Beyond Woodwind Class: Resources and Suggestions to Teaching Saxophone

Dr. Gail B. Levinsky, presenter

Friday, December 20, 2019

Summary: As professionals begin their teaching journey, new questions beyond the essentials of an instrument, and
more of the intricacies and advanced pedagogical needs arise. The focus of this session is answer some of those
“What do I do when this happens?” questions. This presentation provides educators with resources and strategies
for teaching young saxophonists (Grade 6-12).

Saxophone Fundamental Review:

Posture:
Instrument & Neck Strap positions:
While playing the saxophone the neck strap must be positioned in such a way that the head is straight, and the
performer brings the instrument to the mouth without any movement of the head to the instrument. The aligning of
the spine from head to tailbone is vital for maximum breathing capacity and airflow. The alto saxophone may be
held either to the side or in front of the body. The soprano saxophone is positioned in front of the body while the
tenor and baritone saxophones are always positioned to the side while the student is sitting.

Hand and finger position:

Left thumb contacts the octave key plateau at all times. When required, the thumb will gently rock toward the octave
key. This is an important point, as many young players will often lift the thumb away from the rest.

Right thumb is placed behind the thumb hook. Do not tense the thumb into the instrument, but rather use the thumb
as a guide. Remember, the neck strap supports the weight of the saxophone. Hands and fingers are rounded and curved.
The fleshy part of the fingertips makes contact with the keys keeping a gentle downward direction towards the floor.

Embouchure:
Upper teeth are placed on the mouthpiece. (The lower lip curls slightly over the bottom teeth remembering not to
use any more lip than necessary.) The saxophone embouchure is rounded and should be thought of as equal pressure
at all four corners of the mouth. Thinking "O" (whistle or puckering of lips) will help greatly in achieving this
position. Chin should be flat. (REMINDER: This is a significant difference between the traditional clarinet
embouchure and saxophone.) The embouchure should remain constant throughout the entire range of the saxophone.

Oral Cavity:
The saxophone is performed with an open throat.

Tongue Position:
The back of the tongue should be in a low and natural position. Students can easily achieve this by thinking
“ah or oh.”

The tongue should be relaxed allowing the tip or forward part of the tongue to touch the tip of the reed.

Air Stream
Fast and focused air stream. However, one must also think about warm air.
Have your students try this-: EXERCISE 1

Place your hand approximately 6 inches in front of your mouth. Blow a fast-focused air stream toward your hand.
The air should be cold. Now cup your hands as if it was winter and you were outside without gloves. The air should
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be warm. This concept is extremely important. The air stream in producing sound must be fast and focused, while
also keeping the tongue low. Think of the position of the in a natural position as if one is pronouncing the letter ‘A’.
(REMINDER: This is a significant difference between the clarinet embouchure and saxophone.)

Embouchure Placement:
Determining the amount of mouthpiece position in one’s mouth is somewhat unique to each player. However,
identifying the fulcrum where the reed and mouthpiece touch is an excellent place to start.

EXERCISE 2 - Holding the mouthpiece and neck only. Have your students observe the reed/mouthpiece from a side
view. Determine where the reed and mouthpiece touch. Position the embouchure and blow fast focused air.

Pitches produced if embouchure, tongue, position and air are correct:

Alto Saxophone: A-flat

Tenor Saxophone: G-flat
Baritone Saxophone: E-flat

EXERCISE 3 – The above works quite well. A more accurate indicator for determining if the student is in good
position and utilizing all factors identified above is sounding the following pitches on the mouthpiece only.
(REMINDER: If your student is getting a higher pitch, mostly they are biting; too low probably too relaxed or reed
strength too soft)

Alto Saxophone: A
Tenor Saxophone: G
Baritone Saxophone: D
Articulation / Tonguing:
• Proper tonguing is essential to understandable musical communication
(REMINDER: Observe unnecessary movement in the throat or an “in and out” movement in the jaw.)

• The process of tonguing is supported by uninterrupted air.

