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com

Table of Contents
Introduction 3 8 Saxophone Care Tips that You May Have Never Heard 4 The Key-a- ay !pproach to Sca"es# $atterns and Me"ody% &r'anic $ractice (otation) Ten *est Saxophone *oo+s ,ver------------ ./ ./ Tips 0or *uyin' a 1sed Saxophone------------ .2 Saxophone &vertone ,xercises-.) Sax Mic $ositionin' 0or Ho3e (ecordin'- /3

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Introduction
!""o4 3e to introduce 3yse"0- I0 you haven5t a"ready seen it sp"attered a"" over 3y 4e6site 7444-*estSaxophone8e6site,ver-co39# I can te"" you that 3y na3e is oron &renstein and *est- Saxophone- 8e6site- ,ver- Is the on"ine saxophone 3a'a:ine I5ve created to o00er the 6est saxophone tips# techni;ues# revie4s# overvie4s# intervie4s# and <ust a6out anythin' e"se 0or the saxophone p"ayer "oo+in' to i3prove their cra0t and have a 'reat ti3e doin' it8ith this 6oo+"et# 3y ai3 4as to 'ive you in0or3ation that you 3ay have not seen any4here e"se- 8ith this uni;ue co""ection o0 tips# techni;ues# and exercises# I 6e"ieve that you5"" 6e inspired to thin+ di00erent"y a6out the 4ay you practice and per0or38hether you5re a saxophone student "oo+in' to 3a+e si'ni0icant i3prove3ents on their instru3ent# a saxophone teacher "oo+in' 0or a resource to 'ive their students# or a pro0essiona" in search o0 ne4 4ays to "oo+ at 0a3i"iar concepts# I thin+ that there5s so3ethin' 0or everyone hereI0 you have any ;uestions or co33ents a6out the in0or3ation in this 6oo+"et# or rea""y# anythin' saxophone-re"ated# I ur'e you to hop on over to the websites Contact page and drop me a note. In the 3eanti3e# en<oy this 'uide# and happy 3usic-3a+in' to a"" o0 you= !"" the 6est# oron &renstein http://www.BestSa ophone!ebsite"ver.com

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# Sa ophone Care Tips that $ou %a& 'ave (ever 'eard

8hen I 0irst "earned ho4 to p"ay the sax# I don5t re3e36er anyone te""in' 3e ho4 to c"ean the thin' other than runnin' a s4a6 throu'h the horn and ca""in' it a day8hi"e there are a 'a''"e o0 sites 4ith 'reat saxophone 3aintenance tips out there# I thou'ht I p"uc+ out so3e o0 the i3portant# tips that 3i'ht have s"ipped 6y 3any o0 us in our ear"y days-

). Brush &our teeth before &ou pla&.

This is particu"ar"y i3portant i0 you5ve 6een ta+in' in su'ary 0ood and drin+- Sugar plus saliva ma*es for a nast& solution that accu3u"ates on your pads and can cause the3 to stic+ - 4hich is no 0un 4hen you5re ratt"in' o00 inadvertent 4ron' notes-

+. Chec* &our low "b pad to see how much moisture &ouve got in &our instrument.
Since your ,6 pad is "ocated at the 6otto3 o0 the horn 6e0ore it starts curvin' up4ards into the 6e""# the curve at the bottom of the horn is where ,ust about all of the saliva and breath water ends up- I0 you ta+e a "oo+ at your "o4 ,6 pad and see that it "oo+s 6"ac+ 4ith a 'reen rin' around it# then it pro6a6"y 3eans you5ve 'ot too 3uch 3oisture in the horn and rea""y need to start 'ettin' 3ore proactive 4ith your s4a66in' > 4hich 6rin's us to our next tip

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-. .lwa&s swab &our horn from the bell to the top

The wettest part of &our horn is the top# so 4hy 4ou"d you 4ant to dra' a"" o0 that 3oisture do4n throu'h the 6ody o0 the horn? Ma+e sure to s4a6 0ro3 the 6e""# 4hich is the driest part o0 the horn to 3ini3i:e unnecessari"y spreadin' 3ore 3oisture throu'h the instru3ent- I0 you5re havin' a tou'h ti3e 'ettin' the 4ei'ht at the end o0 the s4a65s strin' to co3e a"" the 4ay do4n throu'h the top o0 the horn# 'ive 'ravity a hand 6y addin' so3e additiona" 3ass to the s+i3py 4ei'ht that co3es 4ith 3ost o0 these s4a6s- $ou can bul* up that weight using heat shrin* tubing 0used onto the 4ei'ht usin' a "i'hter-

/. 0ont use &our padsaver as a swab

!0ter a p"ayin' session# 4hen the top o0 the horn is sti"" 4et and ic+y# pushin' a pad saver do4n the 6ody o0 the horn does nothin' 6ut spread that 4et and ic+iness throu'hout the sax > 4hich is no 'ood 0or your tone ho"es# and rea""y <ust a6out any part o0 the horn- The pad saver is there to use onl& after the bul* of the moisture has been removed b& a large cleaning swab.

1. .lwa&s hold &our sa ophone b& the bell

This one shou"d 6e pretty o6vious as the 6e"" is the sturdiest part o0 the instru3ent# and 3a+in' a ha6it o0 s;uee:in' do4n indiscri3inate"y on the rods and +eys is 6ound to 3ean trou6"e do4n the road-

2. 0ont close &our case right after pla&ing

,ven a0ter s4a66in' your sax and 3outhpiece# 3a+e no 3ista+e > there 4i"" sti"" 6e a 6it o0 3oisture "in'erin' in the horn- *y c"osin' the case and deprivin' the horn o0 0resh air# &oure rolling out the red carpet for damaging bacteria to grow- &6vious"y# this is not so3ethin' that5s practica" to do a0ter p"ayin' a 'i'# 6ut any ti3e you practice at ho3e- "eave that thin' open 0or a 6it=

3. Clean that octave *e& tone hole

This tone 4ho"e is a6so"ute"y crucia" to the proper 0unction o0 your horn# and un0ortunate"y has a tendenc& to clog up with all sorts of sa ick- @o 'ra6 yourse"0 a tone ho"e c"eaner 7such as the one 3ade 6y Ya3aha9 and +eep that ho"e 0ree and c"ear 0or crisp and c"ean octave action=

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#. Bag that mouthpiece

Many o0 us > yours tru"y inc"uded# have a""o4ed our 3outhpieces to 6ounce around in the accessory co3part3ent o0 our cases "i+e shoes in a dryer- Not good > especia""y i0 you5ve 'ot a hard ru66er 3outhpiece- %a*e sure to store &our beloved piece inside a nicel& padded mouthpiece pouch to +eep it 0ro3 6ein' tra'ica""y da3a'ed-

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The 4e&5a50a& .pproach to Scales6 7atterns and %elod&

This article was written by saxophone and multi-reed player, composer, recording artist, and educator Sam Sadigursky of SamSadigursky.com 8hether you ever p"an to i3provise or not# to deve"op as a 3usician &ou have to be comfortable pla&ing in all )+ ma,or and minor *e&s - I +no4 4e5ve a"" heard this 6e0ore# 6ut this not on"y 3eans that you need to con;uer the3 technica""y on the instru3ent# 6ut I te"" students that each +ey has to eventua""y exist as a 3iniature Asound 4or"dB that you can reco'ni:e# enter# and p"ay inside 0ee"in' <ust as re"axed and at ease as i0 you never "e0t the +ey o0 C- You can5t thin+ that 6y +no4in' a sca"e that you +no4 a +ey > &ou need to feel that *e& and hear ever& interval within it6 *now its modes and related chords and untangle its *nots in every part o0 your instru3ent.

(owhere to 'ide
!ndit5s not enou'h to 6e 0"uid in .C +eys and hope that your un0a3i"iarity in DE and 6 is never exposed- !t so3e point they 4i"" 6e# and 6y not 4or+in' the3 out you5re ho"din' yourse"0 6ac+ as a 3usician in a 3a<or 4ay 7pardon the pun9Thin+ o0 it this 4ayF it5s not that any +eys are actua""y harder than the others - it5s 3ore a ;uestion o0 0a3i"iarity-

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8e don5t p"ay as 4e"" in concert , 3a<or 6ecause 4e 3i'ht not see it very o0ten# 6ut 'o p"ay a roc+ or 6"ues 'i' and you5"" encounter p"enty o0 it- You need to do everythin' you can to 6eco3e 0a3i"iar 4ith every +ey# and there5s no easy 4ay to do this- Ho4ever# there is an approach descri6ed 6e"o4 that I "i+e to use 3yse"0 and 4ith students that I thin+ is very e00ective and creative"y-oriented that hope0u""y 4on5t "ead to so3e o0 the usua" 6oredo3 or 0rustration that 3ost o0 us associate 4ith "earnin' our +eys-

