CORRECTIONS

A number of errors were left uncorrected before the first impression of LEARN AS YOU PLAY SAXOPHONE (2012 repackaged edition) went to print.

This document contains replacement PDFs for pages containing musical errors or omissions. (Pages 31, 33, 37, 41, 45, 48, 50 and 63). Corrected errors or omissions are highlighted in grey.

A second impression of the publication (under the amended title LEARN AS YOU PLAY ALTO SAXOPHONE) was printed in 2015 with musical corrections and typographical amendments.

LEARN AS YOU PLAY ALTO SAXOPHONE

BY PETER WASTALL

31

28

27

Crescendos and diminuendos play an important part in creating expression but need careful use since they also have an effect on tuning.

Basically, a crescendo is produced by increasing the air pressure, and a diminuendo by reducing the air pressure. To keep the tuning stable, the embouchure

must remain stable; just a slight firming of the muscles to correct a note that sounds flat, and slight relaxation to correct a note that sounds sharp.

Musicianship

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29

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A well-established method of checking embouchure development is to play octaves (octave As are particularly good for this). In the next set of exercises, concentrate on the following points.

Strive to produce the octave changes with just a movement of the octave key. Try to keep the embouchure still, and the air pressure as even as possible.Listen carefully and tune the octaves. Unit 12 sets out the technique required.

1.

2.

Check that the tone is full without being raucous.Repeat exercise (a) using the notes shown in exercises (b), (c) and (d).

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4.

Tone development

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The side fingering for F is used when Foccurs in a chromatic passage. Exercise (c) illustrates this. A passage requiring this fingering occurs in bar 9 of ‘Waltz’ by Schubert.

�.Players who use side B as the regular fingering often use the fingering shown in this unit when B is folllowed or preceded by F, E or D. Exercise (a) illustrates a typical finger pattern. Further examples can be found in ‘A little piece’ by Cornelius Gurlitt.

1. In a chromatic passage — see exercise (b) — several finger patterns are possible. In elementary work, the two most useful are:i) Side B and middle-finger Cii) Side B and side CIt is left to the discretion of the teacher which to teach first.

2.

Finger technique

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45

40

39

With blocks of four semiquavers, read each group as you would a four-syllable word. Start with passages that are easy to finger

(such as the two exercises shown opposite) and make a conscious effort to read each block of four semiquavers as a single unit.

Aids to music reading

48

UNIT 20

The semiquaver rest is a rest for a quarter of a crotchet beat. Notice that it is similar to the semiquaver note, being printed with two tails. Examples of the semiquaver rest can be found in the duet.

By combining semiquavers with quavers, several new rhythmic patterns can be formed. The examples should be studied carefully before playing the exercises.

A

C8va key

D8va key

D key

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UNIT 21

The time signature of three-eight indicates that there are three quaver beats in each bar. As before, the various notes retain the same value in relation to each other; it is the value of the notes in relation to the beat that is changed.

* Add octave key for upper register.

63

8va key

8va keyE key

D key

8va keyD key

8va key

8va keyE key

D key

E key

F

E key

8va keyE key

D key

F key

8va key

F

F key

8va key

G8va key

G key

G8va key

A8va key

B button8va key

B

B key

8va key

8va key

8va key

B C

8va key

C key

8va key

C D E E

8va keyF plate

8va keyF plate

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