Saxophone Altissimo: High Note Development for the Contemporary Player by Robert A. Luckey, Ph.D. Featuring Over 250 High Note Fingerings for the Soprano, Alto, Tenor, and Baritone Saxophones Excerpts from Selected Classical Alto Saxophone Solos ‘with Recommended Fingerings for Altissimo Tones Overtone Exercises Extended Range Exercises Challenging Jazz Etudes Incorporating the Altiesimo Register That Can Be Performed with Jamey Acbersold's Play-A-Long, Volume 43, "Groovin' High"TABLE OF CONTENTS Foreword, Acknowledgements Preface Biography Chapter 1 - Background Chapter 2 - Other Physical Factors Related to the Production of the Altissimo 7 : i i Chapter 3 - Overtones Chapter 4 - Altissimo Fingerings Chapter 5 - Extended Range Exercises Chapter 6 - Excerpts From Selected Classical Alto Saxophone Solos Chapter 7 - Jazz Etudes it iti iv vi 20 78 108 71FOREWORD ‘This book is dedicated to those artistic players of the saxophone who through their demonstrated musicianship and mastery of the instrument's altissimo register have made giant strides in advancing the saxophone as a worthy instrument deserving of serious study. As the newest member of the woodwind family, the saxophone has gained acceptance universally as not only a vehicle for jazz creativity but also an expressive “classical” instrument as well. Although capable of closely emulating the qualities of the human voice, the instrument invented by Adolphe Sax can also generate a wider range of distinctive tone qualities than any other acoustical instrument. Today--thanks to these noteworthy performers--the instrument's extended range can be heard frequently in a wide variety of music genres including classical, jazz, and fusion. Because of their diligence and hard work, the lives of many have been enriched considerably. Toe Bob Luckey, Ph.D. ACKNOWLEDGEMENTS Without the technical assistant of two key individuals, the original manuscript of this text may have never been completed. 1 owe considerable thanks to typist, Sonya Dupuis, and music engraver, Ken Cheshire, for thelr dedication to this project. For the practical advice they gave in the early stages of manuscript preparation, I would like to acknowledge Jamey Aebersold and Mike Tracy. Finally, I would like to thank my wife, Norma Jean, for the continued support and encouragement that she has provided from the inceplion of the idea to its completion, a personal goal that has taken many years to fulfill. id :PREFACE During the 1940's, two very contrasting artists, Sigurd Rascher and Ted Nash, each contributed a major book for serious saxophonists who wanted to develop the instrument's still relatively-unexplored altissimo register. Rascher, a virtuoso classical alto saxophonist, wrote Top Tones for the Saxophone!, and five years later jazz tenor saxophonist, Nash, published Ted Nash's Studies in rmonics?. Both saxophonists provided thoughtful exercises to develop the high notes as well as innovative fingerings that worked well with their instruments. After fifteen years of experimentation on professional model saxophones manufactured during the 1960's to the present, I am convinced that many of the fingerings suggested by Rascher, Nash, and others in earlier decades simply do not work well with today's instruments. Because of the difference in dimension in such critical areas as the neck, body, and tone holes, we cannot expect saxophones manufactured during the last three decades to work well with those fingerings designed for use with saxophones manufactured during the 1930's and 40's. Thus, we come to realize that those innovative early publications (which are still in print at the time of this writing) are not meeting the needs of today's saxophonists because the fingerings must be significantly altered to respond well and to play in tune on modern instruments. Many such fingerings will not work at all on modern saxophones selected by professionals. I play the Selmer Super Action 80 line of saxophones--soprano, alto, and tenor. ‘There is no question that my fingerings work especially well on these exceptional instruments. In addition, I have repeatedly tried these fingerings on other very fine professional model instruments including: Selmer Mark VI and Mark VIL, Selmer Omega and USA, Yamaha, Couf, Marigaux, King, and Buffet With little or no modification, they work fine on these saxes as well. After testing numerous models of baritone saxes with a variety of quality mouthpieces, [ then created a list of fingerings that work consistently well with today’s most popular professional-line baritone saxes. In addition to providing multiple choices of fingering for most altissimo notes for soprano, alto, tenor, and baritone saxophones, | have provided exercises to facilitate the development of the top tones. Since an increase in embouchure pressure (along with other factors) is required to produce the extended upper range, the aspiring saxophonist should limit his practice time on the altissimo to reasonable periods to avoid embouchure fatigue. Ten minutes of quality practice