Saxophone Methods Lecture Notes

MUS 2635 Meets MW 9:40-10:35AM

General Thoughts See James for 2-1/2 reeds - most students will not have reeds of their own. If possible, have the students obtain saxophones prior to your first class meeting. The semester will be split into 3 alternating periods (sax/fl/clar), each period lasting 9 class sessions. Saxophone Methods will be taught twice (two 9-class periods). See James for class list. With the move to semesters, this is very little time in which to teach the instrument, so use every minute wisely. A sample typical class agenda could look this way: -warm up with an assigned piece or exercise -review last sessions material -mini lecture on topic of the day -more playing -another mini lecture if youve got time -assign next class material If you move faster or slower than the material that is listed for each day, thats FINE. This is just an outline its likely that youll stray from this script. Be sure that most classes include a good mix of them playing and you talking, to keep them involved and interested. Respect the students, and maintain a dialogue. Question them, have them demonstrate and try concepts, etc. Throughout each class, have the students attempt to fix problems in other students playing: -if someone squeaks, have another student fix the problem as if youre not in the room and they are on their own as a band director -if someone is dramatically out of tune, has the wrong fingering, has incorrect posture, embouchure, articulation, etc. Feel free to single out individual students, or small groups of them, to play assigned exercises for the class. This will keep them practicing Playing tests: consider these on the 5th, 7th class meetings, with a final playing test either on the last day of sax methods or some other time (during the official final exam time??). Written test: You have the option of giving the written test on the last day you meet with the class, then do the playing test at a later date to give them more practice time. Is it possible to do any of these outside of class time?? Do you want to give any take-home tests since the class is so short?? Decisions, decisions. Peer teaching observation: think ahead about how you want to schedule these. Unfortunately these really should occur outside of class time. Do you want to be present OR view video recordings of these?? Decisions, decisions.

Final playing exam: Playing finals in the past have included: Bolero, or Pictures, or last Mauk etude, or The Swan, etc Scales: majors up to 4 #, 4 b, and full range chromatic scale with alternate fingerings. Major scales should be two octaves when possible.

Day One
Hand out and discuss syllabus/packet - describe main elements of class, and calendar. Show text and be sure every student owns one. Show students the proper way to remove sax from case and assemble instrument --brand name faces up on the case when opening --be sure to leave endplug in horn when in case --careful not to drop mouthpiece --put mouthpiece on neck first, using grease if necessary (dont push the moutphiece on so hard that they bend neck) THEN reed on mouthpiece (slide reed between lig and mtpce after sufficiently wetting both ends of reed), THEN neck on horn --keep the reed off mtpce when in case, ideally stored flat in a Ziploc bag --store mtpce in sufficient place so as to avoid damage/chipping Neckstrap adjustment...This can be the most challenging thing about assembling the instrument! Discuss hook vs. dog leash-style clasp. Avoid resting the horn on knees. The neckstrap should hold all the weight of the saxophone. The hands simply act as fulcrum points to maneuver the instrument to the mouth. Posture: sit up and forward on chair, keep back straight. Dont rest the sax on your knees or on the chair. Always support it with the neckstrap. The sax can be between legs or on right side of legs (I start with side at first). Embouchure: see Mauk and add your own thoughts 1)Have the students blow only in the the mouthpiece/neck assembly to get a tone out, and have them remember to teach embouchure that way, too. 2)lower lip pressure is odd for beginners; they often dont use enough, for fear of cutting the lower lipthey are rarely sharp due to too much embouchure pressure. Try mouthpiece pitches to determine amount of pressure to use (produce a concert A on the alto mouthpiece, or A#). 3)Dont forget to give the rubber band/drawstring/garden hose analogy. 4) A big deal: the amount of lower lip they take in has a dramatic effect on the tone. If they are squeaking or sound extremely bright, ask them to take in a bit more lower lip.

Play a few notes, describe hand position and have them avoid side keys and palm keys when fingering primary notes. These bumped keys are often the problem when notes arent successfully produced. Tell students to keep a separate notebook rather than keeping notes on the handouts, so that 1. the handouts stay readible 2. they have organized, legible written or typewritten notes for end of sax methods Something to consider: Notebook to be handed in at end of semester: -needs to be typed -all notes from every day of class, even those you miss -content will be checked against the final exam topic list -- this needs to be a notebook that will work for you in 5 years on a band room shelf -3-ring binder, includes handouts as well as their typed notes. Care of the saxophone: dumping out saliva, how to cleanse horn (not with any cleansers), avoiding harsh temperatures, shaking neck and mtpce, wiping reed, etc.

