Yanigasawa
Vintage models
- Selmer, Conn, King, Martin, Buescher
General Condition
- If you open the case and detect a foul odor and find green deposits all over the horn,
chances are this horn isn't the one for you.
-If the owner says "this horn belonged to...", be skeptical, unless the owner has positive
proof.
The Body
- If the horn is dented or damaged, pads may not seat correctly or unusual tonal
anomalies can occur.
-The body should be smooth and round. There should not be flat spots or raised, bumpy
spots. Some small dents, called ping dents, are fine. These usually occur on the bow and
are a result of careless players whacking the horn on a chair or other items. Small (less
than 5mm across) dents will not affect the sound of the horn, but excessive dents should
be figured into the price.
- Look for spots where there are vertical lines of distortion in the lacquer. These are
caused by the technique used to remove dents from a saxophone. A repair person puts a
metal ball on the end of a metal rod, then slides the saxophone onto the rod. The sax is
then pushed gently down onto the ball and rocked back and forth. This pushes the dent
back up, but also distorts the lacquer where the dent is. The lines are a result of the
rocking motion used to pull the dent. On horns that are plated, this will be harder to see.
Just look for any abnormal distortion in the finish. Chances are if it looks strange, the
horn may have taken a hit at sometime. It's just like looking for Bondo on a used car.
- Another facet of the body is the soldering. Solder is used to hold all the parts onto a
saxophone. You should never really see solder unless the horn has been damaged and
repaired at some time. If you see lots of solder globs on the horn, consider it a warning
sign.
- On some horns, especially those manufactured by Martin, the tone holes are soldered on
instead of drawn from the metal of the body. This can be a real challenge for repair techs,
because when the horn is heated up, sometimes the solder comes loose and the tone holes
actually fall off the horn. This can be a repair nightmare and can cause a great deal of
expense. When looking around the tone holes, be sure and look for solder. It might not
hurt to ask if the tone holes are drawn or soldered.
- Ask if the tone holes have been filed. This process involves physically filing down the
metal on the tone hole. Although this may seem like a good idea to some repair persons,
in my opinion it is not. This process leads to the degredation of integrity of the tone hole
metal and can eventually make a tone hole unusable. The worst danger is that the repair
person will take off too much metal in the process. Once the metal is gone, you can't go
back. When you look at the tone holes, make sure there are no pads actually touching the
body of the horn, especially on the palm keys. The pads should always rest on top of the
tone hole, and never touch the main body of the instrument!
The Finish
-The finish of the saxophone is the subject of a great debate. Does the finish actually
affect the tonal characteristics of the horn? In my experience, the type of finish does
affect the timbral characteristics, although not in an extreme way.
-The metal that the horn is made of seems to make a much greater difference than the
finish used.
-The one difference in the way the finish affects the horn is in the case of relacquering.
This is not because a new layer of lacquer has been added, but because the old layer of
lacquer must first be stripped off the horn through a buffing process which can remove
precious metal from the body and tone holes.
- Finish also significantly affects the value of a horn. If a horn is gold plated, it is worth
more than a horn that is silver plated. If a horn is silver plated, it is worth more than one
that is lacquered. If a horn has its original finish, it is worth more than one that doesn't. -
As a buyer, you need to determine if the horn you are looking at is what the person
selling it says it is. I have been told many, many times that a horn was gold plated when it
was actually lacquer. If I didn't know what gold plating looked like, I could have easily
been fooled.
The neck
-The neck is a very sensitive part of the horn. Neck damage can be an elusive and
troublesome problem.
-The neck should be completely smooth with no dents. The neck should not have any
kinks in the metal. A common and sad misfortune to befall necks is the "pull-down
syndrome." This comes from inserting the neck into the horn, then putting the
mouthpiece on afterwards. Sometimes a careless player will pull down on the neck while
it is inserted in the horn and cause it to bend down and split the metal. This is the kiss of
death for a neck. Sometimes this damage can be repaired, but usually it cannot.
- The neck should be the correct one for that horn. If there is a serial number on the neck,
make sure it matches the serial number of the body.
- Also, the neck should usually have the same color of finish (there are some exceptions,
such as the King Super 20 which has a silver neck) and should have matching identifying
marks. If it is a Buescher Aristocrat, and there is a big "S" on the octave key on the neck,
then you have the wrong neck.
1. Whistle, and feel your throat and tongue positions. How is pitch changed?
3. Palm key and Front F limbo!! Practice pitch bends using palm key fingerings,
and/or Front F, then descend by ½ steps. How low can you go?? See Sinta pp. 8-
10
4. Octave exercise: Play with the octave key but produce notes one octave lower.
See Sinta pp. 11-17
5. Octave exercise 2: Play without the octave key but produce notes one octave
higher. See Sinta pp. 33-35
6. Practice bridging the registers using scalar passages that incorporate front E and F
See Sinta pp. 50-58
7. Open the high F key with paper, then finger up from low without the octave key,
and ascend. See Rousseau p 15.
–work down from standard fingering to the fundamental (example: play bis Bb,
then match the pitch but finger low Bb, then produce low Bb. What happens with
the oral cavity? Then repeat this technique on all chromatic notes up to F)
Hint: Consider having another saxophonist produce the overtones in the room
with you. Having this audible model in the room with you dramatically improves
your success rate (sympathetic vibration??).
See overtone exercises in altissimo guides by Sinta, Rousseau, and Rascher (see
below).
9. It’s time to try altissimo!! Attempt some of the fingerings from altissimo guides
found below. The Rossi shows the most common altissimo fingerings. If having
trouble with lowest altissimo notes (G, G#, A), try higher notes (D, C#, C) and
work down from there.
Hint: hum or imagine the notes you are striving for, by first playing the note an
octave lower
Hint: if not having success with your classical setup, consider using a jazz
mouthpiece
Hint: use air attacks, rather than tongue, when first attempting altissimo notes
Hint: when you successfully play an altissimo note for the first time, play as long
a tone as possible to memorize muscle position
--softer reeds play flatter in highest register, also don’t allow highest partials to come out
--experiment with taking in more mouthpiece when you play, or with changing the
amount of embouchure pressure
Rousseau, Eugene. Saxophone High Tones 2nd edition. Shell Lake: Etoile Music, Inc.,
1978.
Rossi, Jamal. Altissimo Repertoire Studies. Ithaca, NY. Available at www.hickeys.com
Sinta, Donald J. and Denise C. Dabney. “Voicing:” An Approach to the Saxophone's
Third Register. Laurel: Sintafest Music Company, 1992.
Rascher, Sigurd. Top Tones for the Saxophone. NY: Carl Fischer, Inc., 1977.
(**the fingering guide in Top Tones doesn’t always apply to newer
instruments**)
Teal, Larry. The Art of Saxophone Playing. Princeton: Summy-Birchard Music, 1963.
BEWARE of websites and older altissimo fingering guides, which likely used older
instruments as the foundation for fingerings.
Some selected solo and small chamber works that employ altissimo: