INSTRUMENTS OF THE SAXOPHONE FAMILY ...johnbenzer.com/wp-content/uploads/2019/05/SAXOPHONE.pdfsaxophone class opposite a larger class like trumpet, clarinet, or flute. Place the larger

INSTRUMENTS OF THE SAXOPHONE FAMILY

Eb Sopranino Saxophone

Bb Soprano Saxophone

Eb Alto Saxophone

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Bb Tenor Saxophone

Eb Baritone Saxophone

Bb Bass Saxophone

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INSTRUMENTS IN THE SAXOPHONE FAMILY

Eb Sopranino Saxophone • Sounds a minor 3rd higher than written • Concert F is a written D. • Smallest instrument in the saxophone family • Comes in one piece (no detachable neck) • Keys are very close together. • The very small mouthpiece requires very small adjustments with the embouchure. • The best option for a ligature is a strip of Velcro ½ inch thick. • Recommended reed strength is size 3 • Costs about $11,000 ($15,000 MSRP) • A school-owned instrument is very rare. • Never to be used in middle school or high school; advanced undergraduate

college students will have difficulty playing this instrument • Used in: Feste Romane by Respighi as transcribed by Merlin Patterson

Bb Soprano Saxophone • Slightly longer than an Eb sopranino saxophone • Sounds a whole step lower than written • Concert F is a written G. • Transposition is the same as Bb trumpet • Gold-lacquered instruments are standard; silver-plated instruments result in a

darker sound in the upper register • Sometimes a school-owned instrument • Used in high school by advanced students • Recommended reed strength is size 3.5 • Costs about $7,000 ($10,555 MSRP) • Used in advanced Solo and Ensemble Saxophone Quartet literature (SATB as

opposed to AATB) • Many soprano saxophones will have a straight neck and a slightly curved neck;

most players will use a curved neck. The straight neck will produce a slightly brighter tone and the curved neck will produce a slightly darker tone.

• Older instruments/cheaper models will have an attached neck. • Some soprano saxophones will have a high G key. • Almost every work written for concert band by Percy Grainger (i.e. Shepherd’s

Hey, Lincolnshire Posy, Mock Morris) will have a soprano saxophone part. • Used in: The Planets and “Song Without Words” from Second Suite in F for

Military Band by Holst; Bolero by Ravel (the original orchestral arrangement) • Used in most contemporary pieces written by John Mackey

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Eb Alto Saxophone • A student-owned instrument • Sounds a major 6th lower than written • Sounds one octave lower than Eb sopranino saxophone • Concert F is a written D. • Students should begin instruction on the alto saxophone. • Step-up instruments cost about $4,000 (MSRP $5,700) • The professional alto saxophone models will have the options of high F#/Gb keys. • The alto saxophone is accepted as part of standard concert band instrumentation.

Bb Tenor Saxophone • A school-owned instrument in most cases • Longer than an Eb alto saxophone • Sounds one octave and one whole step lower than written • Sounds one octave below Bb soprano saxophone • Concert F is a written G. • Should be used in middle school and high school, but not during the beginner year • Costs about $7,600 (MSRP $10,750) • The professional tenor saxophone models will have the options of high F#/Gb

keys. • The tenor saxophone is accepted as part of standard concert band instrumentation,

but if your ensemble does not have a tenor saxophonist, the part may be played directly on a Bb bass clarinet with no part re-writing necessary.

• The embouchure must be more relaxed/flexible. • Students with larger oral cavities tend to be more successful on the instrument. • Tenor saxophones will have the option of a high F#/Gb key. • Used in: Lieutenant Kijé by Prokofiev

Eb Baritone Saxophone • A school-owned instrument • Sounds one octave and a major 6th lower than written • Sounds one octave lower than Eb alto saxophone • Concert F is a written D. • Costs about $13,500 (MSRP $20,000) • Standard instrument for middle school and high school students, but not during

the beginning year • Baritone saxophones have a spit valve key under the crook. • Baritone saxophones have a low A key (the only instrument that has this feature);

therefore, there is more brass added to the instrument.

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• Baritone saxophones will have the options of high F#/Gb and/or low A keys. The high F#/Gb key is not necessary, but the low A key is necessary in advanced middle school literature.

• While the part will be written in treble clef, scores will often notate the baritone saxophone part in bass clef.

• The embouchure must be more relaxed/flexible. • Students with larger oral cavities tend to be more successful on the instrument.

Bb Bass Saxophone • A school-owned instrument is very rare. • Must be specifically ordered • Sounds one octave lower than a tenor saxophone • Sounds two octaves and one whole step lower than written • Concert F is a written G. • Can be used in a high school band, but usually used in advanced college chamber

groups • Costs about $22,000 (MSRP: $32,000) • A baritone saxophone mouthpiece will fit on a bass saxophone neck, but a bass

saxophone mouthpiece with bass saxophone reeds (or bass clarinet reeds in a pinch) will sound much better.

• Many Percy Grainger works have a bass saxophone part, but it is non-essential. • Also used in Music for Prague by Karel Husa

*The larger the instrument, the more susceptible they are to bent keys,

bent rods and leaks. Middle School and High School Inventory

• Tenor Saxophone • Baritone Saxophone

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CHARACTERISTICS WHEN RECRUITING AND SELECTING SAXOPHONE PLAYERS

Physical Characteristics/Factors • As the embouchure is rather simple to form correctly, many students are able to play

saxophone with the exception of those that have severe underbites. • Unlike playing flute and high brass instruments, having braces or teeth abnormalities does

not hinder students playing saxophone. • It is actually acceptable to recruit students on saxophone who are double-jointed, because the

size of the instrument and the strength of the key springs support the fingers more than smaller woodwind instruments.

• There are fewer physical characteristic factors when considering saxophone than most other woodwind instruments.

Non-Physical Characteristics/Factors • The alto saxophone is the most expensive student-owned instrument; thus, use the cost to

limit the class size. • Parents need to understand that the monthly cost can be anywhere from $50-$70 per month—

excluding the maintenance kit. • As much as possible, avoid placing students on saxophone whose family would have

problems supporting the cost of the instrument, upkeep and accessories. (Consider single-parent families.)

• Even though it is easy to place students on saxophone, it should not be treated as a “dumping ground.” Depending on the number of returning students, the goal should be to allow between six to nine students in your saxophone class.

• Try to have a separate class for your saxophones. If this can not happen, combine the saxophone class with your double reed class. Your double reed class will move as fast—if not faster—than your saxophone class.

• If combined with double reed students, find a private teacher or a specialist to periodically instruct your saxophone students. If a specialist cannot be found for your saxophone students, find a specialist/private teacher for your double reed students and pull those students out periodically.

• DO NOT combine your saxophone class with your flute or clarinet classes. Flute and clarinet classes will move much slower than your saxophone class because of the amount of time spent on the embouchure, hand position and flexibility (flute). Your saxophone students will become bored and possibly cause classroom management problems.

• The saxophone class needs to be taught in a smaller room. Not only will you be able to limit the class size to 6-9 students, but you will find it easier to dissuade pushy parents/administrators from trying to force additional students into the class. Place your

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saxophone class opposite a larger class like trumpet, clarinet, or flute. Place the larger class in the band hall and the saxophone class in a smaller room.

• Allowing a student to play the tenor saxophone in a beginner class should only be allowed under extreme financial circumstances…..or with an unexpected move-in that allowed the student to play tenor saxophone at their previous school. If you have a tenor saxophone player in your beginning class, give the student an alto saxophone book as well…..so that the student is playing “off a 4th” from the rest of the class. You will then be able to monitor the student’s tone quality, articulation and accuracy of notes and rhythms more successfully.

Things to look for when switching alto saxophone players to tenor/baritone saxophone • Students who have met/exceeded practice card requirements in the past • Students who show a genuine interest and are excited to play a lower saxophone • Students with high academic records • Students who demonstrate a willingness to continue playing tenor/baritone saxophone during

high school unless asked to switch back to the alto saxophone by a high school director……or students who are considering a music major in college

• Students willing to take the instruments home o Using a small dolly or luggage cart with two wheels and bungee cords

• Students with taller/bigger statures (especially for baritone saxophone) Miscellaneous • When switching students to lower saxophones, take advantage of the opportunity to ask the

parents about starting their child on private lessons. You may need to offer some sort of financial assistance.

o Inform the parents that in most cases, monthly lesson costs may be less than the monthly alto saxophone rental costs would have been!

• A tenor saxophone can augment/enhance a small and/or weak French horn/trombone/euphonium section.

• A baritone saxophone can augment/enhance a tuba section. • Saxophone mouthpieces are all different, but the fingerings are all the same. • Do not use a tenor saxophone/baritone saxophone section as a “dumping ground” for bad alto

saxophone players. • Private lesson teachers must challenge low saxophone players in their lessons, simply

because their ensemble music is not challenging with respect to technique and range. • Do NOT assign a student to tenor/baritone saxophone (or any other instrument) and send

them in a practice room alone to “figure out” how to play the new instrument without any assistance/guidance !.

o If you are not able or confident enough to help the student, then it is your job to find someone that can teach them!

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BEGINNING SAXOPHONE CLASSROOM AND ENSEMBLE SET-UP

Beginning Classroom Set-Up

• Your beginning saxophone class should be taught in a smaller room (i.e. ensemble room or secondary band hall).

• Configure your classroom based on how many students you have in the class.

• Start off the semester by putting students in alphabetical order so you can learn their names faster. Once music stands and mirrors are utilized in class, hanging name tags can continue to help you learn student names quicker. These can and should also be used on any days you have clinicians/consultants visit.

Types of Band Hall Set-Ups

1. Arched set-up

! If using your “ensemble set-up” for your class, have students sit in a “box,” so all students receive the same amount of attention/eye contact from you.

! Have students sit in every other chair (if all chairs have to remain in your set-up throughout the day).

! The aisles between your rows must be large enough so that you will have quick and easy access to any student--both from the front and the back.

! As much as possible, have students in “windows.”

! You must be able to see each student from the front and the back. With that said, you are not always able to correct student’s posture, hand position, etc. from the front of the room; thus, you need to be walking around the room instead of “parking” on a stool!

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! Once you start determining playing ability levels of your students, place weaker players in the front of the classroom and stronger players in the back. Less attention is typically given to players who are further back in the set-up.

2. Horseshoe set-up

! This set-up is not recommended because you have a limited range of vision.

! If you decide to use this set-up, you will need to pull the stand/podium far enough back in order to have clear vision of every student.

3. Arched with aisle

! This is a very acceptable set-up, even with full ensembles.

4. Straight line set-up

! This type of set-up should only be used with bigger facilities.

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! In order for you to have visual contact with all of the students, the students on the ends of the rows will have to adjust their chairs/ bodies towards you or you need to have them sitting in a “box” (see arched set-up).

5. Straight line set-up with aisle

6. Circular set up

! One teacher teaches from the inside and one from the periphery. Students face in towards middle.

! If you are teaching alone, it will be too hard to maneuver when teaching outside of the circle.

! This set-up is typical in elementary school cafeterias or small stage “cafetoriums.”

AISLE

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Ensemble Room Set-Up

• Beginner Classroom set-up

• Remember: 90% of tone holes are on the right side of the instrument

Full Ensemble Set-Up

• Saxophone players need to be in the middle of the ensemble. The first chair alto saxophone player should be near the 1st French horn player so they can more easily balance and match in terms of balance, pitch, etc.

1 Horns

1 2 3 3 2

Alto Sax

BS TS

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• There should be a pod of low woodwinds—who should be sitting relatively close to each other--since these instruments tend to have similar parts in their music.

• Low saxophone players should never be placed with the low brass in the back of the ensemble…regardless of whether or not risers are utilized.

Saxophone Quartet

University of Houston Set-up

BS TS AS BS

AS SS OR SS TS

• The set-up should always form an arc with all players. This makes communication easier since standing on the outside would place them in the blind spot of the other two musicians.

• The two inner voices (alto and tenor) should not stand next to each other. This helps with balance and prevents these two voices from getting lost in complex passages or in situations where they function as a solo voice.

• All players should be angling their bodies and instruments in towards the audience.

• The set-up is subject to change depending on the strengths and weaknesses of each player as well as the repertoire being performed.

Low Saxes Clar.

Clar.

Clar.

Low Clar.

Bassoons Flutes

Horns Alto Sax

Tuba Trombone B Sax T Sax "

Flutes

Audience Audience

Audience

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RECOMMENDED SAXOPHONE BRANDS

Alto Saxophone Beginner: Brand: Yamaha** Model: YAS-26 (formerly YAS-23) Pricing: MSRP $2,166.00 - wwbw.com MSRP $2,166.00 - musicarts.com Monthly Rental Price: $61.00 (including insurance) - Music & Arts Center

• Rent-to-Own • All payments go toward the instrument • Parents can do a “trade-in” to a step-up instrument--$100 off sale

price of new instrument o Will be encouraged to pay off instrument and use as marching

saxophone o Keep in mind that a re-pad job on an alto saxophone can be

between $100-$150 and unfortunately “changes” the instrument.

Description:

• Great beginner saxophone • Can be used through high school • Mid-grade construction quality (pearls tend to fall off if ill-treated) in

regard to materials • Machine-manufactured (as opposed to hand-made) • Great for use as a marching saxophone (in better financial situations) • No high F# key

**Yamaha alto saxophones are moisture-prone due to the coating inside of the instrument; therefore, it is sometimes necessary to empty the water from the bell.

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Intermediate: Brand: Yamaha Model: YAS-480 (formerly YAS-475) Pricing: MSRP $2,488.99 - wwbw.com Full Purchase only Description:

• Great step-up saxophone (and less expensive than the professional models)

• Gold-lacquer finish • Great for more advanced high school students • Good quality construction – based on the Yamaha professional

models • Machine-manufactured (as opposed to hand-made) • High F# key • Lighter weight • Consistent/accurate tuning

Brand: Yamaha Model: YAS-62 III (formerly YAS-61) Pricing: MSRP $3,091.99 - wwbw.com Full Purchase only Description:

• Great step-up saxophone (and less expensive than the Custom series models)

• Considered to be the lower end of Yamaha’s professional saxophones

• Gold-lacquer finish • Great for more advanced high school students

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Brand: Selmer Paris Model: 52 Super Action 80 Series II Jubilee Edition Pricing: Lacquer: MSRP $6,759.00 @ wwbw.com Gold-Plated: MSRP $17,559.00 @ wwbw.com Matte Lacquer: MSRP $7,259.00 @ wwbw.com Silver-Plated: MSRP $7,569.00 @ wwbw.com **Avoid the black lacquer model because it “muddies” the sound. Full Purchase only Description:

• Great step-up saxophone • Honey gold finish • Great for advanced high school students and college students • Good quality construction—hand-made • High F# key • Heavier weight • Richer sound and improved intonation

Brand: Selmer Paris Model: 62 Super Action 80 Series III Jubilee Edition Pricing: Lacquer: MSRP $7,549.00 @ wwbw.com Gold-Plated: MSRP $18,359.00 @ wwbw.com Matte Lacquer: MSRP $8,159.00 @ wwbw.com Silver-Plated: MSRP $8,359.00 @ wwbw.com Sterling Silver: MSRP $18,329.00 @ wwbw.com **Avoid the black lacquer model because it “muddies” the sound. Full Purchase only

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• Good quality construction – based on the Yamaha professional models

• Machine-manufactured (as opposed to hand-made) • High F# key • Lighter weight • Consistent/accurate tuning

Professional: Brand: Yamaha Model: YAS-875EX II “Custom EX” (gold-lacquered—gold-plated not necessary); not EXGP (gold-plated) or YAS-82Z (Custom Z—used primarily for jazz) Pricing: Custom EX Lacquer: MSRP $4,204.99 @ wwbw.com Custom EX Silver-Plated: MSRP $4,565.99 @ wwbw.com Custom EX Gold-Plated: $10,999.00+ (difficult to find) Full Purchase only Description:

• Fantastic step-up saxophone—highly recommended • Gold-lacquer finish • Great for advanced high school and college students • Very good quality construction—machine made • High F# key • Lighter weight • Very responsive • Secondary octave key mechanism improvement—gives top of the

staff G and first ledger line A more “meat” to the sound • Improved key action for smoother playing • Rich sound • Very consistent/accurate tuning • Has a darker sound • The YAS-875EX is still very much “out there” and is only slightly

ergonomically different than the newer EX II.