Day Two
Review/discuss posture, reed placement, embouchure - have students describe these things Play all (or most) of the chromatic notes on the sax, following fingering chart Discuss saxophones they should purchase for their programs (Yamaha, Selmer). bring brochures Yamaha: 23 is student YAS475 and 62 are intermediate 82Z and 875EX are professional Selmer: 300 is student 200 and 100 are intermediate Super Action Series II and III are professional ***also describe what instruments to NOT purchase???? Buescher, Winston, Amati, LA Sax, Woodwind, Codera, Allora, Belmonte, Antigua Winds, El Dorado, Olds Parisian, Conns after the M was dropped from the serial number, Grassi, Conservarte, and just about any Chinese-manufactured horn. Student models -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.

Describe features on professional models: blue steel springs, adjustable low note felts, adjustable side Bb/side C, pro mouthpiece provided, style of the front F key, high F# key, high G keys on some instruments, etc. 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 you havent heard of! Reeds -- everything about them Bring in many brands of reeds to show, plus reed-working tools Vandoren V16, Vandoren traditional, Vandoren hand select, Hemke are often classical reeds of choice for indoor use, solo performance, saxophone quartets, etc. Java, LaVoz, Rico Jazz, Rico Jazz Select, Rico Royal and Rico are often jazz reeds of choice, and also often used for outdoor use and with beginners in any situation. Other reeds include Rico Plasticover, Bari (synthetic), Alexander, Fibracell, Glotin, Rousseau, others. Plastic reeds as possibility for marching band use Hard vs. Soft: Describe and demonstrate the qualities of hard and soft reeds. Play and demonstrate a soft reed. Benefits are improved response, easier articulation Drawbacks are thinner sound, wiry intonation Play and demonstrate a hard reed. Benefits are solid tone, more consistent intonation Drawbacks are difficult low note articulation, difficulty in playing long phrases comfortably. Demonstrate: To get reed to play softer, push it down on mtpce, to play harder, push up. Have a student try this as well. Listen to resultant tone and response. The closer the tip opening on the mouthpiece (define), the harder the reed needs to be. Reed Storage: Keep reeds flat, and in a constant environment because they can warp -- just as doors warp and dont close/open in the humidity of summer. Do this by --using ziploc bags --using Vandoren or other reed cases/reedguards --date the reeds or the box they came in --other less popular options include keeping them permanently in water, water and

Listerine, or in hydrogen peroxide, which is inexpensive and serves to clean the reed and draw out deposits. This saturates the reed. See reed diagram in handout packet for names of areas of the reed. Assignment: Read Mauk, pp. 1-13. Also read article in the handout packet from Instrumentation. Practice Mauk units 1 and 2.

Day Three
Review: From Reading pp 1-13 of Mauk, and Instrumentation article (found in course packet): -What are the names and keys of all the saxophones? -Invented by whom? When? -What brands of saxes does Mauk recommend? -What else does the introduction to Mauk cover? -how do you spell saxophone? (this is a common misspelling) -range of the saxophone? Benefits/drawbacks of using a soft or hard reed? What brand and model # of saxophone should be considered for purchase for a band program?? Hear assigned exercises Rehearse upcoming playing test material with class?? Show Teal Art of Saxophone Playing and stress its importance as bible of saxophone playing -show them Teals samples of bad embouchures and other topics of choice Discuss ranges of the saxophones & transposition (NOTE: transposition is typically the most difficult portion of the final for most students. Be sure to practice it prior to discussing in class.) refer to the instrumentation handout, which discusses this -practice transposition on the blackboard, first moving from concert pitch to written sax pitch, then sax to concert pitch. do this for all SATB saxes -plan to practice transposition with them at the beginning of many class sessions, giving everyone 1 or 2 notes to transpose on the blackboard Discuss articulation - see Mauks discussion. tah (air release) and tat (tongue release), where to hit tongue on reed, also to avoid cough muscle noise. --avoid KAH -have the students demonstrate tah and tat tonguing, going around room -be sure to demonstrate incorrect use of too much tongue, then correct use of tongue -air attacks often work, depending on register/dynamic

At some point, it might help to mention the problem of losing air through the soft palate when 1st beginning to play. Assignment: Mauk 17-18/19, and/or pp. 20-23 (articulation exercises). Provide piece for playing test #1 today?

