PROFESSOR OF MUSIC INDIANA UNIVERSITY
fiva.-- ...--...----•••
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SAXOPHONE HIGH TONES
A systematic approach to the extension of the range of all the Saxophones: Soprano, Alto, Tenor and Baritone Eugene Rousseau © Copyright 1978 Etoile Ml1sic. Assigned ro MMB Music, Inc., St. Louis, MO, USA. All rights reserved. International protection secured under UCC, Buenos Aires and bilateral copyright treaties. No part of this publication may be reprodl1ced, stored in a retrieval system, or transmitted-in any form or by any means now known or later developed-without prior written permission except in the case of brief quotations embodied in critical artides and reviews. Caver Design: Carl Simpson Ml1Sic Al1tographer: A. Snesrud Photos: F. Satoh Third Printing: August, 1998 Printer: Publishers Express Press, Ladysmith, Wisconsin PRINTED IN USA ISBN: 1-58106-005-X For further information, contact: MMB Ml1sic, Ine. Contemporary Arts Building 3526 Washington Avenue Saint Louis, MO 63103-1019 USA 314531-9635; 800543-3771 (USA/Canada) Phone: 314531-8384 Fax:
[email protected] E-mail: Website: www.mmbmusic.com
PREPACE
The possibilities for differences in the kinds of expression utilized in playing the saxophollC are perhaps as varied as the range of capabilities exhibited by the instrument' s countless performers. That the saxophone, this youthful member of the wind family, is already well·established as an insttumem of enormous potential goes almost without saying.
1'he list of esteemed saxophonists
throughout the world, (:"ncompassing a11 manner of musical styles and tastes, is irnrnense, and growing steadily. Musical literature';;{or the instrument inc1udes original and transcribed works from virrually every era of musical history, with the contemporary composers .. happily, to an increasing degree - conrinua11y discovering its abundant resources. Among the many facets of the saxophone's evolution is the one to which the present book addresses itself, namely:
harmo7lics, or overtones -- those high tones aboye the norrnal range.
A keen and
widespread interest has fOl many years been exhibited by players, teachers, and composen in the extension of the saxophone's range upward, beyond the normal
#=
or
=t:~-=
Indeed, the
aurhor himself shares in this intentness, which has been the rnainspring for the pages that follow.
April, 1978
AUTOGRAPHY; A. SNESRUD PHOTOGRAPHY: F. SATOH
BIOGRAPHY Eugene Rousseau, one of the great saxophonists of the world, enjoys the unique ability of being at home in a variety of musical styles. Since his highly successful recital debut in New York's Carnegie Hall, he has had engagements as a soloist and guest lecturer across the United States and throughout the world, inc1uding Canada, Europe, Africa, Australia, and J apan. Among these are appearances with the Gordon MacRae Show and Woody Herman's Third Herd. Of his numerous solo recordings, Rousseau's most notable is the first undertaking of its kind, an album devoted entirely to saxophone solo and orchestra, Concertos lor Saxophone (Deutsche Grammophon 2530 209). A disc of the Eugene Rousseau Saxophone Quartet for Golden Crest Records will be released later this year (1978). Inc1uded in his publications are a two-volume Method lor Saxophone (Kjos), and 27 solos published individually for the alto, tenor, and baritone saxophones (Belwin-Mills) . In recent years Eugene Rousseau has devoted much of his time and energy to the acoustical aspects of saxophones and saxophone mouthpieces. He is chief advisor to the Yamaha Corporation for saxophone research and development and is currently President of the North American Saxophone Alliance. He holds the Ph.D. degree from the University of Iowa, where he was a pupil of Himie Voxman, and has been Professor of Music at Indiana University since 1964.
5
TABLE OF CONTENTS
Preface
3
Fingering Chart: normal range
6
The Embouchure
7
Closed Tube t!xercises
8
Acoustics and Venting
13
The Technique of Overblowing Sixths
19
Bridging the Registers
~
26
Beyond the Sixths
'
Fingering Chart: high tones (soprano, alto, tenor, baritone) ~
Chromatic Scales Major Scales: one octave
34
38
,42
Major Scales: extended range Major Arpeggios
31
43
:
47
Minor Scales, Harmonic: one octave
48
Minor Scales, Harmonic: extended range
49
Minor Arpeggios
53
Minor Scales, Melodic: one octave
54
Minor Scales, Melodic: extended range
55
Whole-Tone Scales
59
Augmented Arpeggios
60
Diminished Scales
61
Diminished Arpeggios
63
Exereises in Thirds
65
Pentatonie Scales
66
Artieulating the High Tones
69
6
FINGERING CHART FOR THE NORMAL RANGE by EUGENE ROUSSEAU
A#
1&
O.K.
#~
B~
&u •• ••
c
B
-
U"
I
••.B i •
~BP
c.
D~
#-
~o
I
•• •¡ •
c.
c#
•;c~ ••
c.
c.
Fingerings shown are for lower notes. For upper notes add octave key.