7ic* a 4e& and Stic* with It

(ather than 3ind-nu36in'"y 4or+in' out sca"es# end"ess interva"s and patterns in every +ey 7as 3ost 6oo+s "ay out9# I often will pic* one *e&6 ma,or or minor6 and ma*e that the *e& of the da&6 or ma&be even the *e& of the wee* 70or those o0 you <ust startin' out9- I5"" p"ay the sca"es and patterns that I +no4 in that +ey# possi6"y even 3a+e up so3e ne4 ones# and then <ust i3provise in that +ey# p"ayin' 4hatever co3es to 3ind- So 3uch o0 the 'reat i3provisin' that 4e hear is 6ased on si3p"e# diatonic 3e"ody# 4hether it5s Gester Youn'# Hohn Co"trane# &rnette Co"e3an# or Hoe Govano# so there5s a "ot to 6e 'ained 6y doin' this$erhaps in the process you5"" uncover a ne4 pattern or even thin+ o0 a 3e"ody 0or a ne4 son'I0 you5re 0ee"in' rea""y a36itious# 3ay6e you 4ant to 4or+ out a 6"ues or rhyth3 chan'es in that +ey# or 4or+ on a si3p"e ii-I-I pro'ression- 8hatever you do# <ust stic* with that one *e&6 to the point where its so deepl& embedded in &our consciousness that &ou cant escape it even i0 you try- 8hen you thin+ you5ve run out o0 ideas# <ust +eep 'oin' > this is o0ten the point 4here thin's 4i"" start to 'et rea""y interestin'=

!or* Smarter 8 (ot 'arder

This 3i'ht 6e di00icu"t to do at 0irst i0 you are accusto3ed to 4or+in' out s3a"" thin's in a"" t4e"ve +eys# 6ut stic+ 4ith it and see 4hat it does 0or you- The 'reat pianist *i"" ,vans 4as once as+ed 4hat he practices in an intervie4# and he ans4ered# AI practice the minimumA- In <ust 0our 4ords he rea""y "ays it out 0or a"" o0 usF wor* on the minimum amount of material so that &ou can reap the ma imum benefit. This approach can 6e a 'reat 0irst step 0or you-

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"

The 9rganic 7ractice :otation

This article was written by professional saxophone player and ,a;; sa ophone instructor at "mor& <niversit& Randy Hunter of RandyHunterJa .com. I a3 o0ten approached 6y saxophonists "oo+in' 0or the 6est 4ay to or'ani:e their practice routines- The ;uestions co3e in 3any di00erent 0or3s# 6ut a"4ays 6oi" do4n to the issues o0 4hat shou"d 6e practiced and ho4 shou"d it 6e prioriti:ed&0 course# the ans4er is di00erent 0or each individua"- I do have so3e su''estions 0or deve"opin' an approach to practicin' that shou"d +eep your sessions interestin' and productive-

.ssessing $our (eeds

ependin' on your "eve" 76e'inner# inter3ediate# 6uddin' pro0essiona"# etc9# there are a nu36er o0 0actors that need to 6e ta+en into consideration 0or deve"opin' the 3ost 6ene0icia" practice roo3 strate'y- Its important to recogni;e &our wea* and strong points6 &our personal musical goals6 and the fundamental components of pla&ing the sa ophone. (eco'ni:in' your 4ea+ and stron' points re;uires a 6it o0 candid self5 evaluation or help from a private instructor- It is extre3e"y i3portant to reco'ni:e your 4ea+ points# 6ecause these are areas 4here you shou"d easi"y 6e a6"e to 3a+e i3prove3ents- These are a"so areas ne'"ected 6y 3ost students in their practice routines-

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The persona" 'oa"s you set 3ay inc"ude anythin' 0ro3 3a+in' 0irst chair in the schoo" 6and to satis0actori"y per0or3in' a 6"ues or standard at a "oca" <a3 session- The i3portant thin' is to re3e36er to set new goals each time &ou ma*e achievements. The 0unda3enta" co3ponents o0 saxophone p"ayin' include tone production6 articulation6 timing6 intonation6 and scale *nowledge- !dvanced p"ayers can add a nu36er o0 additiona" considerations# inc"udin'# 6ut not "i3ited to hearin' chord ;ua"ities and understandin' <a:: har3ony-

