Playing the Saxophone: Building a Technique By Thomas Liley This article first appeared in Clarinet & Saxophone magazine (Spring 2007), the official publication of the Clarinet & Saxophone Society of Great Britain. www.cassgb.org
LLearning earning to play the saxophone is much the same as a youngster learning numbers and letters l etters by moving blocks and almost as simple. It’s almost as simple as whistling a tune. Practically anyone can play the saxophone.' saxophone.' The Story of the Saxophone — Buescher Band Instrument Co. ‘
To the musician, technique means much more than just "speed". It also means accurate rhythm, even tempo, uniformity of time values, as well as consistency of tone color, correct intonation, and smooth tone connection’ Larry Teal 'It is not enough to have conquered the difficult technical aspects of the instrument nor thoroughly mastered the mechanism in order to merit the title of musician. He still has to play his instrument with style.’ Jean-Georges Kastner 'There were a number of students whom I felt had more basic technical facility than I possessed, but they were all amazed to observe that I could play with greater assuredness. I invariably reminded them that playing with confidence confidence is like climbing climbing a ladder; one must be certain certain not to miss a rung.' Marcel Mule
INTRODUCTION The saxophone is an instrument of great agility, capable of wide leaps and fast runs, moving quickly through rapid passages in different registers at a great range of dynamic levels. Numerous virtuoso players have demonstrated the saxophone's seemingly limitless ability to negotiate a variety of technical c hallenges with apparent ease. This “apparent ease” is exactly that, because its foundation is many hours of repetitive yet creative practice of certain fundamentals necessary to build a dependable technical ability. Although this article will focus on these fundamentals, there is much m ore to technique than mere finger control. Tone is always paramount and articulation, range, and vibrato are important. Also critical are twentiethand twenty-first century techniques such as circular breathing, multiple tonguing, glissandi. microtones, and the production of multiphonics and vocal effects; all deserve to be addressed in depth. 'They want immediately to plunge into playing technical things, not realizing the tremendous importance of building one's foundation for musical performance.' Marcel Mule
HAND POSITION It's the function of the of the neck strap and not the hands to support the instrument: the hands balance the saxophone and manipulate the keys. The fingers should be gently curved, as though each hand were holding a softball or a grapefruit. Imagine that you must touch a hot surface with your finger. You would not use the tip of the finger to do so but rather that most mo st sensitive area just behind the tip — this is the area that should contact the pear ls on Playing the Saxophone: Building a Technique By Thomas Liley
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the “keyboard” of the saxophone. An exception to t his is the motion from low C-sharp to low B, for which the left little finger must be less curved. The wrists should be straight and not broken at an angle. They must be flexible so that a radial motion similar to turning a doorknob can be used for the side keys. The left thumb touches both the thumb rest and the octave key so that it can flex rather than change position when using the octave mec hanism; don't take it off the thumb rest or move the wrist. Because the left hand is required to do so much, focus on the left side D key; the first knuckle should be over it. ‘ The saxophone becomes an extension of the body, as
are a knife and fork while eating.’ Jean-Marie Londeix
TRILL EXERCISES It's important that the finger motion be as efficient as possible. A series of tr ill exercises can help to teach t he fingers to move independently with only as much motion as necessary. You'll also develop a se nse of touch that is especially important with the saxophone because of the e normity of its pads relative to the other woodwinds. Starting with the left hand, trill those notes which require the movement of only one finger. Because we can only control how fast we lower a key — the spring controls how fast the key w ill rise — trill C-sharp to B rather than B to C-sharp (first finger). Be cert ain that the trill is no faster than can be done evenly and that the finger remains in contact with the key. Remember that only the third (knuckle) joint of the fin ger will hinge; the other joints should not move. Next is C to A, C-sharp to C (second finger), B to A, A to G (ring finger), and G to G-sharp (little finger). Keep the fingers touching the keys and remember to push down, not slap, t hem. Follow the one-finger trills with tr ills involving two fingers. Trill B to G, C-sharp to A, and A to G-sharp. The B to C “flip” and the trill from C to G are particularly challenging and will take some effort t o do smoothly, especially when remembering to keep the fingers in contact with the keys. Next are the three trills involving three fingers. B to G-sharp and C-sharp to G are not difficult but C to G-sharp is demanding. There is one final trill which uses four fingers: C - sharp to G-sharp. Again, make certain that the fingers continue to touch the keys as much as possible and that the trill is even. The right hand is similar. The one-finger trills are G to F, F- sharp to E, F to E, E to D, and D to E-flat. The two-finger trills include G to E, F to D, and E to E-flat. Also using two fingers are the more difficult F -sharp to D trill and the F to F-sharp “flip”; don't use the side F-sharp trill key for this exercise. The right hand trills involving three fingers are G to D, F to E-flat, and the awkward F-sharp to E-flat. The t rill from G to E-flat uses four fingers. I t's a good idea to check hand position and finger motion with a mirror. These exercises take only a few minutes every day to complete and will pay great dividends in a short time. 'It is obvious that the air and the embouchure are somewhat abstract. On the other hand, the technique of finger movement and coordination is something that can be seen; it is more physical, more objective.' Marcel Mule
MAJOR SCALES Scales and arpeggios remain the foundation of a solid technique for all instruments. One learns coordination of the various finger combinations, frequently encountered patterns, and the development of an even tone between registers. They should be practiced slowly and intelligently because incorrect habits may take a long time, perhaps even years, to correct. It's important to use the full range of the saxophone, never neglecting the palm keys (high D and above) or the t able keys (low C-sharp, B, and B-flat). In addition, they should be practiced using a metronome – an indispensable tool for developing accuracy and control – and a tuner to further train the
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ear. Consider that if a piano student of just a few lessons is asked to put his or her hand in the proper position to play a C major scale, they will do so correctly and e asily. Ask the same piano student to place their hand for a D major scale and, again, they will do so readily, with the middle finger positioned to play F-sharp, the third note. If a saxophonist — even one with a few years of experience — is asked to demonstrate the correct fingering for the first note of an E major scale there is a good chance that the G-sharp key will not be depressed, despite the fact that because of the articulated G-sharp mechanism the pitch will not sound until the right hand is raised. Think of the scale as a logical pattern rather than as a series of pitches. In the same way, the correct fingering for the F major scale with the bis fingering for B-flat is with the first finger of the left hand already in position. Not to do so necessitates an awkward and unnecessary shift to the bis key. The same is true for the E-flat, A-flat, and D-flat major scales. Don't neglect the harmonic form of the minor scale, not only for the lowered third scale degree but because of the step and-a-half interval between scale de grees six and seven. Also useful is the practice of all scales in groups of five to gain a sense of freedom. All scales should be practiced w ith the eight basic articulation patterns and at a variety of dynamic levels.
