saxophone basics

Saxophone Basics

by Sergeant First Class Jeffrey Price

The Musical Ambassadors of the ArmyWashington, DCWashington, DCW

The United StatesArmy Field Band

The United States Army Field Band4214 Field Band Drive Fort Meade, Maryland 20755-5330

Phone: (301) 677-6586 Fax: (301) 677-6533E-mail: fl [email protected] Website: www.army.mil/fi eldband

The United States Army Field Band Saxophone Basics

1

Saxophone Basicsby

Staff Sergeant Jeffrey Price

HISTORYThe saxophone is a versatile single reed in-

strument belonging to the woodwind family. Theentire family of saxophones ranges from the seldomused sopranino and contrabass to the more com-monly used soprano, alto, tenor, and baritone saxo-phones. The saxophone was invented in 1838 byBelgian-born instrument maker, Adolphe Sax, andwas patented in 1846 in Paris, France.

Although designed to augment low voices ofthe symphony orchestra brass section, the saxo-phone was first commonly used in French militarybands. As it gained exposure around the world, thesaxophone established itself as a permanent fixturein band repertoire. Since its introduction into vaude-ville and early jazz, the saxophone has continuedto hold a prominent place in popular music.

Whether in marching band, jazz ensemble,concert band, or saxophone quartet, one of the ma-jor problems of student saxophonists is the abilityto play in tune and blend with other instruments.For proper intonation and good blending in an en-semble saxophonists must evaluate these factors:the condition of the instrument, breath support,mouthpiece/reed setup, embouchure, vibrato, andsound concept. By addressing all of these areas,saxophonists can use this knowledge to enjoy prac-ticing, playing, and performing all types of music.

INSTRUMENT MAINTENANCESaxophones are like carswithout regular

maintenance they will not respond well to your ac-tions. A poorly maintained instrument can causeits player to sound bad, have less fun, and becomefrustrated quickly. Common problems include leakypads, bent keys and rods, missing felts and corks,broken springs, unregulated keys, and faulty align-ment.

Saxophonists can do many things to keep theirinstruments in good playing condition. First, wipethe moisture out of the saxophone neck and bodyafter playing. This will help remove the condensa-tion from the bore and pads, allowing them to dryfaster. Failure to do this regularly can cause pads

to wear out quickly. The instrument may also de-velop an unpleasant odorgreen and blue bacteriamay even grow on the pads and bore! Second, useboth hands when holding or moving the instrument,especially when getting it out or putting it away.Be especially careful not to bend the rods. Third,inspect the instrument regularly. Look for loosepads, cracked corks, and unusual clicks; have themchecked before they become major problems. Finally,have the instrument evaluated periodically by aqualified professional repairman. Doing this pre-ventative maintenance at least once a year will fixmany minor problems and eliminate the need forcostly major repairs later. Remember that a prop-erly maintained instrument will work better andbe more fun to play.

BREATH SUPPORTThe lungs must be trained to produce the

steady, focused, sustained air stream needed to cre-ate vibrations in the reed and mouthpiece. Goodposture with a straight back and neck will greatlyaid the breathing process. Do not raise and lowerthe shoulders when breathing. Lifting the shoul-ders creates tension that will affect the sound andthe fingers. Players should try to use their entirelung capacity, allowing the lower part of the lungsto push the stomach forward, then filling the up-per cavity. The air is then released steadily, con-trolled by a muscle called the diaphragm. The airstream should always be steady, never choppy. Aplayer can think of filling the instrument or thewhole room, never stopping the air except at theend of a phrase or during a rest. Using too littleair can result in playing sharp, while using toomuch air can cause a note to go flat. A good way topractice producing a steady air stream is to playscales at various speeds using the full range of theinstrument (see Example 1 on next page). Concen-trate on producing an even air stream and consis-tent sound all the way up and down.