0eveloping a Strateg&
The 0ocus o0 your dai"y routine shou"d 6e centered around a co36ination o0 0unda3enta"s# your persona" 4ea+nesses# and your persona" 'oa"s- It is a"so i3portant to rea"i:e# ho4ever# that variet& is needed in the practice room in order to see sustained progress- !0ter a""# i0 you practice the sa3e stu00 the sa3e 4ay everyday# your pro'ress 4i"" 6e "i3ited and your enthusias3 4i"" "i+e"y 4aneIn order to deve"op a practica" routine that covers each o0 these aspects o0 practice# &oull need a certain amount of da& to da& consistenc& in fundamentals balanced with a shifting focus between &our wea* points and personal goals a"on' 4ith an or'anic co3ponent- 8hi"e this 3ay sound "i+e a "ot# a 'ood rotation o0 practice co3ponents can he"p you stay on trac+ in each area! sa3p"e practice rotation 0or an inter3ediate p"ayer 0ocused on "earnin' to p"ay <a:: 3i'ht "oo+ so3ethin' "i+e the one out"ined 6e"o4- &0 course# you can su6stitute your o4n persona" 4ea+nesses and 'oa"s to custo3i:e the routine to 0it your needs0a& ) 8 The focus of this session will be on improving a wea*ness. Dunda3enta"sF S"urred sca"es and arpe''ios 4ith 3etrono3e# "on'-tones 4ith tuner 7.C-.J 3inutes9 Docus on 4ea+ness i3prove3entF $ractice <a:: etude 4or+in' 0or rhyth3ic accuracy and proper sty"e 7/C-3C 3inutes9 @oa" re"atedF $ractice head 73e"ody9 to a 6"ues tune 0or <a3 session 4ith 0riends 7.C 3inutes9 &r'anic co3ponentF I3provise to a p"ay-a"on' trac+ usin' the 6"ues sca"e 7.C-.J 3inutes or 3ore9

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0a& + 8 The focus of this session will be on achieving a personal goal. Dunda3enta"sF Sca"es and arpe''ios usin' <a:: articu"ation 4ith 3etrono3e# "on'-tones 4ith tuner 7.C-.J 3inutes9 Docus on 'oa" re"atedF Me3ori:e 6"ues head and practice arpe''ios to 6"ues pro'ression 0or <a3 session 4ith 0riends 7/C-3C 3inutes9 8ea+ness i3prove3entF (evie4 <a:: etude 7.C 3inutes9 &r'anic co3ponentF (ead <a:: standard 0ro3 0a+e 6oo+ 7.C-.J 3inutes or 3ore9

&n su6se;uent days# rotate 6et4een the practice routines out"ined 0or ay . and ay /- Strive for a reasonable level of consistenc& with regards to &our focus components until goals are achieved or boredom sets in. !t that point# re-assess your 4ea+nesses and 'oa"s# and chan'e the 0ocus on one or 6oth days to acco33odate your needs- &0 course# the or'anic portion o0 your practice session a""o4s you to exp"ore and "oo+ 0or ne4 'oa" re"ated 0ocus e"e3entsThe 3ain thin' you 4ant to achieve is the deve"op3ent o0 a practice roo3 approach that is prioriti;ed6 productive6 and fun- The satis0action you receive 0ro3 p"ayin' the saxophone 4i"" on"y 6e enhanced 6y havin' a 4e""-or'ani:ed approach to4ard your practice-

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The Ten Best Sa ophone Boo*s "ver

This article was written by saxophone and multi-reed player, composer, recording artist, and educator Sam Sadigursky of SamSadigursky.com &ver the "ast 0e4 decades as a p"ayer# co3poser# and educator 4ith an insatia6"e hun'er 0or ne4 3ateria" to 4or+ on# I5ve a3assed an extensive "i6rary o0 6oo+s 0or saxophone- espite o4nin' 3any o0 the count"ess 6oo+s on the 3ar+et no4# there are very 0e4 6oo+s that I5ve 0ound 3yse"0 co3in' 6ac+ to over and over a'ain and a"4ays "oo+ 0or4ard to openin'- I thou'ht it 4ou"d 6e 6ene0icia" to share a "ist o0 6oo+s that have had a su6stantia" i3pact on 3y deve"op3ent that I thin+ every deve"opin' saxophonist shou"d haveHere# in no particu"ar order# are ten o0 the3-

). !ni"ersal #ethod for Saxophone 7aul 0eville6 published b& Carl =ischer
!"thou'h this 3/C-pa'e 6oo+ appears to 6e 0or 6e'inners i0 you "oo+ at the 0irst /C pa'es# it ;uic+"y 3oves into so3e o0 the 6est technica" and 3usica" 4or+outs that exist in any 6oo+- There are etudes 6y count"ess co3posers# s"o4 pieces to deve"op sound and phrasin'# short technica" exercises that tar'et the thorny parts o0 the saxophone 3echanis3# c"assica" arias# pieces in a"" t4e"ve +eys# and rhyth3ic and articu"ation exercises-

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+. $% &aily 'xercises for Saxophone

'. 4lose6 published b& Carl =ischer
Most o0 these etudes are one pa'e "on' and hi'h"y 3usica"- I can5t thin+ o0 any 6oo+ on the 3ar+et that 4i"" do 3ore to deve"op speed and dexterity- Most saxophonists I5ve +no4 have spent 3any hours 4ith this 6oo+# and it5s one that has trave"ed the '"o6e 4ith 3e- I5ve a"so used these extensive"y 0or practice on the 0"ute and c"arinet-