Day Four
Review articulation: where to hit tongue on tip of reed, two types of releases (tongue and air) -keys of saxes -reed brands and strengths -horns to buy -describe saxophone embouchure Hear assigned exercises. Provide info or lead in-class practice for playing test #1?? Might include: Londonderry Air, page 41 of Mauk, and top line of page 27 of Mauk (Bach duet) and C, F and G major scales (all one octave). Tricks for class to solve: -Put reed way too high on mtpce and play, see if they can determine problem. -Play middle E with palm key open have them figure it out -Play palm key notes with high C key down Reminder (if notebooks are made part of final grade): notebooks will be graded at end of class - be taking notes!!! Discuss and schedule the graded peer teaching exercise, when and how it will work: Be sure everyone has the Saxophone Lesson Assignment sheet: 1. students will be evaluated on teaching a beginner these ideas: --assembling instrument --preparing and putting on the reed --posture --embouchure --producing as much of a c major scale as possible --troubleshooting any problems that may arise --teaching basics of articulation if time permits arrange with class 20-30min. individual sessions to occur outside of class time Instructor will critique the teaching - classmates will not be there no notes may be used for this exercise, and no lesson plan is required

2. 3. 4.

5. 6. 7.

Obtain another alto so that students can model with their own instruments, and their subjects can use the other saxophone. See James for extra reeds. Remember that the students subjects will most likely pick up on the sax quicker than a non-musician middle school student!! Important -- be sure the students choose subjects that have ever played a woodwind instrument - be sure to remind them of that!!

See written component to the teaching assignment on the handout stress that a full page of text is required for full credit. Assignment: practice for playing test, OR learn Mauk pp. 24-25, and plan to play duets on pp. 26-28. ALSO: Read New Groves article on Saxophone.

Day Five
The first Playing Test might occur today if so, reserve the lecture material below for the next class meeting time. In any event, be sure to give an assignment for the next class. Questions from Reading of New Groves Adolphe Sax and Saxophone Articles What important composers backed Sax? Berlioz, Rossini, Halvy, Meyerbeer and Ftis What inst may have influenced the invention of the saxophone? Ophecleide What institution accepted Saxs instruments for use in France? Military bands What features of its construction make the saxophone unique? -a conical tube of wide bore, made of metal, and a single reed; this combination of characteristics puts them in an instrumental category of their own. -simple-system oboe combined with the Boehm system for the right hand What is the range of modern saxophones? Transpose how? What families did Sax invent originally? F-C, Bb-Eb. C melody is a vestige Invented when? Patented when? -the saxophone became free for general development in 1866 (sax got an extension on the 15-year patent) In the 19th century and sometimes the 20th the tube was often parabolic in shape, but nearly all saxophones are now made with a straight cone.

Show ophecleide photo When did the veritable epidemic of saxophone mania occur? -c. 1920 (sax ensembles with 100+ players)

Hear assigned exercises Take time to discuss/review the standing and sitting posture...have the class stand for todays class since theyre not very used to standing and playing Bring in mouthpieces (see James) to demonstrate and show dimensions and materials they can be made of. Mouthpieces for students to purchase: Selmer S90 mouthpiece with 180 or 190 facing, Selmer C-star, Vandoren Optimum AL3 or AL4, Rousseau mouthpieces for classical use Meyer 5M or 6M, and Otto Link 5 star or 6 star (metal or hard rubber) mouthpieces are common for jazz use, but there are MANY to choose from. What is a stock mouthpiece? describe poor quality of these mtpces. Materials mouthpieces are made of: metal, hard rubber, plastic, glass, crystal, wood. --mouthpieces of different materials with the same dimensions play almost the same. Never wash mouthpieces in hot water and never drop them! Keep mouthpieces in a sock, or soft bag or box to protect from chips. Mouthpiece dimensions have an effect on pitch, tone, volume, flexibility, ease of playing. Demonstrate different mouthpieces: metal vs. hard rubber, classical vs. jazz, show many brands Draw mouthpiece diagram on board and label the following: Facing: shape of the curve that leaves the flat level of the mpthpce, which controls the tip opening. Narrow tip opening = usually requires a harder reed, since tone is thinner Wider tip opening = usually requires a softer reed, since tone is fatter. Baffle = portion of mtpce. directly back of the tip, inside the chamber, which receives the initial vibrations as they leave the reed. high baffle = brite, edgy sound, buzzy no apparent baffle = darker, softer tone quality Tip rail broad = nice tone, little flexibility narrow = squeaks

