Saxophone

A Comprehensive Guide for Educators

Diana Smoltz
Woodwind Methods
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Table of Contents
Teaching Saxophone 2
Getting Started 2
How to Assemble the Saxophone 2
Appropriate Posture and Hand Position 3
Embouchure Development 3
Proper Breathing 4
Efcient Articulation 4
Potential Causes of Squeaking 4
Tone 5
Intonation 5
Pitch Tendencies 6
Voicing 6
Transposition 7
Equipment: Saxophones, Mouthpieces, and Reeds 9
Repertoire List 10
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Teaching Saxophone
Fundamentals
GETTING STARTED
Teaching Fundamentals is undoubtedly important, but reinforcing them is key. Bad habits can develop much more
easily than they can be broken. Prevention is crucial, and it is vital that from the very beginning your students start of
on the right track. By having high, but reasonable expectations, you are setting them up in the best position for
success in all aspects of their life.
Whether you think you can, or think you cant, youre right. -Henry Ford
How to Assemble the Saxophone
First, check each individual to make sure their case is in the appropriate position to safely open it. Once this has been
established, allow them to open the case. Before they take anything out, introduce each part of the instrument, so
they know what part you are referring to during instruction:
- The body, neck, neck strap, mouthpiece, ligature and reed.
- Also discuss the swab, and cork grease
Once they are familiar with each part have them put on the neck strap and begin soaking the reed. As they continue
to soak the reed have them grab the bell with their right hand and the body with the left. They can rest the bell in
their right knee as they attach the neck strap.
Next, they can attach the neck. Make sure they put the larger, uncorked end on the body and line it up with the
octave key. Once they are done have them apply a thin layer of cork grease to the cork. They can then attach the
mouthpiece. Generally, beginner ligatures are designed so the screws go on the bottom right of the mouthpiece.
After they loosen these screws the can slide the thick end of the reed down the mouthpiece without touching the tip.
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Appropriate Posture and Hand Position
Start by asking everyone to sit on the edge of their chair with their feet flat on the floor. Ask them to sit tall, but still
comfortable, be careful that no one starts with tension. Have them adjust their neck strap so the instrument comes to
them. Make sure they arent resting the bell on their leg or the chair. Some players may choose to play off to the side
of their right leg, as long as their posture is maintained.
Hand Position: Make sure their fingers are curved and relaxed. A good analogy to use is to ask them to pretend they
are holding a tennis ball.
-Left Thumb: Goes on the circular thumb rest, make sure it is positioned so they dont have to move it to depress the
octave key.
-Right Thumb: Goes under the lower thumb rest.
-Left Fingers: Rest on the pearls, skip the 1st and 3rd.
-Right Fingers: Rest on the pearls
-Pinkies: Rest on spatulas
Embouchure Development
Begin with telling them that the top teeth stay anchored on the mouthpiece at all times. There is no point in time
where while playing they should change this. Then, to find the proper position of the mouth on the mouthpiece, you
can have them put their index finger on the ridge to estimate the front to back placement. Once this has been
established have them say Oh to bring the corners in. The lip goes over the bottom teeth to cushion the reed. The
reed should rest flat on the lip. A good analogy to describe the equal distribution of pressure is to relate it to the
action a draw string bag. This normally clarifies any ambiguities.
Exercises: This exercise helps find the proper embouchure position and air support by attempting to create certain
pitches. To do this:
-Remove Mouthpiece from saxophone attempt these concert pitches
-On an Soprano: C
-Alto: A
-Tenor: F#
-Baritone:
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It is critical that they realize this embouchure does not change thought the range of the instrument. At no point in
time should they be pinching or losing control of this position.
Proper Breathing
Adequate air support and technique are critical elements in playing any wind instrument. On saxophone, you inhale
by dropping the lower jaw or by expanding the corners for a faster breath. The top teeth remain anchored throughout
this process and good posture must also always be maintained. Have the student inhale all the way until the start of
the sound making sure they are taking full, deep breaths. When they exhale it is ideally a steady stream of air
supported from the diaphragm.
The air consistency does not change throughout the range of the instrument.
Efcient Articulation
Articulation is commonly learned inappropriately by beginners, therefore it is imperative that good habits are
established right from the start. The tongue touches the tip of the reed to temporarily stop the vibration. This is
what causes the distinction in the sound. Du is a good syllable to have your students say, it adequately
demonstrates the proper tongue motion.
