Saxophone Altissimo: High Note Development for the Contemporary Player by Robert A. Luckey, Ph.D. Featuring Over 250 High Note Fingerings for the Soprano, Alto, Tenor, and Baritone Saxophones Excerpts from Selected Classical Alto Saxophone Solos ‘with Recommended Fingerings for Altissimo Tones Overtone Exercises Extended Range Exercises Challenging Jazz Etudes Incorporating the Altiesimo Register That Can Be Performed with Jamey Acbersold's Play-A-Long, Volume 43, "Groovin' High"TABLE OF CONTENTS Foreword, Acknowledgements Preface Biography Chapter 1 - Background Chapter 2 - Other Physical Factors Related to the Production of the Altissimo 7 : i i Chapter 3 - Overtones Chapter 4 - Altissimo Fingerings Chapter 5 - Extended Range Exercises Chapter 6 - Excerpts From Selected Classical Alto Saxophone Solos Chapter 7 - Jazz Etudes it iti iv vi 20 78 108 71FOREWORD ‘This book is dedicated to those artistic players of the saxophone who through their demonstrated musicianship and mastery of the instrument's altissimo register have made giant strides in advancing the saxophone as a worthy instrument deserving of serious study. As the newest member of the woodwind family, the saxophone has gained acceptance universally as not only a vehicle for jazz creativity but also an expressive “classical” instrument as well. Although capable of closely emulating the qualities of the human voice, the instrument invented by Adolphe Sax can also generate a wider range of distinctive tone qualities than any other acoustical instrument. Today--thanks to these noteworthy performers--the instrument's extended range can be heard frequently in a wide variety of music genres including classical, jazz, and fusion. Because of their diligence and hard work, the lives of many have been enriched considerably. Toe Bob Luckey, Ph.D. ACKNOWLEDGEMENTS Without the technical assistant of two key individuals, the original manuscript of this text may have never been completed. 1 owe considerable thanks to typist, Sonya Dupuis, and music engraver, Ken Cheshire, for thelr dedication to this project. For the practical advice they gave in the early stages of manuscript preparation, I would like to acknowledge Jamey Aebersold and Mike Tracy. Finally, I would like to thank my wife, Norma Jean, for the continued support and encouragement that she has provided from the inceplion of the idea to its completion, a personal goal that has taken many years to fulfill. id :PREFACE During the 1940's, two very contrasting artists, Sigurd Rascher and Ted Nash, each contributed a major book for serious saxophonists who wanted to develop the instrument's still relatively-unexplored altissimo register. Rascher, a virtuoso classical alto saxophonist, wrote Top Tones for the Saxophone!, and five years later jazz tenor saxophonist, Nash, published Ted Nash's Studies in rmonics?. Both saxophonists provided thoughtful exercises to develop the high notes as well as innovative fingerings that worked well with their instruments. After fifteen years of experimentation on professional model saxophones manufactured during the 1960's to the present, I am convinced that many of the fingerings suggested by Rascher, Nash, and others in earlier decades simply do not work well with today's instruments. Because of the difference in dimension in such critical areas as the neck, body, and tone holes, we cannot expect saxophones manufactured during the last three decades to work well with those fingerings designed for use with saxophones manufactured during the 1930's and 40's. Thus, we come to realize that those innovative early publications (which are still in print at the time of this writing) are not meeting the needs of today's saxophonists because the fingerings must be significantly altered to respond well and to play in tune on modern instruments. Many such fingerings will not work at all on modern saxophones selected by professionals. I play the Selmer Super Action 80 line of saxophones--soprano, alto, and tenor. ‘There is no question that my fingerings work especially well on these exceptional instruments. In addition, I have repeatedly tried these fingerings on other very fine professional model instruments including: Selmer Mark VI and Mark VIL, Selmer Omega and USA, Yamaha, Couf, Marigaux, King, and Buffet With little or no modification, they work fine on these saxes as well. After testing numerous models of baritone saxes with a variety of quality mouthpieces, [ then created a list of fingerings that work consistently well with today’s most popular professional-line baritone saxes. In addition to providing multiple choices of fingering for most altissimo notes for soprano, alto, tenor, and baritone saxophones, | have provided exercises to facilitate the development of the top tones. Since an increase in embouchure pressure (along with other factors) is required to produce the extended upper range, the aspiring saxophonist should limit his practice time on the altissimo to reasonable periods to avoid embouchure fatigue. Ten minutes of quality practice daily on the high tones can