MOUTHPIECES AND REEDSThere are many different kinds of reeds and

mouthpieces developed for the diverse styles ofmusic a saxophonist must play. Generally, a me-dium-sized mouthpiece will meet most marching

2Saxophone Basics

& b b cExample 1: Bb Major

& n n b b b b bBb Harmonic minor

n n

b n n

&Bb Chromatic

b n # # # # # # # # # # # #

n b b b b b b b b b b b b b

Full range scales using Bb Major, Harmonic Minor and Chromatic scales

and concert band needs. A medium facing will pro-duce a round, focused sound typically needed forthese groups. The mouthpiece will aid in blendingwith the dynamic, tone color, and style of the othermusicians. A Selmer CH is one of the best medium-sized mouthpieces. If cost or availability are a prob-lem, it should be noted that most mouthpieces thatcome with a new instrument have a medium facingand will be adequate. When performing in jazzgroups, a mouthpiece with a larger tip opening maybe needed to project the sound and match the flex-ible styles and brighter timbre of the other musi-cians. Good mouthpieces and facings for this styleinclude Meyer 5, 6, or 7 or Otto Link 5, 6, or 7.Mouthpieces are usually made of hard rubber ormetal. These materials produce different timbresand have distinct advantages and disadvantages.Make an educated choice when picking a mouth-piece. Use the knowledge of a band director, pri-vate teacher, local professional musician, or musicdealer to find a match that will suit the playingneeds. However, remember that the price of amouthpiece has little to do with its suitability.

It is important to match the strength of thereed to the mouthpiece. The air stream blowsagainst the mouthpiece/reed setup, creating thevibrations that become the sound. Reeds that aretoo soft will produce low notes too easily, cause highnotes to be out of tune, and sound stopped andmushy. Soft reeds may encourage using a weak airstream or poor embouchure to produce the sound.

The reed will vibrate too easily and unpredictablyagainst the mouthpiece, so the focus of the soundand pitch will always fluctuate. Hard reeds,whichrequire excessive amounts of air to make them vi-brate, may hamper low note playing, encourage abiting embouchure, and promote excessive air use.Select a reed strength that will produce a sound thathas a consistent tone throughout the full range of theinstrument. Octaves and intervals should be changedjust with fingerings, not with absurd throat and em-bouchure movement (See Example 2 on page 3).

Generally, a medium strength reed fits a me-dium mouthpiece facing. For example, 3 or 31/2Vandoren reeds would fit a Selmer CH mouthpiece.A lower strength reed fits a large, open mouthpiece(i.e., 2 or 21/2 reeds may better match a Meyer 7mouthpiece). Consult a band director, privateteacher, or professional for help in matching thereed to the mouthpiece. Keep in mind that reedstrengths vary between manufacturersa #3Vandoren reed, a #3 Rico reed, and a #3 Rico Royalreed are very different.

The ligature is an important part of the mouth-piece/reed setup, which can also have a substantialeffect on tone. Make sure the ligature is in goodcondition, allowing for a snug fit of the reed againstthe mouthpiece. Ligatures that are bent, broken,or missing screws might work to a limited extent,but do not let the reed vibrate correctly against themouthpiece.


3

REED AND MOUTHPIECE CAREBe sure to routinely wipe out the mouthpiece

with a soft cloth, not a brush. This cleaning willprevent gurgles and foreign objects from decreas-ing or changing vibrations in the chamber. Exer-cise care to avoid chipping the tip or scratching thebore and rails of the mouthpiece.

Saxophonists should maintain a minimum offour playable reeds at all times. Reeds that arewaterlogged, chipped, cracked, or covered in lipstickshould not be played.

When putting the saxophone away, do notleave a reed on the mouthpiece. It can easily chip,become discolored, and develop an unpleasant odor.Reeds should be stored in a reed guard orat mini-mumthe plastic covers that come with somereeds. This will keep them safe until the next useand they will dry evenly without warping. A reedguard can be made from a piece of glass, withrounded sides for safety, with rubber bands to holdthe reeds in place. Reeds should be rotated fre-quently, allowing them to dry out properly and lastlonger; this will cost less in the long run becausefewer reeds will be needed.

