The Art of Saxophone - Andrew Scott

The Art of

Saxophone

An enjoyable and thorough series of exercises, songs and explanations. Provides the beginning student with a firm foundation for study of the Saxophone. by Andrew Scott Book and Audio Set

The Art of

Saxophone An introduction to the saxophone

by Andrew Scott

andrewscottmusic.com

Copyright Notice This publication is copyright © 2007 by Andrew Scott. You may not resell, distribute, publicize, display on a website, exploit commercially or use any part of this publication for any other purpose than private study.

2

Contents Parts of the Saxophone ...................... 3

Lesson 1 Assembling the Saxophone ........................... 4 - 5 Making a Sound on the Mouthpiece ................ 4 The Note A ........................................................ 7 Tonguing ........................................................... 7

Lesson 2 The Staff, Treble Clef ....................................... 8 The Half Note (Minim) .................................... 8 Bar Lines, Half Rests ........................................ 9 The Quarter Note (Crotchet) .......................... 10 The Time Signature ......................................... 10 Quarter Rest, Final Bar Line ........................... 11

Lesson 3 How to Tune the Saxophone ........................... 12

Lesson 4 The Note B ....................................................... 14 Repeat Sign, Bar Numbers.............................. 15 Two Note Samba ............................................. 16 Basic Blues (duet) ........................................ 16

Lesson 5 The Note C ....................................................... 17 Easy to C .......................................................... 17 ABC Exercise ................................................... 17 The Dotted Half Note ...................................... 18 Boomerang ...................................................... 18 Half Measure ................................................... 18

Lesson 6 The Note G ....................................................... 19 Country Modes ................................................ 20 Cool Dude ........................................................ 20 Satellite Song .............................................. 20

4 Note Blues .................................................... 21 The Common Time Signature ......................... 21 All too Common .............................................. 21

Lesson 7 The Note F ....................................................... 22 Bayou Stomp ................................................... 22 Fine Old Time .................................................. 22 Heavy Metals ................................................... 23 Beam Me Up .................................................... 23 The Slur ........................................................... 24 Legato Lullaby ................................................. 24

Lesson 8

b

The Note B ..................................................... 25 Flat to the Boards ............................................ 25 Love Me Tender............................................... 26 Flat Signs After a Clef ...................................... 26 Ode to Joy ........................................................ 26 Mango Tango ................................................... 27 Batucada Blues ................................................ 27

Lesson 9 The Lead-In ..................................................... 28 The Banks of the Ohio ..................................... 28 When the Saints Go Marchin’ In .................. 29

Lesson 10 The Three Four Time Signature ..................... 30 Three to the Bar............................................... 30 The Tie ............................................................. 30 Barcarolle ........................................................ 31 Tied Down ....................................................... 31 The Whole Note............................................... 32 Good Evening Friends ..................................... 32 Rhythm Review ............................................... 32 Count Me In ..................................................... 32

Lesson 11 Breathing and Blowing.................................... 33

Lesson 12 The Note E ....................................................... 35 Waltz of the Saxophones ................................. 35 Mary Ann ...................................................... 36

Lesson 13 The Eighth Note (Quaver) .............................. 37 Shave and a Haircut ........................................ 37 Mick’s Mexican Mix ........................................ 38 Eight Enough ................................................... 39

Lesson 14 The Natural Sign ............................................. 40 Natural Riff ...................................................... 40 Staccato ........................................................... 41 Staccato Waltz ................................................. 41 The Mexican Hat Dance .................................. 42 Staccato Blues ................................................. 42 True Blues .................................................... 43

Lesson 15 The Dotted Quarter Note (Dotted Crotchet) .. 44 Dotted Ballad................................................... 45 Cornpicking ..................................................... 45 Cuban Nights ................................................... 46 Most of You ..................................................... 46 Sonata Theme .............................................. 47

Lesson 16 The Note D....................................................... 48 The Carnival of Venice .................................... 50 O Susanna ........................................................ 50 For He’s a Jolly Good fellow ........................... 51 Last Minute Blues ........................................ 52

Glossary ........................................... 53 Fingering Index ................................ 54 Transposing Table ............................ 56

3

Parts of the Saxophone mouthpiece ligature

cork

reed

neck

tightening screw neckstrap

saxophone body

bell

The saxophone is made up of the pieces illustrated on this page. The instrument here is an alto saxophone. The tenor saxophone looks basically the same.