be far more beneficial than practicing these tones for two to three hours on an irregular basi Saxophone Altissimo: High Note Development for the Contemporary Player is the first book of its type to include recommended fingerings for altissimo passages in standard classical works for solo alto saxophone. Also, it is the first publication to include jazz-styled etudes with chord symbols that can be ivpracticed with a Jamey Aebersold play-a-long record for added enhancement of the studies3. To date, this is the most comprehensive text written on the subject with illustrations of over two hundred altissimo fingerings. From my earliest years of playing the saxophone in grade school up through the master’s level, only the classical manner of playing the instrument was taught to me, even though some of my teachers had experience playing sax in shows, dance bands, and jazz groups. To learn to play the saxophone in a jazz or commercial style, one had to listen to records and (better yet) experience the style first hand to attain proficiency in phrasing and interpretation. Improvisation was never considered an integral part of the saxophone lesson. My philosophy of teaching the saxophone at the secondary and university level has been one of eclecticism combined with relevancy for graduates entering the music profession as the twentieth century rolls to a close. For a contemporary saxophonist to be successful in the music world today (whether one teaches or performs) that person must be versatile. He/she should be able to perform admirably in a symphony orchestra, should the occasion arise; and the contemporary saxophonist should be equally comfortable performing a jingle in a recording studio one afternoon and improvising to standard tunes in a jazz combo or commercial orchestra on Saturday night. It is all part of the ‘American music scene, and the saxophonist must be prepared to express himself in a variety of styles whether his profession is teaching or performing. ‘Therefore, university saxophone majors as well as community and secondary players who study with me learn not only a classical approach to the instrument, but also a jazz/commercial approach, including the study of phrasing/interpretation, jazz-styled vibrato, improvisation, and the altissimo. Whether one is focusing on a jazz or classical style of saxophone playing, that person needs to develop a reasonable command of the altissimo range of his instrument. This difficult, very specialized, technique has come to be expected of both classigal and jazz saxophonists alike. Thus, Saxophone Altissimo: High Note Development for the Contemporary Player represents a logical extension of my aforementioned teaching philosophy. Regardless of style preference classical, swing, bebop, funk, fusion, or commercial--saxophonists can benef greatly from study of the altissimo register. 1Sigurd M. Rascher, Top Tones for the Saxophone (New York: Carl Fischer, Inc.,1941). 2Ted Nash, [ed Nash's Studies in High Harmonics (New York: MCA Music, 1946). 3Jamey Aebersold, A New Approach to Jazz Improvisation (New Albany, IN Jamey Aebersold, 1967).OTHER BOOKS ON THE SAXOPHONE ALTISSIMO Rosemary Lang, Beginning Studies in the Altissimo Register (Indianapolis: Lang Music Publications, 1971). Eugene Rosseau, Saxophone High Tones (Bloomington: Etoile Music, Inc., 1978) Larry Teal, The Art of Saxophone Playing (Evanston: Summy-Birchard Co., 1963). Frederick W. Westphal, Guide to Teaching Woodwinds (Dubuque: Wm. C. Brown Publishers, 1990). . BIOGRAPHY Bob Luckey was born in Dunbar, Pennsylvania in 1948. At the age of five, he received his first saxophone lesson from his father, an active saxophonist in Pennsylvania dance bands since the 1940's. Because of his small size at this time, Bob was unable to hold his father's new Buescher 400 alto sax, the only instrument available on which he could practice. To accommodate the diminutive stature of his son, Mr. Luckey taught young Bob to support the saxophone on a steep stair step while practicing, thus relieving much of the strain from the neck and fingers while standing with the instrument attached to the neck strap. At an early age, Bob began to study the saxophone with outstanding players from the Pittsburgh Symphony, including clarinetists Louis Rocereto and Bernie Cerilli. By the time he graduated from high school in 1966, he had become recognized by music educators as one of the finest young alto saxophonists in the Eastern United States, having placed first-chair in such respected organizations as the Western District and Region IV Pennsylvania State Bands, the Carnegie-Mellon Honors Band, and the Mid-East All Star High School Band, sponsored by Duquesne University in Pittsburgh. While studying a classical approach to the saxophone, Bob began playing professionally with local dance bands at age fifteen, when he first joined the ? American Federation of Musicians. It was during this very early stage of his musical career the he became aware of the jazz style of playing the saxophone. Afier learning how to phrase and interpret the music, Bob