Left Thuw..b,
I~
LSK = Left Side Key RSK = Right Side Key O.K. = Octave Key
D
1&
D#
:t4 1: t:
• • I
•• i ••
,
@) 1977 NeU A. KJo. MII.;c Co., Publi.her, Park Ridge, A11 Right. Reserved Internltlonl. Copyris"t Secllred Thll cIIIrt 1I exlrllCted lrom lhe Eugene
~OlI_U
E~
I
••
¡
•
EP.
F
E
:
:
•• ¡• •a
•• •io
mino l.
Printed in U.S.A.
Methodl lor BeXOphOllll (2 Vol'I.), pubUlhed by KJOS. UHd by permllllon.
o
7
THE EMBOUCHURE
The requisite for accomplishing harmonics or overtones on the saxophone is a good tone. In turo, the accomplishment of a good tone on the saxophone, as on aH wind instruments, necessarily depends upon a proper embouchure. While the scope of this book does not include those elements of playing normaHy associated with beginners, it is nonetheless essential that one have a thorough understanding of the fundamentals of the saxophone embouchure before attempting to achieve any high tones above the normal range of the instrumento These fundamentals are as follows: . (1) Curllower lip slightly over teeth.
(2) Keep chin in a natural position. (3) Form 'ah "00" shape (as in saying coo) with the mouth and lips. (4) Form a circular shape with the mouth (the lower lip should appear somewhat bunched). (5) Place mouthpiece alone in the mouth, with top teeth resting solidly on the top of the mouthpiece. (6) The round, "00" shape should now give solid support aH around the mouthpiece. To determine the propor amount.of mouthpiece needed in the mouth, as well as the strength of the roundness and bite, the test ~ to blow on the mouthpiece alone to attain the concert pitch shown below. Always play this test arfortissimo leve!. o
alto
tenor
báritone
soprano
lf the pitch produced on the mouthpiece alone is higher than indicated in the staff aboye, direct the air stream down, remembering always to keep the embouchure solid. lf the pitch on the mouthpiece alone is too low, direct the air stream up. In either case, p.ever loosen the embouchure, which should remain solid at aH times, while the air does its job properly: THE HARMONIC SERIES Each tone produced on a. wind instrument is comprised of several tones, a phenomenon known as the harmonic series. Although not heard as the principal tone, sorne harmonics -- in varying degrees of strength _. are present when the principal tone is sounded. The main tone, or fundamental tone, is the strongest of these severa! tones, and is the pitch that isheard. Each of the other tones is caHed a harmonic, or overtone, terms quite familiar to any saxophonist interested in high tones aboye the normal range.
-
© Copyright 1978 Etolle Musie, Ine. Bloomlngton, Indiana
AII Rlghts Reserved. Internatlonal Copyright Seeured. Prlnted In U.S.A.
-
8
By changing the embouchure and air pressure it is possible to bypass the fundamental, thereby causing one of the harmonics to be heard as the main pitch. For this purpose the saxophone embouchure needs to be stronger than normal (a stronger circle), with slightly more reed exposed' within the mouth. This should be realized by a very slight forward movement of the jaw, rather than taking more mouthpiece into the mouth. The air pressure must be increased as the higher harmonics are attempted, the effect being a
smaller quantity of air put to use. This technique will equatt: with a higher pitch on the mouthpiece
alone, following the testing procedure described on page 7.
The following series of tones, the harmonic series, may be practiced on all of the saxophones in the
manner indicated. It will be evident that, (1) the harmonics work less well as one ascends to the
higher fundamentals -. B, C, C#, etc., and, (2) the c10sed tube harmonics are more difficult on the
soprano, o~g to its short tube.
CLOSED TUBE EXERCISES Diamond.shaped notes indicate fingering to be used.
~ i~ f~~-sl
•
i~. f~~-:I
~.~~~:I
~~. ~~@-:I
9
17·
,
...
~ lo
O.
~
o"
~
•
...
'111 ~ LI
~
~
~
'iI
1
•
"
~
~
C7
1
10
-*1
~, ~=w ~ t
.==-~ F!$"t:l ~:; i ,.
ffif"
~(-j-' ~ ~=sj~11
"
~. ~
'
.
Iq .'
~--;
8(-'
~ sstd
~~~~~W~J ~ ] !ll W!~---i: (l~ ~--~-_ & ¡ m·
~~j ~~~i=r4=tt
•
•
•
•
12
13
ACOUSTICS AND VENTING
In acoustical terms, a vibrating air column produces a tone on a wind instrument, although this column of air does not vibrate uniformly throughout its length. The point at which it vibrates most vigorously is called an anti-node, while the point of minimum air motion is called a node.
'<:=' I
I I I I I
:<=L:-~
I ,
I I
I
• Node
I
Node
I Anli-node
t_~I
Anti.node
Nod,·
When a wind instrument sounds its fundamental tone, also known as thefirst mode 01 vihration, the length of tubing involved is made up of one unit that contains one node and one anti-node. Two nodes and two anti-nodes are required to produce a tone one octave higher.
"",
~ ~
~ ~
~ ~
~ ~ ~-Position oF lower octave key in relation to anti-nodes oF each tone. Ideally. the octave position should coincide with the anti-node.