EMBOUCHUREThere are many different variations on teach-

ing good saxophone embouchures. A standardmethod involves putting the top teeth on the top ofthe mouthpiece at the point where the curve of themouthpiece pulls away from the reed. Cover thebottom teeth with the fleshy part of the lower lip toform a cushion. Create pressure around the mouth-piece so that no air escapes from the corners of themouthpiece. To maintain good intonation, the pres-sure should be fairly consistent all the way aroundthe mouthpiece, similar to a rubber band. The em-bouchure should remain consistent for the entirerange of the instrument. There should be no radi-cal movement of the jaw to produce any noteavoidopening up for low notes or squeezing for high notes.The embouchure is generally consistent, though thetongue placement changes in playing different reg-isters. Saxophonists should be able to play allpitches by simply producing a steady air stream andpressing fingerings.

VIBRATOVibrato, added for warmth and expressiveness,

is a slight and rapid variation in the pitch of a note.It can greatly enhance the tone, adding a wide va-riety of colors. It does not have to be used all thetime or at a steady rate. Eventually the saxophon-

& # cExample 2

Thirds

& #Fourths

& #Fifths

& #Octaves

Some test intervals for proper mouthpiece/reed setup

4Saxophone Basics

ist will recognize notes and phrases where vibratois best used. While in marching band, vibrato maynever be needed. In playing big band standards,one should mimic a vibrato style of the band thatoriginally played the piece. In concert band, con-sider adding vibrato as dictated by the style of mu-sic. Vibrato can be an invaluable tool for adding lifeand emotion to saxophone playing.

When practicing vibrato, use a metronome.First, pick a scale and play it in whole notes. Nexttry to alter the tone of each pitch by dropping thejaw four times per beat at a metronome marking of60 beats per minute.

The jaw motion for altering the pitch is simi-lar to chewing bubble gum; however, as one devel-ops the technique, eventually using just the lip, thedip of the pitch will become less noticeable.

After developing this exercise, work to causefour alterations per beat, gradually moving themetronome marking up to 76. This is approximately300 repetitions per minute. With this facility, onecan effectively alter vibrato to change mood, inten-sity, and style of a piece.

INTONATIONAll saxophones have pitch inconsistencies

that must be identified and compensated for inorder to achieve good intonation. No two saxo-phones are the same, although some are betterthan others. However, various registers of all in-struments do have similar tendencies. Typically,low Bb through low D# are sharp, low E throughmiddle C# are flat, and middle D through high Fare sharp. Many of the elements discussed in ear-lier sections (such as mouthpiece, reed, conditionof the instrument, and air support) can greatlyaffect the intonation.

The pitch and timbre of some notes can be ex-tremely troublesome. High A can be very sharp,middle C# extremely flat, and middle D and E canbe somewhat sharp. These notes need to be correctedwith alternate fingerings or by tightening or loosen-ing the embouchure. Ask a band director or privateinstructor about correct use of alternate fingerings.Two rules can guide the tuning of individual pitches:1) tighten the embouchure to raise the pitch of a note;2) loosen the embouchure to lower the pitch of a note.Use caution to avoid disrupting the embouchure somuch that it affects the quality of tone.

SOUND CONCEPTRealizing how a saxophone is supposed to

sound should be a primary consideration when at-tempting to tune and blend with others. The saxo-phone is very versatile and can be played in manygenres. Each style has a unique vocabulary due tothe sound, articulation, and scales used. In orderto properly learn the musical language of each styleone must listen to the music. Fortunately, there arerecordings available of each genre that can enablea student to progress effectively. The recordingslisted as recommended resources later in this chap-ter can help the saxophonist learn the sound con-cepts for various styles of playing.

Classical saxophone playing is rarely heard onthe radio and is often not the sound cultivated inband; yet, concert bands and marching bands usu-ally require this type of sound. Generally, classicalsaxophone playing calls for a thick, round, luscioussound. Good examples to imitate would be a hornplayer, a cellist, or vocalist.

Jazz and rock n roll are easily identified bylistening to popular radio. These commercial stylescall for a brighter, edgier sound. Use different reedsand mouthpieces (as previously discussed) to helpduplicate these tone concepts.