began to focus his efforts toward learning how to improvise. Having been inspired by local tenor man, Joe Anastasia (from Uniontown), as well as other saxophonists and local jazz trumpet players, he would begin collecting records of jazz artists (particularly saxophonists) and attempting to emulate their style. His initial sources of inspiration were alto saxophonist, Paul Desmond (featured soloist viwith the Dave Brubeck Quartet), and tenor saxophonist, Stan Getz. Later he would discover Charlie Parker and Lester Young, who preceeded both Desmond and Getz. In 1970, Bob graduated from Indiana University of Pennsylvania (Indiana, PA), where he earned a B. S. in Music Education as an alto saxophone major. Here, under the tutelage of bassoonist, David Borst; oboist, Robert Lloyd; saxophonist/clarinetist, William Willett; flutist, Phillip Swanson; and clarinetist/oboist, Daniel Dicicco, he would further refine his classical saxophone skills and also learn to play the other woodwinds. As a classical saxophone performance major at the master’s level, he would earn the Master of Music degree from Duquesne University (Pittsburgh, PA), where he studied with clarinetist/saxophonist, Nestor Koval, a great classical performer who is equally comfortable in the jazz idiom. In 1981, Bob completed a Ph. D. in enthnomusicology with a specialization in Afro-American music and jazz studies from the University of Pittsburgh. It was here that he first met and subsequently studied with Dr. Nathan Davis, director of Pitt's graduate Afro- American music program. Under the supervision of Davis, Bob would complete his dissertation on one of the greatest jazz saxophonists of all time, Lester Young, who was the star soloist with the Count Basie Orchestra from 1936-'40. The title of this first scholarly writing on Young, "A Study of Lester Young and his Influence upon his Contemporaries,” is available from University Microfilms International in Ann Arbor, Michigan. Throughout his musical career, Bob has continued to perform in both the classical and jazz styles, and his teaching experience at both the high school and university level encompasses two decades in the following states: Pennsylvania, New Hampshire, Illinois, Iowa, North Carolina, and Louisiana. Since 1978, he has led his own bebop-oriented jazz combo, Bob Luckey & Friends. Currently, he is the saxophone instructor and Director of Jazz Studies at the University of Southwestern Louisiana. vitCHAPTER 1 BACKGROUND During the 1940's, when classical saxophonist, Sigurd Rascher, and jazz artist, Ted Nash, had their unique books on development of the altissimo register published, very few saxophonists ever thought of extending the normal 2 1/2 octave range of the instrument. These extended tones were considered “freak tones" not deserving of legitimate study. Because of the pioneering work of Rascher, contemporary classical composers began to write more works for the serious saxophone soloist, which would incorporate either required or optional altissimo notes. In the jazz world, great soloists including: Ted Nash, Sam Donahue (of the Stan Kenton Orchestra), Paul Desmond, and John Coltrane would incorporate the altissimo register into their improvisations, the result of years of specialized practice with newly-devised fingerings combined with hecessary physical adjustinents. During the 1940's, 50's, and 60's, however, still relatively few performers in either the classical or jazz genre were serious about extending the normal range of the saxophone with artistic results. “squawks" were being heard with more regularity, particularly on the alto and tenor, but few individuals seemed dedicated to adding a complete chromatic scale of one or more octaves to their normal range. One of the exceptions to the above was Santy Runyon, a Chicago-based woodwind performer and teacher, who since the 1940's has taught many jazz greats including Charlie Parker, Sonny Stitt, Harry Carney, Lee Konitz, and Jerry Coker, to name only a few. He was able to connect chromatically the saxophone altissimo with atypical smoothness for one octave or more, (Today Santy Runyon's name is synonymous with high quality woodwind mouthpieces and specialized plastic products for woodwind players. He heads Runyon Products in Opelousas, LA.) Because of the dedicated efforts of this relatively small group of saxophone performers/teachers dating back to the 1940's, development of the altissimo had evolved by the 1970's and 80's to become a routine skill mastered by sincere performers in both the classical and jazz styles of playing. Jazz aficionados hear the sax top tones in the playing of Johnny Griffin, Sonny Stitt, Bud Shank, Pharaoh Sanders, Ernie Watts, Jerry Coker, Nathan Davis, Don Menza, Phil Woods, Eric Kloss, Richie Cole, Dexter Gordon, Paquito D'Rivera, James Moody, and numerous others. In a more commercial setting, the fusion playing of David Sanborn, Tom Scott, Michael Brecker, and Grover Washington reach a far-wider audience than do any of their altissimo-playing counterparts in either the jazz or classical genres. Due to their dedicated efforts coupled with their prolific record output, these (and other) jazz fusion players have brought forth the unique sound of the saxophone altissimo to the general music listener. It has taken nearly fifty years, but today it has become essential for all saxophonists to learn the top tones for the saxophone, particularly for the alto, tenor, and baritone saxophones. 