• The embouchure should be unchanged and not effect tone quality.

• The goal in moving the is to fundamentally interrupt the vibration of the reed not close it against the mouthpiece.
Think of the motion of the tongue away from the reed versus not toward it.

REMINDER: Is your student getting a Slap Tongue effect? This is typically achieved by closing the reed against the
mouthpiece (often with the tongue in a rather flat position.) When the tongue is released from the reed a suction
effect is created.

EXERCISE 4
Begin slowly and repeat as necessary.

(Air stream =
(Tonguing = | )
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BEYOND WOODWIND CLASS - Troubleshooting the Fundamentals

Embouchure

Problem What it Looks like How to Fix the Problem

Top teeth are not The weight of the mouthpiece is positioned Make sure student's top teeth are on the
on the mouthpiece on top of the lower lip. As a result, the mouthpiece when he takes a breath and that
performer places too much pressure on the the teeth remain on mouthpiece when
lower lip. blowing.

Bottom lip is not Bottom teeth are touching the reed. Make sure the lower lip is curled slightly over
covering the teeth the lower teeth.

Corners are The student appears to be smiling. Remember the saxophone embouchure is
pulled back too round with even pressure around the
far mouthpiece.

Not enough If the position of the embouchure is placed at Have student take more mouthpiece.
mouthpiece the very tip of the mouthpiece. As such, it is
easy to pinch off the sound and get in
the way of the reed vibration.

Underbite Top teeth will appear behind the bottom teeth. If the student does not have a natural under
bite, guide her to place her top teeth further
down on the mouthpiece.

Overbite This is the natural tendency of the saxophone Continue to support good embouchure
embouchure. fundamentals.

Too much Student will look as if they are inhaling the Guide the student to take less mouthpiece
mouthpiece mouthpiece. He may also tend to puff his into his mouth.
cheeks.

Jerking the jaw Jaw is extended toward the instrument. Make sure student keeps the jaw in proper
position. It should fall naturally down from
the mouthpiece.
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Tone

Problem What it Looks like How to Fix the Problem

Unfocused Too much mouthpiece Have student take less mouthpiece into his
tone quality mouth.

Unfocused tone Puffing cheeks First, simply tell the student to stop puffing the
quality cheeks. If that doesn’t have an effect, have the
student form a proper embouchure around the
mouthpiece as is if she was going to produce a
tone. Have the student breathe in through the
mouthpiece first, and then without changing
embouchure blow the air back through the
instrument. The embouchure should remain
the same.

Unfocused tone Top teeth not on mouthpiece Make sure the weight on the embouchure is
quality equally distributed on the mouthpiece. The
weight of the head should naturally come
down onto the mouthpiece. In the early stages
of teaching the fundamentals, simply ask
students to show their top teeth before taking
their breath.
Unfocused tone Overblowing Make sure students are effectively using and
quality controlling their air stream.
Unfocused tone Reed is too soft A reed that is too thin will be easily closed off
quality at the point of vibration.

Unfocused tone Tone quality sounds pinched A reed that is too hard will sound airy and
quality unfocused. Suggest a ½ strength softer reed.
Unfocused tone Posture Always reinforce proper posture. Sit at the
quality end of the chair, mouthpiece comes to the
mouth, and adjust the saxophone neck strap to
the appropriate position.
Tone quality is Not enough mouthpiece Make sure students position their top teeth a
thin bit further down on the mouthpiece. The ideal
position is at the fulcrum where the reed and
mouthpiece touch.
Tone quality is Reed is too soft A reed that is too thin will be easily closed off
thin at the point of vibration.
Tone quality is Tone quality sounds pinched The reed is probably too thin, or the student is
thin not taking enough mouthpiece in the mouth.
See above.
Tone quality is Weak reed Reed might have been played too long and
thin needs to be replaced.
Tone quality is Posture Always reinforce proper posture. Sit at the
thin end of the chair; mouthpiece comes to the
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Intonation