daily on the high tones can be far more beneficial than practicing these tones for two to three hours on an irregular basi Saxophone Altissimo: High Note Development for the Contemporary Player is the first book of its type to include recommended fingerings for altissimo passages in standard classical works for solo alto saxophone. Also, it is the first publication to include jazz-styled etudes with chord symbols that can be ivpracticed with a Jamey Aebersold play-a-long record for added enhancement of the studies3. To date, this is the most comprehensive text written on the subject with illustrations of over two hundred altissimo fingerings. From my earliest years of playing the saxophone in grade school up through the master’s level, only the classical manner of playing the instrument was taught to me, even though some of my teachers had experience playing sax in shows, dance bands, and jazz groups. To learn to play the saxophone in a jazz or commercial style, one had to listen to records and (better yet) experience the style first hand to attain proficiency in phrasing and interpretation. Improvisation was never considered an integral part of the saxophone lesson. My philosophy of teaching the saxophone at the secondary and university level has been one of eclecticism combined with relevancy for graduates entering the music profession as the twentieth century rolls to a close. For a contemporary saxophonist to be successful in the music world today (whether one teaches or performs) that person must be versatile. He/she should be able to perform admirably in a symphony orchestra, should the occasion arise; and the contemporary saxophonist should be equally comfortable performing a jingle in a recording studio one afternoon and improvising to standard tunes in a jazz combo or commercial orchestra on Saturday night. It is all part of the ‘American music scene, and the saxophonist must be prepared to express himself in a variety of styles whether his profession is teaching or performing. ‘Therefore, university saxophone majors as well as community and secondary players who study with me learn not only a classical approach to the instrument, but also a jazz/commercial approach, including the study of phrasing/interpretation, jazz-styled vibrato, improvisation, and the altissimo. Whether one is focusing on a jazz or classical style of saxophone playing, that person needs to develop a reasonable command of the altissimo range of his instrument. This difficult, very specialized, technique has come to be expected of both classigal and jazz saxophonists alike. Thus, Saxophone Altissimo: High Note Development for the Contemporary Player represents a logical extension of my aforementioned teaching philosophy. Regardless of style preference classical, swing, bebop, funk, fusion, or commercial--saxophonists can benef greatly from study of the altissimo register. 1Sigurd M. Rascher, Top Tones for the Saxophone (New York: Carl Fischer, Inc.,1941). 2Ted Nash, [ed Nash's Studies in High Harmonics (New York: MCA Music, 1946). 3Jamey Aebersold, A New Approach to Jazz Improvisation (New Albany, IN Jamey Aebersold, 1967).OTHER BOOKS ON THE SAXOPHONE ALTISSIMO Rosemary Lang, Beginning Studies in the Altissimo Register (Indianapolis: Lang Music Publications, 1971). Eugene Rosseau, Saxophone High Tones (Bloomington: Etoile Music, Inc., 1978) Larry Teal, The Art of Saxophone Playing (Evanston: Summy-Birchard Co., 1963). Frederick W. Westphal, Guide to Teaching Woodwinds (Dubuque: Wm. C. Brown Publishers, 1990). . BIOGRAPHY Bob Luckey was born in Dunbar, Pennsylvania in 1948. At the age of five, he received his first saxophone lesson from his father, an active saxophonist in Pennsylvania dance bands since the 1940's. Because of his small size at this time, Bob was unable to hold his father's new Buescher 400 alto sax, the only instrument available on which he could practice. To accommodate the diminutive stature of his son, Mr. Luckey taught young Bob to support the saxophone on a steep stair step while practicing, thus relieving much of the strain from the neck and fingers while standing with the instrument attached to the neck strap. At an early age, Bob began to study the saxophone with outstanding players from the Pittsburgh Symphony, including clarinetists Louis Rocereto and Bernie Cerilli. By the time he graduated from high school in 1966, he had become recognized by music educators as one of the finest young alto saxophonists in the Eastern United States, having placed first-chair in such respected organizations as the Western District and Region IV Pennsylvania State Bands, the Carnegie-Mellon Honors Band, and the Mid-East All Star High School Band, sponsored by Duquesne University in Pittsburgh. While studying a classical approach to the saxophone, Bob began playing professionally with local dance bands at age fifteen, when he first joined the ? American Federation of Musicians. It was during this very early stage of his musical career the he became aware of the jazz style of playing the saxophone. