BHS BAND WARM-UP PACKET ALTO SAX

Fingering Chart IIntonation Tendencies 2Long-tones..,...... 4Circle of Fifths 5Articulation 6Flexibility/Technique 8Scales 13Chorales 18“Need to Know” 24Theory 25

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Pitch Tendencj_dustrnentsF Flat AitQS.QpliQne (Notes nrn addressed areS Sharp Note: Finger Adjustments will generally acceptable)V Very tend to cause timbre changes

PitchTendency F F VF F F

Adjustment None Add LP2 Add LP2 Add LP3 or LP4 Add F# key Add RS2 orOK and 3

HZ 4FS S VS S S S

Add LP3 Add LP3 Add LP4 Add RP2 Add RP2 Add 6

S VVS VS VS VVS VS

Add 4, 5. 6 Use 4 & 6 Add 4, 5, 6 Close LS2 Close LS2 or Close LS IUse RPI

page 17

RS1

RS2 QRS3

F#

RP1

RP2

Saxophone

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LS2

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page 16

The Tuning ProcessWoodwinds

FJtw.øfld Play diatonacally from ..op line F up to Bb three or four t’mes. T

u e t. e Bb ii

sharp (Note. Bb on PiCCOlOis not always the most centaed n’te. If you find th:s to

be uiie niPe to tcu line

p playng up from 3rd space C three orfour times Again tune approximately 8 cents

shaip.j Be aware that

many pa.colo and flute players tune with more air than needed. This pushes tie pitch up

considerably. Play

witi what Emory Remmington called ‘a conversational breaih: This will give you a m

ore accurate reading.

Be aware of the head joint and its adjustment, as this has a severe influence on

the pith. (isote 131’ above

the staff5hould be ‘cll centered. Use frequent checks to see if this note stays ,onsrnn

t)

Qb& Bcinjawareof the problems that the reed and instrurnen’ present, it is stdl im

perati . e that .ve become

consistnt in our approach to tuning. Play diatonically from 1st space Pup to 3rd line Bb three o

r sour tin es.

The Bb should be slightly sharp. Then playdiatonically from 3rd line Bb up to F three or

four times The

F, especially the fork fingering, will be slightly sharp. Ifyou use the regular fingering for top lin

e F, the pitch

will tend to be flat. (Note. A reed of approx. lOnm is recommended to achieve the desired pitch w

i’hout

squcc.zlng) Constantly ‘heck 2nd space A and A above the staff as this is the motcen’ered note on

the horn.

j3ag.pi: The instrument, reed and bocal have a great deal to do wtth the pitch of this I istrurent (‘he

ck

me 2nd tine Bb and 9th sine F. p!aymg to both of themdiatonically from below three or four tints. If

these

no’cs ar zot close to thc. required pitch :mrnediately work with the bocals (size (JO o 4 from ‘iral. to

large

or sharp ‘o flati uid the reed lengths The teed shouldbe 2-118” overall and a #2 bocal on a good1nstru

rnent

shou:d work be t Also be swans of the disrnce the reed fits on to the bocal leo mich or to lit’le ii ill cause

tile i’istnnient to play far enough out of tune so that accurate tuning s ill be rpo3.il1e ft k important to

note thatchoosing a quahfied student, instrument, reed and bocal will tend to make the pitch prob

lems

less frustrating for you and your double reed players

Creck2r4l neGandadjusttlebarrel(approx 118 inch). TiencheLl’wC’. If :ssha p. .4ust

the r ndflejo’nt Finally check 3rd space C If tins note is also sharp, adji. .ie oc.l Note I t sib adjL.s ‘ic t

further t!atten’. ciw E ‘hen disregard.) Once this is complued play .ip oeah note d .w ncallv e or

tour tines t. insist con:stency. (Not 4ost .itu!en..clarinets arebuilt sharp. Is ;s•, why :t .., irpera’ne

to sen. ic in accurate reading on lid line 0 first)

Akc, end Bar34v First “heck 2id lire G It should be vsy close to the cn!ere patc Sc c’ I

he k

o abo’.e the staff Th1srote should reg sier ‘.LghcLy sharp l iy up to ‘bnc ntn cain ( d 5 tluse

or tout ti!ncs. iNote. Top line F charp i’ the be not” to the t for zerotoerance;

I Follow ttt. same prc cda e as alto sax. Sc’ nd line C;cnou4 be 1!’VO%t ?ct t..t dad Cs ..Lo’ t.

ti° ‘atf should be sil rp. flote: 3rd live B is the best noteto check o at roJtrr.ee)

It Is again noted that the quality of the instrument, reed, ligature and mouthpiece pb a sery

Important part in the successful deielopment of accc.ptableintonation.

nrc’

Alto Saxophone Baldwin Band Standard Warmupsq •Long Tones

BreatE! ft Separate 1 [flat Over1aj

110 0 lPlayer 1 Player 2 Player 1 Player 2 Player 3

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6 [çoncert Paynter

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13 B-flat Paynter (Descending)

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IlJlJjlJ II19 D Paynter (Descending)

I II22 F Paynter (Ascending)

“F IF F r F F II25 Paynter (Skips)