Problem What it Looks like How to Fix the Problem

General tuning Primary tuning pitch is flat or sharp
General tuning Know the tendencies of the instrument
Weak or soft Pitch tendency and tone quality will
reed both sound flat.
Change to a quality reed that supports an
understanding of proper use of air
Adjust by pushing in (flat) or pulling out
(sharp) from the mouthpiece.
Handout attached chromatic intonation chart
A reed that is too soft will not be easily
controlled. The pitch will general play flat.
Replace reed or suggest a ½ strength harder
reed. If this is for an older player, suggest a
higher quality reed that is not too thin.

Embouchure Embouchure is too loose or too tight
Instrument Embouchure, air, reed all looks good, but
something is just not right.
Double check pitch on the mouthpiece -(A4)
and mouthpiece/neck combination (A-flat4).
Send instrument in for repair.
mouth; and adjust the saxophone neck strap to
the appropriate position.

Articulation including tongue position

Problem What it Looks like
Position Attack – no clarity or a thud is heard
Student has difficulty with initial attack (after a
breath) but subsequent tongue movement is fine
How to Fix the Problem
Review tongue position. Think "tu' or "du".
The tip of the tongue should be positioned in
the middle of the mouth, the tip arched
forward, and back of the tongue kept slightly
down, not high like for a clarinet. If an attack
is not heard, make sure reed is being touched.
If a thud is heard, too much tongue surface is
touching too much of the reed surface.
Make sure the tongue position used is the
same for both situations.

Student using separate puffs of air to articulate
each note
Finger tongue coordination
Clarity of articulation
The air stream remains steady and the tongue
simply interrupts the air stream.
Scales, scales, scales. Use a metronome,
begin slowly, and expand to include entire
register.
Practice scales with varied articulations as
seen below.
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Equipment (Mouthpiece, Reed, Instrument) Response

Mistake What it Looks Like How to Fix the Problem

Mouthpiece Mouthpiece is warped It is possible for a mouthpiece to become
warped due to its age or exposure to extreme
temperatures. As a result, the reed cannot
seal and will not vibrate properly. Replace
the mouthpiece.
Reed Tip is warped Usually occurs when the reed is not stored
properly. Wet reed; while securing into
position, place the tip of the reed on the
“table” of the mouthpiece and gentle tap the
‘heel’ or the reed. The tip should be ironed
out in a short amount of time.
Table of reed warped With use, a reed naturally warps. One can
even see a bump on the back of the reed
itself. To fix, use very fine sandpaper, with
only slight pressure, sand the back of the
reed until the bump is removed. Be careful
not to sand the tip of the reed. The reed may
not play the same. If so, throw it away and
start a new one.
Instrument “I’m trying to play a low note, but the note
• Check embouchure. Make sure the student
is not coming out.” is not too tight.
• Check for torn pads or key the is opening
slightly.
“I’m trying to play a low G, and the high one
• Check the octave key mechanism on the
keeps coming out.”
neck making sure it is closing.
• Make sure the saxophone neck is
positioned correctly.
“I’m blowing and nothing is coming out.”
• Make sure nothing is lodged in the
instrument.
• Do a visual for any key (‘F’ Palm key, G-
Sharp, E-flat, or C) that is not closing.
"Everything plays, but when I trying to play • Look down the bell! Make sure a
a low note (D1 and below) a mouthpiece, cap, or end plug is not in there!
wobbly vibration comes out."
“I can play low C, but my table key notes won’t • Check the G-sharp key. The key is opening
come out.” when it shouldn't and requires an adjustment.
Splitting octaves on second octave • Make sure there is no lint, saliva, or debris
G, G-Sharp, or A in either of the 2 octave key vents.

Sticky pads Using un-gummed cigarette paper, place

under pad and press key to remove moisture.
A flapping key! Make sure springs are attached.
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SAXOPHONE TECHNIQUE REVIEW:

Chromatic Fingerings, Palm Keys, and Table Keys

Chromatic Fingerings

B-flat: Which one do I use?