1In this text, based on fifteen years of research, experimentation, and practice, I have compiled multiple high note fingerings for all members of the Saxophone family: soprano, alto, tenor, and baritone. More than two hundred fifty altissimo fingerings are provided. Exercises for daily practice are provided along with the excerpts of selected alto saxophone solo repertoire written by major composers for the instrument. Suggested fingerings are provided for each excerpt. In addition, sixteen jazz etudes based upon familiar chord progressions have been newly-composed by the author to include explorations into the altissimo. To enhance the study of the jazz material, chord symbols are provided along with the volume number and track of an appropriate Jamey ‘Aebersold play-a-long to gain the full benefit of the material. THE EMBOUCHURE AND THE EAR Prior to one's initial studies in the altissimo range of the saxophone, that person must possess a good tone from low B flat up to high Fy a correct Enbouchure, and must have a well-developed ear. Students who have not yet mastered these basic fundamentals of saxophone performance shoul f fhe study of the altissimo register until after a good tone, refined embouchui and_a well-developed sense of pitch can be demonstrated on_their instrument. Before an altissimo tone is attempted, the pitch must be heard accurately in the player's mind, Thus, it is essential to be able to hear intervals in tune and to be Eble to sing (or hum) them to yourself with consistency. Although the focus of this text is not development of a “good ear,” one's sense of pitch and ability to hear intervals is likely to improve considerably with study of the saxophone’s highest tones. To facilitate the refinement of one's pitch, 1 highly recommend practicing regularly with an electronic tuner. Practicing octaves with a tuner is pee of the best exercises I know to begin developing a refined sense of pitch. ‘Miter octaves can be played in tune, I recommend moving on to fourths and fifths. Those tuners that possess the ability to play a pitch back to the musician— in addition to registering a tone on a meter-are the ones I feel are most beneficial for this purpose. the high register sharp on many instruments. The saxophone altissimo {sino exception. Before proceeding with altissimo studies, the sincere saxophonist must be able to play his upper register acceptably well in tune, partic ‘upper C sharp up to high F. This requires a refined sense of. pitt diairelaxed’, but flexible, embouchure. (When the high notes' are’ sl jeeds to drop the jaw slightly while keeping the cornersi firht,t faiding tlaphragmatic support, and retaining a constant air streamjay fr ‘There is a universal tendency, it seems, to play Regardless of the style of mi must be under contro! relating to — oO eer1) Curl approximately 1/2 of the red of the lower lip over the bottom teeth. 2) Do not stretch the lower lip. Instead, bunch it slightly to serve as a cushion. Thinking the syllable "oo", form a circular shape with the mouth. 3) Drop the jaw, and insert the mouthpiece into the mouth. Approximately 3/8" should be inserted for alto players, 1/2" for tenor players. Soprano players should insert slightly less mouthpiece in the mouth than do alto ‘saxophonists, and baritone players should have a little more mouthpiece in the mouth than do tenor saxophonists. 4) Teeth must remain firmly on top of the mouthpiece to eliminate mouthpiece movement. 5) Corners should be firm. 6) The jaw should be down in a normal, relaxed position. It should neither be pointed nor bunched for proper saxophone tone and performance. 7) Maintain the circular shape with the mouth while playing. This will provide support for the mouthpiece while helping to establish a loose, relaxed embouchure. The saxophone embouchure should not be as firm as that of the B flat clarinet, or the resulting tone will be lacking in depth and beauty. Likewise, it is important to remember that the larger the saxophone, the more relaxed_the embouchure. To determine the relative firmness of the embouchure, alto saxophonists should be able to produce a concert A 880 (corresponding to the altissimo F#) on the mouthpiece, while playing at the fortissimo level Likewise, tenor players should be able to sound the concert G above the staff, which corresponds with the altissimo A on the larger instrument. Since most soprano and baritone saxophonists also play either alto or tenor (or both), they must keep in mind that the soprano sax embouchure is only slightly more firm than that of the alto, and that the baritone sax embouchure is slightly more loose than that of the tenor. (Comparatively, the