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Description:

• Great step-up saxophone • Honey gold finish • Great for advanced high school students and college students • Good quality construction—hand-made • High F# key • Vented C# key for better intonation • Heavier weight • Richer sound • Overall intonation deficiencies (compared to Series II)

Brand: Selmer Paris Model: 52 Super Action 80 Series II Pricing: No longer manufactured but can still be purchased used or are still “out there” Full Purchase only Description:

• Industry standard for the past 20 years • Great step-up saxophone • Yellow brass finish • Great for advanced high school students and college

students • Good quality construction—hand-made • High F# key • Heavier weight • Richer sound • Used approximately 10-15 years ago; maybe not the best saxophone

brand now, but they are still “out there”

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Tenor Saxophone:

Brand: Selmer Paris Model: 64 Super Action 80 Series III Jubilee Edition Pricing: Lacquer: MSRP $8,539.00 @ wwbw.com Gold-Plated: MSRP $23,129.00 @ musiciansfriend.com Matte Lacquer: MSRP $9,129.00 @ wwbw.com Silver-Plated: MSRP $9,629.00 @ wwbw.com Sterling Silver: MSRP 16,039.00 @ wwbw.com **Avoid the black lacquer model because it “muddies” the sound. Description:

• Good school-owned instrument • Honey gold finish • Good quality construction—hand-made • High F# key • Vented C# key

Brand: Yamaha

Model: YTS-875 Custom EX

Pricing: Custom EX Lacquer: MSRP $4,821.99 @ wwbw.com Custom EX Silver-Plated: MSRP $5,314.99 @ wwbw.com Description:

• Good school-owned instrument • Gold-lacquer finish • Good quality construction—machine made • High F# key • Responsive and smooth key action • Consistent/accurate tuning • Rich sound

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• A heavier instrument which results in a darker, warmer tone—makes it easier to play in terms of response and resistance • Less expensive than the Selmer models

Brand: Selmer Paris Model: 54 Super Action 80 Series II Jubilee Edition Pricing: Lacquer: MSRP $7,859.00 @ wwbw.com Gold-Plated: MSRP $22,159.00 @ wwbw.com Matte Lacquer: MSRP $8,359.00 @ wwbw.com Silver-Plated: MSRP $8,859.00 @ wwbw.com **Avoid the black lacquer model because it “muddies” the sound. Description:

• Good school-owned instrument • Honey gold finish • Good quality construction—hand-made • High F# key

Brand: Selmer Paris Model: 64 Super Action 80 Series III Pricing: No longer manufactured but can still be purchased used or are still “out there” Description:

• Great school-owned instrument—highly recommended

• Yellow brass finish • Good quality construction—hand-made • High F# key • 30% thinner than Series II • Plays like Yamahas • Beautiful sound—“plays itself”

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Brand: Selmer Paris Model: 54 Super Action 80 Series II Pricing: No longer manufactured but can still be purchased used or are still “out there” Description:

• Good school-owned instrument • Yellow brass finish • Good quality construction—hand-made • High F# key • Heavier instrument • Has more resistance than Series III

(more difficult to get a good sound) Baritone Saxophone: Brand: Selmer Paris Model: 66AF Super Action 80 Series III Jubilee Edition Pricing: Lacquer: MSRP $15,329.00 @ wwbw.com Matte Lacquer: MSRP $17,129.00 @ wwbw.com **Avoid the black lacquer model because it “muddies” the sound. Description:

• Great school-owned instrument • Honey gold lacquer • Good quality construction—hand-made • High F# key, Low A key, tilted Bb spatula key (helps students with a

smaller hand-spread)

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Brand: Selmer Paris Model: 55AF Super Action 80 Series II Pricing: No longer manufactured but can still be purchased used or are still “out there” Description:

• Great school-owned instrument • Lacquered brass • Good quality construction—hand-

made • High F# key, Low A key, tilted Bb

spatula key (helps students with a smaller hand-spread)

Soprano Saxophone: Brand: Selmer Paris Model: 53 Super Action 80 Series III Jubilee Edition Pricing: Lacquer: MSRP $8,029.00 @ wwbw.com Gold-Plated: MSRP $16,519.00 @ wwbw.com Matte Lacquer: MSRP $8,679.00 @ wwbw.com Silver-Plated: MSRP $8,959.00 @ wwbw.com Sterling Silver: MSRP $11,359.00 @ wwbw.com **Avoid the black lacquer model because it “muddies” the sound. Description:

• Great school-owned instrument • Honey gold lacquer • Good quality construction—hand-made

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• High F# key, High G key, tilted Bb spatula key (helps students with a smaller hand-spread)

• These instruments are prone to have a more prominent “warble” in the lower register.

• This model has a detachable neck and comes with both straight and curved necks.

Brand: Yamaha Model: YSS-875EX “Custom EX” Soprano Saxophone Pricing: Lacquer: MSRP $4,632.99 @ wwbw.com Silver-Plated: MSRP $5,005.99 @ wwbw.com **Avoid the black lacquer model because it “muddies” the sound. Description:

• Great school-owned instrument • Gold lacquer • Good consistency from instrument to instrument • High F# key, High G key, tilted Bb spatula key (helps students with a

smaller hand-spread) • The “warble” in the lower register is not as prominent as on Selmer

sopranos, but still exists if the player is using poor voicing. • This model has a detachable neck and comes with both straight and

curved necks.

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Brands to Avoid (only in my opinion J ) Vito Selmer USA Buscher Leblanc Bundy** Prelude King Buffet Simba (Sam’s Club)—Tenor only LA Sax First Act (Wal-Mart) P. Mauriat Jupiter J Erich Conn** Theo Wanne Cannonball MACSAX Blessing Allora Eastman **both made by Selmer but still considered inferior Additional Information:

• In general, Selmer saxophones use metal resonators while Yamaha saxophones use plastic resonators. Metal resonators produce a brighter sound.

• The newer Yamaha saxophones have highly improved key action, and are smoother to play and have a better “feel.”

• The Yamaha saxophones tend to be more consistent instruments due to the fact that they are machine-made as opposed to hand-made.

• In general “heavier” saxophones result in warmer/darker sounds, thus making it easier to play in terms of response and resistance.

• While the Yamaha alto saxophones are highly recommended, the tenor and baritone Selmer saxophones have a very good sound quality.

• Avoid the Yamaha “Custom Z” model. This model produces a brighter sound, but has an easier lower register.

• For quality reasons, if possible, avoid the alto saxophone Selmer Super Action 80 “Series III” with a harmonic mechanism. This instrument has extra frills (an extra vent on the neck and key next to the octave key) and is very expensive. The “newer” it is, the more likely it is to have something wrong with it.

• Avoid the Selmer “Mark VI” and “Mark VII,” which are no longer made, but are “out there.” These models are hand-made, have a darker sound, have heavier key action and are not recommended.

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• Regarding Mark VI alto saxophones: these instruments were manufactured between 1958-1967 and currently cost around $6000; thus, they are obviously considered professional models. Although some may say this instrument has the most desirable sound quality, others would argue that point and say they are very difficult to play. The Mark VI is a great saxophone for jazz playing, but not for classical/ensemble playing.

• Yanagisawa saxophones are a good brand for alto saxophones, and particularly for baritone saxophones. Yanisagawa will eventually be an “up and coming” brand. This brand would be a very acceptable substitution for the more expensive brands (i.e. Selmer).

• Keilworth produces acceptable tenor saxophones; however, their alto saxophones are not as consistent.

• Saxophone necks greatly affect tone and intonation; with that said, a damaged saxophone neck is going to affect the playability of that instrument greatly. Yamaha V1 alto and tenor saxophone necks are excellent and affordable (MSRP $422.00 and $618.00 respectively). Selmer Rose Brass necks are even more affordable and have great intonation and tone quality. Yamaha G3 necks are ideal for tenor saxophone but are no longer manufactured and difficult to find. DO NOT MIX AND MATCH NECKS between the Series II and III instruments.

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RECOMMENDED SAXOPHONE MOUTHPIECES AND LIGATURES

Alto Saxophone Mouthpieces Brand: Vandoren Optimum Model: AL3 Pricing: MSRP $113.46 @ wwbw.com Description:

• Made of hard rubber • Smaller mouthpiece • More circular chamber • Sound is easier to control • More responsive • Has a tendency to wear out with hard use after

several years • The Vandoren AL4 mouthpiece is typically to be avoided, but is still a

good crossover mouthpiece for classical/ensemble and jazz playing. Brand: Selmer Model: S-80 Series Pricing: MSRP $163.75 @ wwbw.com Description:

• Made of hard rubber • C* is the recommended facing. The S-80

mouthpiece is often referred to a “C* mouthpiece.” • Larger mouthpiece • Rectangular chamber • Great for beginners (requires more air, which gets

the air moving MORE) • Sound not as focused—more “spitty”

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Brand: Selmer Model: S-90 Series Pricing: MSRP $139.00 @ wwbw.com Description:

• Made of hard rubber • The 180 facing is highly recommended • Very similar to the S-80 C* mouthpiece • Rectangular chamber • For more advanced high school players • Sound not as focused—more “spitty”

Alto Saxophone Ligatures Brand: BGModel: Traditional Pricing: Gold-Lacquered: MSRP $117.99 @ wwbw.com Gold-Plated: MSRP $138.99 @ wwbw.com Description:

• Great ligature • Pairs best with the Vandoren Optimum

mouthpieces (but will work with any) • Offers only two points of contact with the reed, which allows it to

vibrate more freely and results in a more resonant sound • Gold-plated preferred over gold-lacquered because the gold-plated

vibrates better and produces a darker/heavier sound…..but is also more expensive.

• Only concern is that it is thinner and can more easily be damaged

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Brand: Rico Model: H Ligature Pricing: MSRP $34.99 @ wwbw.com Description:

• This is a very economical choice, but it is still considered a professional ligature.

• Pairs well with the Selmer C* or the Vandoren Optimum mouthpiece; however; using it with the Vandoren Optimum will not have as good of results

• Allows the reed to vibrate more freely than the “stock ligature” • Gold-plated preferred over gold-lacquered because the gold-plated


• Only concern is that it is thinner and can more easily be damaged Tenor Saxophone Mouthpieces Brand: Vandoren Model: V5 T20 Pricing: MSRP $124.95 @ wwbw.com Description:

• It is approximately 15% more expensive than the Vandoren TL3 mouthpiece.

• More free blowing, flexible, and less resistant • Slightly harder to control than the TL3 • More open version of the TL3 • Tip opening is larger than the TL3

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Brand: Vandoren Optimum Model: TL3 Pricing: MSRP $124.95 @ wwbw.com Description:

• Made of hard rubber • Produces a more projecting sound • Makes the sound less edgy • Produces a good sound

o The tenor saxophone is notorious for being a very stuffy or thin-sounding instrument. This mouthpiece makes the saxophone easier to play and produces a much better sound by focusing the air with the more circular chamber.



mouthpiece is often referred to a “C* mouthpiece.” • Larger mouthpiece • Rectangular chamber • Great for beginners (requires more air, which gets

the air moving MORE) • Sound not as focused—more “spitty”


• Made of hard rubber • The 170 facing is highly recommended • Very similar to the S-80 C* mouthpiece • Larger mouthpiece • Rectangular chamber

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• Great for beginners (requires more air, which gets the air moving MORE)

• Sound not as focused—more “spitty” Tenor Saxophone Ligatures Brand: BG Model: Traditional Pricing: Gold-Lacquered: MSRP $87.04 @ wwbw.com Gold-Plated: MSRP $138.99 @ wwbw.com Description:

• Great ligature • Pairs best with the Vandoren Optimum

mouthpieces (but will work with any) • Offers only two points of contact with the reed, allows it to vibrate

more freely and results in a more resonant sound • Gold-plated preferred over gold-lacquered (vibrates better) but is

more expensive Fix Brand: Rico Model: H Ligature

Pricing: MSRP $34.49 @wwbw.com Description:


• Pairs well with the Selmer C* or the Vandoren Optimum mouthpiece

• Allows the reed to vibrate more freely than the “stock ligature” • Gold-plated preferred over gold-lacquered because the gold-plated



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Baritone Saxophone Mouthpieces Brand: Vandoren Optimum Model: BL3 Pricing: MSRP $234.99 @wwbw.com Description:

• Made of hard rubber • Produces a more projecting sound • Makes the sound less edgy • Produces a slightly darker sound than the

BL4 mouthpiece • Tends to “over-muffle” the sound and only

allow softer dynamics

Brand: Vandoren Optimum Model: BL4 Pricing: MSRP $219.95 @wwbw.com Description:

• Made of hard rubber • Tip opening is wider than the BL3 mouthpiece; therefore it

is less resistant and will need a softer reed • Allows the student to play with a more projected sound

Brand: Selmer Model: S-80 Series Pricing: MSRP $263.00 - wwbw.com Description:

• Made of hard rubber • C* is the recommended facing. The

S-80 mouthpiece is often referred to a “C* mouthpiece.”

• Larger mouthpiece • Rectangular chamber • Great for beginners (requires more

air, which gets the air moving MORE) • Sound not as focused—more “spitty”

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• Made of hard rubber • The 170 facing is highly recommended • Very similar to the S-80 C* mouthpiece • Larger mouthpiece • Rectangular chamber • Great for beginners (requires more air, which gets the air moving

MORE) • Sound not as focused—more “spitty”

Baritone Saxophone Ligatures Brand: BG Model: Traditional Pricing: MSRP $131.27 @ wwbw.com Description:

• Great ligature • Pairs well with the Vandoren Optimum

mouthpieces (but will work with any) • Offers only two points of contact with the reed, allows it to vibrate

more freely and results in a more resonant sound • Gold-plated preferred over gold-lacquered (vibrates better) but is

more expensive Brand: Rico Model: H Ligature

Pricing: MSRP $52.99 @ wwbw.com Description:

• This is a very economical choice, but it is considered still a professional ligature.

• Pairs well with the Selmer C* or the Vandoren Optimum mouthpiece • Allows the reed to vibrate more freely than the “stock ligature”

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• Gold-plated preferred over gold-lacquered because the gold-plated vibrates better and produces a darker/heavier sound…..but is also more expensive.