TECHNIQUEDeveloping good technique on the saxophone

will allow one to efficiently learn the notes of a pieceof music. After learning the notes and rhythms, con-centrate on good tone and musicianship. To havegood technique one must use correct posture. Theback and neck should be straight, allowing forproper breathing. The neck strap must be pulledup far enough so that the mouthpiece comes to themouth; do not shift the head to the mouthpiece. Thetenor and baritone saxophones must be held alongthe right leg, although the alto saxophone can bepositioned between the legs or to the side. Eitherway is acceptable, but the player must be sure notto lean the instrument against the chair or on thelap; this can change the placement of the mouth-piece in the mouth. The saxophone is primarily sup-ported by the neck strap and the left and rightthumbs. The right thumb is placed in the thumbguard so that the hand can gently curve with thefingertips on the pearls. The right pinky finger isplaced where the Eb and C keys meet so that theycan be used quickly. The left thumb acts as a bal-


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ance to hold your instrument in place. The thumbshould be placed so that it can easily reach the oc-tave key. The rest of the left hand is curved aroundthe palm keys so that the fingertips touch the pearls.The left pinky is placed on the G# key so it can beused quickly. It is important to keep the fingers thatare not being used as close to the keys as possible.When playing middle C#, where no keys are de-pressed, all fingertips should be touching the pearls.Keeping fingers close to the keys eliminates wastedmotion and allows more rapid movement betweennotes. Another example occurs when playing a lowG. The three left fingers should be down and theleft pinky should touch the G# key. The fingers ofthe right hand should be resting on the pearls.

While in high school the saxophonist shouldstrive to learn all major, harmonic minor, and chro-matic scales over the full length of the instrument(refer to Example 1 and Scale Supplement). Scalesare part of the language of music. If one knows thescales, they can be easily identified as music is read.Almost all music is based on one scale or another.If one recognizes scales, playing pieces will be easierand making music will be more fun.

To be effective, technical learning must be slowand methodical. Slowly teach the fingers what theyneed to do. Establishing a good practice routine,setting short and long term goals, and employingconstructive critical thinking will help one becomea more accomplished saxophonist.

TONGUINGTonguing refers to the way the saxophonist

articulates particular notes and rhythms. Thetongue can produce light staccato, heavy marcato,long legato, emphasized accents, and many moresounds. The more variety of music played, the moretypes of articulation encountered. In general, thesaxophonist creates the syllable to be produced withthe tongue before sounding the note. Use the syl-lables doo, dah, or dee for a lighter tongue,

tah or tee for a heavier tongue. The tip is archedforward and, as the syllable is produced, the partof the tongue slightly above its tip contacts the tipof the reed, momentarily blocks the air, and causesthe note to be rearticulated when released. The airstream remains steady, without stopping. Problemswith tonguing arise if too much of the surface ofthe tongue touches the reed; a slapping, thuddysound results. Tonguing should be practiced withscales (tongue Example 1 scales) and motives (seeExample 3). Often, the hardest part of perfecting atechnical tonguing passage is coordinating thetongue with the fingers.

The speed of the tongue can be developed bydoing exercises to strengthen the tongue (see Ex-ample 4 on page 6).

When doing any exercise for speed, use a met-ronome to avoid rushing or dragging. Make surethe articulation is clear and correct every time.When setting a tempo, determine at what speed apassage can be cleanly tongued; then slowly in-crease the speed of the metronome. Practice tongu-ing in each register of the instrument, as each rangewill vary in response time.

Accents are played just like normal notes ex-cept that an extra push of air is added to emphasizethe note. Use caution to avoid exploding attacks.

INTERPRETATIONA saxophonist as a musician must realize that

music is more than just notes. Pay attention to tone,intonation, and the markings on the music. All mark-ings are written for a reason. Dynamics, accents,crescendos, etc., should be audible to the audience.Music is comprised of contrast, so emphasize differ-ences. After interpreting the markings, use personaltaste, the conductor, or a private teacher to refinehow the music should be performed. Exaggeratethese markings and refine them in rehearsal, striv-ing for an enjoyable musical performance.