Scales are useful to increase efficiency. By high school a reasonable expectation is to ask your students to be able
to tongue sixteenth notes at a quarter note equaling 120.
Both embouchure and air stream stay constant while articulating. If they are having issues they are probably
altering one of these two components.
Potential Causes of Squeaking
Squeaking is most often caused by improper embouchure position. Oftentimes this is due to insufficient cushion and
therefore they need more bottom lip. Another way to approach this is to tell them to tighten their corners, this
naturally creates more cushion. If neither of the two aforementioned techniques are successful you can ask them to
roll their bottom lip over their teeth more.
However, another reason for squeaking is improper articulation. If they are squeaking when they attempt to articulate
it is probably because they are tonguing between the reed and the mouthpiece. To fix this you can ask them to use as
little tongue as possible or try and determine where they are hitting the reed to see if this indeed is the problem.
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Octave Troubles
If your student is having trouble obtaining the higher or lower octaves this is indicative of a fundamental embouchure
problem. Since neither embouchure or air stream changes along the range this shows that something is not as it
should be in their normal position.
-Most frequently it is an air support issue.
-It may also be a structural problem with the embouchure
-Try and determine the shape of their oral cavity and throat while playing to see if it interferes.
Tone
Similar to many other topics we have discussed with saxophone, tone can be established by reviewing fundamentals.
Check embouchure and air support first and make sure they have a good foundation to begin on. If all is well, they
can use long tones to help develop their sound. Scales, lyrical melodies, and voicing will also assist in developing a
mature sound.
However, there is no substitute for good examples. So provide many for your students (Marcel Muel, Larry Teal,
Sigurd Rascher ect...)
Intonation
The first step in your student learning good intonation while playing is helping them develop their ear. As a teacher,
you need to emphasize good intonation at all times. Once this standard has been established, the best way to learn
intonation is to figure out their own personal tendencies. It is appropriate for them to mark they cork when they
figure out the tendencies of their embouchure.
When tuning, teach them to only adjust at the mouthpiece. Also, make them aware of some natural tendencies:
Soft tends sharp
Loud tends flat
If a student is sharp, in order to lower the pitch they can practice voicing and open their jaw. If a student is flat, in
order to raise the pitch they can practice voicing and firming up.
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Pitch Tendencies
Some notes are always going to be out of tune if left alone. This is due to the long tube vs. short tube and their
exchanges. As previously stated, soft dynamics will generally be followed by sharp pitches and loud dynamics will
generally be followed by flat pitches. In addition there are specific note tendencies:
-Sharp: Middle E, and D. High A and C#
-Flat: Low D, middle B and C#
Awareness and alternate fingerings can alleviate these pitches from being glaringly out of tune.
Voicing
Voicing is adjusting the throat, oral cavity, and tongue to manipulate the airstream. Learning how to do this helps
with tone, pitch bending, color changes and intonation. Every student should start out on the mouthpiece, learning
how to bend pitch and play songs. Excellence in this category can be obtained by practicing overtones, and through
this practice proper resonation can be learned to access altisimo.
Normal Range: B-F (3 octaves)
Altisimo Range: F-G
Suggested boods for this topic: Voicing by Donald Sinta, Top Tones for the Saxophone by Sigurd Rascher
Again, the embouchure does not change.
Vibrato
Once your student has established a consistent, good sound, they can start to learn vibrato. Vibrato on the saxophone
is done with the jaw. You can simulate this motion with your students by asking them to say Vuh. Once they have
the proper motion down, they can start pulsing quarter notes. Eventually they can move to eighth, triplet, and
sixteenth note values. The goal for a high schooler would be sixteenth notes at a quarter note equaling 76. Make sure
they are using it for artistic expression and not just a constant buzzing. After a good sense of control is established,
challenge them to try and make it a spinning sound inside of their tone, rather than a separate entity. Singers and
string players are very good examples of this.
General Guidelines:
-Higher pitch + louder dynamics = faster vibrato
-Low pitch + softer dynamics = slower vibrato
As in every other concept we have introduced, make sure that the fundamentals do not change when using vibrato.