Soprano Saxophone Mouthpieces Brand: Selmer Model: S-80 Series Pricing: MSRP $119.00 @ wwbw.com Description:


mouthpiece is often referred to a “C* mouthpiece.” • Larger mouthpiece • Rectangular chamber • Sound not as focused—more “spitty” • Still the “standard” mouthpiece for soprano


• Made of hard rubber • The 180 facing is highly recommended • Very similar to the S-80 C* mouthpiece • Rectangular chamber • More flexibility, but also more difficult to

control

Brand: Selmer Model: Concept Pricing: MSRP $333.00 @ wwbw.com Description:

• Made of hard rubber • Only one facing available

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• Circular chamber • Quickly becoming a new favorite soprano mouthpiece • For very advanced, college-bound high school students • VERY expensive

Brand: Vandoren Optimum Model: SL4 Pricing: MSRP $104.95 @ wwbw.com Description:

• Made of hard rubber • Smaller mouthpiece • More circular chamber • Sound is easier to control • More responsive • Unlike the alto version, the SL3 is extremely

small; therefore, the SL4 is recommended.

Soprano Saxophone Ligatures Brand: BGModel: Traditional Pricing: Gold-Lacquered: MSRP $85.21 @ wwbw.com Gold-Plated: MSRP $94.65 @ wwbw.com Description:

• Great ligature • Offers only two points of contact with the reed,

which allows it to vibrate more freely and results in a more resonant sound



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Brand: Rico Model: H Ligature Pricing: MSRP $34.99 @ wwbw.com Description:


• Allows the reed to vibrate more freely than the “stock ligature”



Additional Information Regarding Mouthpieces and Ligatures Mouthpieces to avoid:

• “Stock” mouthpieces that come with the instrument o You can, and SHOULD ask your roadman to replace the

“stock” mouthpiece or ligature with the ones you want. It will affect the rental price of the saxophone.

• Metal mouthpieces for middle school and high school students, with the exception of advanced jazz players

o A private lesson teacher should be the one to suggest a metal mouthpiece to a more advanced student who is in your jazz ensemble. Metal mouthpieces should not be used under any other circumstances.

• Students are recommended to keep their “beginner” mouthpiece and ligature if and when they move to a step-up instrument, so they can use them for marching band.

• Selmer “Soloist” mouthpieces o Chamber of mouthpiece is too large

Ligatures to avoid:

• Rovner and BG leather o Eats up the sound o Produces a darker, non-resonant sound o Prohibits reed vibration

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o Does not hold the reed properly, resulting in the ligature slipping

o Material stretches over time

***If you do use these ligatures, the fabric is on the side of the reed and the screw is on the right.

How to store the mouthpiece and ligature:

• Do not allow students to leave: o the reed they are currently playing on the mouthpiece o the assembled mouthpiece and ligature in the case

This usually happens because students are lazy or not given enough time to clean their instruments. L

• Do NOT allow students to simply store the assembled mouthpiece and ligature in the case!

• Ideal way to store the mouthpiece/ligature: o Students should put an unused, dry reed (that has never been

played on before) on their mouthpiece which is secured by the ligature while it is stored. Tighten the screw to its first point of resistance. This prevents the ligature from losing shape and the face of the mouthpiece being scratched.

o Students should have a plastic mouthpiece cap over the mouthpiece/reed/ligature while in the case at all times. Caps protect the entire “set-up.”

Cleaning the mouthpiece: • After EACH CLASS, students need to use the end of their silk swab

to dry out the receiver and tip of the mouthpiece. It is recommended to use the pinky so that it can fit into the receiver and the tip.

• At home, students are recommended to clean the inside of the mouthpiece by using a damp cloth with warm running water and antibacterial soap.

• At home, students are recommended to clean the outside of the mouthpiece by putting it in a tea/coffee cup with water and lemon juice or vinegar. The mouthpiece can be submerged. This should be done at least 1-2 times a year for 30 minutes. Be aware that the exterior of the mouthpiece can turn brown/yellow/green for 1-2 weeks, because of the sulfur in the rubber.

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• When cleaning the outsides of mouthpieces, students should be very careful not to scratch the mouthpiece with any hard brushes, sponges or “other” things (ligature, pencil, pen, etc.).

• DO NOT BOIL THE MOUTHPIECE OR USE HOT WATER TO CLEAN IT! It is hard rubber, and will be destroyed!

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RECOMMENDED SAXOPHONE NECK STRAPS

For all saxophones, having the proper neck strap is very important. The proper neck strap is not only important for comfort, but also to ensure the instrument is being played correctly.

• The neck strap affects the way students play the instrument. o Hand position o Angle of the instrument into the mouth o Ability to use air correctly o Posture

General Neck Strap Information

• Avoid “spongy/stretchy” neck straps, such as the Neotech neck straps. o the older the neck strap gets, the more the materials stretch out o does not create ease when holding instrument correctly o hard to place height correctly

• Try to use neck straps without excess padding. o Alto saxophone players can use the “stock” neck straps that

come with the instruments, which cost between $10-$15. o For tenor saxophone and bari saxophone players, some padding

may be necessary for comfort with younger students, because these instruments are heavier. These cost between $10-$15. Avoid neoprene material (same material Neotech neck straps are made of).

o For young bari saxophone players, a harness may be necessary. These cost around $25. Again, try to avoid neoprene material.

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Acceptable, more cotton-like padded neckstrap for tenor and bari player’s comfort

Recommended regular neck strap with a reliable hook—metal is not recommended because it scratches the instrument

Acceptable bari saxophone harness

“spongy/stretchy” neoprene neck straps to avoid

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SAXOPHONE MAINTENANCE KIT LIST - RECOMMENDED ITEMS

Vandoren Traditional Alto Saxophone Reeds

MSRP $27.95 @ wwbw.com

• These reeds come individually wrapped in cellophane because their quality fluctuates due to climate changes.

• Students are encouraged to unwrap all the reeds in the box to allow the reeds to adjust to the climate.

**See additional handout regarding packaging.

Vandoren Mouthpiece Patches

Package of 6: MSRP $8.99 @ wwbw.com

• Patches are flat, clear, and inexpensive • Preferred over the Runyon rubber

patches, which are spongy and add height to the mouthpiece

• Ideal for students who have braces or are getting braces

• Keeps teeth from slipping off the mouthpiece and does not dampen the vibration as much as the Runyon patches

• Over time, teeth marks will appear making the student more aware of how much mouthpiece to use.

• Recommended for use in marching band

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One of the following reed guards can be chosen depending on socio-economic environment,

availability, or preference.

Vandoren Reed Guard

Holds 6 - $54.99 @ wwbw.com

• The de-humidifier can cause the reeds to dry out very quickly and become warped, or cause the moisture to linger and grow mold.

• Each reed slot is already numbered with dots.

• Tips of the reeds face toward the bottom of the reed case to prevent students from damaging the tips of the reeds.

• Does not include a de-humidifier • Tips of the reeds face toward the hinges

to prevent students from touching the tips of the reeds.

Vito Reed Guard

MSRP $3.69 @wwbw.com

• Vito is another type of reed guard that is less expensive than Vandoren.

• Recommended for marching band use • Will need to be numbered with a silver

sharpie, paint-pen, or stickers

Yamaha Plastic Mouthpiece Cap


• Plastic is absolutely preferred to metal to protect the tip of the mouthpiece and reed. • Make sure that students playing on an “attic horn” have a mouthpiece cap.

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One of the following can be chosen when selecting neck straps for students.

BG Saxophone Strap with Plastic Snap Hook


• Comes with a built-in neck cushion, as well as a sturdy plastic enclosed hook (like a keychain)

• The ring has to snap over the hook. • Avoid any straps with open hooks.

Neotech Padded Saxophone Strap with Plastic Snap Hook


• Comes with built in neck cushion, as well as sturdy plastic enclosed hook

• Adjustment mechanism does slip occasionally after extended use.

• Great for marching band

Rico Padded Saxophone Strap with Plastic Snap Hook


• Comes with built in neck cushion, as well as sturdy plastic enclosed hook

• Adjustment mechanism stays in place.

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One of the following can be chosen when assisting students with proper maintenance regarding corks.

Selmer Tuning Slide and Cork

Grease

MSRP $4.99 @ jwpepper.com

• The Selmer cork grease is a liquid and lasts much longer than the normal ChapStick-style grease.

• Caution should be used when using this because it is very sticky.

• Must be stored in a plastic Ziploc bag as it may explode.

• If it hits something in the case or if exposed to heat, it will damage other maintenance kit items.

• To apply, squeeze a tiny bit of the grease up and down onto the cork. Then, making a ring with the thumb and forefinger, work the cork grease into the cork to create enough friction to properly lubricate the cork.

Woodwind Cork Grease


• Must be stored in a plastic Ziploc bag as it may explode or melt.

• Do not leave out at home unattended, as younger children may actually use it as ChapStick.

• To apply, squeeze a tiny bit of the grease up and down onto the cork. Then, making a ring with the thumb and forefinger, work the cork grease into the cork to create enough friction to properly lubricate the cork.

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GEM Swabs Silk Saxophone Swab


• Do not use a cloth swab or a “shove-it” (currently called “Pad Saver”), which are often found with “attic horns.” Neither of these items will take sufficient moisture out of the body of the instrument. The fibers also tend to get stuck.

• Very absorbent and features a tapered cut to limit the chance of getting stuck in the instrument

• The GEM swabs have a weight that is to be put through the bell and pulled through the body of the instrument. Be careful that it does not go through the key holes, as tension from pulling the swab will create leaks or may harm the pads. Be sure to put the string in all the way so it will come out quicker.

• Do not yank or pull the swab from side-to-side. Pull the swab straight down and leave the neck strap on to prevent the instrument from being dropped. While doing this, one hand should always be holding the body of the instrument. Pulling the swab too forcefully or quickly may result in the swab getting stuck or torn by the octave flu.

• Do not store the swab in the bell, as the moisture will keep the pads wet.

• Hand wash the swab with dish soap or Woolite and warm water.

• The swab can be pulled through the neck, but be careful to take the same precautions as pulling it through the body.

• Be aware that a mouthpiece/neck swab made of fleece/microfiber can be purchased at TMEA or wwbw.com for ~$20.00

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8x10 Plexiglass

Binswangerglass.com

• Roadman will not supply. • Prices vary depending on where mirrors

are purchased. • Mirrors purchased through Binswanger

can be purchased in bulk and cut to a desired size. They will also be made of plexiglass.

• Purchasing mirrors at a home improvement store is also an option; however, mirrors will have to be individually cut by a band parent or yourself.

• No matter where mirrors are purchased, it is vital that they are made of plexiglass and not glass. Students will not hurt themselves on the corners of the mirrors; nor will the mirrors shatter when dropped.

• To receive a better price, attempt to find other band directors who would be willing to place an order as well. Assuring the company that you will place annual orders may also result in a discount.

• Self-portrait mirrors from art supply stores are acceptable.

• Car clip-on mirrors are not recommended because they are too small and the hinges break easily.

• Makeup mirrors are not recommended because they are too small and oddly shaped.

• It would be best if there was a box for the mirrors in each separate class location. Students can then easily obtain a mirror out of the box before class and return the mirror after class.

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SAXOPHONE MAINTENANCE KIT - OPTIONAL RECOMMENDED ITEMS

EZO Denture Cushions

www.prestigebrands.com/ezo.htm

**See additional handout for specific information.

Giardinelli Lacquer Polishing Cloth


• A lacquer polishing cloth is helpful in maintenance of a saxophone, as it may accumulate many fingerprints and a lot of dust that will destroy the lacquered finish of the brass.

• The lacquered polishing cloth is specifically designed to prolong the life of the finish of a saxophone.

• Removes moisture, acid, and cork grease from the student’s fingers.

One of the following reed cases can be chosen depending on socio-economic environment,

availability, or preference.

Selmer Reed Case Holds 5 - MSRP $67 @ wwbw.com

Holds 10 – MSRP $83 @ wwbw.com

• Has a flat glass plate that allows the reeds to dry on a flat surface, keeping them from warping

• Has latches which are notorious for breaking

• The butt of the reed will go toward the hinges to prevent students from touching the tips of the reeds.

• Must be stored in a plastic Ziploc bag

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Vandoren Hygro Reed Case


• Holds 6 reeds • Uses a humidity indicator disk to keep

reeds at a set moisture level • Two models for Soprano/Alto and

Tenor/Baritone

Rico Reed Vitalizer Case


• Holds 8 reeds • Uses a humidity pack that keeps reeds

at a set humidity level (both adding moisture and removing it)

• Fits all size reeds (soprano to baritone)

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Protec Saxophone Reed Case


• Holds 10 reeds • Two different models available; one for

alto/soprano reeds and one for tenor reeds.

One of the following music stands can be chosen depending on socio-economic environment, availability, or preference.

Hamilton Folding Music Stand


• Collapsible and easy to transport

Selmer Music Stand with Bag


• Collapsible and easy to transport

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One of the following can be used depending on socio-economic environment, availability, or preference when selecting a suitable metronome.

Qwik Time QT-5 Metronome

$13.95 @ wwbw.com

• This metronome does not have a subdivision function.

• Credit card-sized • A-440 tuning tone • Low-battery indicator

Korg MA-1 Metronome

$21.99 @ wwbw.com

• Beat-Counting display makes it easier to practice rhythm and phrasing.

• Tap Tempo function makes it easier to quickly set the desired tempo.

• Beat display offers from 1 to 9 beats, plus 8 rhythm types to practice any style of music.

• Can tune any instrument using the 12-step (C4 – B4) chromatic reference pitch

• Adjustable calibration setting (410 – 480 Hz)

• Earphone jack with adjustable volume • Memory backup function and auto power-

off function • Up to approximately 290 hours of

continuous operation

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Korg TM-50 Digital Tuner

Metronome

$29.99 @wwbw.com

• Offers both a tuner and metronome, which function simultaneously or independently

• Contains 13 types of rhythms that cover 0-7 beats per measure as well as doublets, triplets, triplets with center beats omitted, quadruplets, and quadruplets with center beats omitted

• Tempo is easily adjustable in a range of 40—208BPM.

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EZO DENTURE CUSHIONS AND CIGARETTE PAPER

Uses

• Students who have developed bad habits with biting will not be able to produce a sound until they relax their jaw and lips

• Allows students to play longer without the painful effect of the teeth cutting into the bottom lip

• For students who bite with their lower lip • Can be used for students with braces • Protects the bottom teeth from cutting into the lower lip • Good for relieving tension during long rehearsals

Characteristics of Ezo/Procedures of Usage

• Can sometimes be found at Walgreens or CVS, and is often found in the dental care aisle next to denture creams and fixtures

• Can be found online @ www.prestigebrands.com/ezo.htm • Made from wax and contains 15 total denture molds • Cut each piece into four squares around the corners; cut off the excess and throw

away • Instruct the student to place it on their tongue and mold the square over their

bottom teeth with their saliva • It molds onto (over) the bottom teeth and becomes a “part” of the embouchure

(thought of and treated like a retainer) • Provides smooth surface for bottom teeth. • Each piece is reusable a few times as long as the student does not have particles of

food inside their mouth • Discouraged if used for a long period of time • A new piece moves around for 1-3 days • Pieces need to be kept in a zip-loc bag • When a piece discolors (no longer is pink) it should be discarded

Disadvantages of Usage

• Students should be aware that use of Ezo increases the distance between the bottom teeth and the reed.

• Inconsistent use/non-use of Ezo may provide discrepancies in pitch and lip pressure on the reed.

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• A student could easily use Ezo as a crutch, as it will be hard for them to stop using it if they have used it over a very long period of time.

