Upload
lybao
View
247
Download
6
Embed Size (px)
Citation preview
The Saxophone
Joseph Fisher Woodwind Literature
West Chester University | Fall 2011 Professor: Dr. Greg Riley
Purpose Statement The purpose of this document is to inform saxophonists of all ages and skill about their instrument. With the knowledge provided, the learner can make wise assessments on
materials to study. With growing resources available in print and on the internet, today’s saxophonists are guided in several directions. Using this document, informed decisions can be made without affecting the unique sound
that the instrumentalist may desire. h"p://www.theowanne.com/mouthpieces101/Selmer.php
Adolphe Sax, inventor A troubled man who fixed
and invented instruments was most notably popular for creating the modern bass clarinet. When Sax invented the instrument he named the saxophone he invested most of his
time and money promoting the instrument with the help of musical genius’ such as Berlioz
and Ravel. Henri Berlioz
Adolphe Sax
Saxophone Patent After inventing the “saxophon” in 1840 Adolphe premiered
the instrument in Brussels in 1841. Eight saxophone models were officially patented on March 21, 1846.
h"p://www.selmer.fr/histdetail.php?id=3
The Mouthpiece Arguably the most important part of the
saxophone, the mouthpiece is crucial in
creating the unique sound. The first
mouthpieces as well as some of the first Selmer
mouthpieces had “a very large chamber.”
Selmer C Star Mouthpiece
“H Selmer” first mouthpiece made by Selmer in the early 1920s h"p://www.theowanne.com/mouthpieces101/Selmer.php
Saxophone Mouthpiece
h"p://www.saxman.co.nz/sax-‐mouth.htm
The Chamber (Large and Medium)
Large Chamber - When the chamber (1B) has a larger diameter than the bore (1A) of the mouthpiece (original design by Sax in 1841)
Medium Chamber - When the chamber (2B) has approximately the same diameter as the bore (2A) of the mouthpiece.
h"p://www.theowanne.com/mouthpieces101/chamber.php
The Chamber (Small and Extra-Small)
Small Chamber - When the chamber (3B) has a smaller diameter than the bore (3A) of the mouthpiece.
Extra-Small Chamber - When the chamber (4B) has an overtly smaller diameter than the bore (4A) of the mouthpiece, such that the chamber 'drops' down into the bore.
h"p://www.theowanne.com/mouthpieces101/chamber.php
The Facing
h"p://www.mouthpieceexpress.com/specshub/anatomy_ww.html
Alto Saxophone Mouthpiece Facing Chart
h"p://www.saxman.co.nz/saxophone_mouthpiece_facing.html
Tenor Saxophone Mouthpiece Facing Chart
h"p://www.saxman.co.nz/saxophone_mouthpiece_facing.html
h"p://www.sax.co.uk/acatalog/Vandoren_Mouthpieces_Further_InformaIon4.html
ALTO Tip Opening / Facing chart
TENOR Tip Opening / Facing chart
TeaCHING THE SAXOPHONE Most students will come up through some sort of school program but when you have a student that is home schooled or is from a private school, your
responsibility changes from strictly the saxophone teacher to the music teacher.
Beginning Saxophone Study Today, most public schools will adopt a series of books such as “Essential
Elements 2000” published by Hal Leonard or “Accent on Achievement” published by Alfred.
In speaking with the writers/composers of these books, they have been compiled in new ways so that it is easy to play with other students, on
any instrument. Both series have a book one and book two.
Intermediate Saxophone Study Although the “Essential Elements” and “Accent on Achievement”
series have added repertoire to play together, a duet book is a must-have for intermediate students. The challenge of playing in time with another person or even a play-along CD will help
the student gain invaluable skills on the instrument.
Practicing on a higher level
Practice should include a mix of work ranging from long tones to scales and arpeggios, short exercises in limited ranges for fingering and tonguing, studies such as Ferling, Mule or the
Charlie Parker Omnibook, repertoire which places the technical work into an expressive context
and involves work with piano or other instruments, and improvisation.