-. Top Tones for Saxophone

Sigurd :ascher6 published b& Carl =ischer
!"thou'h the tit"e o0 this 6oo+ 4ou"d "ead one to 6e"ieve it5s a"" a6out deve"opin' the a"tissi3o 7extended third9 re'ister o0 the saxophone# it5s 3ost co33on"y used as a pri3er on the overtone series# 4hich is one o0 the 3ost e00ective 4ays o0 deve"opin' sound and 'ood note p"ace3ent-

/. Six Suites for (iolincello

>.S. Bach ?transcribed and edited b& Trent 4&naston@6 published b& .dvance %usic
The *ach ce""o suites are so3e o0 the 3ost 6eauti0u" pieces ever 4ritten and over the years they5ve 6een transcri6ed 0or <ust a6out every instru3ent one can thin+ o0- Trent Kynaston does a re3ar+a6"e <o6 4ith this 6oo+ in 0indin' the ri'ht +ey 0or each suite in order to 0it the saxophone ran'e# as 4e"" as 4or+in' out the dou6"e-stops 4hich 3ust 6e 4ritten as sin'"e notes 0or saxophonists- !6sor6in' the recordin's o0 these ce""o suites 6y any nu36er o0 the 'reat ce""ists 4i"" provide "i3it"ess possi6i"ities to any serious 3usician-

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1. $) Studies for Saxophone

Au& Bacour ?publisher un*nown@
Sad"y# this 6oo+ has 6eco3e 3ore and 3ore di00icu"t to 0ind over the years- *ut i0 you can 0ind it# cherish it- ,ach study is 6ased on one o0 the Messian 3odes o0 "i3ited transposition# 4hich have 6eco3e a 6ui"din' 6"oc+ o0 conte3porary 3usic# 6oth c"assica" and <a::- This 6oo+ can rea""y he"p un"oc+ the door into 3odern 3e"odic and rhyth3ic "an'ua'e# and 4i"" 'ive i3provisers a 4ea"th o0 3ateria" to 4or+ out 0or their o4n purposes-

2. $% *aprices +and an ,tonal Sonata- for Solo Saxophone

Sigfrid 4arg5"lert6 published b& Southern %usic Compan&
This 6oo+ is a"so ;uite di00icu"t to 0ind# 6ut 4e"" 4orth the search- These are 6eauti0u" pieces that are 'reat 0or per0or3ance and practice# and cover a "ot o0 cha""en'in' +eys as 4e""-

3. *harlie .arker /mnibook

published b& Criterion
There are a count"ess nu36er o0 transcription 6oo+s on the 3ar+et# 6ut i0 you5re 'oin' to <ust o4n one o0 the3# it shou"d 6e this one- Char"ie $ar+er shaped the 3odern approach to the saxophone 3ore than a"3ost any6ody e"se# and a"so trans0or3ed 3usic 0orever- ,ven i0 you never intend to i3provise# these pieces "ay so 4e"" on the saxophone that they are 4orth studyin'- I encoura'e students to eventua""y do their o4n transcriptions o0 0avorite so"os 6y any p"ayer# 6ut this can 6e a 'reat 4ay to see 4hat that 3eans and start 6ui"din' a 6asic 6e6op voca6u"ary-

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#. The Techni0ue of the Saxophone 1 (olume 22, *hord Studies

>oe Ciola6 published b& Ber*lee 7ress
Hoe Iio"a tau'ht an entire 'eneration o0 'reat saxophone p"ayers# and these studies 4i"" 'o 0ar in he"pin' p"ayers deve"op an understandin' and 0"uency in a"" t4e"ve +eys- There are 4or+outs over 6asic chord types that 4i"" he"p any i3proviser 6ui"d voca6u"ary and stren'then chorda" and 3e"odic re"ationships-

D. Studies for Saxophone

Salviani6 published b& :icordi
I thin+ I 0ound this 6oo+ 3any years a'o 6y chance and it5s 6eco3e one o0 3y 3ost cherished etude 6oo+s over the years- The pieces are in a 3ore traditiona" .8th and .)th century# 6ut they 0"o4 incredi6"y nice"y and are very en<oya6"e and re4ardin' to p"ay and 4or+ up to speed-

)E. Repository of Scales and #elodic .atterns

$usef Bateef6 published b& Sana %usic
Yuse0 Gatee0 is one o0 the pioneers o0 4or"d 3usic and he 6rou'ht an intense study o0 exotic 3odes and sca"es to <a:: 4hi"e part o0 a nu36er o0 "e'endary 'roups in the .)2CKs and %CKs- !"" o0 the 3ateria" in this 6oo+ 0its the ran'e o0 the saxophone and a"thou'h 3any o0 the concepts 'et very sophisticated# the actua" 3ateria" is use0u" 4ithout the p"ayer necessari"y studyin' ho4 it is derived- You5"" 0ind so3e very unusua" interva"s in this 6oo+ 4hich 4i"" he"p your ears and 0in'ers tre3endous"y-