4

Lesson 1 Preparing the Reed The reed must be damp for it to vibrate properly. Some players soak their reeds in a glass of water for a few minutes before playing, but you can usually get away with holding the thin end in your mouth for about thirty seconds.

Fitting the Mouthpiece Apply some cork grease to the cork at the top of the neck. Push the mouthpiece on with a twisting action until it covers about half to three quarters of the cork. Line up the flat piece of the mouthpiece with the hole at the other end of the neck. The mouthpiece should slide smoothly but very firmly over the cork. You may not need to apply grease every time you assemble the saxophone.

Fitting the Reed After you have dampened the reed, place it on the mouthpiece. Secure it loosely with the ligature, then adjust it so that there is only a hairline of mouthpiece showing behind the tip. Tighten the ligature screws.

Making a Sound with the Reed on the Mouthpiece Hold the neck with your hands. Keep your fingers away from the lever which lifts the pad. Make an O shape with your lips. Put the end of the mouthpiece into your mouth so that your bottom lip becomes a cushion to support the reed.

5 Your top teeth should touch the mouthpiece about one centimetre from the end.

Buzzing Sounds

Track 2

This track contains the sound of the reed and mouthpiece attached to the neck. The pitch is bent down and up as the player loosens and tightens his lips.

Attaching the Neck to the Body Loosen the tightening screw at the top of the saxophone body. Insert the neck and swivel it so that the mouthpiece points away from the bell. Tighten the screw. Put your neckstrap on and clip the saxophone to it. Adjust the length of the strap so that the mouthpiece is level with your mouth. Blow gently and smoothly. The mouthpiece should make a buzzing noise.

Buzzing Sounds When you can make a sound, vary it by tightening and loosening your lips. You can hear this on Track 2 of the CD.

The neckstrap supports the entire weight of the saxophone. If you need to lift the saxophone with your right thumb your neckstrap is too long.

6

Fingering Diagram for the Note A Blue Shapes Finger holds key closed.

Thumb Rest Left Thumb here all the time.

1

2

3

3 4

2

1

4

T

1 Left 2

Hand Keys

T

Left Hand

Right Hand

Right Hand Keys

White Shape No finger necessary.

7

The Note A

Holding the Saxophone

Place your fingers in position for the note A as shown on page 6.

Whenever you pick up the body of the saxophone, make sure you hold it with one hand under the U bend at the bottom, and the other gripping the bell. Try not to squeeze any keys or rods because too much pressure can bend them.

Blow into the saxophone. You are now playing the note A.

Tonguing Use your tongue to start and stop the notes. As you play the note A, whisper the word doo, several times. The tip of your tongue will push the end of the reed against the mouthpiece, blocking the flow of air. When you release your tongue, the air flow will start instantly, creating the syllable doo. This technique is called tonguing. Saxophone players use it all the time to make notes start and stop cleanly. Listen to Track 3 on the CD.

Tongued Notes

Track 3

First you will hear four A notes played without tonguing. Then follow four notes with tonguing. You can hear the difference. Without tonguing, the attack on the note sounds more like a foo than a doo.

Tips • Fingers which are not pressing a key closed should hover above their home keys, ready to close the key when necessary. • Your left thumb should always remain on the thumbrest. If you let it dance around you won’t be able to balance the instrument as well.

8

Lesson 2 The Staff (or Stave) A staff (plural: staves) is a set of five lines and four spaces upon which music can be written. The lines and spaces are numbered from the bottom. 5th line

4th space

4th line

3rd space

3rd line

2nd space

2nd line

1st space

1st line

The Treble Clef The symbol at the left end of the staff is called a treble clef. Every line of saxophone music has these clefs to show you how notes are named. There are other clefs, such as bass and alto clefs, but for saxophone playing you only need to know this one.

The Half Note

The Half Note A

(or Minim)

The position of a note in the staff tells us its name.

The half note (or minim in some countries) symbol looks like a hollowed out egg, with a stick on one side. A half note has a value of two beats.

2nd space

The note above, written in the second space of the staff, is the A note you learned in the previous lesson.

9

Exercise 1

Track 4

This exercise contains three A notes, each to be held for two beats. On the CD there are another two beats on the hi hat cymbal after the third A, then the exercise is repeated three times. The second and third repeats contain only the hi hat and bass drum. Play the three notes below, tonguing each one. There are four beats introduction to most of the exercises on the CD.

rest for 2 Think:

1

1

2

2

1

2

1

2

Numbers in bold type are placed under notes that you tongue. Numbers in light type are under beats that you sustain or just count.

The Bar Line Notes can be grouped in measures or bars. Bar lines divide groups of notes into equal numbers of beats. rest for 2 2 beats

+

2 beats = 4

2 beats +

2 beats = 4

The Half Rest (or Minim Rest) Rests indicate that you don’t need to play any note. The following symbol drawn on the middle line of the staff is a half rest (or minim rest). It means: play nothing for two beats, but keep counting.

Exercise 2

Track 5

This exercise on the CD is played four times - twice with the saxophone and hi-hat, and twice with just the hi-hat.

Think:

1

2

1

2

1

2

1

2

10

The Quarter Note (or Crotchet) A quarter note symbol is a solid egg shape with a stick. The quarter note has a value of one beat.

Exercise 3

Track 6

On the CD, this and the next three exercises are played twice.

Think: 1

2

3

4

1

2

3

4

1

2

3

4

1

2

3

4

The Time Signature A time signature is a symbol that tells you how many beats should be played in each bar, and what kind of beats they are.

The pair of fours above are known as the four four time signature. They mean that each bar contains four beats. These beats can be any combination of quarter and half notes or rests, or other notes that you will learn later.

Exercise 4

Think:

Track 7

11

The Quarter Rest (or Crotchet Rest) The quarter rest symbol is a squiggly device meandering between the 1st and 4th spaces of the staff. Its value is one beat of silence.

Exercise 5

Track 8

The Final Bar Line The thick and thin lines at the end of the next exercise are a final bar line. They indicate the end of a piece of music.

Exercise 6

Track 9

Tip It is normal to feel some abrasion on the outside of your lower lip as a result of the reed rubbing against it. As your lips get used to the aggravation, the skin there will become stronger. If it cracks and starts to peel, try using a lip balm, and avoid the saxophone for a couple of days.

12

Lesson 3 How to Tune the Saxophone You will need to be able tune the saxophone to make it sound at its best when you play with other instruments or recordings. You can do this by playing a note and then comparing it to a reference tone.

Step 1 Listen to Track 1 on the CD, following the music on the chart below.

Tuning

Track 1

Step 2 Start Track 1 again. Play your A, then listen to the saxophone on the CD.

Step 3 Was your A at exactly the same pitch, or was it higher or lower?

Step 4 If your note sounds the same as the CD note, your saxophone is already in tune. Go to Step 7.

13

Step 5 If your note sounds lower than the CD, your saxophone is said to be flat. Raise its pitch by pushing the mouthpiece further onto the cork, then repeat Steps 2 and 3.

Step 6 If your note sounds higher than the CD, your saxophone is said to be sharp. Lower its pitch by pulling the mouthpiece out along the cork, then repeat Steps 2 and 3.

Step 7 As a final check, play your A at the same time as the saxophone on the CD. If the two notes are in tune they will sound like one instrument. If not, there will be a harsh, irritating beating sound, somewhat like two blowflies sparring. Return to Steps 2 and 3.