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Brief History of the Saxophone
The Saxophone was invented by Adolphe Sax in the 1840s. He officially patented 14 versions of it in 1846. These 14
were divided into two categories, orchestral, and band. Each had the sopranino, soprano, alto, tenor, baritone, bass,
and the contrabass, although were pitched in different keys. The instrument quickly found a place in French Military
Bands, but never really caught on on orchestras. Saxs intention with the instrument was to make it a bridge between
the brass and woodwinds. He taught at the Paris Conservatorie overseeing the new saxophone classes. His successor
was Marcel Muel, and he was responsible for increasing the available literature to saxophonists. Sigurd Rascher was a
German Saxophonist who is accredited for pushing altisimo. Finally, Larry Teal was the first full time saxophone
teacher in the United States.
Transposition
Your students need to understand that the note they see on the page isnt the note that is sounding. For Band
saxophones:
-Alto: Eb, so is a Major 6th below what is written
-Baritone: Eb, so is a Major 6th plus an octave below what is written
Ex: If C is written, Eb is what sounds
-Soprano: Bb, so is a Major 2nd below what is written
-Tenor: Bb, so is a Major 2nd plus an octave below what is written
Ex: If A is written, G is what sounds
Alternate Fingerings
There are some alternate fingerings that assist efficiency:
Bis Bb- Small pearl below LH 1 and LH1; used for arpeggiated passages
Side Bb- LH 1,2, RH lowest side key; used for chromatic passages
Side C- LH 1, RH middle side key; used for chromatic passages and trills
Normal C-LH 2; used for remainder
Fork F#-LH 1 2 3, RH 1, ring finger key; used for chromatic passages and trills
Normal F#- LH 1 2 3, RH 2; used for remainder
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Saxophone Maintenance
Appropriate maintenance of any instrument is critical to avoid unnecessary and expensive repairs. As a teacher, you
can start by setting up clear classroom guidelines to prevent accidents. This includes, where and what they do with
their instruments when not in use. Make sure that when they put their saxophone down they do not put it on the side
where the keys stick out. Demonstrate the appropriate way to place it in class.
If possible, encourage your students not to eat or drink before playing. If they must, ask them to rinse with water
before class.
For the most successful results, make sure that you and the parents are on the same page.
Outside of neglect, saxophones need to be cared for simply because of their usage.
-Reed:
Have them invest in a reed case with at least four reed slots.
Emphasize the importance of having reeds that are not damaged.
-Mouthpiece:
Have them clean their mouthpiece about every two weeks with warm soapy water and a toothbrush.
Remind them to always put a cover on their mouthpiece when they have their instrument out by arent using it.
-Neck:
Constantly remind them to put a light layer of cork grease on their cork daily.
Also, make sure they are swabbing out the neck after usage.
-Body:
Silk swabs are preferable, make sure they clean the body out after usage.
Every 5-7 years, have them get their pads checked and replaced.
**The saxophone is a fragile instrument and must be handled with care at all times**
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Equipment: Saxophones, Mouthpieces, and Reeds
Soprano Saxophone *
Vandoren Optimum SL 3 Mouthpiece
Selmer C* Mouthpiece
Vandoren strength 3 " reeds
Yamaha Custom EX
Selmer Series III
Alto Saxophone (classical) Alto Saxophone (Jazz) *
BG Neckstrap, with a clip Meyer hard rubber 5 M mouthpiece
Vandoren Optimum AL3 Mouthpiece Vandoren V16, A6S Mouthpiece
Selmer C* Mouthpiece Vandoren ZZ or Vandoren V16 strength 2 " or 3 reeds
Vandoren strength 2 " or 3 reeds Yamaha Custom Z
Yamaha 875 Custom EX Selmer Mark VI
Selmer Series II or III saxophone