• Side Key B-Flat - can be used in almost every situation and is typically the first B-flat
fingering taught in band methods.

Bis B-Flat - use in flat keys. The only rule is when using in a classical situation avoid
sliding from B-Flat – B Natural. Utilize the similar rules as with they apply to B-Flat
thumb key on the flute.

• LH 1 & RH 1 – In my opinion -ALMOST NEVER!

Chromatic F-Sharp

Chromatic F# should be use in any situation where the saxophonist is going from F (or
E-Sharp) to F-Sharp (or G-Flat). The exception to the rule is when the performer is
going to or from E, E-Flat, or D below the F-Sharp.

Palm Keys

• Probably the most neglected part of saxophone technique with young students.

• Key to success: Let the air do the work, not the embouchure. In other
words, there is no need to overbite!

• Keep the back of the tongue slightly raised on F6 as this pitch tends to be flat.

• Use the Index and Middle finger on the left hand only, and the bottom portion of the Index
finger on the right hand.

Auxiliary or Front F Key

•. A very convenient fingering to utilize going to and coming from C or C-Sharp above the
staff.

• A must in the development of a student’s use of the altissimo range.

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G-sharp
Table Key Cluster /A-flat
• Use the rollers!
• Use the fleshy part of the LH pinky C-sharp
/D-flat
• Know the fingerings!

BN

B-flat

One very important point mechanical benefit on the saxophone—all modern saxophones
are built with an articulated G-Sharp mechanism. Meaning if your students need to go from
G-Sharp to C-Sharp, one can play the G-Sharp by depressing low C-Sharp key. This is also true
on the B natural and B-Flat keys. No need to rock back and forth.

Technique Troubleshooting

What it Looks Like Performance Error How to Fix the Issue

Fingers are stiff (LH/RH)
Fingers are coming very
high off the keys.
Popping of keys/pads
Thumb position (LH) Octave
Key
Right hand thumb
LH/RH Pinky placement
LH pinky movement from C
Sharp to B Natural
Tension in fingers
Wasted or lost motion
Finger movement
Thumb is angled incorrectly
and/or coming off the
plateau when not in use.
Holding the saxophone up from
the thumb
Pinkies are tucked under the table Reinforce proper position.
keys or extended away
from the right hand.
LH Pinky does not move freely
to B Natural – becomes stuck in
to roller.
Use a small ball, a glass, or a soft drink can
to help open the hand and relax the fingers.
Double-sided tape around fingers will allow
the student to feel how high their fingers are
coming away from the keys. A quick fix!
Press with light pressure.
- Make sure student is keeping thumb in
position on the thumb plateau. The natural
angle of the thumb should point upward
diagonally (2 o’clock!).
- Reinforce proper hand position and
moving the thumb from the joint closest to
the fingertip. If problems exist, try double
sided tape so the student becomes aware of
excess motion.
Make sure the neck strap is positioned
correctly and the weight of the instrument is
on the neck strap.
- Reinforce use of the fleshy part of finger
and use of the roller.
- Adjustment of table key mechanism.

RH positioning for E3 use Moving hand out of position Reinforce proper hand position, including
the rotation of the first finger into the crook
of the E3 key.
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Teaching Vibrato to Young Saxophonists