Side rails Chamber primary resonance area for the tone. Mouthpiece patches can make playing more comfortable, or using tape on top, to keep teeth from sliding. Assignment: pp. 29-30 of Mauk. Provide piece for playing test #2???

Day Six
If desired, hand out your notes from their last playing tests, and provide class with general thoughts from the playing tests, and others from the past: -embouchure and tone...have them describe embouchure -taking in more lower lip helped everyone -we tend to pinch the longer we play, making things sharp and cutting off tone; squeaking occured at the end of exercises when students got tired and pinched Review mouthpiece parts and brands to buy Review transposition and put notes on the board for them to transpose each way: from concert to sax and from sax to concert key. Hear assigned exercises and/or rehearse playing test piece #2. Describe and demonstrate Alternate fingerings: F#, Bb, side C, playing G# with any low note keys Talk about adjustments on the horn: pad height in general, bis and g-sharp adjusting screws, octave key opening because out of adjustment, stuck low c-sharp key, palm key or other pads torn, playing middle or low e-flat too close to body causes flatness, bent body, etc. Discuss squeaking and strategies to address it: -with beginners, dont assume the equipment is the problem. Usually a review of correct embouchure will help, especially discussing how much mtpce to take in (about halfway, or to where the reed meets the mtpce), or how much lower lip to take in (usually if they take a bit more lower lip in, it warms up their tone), or supporting embouchure from all sides. Then check reed for warping (look into mouthpiece along side rails for light, check tip, check softness, etc). Other problems can include the instrument: anything in bell or body? Any major defects? Assign Mauk page 34-35, p. 34: #1 A-H, #2 A-C, F, I, L (dont do #3).

Day Seven
Playing test #2?? Provide final written exam review sheet?? Review articulation, have them describe how to articulate Review alternate fingerings Arrange private lesson times if anyone requires extra attention Hear assigned exercises Bring and discuss a repair/supply kit to have in band room: leak lite, contact cement, lighter, rubber bands, cork grease, key oil, swabs, extra ligatures/mouthpieces/reeds, tape, fingernail polish, crochet hook to put spring back on with, screwdrivers of all sizes, (for advanced players: reed clipper, reed knife, sandpaper), etc. Review adjustments on the saxophone. Talk about pads and leaks, felts springs and corks. Review the following things that have been mentioned in class so far and make sure they know that the final will include: type of mouthpiece and reeds to buy, what strengths to buy, transposition, keys of the sax family, articulation, embouchure, horn assembly, squeaking, adjustments, repair kits, what horns to buy, posture, intonation, etc. General intonation tendencies: draw rough diagram on board AND see intonation charts in handout --mention that the louder the flatter, the softer the sharper, and how to correct this. --mention how to flatten, how to sharpen pitch with embouchure and without embouchure, using alternate fingerings (alternate middle C#, adding R hand keys for high C#, is about all they need at this point) Have class members demonstrate flattening pitch. Which is easier: raising or lowering pitch? Saxophone registers --saxophone is a conically bored instrument, like oboe. Flute is cylindrical. What about clarinet and bassoon? --the two vent tubes (Octave keys) on the instrument are located precisely for acoustical reasons, so as to assist with overblowing at the octave --the clarinet on the other hand overblows 12ths, and uses a register key, not an octave key, as on the sax --the sax vent tubes are placed on the sax as an acoustical compromise, since ideally every note would have its own octave key. --Your goal is to conceptualize one big register, with no breaks in tone at all, rather than an instrument with 6 registers.

