Saxophone Technique

Saxophone Technique

Barry Cockcroft

Saxophone technique

The first part of this book deals with the traditional daily practice of scales. Major and minor scales, major and minor scales in thirds and fourths, major and minor arpeggios and dominant and diminished arpeggios. The second part deals with the practise of intervals, from the semitone up to the octave. This kind of exercise is vital to the development of flexibility that is necessary for the accurate performance of the large leaps and intervals found in todayʼs music.

Practice method

I suggest that each scale or exercise be randomly matched with one of the articulations from the first page. The articulations are in order of tongue use. The secret of increasing the speed of articulation is not how often you tongue, but rather how often you allow the tongue muscle to rest in between each articulation. Therefore, start at the top of the list and work your way down. I have included common articulation patterns found in groupings of four, but of course you may also wish to practise triplets and other rhythmic groupings. Use of a metronome is highly recommended. Play each group of scales at the same speed. Donʼt be tempted to play the ʻeasierʼ scales faster. Non-systematic practice is why ʻeasierʼ scales developed in the first place. Once you can play all at the one speed, increase the metronome marking.

Intonation

Each note needs to be played at the correct pitch. Make sure that your first note is at concert pitch and that each subsequent note is just as accurate. In a short time you will have dextrous fingers and accurate intonation.

Breathing

You will notice a repeat sign near the end of each scale. You should endeavour to play each scale as many times as possible in one breath in order to increase breathing capacity. Only through the continual effort of taking large breaths will the capacity and efficiency of breathing begin to increase. When you can play scales in thirds at least three times in each breath, you will know that capacity is starting to increase!

Final note

Technical practice can be time consuming, so the aim of this book is to provide an efficient, comprehensive way in which to facilitate the development of a fluid technique. Work systematically and you will master saxophone technique.

Barry Cockcroft

articulations             

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Saxophone Technique Copyright © 1997 by Barry Cockcroft ISMN 720019 093 www.reedmusic.com Published by Reed Music • PO Box 2929 • Fitzroy MDC 3065 • Australia Used by Permission Made in Australia International Copyright Secured

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major scales      

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                           D                      E                     E                   F                  F                                    G                    A                       A                        B                         B                          C

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major arpeggios C                     C                       D                       E                      E                       F                     F                      G                    A                       A                    B                       B                         

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minor scales        

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                            D                              E                                 E                            F                                     F                                         G                             G                                   A                            B                                B                                 C




minor arpeggios C                    C                     D                      E                  

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                                                                  C                                                           D                   C

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7 F                        

                   G                        

reedmusic.com sample                                 A                 

                               A                       

reedmusic.com sample                                B                                                     B                                      


8

minor 3rds

                                                           C                                                                           D                     C

reedmusic.com sample                               E                                   

reedmusic.com sample                         E                                         

                               F                                        

reedmusic.com sample    

                             www.reedmusic.com RM • 010

9





                                   

F

                                G                                     

reedmusic.com sample                                 G                            

                        A                                 

reedmusic.com sample                               B                                                                       B                                                             


10

major 4ths

                                                               C                                                               D                     C

reedmusic.com sample                            E                              

reedmusic.com sample                          E                        

                           F                      

reedmusic.com sample 

                         www.reedmusic.com RM • 010

11 F                          

                                 G                       

reedmusic.com sample                              A                     

                           A                        

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

                              www.reedmusic.com RM • 010

12

minor 4ths

                                                      C                                                                 D                       C

reedmusic.com sample                           E                                          

reedmusic.com sample                          E                                           

                           F                                        

reedmusic.com sample                               www.reedmusic.com RM • 010

13





                                   

F

                            G                                    

reedmusic.com sample                           G                              

                            A                                

reedmusic.com sample                           B                                                                     B                                                          


14

dominant 7ths C                             C                            D                          E                             E                                 F                           F                             G                          A                          A                        B                            B                            




diminished 7ths C                              C                           D                                D                           E                             F                               F                        G                             G                             A                             A                              B                       

15

 

reedmusic.com sample 

  

reedmusic.com sample 

  






16

chromatic

                                    

                            

reedmusic.com sample major 2nds                                                                               

                                

reedmusic.com sample                           



minor 3rds 

                                                                         


                                

        

              www.reedmusic.com RM • 010

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major 3rds

                                                                           


                                

reedmusic.com sample                

 



perfect 4ths                                     

                                            

       

       

       

       

     




www.reedmusic.com RM • 010

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

diminished 5ths        

                  

       

               

                                    


reedmusic.com sample                           



perfect 5ths                                       

                        



      





    




       



        www.reedmusic.com RM • 010











  

     

19

minor 6ths                                                              

reedmusic.com sample                         

reedmusic.com sample                   



major 6ths 





















     

                





    



 

 

 

 

 





 

 

              






























       

www.reedmusic.com RM • 010

20

minor 7ths

                                                                       




































        



major 7ths                                        

             

             














































perfect octaves 





             

                                 









reedmusic.com sample 

 





                        www.reedmusic.com RM • 010







Saxophone Technique

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