The example below indicates the approximate position of the saxophone's two octave holes. Ideally, the octave hole position should coincide with the ami-node, an arrangement that would demand an extensive series of octave holes, a highly impractical proposition. Thus, a number of compromises . becomes necessary in building a saxophone.
¿;:. . ""' " '~'! g~) ~~' E~~t~.~
lower octave hale
upper octave hale
(approximation)
As discussed earlier, it is not only possible to derive more than one tone from tlle same basic fingering, but often highly desirable.. Many times the· smal1, yet vital1y necessary adjustment is simply the opening of a key. This slight opening, when employeo to produce overtones, may be referred to as a vent, and the process itself as venting. Almost al1 saxophones possess two vent ttlbes, commonly cal1ed octave keys.
14 1. upper octave key
(upper vent tube - UVT)
3. fundamental tones
4. octaves produced with lower octave key (LVT)
5. octaves produced with upper octave key (UVT)
2. lower octave key
(1bwer vent tube - LVT).
3. The most common example of venting, other than the uSe of the octave keys, occurs with key F*, sometimes designated the F auxiliary key, or /ronl F key. This key is usually used in conjunction with
key F
fronlF key
the fingering for
=f2::=
,and most commonly used for the interval ~
produced does nol result as an ovenone of • ~
is derived from
;..
i
SI:
,
however, but rather of
The
i
+
#=
thus
Therefore,
by using the F key as a vento
+..
This can be On most saxophones the F key op'ens to a distance greater than necessary. demo nstrare d by one person playing ~_~, while a second pers on ope ns LSK 3 the equiv alent of the normal front F opening. Continuing to play, LSK3 is lowered until barely open. While the quality
i
4
of = may change to sorne degree, it nonetheless continues to sound. This technique will be refined and used extensively in the pages that follow.
"'See fingering chart, page 4, for the basic saxophone fingerings and key designations.
15
As LSK3 assumes the troe function of a vent key, a conflict between it and the lower octave key (LVT) is created. As a consequence, a successful approach to the use of LSK3 as a vent tube is most often made by eliminating entirely the use of the upper octave key. At this point the performer should use a small flat object (paper, old reed, etc.) of approximately 0.25mm thickness (ca. 11100 inch) to hold LSK3 open. With LSK3 open in this manner, and with the octave key not being used, the following series may be played on alto or tenor.
~¡
~R
Al
'iJ:
I•
ij.
4
~.
f?!
~
+ RSKl
Bis +RSKl
RSKl
"",
~~
~3
2
• '" note fingered, and with LSK30pen ca. 0.25mm. o = note to be produced
BEGIN EACH TONE WITHOUT TONGUING.
1. 2. 3. 4.
tlat on most tenors extremely tlat 'on most tenors; not useable usually the equivalent of F/I on tenor usually the equivalent of G on tenor
While the above is almost always the easiest way to begin these high tones, the same approach with the octave key should also be practiced, as this will be. nearer to actu... l. performance conditions.
JZ
-e-
@ 1-
[+
t~~ RSKl
~
--
P'"
I
~
~í!
... -
~
11
Bis + RSKl
+RSKl
Remember that both of the above examples are designed to be an aid in the development of a facility for the high tones. As these exercises are mastered, the fingerings normally used in performance on the alto may also be practiced, as shown below.
o.k.
o. k.
*{~
e
o o o
**
o. k.
*{~
*{~
o
o
o
o
~ RSK 1 o
e RSK 1 o o
e
e
o. k.
o
o
e
*{~
o
* Index finger position is on Key F, which automatically
**
G# key may be necessary on sorne altos.
o.k.
*\~
o
o
-~
RSK 1
o closes~
e
o
o
16 The recommended fingerings for the tenor are as follows:
~ o.k. F O
••
4.e.
.R..
~
"",
I
~
o.k.
o. k.
-
1I
o.k.
F
F
F
O
O O O
O O O
•
O
• RSK 1
O O O
O O O
3ft:
O O
o.k.
• • O
O O
O
RSK 1
~ RSK 2 O
Ir is possible to adjust key F~o that its opening is decreased, enhancing its function as a vent key, without causing any adverse effect (see photo). Indeed, many of the author's pupils have made this adjustment themselves with highly favorable results (see photos).
For the soprano saxophone, unlike the alto and tenor, RSK3 is used for a vent key in the following series of tones.
6-
•
.J2.
~
I
~.
te
f~
:ít
f$.'
RSKl
--
Bis + RSKl
~.
-
+R8Kl
• = note fingered, and with RSK3 open ca. O.25mm. o = note to be produced.
BEGIN EACH TONE WITHOUT TONGUING.
As with the alto and tenor, the same series with the octave key should also be practiced.
I
17
!
~
.Q..
4-
~
g¿+tª
g~~
~
-
~.a.
E
,Bis +RSKl
RSKl
+ RSKl
~
The fingerings for soprano normaIly used in performance may al so be practiced, as shown below,
~
11
"', o. k.
O
~ RSK 3
O O O
O
RSK 1
~
~ o.k. ~ LSK 3
o. k. ~ LSK 3
: LSK 3
O
RSK 3
I o.k.
• •
t~
~
11
o.k.