In addition, major and minor scales should also be learned in patterns of thirds, fourths, and so on. Arpeggios based on major, minor, diminished, and augmented triads and on seventh c hords provide additional material, as do whole-tone, diminished and chromatic scales. The only limit is one's imagination. 'While the daily practice of scales, intervals, and a rpeggios is considered by some to be old-fashioned drudgery, this is still the most efficient method of acquiring a fine technique.' Larry Teal 'The study of scales with articulations. . . is nothing less than essential to the mastery of the instrument. ' Jean-Marie Londeix I used scales and arpeggios as teaching materials in order for my students to build the foundation that is absolutely essential for one to have command of the instrument in musical performance.' Marcel Mule
FINGERINGS A frequent question is: "How should I finger the B-flat and A- sharp?" A good rule is to use the bis fingerings for B-flat and the side key fingering for A-sharp, although there certainly are exce ptions - for example, B-flat in a G-flat major scale is best fingered with the side key. The so-called right hand bis key fingerings (using the first or second finger of the right hand to close the bis key) are rarely used. Be aware that the saxophone has an articulated G-sharp mechanism. This allows the pitch G-sharp/A-flat to sound with not only the G-sharp key but also the low C-sharp, B, and B-flat keys.
Make full use of the chromatic fingerings whenever possible. One exception to this is middle B to C to C-sharp. This is often played with the reg ular C fingering, the middle finger of the left hand instead of the side C key. Playing the Saxophone: Building a Technique By Thomas Liley
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When playing low E-flat to D-flat or the reverse, be certain to use the rollers rather than lifting the right little finger. The same is true for the left little finger when playing low C-sharp to B. The motion from low B to low B-flat should be a radial motion — keep the left little finger on the B key and rock the — hand so the side of the finger rather than the tip closes the B-flat key. Check to see that the C-sharp key remains closed, as it should if it's in proper adjustment. Know the alternate fingerings and when to use them. The side keys can often be used to great advantage. One example is middle C to middle D and back. Use the trill key, which is the second left side key, sometimes referred to as the E-flat key. In the instance of a trill from middle C-sharp to middle D-sharp, one can choose between t he third right side key, also called the E key, and the third left side key, also known as the high F key. 'Develop the technique through slow playing, never sacrificing clean tone connection or rhythmic accuracy for speed.' Larry Teal
RHYTHMIC ALTERATION In order to play a passage evenly, one strategy is to practice it intentionally unevenly and then as it is written. Examples of possible alterations are given below.
ETUDES AND OTHER TECHNICAL STUDIES While etudes such as the slow ones found in the famous Op. 31 of oboist Wilhelm Ferling remain valuable for the development of sty le, the p ast f ifty years have yielded a we alth of studies especially designed to develop the technique of the saxophone. The list below obviously is not exhaustiv e but each of the works cited has proven useful.
CONCLUSION Realize that the development of a technique is a means to an end and never the end itself. The goal is to better communicate one's musical intentions and, therefore, one must be fluent in the language of the saxophone. Each element of technique is an addition to the vocabulary at one's command to better express the music. As Eugene Rousseau has suggested, “Strive to be a musician whose instrument happens to be the saxophone.” 'Al! of the basic exercises (scales, arpeggios, etc.) are essential, but after these are mastered, then what?. . . Do these people really believe that the audience for one moment cares whether or not the performer knows his scales?' Marcel Mule 'To be a musician is the goal, not an acrobat with fingers.' Sigurd Rascher
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Lacour, Guy
8 Etudes brillantes (1963), Billaudot 50 Etudes faciles et progressives, two volumes (1972), Billaudot. 28 Etudes after Messiaen (1971), Billaudot.
Londeix, Jean-Marie
Le Détaché, Staccato (1967), Lemoine. Les Gammes conjointes et en Intervalles (1962), Lemoine. Exercices Mécaniques, three volumes (1960-65), Lemoine.
Teal, Larry
Daily Studies for the Improvement of the Saxophone Technique (1972), MMB. The Saxophonist's Manual (1978), University Music Press. The Saxophonist's Workbook (1976), University Music Press.
Although written some twenty years ear lier, Mule's three books of scales and arpeggios may be the foundation on which many of the others rest. Mule, Marcel
Gammes et Arpèges, three volumes (1944-46), Leduc.
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