Instruments Recommended for Ezo

• Clarinet • Saxophone

Cigarette Paper

Characteristics/Usage

• Can be used in a pinch like Ezo but has multiple uses • Coated with wax • Used to dry pads with excess moisture as a result of playing

Brand

• Recommended brand is Zig-Zag • Price is ~$3.00 and contains a pack of 40 • Can be purchased in a convenience store

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SAXOPHONE METHOD BOOKS

Essential Elements 2000 MSRP $9.99 @wwbw.com

Standard of Excellence MSRP $6.95 @wwbw.com

Best in Class MSRP $5.45 @wwbw.com

Accent on Achievement MSRP $8.99 @wwbw.com

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SAXOPHONE SUPPLEMENTAL BOOKS

48 Famous Studies for Oboe or

Saxophone by Ferling; MSRP $10.95

@ halleonard.com

All-State etudes almost always come from this

book

Elementary Method for Saxophone by Rubank


A more advanced book than beginner book

Selected Studies for Saxophone by Voxman

MSRP $6.39 @ sheetmusicplus.com

All-State etudes occasionally come from

this book

Les Gammes Conjointes Et En Intervalles Pour Tous Les

Saxophones by Jean-Marie Londeix


The scales by steps and by intervals

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Advanced Methods for Saxophone Vol, I & II by

Rubank MSRP $8.47 @ wwbw.com

A more advanced method book

Foundation Studies for Saxophone by David Hite


Full range scales, chords, dominant scale patterns,

plus everything in the Les Gammes book

The Saxophonist’s Workbook by Larry Teal MSRP $14.00

Weinermusic.com

Basic fundamentals for saxophone including tone, technique, articulation, and

register control

The Art of Saxophone Playing by Larry Teal MSRP: $18.99

Sheetmusicplus.com

Another fundamental book

by Larry Teal

Includes information about the saxophone,

mouthpiece, reeds, breathing, basic

fundamentals, phrasing, altissimo, and doubling

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ALTO SAXOPHONE CASES, IDENTIFICATION OF PARTS AND

REMOVING IT FROM ITS CASE

General Information About All Woodwind Instrument Cases • Most cases have distinguishing marks somewhere on the case.

Identify these marks, and their relationship to the top and bottom of the case. Most cases have the handles placed on the bottom section of each case. Check to make sure.

• Place all saxophone cases on the floor in front of the student. • Be sure the student understands where each part of the instrument belongs in

the case. Give detailed information on removing the parts from the case. Make sure the student waits for each instruction before performing the task. Be sure the parts of the instrument are returned to the case in the reverse order they were removed.

• All instruments must be assembled in a specific order. Follow this procedure explicitly every time.

• Never leave a closed case unlatched. Most latches open from the bottom up, but this is not always the case. Sometimes buttons slide from side to side, etc. Check each opening mechanism carefully before presenting the information to your students.

• Cases should be protected at all times. Try to find a safe space in the classroom setup for each student’s case. If using an ensemble room for the class, the cases may be opened in the hall. The empty case will remain closed and latched in the hall during class.

• When instruments are in their cases, do not allow students to sit on their cases AT ANY TIME because the low E-flat and C key guards will get bent.

Identifying Parts of the Saxophone and Removing It Safely From Its Case

• Once the case information is understood, place the case on the floor. Never let the student place the case in his lap.

• Open the case from its correct position. Remember, most latches will lift up. • Identify the neck strap. • When new instruments are delivered during the summer, be sure to remove the

parts carefully from the plastic wrapping, and remove the corks (which are used to help pads keep their shape during shipping) between the rods.

• Corks on the neck of a new beginner instrument are usually really fat mainly due to heat exposure during the delivery process. The mouthpiece will not easily fit on the neck. Only someone with experience should carefully sand the cork to the proper size. Using very fine sand paper (400), take off a very small amount and wrap it around and turn from side to side, being careful not to scrape too much as it could damage the laquer. After this process, test it many

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times until you have the correct fit that can easily be controlled by a young student.

• For both new and used beginner instruments, it may be necessary to apply cork grease lightly to the corks after instruments are delivered during the summer. Making a ring with your thumb and forefinger, work the cork grease into each cork to create enough friction to properly lubricate the corks. Students will eventually need to be taught to apply cork grease as well. Even if the student understands how little is needed, you still must watch them apply the cork grease several times before you trust them to do the job alone. Never let the student have his own tube of cork grease in the beginning of the learning process. After he has proven his competence, he may have the tube. If the cork looks dull, and the mouthpiece is difficult to fit with the neck, a small amount of cork grease may be needed. Teach him to ask you first before applying. Once you know he has made the correct analysis, the student may make his own decisions. Cork grease tubes or liquid grease can explode or melt inside the case if the respective lids are not completely closed. It is possible that damage to the key mechanism will result if cork grease comes in contact with the wood, metal or even other maintenance kit items.

• The body of the saxophone is one “unit” in the case and is easily placed into and taken from the case.

• The mouthpiece has a thin end and a fat end. The top is curved, and the bottom (table) is flat. The importance of these features will be explained later.

• The ligature is usually metal for the beginning instrument, having both a large end and a small end. The screws for the ligature will always appear on the right side of the mouthpiece as the student looks at the mouthpiece from the flat side. Screws for ligatures will never appear on the left side of the mouthpiece.

• The reed is basically the same shape as the mouthpiece. It has a thin end and a fat end…..a flat side and a curved side.

• The reed/mouthpiece cap (protector) should be made of plastic (and sometimes metal with attic horns) for the beginning instrument. If metal protectors are used, be aware that they will most likely scratch the mouthpiece and perhaps damage the tip of the reed. Using a plastic protector will result in fewer broken reeds. Students should always keep their mouthpiece in a mouthpiece cap when the instrument is not being played (including moving from a warm-up room to a concert stage). A single chip in a mouthpiece can render it useless, causing students to have to purchase a new one.

• Periodically have mouthpiece checks. Check for chips on rails and on the tip. Also check for chips on the inside of the tip. Give written work to your students while you check each mouthpiece carefully. A chipped mouthpiece can be devastating to a beginning saxophone student’s embouchure development.

• No music, folders, flipfolders, rolled up music or unnecessary objects may be placed in the case (especially on top of the instrument) at any time…..unless they can fit inside the compartment meant for these items.

• Students should not be allowed to keep anything in the bell (i.e. rolled up music, neck straps, drill folders, reed boxes, water bottles, mouthpieces, etc.).

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Pertaining specifically to baritone saxophone, some of these items could actually get stuck in the bell/instrument.

• Look at the case in relation to the parts of the saxophone. Most cases are molded to the shape of the particular parts. Be specific when making this point to your students. Take your time, and repeat the information many times.

Storage of Mouthpiece and Neck (when allowed to be taken home by the students but not in the actual saxophone case)

• Provide students a Ziploc bag…..or have students bring a sock or padded bag with some sort of indentifying feature

• Ziploc bags/socks should be kept in a box in the front of the classroom, or stored safely in an office or filing cabinet.

• Bags/socks should only be taken out of the classroom by students after school. • Bags/socks should only be brought into the classroom prior to the start of

school. • Contents of bags/socks should never be kept in backpacks, bookbags, pencil

pouches, etc. • Have some sort of accountability system in place when students leave their

bags/socks overnight. ! • Be on the lookout for students coming into your classroom with bags/socks

(and later saxophone cases) which were kept in their lockers or gym lockers. !

Contents of Ziploc Bags/Socks

• Neck • Mouthpiece • Mouthpiece Cap • Ligature • Reed Guard • Reeds • Cork Grease • Swab

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1

2 3

Bis Bb/A#

F Palm Key

D Palm Key

Eb/D# Palm Key

Ab/G# Key

Low B Key

Low Db/C# Key

Low Bb/A# Key

PARTS OF THE SAXOPHONE

4

5

6

“Fork” or side F#/Gb

High F#/Gb Facilitator**

Low C Key Low Eb/D# Key

Front “tear-drop” key

The high F#/Gb facilitator is a feature that is present on all professional and some intermediate saxophone models.

E Palm Key

Side C Key

Side Bb/A# Key “Spatula” Keys

Lower Stack

Side Keys

Upper Stack & Palm Keys

Ligature

**

Octave Key

On back

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SAXOPHONE ASSEMBLY AND INSTRUMENT/BODY RATIO

• As you begin to teach the saxophone, give only the “set-up” (mouthpiece, neck and

ligature), as well as all related maintenance kit items (reeds, reed guard, mouthpiece cap, swab and cork grease), to the students in a plastic bag with the student’s name on it. The body will remain in the case until further instruction is given.

• Students should be told that after sound production has been taught on the “set-up,” they will be allowed to take home the body of the saxophone as well. To sell this concept to the parents, explain the money factor. It is almost as expensive to replace one broken item as it is to buy an entire instrument.

Assembly of the mouthpiece and neck “set-up”

1. Open the case, which should be on the floor in front of the student. 2. Put the reed in the mouth to moisten and smooth the top and bottom of it.

Moistening the bottom of a reed helps create a seal, which will result in better response.

3. Take out the neck, avoiding the octave key. Do not put pressure on the octave key; instead, grasp on the top or bottom of the neck.

4. Hold the octave key down on the neck with the palm of the hand. 5. Place the mouthpiece without the ligature on the neck using slight, twisting

motions. Leave 1/4 to 1/3 of the cork showing on the neck for beginners. Application of cork grease may be necessary at this time. When placed correctly, it is possible for the teacher to make a mark on the cork with a felt tip pen. Never grab the tip of the mouthpiece; always grasp around the middle.

6. Place the large end of the ligature over the mouthpiece carefully. Make sure the screws are on the right--in the back--as you look at them from the table of the mouthpiece. Bonade ligatures have two screws……BG ligatures have one screw. If using Rovner ligatures, the leather is in the front and there is one screw in the back.

7. Lift the ligature slightly with the thumb and forefinger of a chosen hand, and carefully slide the reed onto the table of the mouthpiece. The reed is placed fat to fat, flat to flat and thin to thin.

8. Line the sides of the reed up with the rails. 9. Look for a thin black line/sliver at the tip of the mouthpiece. 10. The ligature should be slightly below the line on the bottom of most quality

mouthpieces. Pertaining to C* mouthpieces, the ligature should line up with the top line closest to the tip of the mouthpiece…….and the top line of the mouthpiece lines up with the line on the middle of the reed.

11. For ligatures with two screws: tighten the lower screw snuggly, and the top screw to its first point of resistance. For ligatures with one screw: tighten the

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screw to its first point of resistance. Generally speaking, ligatures that are placed too low result in control issues; ligatures that are placed too high prohibit reed vibration.

Assembly of the body of the saxophone (assuming that the assembly of the mouthpiece and neck set-up is already completed and is kept in a safe place)

1. Take out the neck strap and put it on. Students with hoodies need to make sure the neck strap is placed on the skin of their neck. For neck straps with visible logos (i.e. Protec), the logo should be facing up.

2. Take the body out and clip it onto the neck strap. Never trust that the neck strap will secure the saxophone, because the hooks can easily snap. Grab the body with the right hand and support the back of the saxophone with the left hand. Discourage students from grabbing the bell as opposed to the body, because the bell could become unaligned with time. DO NOT LET THE SAXOPHONE HANG FROM THE NECK STRAP.

3. Remove the plug from the saxophone. The plug protects the octave key mechanism, which pushes the neck to open the tone holes. This mechanism is very expensive to replace. All saxophones must have a plug. Check to make sure all students have a plug; students playing used or attic horns may not have one.

4. Loosen the neck screw, which will be on the right on all beginner instruments. Students should turn the screw towards them.

5. Twist and push the neck and mouthpiece set-up (already assembled) onto the body of the saxophone, avoiding the palm keys. Line up the brace--on the bottom of the neck--to the top of the octave key rod. More simply put, the point that sticks out should be exactly in line with the brace on the bottom of the neck.

6. Turn the screw that supports the neck to the first point of resistance. Too much pressure during this process may result in a stripped screw.

• When the alto and tenor saxophones have to be set down on the chair or floor for any reason (leaving class, breathing exercises where students are standing, etc.), students should first turn the neck slightly to their left. It is furthermore important that the rods are facing down with the low C key guard on the edge of the chair. This is to prevent the D palm key from being damaged. However, regarding the baritone saxophone: this instrument can be put down with the rods up; because the instrument rests on the crook, the keys are higher and will therefore result in little if any chance of damage.

• When students have to leave their chair during a class, the mouthpiece and neck needs to be removed and placed on the chair; the body of the instrument can then be placed underneath the chair in the above-stated manner.

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Instrument Disassembly 1. Open the case, which should again be placed on the floor in front of the

student. 2. Loosen the neck screw and put the neck and mouthpiece in a safe place.

Be sure the octave key is depressed with the palm of the hand as the neck is removed.

3. Swab the body of the instrument. Do not yank or pull the swab from side-to-side. Using light tugs, pull the swab straight down from the top and out through the bell. Leave the neck strap on to prevent the instrument from being dropped. While doing this, one hand should always be holding the body of the instrument.

4. Replace the plug in the body and tighten the screw. 5. Replace the body in the case. Grab the body with the right hand and

support the back of the saxophone with the left hand. 6. Pick up the neck and mouthpiece. Loosen the ligature screw(s). Do not

let the students loosen the screw(s) so much that the screws fall out! 7. Remove the reed by lifting the ligature with the thumb and forefinger,

being careful not to have any contact with the tip of the reed. “Vacuum” the reed through the lips……blot the reed on the pants/shorts if necessary……and put in the reed guard.

8. Remove the ligature from the mouthpiece. 9. Remove the mouthpiece from the neck by using slight, twisting motions. 10. Swab the neck once the mouthpiece has been removed. The swab can be

pulled through the neck, but be aware that the neck has a little protrusion (octave flu) on which the swab can tear.

11. Replace the neck in the case. 12. The ligature must be left on the mouthpiece with a dry reed and a plastic

protector. Consider using an old or unused DRY reed to be placed on the mouthpiece at the end of each playing session, whether it is at school or at home. Always leave the ligature on the mouthpiece with this “dry reed,” which is replacing the “class reed.” This will prevent damage and allow the ligature to form and bond more correctly with the mouthpiece. A “USED/WET” REED WILL RESULT IN MOLD OR MILDEW FORMING ON THE REED, IN THE MOUTHPIECE AND THE CASE.

13. Replace the mouthpiece in the case. 14. Students should be given CLASS TIME to clean out their instrument,

and store their reed and instrument properly in the case. 15. SEND SEGMENTS OF THIS INFORMATION HOME TO

PARENTS. CHOOSE THE INFORMATION YOU THINK WOULD BE HELPFUL FOR HOME PRACTICE AND INSTRUMENT CARE.

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Instrument/Body Ratio • All neck strap adjustments require the use of both hands (when body of saxophone is

not yet being used). When students have learned how to hold the saxophone, it can be laid on their lap or in the case while they continue learning how to adjust their neck strap.

• Familiarize the student with the instrument/body ratio by using the fully assembled saxophone but without the reed. Be sure the saxophone is adjusted to the student by adjusting instrument placement and neck strap length.

• In the beginning, the “baby position” for saxophone can be achieved by students grasping the bell with their right hand and grasping gently around the top of the body.

• There are three balance points when holding the saxophone: 1. both thumbs 2. side of the leg 3. neck strap

• Make sure that the body is in its natural playing posture when finding these balance positions. The student should feel comfortable at all times. The right arm should follow the line of the upper body. It should never be placed back behind the chest cavity. When these balance points are focused on at one time, the posture will look very natural.

• When the right arm incorrectly falls behind the chest cavity, students can: 1. loosen their neck strap 2. turn the neck 3. torque the mouthpiece

• Correct playing position will be realized when all of the aforementioned details from this handout are understood. The weight of the saxophone is difficult to balance without the fulcrum created by the combination of the three balance points.

• Watch for students to rest the bottom of the bell on either their knee or on the chair itself while playing !.

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SAXOPHONE HAND POSITION

RIGHT HAND POSITION 1. Always place the right hand first. The left hand should grasp in a non-delicate

area. 2. The first (little) knuckle of the thumb should be placed under the right edge of

the thumb rest. 3. Fingers should be placed on the pearls. The fleshy part will touch the pearls. 4. The little finger should rest on the roller keys. “Home position” will be the E-

flat key, which is the higher of the two keys. 5. Fingers should remain on the pearls and be curved and round, and not ever go

past the pearls (resulting in flat fingers). Double-jointed students can extend their fingers “out”/past the pearls more as opposed to keeping them close to the pearls.

6. The wrist must stay in line with the rest of the forearm. The wrist should not collapse into the side keys.

7. Practice moving the fingers up and down from the big knuckles. Do not let the other two knuckles move. The finger pads should stay on the pearls at all times. In the beginning the little finger can move up and down also.

8. Do not include side keys in the initial hand position information. If asked, tell them once the hands can move correctly using the pearls, they will be allowed to learn to use the keys on the side.

LEFT HAND POSITION ** While teaching left hand position, the right hand can gently grasp the bell. 1. The left thumb rests on the back thumb rest and never leaves. The first (little)

knuckle should basically be in the middle of the thumb rest. 2. Place the index finger on the first pearl. The Yamaha YAS-23 and other

brands feature an extra pearl, or “teardrop key” which will need to be skipped. 3. Skip the small pearl (bis key). 4. Place the middle and ring finger on the next two pearls. The finger pads

should stay on the pearls at all times. 5. The pinky should rest on the “home key,” which is the G#/Ab key. The pinky

should not be straight; it needs to be curved. Watch for pinkies that disappear either under the saxophone or under the pinky keys.

6. Fingers should remain on the pearls and be curved and round, and not ever go past the pearls (resulting in flat fingers). As stated earlier, double-jointed students can extend their fingers “out”/past the pearls more as opposed to keeping them close to the pearls.

7. Keep the hand in an adjusted “flat-C” position and the wrist slightly up. The wrist must stay in line with the rest of the forearm.

8. Always feel the palm of the hands to check for the softness of the fingers. There are more bones in this area of the hand than any other part of the body.

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If the palm is soft, all other parts of the hand will be as naturally soft as is possible. The little fingers should have comfortable “home keys” they touch all of the time in the beginning stages.

FINGER EXERCISES 1. All fingers in each hand move together. Call out the hand you wish to move.

The students move all of the fingers in that hand down never leaving the pearls. The right hand thumb obviously does not ever move when the teacher asks for “RIGHT”, but the left hand thumb can move with the fingers of the left hand when the teacher asks for “LEFT”.

2. Next, we move the fingers one at a time beginning with the left hand. The thumb and first finger are already down in this exercise, and each additional finger in both hands will be numbered two through six from top of the body to the bottom of the body. The fingers will move down or up depending on their starting position, as the number is called by the teacher. We do not use the little fingers when we first begin this exercise.

3. Watch the fingers to see that they move smoothly in constant contact with the pearls, in natural position and move up and down from the big knuckle only. The student should understand that the movement is aided by the soft tissue of the palm of the hand, rather than the bony texture of the top of the hand.

4. Constantly watch and monitor students who have “fly-away-fingers”… as well as unused fingers pressing into “used” fingers. To avoid “fly-away-fingers”, use double-sided tape, which is safe to put on the pearls.

5. Next, we move the fingers in combinations: one, two….one, two three…….one, two, three, four……one, two, three, four, five…..one, two, three, four, five, six………six, five, four, three, two, one……five, four, three, two, one…….four, three, two, one……three, two, one………two, one…… Later the development of moving the first and second finger separately is added.

6. Using these exercises, the fingers move in all of the ways they move to play the saxophone: all together, one at a time, and in combinations. This exercise will be demonstrated.

7. Refer to your supplemental page regarding exercises to perfect the usage of the roller keys and palm keys. These exercises must not be introduced too early in the development of a student’s hand position.

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REED MANUFACTURERS AND REED STRENGTH

Reed Manufacturers:

Vandoren (blue box) • Most widely used and recommended for any

level of playing • Available in strengths 1 through 5 • Clarinet – MSRP $21.95 @ wwbw.com

Alto saxophone – MSRP $27.95 @ wwbw.com

Vandoren V-12 (silver box) • For more advanced players • More consistent reed to reed, but do not last

as long as blue box reeds (has to do with how they are cut)

• More expensive than blue box reeds • Better “out of the box” than blue box reeds • Slightly harder than blue box reeds • Clarinet – MSRP $28.95 @ wwbw.com


Vandoren V21 (light blue box)

• For more advanced players • More consistent reed to reed, but due to the

thinner tip each reed does not last as long as the blue box reeds

• More expensive than blue box reeds • Better “out of the box” than blue box reeds • Slightly softer than blue box reeds • Clarinet – MSRP $28.95 @ wwbw.com


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Vandoren 56 (made for clarinet only) • Cut from thicker cane • MSRP $28.95 @ wwbw.com

•

Mitchell Lurie (made for clarinet only) • For lower socio-economic areas, these reeds

are an acceptable brand. • A cheaper substitute for Vandoren blue box

reeds • MSRP $18.48 @ wwbw.com

Rico Reeds

• Less expensive, but not the best quality

• Acceptable for beginners in a lower socio-economic area, but not recommended for long term use

• Clarinet – MSRP $18.99 @ wwbw.com Alto saxophone –MSRP $22.99 @ wwbw.com

D’Addario Reserve Clarinet Reserve – blue/white box Clarinet Reserve Classic – purple/white box Alto saxophone Reserve – green/white box • More expensive than blue box reeds • Softer reeds which produce a stuffier

sound • Considered perfect “out of the box”,

but do not last a long time • Clarinet – MSRP $24.99

@ wwbw.com Alto saxophone – MSRP $28.99 @ wwbw.com

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G Gonzalez (made for saxophone only)

• Cane comes from Argentina. • More consistent than Vandoren

reeds, but will not sound as good • Available in ¼ strengths • MSRP $21.95 @ wwbw.com

La Voz (recommended for saxophone only) • Acceptable for beginners in a lower socio-

economic area, but not recommended for long term use

• Less expensive option • MSRP $22.95 @ wwbw.com

• Brands to avoid o Legere o Rico Royal o Riyin o Rigotti o Marca o La Voz – Acceptable for beginners in lower socio-economic areas o Alexander o any flavored reeds o any plastic reeds

• Specifically for saxophone, you are recommended to avoid: o Vandoren Java (green box) or Vandoren ZZ (black box), as these are file-

cut Java reeds o Vandoren V16 (green box), which are reeds used for jazz playing o Vandoren “hand select” reeds (black box); these reeds are over $40 a box!

• In handouts given out at the beginning of the year, inform parents about purchasing

reeds. Try to arrange it so students only buy reeds from the school. Be sure the parents know that by purchasing the reeds from the school, they will receive a “___ percent” discount. Make arrangements with your road man to facilitate this process.

Reed Strength

• Reeds generally come in half strength. Strengths that are offered vary by manufacturer.

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o Strength is relative to the thickness of the reed. For example, a 2½ reed is thinner than a 3.

o Larger strength reeds require more air; therefore, it is vital that beginners start on a 2 or 2½, because they are still learning how to use their air properly. It is important to know that some reed manufacturers produce 1 and 1½ strength reeds!!!!! NOW….. considering the fact that professionals generally play between 3½ to 5 strength reeds, it would naturally make sense that MS/JH students not be playing on these stronger reeds!!!!!!!!

o Reed strength is also dependent on the climate and player’s preference. o REFRAIN FROM PRESENTING THE “BADGE OF HONOR”

PHILOSOPHY: For example, if your students are playing on 2½ strength reeds in their beginner class, they should not be told that they will advance to a 3 strength reed their second year…to a 3½ strength reed their third year…etc. You must carefully base your decision to advance a student’s reed strength on the following characteristics: 1. How students look—do their faces look natural when they are playing? 2. How students use their air—if they are not using air correctly, they will

not have success on any reed strength. 3. How students sound—is their sound stuffy? Do you hear more air than

tonal resonance in their sound? • If a clinician or mentor, after hearing your students, suggests a softer

reed strength, students should be trained to accept this professional advice. It is your job (as well as experienced private teachers if applicable) to closely monitor each individual student, as they will be playing and developing at different levels. With that said, students should move up a reed strength when the teachers feel it is time.

• It is perfectly acceptable for first/second year students to remain on 2 or 2 ½ strength reeds for a long period of time. Second and third year players may progress to 3 strength reeds as time goes by.

• Young band directors are encouraged to consult with an experienced private lesson teacher or band director/colleague when trying to make decisions regarding appropriate times to advance reed strengths for students.

Reed Strengths Specifics Regarding Saxophone

• Most advanced alto saxophone players should remain on Vandoren 3s for classical saxophone playing throughout the duration of their public school experience.

• MS/JH tenor and baritone saxophone players should begin on Vandoren 2 ½s. • HS tenor saxophone players may progress to Vandoren 3s…maybe 3 ½s. • HS baritone saxophone players may progress to Vandoren 3s.

Reed Qualities

• All reeds are hand-made. Every reed will sound different and will slightly vary in thickness as well as quality. The strength can be the same, but the individual cut will have effects on the sound quality. Hard and soft does not refer to the actual reed strength, but instead the individual cut of the reed. There are two distinct categories:

o Hard

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§ Thicker (more wood) § Requires more air § Requires a firmer embouchure § Can potentially allow students to bite more § Generally sounds airy/fuzzy, brittle, unclear, and is sharper in pitch § Playing with a hard reed can create tension in the face/embouchure, as

well as the jaw and neck. o Soft

§ Thinner (less wood) § The embouchure does not have to be as firm to produce a good sound. § Does not allow you to bite as much § The sound will be soft, honky, less resonant, unfocused, and

sometimes spread. § Playing softly will be easier, but louder dynamics will have a bright

sound. Louder dynamics will also be flat in pitch. o Try to find a medium “in between” reed that produces the best, desirable

sound for each individual student. Reed Life Cycle

• The cane is hand cut in the south of France in Var. Reeds are then individually packaged and shipped.

• Breaking in a reed (explained in Soaking, Breaking In and Adjusting Reeds handout).

• Reeds that are rotated can last for 2-4 weeks depending on how much they are played on.

o The more a reed is played on, the softer it gets. o As reeds get older, they lose resonance. o If a reed is used too long in one sitting, the moisture that has been collecting

in the pores of the reed will cause mold to build up. • Reeds that are too thin and/or worn down from excessive use will become

unacceptable in terms of quality and sound. o The response will be slow. o Vibrations will be slow. o The reed becomes thin and will produce an undesirable, spread sound. o Students will start to squeak on starts because the reed is harder to control. o MOLD will become visible. o These are all signs that a reed needs to be replaced.

Finding a Good Reed

• Just because a reed is new, it does not mean that it will sound good. • You can tell a good reed from a bad reed by sight.

o Good reeds are yellow or crème colored on the heart. o Good reeds look “clean.” o Bad reeds have visible veins. o Bad reeds have a tip that is too transparent (this can be seen if a reed is held

up to a light). • You—as the teacher—reserve the right to tell a student that a reed can no longer be

played. Be professional and sensitive when telling a student a reed is bad and needs

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to be thrown away. Parents should be made aware of this information before their child is officially recruited to play a single reed instrument.

• It is also important for parents to understand that as their child becomes more advanced/experienced, their reeds can last longer…..AS LONG AS THE STUDENTS ARE FOLLOWING ALL INSTRUCTIONS GIVEN DURING CLASS!! As this process evolves over time, reeds may not need to be purchased as often as they were when the students were first and second year players!

• You are encouraged to create a “Reed Graveyard” for students to deposit reeds that need to be disposed of. This can be labeled and decorated as a motivating factor for students to want to deposit reeds… as opposed to leaving them on music stands, the floor, or in their cases. L

• To monitor quality of reeds, be sure to hear students play individually EVERY

DAY…. regardless of their experience and/or playing ability. Reed Guards and Reed Rotation

• Students must have reed guards with four completely broken in reeds. • Students must be taught from the beginning to rotate each of their four reeds, which

should always be in their reed guard. • Students should be trained to play on a DIFFERENT, BROKEN IN REED during

every class period/rehearsal or performance opportunity. For example, a student should not play on a reed more than one performance opportunity on any given day (exceptions—warm-ups and/or rehearsals prior to major individual or group auditions/performances).

• Reeds with chips, mold, etc., should never be played on—or even kept—in the reed guard. In addition, reeds that are too thin—or do not sound good for whatever reason—should never be kept in the reed guard.

• Reed guard checks should be daily in beginning classes at first. Daily grades should be given when having a reed guard check. Each of the four reeds should be 25%.

• Reed guard checks can be periodic in MS/JH and HS ensembles as often as you feel necessary. Grades can be given as motivation.

• Reed guards should be accessible during daily rehearsals, as well as any off campus rehearsal, performance, contest, festival, etc. Reed guard accessibility pertains to them being outside of their cases, not inside.

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SOAKING, BREAKING IN AND ADJUSTING REEDS

Soaking Reeds

• Soak/break in the very first reed…. for several minutes…. together in class while the teacher is closely monitoring the students. Following this process, the teacher should assign three additional reeds to be broken in for homework. With that said, reed guards should be going home with students each and every day—whether or not the entire instrument is going home.

1. Remove the reed from the plastic reed holder. The left hand should hold the plastic reed holder, with the thumb on the reed guard logo. The right hand thumb and index finger should carefully slide the reed out of the plastic reed holder, with the tip coming out first.

2. Hold the reed with the thumb on the words and the index finger on the back. 3. Lay the reed on the tongue. Talk to students about the unusual taste of the reed, and

assure them that with time, this process will become second nature. 4. Draw the tongue in. The teeth should not have any contact with the reed. 5. Place the reed in the mouth to moisten and smooth the top and bottom of it.

Moistening the bottom of a reed helps create a seal around the mouthpiece, which will result in better response.

6. Flatten the tip of the reed by putting the side with words on the table (flat part of the mouthpiece). Place the thumb on the on the tip of the reed, (which is now on the table) and wiggle the reed back and forth to get any warps out. This helps with over-all reed vibration.

7. Vacuum reeds at the end of class (have students suck air through the mouthpiece to eliminate water on the reed).

8. At the end of each class period/practice session, suck the air through the mouthpiece to eliminate water on the reed. Reeds can now be “vacuumed” by carefully removing the reed through the lips. Reeds can furthermore be blotted on shorts/jeans/etc. This will eliminate excessive saliva to remain on the reed…which will eventually mold if not vacuumed. !

9. With the plastic reed holder held in the same manner as discussed in #1, carefully slide the butt of the reed into the reed guard first, so that the tip is not destroyed.

Breaking in Reeds

• There are two specific reasons why breaking in reeds is important: 1. so reeds last longer 2. so students will always have reeds on hand

• There is a process involved to properly and effectively break in a reed: o Break in two to four reeds at a time. Most reed guards have four slots. Break

in two reeds at a time to avoid all four reeds dying at the same time. o Students should soak reeds as described in #5 in the previous section. Reeds

should not be soaked for too long; otherwise, they will become waterlogged. o Students should play on each new reed for no longer than five minutes. If the

tip becomes transparent, then the student should switch reeds. The reed

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should not become waterlogged, and it should not be used when playing in extreme registers.

o After following this procedure for three days, students can start playing on the reeds for a longer period of time. As this takes place, students and teachers can start to judge the sound quality of the reed and make any necessary adjustments.

