Pedagogy
Saxophone Basics
Citation: Sergeant First Class Price, Jeffery G. Saxophone Basics. The United States Army Field Band, <http://bands.army.mil/masterclass/tusafb/jun2001/sax_
basics.htm>.
Article Title: Saxophone Basics
Author: Sergeant First Class Jeffery G. Price
Instrument: Saxophone
Magazine or Journal Title: The United States Army Field Band
Summary:
A. History
1. Woodwind Family
a. Sopranino to contrabass; most commonly used are soprano, alto, tenor, bari
2. 1838 by Adolphe Sax
3. Sax students have difficultly blending in any group
a. Address instrument condition, breath, mouthpiece/reed, embouchure, vibrato, sound
B. Maintenance
1. Common problems: leaky pads, bent keys/rods, missing felt/corks, broken springs, unregulated keys, faulty alignment
2. Direction on how to properly swab instrument, carefully hold instrument, annual inspections
C. Breath Support
1. Training for good air support/best air stream
2. Common problems with support
3. Playing examples to promote proper breath support
D. Mouthpieces and Reeds
1. Different size mouthpieces for different ensembles
2. What to listen for in too hard or too soft reeds
3. Different brands and size reeds for all kinds of students
E. Reed and Mouthpiece Care
1. Cleaning the mouthpiece
2. Keeping reeds safe/from chipping
F. Embouchure
1. How to setup a good embouchure: Lower lip, top teeth, pressure
2. Consistent throughout range of instrument
G. Vibrato
1. Beginning vibrato/ appropriate times to use it
2. Exercises to develop good vibrato/vibrato control
H. Intonation
1. No saxophones have the same intonation
2. Typical troublesome notes for intonation on the saxophone
3. Tips to helping intonation problems
I. Sound Concept
1. Learning saxophone sound is important for students
2. Listen to recordings!
3. Different sounds for different genres: classical vs. jazz
J. Technique
1. How to develop good techniques
2. Proper mouthpiece and neck strap position
3. Proper hand position and finger technique
4. Importance of scales in learning techniques
K. Tonguing
1. How to properly articulate notes
2. Practice tonguing with scales
3. Examples for tonguing practice
L. Interpretation
1. Follow the music first
2. Then add personal taste
M. With an Ensemble
1. Determine where the saxophone parts fit and lead them
2. Be flexible and adapt them to group: different saxes blend with different instruments
3. Help them develop good listening skills
N. Recommended Resources
1. List of method books, solos, sax quartets, sax pedagogy books, and classical and jazz recordings
basics.htm>.
Article Title: Saxophone Basics
Author: Sergeant First Class Jeffery G. Price
Instrument: Saxophone
Magazine or Journal Title: The United States Army Field Band
Summary:
A. History
1. Woodwind Family
a. Sopranino to contrabass; most commonly used are soprano, alto, tenor, bari
2. 1838 by Adolphe Sax
3. Sax students have difficultly blending in any group
a. Address instrument condition, breath, mouthpiece/reed, embouchure, vibrato, sound
B. Maintenance
1. Common problems: leaky pads, bent keys/rods, missing felt/corks, broken springs, unregulated keys, faulty alignment
2. Direction on how to properly swab instrument, carefully hold instrument, annual inspections
C. Breath Support
1. Training for good air support/best air stream
2. Common problems with support
3. Playing examples to promote proper breath support
D. Mouthpieces and Reeds
1. Different size mouthpieces for different ensembles
2. What to listen for in too hard or too soft reeds
3. Different brands and size reeds for all kinds of students
E. Reed and Mouthpiece Care
1. Cleaning the mouthpiece
2. Keeping reeds safe/from chipping
F. Embouchure
1. How to setup a good embouchure: Lower lip, top teeth, pressure
2. Consistent throughout range of instrument
G. Vibrato
1. Beginning vibrato/ appropriate times to use it
2. Exercises to develop good vibrato/vibrato control
H. Intonation
1. No saxophones have the same intonation
2. Typical troublesome notes for intonation on the saxophone
3. Tips to helping intonation problems
I. Sound Concept
1. Learning saxophone sound is important for students
2. Listen to recordings!
3. Different sounds for different genres: classical vs. jazz
J. Technique
1. How to develop good techniques
2. Proper mouthpiece and neck strap position
3. Proper hand position and finger technique
4. Importance of scales in learning techniques
K. Tonguing
1. How to properly articulate notes
2. Practice tonguing with scales
3. Examples for tonguing practice
L. Interpretation
1. Follow the music first
2. Then add personal taste
M. With an Ensemble
1. Determine where the saxophone parts fit and lead them
2. Be flexible and adapt them to group: different saxes blend with different instruments
3. Help them develop good listening skills
N. Recommended Resources
1. List of method books, solos, sax quartets, sax pedagogy books, and classical and jazz recordings
The Easy Move from Alto Sax
Citation: Allen, Andrew J. The Easy Move from Alto Sax. The Instrumentalist, Sept. 2012, Vol. 67, No. 2, p 28.
Article Title: The Easy Move from Alto Sax
Author: Andrew J. Allen
Instrument: Saxophone
Magazine or Journal Title: The Instrumentalist
Summary:
A. Transitioning within the Saxophone family
1. Offers variety and balance within a band
2. Improper equipment creates difficulties in transitioning
3. Mouthpiece and reed combination essential
a. Medium tip mouthpiece and medium strength reed
b. 3 works for most middle/high schoolers on any instrument
c. Avoid jazz mouthpieces in concert band
4. Neck strap; adjustable, proper natural position, supporting the instrument
B Tone
1. Adjustments to the embouchure; found by playing on the mouthpiece alone
2. Correct embouchure pitches:
a. A Soprano Sax- D#6
b. Alto- B5
c. Tenor- Ab5
d. Bari- D5
3. Embouchures stay relatively the same between instruments
C. Soprano
1. Often in Sax quartets, sometimes in concert/jazz bands
2. Common mistake when switching: taking too much mouthpiece
a. Harsh, stringent, uncontrolled tone
3. Always use a neck strap
4. Don’t hold it like a clarinet, angle the mouthpiece like any other sax
5. Don’t wrap the thumb around the back
D. Tenor
1. Take in more mouthpiece than expected
2. Adjust to the larger size instrument
E. Bari
1. Largest Problem: adjusting to the size
a. Smaller students my want to try a harness rather than a neckstrap
b. Make sure they are not resting it on the floor/feet
2. Usually take in far to little mouthpiece
3. The amount of air it requires
a. Have them play long tones to prevent tensing up, beginning on G4
F. Alto
1. Some students begin on the tenor
2. Taking too much mouthpiece/adjusting to the size
G. Sax family spans range of piano, from the sopranino to the contrabass
1. Students can learn to play fluidly on any instrument in short period of time
Article Title: The Easy Move from Alto Sax
Author: Andrew J. Allen
Instrument: Saxophone
Magazine or Journal Title: The Instrumentalist
Summary:
A. Transitioning within the Saxophone family
1. Offers variety and balance within a band
2. Improper equipment creates difficulties in transitioning
3. Mouthpiece and reed combination essential
a. Medium tip mouthpiece and medium strength reed
b. 3 works for most middle/high schoolers on any instrument
c. Avoid jazz mouthpieces in concert band
4. Neck strap; adjustable, proper natural position, supporting the instrument
B Tone
1. Adjustments to the embouchure; found by playing on the mouthpiece alone
2. Correct embouchure pitches:
a. A Soprano Sax- D#6
b. Alto- B5
c. Tenor- Ab5
d. Bari- D5
3. Embouchures stay relatively the same between instruments
C. Soprano
1. Often in Sax quartets, sometimes in concert/jazz bands
2. Common mistake when switching: taking too much mouthpiece
a. Harsh, stringent, uncontrolled tone
3. Always use a neck strap
4. Don’t hold it like a clarinet, angle the mouthpiece like any other sax
5. Don’t wrap the thumb around the back
D. Tenor
1. Take in more mouthpiece than expected
2. Adjust to the larger size instrument
E. Bari
1. Largest Problem: adjusting to the size
a. Smaller students my want to try a harness rather than a neckstrap
b. Make sure they are not resting it on the floor/feet
2. Usually take in far to little mouthpiece
3. The amount of air it requires
a. Have them play long tones to prevent tensing up, beginning on G4
F. Alto
1. Some students begin on the tenor
2. Taking too much mouthpiece/adjusting to the size
G. Sax family spans range of piano, from the sopranino to the contrabass
1. Students can learn to play fluidly on any instrument in short period of time
Teaching the Saxophone Embouchure
Citation: Pearson, Bruce. Teaching the Saxophone Embouchure. Kjos Band Company , Spring 2001, Vol. 3, <http://www.kjos.com/band/band_news/band_news_emb3.html>.
Article Title: Teaching the Saxophone Embouchure
Author: Bruce Pearson
Instrument: Saxophone
Magazine or Journal Title: Kjos Band Company
Summary:
A. A (air) + E (embouchure) = T (tone)
1. Saxophones criticized for poor intonation problems
B. Saxophone embouchure
1. Sax VS. Clarinet embouchure
a. Find out by the pitch they play on the mouthpiece alone
2. Use a small mirror on their stand to view a good embouchure
3. Paper trick (with helpful photo instructions)
a. Slip between reed and mouthpiece
b. Draw line where lower lip goes
c. Hold mouthpiece, thumb under line
d. "Whee-too" shape mouth
e. Cover bottom teeth with lower lip
f. Use thumb as stop for lower lip and just right amount of mouthpiece
g. Top teeth directly on the mouthpiece
h. Deep breath from back of throat
4. Correct pitches to look for when playing with proper embouchure on the mouthpiece: alto, tenor, and bari
5. How to lower and raise the pitch/fix the embouchure
6. Play long tones everyday
Article Title: Teaching the Saxophone Embouchure
Author: Bruce Pearson
Instrument: Saxophone
Magazine or Journal Title: Kjos Band Company
Summary:
A. A (air) + E (embouchure) = T (tone)
1. Saxophones criticized for poor intonation problems
B. Saxophone embouchure
1. Sax VS. Clarinet embouchure
a. Find out by the pitch they play on the mouthpiece alone
2. Use a small mirror on their stand to view a good embouchure
3. Paper trick (with helpful photo instructions)
a. Slip between reed and mouthpiece
b. Draw line where lower lip goes
c. Hold mouthpiece, thumb under line
d. "Whee-too" shape mouth
e. Cover bottom teeth with lower lip
f. Use thumb as stop for lower lip and just right amount of mouthpiece
g. Top teeth directly on the mouthpiece
h. Deep breath from back of throat
4. Correct pitches to look for when playing with proper embouchure on the mouthpiece: alto, tenor, and bari
5. How to lower and raise the pitch/fix the embouchure
6. Play long tones everyday