& # cExample 3

3

3

3

3

Using tongue with technical passages employing motives from a G major scale.

6Saxophone Basics

PLAYING WITH AN ENSEMBLEThe key to playing in an ensemble is listening

to others. In an ensemble:

1) Determine who is playing melody, harmony,and countermelodies; see where the saxophone partfits. Listen to things like dynamics, style, phras-ing, etc.

2) Know the saxophone part as well as pos-sible, to be flexible in adapting to the group.

3) Remember that playing with others takesteamwork.

When listening, determine how the saxophonehas been used in the orchestration. For example,in concert band the saxophones can play as a sec-tion. The alto saxophones may be playing with thehorns or blending with the clarinets and flutes. Thetenor saxophones can double the bass clarinets,bassoons, or euphoniums. The baritone saxophonemight play with tubas, trombones, or low wood-winds. Awareness of the musical environment willhelp determine who to listen to and blend with forgood ensemble playing.

& # cExample 4

J Jj j j j jn j j j j j

& # c ..Example 5

& # ..3

3

3

3

Increasing tongue speed


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RECOMMENDED RESOURCESMethod Books

48 Studies .......................................................... FerlingSelected Studies ................................................. Voxman24 Etudes Faciles after Samies ........................ Mule18 Studies after Berbiguer ................................ MuleThe Charlie Parker Omnibook ......................... Atlantic Music CorpsThe Universal Method for Saxophone .............. Paul Deville

SolosProgram Solos for Alto Saxophone .................. L. TealSolos for the Alto Saxophone Player ................ L. TealConcerto in Eb ................................................... A. GlazounovChanson et Passepeid ........................................ J. RueffSicilienne ........................................................... P. LantierSonata ................................................................ P. CrestonIntroduction and Samba .................................. M. WhitneyAria .................................................................... J. IbertAria .................................................................... E. BozzaIntroduction et Caprice ..................................... E. BozzaSolo Album ........................................................ E. RousseauDebussy Album .................................................. J. Harle

AATB QuartetThe Pink Panther .............................................. Mancini/FrankenpohlMissipppi Rag ................................................... Krell/Frankenpohl10 Saxophone Quartets ..................................... L. TealQuartet Repertoire ............................................. Voxman

SATB QuartetAndante and Scherzo ........................................ E. BozzaFantasia ............................................................. Gibbons/HemkeThree Preludes ................................................... G. GershwinQuatour pour Sax .............................................. JeanjeanGoldrush Suite .................................................. MarshallSonata No. 44 .................................................... D. Scarlatti

Reference BooksSaxophone Journal ........................................... (bi-monthly magazine)

contact Woodwind Service listed below

The Art of Saxophone Playing .......................... Larry TealSummy-Birchard

Saxophone Soloists andTheir Music, 1844-1985 .................................... Harry Gee, Indiana University Press

8Saxophone Basics

Marcel Mule: His Life and the Saxophone ....... Eugene Rousseau

Sax and His Saxophone .................................... Leon KochnitskyNorth American Saxophone Alliance

Teachers Guide to the Saxophone .................... Dr. Fred Hemke, Selmer

The Early History of the Saxophone ................ Frederick Hemke, UMI

Selected Classical RecordingsSoliloquy ............................................................ Dale UnderwoodThe Contemporary Saxophone .......................... John SampenConcertos for Alto Saxophone and Symphonic Band .................................. Norbert NozySaxophone Colors .............................................. Eugene RousseauDuo Vivo ............................................................. Laura HunterMarcel Mule Le Patron of the Saxophone .......................................... Marcel MuleHommage Adolphe Sax .................................. Daniel GauthierReminiscence ..................................................... Quatuor AlexanderChicago Saxophone Quartet ............................. Chicago Saxophone Quartet

Selected Jazz RecordingsBlue Trane ......................................................... John ColtraneGiant Steps ........................................................ John ColtraneGo! ...................................................................... Dexter GordonThe Savoy Recordings ....................................... Charlie ParkerTune-Up ............................................................. Sonny StittSonny Rollins .................................................... Sonny RollinsNows the Time ................................................... Charlie Parker QuartetTime Out ............................................................ Dave Brubeck QuartetKinda Blue ......................................................... Miles Davis