Tricks for Adjusting Poor Quality Reeds

• Every reed is different and will sound different. • Students should learn to be picky about the sound quality of reeds. • When dealing with a reed that is too soft:

o Move the reed up on the mouthpiece slightly. This is only a temporary “quick fix” if there are no other reeds available. The ligature can also be raised slightly on the reed/mouthpiece. Do not raise the ligature above the bark (polished bottom part) of the reed.

o Clip the reed using a reed clipper. This cuts off part of the tip of the reed. Only an experienced lesson teacher or a very knowledgeable band director should be clipping reeds.

o Set the reed aside and let it sit/age. Time and weather will change the quality of a reed.

o Colder climates make certain reeds sound thinner. Students may need to wait for warmer weather before coming back to that particular reed.

• When dealing with a reed that is too hard: o For mildly hard reeds, “polish” the reed on a sheet of paper. Place the flat part

of a reed (not the side with bark) on the paper and press/rub in circles with 2 or 3 fingers. This must be done on a flat surface.

o For mildly hard reeds, the reed can be lowered slightly on the mouthpiece so that the thinner part of the reed is being played. Be aware, however, that this is only a quick fix. The ligature can also be moved slightly lower on the reed/mouthpiece, if necessary.

o For slightly harder reeds, sand down the flat part of the reed with 600 grit sand paper (or finer). The reed must then be polished.

o For very hard reeds: " Determine which side of the reed is harder. " Play on the left and right side to see which side is more difficult to

produce a sound on. " Use a reed knife and scrape off wood from both sides surrounding the

heart. Do not scrape off the tip or the heart of the reed. Remove more cane from the thicker side. Be very careful not to scrape off too much.

o Again, only an experienced lesson teacher or a very knowledgeable band director should be scraping reeds.

o Try pushing on the tip of the reed with the thumb while it is on the mouthpiece. Close the tip opening and then press a little more 2-3 times. Check to see if the reed is softer.

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o Ask an older/more experienced private lesson teachers for even more tricks that may be out there!

o Sometimes a student is simply dealing with a bad reed………and throwing it away is easier than the frustration it will cause………let alone the many attempts to fix/adjust the reed. !

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SAXOPHONE EMBOUCHURE

• Students must be able to use air correctly before beginning to learn the

saxophone embouchure. • Use the neck and mouthpiece for better control. • The teacher should place the neck and mouthpiece in the beginning. Place the

bottom lip first, then the upper teeth and top lip. • The student needs to remember how it feels and sounds. • Once the teacher has demonstrated how it feels and sounds, the

student can hold the neck and mouthpiece in place and watch his face in a mirror to make sure nothing moves or looks unnatural. Then, the student remembers how it looks, feels and sounds.

• It is best to hold the neck and mouthpiece with two fingers and a thumb in a balanced manner. The fingers should have absolutely no contact with the mouthpiece or ligature.

• The mouthpiece is held by the teeth, not the lips. • The upper teeth rest on the mouthpiece material (patch). • The lower teeth feel the reed through the lower lip that covers them. • The lower lip covers the lower teeth like a fitted sheet covers a mattress. • The back teeth are naturally apart. • The tongue is in the “ah” or “ew” position…..and not pulled back. For tenor

saxophone, the tongue is in the “ah” position, and “oh” for the baritone saxophone.

• Using the index finger, gently push the lower lip toward, but not rolled over the lower teeth. Lick the part that goes over. That is the correct amount.

• The saxophone embouchure is created with a natural overbite position with a slight valley in the chin.

• The corners are toward the mouthpiece. Ultimately, the corners will be toward the mouthpiece and down.

• There should be no wrinkles in the lower lip and red flesh must be seen on either side of the mouthpiece.

• The lower lip that is not under the reed stays in front of the teeth. • Never tell students to pull their lips over their teeth. Pulling and stretching makes

lips thicker. • The upper lip rests on top of the mouthpiece in front of the upper teeth. • The upper lip should be soft and pliable, and follow the shape/contour of the

mouthpiece. • Both the top and bottom lip should always feel soft and natural. • There should be no lines or dimples that do not appear in the natural face. The

face essentially should be “zombie”-like. • The air is directed through an imaginary dot, which is at the center of the

mouthpiece and reed.

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• Enough mouthpiece must be past the lips into the chamber of the mouth to allow the reed to freely vibrate. Usually less than half the mouthpiece is sufficient.

• There must be a resonant second space treble clef concert A-flat sounded. • If the sound is stuffy, the student may be holding the mouthpiece with the lips. • If the sound is strident and brittle, the student may have too much mouthpiece

in his mouth or may be using too much unfocused air. • Be sure the student can control the air well enough to find the correct balance of

air and resistance to create the sound you want on the neck and mouthpiece. • Remember that the mouth can be too open; the teeth can be out of position; the

lips can be too loose and puffy or can grip; the tongue can be too far back in the mouth; the student can be lifting too little. All of these will result in a sound you will not wish to create. • Keep making subtle adjustments to the angle, amount of mouthpiece taken, etc.

Just a slight movement can really improve the resonance of the vibration. • Keep the body and face calm and still while learning this embouchure. • The embouchure is a constant work in progress. Special attention should be given

to the contact of the upper teeth with the mouthpiece material. The teacher can attempt to move the mouthpiece out of position to make the student aware that something is incorrect.

• It is easier to make something firmer than to get rid of unnecessary tightness. • If the sound is not clear, instant and resonant on the neck and mouthpiece, the

sound on the saxophone will not be resonant and beautiful. • When the neck and mouthpiece is placed on the body of the saxophone, the first

attempt at sound production should be made with the teacher’s assistance. • If a student plays above pitch, they may be biting down on their mouthpiece or the

mouthpiece may be too far in the mouth. If a student is below pitch, their air may be too slow, their embouchure may be too loose, or their mouthpiece may be out too far.

Qualities of Uncharacteristic Sounds and Their Causes • Grainy sound: tension in the mouth~~or “waterlogged” reed • Buzzy sound: reed is too hard~~or too much tension from the bottom lip • Thin sound: reed is too thin/soft~~or not enough mouthpiece~~or insufficient

amount of air • Unfocused sound: too much mouthpiece~~or uncontrolled air~~or too soft of a

reed • No sound: lower teeth not in contact with the bottom lip~~or reed too hard • Flat sound: corners not firm~~or cheeks uncontrolled (puffing) ~~or teeth not on

the mouthpiece

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MAKING THE FIRST SAXOPHONE MOUTHPIECE AND NECK SOUND

• Initial sound production cannot be introduced until correct posture and breathing

has been successfully taught. Include these two essential components as “part” of the first sound attempt(s).

• Relax position and ready position should already be taught and drilled prior to sound production. As sound production is occurring, playing position must be incorporated. Students need to understand that ready position means they are ready to play. Playing position means that they are set (physically) to play. Students should not be allowed to sit in relax position during class, except maybe during announcements, paperwork or things not pertaining to playing. If one word instructions are preferred, then use “ready” and “set.”

• Try to get every student to make a sound on the first day of sound production. If you will not be able to accomplish this, make a disclaimer before you start. The students who do not end up getting to make their first sound—on the first day—will be the first students you will start with on the second day! Students should not be surprised or frustrated if you do not get to them on this first day.

• On day one of sound production, make another disclaimer if you suspect that you will not get far enough along to allow any of the students to take home their “set-up”.

• At the end of each class, you must make the decision to allow just those who you assisted to take home their set-up…….or not allow set-ups to go home until everyone has made sounds with your assistance (day one, day two, etc.).

• Once you allow and require set-ups to go home on a daily basis, students should be recording their practice time on whatever form of practice card you are using. Be realistic when designating ____ minutes to be spent on their set-up sounds during their home practice.

• It is not necessary to have students make sounds on just the mouthpiece (without the neck). It will be much easier for you……and eventually less awkward for the students…….to hold the mouthpiece and neck. If you choose to start on just the mouthpiece, then you are encouraged to add the neck very soon.

• Do not use a metronome when assisting students to make their first sounds. A metronome should not be added until the class is at the point of making group sounds.

• Remind students that lipstick, Chapstick, etc. cannot be worn during class. Students need to understand that their reeds will not last long, and they will begin to see mold. !

• When working one-on-one with students in your beginning class, it is important that the students are ready as soon as the teacher reaches them. While other students are waiting, they must either be paying attention to what you are doing…..or working on a music theory worksheet, etc.

• While going around the room, students should not be allowed to make sounds on their set-up—even if they have already been assisted. They should also not be

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allowed to improperly hold their set-up (i.e. putting a finger in the bottom of their neck…..twirling or playing with the set-up in general……etc.)

• The instructor must place all mouthpiece and neck for students. This may continue for 2-5 days (if not longer), depending on the size and overall ability level of your class.

• You should be directly in front of each individual student when assisting them, and not to the side. It would be most effective if students were standing and “finding their horizon.” Music stands should be elevated to the proper height, and a mirror should be properly positioned on each stand. You will learn to maneuver around each student’s equipment, etc. At this point, all cases should be directly under or to the side of their chairs.

• As you are working with each student, your goal is to assist each student in making a quality sound on or in the vicinity of the correct pitch (second space A- flat). Do not get on to students who do not produce the exact pitch—especially if they are using brands of mouthpieces and ligatures that may be inferior and/or not on your recommended list. When listening to each student, listen for:

o quality of sound o consistency of sound o pitch

• Unless the saxophone is your primary instrument, you should not be modeling sounds on the set-up. As you assist each student, you will eventually find a “star student” who will become the model for future reference. Be sure to periodically use a keyboard or a metronome—with pitches—so as not to “lose sight” of the correct pitch (regardless of whether or not a model is used).

• Be aware of fragile and/or teary-eyed students. Move on to the next student in the interest of time, but make an effort to return to these students by the end of class. Do not let a student leave class feeling unsuccessful. If possible, offer a pass for struggling students to come in at lunch or before/after school.

• The set-up always goes to the student; not the student to the set-up. • Before bringing the set-up to the student, check for:

o ligatures that have been placed correctly o ligature screws that are too tight o proper mouthpiece angles o proper alignment of the reed o condition of reeds

• Train students not to move their faces or body when you are placing the set-up. It may take certain students multiple tries, and if they move after each attempt, they (and you!) basically have to start over each time.

• When students breathe, do not allow their corners to pull back at all. Furthermore, upper lips should not be coming off the plastic of the tops of the mouthpieces. Students should breathe only through their corners, keeping their upper lips on the tops of the mouthpieces.

• With the set-up, students should progress through the following steps: o air (The sound starts and ends with air, making students aware of how

they can control their air. This also helps students avoid undue tightness in the embouchure.)

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o air~vibration~air (The air “turns into” a vibration and returns to air.) o air~vibration o vibration (ultimate “final” sound)

• No articulation syllable should be used when making set-up sounds. The ultimate goal is for students to start their sounds with air. An articulation syllable will be assigned after all students are making characteristic and consistent sounds on the set-up, as well as the fully-assembled saxophone.

• Students need to direct their air through an imaginary dot, which is at the center of their mouthpiece and reed, in order to achieve the desired sound.

• Make sure the students understand that “a sound” may not happen the very first time. This is a trial and error process and may take multiple tries.

• Once the set-up has been placed correctly and students are making the sound you want, they need to remember:

o how it looks (by looking in the mirror) o how it feels

Allow and instruct them to take the set-up from your hand without moving their body and embouchure. Have them try to reproduce the sound on their own. Be prepared to further assist them if necessary. When the sound is correct, students need to remember how it sounds.

• Train students to freeze their body, face and embouchure at the end of whatever type of sound is being made (whether it is air, a tone, etc.) The student should not move anything until the director calls the students to ready position. This aspect of playing should transfer to any—and everything students play in the future (i.e. after last notes of lines out of the book, last notes of songs, etc.)

• Whether students are making individual or group sounds, they need to stop when they feel like they are running out of air. It should never be thought of as a contest to see who can hold their sounds the longest. That serves absolutely no benefit.

• If a student feels dizzy or faint, allow them to bend over in their chair for a little while until they feel better.

• If you feel or hear air escaping from the student’s embouchure, the student is most likely not sealing properly. This is usually caused by students pulling their corners back. Students need to constantly be told to bring their corners forward. After a student has been made aware that they are leaking air, the expectation should be stated for the student to return to class the next day without that issue.

• While students are playing, it may be necessary to gently wiggle their mouthpiece from side to side, during which you will hear pitch variation. This is simply making the student aware that their corners are not firm and/or their top teeth are not on the top of the mouthpiece. Ultimately, you should not be able to move the mouthpiece at all.

• The teacher should always forewarn a student before removing the mouthpiece from the student’s mouth. The mouthpiece can easily scrape the teeth or create discomfort.

• If you are too easily able to slide the mouthpiece out of a student’s mouth, their top teeth are most likely not on the top of the mouthpiece like they should be.

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This also means that students are holding the mouthpiece with their lips instead of their teeth.

• Extraneous noises at ends of sounds are a result of students collapsing their embouchures and/or postures. Have students sing “la” or “dah”; then, apply that to the end of their sound.

• It is your job, as the teacher, to diagnose any problems through this trial and error process. As you go around the room, it may be helpful to you to take written notes on students having problems. Jot down any catchphrases, analogies or specific things that you said to them that helped them in any way!

• If you are struggling in your efforts to assist multiple students…..or are unsure about what you are doing in general, then hire an outside consultant or experienced private lesson teacher to come to your class and help. As this professional goes around the room to hear your students, you need to follow them……watch exactly what they are doing…..and take notes as well. No matter the scenario, reference these notes as you see fit in future classes.

• If you have a large class, it may be necessary for “waiting” students to re-soak their reeds after ________ students have played.

• After _____ days, students will eventually need to be able to place their set-up and make a sound without your assistance. The amount of time will vary year to year, taking into consideration the size of the class, the overall quality of their sounds, and how many times you have assisted the students.

• Students need to constantly be reminded that characteristic and consistent set-up sounds are stepping stones to making sounds on the fully-assembled saxophone! Students who do not practice their set-up sounds at home are not only slowing the class down, but are not contributing to the daily progress and quality of the class.

**Much of this information is applicable to beginner interviews.

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SAXOPHONE EXERCISES FOR GROUP SOUNDS

Group exercises—whether on the neck and mouthpiece (“short instrument” or “baby instrument”) or the fully-assembled saxophone—should be performed with the assumption that you have gone around the room as much as necessary before allowing students to make sounds on their own in this group setting.

You must make the decision as to when to allow short instruments to go home with your students.

The use of mirrors is imperative so students are consistent with everything they are doing.

Breathing should already be introduced by this point.

The metronome should already be introduced by this point.

For exercises 1-6, articulation has not been taught at this time; therefore, air starts are used. The tongue should remain naturally at the bottom of the mouth.

Remind students to always be thinking pulse……as well as “start” and “stop” when appropriate.

When appropriate for a specific exercise, verbalization of note names with actual pitches is highly recommended.

MOUTHPIECE AND NECK EXERCISES

1. Drill “ready position” and “playing/set position” DAILY.

a. Call students to “ready position”….then to “playing/set position”……..and back to “ready position”, etc. For shorter/faster instructions, simply say “ready” and “set/playing”.

b. Repeat this over and over and over.

c. This teaches students how to set their short instruments.

d. Students should look at their mirrors! DO NOT make them look at you.

2. Allow students to make sounds on their own.

a. Students must exhibit good posture.

b. Students should be holding their short instrument correctly.

c. Students should be taking proper breaths.