mouthpiece for the B flat clarinet should produce a concert B above the staff when played fortissimo). This concept was introduced to me in Lafayette, Louisiana by veteran teacher /performer, Santy Runyon, more than a year after his eightieth birthday. Having adhered to this pedagogical principle for many decades, Runyon has produced some exceptional saxophone players and woodwind doublers, dating back to his early studio teaching years in Chicago during the 1940's. 3CHAPTER 2 OTHER PHYSICAL FACTORS RELATED TO THE PRODUCTION OF THE SAXOPHONE ALTISSIMO In addition to a good embouchure and a well-disciplined ear, additional factors must be brought under control before the altissimo can be realized. Proceed deliberately through this next section, for an omission of any of the specified techniques could result in top tones that are less than satisfactory. 1) 2) 3) 4) 5) The embouchure must be more firm in the altissimo register than in the saxophones normal range. To properly accommodate increased tension of the lips and facial muscles, a slightly stiffer reed may be needed. If a reed is too soft, it will choke off the tone entirely as pressure is increased. Practicing the succeeding group of exercises on the overtone system will serve to prepare the player for the necessary ‘embouchure adjustments needed to produce the altissimo. To produce the altissimo, the lower jaw will have to be thrust forward somewhat to allow a greater length of reed to vibrate. A slight adjustment of the lower jaw position can make a great deal of difference in one’s attempt to employ additional top tones to the normal range of the instrument. Velocity of the air stream must be increased, sometimes tremendously, to produce certain high notes out of the normal range. Diaphragmatic support must be maintained at all times in conjunction with the increased air velocity. The tongue must be arched high in the mouth, as though saying the syllable, “ee. This will insure a fast air speed, while facilitating the desired top tone. As the tongue is arched high, this serves to reduce the opening of the oral cavity through which the air passes, thus generaling a faster air speed. ‘The mouthpiece can either help or inhibit the development of the high notes. Simply put, some mouthpieces just do not work well to generate the saxophone’s highest tones. The subject of mouthpiece construction, unfortunately, cannot be addressed in this brief text. It is a highly complex and personal matter relating to material of construction, chamber design, battle, tip rail, side rails, tip opening, etc. Considerthese observations and recommendations based upon nearly four decades of playing the saxophone and two decades of teaching the instrument: a. The material from which the mouthpiece is made (plastic, hard rubber, or metal) has little, if any, effect in producing the high notes. Regardless of material, mouthpieces which exhibit any sign of damage or flaw in manufacturing will probably not produce a strong altissimo. (Do not settle for a mouthpiece with nicks In either the tip or side rails, hairline cracks; dents, or warpage. These factors will significantly reduce the possibility of developing a controlled altissimo) Tip openings from medium to very open (although | personally do not recommend excessively-large tip openings) can produce the high notes very wall, as long as it is coupled with the proper reed strength. In general, i reed; and the larger the tip opening, the softer the reed. Unusually-small tip openings do not generate a good altissimo because even with a stiff reed, the tones are usually choked off due to increased embouchure pressure. ‘A mouthpiece/reed setup which blows too easily may not produce a high register. There must be a fair amount of resistance to be overcome before satisfactory results can be achieved. Be cautious of reeds that are to0 soft for the selected tip opening. Granted, they will produce a tone with little effort, but without a reasonable amount of resistance, the altissimo may never be produced. Mouthpieces with high baffles and narrow tip rails (ihe type usually equated with contemporary jazz and commercial playing) are usually very responsive to the high tones, as long as the proper reed strength is selected to provide sufficient resistance, Jazz-oriented mouthpieces with a small chamber (to produce a bright sound with much projection) usually produce a strong altissimo. It is interesting to note, however, that there are some fine classical sax mouthpieces that lack the small chamber, thin tip rail, and narrow side rails which still produce a strong allissimo in the hands of a seasoned musician. Instead, they possess a 5large chamber with moderate to broad tip and side rails.) Such universally-accepted classical mouthpieces as the Selmer S 80 and its predecessor, the Selmer Soloist in a standard C* tip ‘opening ate capable of producing a great extended range. This is somewhat due to the fact that these mouthpieces have a considerable amount of resistance built into them to help control both the volume and quality of tone. Coupled