Pushing the mouthpiece on raises the pitch.

Pulling the mouthpiece off lowers the pitch.

Tuning Tips 1. Don’t be too concerned if you can’t tell whether you are sharp or flat. Development of the ear takes its own time. 2. Hot weather makes the saxophone sharp. Cold weather will make it flat. You will need to adjust your mouthpiece more on very hot or cold days.

14

Lesson 4 The Note B

The location of a note on the staff tells us its name. The note B is written on the middle line of the staff. T

Note Stems Notes written below the middle line have their stems on the right of the note head going up. Notes written above the middle line usually have their stems on the left going down. Notes on the middle line can have their stems in either direction. Note head Middle or 3rd line Stem

B Exercise

Track 10

1

15

The Repeat Sign The two dots before the final barline are a repeat sign. They mean: play the piece again from the start.

B & A Exercise

Track 11

This and all the following exercises on the CD are played twice - once with the saxophone and accompaniment, then again with just the accompaniment.

Bar Numbers (or Measure Numbers) Bar numbers (also called measure numbers) can be used to help you quickly find your place in a piece of music.

B & A Exercise 2

Track 12

Chord Symbols The letters and numbers above the staves in the following songs are chord symbols. A guitarist or keyboard player can use them to accompany you. The top row of symbols is for accompanying an alto or baritone saxophone. The bottom row is for tenor or soprano.

16

Two Note Samba

Basic Blues Shuffle Style

Track 13

Track 14

A piece of music for two instruments is called a duet.

17

Lesson 5 The Note C The note C is written in the third space of the staff. T

22 3rd space

Easy to C Track 15 Bossa Nova Style

ABC Exercise Fast Latin Style

Track 16

18

The Dotted Half Note (Dotted Minim) A dot written after a note lengthens it by half of its value. A half note, with a dot after it, is played for three beats instead of two.

quarter note (or crotchet) 1 beat

Boomerang Jethro Style

half note (or minim) 2 beats

dotted half note (or dotted minim) 3 beats

Track 17

2 3

2

2 3

Half Measure Merengue Style

2

3

3

rest

rest

Track 18

2

3

4

2

2

Are you still tonguing each note?

3

3

4

4

19

Lesson 6 The Note G The note G is written on the second line of the staff. T

2nd line

G Exercise Afro Style

Track 19

G Wiz Track 20 Boogie Woogie Style

11 22 33

20

Country Modes John Denver Style

Cool Dude Goodnight Style

Satellite Song Bogey Style

Track 21

Track 22

Track 23

21

4 Note Blues Chuck Berry Style

Track 24

The Common Time Signature This symbol is known as the common time signature. It is frequently used instead of the four four time signature, and has the same meaning - four beats per bar (or measure).

All Too Common Medium Rock Style

Track 25

22

Lesson 7 The Note F The note F is written in the first space of the staff. T

1st space

11

Bayou Stomp Rockabilly Style

Fine Old Time Country Jethro Style

Track 26

Track 27

11 22 33

23

Heavy Metals Heavy Metal Style

Track 28

Beam Me Up Scott Joplin Style

Track 29

24

The Slur A slur is a curved line written over or below several notes. When a slur is applied to notes it means that you play them smoothly. To do this, keep blowing as you change the fingering for the different notes. Only tongue the first note of the group enclosed by the slur. Another word for playing smoothly, often used in music, is legato.

Slur Exercise 1

Track 30

Slur

Slur Exercise 2

Track 31

Legato Lullaby Alberti Style

Track 32

25

Lesson 8 b

The Note B Flat (B ) This note is lower than B, but not as low as A. Its pitch is halfway between B and A.

T

1 2

b

The sign in music notation is pronounced “flat.” The flat sign is written after the note

b

in text, (e.g. B ) but before it on the staff. Use the base of your right hand first finger on this side key.