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d. You, the instructor, need to monitor students. DO NOT bury your head in the stand.

For all exercises that use the metronome, make sure students lightly tap their right hand fingers on top of the neck for keeping track of the beats. Quarter note = 80 (with subdivisions) is a good tempo to perform all exercises at.

3. With a model playing (or you if saxophone is your primary instrument)

a. All students should be looking at the model, who should be standing directly centered and in front of the class. The instructor should be walking around the classroom and monitoring students.

b. There should never be an overlap of sound between the model and the class; always place a whole rest between the model and the class.

c. Teach students the “start…stop” drill (using verbalization).

d. The model and the entire class should breathe on beat 3 (when in 4/4 time).

e. Sound the subdivision on the metronome at ALL TIMES. Start this at the very beginning. If students are having trouble, help them with their foot tap by putting your foot on top of theirs.

f. During rests and while the model is playing, you must talk to students about the necessity about staying completely set. This will more quickly help students to learn where exactly to place their short instrument. The students should look so still to the point that they look like they are still playing!

g. The only embouchure movement that is allowed is for students that are having difficulty making a sound…..and need to adjust something in order to achieve a sound.

4. Model, Student A, Model, Student B, Model, Student C, etc.

a. Always place a whole rest in between the model and the student.

b. After every few students play, have the entire class play as a group.

c. The model should be walking around the classroom with the instructor, so that all students can easily see the model’s embouchure, etc..

d. Depending on the size of your class, it is your decision to have students stay in “playing/set position” the entire time…..or instead allow students to be in “playing/set position” after every ___ students.

5. Have all students stand and individually play one sound; if they do not get a sound for any reason, they have to sit down. !

a. The metronome is not used for this exercise.

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b. Tell students that do not get sounds that they need to practice more at home!

c. Have some sort of incentive for those students who are still standing at the end of one or more rotations.

6. Entire class—without a model—playing whole note, whole rest, etc… with the metronome.

a. Perform this type of exercise when you feel the class is ready.

b. Before students play, have them verbalize using “start……..stop”.

7. Entire class playing two articulated and connected whole notes followed by a whole rest, repeat, etc. At this point, articulation must have already been taught.

a. Again, students can verbalize the “start….stop” drill.

b. Students are thinking “dah”.

8. Entire class playing two articulated and connected half notes followed by a whole rest, repeat, etc.

a. Again, students can verbalize the “start….stop” drill.

b. Students are thinking “dah”.

9. The instructor or model performs random—yet not complicated—rhythms, while the entire class imitates.

a. Perform this exercise both with and without whole rests in between the model/instructor and the class.

b. It would be a good idea to incorporate rhythms—from the beginning band method book used in your class—that not not yet been introduced.

**EVERY CLASS FOR 1-2 WEEKS MUST BEGIN WITH SOME SORT OF A MOUTHPIECE AND NECK EXERCISE!!!!**

FULLY-ASSEMBLED SAXOPHONE EXERCISES

1. The first note students should play is 3rd space C#/Db.

• This note can be played before teaching actual hand position.

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At this point, hand position should already be taught.

2. Slur diatonic notes from third space C down to middle C.

3. Typical exercises you will see in most beginner method books

• Should be verbalized on pitch with actual note names…as well as with “start” and “stop”.

• Can be performed with or without articulation

• Changing notes; can be performed with or without articulation

• Progressive adding of more notes; can still be performed with or without articulation

• When you approach the first line in the book—which contains two or more back-to-back notes—these notes must obviously be articulated. Therefore, you must have already taught articulation with the proper syllable before these lines can be attempted.

• WHEN YOU TEACH ARTICULATION, YOU MUST FIRST INTRODUCE IT ON THE MOUTHPIECE AND NECK.

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SAXOPHONE - TEACHING FINGERINGS AND USING FINGERING CHARTS

• It is your choice whether or not you use the fingering chart in your book with your

students.

• When you begin learning new notes, learn only a few notes per day.

o DO NOT overwhelm your students!!

• Upper register notes should not be attempted until you have taught all necessary flexibility exercises in order to perform octave slurs (Set 1, Octave Slur Exercises and Palm Key Exercises). By the end of the beginning year, all students should have mastered these vital exercises.

• Monitor unused fingers while students are playing.

o NO FLY AWAY FINGERS!

• Make it your goal to teach new fingerings before you get to the new fingering (or even the note itself) in the method book.

o This will make the students feel like they are smart, and that they are moving more quickly through the book

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Saxophone Fingering Chart

A#/Bb B C

C#/Db D D#/Eb

E F F#/Gb

Regular Chromatic

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John Benzer

G G#/Ab A

A#/Bb B C

C#/Db D D#/Eb


Regular ChromaticRegular Chromatic

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Regular Chromatic


E F F#/Gb

G G#/Ab A

A#/Bb B C

Regular Chromatic

Regular Chromatic

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Saxophone Fingering ChartC#/Db D#/Eb

E F F#/Gb

D

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SAXOPHONE – EVEN EXERCISE

The “Even Exercise” is to instill even technique during the early stages of learning the instrument.

• Students must think “squeeze, release” throughout the exercise.

• This should be taught without using music at first and without a written rhythm. Instead, use the phrase “I must do this exercise” to express the rhythm.

• As presented on this page, use note names before using notes in the staff. This

allows the student to easily think “squeeze, release” and perform correct finger movement.

SAXOPHONE EVEN EXERCISE PATTERNS

1. C* B C B C B C *Use side key C to avoid cross fingerings. “I must do this ex- er- cise.”

2. A B A B A B A

3. G A G A G A G

4. F G F G F G F

5. E F E F E F E

6. D E D E D E D

7. C D C D C D C

• On the following page, the exercises are the same except for the fact that the notes are on a musical staff.

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SAXOPHONE – EVEN EXERCISE (continued)

The “Even Exercise” is to instill even technique during the early stages of learning the instrument.

• Students must think “squeeze, release” throughout the exercise. • This should be taught without using music at first and without a written rhythm.

Instead, use the phrase “I must do this exercise” to express the rhythm. • Use note names before using notes in the staff. This allows the student to easily

think “squeeze, release” and perform correct finger movement. After the previous steps have been completed, the student may then read the patterns dictated on the staff. This also can be used as a Pre-Set to “SAXOPHONE SET 1.”

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SAXOPHONE – WORKING OUT BLIPS AND FINGER/TONGUE COORDINATION PROBLEMS

Blips Blips can be defined as the uncoordinated movement of multiple fingers that should be moving at the same time—but are not. As with the teaching of all woodwind instruments, the most problematic fingers in both hands are the ring finger and the pinky. Most blips occur with the use of either or both of these fingers.

• Through the use of the following uneven rhythms, lines 1-2 involve moving either the LH/RH ring finger and pinky at the same time.

• Through the use of the following uneven rhythms, lines 3-4 involve moving

either the LH/RH middle finger, ring finger, and pinky at the same time.

• For lines 1-4:

• Students should articulate every note. • Students can verbalize the counting while they are positioning. • Students can verbalize the note names while they are positioning. • Students can verbalize “long…short long….short long…short long,” while

they are positioning. • In the event you have not yet taught dotted rhythms to your students, these

exercises are already reinforcing a very challenging rhythm--in general--that students will encounter all the way through their public school experience.

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• For lines 5-8:

• Students should slur every note. • Students can perform these exercises without articulating. • Students can verbalize the counting while they are positioning. • Students can verbalize the note names while they are positioning. • Students can verbalize “long…short long….short long…short long,” while

they are positioning. • In the event you have not yet taught dotted rhythms to your students, these


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• Using the same note names as lines 1-8, lines 9-12 are notated with the rhythms inverted.


• Lines 11-12 involve moving either the LH/RH middle finger, ring finger, and

pinky at the same time.

• For lines 9-12:

• Students should articulate every note. • Students can verbalize the counting while they are positioning. • Students can verbalize the note names while they are positioning. • Students can verbalize “short long…short long….short long…short,”

while they are positioning. • In the event you have not yet taught dotted rhythms to your students, these


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• Using the same note names as lines 1-8, lines 13-16 are notated with the

rhythms inverted. • Through the use of the following uneven rhythms, lines 13-14 involve moving

either the LH/RH ring finger and pinky at the same time.



• For lines 13-16:

• Students should slur every note. • Students can perform these exercises without articulating. • Students can verbalize the counting while they are positioning. • Students can verbalize the note names while they are positioning. • Students can verbalize “short long…short long….short long…short,”

while they are positioning. • In the event you have not yet taught dotted rhythms to your students, these


MISCELLANEOUS

• These exercises can be very effective, but must be verbalized--in the various ways previously discussed--and positioned at the same time.

• Playing tests can and should be given on these exercises to promote their regular practice.

• While positioning and/or performing these lines, it is imperative that students’ fingers are hovering and staying very close to the keys. If students’ fingers are too far away from the keys, these exercises will not be effective in preventing blips.

• Fingering patterns found in these exercises will more than likely appear in virtually every genre of music, whether it be scales, All-Region/All-State etudes, performance music, etc.

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Finger/Tongue Coordination Problems There are two types of finger/tongue coordination problems that occur when passages are articulated:

1. students changing to the next fingering before they articulate (most common) 2. students articulating before they change to the next fingering • Students can verbalize the counting. • Students can verbalize the note names. • Students can use their air and position through their embouchures—without

actually producing sounds/vibrations.

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SAXOPHONE EXTENDED FINGER TECHNIQUES

Extended finger techniques refer to the use of the pinky keys of the left and right hand as well as the palm keys. Developing efficient technique in these areas is vital to the student’s ability to play technically. Palm Keys (all played with the octave key)

• High D – “PK 1” (PK closest to the octave key) o Use the LH index finger; where the 3rd (big) knuckle meets the

palm. o Keep the other fingers curved and hovering over the pearls.

• High D # – “PK 1 and 2” o Use the LH index finger, 2nd (middle) knuckle

*PK 2 is the highest key on the instrument (vertically) and centered between the other two PKs (horizontally)

o Keep the other fingers curved, relaxed, and hovering. o This is where tension begins to creep into the palm – keep it

relaxed. • High E – “PK 1 and 2” plus RH top side key

o Left hand remains the same – keep it relaxed. o Add the top side key in the RH – use the space between the big

(3rd) and middle (2nd) knuckle. � It is VERY IMPORTANT that the student’s right hand

position stay as close to normal as possible. Ensure the right hand fingers stay as close to hovering over the pearls as possible. Students tend to contort and move the entire hand to activate this key, which is inefficient.

• High F – “PK 1, 2 and 3” plus RH top side key o Left hand adds the third palm key using the 2nd (middle

knuckle) of the LH middle finger…not the index or ring finger!

o Keep the palm soft and relaxed. o Hand should remain curved. o Like high E, the RH hand position should stay as close to

normal as possible.

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*Remember, the higher the tone hole is, the higher the pitch is.

Beginning students have smaller hands, so you will have to be forgiving if their hands are not quite big enough to execute the technique exactly as listed. Some exceptions will have to be made. Have students practice palm key exercises (provided) every other day for short intervals as their hands will get tired. Pinky Keys It is most important that the pinkies to do not “lock up” when engaging these keys in the left or right hand. Right Hand

• When moving from the D#/Eb (upstairs) key to the C (downstairs) key, it is important to land on the roller, never past it. Slide roller to roller, NOT key to key.

• Practice exercises moving from D#/Eb to C not playing and playing. Practice these in short intervals as the pinkies will get tired. Teach your students to work on these two or three times during their practice session for short amounts of time every other day.

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Left Hand

• When using the LH pinky, it is important that students NEVER pick the pinky up when moving between keys!

• When using the C#/Db and the B key, slide roller to roller, NOT key to key.

• When using the A#/Bb key, students can either move roller to roller, or pivot the LH pinky down. The pinky leans down and never leaves the bottom of the B (inside) key, which means students must bring their hand lower. The faster students play, the more they must pivot from their wrist.

o The low A#/Bb keys on most Selmer saxophones can be raised by a skilled repairman, so there is less of a downwards motion.

• The B key is lower on all saxophones; however, a skilled repairman can bend the key higher.

o The B and C#/Db keys on beginner Yamaha saxophones should already be flush.

• Practice exercises moving from C#/Db to B, and B to A#/Bb (harder). The same practice rules apply.

You can purchase PK and side key risers, which are black/rubber, at www.wwbw.com. They are very inexpensive (around $5 per set), are non-specific, and can be used on any key. These assist players with larger fingers, and decrease the distance the fingers have to travel to put the keys down. They tend to get loose over time, so buy a set as often as necessary.

C# / Db (2) “outside”

G #/ Ab (1)

B (3) “inside”

A# / Bb (4)

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& 44œ œ# œ œb1 ˙ Ó œ œ# œ œ#2 œn œb ˙n

&œ œ# œ œ#3 œ œb œ œb ˙ Ó œ œ# œ œ#4 œ œ œ œb œ œb ˙

&œ# œ ˙b5 œ# œ œ# œn6 ˙b Ó œ# œ œ# œ7 œb œ ˙b

&œ# œ œ# œ8 œ œ œb œ ˙b Ó œ œ# ˙n9 œ œ# œ œb10 ˙ Ó

&œ œ# œ œ11 œ œb ˙ œ# œ ˙b12 œ# œ œ œ13 ˙b

Óœ œ ˙14

&œ œ# œ œb15 ˙ Ó œ œ# œ œ#16 œn œb ˙

&œ œ# œ œ#17 œ œb œ œb ˙ Ó œ œ# œ œ#18 œ œ œ œb œ œb ˙

&# œ� œ� b ˙19 œ# œ œ# œn20 ˙b Ó œ# œ œ# œ21 œb œ ˙b

&22 # œ� œ� # œ� œ� œ� œ� b œ� œ� b ˙� Ó� œ� # œ� n ˙23 œ œ# œ œb24 ˙ Ó

&25 œ� # œ� œ� œ� œ� b œ� ˙� # œ� œ� b ˙26 œ# œ œ œ27 ˙b

Óœ� œ� ˙28

SAXOPHONE PALM KEY EXERCISES

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SAXOPHONE ARTICULATION

• Do not attempt to teach articulation until all students are producing characteristic and consistent sounds on the neck and mouthpiece, as well as the entire saxophone.

• Introduce articulation on the neck and mouthpiece. • The tongue is down 98% and up 2% of the time. • The tongue moves up and down, not back and forth. • The tongue never touches the teeth or gums. • The purpose of the tongue is to release the air which causes the reed to vibrate

which creates the sound. The tongue’s release of the air simply defines the beginning/start of the vibration/sound.

• Articulation is used to define the vibrations necessary to create musical rhythm, style and movement--to contrast the use of slurring (which also creates similar musical entities).

• One taste bud of the student’s tongue should touch where the flat part of the reed where the imaginary “dot” at the tip has been all along. The tongue touches this spot, and immediately returns to its “at rest” position.

• The student must always touch and interrupt a vibrating reed. • The articulation does not stop the reed vibration. • There should be no movement in the face, chin or throat. All that moves when the

student articulates is the air and the tongue. • The same part of the tongue must touch in the same spot with the same

energy/strength every time. The spot should be where the flat part of the reed meets the tip.

YOU WILL NOW BE SHOWN COMBINED EXERCISES THAT WILL HELP IMPROVE THE STUDENT’S TONE QUALITY IN ALL OF THE REGISTERS, INCREASE RANGE, CREATE EVEN ARTICULATION IN ALL REGISTERS,

AND TEACH YOUNG STUDENTS HOW TO CONTROL THE ENTIRE INSTRUMENT DURING THE FIRST YEAR.