2011 Best. Saxophone. Website. Ever. http://www.bestsaxophonewebsiteever.com 15

)+ Tips for Bu&ing a <sed Sa ophone

8hether you5re "oo+in' to 'et a 'reat horn at a 'reat price# or 4hether you5re "oo+in' to put your o4n spin on the c"assic sounds o0 your ido"s# a used sa ophone can be a perfect solution. ! "itt"e 6it o0 @oo'"e-in' on the topic o0 6uyin' a used horn 4i"" yie"d you bushels full of information- &0 course# 4hen 3a+in' this sort o0 purchase# the more information &ou have6 the betterThat said# I thou'ht it 4ou"d 6e he"p0u" to disti"" those 6ushe"s o0 4isdo3 into a Fuic* overview to 'et you started- Dro3 here you can dri"" deeper into the areas o0 3ost interest and concern to you-

The )+ Tips
1. Its best to stic* with horns that have not been refurbished- In other 4ords# you 4ant to 3a+e sure that this horn 4asn5t trashed at so3e point and then reconstructed or drastica""y repaired outside o0 the nor3a" periodic overhau"s and ad<ust3ents%a*e sure that the horn isnt dented. ! 'ood 4ay to chec+ this is to put the horn on its side and care0u""y "oo+ do4n the 6ody o0 the horn to 3a+e sure that the sur0ace "oo+s s3ooth and even 7see Di'ure ! 6e"o49- "speciall& troublesome are dents on the nec*- &ther4ise# i0 a dent on the 6ody o0 the sax is a6out J33 4ide or s3a""er# then it5s pro6a6"y a non-issue-

2.

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3.

Be careful about purchasing a horn that has been refinished or relaFuered6 as the 0inish 3ay have 6een stripped in the process 4hich can ne'ative"y i3pact the sound- So3e tip-o00s 0or a re-"a;uered horn are scratches that revea" a di00erent co"or than the rest o0 the horn# an extre3e"y shiny 0inish considerin' the horn5s a'e# and 0u::y en'ravin's and seria" nu36ers%a*e sure &ou can see the serial numberG I0 the seria" nu36er has 6een intentiona""y ru66ed out# it is "i+e"y that you5re dea"in' 4ith a sto"en horn 7ouch=9I0 you 'et an ic*& odor 4hen you open the case# then that pro6a6"y 3eans that i3portant parts o0 the instru3ent have started to rot a4ay- Areen discoloration is also a bad sign!"so avoid horns with visible soldering- So"der is the stu00 that 3e"ts 3eta" to'ether and can "eave '"o66y sp"otches as seen on Di'ure *. 76e"o49 I0 you5re at a horn shop# as+ the dea"er to drop a fluorescent light stic* into the instru3ent so that you can chec+ 0or "ea+in' padsBring a sa 5pla&ing budd& friend along to 'et their opinion on ho4 the horn sounds# as it5s easy to "ose o6<ectivity in the event that you5re tryin' out a 6unch o0 di00erent instru3entsBring &our current sa ophone to co3pare so that you can !L* test it a'ainst your prospective horn-

4.

5.

!. ".

#.

10. Since you5ve 'ot your 6uddy a"on'# bring a tuner# and have 6oth o0 you p"ay the horn chec+in' 0or intonation issues11. Ma+e sure that the rods on the sa are not bendable and that the& dont move around when pulled12. Most i3portant"y# how does the darn thing sound3 !s "on' as the construction o0 the horn is so"id and it 0ee"s 'ood under your 0in'ers# then it doesn5t 3atter 4hat other i3per0ections the used saxophone 3ay have > as "on' as you5re in lo"e 4ith the sound-

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Fig. A: Looking at the horn from this angle will quickly reveal any dents.

Fig. B:

h no! soldering is BA"#

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Sa ophone 9vertone " cercises

Kno4"ed'e o0 saxophone o0 overtones 7a"so +no4n as Apartia"sB or Ahar3onicsB9 is simpl& a must i0 you5re p"annin' on 6eco3in' a 'reat saxophone p"ayer$racticin' p"ayin' throu'h the overtone series 4i"" a""o4 you $racticin' overtones 4i"" he"p you hit a"tissi3o notes 4hi"e a"so deve"opin' the 3usc"es in your 3outh and throat necessary to 3o"d your saxophone sound to your "i+in'*e"o4 are three exercises that 4i"" he"p you 3aster this i3portant aspect o0 your saxophone p"ayin'Special than*s go out to sa ophonist6 composer6 educator6 and recording artist :ic*& Sweum for providing these e ercises.