with the proper reed (in combination with the necessary physical adjustments just addressed), these mouthpieces and others of similar design can produce excellent high notes that sound well-centered and in- tune. g. A premium quality ligature can definitely enhance the saxophone's top register. (I prefer those manufactured by Rovner! which are made of practically-indestructable material resembling leather and with one adjustment screw on top. Almost impervious to any type of breakage, these excellent ligatures are reasonable in cost and allow the reed to vibrate at its maximum.) Many other brands of quality ligatures are available at belter music stores across the country. It pethaps deserves mentioning that Runyon Products of Opelousas, Louisiana has recently marketed a new saxophone mouthpiece called the "Bionix,"2. which Santy Runyon designed expressively for the purpose of facilitating the altissimo register for today's musician who also desires added projection. It is likely that in due time other mouthpiece manufacturers will follow Runyon’s lead and develop their own high note sax mouthpieces. Lastly, don't be afraid to experiment with many mouthpieces, reeds, and ligatures until you find a combination that works well for the type of playing that you do, whether it is classical, jazz, fusion, or commercial. If you regularly perform in two (or more) distinctly different genres--such as classical and jaz2-- don’t expect to find one mouthpiece which will perform with excellent results in both situations, Finding one such "compromise mouthpiece” can be very frustrating. Instead, I recommend that you look for two contrasting mouthpieces that will allow you to perform at your very best in each musical situation. ‘Rovner Products, P.O. Box 15006, Baltimore, MD 21202. 2Runyon Products, Inc., P.O. Box 1018 Lewisberg Rd., Opelousas, LA.CHAPTER 3 OVERTONES Because of the acoustical phenomenon known as the harmonic series or overtone series , every note played on a wind instrument is comprised of several different notes heard in varying degrees of prominence. The strongest of these tones is called the fundamental, while each of the inherently weaker tones is called a harmonic, overtone, or partial. Illustrated is the overtone series through the 12th partial based upon the saxophone’s five lowest notes: Bb, B,C, C#, and D. These are for reference only, and are not intended to be played as an exercise. See Example 3-1: All of the harmonics can be produced from the fingering of the fundamental if the following adjustments are made: 1) The embouchure must be made more firm than normal while maintaining the circle or "oo" formation. 2) The girvelocity must be increased to create more air pressure. 3) The tongue must be increasingly arched (as though pronouncing the syllable "ee") when ascending the overtone series. The converse of this principle must be followed when descending the overtone series. 4) Slightly more reed must be exposed in the mouth by rolling the lower lip out a little. 5) The jaw should be thrust forward slightly to allow for better reed vibration. Make certain that the reed is firm enough to vibrate fast under increased embouchure pressure. A soft reed will not produce good results.EXAMPLE 3-1 Much experimentation will be necessary to achieve the desired results with the production of the natural overtone series. Once the overtone series can be controlled, one will have obtained the correct “feeling” for producing the altissimo register with special fingerings as illustrated in Chapter 4. First, begin by practicing the overtone series based on fundamental BP, the easiest to play and the best in-tune of all. Try to produce the second partial, third line Bb. This harmonic can be challenging to isolate because of its relatively low frequency. It is not unusual to produce the 12th, F, while aiming for the octave B®. Do not despair if you experience the usual difficulty in finding the second partial. What offen happens is that due to increased embouchure pressure and air velocity, the 12th sounds immediately after the 8fundamental, bypassing the desired octave Bb. If this occurs, try using a slightly slower air stream while intentionally keeping the tongue low in the mouth. As a final aid, take a little bit of mouthpiece out of your mouth and try again. This technique will dampen some of the reed vibration, and, in turn, it will greatly facilitate the production of the second partial. Remember, YOU MUST HEAR THE TONE BEFORE YOU PLAY IT. HUM OR SING IT TO YOURSELF BEFORE YOU BLOW. The inner ear must accurately hear the desired pitch before you ask the embouchure and the air stream to produce it. Before proceeding any further, practice the exercise outlined in this paragraph. Because of the importance of developing the inner ear along with the embouchure and air stream, you must work methodically to strengthen each of these related facets that affect one’s performance. Octaves, fifths, and fourths, should be practiced first--in that order. These are the first intervals produced as one ascends upward