1

There are several different fingerings

b

for B . Most players prefer this one.

Flat to the Boards Reggae Style

Track 33

Flat signs apply to all Bs in the bar. Bars 1 and 5 of this song each contain only one flat sign, but two B

b

notes.

26

Love Me Tender Blueberry Hill Style

Track 34

Flat Signs after a Clef Flat signs are often written on the staff, after a clef. When this happens, as in Ode

b

to Joy, you play every note on the middle line as B .

Ode to Joy Classical Style

Track 35

Ludwig van Beethoven

Ludwig van Beethoven lived in Europe from 1770 to 1827. This piece is an an excerpt from his 9th Symphony.

27

Mango Tango Tango Style

Batucada Blues Batucada Style

Track 36

Track 37

In bars 5 and 6 of this song you may prefer to use the second fingering for B on page 55.

b

shown

28

Lesson 9 The Lead-In (or Pick-up) Songs do not always begin on the first beat of a bar. A lead-in is a group of notes that occurs before the first complete bar of a song, as in the next song.

The Banks of the Ohio Country Style

Track 38

On the CD there are five beats to introduce this song. Count: 1 then play.

2

3

4

1,

Lead-in

The final bar of a song that begins with a lead-in contains the beats that were left out at the start.

Tip If your reeds become wrinkled after you moisten them in hot weather, you can iron them flat. Use your thumb to press the thin end against the flat part of your mouthpiece for about half a minute.

29

When the Saints Go Marchin’ In Trad. Jazz Style

Track 39

On the CD there are five beats to introduce this song. Count: 1 then play.

2

3

4

1,

30

Lesson 10 The Three Four Time Signature

3

4

The numbers and after a clef are called the three four time signature. They mean that there are only three beats in each bar, instead of four. A waltz is a piece of music written in three four time.

Three to the Bar Waltz Style

Track 40

On the CD there are three beats to introduce songs in three four time.

2

2

2

3

The Tie At first glance a tie seems identical to a slur. The difference is that the tie connects two notes of the same pitch, whereas a slur connects two or more notes of different pitches. To play a tied note, keep counting as you blow, but don’t tongue the second note.

The Tie

Track 41

Think:

2

3

1

2

3

31

Barcarolle Track 42 Parisian Waltz Style

Jacques Offenbach

Jacques Offenbach (1819-1880) began his musical career as a cello player. His most famous composition is the Can-Can.

Tied Down Bogey Style

Track 43

2

4

1

2

4

32

The Whole Note (or Semibreve) In the last song, Tied Down, you created a note with a value of four beats by joining two half notes together (bars 1-2, 5-6, etc). There is another way to write a four beat note, called a whole note (or semibreve). 2 3 4

Good Evening Friends

b

Play B natural in this exercise, not B . B natural is plain, everyday B - the second note you learned.

2

3

4

Rhythm Review Count Me In Achy Breaky Style

Track

44

33

Lesson 11 Breathing and Blowing When it comes to taking deep breaths, many people think that it is necessary to make some effort. This is not always so. After you have mastered the technique shown in this lesson, you will understand how deep breaths can be given, not taken. There are two stages of breathing - the in-breath and the out-breath.

Breathing Begins with Blowing Without your saxophone, slowly blow out as much air as you can. When your lungs are empty, hold your abdominal muscles tightly so that no new air enters your body. Hold your muscles tight for as long as you can, until you are almost desperate for air, then let go suddenly. If you are still reading, you must have breathed! Did you notice how easy it was to take your breath compared to the effort you made to blow out? Repeat this procedure a few times until you can feel that the energy used to breathe in is far less than the energy you use to blow out.

Use energy to blow out.

34

Nature Abhors a Vacuum When you empty your lungs, you create a low pressure system inside your body. Outside the body is a high pressure system. Nature tries to equalise these two systems by helping you to take a breath. The quickest way to get more air into your lungs is to relax and let the principles of physics work for you.

Relax to breathe in.

Breath Marker The following symbol appears at certain places in the music to tell you when to take a breath:



Breathtaking

Tip Don’t try to suck air when you are breathing in. Just relax. Allow Nature to fill your lungs. Save your energy for blowing the saxophone.

35

Lesson 12 The Note E

1 2 3

1st line E is written on the first line of the staff.

1 2

Waltz of the Saxophones Chopin Style

Track 45

36

Mary Ann Bossa Nova Style

Track 46

37

Lesson 13 The Eighth Note (or Quaver) An eighth note (or quaver) is equal to half a quarter note. Tail

Eighth Note Exercise 1

rest

Think:

When two or more eighth notes are joined together their tails become a beam.

Track 47

rest

rest

rest

rest

one and two

Eighth Note Exercise 2

Track 48

rest

Think:

Beam

rest

four and

Eighth Note Exercise 3

Shave and a Haircut Hip Hop Style

Track 49

Track

50

In bar 2, will you be playing B natural or B flat?

38

Eighth note Exercise 4

Track 51

Eighth note Exercise 5

Track 52

Mick’s Mexican Mix Music Box Style Five beats introduction.

Track 53

39

Eight Enough

Track 54

Country Rock Style

Tip Clean and dry your saxophone by pulling a cloth through it after each practice session. Pay particular attention to the mouthpiece and reed. You will need to take the reed off to clean the mouthpiece properly. Failure to do this will result in a buildup of stale, green mould. Do you really want that in your mouth next time you play? If your mouthpiece has already reached the disgusting stage, merely soaking it in a basin of warm soapy water will not work. Scrub it clean with an old toothbrush.

40

Lesson 14

n

The Natural Sign A natural sign cancels the effect of a flat sign. Natural signs only last until the end of a bar. Then, the flat sign after the clef comes back into play.

Natural Exercise 1

Track 55

n

n

b

In the second and fourth bars of this exercise you play B natural (B ), not B . B is the first B you learned, on page 14.

b

In the first and third bars, play B .

Natural Exercise 2

Track 56

Natural Exercise 3

Track 57

Natural Riff Track 58 Miles Davis Funk Style

41

Staccato You have seen that a dot written after a note lengthens the note (page 18). A dot written above or below a note means that you play the note short and detached from other notes. This method of playing is called staccato. It is the complete opposite of playing legato, or smoothly. To play notes staccato, think of the letter “d” when you tongue the note, instead of the syllable “doo.”

Staccato Exercise 1

Track 59

Staccato Riff 1 Heavy Rock Style

Track 60

Staccato Riff 2 Bossa Nova Style

Track 61

Staccato Waltz Jazz Waltz Style

Track 62

42

The Mexican Hat Dance Fiesta Style

Staccato Blues Funk Style

Track 63

Track 64

Staccato dots can also be applied to eighth notes. Play them very short.

43

True Blues Track 65 Cut-Time Funk Style

44

Lesson 15 The Dotted Quarter Note (or Dotted Crotchet) Adding a dot after a quarter note increases its length to one and half beats.

quarter note (or crotchet) 1 beat

dotted quarter note (or dotted crotchet) 1½ beats

Dotted Quarter Note Exercise 1

2

Track 66

2 3 4

Dotted Quarter Note Exercise 2

4

Dotted Quarter Note Exercise 4

2

2

2 3 4

Track 67

rest

Dotted Quarter Note Exercise 3

2

dotted half note (or dotted minim) 3 beats

half note (or minim) 2 beats

4

rest

Track 68

4

2

2

4

Track 69

3

2

3

45 Lengthening dots 1½ beats each

Rock Riff 1

Don’t confuse a dot after a note with a dot above or below it.