" ercise H): 9ctave 0rop 0owns

'eres how this one wor*s: .2. Din'er a "o4 D 7the one at the 6otto3 o0 the sta00 4ith no octave +ey98ith your thu36 sti"" off o0 the octave +ey# 6e'in p"ayin'# 6ut start ri'ht in on the note one octave higher# so that you5re hearin' the sa3e pitch you5d hear i0 you 4ere p"ayin' the 3idd"e D 7the one with the octave +ey9Ho"d that 3idd"e D 0or a 0e4 seconds# and then drop 6ac+ do4n to the "o4 D(epeat the sa3e exercise 3ovin' do4n in ha"0 steps unti" you reach the "o4 *6-

34-

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'ere are some specific things &ou can do to ma*e these octave ,umps: 1. 2. 3. 4. 8hen 3ovin' 6et4een octaves# 3a+e sure that you can hear the next note 6e0ore you p"ay itNo 3atter 4hat you do# do not drop &our ,aw 6et4een notes0o not chan'e the a3ount o0 air pressureTr& e perimenting with the position of &our tongue - Move the ton'ue s"o4"y to the 6ac+ o0 the 3outh and have the ton'ue 3a+e contact 4ith the upper part o0 your 3outh as thou'h you 4ere 3a+in' a AKB sound8ith the saxophone out o0 your 3outh# tr& singing an octave ,ump and notice the changes in &our throat as &ou do so- No4 app"y chan'es in the throat to your overtone octave <u3ps- !"so try c"osin' the 6ac+ o0 your throat to see i0 that he"ps,very sax p"ayer5s throat and e36ouchure are di00erent# so in the end it5s rea""y a 3atter o0 tryin' di00erent thin's and 3e3ori:in' the 0ee"in' o0 each interva" <u3p- 9ne of the goals here is not be reliant on the octave *e&- In 0act# there5s an unsu6stantiated ru3or that Hoe Henderson never used his octave +ey > 4hich 4ou"d 6e a pretty a3a:in' 0eat= !t any rate

5.

Cariation for Those 'aving Trouble with The " ercise

I0 you5re una6"e to 3a+e the octave <u3p in step / o0 the exercise# try doin' this insteadF ./$"ay the 3idd"e D 7the one that 4ou"d nor3a""y 6e p"ayer 4ith the octave +ey pressed do4n9(e3ove your thu36 0ro3 the octave +ey 4hi"e 3aintainin' that sa3e hi'h D so you5re 0in'erin' the "o4 D# 6ut p"ayin' the 3idd"e D-

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" ercise H+: Tone %atching b& Coicing the =irst 9vertone
.2. Din'er a 3idd"e *6 usin' the 6is +ey 7the s3a"" +ey that sits 6et4een the * and ! +eys9 0in'erin'Din'er the "o4 *6 6eneath the 3idd"e *6 4hi"e +eepin' the 3idd"e *6 pitch- The on"y di00erence you shou"d hear shou"d 6e a di00erence in tona" characteristics# 6ut the pitch should remain the same regardless of which octave Bb &oure fingering@o 6ac+ and 0orth 6et4een that 3idd"e *6 and "o4 *6 0in'erin's +eepin' the 3idd"e *6 0in'erin' 'oin' the 4ho"e ti3e- !s you increase the rapidity o0 the octave <u3ps# you5"" hear a sound e00ect o0ten used 6y 0o"+s such as Michae" *rec+er and Gester Youn'(epeat the exercise 'oin' chro3atica""y up the horn a"" the 4ay to D- I%79:T.(T (9T": &nce you 'et to the 3idd"e # rather than usin' the nor3a" 3idd"e 0in'erin'# you 3ust 0in'er that 3idd"e 4ith the palm *e& 0 and no octave *e&. ,6# ,# and D are a"so to 6e 0in'ered usin' the pa"3 +eys 3inus the octave +ey-

3-

4.

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" ercise H-: Tone %atching b& Coicing the Second 9vertone
This ti3e 4e5re 'oin' to start on second overtone which is the fifth above the first octave- So 0or the *6 overtone series# that 4ou"d 6e the 3idd"e D# an octave a6ove the 3idd"e *6- Here5s 4hat you doF 1. /3. $"ay the 3idd"e D without the octave +ey- So you5re 6asica""y 0in'erin' the "o4 D 6ut the 3idd"e D is the octave that5s soundin'Next# 0in'er a "o4 *6 4hi"e sti"" ho"din' out the 3idd"e D(epeat the exercise 'oin' chro3atica""y up the horn a"" the 4ay to the point 4here you5re a"ternatin' 6et4een the pa"3 +ey D 7no octave +ey9 and the 6is 3idd"e *6 0in'erin's- I%79:T.(T (9T": The octave +ey is not to 6e used at any point in this exercise-

Coicing
$oicin% is how we create the so&n' o( the horn b) ma*in% chan%es to the shape of our oral cavit&6 the position of the tongue6 and the position of the throat . +or examp,e- tr) p,a)in% an)thin% on )o&r horn &sin% the same mo&th an' throat position as )o& wo&,' &se whi,e prono&ncin% the so&n' .eeeee/ with )o&r voice. 0ow- witho&t movin% )o&r 1aw- tr) p,a)in% )o&r horn &sin% the same mo&th an' throat position as )o&2' &se to ma*e the /oh/ so&n'. Experimentin% with 'i((erent voca, so&n's whi,e p,a)in% the horn is what a,,ows &s to contro, the tona, characteristics o( o&r sax p,a)in%. 3o ma*e the overtones happen- whether )o&2re aware o( it or not- the voicin% has to chan%e.

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Sa %ic 7ositioning for 'ome :ecording

Aetting a beautiful and distinctive sa ophone sound in the recording studio is a bona5fide artform. 8hat I5d "i+e to do here is provide <ust a 0e4 basic guidelines that 4e sax p"ayers can e3p"oy in our o4n home studios# usin' a single mic as 4e experi3ent to 0ind 4hat 4or+s 6est 0or the sound that we$re tryin' to 'et The closer &ou place the sa ophone to the mic6 the more low freFuencies &oull pic* up# 'enera""y resu"tin' in a dar+er sound- I0 you 4ant a massive a3ount o0 "o4 0re;uency to 6e pic+ed up# then experi3ent 4ith p"acin' the 3ic inside the 6e"" o0 the horn- This can# ho4ever# 3a+e 0or a pretty a6rasive sound 4hich you5d pro6a6"y have to co3pensate 0or 6y ro""in' o00 so3e "o4 0re;uencies usin' ,M- e0inite"y not a very co33on 4ay to position your 3ic# 6ut since it5s 3usic and there are no ru"es > you +no4 the dri"" %enerally spea+in'# the sax 3ic is p"aced around 2 inches o00 the 6e"" o0 the horn- $oint the 3ic do4n4ards at a 4J-de'ree an'"e 0or a bigger and more aggressive sound- &ther4ise# pointin' the 3ic strai'ht to4ards upper +ey ho"es at a )C de'ree an'"e 4i"" resu"t in a IsmootherJ sound8hen positionin' the 3icrophone near the 6e""# it is "i+e"y that the lower notes will come out louder than the higher notes 3a+in' 0or unevenness in vo"u3e throu'hout the horn- Movin' the 3ic to one side o0 the horn is one so"ution that 3ay he"p to re3edy this issue-

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%oving bac* a bit from the mic 4i"" 6rin' out so3e o0 the hi'her 0re;uencies resu"tin' in a brighter sound- Ho4ever# un"ess the roo3 you5re recordin' in is very 4e"" insu"ated and sounds 3ore or "ess Adead#B then you5re li*el& to also pic* up the a lot of the sound of the room # 4hich 3ay or 3ay not 6e desira6"e- @enera""y spea+in'# I pre0er to have 3y sax recordin's as AdeadB as possi6"e so that I can exercise 3axi3u3 sonic contro" over the trac+ durin' 3ixdo4nI0 you5re "oo+in' 0or a dar*er and less direct sound# try 3ovin' the 3ic &elow the hornI0 you5d "i+e to have the 3ic p"aced 6ac+ a 6it 3ore 0or those 6ri'hter 0re;uencies# then a 'enera" ru"e o0 thu36 is to place the mic the same distance awa& from the front of the instrument as the length of the instrument. Beware the music standG !"thou'h they "oo+ har3"ess enou'h# 3usic stands > especia""y those 3eta" ones# can cause a very noticea6"e rever6 e00ect on your recordin' i0 p"aced direct"y 6ehind your 3ic- $ut the 3usic stand o00 to the side o0 the 3ic enou'h so that you5re not 6"arin' into the stand 4ith your unintentiona""y-3odi0ied sound rever6eratin' ri'ht 6ac+ into your recordin'-

In the end# it all comes down to e perimentation. !s+ ten di00erent recordin' en'ineers 0or the 6est 4ay to 3ic a sax# and you5"" 'et ten di00erent responsesMy hope is that 6y providin' these 6asic 'uide"ines# you5"" 6e a6"e to save &ourself some time and ;uic+"y tac+"e those cha""en'es that co3e up durin' your ho3e recordin' adventures(ow get bac* to recording that instant classic4

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