Sources for Music and EquipmentIf you cannot obtain the references from a local music supplier, contact:

The Saxophone Shop2834 Central St.Evanston, IL 60201(847) 328-5711(847) 328-4455

Woodwind Service, Inc.P.O. Box 206Medfield, MA 020521-800-527-6647

Eble Music Co.P.O. Box 2570Iowa City, IA 52244-2570(319) 338-0313

The U.S. Army Field Band Scale Supplement

S1

Scale SupplementThe fifteen major and minor scales make up our musical ABCs. Just as a person wishing to read

learns the alphabet first, a musician cannot expect to master an instrument without first learning thebasic set of scales. By diligently practicing the major scales and all three forms of the minor scales, theywill become automatic, just like reading the alphabet. This will make playing, especially sight reading,much easier so that the musician can concentrate towards the ultimate goalmaking music!

Each scale below should be played slowly at first, ensuring that each note is played correctly. Gradu-ally work for speed, but do not rush. Use a metronome whenever possible to guarantee evenness and asteady tempo. The player should practice difficult scales twice as often as easy ones to develop competencein all keys. As skills increase, change rhythmic patterns and increase tempos. Advanced players can stilluse scales to work on intonation, technique, range, and dynamics.

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C Major

A natural minor A harmonic minor

A melodic minor

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& & .

.

. . . . . . . . . .

& --

- - - - - - - - - -

Use the following patterns one at a time or in combination to get even morebenefit from scale practice:

A

B

C

D

E

F

&

&

S2

Scale Supplement

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& # ## ##

& # ## ##

nn nn ww

G Major

E natural minor E harmonic minor

E melodic minor

& b 44 ww

& b ## ##

& b nn ##

nn bb ww

F Major

D natural minor D harmonic minor

D melodic minor


S3

& b b 44 ww

& b b ## ##

& b b nn ## nn bb

ww

Bb Major

G natural minor G harmonic minor

G melodic minor

& # # 44 ww

& # # ## ##

& # # ## ## nn nn

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D Major

B natural minor B harmonic minor

B melodic minor

S4

Scale Supplement

& # # # 44 ww

& # # # ## ##

& # # # ## ## nn nn

ww

A Major

F# natural minor F# harmonic minor

F# melodic minor

& b b b 44 ww

& b b b nn nn

& b b b nnnn bb bb

ww

Eb Major

C natural minor C harmonic minor

C melodic minor


S5

& # # # # 44 ww

& # # # # ## ##

& # # # # #### nn nn

ww

E Major

C# natural minor C# harmonic minor

C# melodic minor

& b b b b 44 ww

& b b b b nn nn

& b b b b nn nn

bb bb ww

Ab Major

F natural minor F harmonic minor

F melodic minor

S6

Scale Supplement

& # # # # # 44 ww

& # # # # #

& # # # # # ## ## nn

ww

B Major

G# natural minor G# harmonic minor

G# melodic minor

& b b b b b 44 ww

& b b b b b nn nn

& b b b b b nn nn bb bb

ww

Db Major

Bb natural minor Bb harmonic minor

Bb melodic minor


S7

& # # # # # # 44 ww

& # # # # # #

& # # # # # # ##

## nn ww

D# melodic minor

F# Major

D# natural minor D# harmonic minor

& b b b b b b 44 ww

& b b b b b b nn nn

& b b b b b b nn nn

bb bb ww

Gb Major

Eb natural minor Eb harmonic minor

Eb melodic minor

S8

Scale Supplement

& b b b b b b b 44 ww

& b b b b b b b nn nn

& b b b b b b b nn nn bb bb

ww

Cb Major

Ab natural minor Ab harmonic minor

Ab melodic minor

& # # # # # # # 44 ww

& # # # # # # #

& # # # # # # # ## ##

ww

C# Major

A# natural minor A# harmonic minor

A# melodic minor

saxophone basics

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