Tenor Saxophone (classical) Tenor Saxophone (jazz) *
Vandoren T20 Mouthpiece Otto Link 6 M or 5 M hard rubber mouthpiece
Selmer S90/190 or C** Mouthpiece Vandoren V16/T6 mouthpiece
Vandoren strength 3 reeds Vandoren ZZ or Vandoren V16 strength 3 reeds
Yamaha 875 Custom EX Yamaha Custom Z
Selmer Series III Tenor Selmer Reference 54
Selmer Mark VI
Baritone Saxophone (classical) Baritone Saxophone (jazz) *
Vandoren Optimum BL 3 Mouthpiece Otto Link Metal Mouthpiece, 5M
Vandoren strength 3 or 3 1/2 reeds Vandoren V16, strength 3 reeds
Yamaha YBS 62
Other Equipment Needs:
Instrument in regulation, tuner, metronome, music stand, saxophone stand, iPod or MP3 Player, notebook
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Repertoire List
Junior High *
Technique Studies
Scale Requirement:
All Major Scales (full range, quarter note = 72)
Harmonic Minor Scales (full range, quarter note = 72)
Etude/Technique Books:
Rubank Elementary/Intermediate Method, pub. Hal Leonard
Saxophonists Manual by Larry Teal, pub. University Press
Saxophonists Work Book by Larry Teal, pub. University Press
Jazz Books:
Maiden Voyage, vol. 54 by Jamey Abersold, pub. Jamey Abersold Jazz
Repertoire List
Classical:
Pachelbel Canon, arr. Daniel Dorff
Solos for the Alto Saxophone Player, ed. Larry Teal, pub. G. Schirmer
Chanson et Passepied, by Jeanine Rueff, pub. Leduc
Sonata no. 3, by George Frideric Handel, arr. Sigurd Rascher, pub. Chappell
Aria, by Eugene Bozza, pub. Leduc
Jazz:
Bb, C and F Blues (from Abersold Vol. 54)
Watermelon Man, by Herbie Hancock
Summertime, by George Gershwin
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High School *
Technique Studies
Scale Requirement:
All Major Scales (full range, quarter note = 100)
Harmonic Minor Scales (full range, quarter note = 100)
Melodic Minor Scales (full range, quarter note = 100)
Natural Minor Scales (full range, quarter note = 100)
Blues scales
Etude/Technique Books (classical):
Rubank Advanced, Book 1 and 2, pub. Hal Leonard
48 Studies, by Ferling, pub. Leduc
18 Studies, by Beriguier arr. Mule, pub. Trier
Les Gammes, by Jean-Marie Londeix, pub. Trier
The Saxophonistis Work Book, by Larry Teal, pub. University Press
The Saxophonistis Manual, by Larry Teal, pub. Unversity Press
Etude/Technique Books (jazz):
The Charlie Parker Omnibook, pub. Alfred
The II/V/! Progression, vol. 3 by Jamey Abersold, pub. Jamey Abersold Jazz
Blues in all Keys, vol. 42 by Jamey Abersold, pub. Jamey Abersold Jazz
Maiden Voyage, vol. 54 by Jamey Abersold, pub. Jamey Abersold Jazz
Major and Minor, vol. 54 by Jamey Abersold, pub. Jamey Abersold Jazz
How to Practice Jazz, by Jerry Coker, pub. Jamey Abersold Jazz.
Patterns for Jazz, by Jerry Coker
Repertoire
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Classical:
The Carnival of Venice, by Jules Demerssemann, ed. Fred Hemke, pub. Southern
Solos for the Alto Saxophone Player, ed. Larry Teal, pub. G. Schirmer
Chanson er Passepied, by Jeanine Rueff, pub. Leduc
Sonata no. 3, by George Frideric Handel, arr. Sigurd Rascher, pub. Chappell
Aria, by Eugene Bozza, pub. Leduc
Improvisation et Caprice, by Eugene Bozza, pub. Leduc
Bach for Saxophone, ed. Ronald Caravan, pub. Ethos
Improvisation 1, by Ryo Noda, pub. Leduc
Scaramouche, by Darius Milhaud, pub. Salabert
Sonata, by Paul Creston, pub. Shawnee Press
Caprice en Forme de Valse, by Paule Maurice, pub. Lemoine
Concerto, by Alexander Glazounov, pub. Leduc
Concertino da Camera, by Jacques Ibert, pub. Leduc
Concerto, by Pierre Max Dubois, pub. Leduc
Jazz:
All of Me, by Gerald Marks and Seymour Simons
Dont Get Around Much Anymore, by Duke Ellington
Summertime, by George Gershwim
Things Aint What They Used to BE, by Mercer Ellington
Bye Bye Blackbird, by Ray Henderson and lyricist Mort Dixon
Take the A Train, by Billy Strayhorn
Watermelon Man, by Herbie Hancock
Maiden Voyage, by Herbie Hancock
The Girl from Ipanema, Antonio Carlos Jobim
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