• •• G# O O O
t~
~
--
3r
O
bi S
O O O
RSK 1
O O O
O
RSK 1
Additionally, if your soprano has key F you may use the following:
!
~j2
~
3r
~
--
t~
--
~
~
~
~
o.k.
o.k.
F
F
F
F
F
O
O
O
O
O O
O
O
O
o.k.
o.k.
• •
•
•
O O O
O O O
O O O
O
O
o. k.
• RSK 1
RSK 1
O O O
O
O
RSK 1
For the baritone a slightly different pattern emerges; RSK 1 is used as the vent key.
i~
A
= note fingered, and with RSK 1 o = note to be produced.
•
~~~-~I~~·~~,~I .
Bis
Baritone fingerings normally used in performance may now be pracúced.
F
o. k. F
o. k. F
O
O
O
o.k.
• • o • O
• O
O'
O O
• O
.RSK 1 O O
o.k.
o.k.
•
•
O O
-o-RSK 1 O O
O O
oRSK2 O O
18
wM! y~ .'~""~~~:I
19 THE TECHNIQUE OF OVERBLOWING SIXTHS
The necessity and practicality of venting having been discussed, it is now appropriate to outline the The nature of the saxophone's tube, being sharply conical, lends
technique of overblowing sixths.
itself to a relatively easy production of sixths beginning with~ and continuing chromatically to
~ (%', the result being the production o/i~-'¡;¡;'-..t.-(rii, or ~B';¡;:;'1-1~-(i)', in the case of the
baritone. The great value of this technique is three-fold:
"',
(1) as an aid for the development of a facility in
.
playing high tones; (2) as a marvellous way in which to develop embouchure and air control; (3) as an enormous help in enhancing the saxophone tones in the
range,~ f~""""'~
The initial attempts at ove1:blowing sixths may prove unsuccessful, although the method than one might first imagine. The following guidelines will be helpful: (1) Begin with
p
I..:t
8"a--,
1: -:il:
,
or ~
8...a-~.,
jf-lt:
IS
easler
,which, for many players are often the easiest combinations.
(2) More mouthpiece inside the mouth will aid in, producing the sixths, but it is a crutch that must not be used in playing music. (3) Do not tongue any tones in these exercises, since the tongue _. for the very purpose of achieving the high tones -- is not in its normal position for tonguing.
This is not to suggest that the high tones cannot be articulated. Tonguing range, however, is a complex matter, and is treated separately (see pages 69-71).
In
the aboye-normal
Further, it must be said that the soprano, alto, and tenor saxophones will overblow at a major sixth, while the baritone overblows at a minor sixth. Generally speaking, the harmonics are easiest to produce on the largest saxophone and, conversely, most difficult to produce on the smallest one. Thus, the soprano pIayer will, with rare exceptions, experience the grestest challenge among saxophonists attempting to extend the range. For alto, tenor, and soprano:
! ~
l:!=
Bl/a"r- ...
.L
{-e-
9"4 -- ... .IZ.
• = note fingered o = note to be produced
Slf4-- ... 8"&--" .1 ~ .iL f~
-
(
-
¡,...
t:!:
For baritone only:
j
!
t..:!:
8""--'"
~-e--
8"4 -- ...
~~
:!.
~
-
8"'---" ~j2.
~1"
8"4 --,
~.L
~.Q.
-
8114.--.,
~
811a--..
4t~
I
8"4--""
~~
ij
eua--... R.
I
20
For alto, tenor, and soprano:
8114 ---.,
811a.-...
B~a.-...
Be.,
618""
13 114.,
WÍ~~~-
22
eVél-- - ---,
MJ ~ rt ,M, I -
~
Bva.------...,
t
@ , t!tf:1
.·lVl_'~~4
~==~
B"-'
8
-........
8'Q-,
8va-.,
BY'ól--.
~. ~~ ~§_bt ~ AA~' ,~
>
'
•
~ tÍ ¡~~I - i' ~ (~,
:¡gi:'
f
pf
r
~:¡gi: ~t
f ;.
~ Et8i'I_¡'~
• 81Q-'"I
~ ~ Í
8V'ó\.--.
8V4-.,
-1 ~ r tf ¡gt' 14
~ ¡~-l lt ~~. tll
~ ~ ,.. ,@f~~
8"'l-.,
I
eVQ-,
8va-,
ava
- - - - _ - _ -,
-, ~-~ ái-' :1
23
24
.JI..
eua -...,
~. ,~j
2S
For baritone only:
27
Use the frootF Key for aH examples
00
this page.
-
-
-
29 Use the front F Key for aH examples on this page.
=fea e
~~
~Ca@j~~t~
·ica~s~
30
Use the front F Key for al! examples on this page.
~
.
,
.
I
t~1 ~I
.
•
~.I
~~~.~I
~~~!
fe .~~ ~~~~~. ~
31
BEYOND THE 5IXTH5 After gaining a familiarity with overblowing a sixth higher, the procedure may be expanded to inelude a fourth higher, yielding the following:
•
.:t:
.1\
8va.- -
) 'loe-
ElVa.- -
> ~g
o
note fingered =
note to be produced
~.
-
- - -
----- -
- ---~
~
.L
--
-
.L
-
--- - -
It~
-
-
"'~
- - - - - - -:---,
-
~~
- - - - - -
~--,
.Q
~
-- - -
-
- -- - - - - - - - - - - - - -
tE
Sl
~
--
-
:St
--
-
,
..
In the case of the baritone saxophone, the pattero becomes:
J'
,
I:t--- - -fr
8v~
8va.- - - - i')
.J2.
. ---
~~
.-
-- - -- - --'2
------- - - - - - - -
~
'--
:it:
-
-
-
-
---
~~
---
-
------ ------.Q
~
-
.L
--
fe -
---,
-.J:L - -..,
"3t
--
8'a
t
,
For tones above, and ineluding ~ it is usually necessary for most players to make a significant embouchure change. The amount of lip over the lower teeth is greatly decreased, the exact amount to be determined by each performer through daily practice. The reason for such a small amount of lip cushion in the extreme high tones is due to the tremendously high frequencies, and the corresponding need for increasingly faster vibrations of the reed itself.
32 For alto, tenor, and soprano:
:~·-~-iif~:-Mit·~~-;-'Jitif ~. BVa. - - - - - - - - - - - - - - -..,
7 '.
BVa. - - - - - - - ..,
'q%' t' ., ¡l' ., t .q§: i t } l} t '}" ~ :.
~:J> t
't
ella.. - - - - - - - - - - - - - - - -,
8Vót - - - - - - - -,
~. ~t ~ tÍ" ,r' J @' ~r ~ l ~ kd ~ f 7 i' ~
•
F ---, .. '
eU~--T=---~--f:-:---~"
8va.---
8ua..
BIJa. - - - - - - - -,
~·,lh.,1 J{.,@tfl - - ,- - - - ..,
III
§h!IhiÍ ,:.
W· 't1 11' .ti( ~I' ~f ~,Í ~ Id ,±A' /;" r--r:-t:---T-:-t-' !it 1ft a!lr ¡ ~f @}j , ¡ Í 1·.¡
tj
't
~
!!
'1
a
f;fI~--
- -
!lir .,
- -
-
-
'1
k=ff' ~ f' 'l~.
't
- - - - - ..,
f
I
t
I
?
I
6"a-----.,
~':.: eva.--- - -,
- - - - - - ----,
B"~
~ 8"8..-----.,
--,
W' '1í' ~ ~r '11" 6~'--
SI/a.- - - - - ,
EII
t
ij
8Va.- - - - - - - - - - - ..,
~. ~!ti..,
r--r-~-'t·
81/~-
- - -...,
~.
33
eva.. - - - - - - - - - - ...,
sva.- - - - - ,
eua¡L- - - - ,
ffl' Al ~ ~. II ~. ~ ~ .~!
'1
tt=f ~8¡-:-"-~i~ ~ ~'~~t I
~' ;~~-:-a·~~f.'~ ~~.~711
34
FINGERING CHART FOR THE HIGH TONES
FOR SOPRANO, ALTO, TENOR, AND BAR/TONE SAXOPHONES
by
EUGENE ROUSSEAU
There exists no "complete" fingering chan for the aboye-normal range of the saxophone, nor can
there ever be one. Moreover, there is no one fingering in this range that is the correct one. In the
chan be!ow, therefore, no attempt has been made to inelude al1 known possibilities, many of which
often prove redundant. The central purpose of the .fingerings given is to offer choices among those
that have, countless times, passed successful1y the acid test of performance by both the author and his
pupils. Each player, in order to achieve a reasonable leve! of proficiency in performing the high tones,
must ultimate~ decide upon the combinations of fingerings that work best for him. Final1y, it must be
stated emphaucal1y that (1) success in playing the high tones wil1 come only if and when the
embouchure and air usage are correctly understood¡ and, (2) any and al1 fingering combinations should
be first practiced repeatedly without playing.
SOPRANO
•
~Ok F o
I
1*
ok I I ~G#
~Rsk 3 o o o *Add G# if flat O
.~
Ii'--- - --~ o ok F o o
-º--
I Rsk o o
ok F
ok
ok
O I O
I I O
O 1, O
O O O
~Rsk 3
~Rsk 1
~Rsk 1
O
O
O
ok
:LSk 3 O
ok
ok
ok
ok
•o
Ibis
olb'15
lb'15
~Lsk 3
~
~Rsk 1 o
o oRsk o
O
o oRsk o 1.4
0. O
I oRsk 1 .4 o
... -
:l.
O O
ok
O
I
I
O
~
~Rsk 4
I I I
O
O
•• -.9.J3b •• •e
Eb
- - - - - - - - - - - - - - - - - - - - - -:#.q - - - - - ------
---------- --------- - - -
o
ok
ok F
F
ok o I
ok o o I
•
~Rsk 1
~Rsk 2
~Rsk 2
O
o
o
ok o I I Bb I I o Eb
ok F o O
~
ok
ok
~Lsk 3
I o o o oRsk o 1.4
O
~Rsk 1
~Rsk 1
o
o
~
-if¡ - - - - - -4 - .
ok o I Lsk 1 I
ok o I Lsk I 1.2
ok oLsk I I 1.2.3
~Rsk 2
~Rsk 2
~Rsk 2
o Eb
o Eb
o Eb
The symbols and letters used In this chart are explalned on page 6.
..
ok o
• •••
---!-..
ALTO
35
ok
ok
ok
ok
F o
F
F o
F o
,
, *
o o
o
ok
,, ,
o ,
,
,
o
o
o
o o o~\
oRsk 1 7sk 4 --;RSk 1 o o
o
o
o
o
ok F o
o o
,Rsk 1 o o
ok
ok
ok
'bis o o
,
o ,
o o o
oRsk
,Rsk 1
oRsk
o
o
o
o 1.4 o
ok
F
o
1
*atld G# if f1at 8.'(~
_ _ _ _ _ __ _ _ _ _
------------------------------------#"-(¡
ok
,o,
o o o
~Rsk 2
o
ok o
, , Bb ,
, ,
ok
ok
ok
ok
ok
O
,
, ,
,'Lsk , ,,
~LSk 1
°Lsk o
~Lsk 2
o o
o
,
•
,,
-,
o o o
ok
-'
~RSk 2
o
,
,o ,
o
, Eb
ok °Lsk
o 1.2 o o o o
""4----------"jjj
ok
ok
o o
0Lsk o o o o 1.2.3 o
,
o
o o o
~Rsk 3 o
~Rsk o
o
ok
ok
ok o oLsk o 1.2
,
2
~Rsk 3 o
o o o
ok
ok
0Lsk , o o o 1.2.3 o °Rsk 0 34
o •
o ,
o Eb
ok
~Lsk
o o o o
o _0_
o o o
ok o
oLsk o 1.2
ok
,
o o
~Rsk 3 ~Rsk 2 o
, Eb
o o o
b~
*0 ok
o
ok o oLsk o 1.2
----------_.
!!'- - - - - - -
,
ok
,
,o ,
o
ok o oLsk -.2.......1 • 2 • 3
~Rsk 3
o
ok o , o o
,
o
ok
ok
~Lsk
~Lsk
-.2.......1 • 2 •3 _0_ o o oRsk o o 3.4 o
ok
ok
,
ok o oLsk o 1.2
o o o
~RSk 3
o
,
~Lsk 1 o
, ,
••
36 TENOR
1
~
ok F o
ok F o o o
ok F o
•o *
•• o o o
,
o
•oRsk
(J'
o o
ok
ok F o
°Rsk o , 4 o '
o
'bis o o
'bis o o
~Rsk 4
o oRsk o
o
ok F
o
o o
•o
~Rsk ,
o oRsk o ',4
ok
•o ,•
o
o
oRsk 2 o
o
•o o oRsk o ',4
*Add G# if f'at
¡
J'lt . - - - -. - - - -
ok o
ok o
-'~Rsk 2 o
ewa Q.•• -
.-
-
ok
o .Lsk
.' ,Lsk
• • ,•
o o o
~
·
ok
• .G#
_. - -- ------- - -- - "--ti - - - - -
-'-
••o
ok
ok o oLsk
o .Lsk 2
•
•
o oRsk 2 o
o o o
ok
~,,2
o
oRsk 3 o
,~---
"11-
ok
ok
o
ok
ok
ok
ok
ok
ok
o oLsk
o o o o o o
~Lsk , o
o
•o
•o
o o o
o .Rsk 4 o
F
•o
o oLsk
--º--' ,2,3
o
o o _0_
o
o
o o o
oRsk 3 o
o o
-º--' ,2,3 o oRsk o 3,4
---._. _.- - ---- ------ ... --- - --------- .. - - 4-
ok
::11#
ok
~Rsk 3
•• o •o
o
o
°Lsk o
..JL,,2
ok o oLsk -º-' ,2 o o o
ok
• • •o • Eb o
- -.D-
t/t1
oLsk
¡
-_.-----:1+
ok o
•• , ••
•
~
't\)
-d-
...!.-
•o , Eb
-• --
--
ok
~Lsk
o ',2 o
•o ¡~-
-.
ok
ok
ok
ok
ok
o oLsk
o o
ok
°Lsk
o
o oLsk ,
o oLsk o ',2
~ ',2,3
~Rsk 3 o
• -º-•o o
-º--' ,2,3 °Rsk
0
o
34 '
-º-o o o
..JL. o o o
o o o
37
,
BARITONE ~
12
ok F
ok F o I o
O
I
•o
o ",""o o
I o
ok F
ok
O
I
ok F O
I
••
oRsk o
°Rsk o o
•o
I o
~Rsk 1
ok
ok
ok
ok
ok
•o •I
Ibis o o
I o o
I o I
I o o
°Rsk o o
~Rsk ,
~Rsk ,
~Rsk 2
o
o
o
o o
o
~!_-- ---------- --.-- - -- - -- - - - ------- --
1jb ok I I
•
~Rsk 2 o
t~
rN-(f
-(J
§
ok
ok
ok
•• -.!-G#
o
o .Lsk
o oLsk o
o o o
•
•
-.!-G#
•I
o o o
o o o
I
.. .,
J
_
ok o
ok I I
• ....!-G#
•
~Rsk 2 I
e
ok
ok
o
o o ..JL
• -.!-
o
o
o o
oRsk 2
~Rsk 2
o
o
ok
ok
o oLsk o 1,2
o I Lsk 2 o
o o o
°Rsk 2 o o
ok o oLsk o 1,2
o
ok
ok
~Lsk ,
~LSk 1
~Lsk 2
•
o o o
~Rsk 3 o
ok
ok
-º ~Rsk 2
•• o
ok o . oLsk o ',2,3
-.- -.D. - - - •
ok
• • •
•
ok I o
•
~RSk 3
- - - - #- - ---
#~---
---- ..- - ..#~ - --
~
.i2
ok
r#~
-(J
:#~
o
o -º......,,2 • Lsk
•o
•
o o o
o
o o
._-------------..--
ok o
oLsk
o 1,2
~Rsk 3 o
ok
ok
ok
••••
o o oLsk • o 1,2,3 •
o o o
~Lsk 1
~LSk 2
~RSk 2 o
~RSk 3 o
~Rsk 2 o
ok
ok
ok
• ••
•
•o o o
ok o
••
•• •
ok
o
oLsk
-º-1,2
ok o
.Lsk I
',2
~RSk 3
~Rsk 3
o
o
•
,
6\t4,- - - - - - - - - - - - - - - - - - - - - - - - - - - - -..,
" ,~
jeA
¡CM
~.,
s..-- - - - - - - - - - - -
- - - - - - - - - --...,
'1
"9
39
~G
"4
8va. - - - - - - - - - - - - - - - - - - -
~e~
- - - - - - - - -.,
•
.
'4
e~----------------------------------~
· '4
. • .
~
.
.
~~. _. - --~
. , I
~
---
~
·r-
71
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.
jJ.
•
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...
.
.
., l
41
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. ~ ... :~.: :: I:~ :~. ••
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'o.'
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f. .Ior:~,."":- ."" ....Ior ':~: ...y' ~:~l._ '.1'"
---
(;\
,
~~
-
42
ONE~O~CT:..;.:.:AVE~_--=-
MAJOR SCALES:
_
~ea~~~
!te Qn~~:1
c~~~~
~CQ~~sl
"
.
~
~
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.~ e~~-t
~
MAJOR SCALES: ~ EXTENDED RANGE
•
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BVa,-----------
~
,
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112.
I
t ~
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~
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44
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il
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45
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B~
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fiea
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46
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t~:r::
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r ~ .:~ ~ ~~:
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sva.--
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-
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....... "1'.....
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",.rt
I
f , - :.
v)-- - - - --,
48
M1NOR SCALES, HARMONIC:
ONE O:~:'::':'------:-;#:---------=---::-~
-----~
~ca"~~~:1
.
",-- Bva--- - - - - - - - - - - - - - - - --~
,
eaM~:1
,,-- 6"4--- - --- _. -- ---- - -- -------- ...,"
~:I
49
,..-- B"a.,--- - - - - - - - - - - - - ------~
HCan(~ .MINOR SCALES, HARMONIC: E~NpEP RANGE
IIz.
~~.
I
j
~
50
8·-----~-----,
<
~---H.
~
---- ---- - ------...,, t ~~., =:-. G .... ~~. IJ,
~
~
~
-
.... •
--------II';;-.----~~ t
- í1T-.o' .-.. -
-
"'
....1'.... .,.04
-
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.-...
? I
~--
. .
.........
•
-
.~ / ~ .
~
I
11 4•
..
11
2.
.--.......
.I
51
.
&"a.-- - - - - - . . . - - - - - -
~
.----+----
_------Rl.-.- - - -
=
53 MINORARP
~Ca.t4
54 MINOR SCALES, MELODIC: ONE OCTAVE
~c#~8~§~:1
.ea
:1
.~c~
e ;=:~ ~c_
=
; :1
~e~ ~cM~~;1
55
MINOR SCALES, MELODIC: EXTENDED RANGE
~eahC_
--e-va.----:--~---------'-:-~~
_ ---w.
"'
112.
I
~~7~
¡
7
~
56
&va.- - - - - - - - - -
1M
~------'---===----'I 2.. •
I •
__
8~--------------+~
c:::;~+.. -
)
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--------+'~~.f"~-=~~~~=iii-'" z. ,..
"
.,.
~
_
-r- ••
LW~"'.
...-t
I
_
.•,...
..........
•
...L
...11
57
ev'a- -- ---- - - - - --
IILI
,~. '1
..., .
Bva.----- - - - - - - - - -
r
----H.
~C
6~----------------~
112.
I
~,~. ,~
,
. 1;
58 ~va,--
- - - - --
WsSM
vr
~;;
~.
I
'l :~. 1 ~ BVa, - - - - - -
.
!:d ~Je aua
~.r~. _r1.8U--~'
~~=_~~ r-::
Sl/a. - - - - ' -
~C~
~(tl ..
",.,? I
Ilz.
t- I _
l
13
., twa. - - - - - - - - -- - -- --,
---........
"
=tWH:~~~th7b~ ~O
59
fea~~
O
I
bt~~~ . :=be: tC aJt_
I
• =9-
I
~~PJ2 $~. ca4 _
I
-~-8'""""11i,--·-----~-----.......
~"
L
~--~--------------------------~--~.~ I
~:i: jea~
I
~
I
:B
I
=~~~~.~~
I
~eaQ_
· (:::-8",~a).-~-------,-~-;(f¡;::"c::;tJ};---';----_--1 r.
" 2..
• ~~-----:-~=-----------::::-.....
AUGMENTED
ARPEGGIOS / '
11. ,....
~
(,) \
.
r2,1)
...
0\'4---
~J~:~.u. ~. !.:~.J!.
--,
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~
f'
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)
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11.
.
•
.~
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•
17,~
J:~ e~~ --¡-J~~
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lila
-
61
~C
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8Q - - - - - - - - - - - - - - - ----,(ftXD)~
11.
11 l.
63
~e
BV~ - - - - - --~--- -~--- -----,Q"~
"'......
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8vl , - - - - -
e~--------
11.
~
- - - - - - -~-.....,
ti <..
64
•
12.•
sva.-- --~--- --
65
EXERCISES IN THIRDS
~~ ~
~ '11
~
k .~~ ~~,. _ ti. ~~H- .~~ ~.JF:r. .~. ~. :: ~:I: :~: 1: : ~v: ~ :1:1 b.-L.~:~ .~T'. '.~:~ :~:~ :~"':~ :~I
b_
~ ~
!':'
~-"
66 PENTATONIC SCALES
, l
..
~
, 1t
~lo'
•
• I
1
-ll ::l~
..!~
-~
-:f; ...-
~~
-~ :1-
:~
:1=
-1
I
BVa. - - - - - - - - - - - - ,
;f#A _ \1 h _ _~ B"a,.- ---- ----------~---,.--~~;;a_;:::====~=:-:::::"
.am~Et=tf (e1l4\ - - - - - - - - - - - - ,
I
67
~--------
~~
-,
~c~ ~.
(sv)-- - - - - ,
~
II
--~
68
Tsv)"
l.
.:~
- + •
... ...... -
I
8~---------------
(e v, - - - - - - .,
8 Va. -
----- - - - - --
69 ARTICULATING THE HIGH TONES
When the above-normal tones are played, a proportionally smaller quantity of air is uscd as rhe frequency of vibration increases. In other words, as one plays higher the air stream becomes increasingly smaller. This phenomenon accounts for the unusual feeling inside the mouth that the performer experiences when first playing high tones. It has often been described as ap "open throat", an unfortunate term for more ,than one reason. In the first place, ambiguity often takes place in the mind of a saxophonist, or any wind player for that matter, who, for the first time is told to keep an "open throat". What is being referred to is the inside of the mouth and throat, and its shape while playing, although it is impossible to see any of these shapes and functions! Even in recent studies using the technique of fluoroscopy, the consideration of tongue position, throat opening, etc... while they may ostensibly be observed an4 estimated -- must, in the final analysis, be translated ioto language that will produce a meaningful resulto Secondly, in order to have the finer air stream required fluorosc.opic ~tudies disproye, t~~ !l?tion th~t .the throat mouthp1ece pltches (see page 7) 1S vIrtually lOd1spensable, embouchure and air to a real pita/¡¡ level on the mouthpiece
to emit the high tones successfully, even ~ust be open. Thus, the concept of SlOce the player can relate the feeling of alone.
The tongue position and throat opening do change as one proceeds into the above-normal saxophone range. Because of this, the tongue is not in a position ordinarily used when tonguing tones in the saxophone's normal range. Therefore, the player who is first attempting the high tones will instinctively use the tonguing technique known to, him by the countless hours of conditioning experienced by him. When this is done the result is almost invariably that no high tones will respondo This is why many of the examples and exercises in this book bear instructions to BEGIN EACH TONE WITHOUT TONGUING. Inasmuch as the tongue position is different for producing the high tones, it will also be differeot for articulating them. The following guidelines for tonguing in the above·nomal range will be helpful. (1) Produce the desired tone without tonguing it.
(2) Repeat the aboye until the tone is started clearly. (3) Start the tone again by tonguing it. (4) Practice starting the tone, alternating it by tonguing and not tonguing. (5) The tongue, while used for articulation, must remain as near as possible to the position necessary for high-tone production. (6) Repeat the aboye working toward the goal of increasing the speed of articulation in the high-tone range.
At this poiot, any and all of the preceding pages of studies may be repeated using vanous articulations.
70
~',í'
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y
.
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f I
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••
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b
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l I
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B"a,-- - - - -- ------ -------- ---- ------- - --- -- - -------,
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- - - .- -
-
-
- - - - - -
~f,l~ f=r~r ~
- -
- - - - - - - - - - - - - - -- - -
ava. - - - - - - - - - - - - - - - - - - - - - - - - - -
.
_
,
/teR=fLI
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~-~'fl ~'7-r,-d~:j'-7sva. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,