Incorporating vibrato into one’s sound requires stability of the embouchure, a well-supported, focused air stream, and
a controlled up and down jaw movement.
• Accepted method is to produce vibrato on the saxophone by a slight up and down motion of the jaw.
•. Teachers should be persistent in determining that students are not moving the jaw in and out from the hinge of
the jaw, by the manipulation of the throat, or through use of the abdominal muscles. If executed correctly, the
vertical motion required should hardly be seen
• One important difference between saxophone vibrato and other instruments is that the pitch is varied slightly
flat; therefore, it is helpful to have your students focus on the downward motion of the jaw rather than the
upward motion toward the reed.
•. Begin at pitch and drop jaw. Use one of the following syllables to introduce the motion - “mah”,
“vah”, or “wah”.
• To begin, introduce the proper movement of the jaw to the student. One can do this either with the entire
saxophone or utilizing the neck/mouthpiece combination. It may also be helpful to eliminate the instrument
entirely and simply utilize the first finger in substitution. Doing so allows the student to develop the motion and
learn not to place unwanted pressure upward onto the reed.
• After student feels comfortable with maintaining 4 pulses per beat, work with metronome for stability and
accuracy.
• Add vibrato to long tone warm up, as well as one, two octave, and full range scales.
• Tempo should be increased. Desired results: q = 68

• Listening to saxophonists, other instrumentalists, and vocalists is paramount in learning how vibrato
is used and how it enhances the quality of tone, musical color, and phrasing.

Reminder
• Vibrato is the sound, not something that is added.

• Vibrato isn’t meant to be metered, but rather a fluid motion.

There are many who say…

If you notice the vibrato it is probably wrong!
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Intonation & the Saxophone

• Every instrument has its issues. Okay, maybe the saxophone has a few more.
• Quality reed/mouthpiece matters.
• An instrument in tune with itself (tone hole placement) and in good working order.
• Embouchure, Tongue, and Air matter.
• Concert ‘F’ ???

The notes below seem to be the most problematic. NOTE: Pitches are transposed.

Pitch Action Result

[D1] •Add Table Key C# Raises pitch

[B2] •Add SK Bb Raises pitch

[C2] •Add SK Bb Raises pitch

[C#2] •Add Chromatic C Raises pitch

•Add Octave + 3rd Finger (LH) Raises pitch
• Add Octave + 3rd Finger (LH) plus any (RH) keys Lowers pitch

[D2] •Add low B key (table keys) Lowers pitch

[D#2] •Add low B key (table keys) Lowers pitch

[D3] •Add RH keys Lowers pitch

[E3] •Add RH keys or take off Palm Key 2 Lowers pitch

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Altissimo & Other Advanced Techniques

At what point should a student learn these altissimo and other extended techniques?
More and more modern wind band solo repertoire requires students to play into the altissimo range and explore
other “extended” techniques on the saxophone. Teaching the altissimo range, etc, depends on the student and the
instructor’s comfort with teaching the saxophone. However, first and foremost, students should have competency in
producing a pleasing and focused tone, capability of controlling one’s air, and technical proficiency at the
intermediate level before tackling these skills.
Alissimo register
Lang, Rosemary, edited by Gail B. Levinsky. Beginning Studies in the Altissimo Register. Ithaca, NY:
Ensemble Publishers, 2010.

Originally self-published in 1971, Rosemary Lang’s “Beginning Studies in the Altissimo” Register was long out of
print but revised and updated in 2010. “Beginning Studies in the Altissimo Register” uses pitch matching of well-
known tunes to develop the students ability in the altissimo range Dr. Levinsky ne edition also includes reinforcing
multiple pedagogical techniques to introducing the altissimo register, modernization and expansion of exercises,
and newly designed requirement for students to read the altissimo range both as 8va and via use of ledger lines

Multiphonics and micro-tones

A multi phonic is the sounding of two or more pitches simultaneously and a micro-tone is a musical interval greater
or less than the equally spaced half step of the chromatic scale. A series of special fingering combinations allow
these tonal effects to be used, and there can be several possibilities for a single note. Two texts, Hello, Mr. Sax!
by Jean-Marie Londeix (Leduc) and Les Sons Multiples Aux Saxophones by Daniel Kientzy are the primary
resources for acquiring fingerings for these extended techniques.

I play the alto saxophone, or I am a saxophonist?