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SAXOPHONE ARTICULATION EXERCISES • When starting articulation exercises, the use of mirrors is vital. • Remind students that the tongue only interrupts the air – it never stops the air. • Articulating with black notes as opposed to white notes, encourages students to move

their tongues down quicker. • Make sure from the very beginning, students sing and play in a connected/legato style.

• Exercises to be taught in the following order:

1. Have students sing on “dah” and then ultimately on the French syllable “dih” or even

“doo.” If students are unable to sing in a connected style, they should not progress to the next step.

2. Have students put their hand or index finger in front of their face and feel their air. Students should feel continuous air and not “puffs” of air.

3. Go around the room and have each student tongue air at your hand, so you can assess their ability to do it correctly.

4. Using a mirror, students should articulate with or without their hand/index finger, making sure that their face, chin, and throat are not moving.

5. When you feel students have mastered the previous exercises, allow them to articulate – using the syllable “dah” or “dih” – on the mouthpiece and neck. Students should put their left hands under their neck so they can feel a continuous stream of air while they are articulating. Students who do not feel continuous air need to be verbally made aware that they are not articulating correctly.

** Students should start with their tongue on the reed to create the articulation. The tongue then falls down and returns to its “at rest” position in the bottom of the mouth. One taste bud of the student’s tongue should touch the flat part of the reed, where the imaginary “dot” at the tip has been all along. The air and tongue go to this same “dot.” 6. Allow students to articulate as fast as they can. 7. Allow the students to start the sound and use the "ta-day" syllable. 8. Allow the students to start the sound and articulate by snapping your finger on

command. 9. With the metronome, begin to incorporate easy follow-the-leader rhythms with you

singing or modeling – and the students echoing on their mouthpiece and neck. Whole rests may or may not be necessary between you and the students. As with your initial

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sound production exercises, students need to continue counting with their fingers – with their left hand – while they are playing. This ensures that students are thinking internal subdivision.

10. Before progressing to the fully-assembled saxophone, assign the following playing test on the mouthpiece and neck:

• Attach the mouthpiece and neck to the saxophone and begin articulation. Students must

be constantly reminded that they should be articulating in the same way as they were when just using the mouthpiece and neck.

• Whether students are playing white notes or black notes, they must constantly be reminded that the tongue moves down quickly.

• When students can successfully sing note names on the same pitch, allow them to articulate multiple notes on the same pitch.

• When pulse and foot pat are learned, students articulate every time their foot touches the floor – and then when their foot touches the floor and as it comes up.

• Once the student is able to read music, call the articulation "rhythmic articulation". Students should be tonguing as the music moves across the page.

• Do not allow students to articulate back-to-back notes on different pitches until they are playing with absolute connected style on notes of the same pitch.

• When the tongue is moving correctly, you must decide when it is appropriate to have students begin coordinating finger movement with articulation.

• When students articulate back-to-back notes on different pitches, they cannot stop their air as they change fingerings.

• Teach Mary Had a Little Lamb in four segments by singing and then playing:

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• After all students have successfully played each segment of Mary Had a Little Lamb, begin to string together the segments into the following finished product:

• Ultimately, students should be able to execute any or all of the following on a daily basis:

o articulate as fast as they can o articulate using the "ta-day" syllable o articulate on command o articulate with foot pat and articulate rhythms

• When playing exercises out of the method book, you can return to previously-learned lines and add articulation. Do not feel like all lines must be executed again during class; assign students to perform all lines at home with articulation.

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SAXOPHONE-LEVELS OF ACHIEVEMENT FOR ARTICULATION

1.

2.

• Introduces skill of tonguing and finger change at the same time

3.

4.

• Introduces skill of tonguing and multiple finger changes within a measure

4 Teaching Techniques

1. Sing on note name and position

2. Air and position

3. Position only

4. PLAY ☺

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& 44 œ œ œ œ1

œ œ Ó

& 44 œ œ œ œ2

œ Œ Ó

& 44 œ œ œ œ3

& 44 œ œ œ Œ4

& 44 œ œ Ó5

& 44 œ œ œ Œ6

& 44 œ œ œ Œ7

SAXOPHONE SET 1Level 1

All exercises are performed on the same airstream.Make sure all sounds have the same resonance.

Move from the center of the note to the next center of the note.Be sure all fingers move easily and naturally and that the pads of the fingers stay on the pearls.

The following exercises prep the student for octave slurs.

This exercise should be performed with regular C.

This exercise should be performed with side C.

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& 44 œ œ œ œ8

œ œ œ Œ

& 44 œ œ œ œ9

œ œ Ó

& 44 œ œ œ œ10 œ Œ Ó

& 44 œ œ œ œ11

& 44 œ œ œ Œ12

& 44 œ œ œ œ13

2


All exercises are performed on the same airstream.Make sure all sounds have the same resonance.

Move from the center of the note to the next center of the note.Be sure all fingers move easily and naturally and that the pads of the fingers stay on the pearls.

The following exercises prep the student for octave slurs being performed at the end of each line.

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& 44 ˙b Ó1

˙ Ó ˙b Ó ˙ Ó

& 44 ˙ Ó2

˙b Ó ˙ Ó ˙b Ó

& 44 œb Œ œ Œ1

œb Œ œ Œ

& 44 œ Œ œb Œ2

œ Œ œb Œ

& 44 wb1

w ∑ w wb& 44 ˙b ˙

2 ∑ ˙b ˙ ∑ ˙ ˙b ∑ ˙ ˙b& 44 œb œ Ó3

œb œ Ó œ œb Ó œ œb Ó

& 44 wb1

w wb ∑ ˙b ˙ ˙b Ó œb œ œ œ wb& 44 w

2

wb w ∑ ˙ ˙b ˙ Ó œ œb œ œ w


Level 2

Keep the palms soft and pliable. Roll the right pinky over the rollers. Special fingering position is needed.

Level 3

Level 4

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& 44 ˙b Ó1

˙ Ó ˙ Ó ˙b Ó

& 44 ˙# Ó2

˙ Ó ˙ Ó ˙# Ó

& 44 ˙b ˙1 ∑ ˙ ˙ ∑ ˙ ˙b

& 44 ˙# ˙2 ∑ ˙ ˙ ∑ ˙ ˙#

& 44 ˙b ˙ ˙b Ó ˙ ˙ ˙ Ó ˙ ˙b ˙n Ó

& ˙# ˙ ˙ Ó ˙ ˙ ˙# Ó

& 44 œb œ œ œb ∑ œ# œ œ œ#

& 44 œ œ# œn œ œb œn œ Œ œ œ# œn œ œb œn œ Œ


Level 2

Keep the palms soft and pliable. Roll the right pinky over the rollers. Special fingering position is needed.

Level 3

Level 4

Level 5

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SAXOPHONE SET 4

Level 1Keep the palms soft and pliable.

Special fingering position is needed.

4

4

4

4

4

4

4

4

4

4

Level 2

Level 3

Level 4

Level 5

1

2

1

2

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SAXOPHONE OCTAVE SLUR EXERCISES

AND CHANTS

John Benzer

4

8

Saxophone Sharps/Naturals

Sharps/Naturals Chant

Saxophone Flats/Naturals

Flats/Naturals Chant



A. Sax.

A. Sax.


A. Sax.

A. Sax.


4

4

4

4

4

4

4

4

Be low staffthe

Be low staffthe

D 4th line D

D 4th line D

lowBe the staff

1st line

D sharp 4th line

E flat 4th space

D sharp

E flat

1st

1st

line E 4th space

line E 4th space

1st space sharpF 5th

2nd line flatG bovea the

E

E

1st

1st

line sharpF 2nd line

space F 5th line

space F 5th line

F

F

G bovea the staff G

staff flatG 2nd line G bovea the staff G

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12

16

20


A. Sax.


A. Sax.


A. Sax.



A. Sax.

A. Sax.


A. Sax.

2nd line

2nd space

sharpG bovea the

flatA bovea the

2nd space sharpA bovea the

staff sharpG

staff A flat

2nd space

2nd space

A bovea the

A bovea the

staff A

staff A

staff A sharp line3rd B bovea the staff B

3rd line

3rd space C

flatB bovea the

bovea the staff

3rd space C bovea the staff

staff B flat

C

line3rd

3rd space sharpC

C 4th line flatD

B bovea the

bovea the staff

staff B

sharpC

bovea the staff D flat

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SAXOPHONE OCTAVE SLURS

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2

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& 43 œ# œ œ1

œ# œn œ .˙b œ# œ œ#2

œ œb œ .˙b

& œ œ œ#3

œ œb œ .˙ œ œ# œ4

œ# œn œb .˙

& œ# œ œ5 œ# œn œ .˙b œ# œ œ#6 œ œb œ .˙b

& œ œ œ#7 œ œb œ .˙ œ œ# œ8 œ# œn œb .˙

& œ# œ œ9 œ# œn œ .˙b œ# œ œ#10 œ œ œ œb œ œb .˙

SAXOPHONE CHROMATIC SCALE GROUPS

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SAXOPHONE CHROMATIC SCALE

Level 1All students should be made aware of the importance of making

consistent, characteristic sounds on all notes regardless of register.

Do not continue past the note when sound consistency changes.

Work your way up one note at a time.

Realistically, the chromatic scale may not be introduced until the second semester.

4

4

4

4

Level 2

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&&&

44

44

44

Flute

Clarinet in Bb

Alto Sax.

wb

ww

wb

ww

∑∑∑

wb

wbw

wb

ww

∑∑∑

w

ww

w

ww

∑∑∑

&&&

Fl.

Bb Cl.

A. Sx.

w

ww

w

ww

∑∑∑

wb

ww

wb

ww

∑∑∑

w

ww

w

ww

&&&

44

44

44

Fl.

Bb Cl.

A. Sx.

wb

ww

wb

ww

wb

wbw

wb

ww

w

ww

w

ww

w

ww

w

ww

&&&

Fl.

Bb Cl.

A. Sx.

wb

ww

wb

ww

w

ww

w

ww

FLUTE, CLARINET, AND ALTO SAXOPHONE OCTAVE AND REGISTER EXERCISES

Set 1

Set 2

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&&&

44

44

44

Fl.

Bb Cl.

A. Sx.

wb

wwb

wb

wwb

∑∑∑

wb

wbwb

wb

wwb

∑∑∑

w

ww

w

ww

∑∑∑

&&&

Fl.

Bb Cl.

A. Sx.

w

ww

w

ww

∑∑∑

wb

wwb

wb

wwb

∑∑∑

w

ww

w

ww

&&&

44

44

44

Fl.

Bb Cl.

A. Sx.

wb

wwb

wb

wwb

wb

wbwb

wb

wwb

w

ww

w

ww

w

ww

w

ww

&&&

Fl.

Bb Cl.

A. Sx.

wb

wwb

wb

wwb

w

ww

w

ww

Set 4

FLUTE, CLARINET, AND ALTO SAXOPHONE OCTAVE AND REGISTER EXERCISES

Set 3

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& 44 œb œ œ œ1 ˙b Ó œ# œ œ œ2 ˙# Ó

& œb œb œ œb3a œ œb ˙b œb œb œ œb3b œ œb ˙b œ œ# œ œ4 œb œ œ œb ˙ Ó

& œb œ œ œ5 ˙b Ó œ# œ œ œ6 ˙# Ó

& œb œb œ œb7b œ œb ˙b œb œb œ œb7b œ œb ˙b œ œ# œ œ8 œb œ œ œb ˙ Ó

& œb œ œ œ1 ˙b Ó œ œ œb œ2 ˙ Ó

& œ œb œ œ3 ˙ Ó œb œb œ œ4 ˙b Ó

& œb œ œ œ5 ˙b Ó œ œ œb œ6 ˙ Ó

& œ œb œ œ7 ˙ Ó œb œb œ œ8 ˙b Ó

THE USES OF SIDE AND BIS B-FLAT ON SAXOPHONE

There are two standard fingerings for B-flat on the saxophone.These fingerings are "Side B-flat" and "Bis B-flat."

The side fingering is used when the A#/Bb is located beside a B-natural or C.

Bis B-flat is used when coming from or going to any note other than B or C.

side side side side side

side side side sidebis bis*This is advanced*

side side side side side side

side side side sidebis bis*This is advanced*

bis bis bis bis

bis bis bis

bis bis bis

bis bis bis

side

bis

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If a student is sharp:

• Let the lips/embouchure relax. • Relax the jaw. • Push down a key that will not affect the note.

If a student is flat:

• Never pinch. • Open a key that will not affect the note.

EXAMPLE: 1. Bis B-flat – add side B-flat (bottom side key)

2. A – add G#/Ab key

1. 2.

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ALTO SAXOPHONE ALTERNATE FINGERINGS FOR PROBLEMATIC NOTES

Tendency: Flat SOLUTION: Add low Eb key

Tendency: Flat SOLUTION: Add low Eb key

Tendency: Flat SOLUTION: Add chromatic F# key

Tendency: Flat

SOLUTION: Add G# key

Tendency: Flat

SOLUTION: Add side Bb key

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Tendency: Flat

SOLUTION: Add side Bb key

Tendency: Flat

SOLUTION 1: Add LH 3 + Octave key (“Lisko” fingering)

Raise More: Add side Bb to above Raise More: Add side C to above Raise More: Add both side keys

SOLUTION 2: LH 1 + D palm key SOLUTION 3: LH 3 + octave key + G# key SOLUTION 4: Add one or two side keys to

any solutions above

Tendency: Sharp

SOLUTION 1: 123 456 + D palm key (without octave key)

SOLUTION 2: Add low B key CAUTION: Alto saxophone players should be

discouraged from using SOLUTION 2, as it dulls the sound dramatically and in some cases

makes the note flat. However, Selmer-made baritone saxophones are the exception to this.

Tendency: Sharp

SOLUTION 1: 123 45 + low Bb key SOLUTION 2: 123 45 + low C key

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Tendency: Sharp SOLUTION 1: Add RH 1 SOLUTION 2: Add RH2

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SAXOPHONE VIBRATO

• Do not introduce vibrato until students are producing consistent, resonant sounds on the saxophone.

• Vibrato should always be introduced on the neck and mouthpiece. • Vibrato is usually introduced during the second semester. Teaching vibrato in

general should NOT be optional during the second semester of the beginning year.

• The eight points of vibrato: 1. Vibrato is solely a jaw movement. As students advance, it becomes a

bottom lip and jaw movement. 2. No pinching or biting of the reed can be done. 3. The jaw moves down and then back up to its natural position. 4. The syllable used for vibrato is “vuh”. 5. Vibrato will sound big/obnoxious at first. 6. After introducing vibrato, do movements with triplet subdivisions on the

metronome. 7. Do not let the pulse get too fast, too slow or the sound too wide. 8. Blow air through the vibrato.

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& 44 œ œ ˙ œ œ ˙ œ œ œ œ ˙ Ó

& œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙

& œ œ ˙ œ œ ˙ œ œ œ œ ˙ Ó

& œ œ œ œ œ œ œ œ œ œ œ œ w

& 44 œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙

& œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙

& œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙

& œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙ w

SAXOPHONE CHRISTMAS TUNES

Jingle Bells

Good King Wenceslas

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Documents

INSTRUMENTS OF THE SAXOPHONE FAMILY ...johnbenzer.com/wp-content/uploads/2019/05/SAXOPHONE.pdfsaxophone class opposite a larger class like trumpet, clarinet, or flute. Place the larger