through the overtone series, and you must learn to hear them in tune, Once you can isolate the second partial you should begin working on producing the third partial, top line F. This harmonic generally responds easily with only a slight increase in pressure and air speed. If you find difficulty getting this overtone to speak, arch the tongue slightly as if saying the syllable “ee.” This technique serves to increase the air pressure by generating a faster air speed due to the greatly reduced opening in the oral cavity caused by the arched tongue. See the next illustration, Example 3-2. Notice the intervallic relationship between the first three tones of the overtone series: an octave from the fundamental to the second overtone, a perfect fifth from the second overtone to the third.EXAMPLE 3-2 r- Oct. 5 = ; 1 2 3 After each of these two additional tones can be produced in succession, try isolating the 12th, F. Finger low BP, and then stop. Hum the 12th, and then play it from the low BP fingering. Check the intonation of this third partial by fingering and playing a regular F. Practice descending from F to middle BP, to Jow Bb, all with the low BP fingering. ‘Once you are comfortable producing these first three tones of the Bb overtone series—regardless of how long it takes you~try comparable exercises starting on Low B, C, C¥, and D. You will discover that these harmonics work less well than do those based on Bb. This is because the overall responsiveness of the harmonics diminishes as one ascends to the upper fundamentals above Bb, When you ascend from the third partial to the fourth, a perfect fourth results. See Example 3-3: 10EXAMPLE 3-3 Thus, in practicing up to the fourth harmonic of the overtone series, you are confronted with all perfect intervals: the octave, perfect fifth, and perfect fourth. These are the most important intervals for any musician to learn to play (and hear) in tune, Practice in a variety of ways on the BP series while you finger the fundamental: 1) Ascend from the fundamental to the fourth partial, BD = BD. Don't worry about articulating for now. 2) Descend from the fourth partial to the fundamental. 3) Randomly jump around to any of these four tones, but do nol proceed until the inner ear hears the targeted nate. Producing the fourth partial, which is two octaves higher than the fundamental, requires a noticeable increase in embouchure pressure and air speed as compared to the previous one. In addition to increasing the air speed and embouchure pressure you will likely need to arch the tongue more (while thinking the syllable “ee"), expose more reed by rolling the lower lip out slightly, and thrust the jaw forward a small amount. This barely-noticeable movement of the jaw allows the player to increase embouchure pressure without sacrificing maximum reed vibration, a must for altissimo playing, ulOVERTONE EXERCISES The following, series of exercises incorporates overtones up to the fourth harmonic utilizing only Bb, B, and C. Maintain the fingering for the fundamental tone for all given notes in the exercise. Strive for accurate intonation. HEAR THE PITCH BEFORE YOU PLAY IT. Check the intonation of the overtone with that of the comparable note played with the normal See Example 3-4 finger EXAMPLE 3-4 Practice the following until these tones can be played with relative ease. Use the ‘cringe of the fundamental indicated with the diamond shape note head (ese == ie i Pe 12EXAMPLE 3-5 ip bo 2This next series of exercises incorporates overtones up to the eighth harmonic based upon fundamental Bb. Since this overtone series is more stable and better in tune than others, it would be best for you to limit yourself to only this one as you attempt to extend the harmonic series to the eighth partial. In spite of the intonation deficiencies of the seventh partial (noticeable flatness), you should ‘clearly recognize the familiar sound of the Bb dominant seventh chord (Bb7) once you produce the seventh harmonic, Ab, Again, strive for accurate intonation, and HEAR THE PITCH BEFORE YOU PLAY IT. See Example 3-5: OVERBLOWING SIXTHS Thus far we have concentrated on overblowing harmonics based on the saxophone's lowest tones, a necessary stepping stone for developing a strong altissimo register. It behooves you, however, to also explore the technique of overblowing sixths from the Saxophone'’s upper register. Actually, many excellent altissimo fingerings are based on the standard fingerings a sixth below. (Minor fingering adjustments will be made to these standard high note fingerings to improve the overall tone quality, stability, and intonation of the top tones. These can be seen in Chapter 4, Altissimo Fingerings.) Soprano, alto, and tenor saxophones will overblow a major sixth above the following notes: C#, D, D#, E, F, (F#), Noticeably less consistent than its smaller family members, the baritone sax tends to overblow minor sixths above C4, D, and D#, and major sixths above E and F. This, however, can vary depending on the manufacturer of the instrument. See the following illustration, Example 3- 6 15