There are many reasons why students elect or assigned a certain instrument. For saxophonists, the norm is to begin
ones studies on the alto saxophone. The vast amount of repertoire is dedicated to the alto saxophone, and the size and
weight of the alto is best suited for the average elementary age student. In the earliest years of study, student size
might be reason enough to place a him/her on one of the larger saxophones. However, avoid making a permanent
assignments on the tenor or baritone saxophone. As students age and their interests develop they should be exposed to
all saxophones, including the soprano in large and small ensembles.

What questions do you have?

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This chart was first published in “The Art of the Saxophone” by Larry Teal (© 1961) and is highly recommended for
students to begin understanding where the problematic notes lie on their instrument.
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SUMMER CAMP OPPORTUNITY

New England Music Camp

Sidney, Maine
(www.nemusiccamp.com)

NEMC is a residential camp located in the Belgrade Lakes region of Central Maine. Open
to 190 (90 boys / 90 girls, ages 11-18) students each session. We provide opportunities for
significant growth for the advanced as well as for the less experienced student. Campers
design individual programs according to their needs. Daily one-on-one coaching and
instruction from faculty. Two 30-minute lessons each week. All ensembles perform on a
weekly basis.

Saxophone Instructors
Dr. Gail B. Levinsky & Nicholas Bissen

Do you have a student seeking a music camp (3 & 6-week sessions) experience?
Tell a student and if they apply and attend NEMC they will receive a
$200 discount (Code Required).
If applicable, this does not include financial aid or scholarship support.

Use the code MWCNEMC19 when prompted during the application process.

For additional information visit, http://nemusiccamp.com

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A native of Western Massachusetts, Dr. Gail B. Levinsky is Associate

Professor of Music at Susquehanna University where her
responsibilities include teaching applied studies in saxophone,
chamber music, instrumental pedagogy, and woodwind methods. As
a solo performer, her presentations include performances at the North
American Saxophone Alliance, World Saxophone Congress, British
Saxophone Congress, US Navy Saxophone Symposium, and Festival
of Women Composers. She has commissioned numerous
compositions, including works by Marilyn Shrude, Miho Sasaki,
Matthew Quayle, Andrea Clearfield, and Douglas McConnell. Her
CD recording Tipping Point: Music Saxophone & Other Voices
explores the saxophone in a variety of chamber music settings.

In addition to her performance schedule Dr. Levinsky regularly

presents clinics at state music education symposiums, including the
MENC Eastern Region Conference, PMEA, NHMEA, NJMEA,
DMEA, and the Midwest Band & Orchestra Clinic. Her publications are varied and consist of an updated edition
of Rosemary Lang’s “Beginning Altissimo Method” (Ensemble Publications); Music for Saxophone & Organ
(Lyceum Publications), and the saxophone chapters “Teaching Woodwinds: A Guide for Students and
Teachers” (Mountain Peak Music), and a saxophone choir arrangement of Tomás Luis de Victoria’s “O Vos
Omnes”.

Dr. Levinsky completed her graduate degrees (DM, Artist Diploma, MM) from Northwestern University, and
her Bachelor of Music from Butler University. She is a member of Pi Kappa Lambda, and Kappa Delta Pi honor
fraternities. Dr. Levinsky has served as Treasurer, Secretary, and Region 8 director for the North American
Saxophone Alliance. During the summer months, Dr. Levinsky serves as Program Director for the Snow Pond
Music Festival, and on the faculty of New England Music Camp in Sidney, Maine.

Dr. Levinsky plays exclusively on Selmer Paris saxophones and Vandoren mouthpieces and reeds.

For additional information about Dr. Levinsky, Susquehanna University, and the
Department of Music, please visit:

SUSQUEHANNA UNIVERSITY: http://susqu.edu

SU - Department of Music: https://www.susqu.edu/academics/majors-and- minors/

department-of-music

SU Wind Ensemble Institute - Under the direction of Dr. Eric Hinton, SUWEI is a one
week residential program for gifted woodwind, brass, and percussion players(Grades 9-12).
Focus on chamber music and symphonic wind ensemble performance.
Dates: June 21 -27, 2020

Dr. Gail B. Levinsky: gailblevinsky.com