low note extensions are low Bb to C# fundamental notes are low D to middle C# notes serviced by lower vent tube are middle D to high G# notes serviced by upper vent tube are high a to high C# palm key notes hi D to Hi F# altissimo notes are high G and up to double high F Warm up exercises that can be used to assist with bridging all the registers: Increasing the interval size exercise: f e f d f c f Bb f a f g f low f f Octave slur exercise: low Bb middle bb high Bb low c mid c high c, all slurred up and down Long tones, from niente to forte to niente on any scale Assignment: Mauk pp. 47-48, Ab to Bb and Bis fingering exercises AND Also assign duets: pages 31, 32, 33, 36, 37, 38

Day Eight
Hear assigned exercises Demonstrate and discuss all 4 saxophones, also get the bass and /or sopranino if you like soprano - intonation, posture, new instruments have bent necks, very sharp low notes altotenor - always sit with it to the right of legs, low note production, producing G above the staff bari - breath support, horn on right of legs, voicing notes sopranino and bass Assignment: Mauk, page 45 (chromatic exercise etude with alternate fingerings) AND any of the following: trio on p. 42, duet p 51, quartet p 52, duet p 53, trio p 53/54, quartet pp 55-56, and quartet pp 57-58.

Day Nine
Written final today???

Additional concepts if time permits, or to swap out with any information above: 1) VIBRATO Assignment: Read about vibrato, Mauk pp 39-40. Assign page 41, vibrato exercises

Discuss vibrato and practicing concepts with metronome. (also see pages 39-42 of Mauk for vibrato discussion) Mention that Marcel Mule was the first to introduce vibrato to classical saxophone playing, as a result of his playing with jazz bands in Paris A recording of a lyrical work (such as Bozzas Aria, Lantiers Sicilienne or Rachmaninoffs Vocalise) would be a good place to start. Emphasis needs to be placed on the fact that vibrato is produced most effectively with a very minor movement of the lower jaw, in an up-and-down motion. Students should avoid back-and-forth jaw motion, diaphragm vibrato or breath vibrato. How is vibrato produced on the other woodwind instruments? Facial muscles should support an attractive tone but not conflict with the work of the lower jaw. The idea is, relax! Practicing in front of a mirror can aid in the production of a smooth vibrato, since major facial movement can translate into exaggerated vibrato. Use non-saxophonists, as well as good saxophonists, as vibrato influences Provide a specific exercise or two for vibrato practice: different vibrato subdivisions of a slow metronome pulse, for example Have all class members try playing a long tone with vibrato 2) SOURCES FOR REPERTOIRE See supplement to Teals Etude/Repertoire list, in course packet. --bring in method/etude books, beginning repertoire and discuss pros/cons Tell class to check out the online OU sax studio repertoire list on line when in need of piece info. Solo repertoire wont really begin until later high school study Many of the solos in the Rubank books are ok for contests, also Teal collections and easy freshman level works Remind class that state contest lists are a great place to start, along with spending time at local music stores looking at music 3) HISTORY Mention historical facts: --sax invented by Adolphe Sax, around 1840. patented 1846 --sax envisioned a cross between brass and woodwinds --some say that a predecessor to the sax is the ophicleide

Also discuss other thoughts: --brass instrument, woodwind due to reed --uses leather pads (bring in and show some pads, even consider going down to Rick Seiter for a class session) --reed sets sound waves in motion through the instrument, actually closing against the mouthpiece at times (see Teals description of tone production) Mention to class that they should definitely know everything in that instrumentation class handout about saxophone 4) INFLUENTIAL SAXOPHONISTS **For this information hand out classical sax player handout and jazz player outlines. If time, play examples of major saxophonists Name the big three, have students name Sinta, Rousseau and Hemke. Ask about Paris Conservatory, who taught sax there first?(Sax) 5) ORCH/SOLO REPERTOIRE FOR SAXOPHONE **give them the orch. literature handout and do some listening to orch works Orchestral composers who have written for saxophone: see handout Orch works for sax Mention Ibert, Glazounov and Creston as three of the most important solo works for alto. (although not H.S. level) Alto saxophone has the biggest and better repertoire of all the saxes. Play examples. 6) TRILL FINGERINGS If time, discuss trill fingerings for all notes (at least make sure the class knows where to go to for trill fingerings, i.e. Rubank Advanced Method vol. II trill chart)