From The Cambridge Companion to the Saxophone, page 86, excerpt by Kyle Horch
Practicing Classical Studies can begin from books such as “Concert and Contest”
collection or Klose’s “Twenty Studies.” Arrangements and transcriptions by Sigurd Rascher have set the standard for
saxophone solos.
sheetmusicplus.com / poloniussheetmusic.com
Practicing Classical (Continued)
Through Pennsylvania Music Educators Association students are offered opportunities to audition and play in district, region,
and state band. The audition pieces are chosen from the following
ALTO First ConcerIno by Guilhaud Sonata in Eb by Jacobi Sonata for Alto Sax by Eccles/Rascher
TENOR Ballet Impressions by Ostransky Sonata in C Minor by Telemann/Voxman Concerto in G Minor by Handel/Voxman
BARITONE RecitaIve & Rondino by Koepke Undercurrent by Long Allegro Spiritoso by Senaille/Gee
h"p://www.pmea12.org
These pieces serve as excellent suggestions for students to
play solo or even for a college audition.
Practicing Classical (Continued)
Deep routed in the the teachings of Marcel Mule, his student Eugene Rosseau and other saxophone masters, study of classical saxophone often include clarinet,
flute, oboe and string literature. When asking what kind of materials Bob Mintzer studied from, he referred the Bach cello suites and Bozza saxophone
etudes. Etudes by Ferling are also recommended.
sheetmusicplus.com / poloniussheetmusic.com
Practicing Jazz After the intermediate level, the student should continue begin to study etudes and
tunes. Jamey Aebersold and Hal Leonard both have solutions through play-along books. Some public schools are even adopting the “Essential Elements of
Jazz” series to teach basic swing and latin concepts to students in a group.
h"p://www.jazzbooks.com
Practicing Jazz (Continued)
For a student to be successful in jazz and improvisation there must be a heavy emphasis on scales, patterns, and licks. Most, if not all, teachers will require
their students to learn these in every key. Books published by Jamey Aebersold and Jerry Coker have become the standard. Other important contributions
have come from musicians such as David Baker and David Liebman.
h"p://www.jazzbooks.com
Practicing Jazz (Continued)
Other practice techniques for jazz include transcriptions of solos and tunes (melody and changes). Accompanied with the “scales, patterns, licks” method, transcribing and learning solos helps the
performer become more aware of the musical elements of jazz and how it operates.
Memorization of solos and tunes is suggested.
And it continues
“On n’arrive jamais” – Marcel Mule
Saxophone High Tones by Eugene Rousseau
Jazz Saxophone Influences
Jazz Saxophone Influences
• Jean Goldke"e • Red Nichols Pee Wee Russell (1906) • King Oliver • Jelly Roll Morton Sidney Bechet (1897)
• California Ramblers Jimmy Dorsey (1906) • Jean Goldke"e • Paul Whiteman Frankie Trumbauer (1901)
• California Ramblers Adrian Rollini (1904) • Red Nichols • Tommy Dorsey and Benny Goodman Bud Freeman (1906)
Jazz Saxophone Influences
Sidney Bechet (1897)
Earl BosIc (1913)
Benny Carter (1907)
Johnny Hodges (1906)
Jazz Saxophone Influences
Frankie Trumbauer (1901)
Lester Young (1909)
Ben Webster (1909)
Jazz Saxophone Influences
Bud Freeman (1906)
Adrian Rollini(1904)
Coleman Hawkins (1904)
Harry Carney(1910)
Jazz Saxophone Influences
• Al Cohn • Gene Ammons • Paul Desmond • Dexter Gordon • Illinois Jacquet • Lee Konitz • Hank Mobley • James Moody • Charlie Parker • Zoot Sims
Lester Young
Jazz Saxophone Influences
• Cannonball Adderley • Orne"e Coleman • George Coleman • John Coltrane • Lou Donaldson • John Handy • Lee Konitz • Yusef Lateef • Jackie McLean • Sonny Rollins • Sonny SI" • Lucky Thompson
Charlie Parker