Track 70

Dotted Ballad Country Ballad Style

Cornpicking Chet Atkins Style

Track 71

Track 72

Staccato dots 1 beat each

46

Cuban Nights Merengue Style

Most of You Breezin’ Style

Track 73

Track 74

47

Sonata Theme K331 Classical Style

Track 75

Wolfgang Mozart

Wolfgang Mozart lived in Austria for most of his life, which was tragically short. (17561791) He composed more than 600 pieces of music. This theme is an extract from one of his many piano sonatas.

48

Lesson 16 The Note D

Octave Key 4th line

1 2 3

D is written on the fourth line of the staff. This is your first note with the octave key. Keep your thumb on the thumb rest as it moves on and off the octave key.

D Exercise 1

Track 76

D Exercise 2

Track 77

D Exercise 3

Track 78

1 2 3

49

D Exercise 4

Track 79

D Exercise 5

Track 80

D Exercise 6

Track 81

D Exercise 7

Track 82

50

The Carnival of Venice Italian Waltz Style Five beats introduction.

O Susanna Folk Style

Track 84

Three beats introduction.

Track 83

51

Rock Riff 2 Heavy Rock Style

Track 85

For He’s a Jolly Good Fellow Old Style Waltz

Track 86

Above bar 24 is the instruction D. C. al Fine (pronounced “fee-nay”). This is an abbreviation of Da Capo al Fine, which means that you play the song again from the start until you reach the word Fine (bar 16). Five beats introduction.

52

Last Minute Blues Count Basie Style

Track 87

Tip You may notice that your bottom teeth are gouging a groove on the inside of your lower lip. This is not a good sign and means that you are folding your lip over your teeth like a flap of skin between your teeth and the mouthpiece. Try to shape your lower lip more like a cushion. Think of an O shape as you place your mouth around the mouthpiece.

53

Glossary accidental - a sign indicating a note from outside a particular key. E.g., the natural sign in bar 4 of Cuban Nights on page 46, or the flat sign in bar 1 of Staccato Blues on page 42. arpeggio - the notes of a chord played one at a time. chord - a group of two or more different notes played together. dissonant - clashing, not harmonious. D. S. al Coda - go back to the sign

, play again as far as the Coda sign

fi

,

then jump to the second Coda sign, and play to the end. embouchure - the position of the lips and mouth when playing a brass or wind instrument. key - a pitch that forms the tonal centre of a piece of music. harmonize - to combine notes to produce a pleasant sounding blend. lick - a short musical phrase. measure - same as bar. octave - the interval between two notes where the frequency of one is either half or double that of the other. E.g., the two A notes on the staff at right are one octave apart. Notes that are one octave apart usually have the same letter name. phrase - a group of notes that form the musical equivalent of a sentence. vibrato - a throbbing in the sound of a note. On the saxophone this is achieved by tightening and loosening the pressure on the reed from the jaw. register - a range of notes on a particular instrument. riff - a short musical phrase, usually repeated or varied several times within a song. sustain - to hold a note or chord for its full value. syncopation - emphasis given to a normally unaccented beat. transpose - to change music from one pitch or key to another.

54

Fingering

#

A or B

F

b

B

#

or G

C or D

G

b

G

C

#

or A

C B

#

C

b

A

b

D

#

or D

b

55

Index

D

D

#

or E

b

E

F

1st finger holds both keys

#

A or B

b

#

D# or E

b

F or E

F

G

b

56

Transposing Table The table below shows you which note you must play to sound the same as another instrument, such as a guitar or piano, or another saxophone. For example, if you are playing an A on the alto sax, the guitar’s note will be C, and the tenor’s note will be D. If you play A on a tenor sax, the guitar should play G, and the alto must play E.

Concert Instruments E.g. Guitar, piano

Alto & Tenor & Baritone Soprano Saxophones Saxophones

C

C

A

# or D b A # or B b D

D

# or E b E

C

# or G b

D

# or A b A

A

# or B b B

E

C

F

# or D b # or E b F

F

F

G

# or A b A

A

# or G b # or A b

# or G b G

# or B b B C

G

G

# or E b

B

E

G

G

D

D

F

F

D

C

# or D b