F F F F F F F I F J F J II

(c minor)i (f sharp minor)

Appendix 4

C

(a minor)

G

(e minor)

(d minor)

BL

(g minor)

D

ELCircle

of

A

AFFifths

(f minor)

(b flat minor)

c,E

(c sharp minor)

c

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F

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AppHcatlon exercises trom MOUHK . Lauver Vuug’), me LvrrlpIe/LiSaxophonist. Glenmoore, PA: Northeastern Music Pubflshers)Spoken Exercises

to a, ,

6 7 8 9 /0lu to a let - ter let ter tat - tie tat — tie tit - ter tat - ter Ow toe low toe

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WarinUp Set 2

Option 1 (unison “lip slur” with brass)

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Option 2 (octave slur study with brass lip slur)

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Options 3, 4, & S (technical patterns with brass lip slurs)

Articulation Patterns: ‘j j ri j

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BAND INFO — “NEED TO KNOW”

Strategies for SMART practice:

1. Play rhythms on one pitch first if difficult

2. Look for patterns3. Play in a comfortable range first (down an octave?)

4. Isolate one challenge at a time5. Work slow to fast (use a metronome)

6. Build from the middle

Logical Steps to Effective Intonation

1. Listen for “beats”2. Make an adjustment; if beats get faster, try the opposite until the beats slow and

eventually disappear.3. If you have to pinch to make the beats stop, make your instrument shorter

4. If you have to relax to make the beats stop, make your instrument longer

5. When you hear no beats while playing with your normal embouchure you are in tune!

Ways and Steps to Listening

1. If you hear yourself sticking out of the band’s sound you may be playing too loud. This is

BALANCE. See below for info on the Pyramid of Sound.

2. If you adjust your volume and still stick out of the band’s sound, adjust your posture,

embouchure, and breath support to make your tone mesh better. This is BLEND. Think

of putting your sound “inside” other voices...e.g. Alto’s try to fit “inside” the horn sound;

Trumpets try to fit “inside” the tuba sound.

3. If you adjust your volume and tone and still stick out of the band’s sound, you may be

out of tune. This is INTONATION (see above).4. Always listen down to the lowest instrument, to the people on either side of you, and to

yourself.

The Pyramid of Sound (BALANCE)

1. Higher voices are more easily heard than low voices; therefore to create a more

balanced sound, adjust all dynamics levels as follows.

2. Low voices (tuba, low brass, tenor sax) should be strongest...play at or above the written

dynamic level3. Middle voices (alto, horn) are the next highest priority...play at or slightly below the

written dynamic level4. High voices (trumpets, flute, clarinet) should be least prominent...play one level below

the written dynamic level

Scale and Chord Related Theory

A scale is a series of single notes which ascend or descend in a yjse mann

er within the range of an octave.

Because scales are arranged in astepwise manner the note names will always

be in alphabetical

The notes within scales have a specific whole step/half step

j1y.,iic g1tioUshi with eachother.

C natural minor scale (lower the 3rd, 6th, and

7th scale degrees a half step).

mrr,-vais W H w wH

F-i/\Fim/\r1F1

CDEF GABCScak Djvw 1 2 3 4

3 6 7 8

Root Position First InversionSecond Toversion

From Bottom: From Bottom: From Bottom:

root-third-fifth third-fifth-root fifth-root-third

Diminishedlower third & fifth

Interval - the distance between two notes IHalf Step - the closest interval between two notes [ B i1Augmented Sus 4

raise fifth fourth replaces third

Third - the distance of two adjacent lines or two adja

Whole Step - an interval of two half steps

___}-

Scale Degree - a note’s classification according to its position In the scale

Tonic - the first note of a scale, the ‘key-note’ from which the scale takes its name

Dominant - the fifth scale degree, chords built on this note are “dominant’ and normally resolve to the

tonic

Leading Tone - the seventh scale degree, it is one half step below tonic and its tendency is to “lead” or rise t

o the tonic

C major scale (half steps are between scale degrees

3 - 4 and 7 - 8).

Intervals: W w H wI II l.””\F irCDEFG

Scale Degrees: I 2 34 /1’S

Tonic Dominant

w w Hh i/\ABC6/./7 8

Leading Tone

C harmonic minor scale (lower the 3rd and

6th scale degrees a half step).

jotrrvals, W11 W w H W+H H

CDEF GABCScakDcgrecs1 2 3 4

5 6 7 8

C melodic minor scale (ascending lower the 3rd and descending lower the 7th, 6th,

and 3rd scale degrees a half step).

1,,tcn’aI W 11 WW W w 11 W w H W W

H W

i/\1r]FiF-i/\riF-i/\rn/\F

CDEFGABCBAGFEDC

Scale L)egrees 1 2 3 4 56 7 8 7 6 5

4 3 2 1

Aixgneflted &pImiIsbed:-Jntyatfrom C -

Asicpted4th,.(t4toflØ

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Intervals of the C major scale:

Major 2nd Major 3rd Perfect 4th Perfect 5th Major 6th Major 7th Perfect Oct

ave

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C major triad (three note chord) in root position and inversions.

A

ntial Vocabulary:Basic chord types constructed from C:

Major Minorlower third

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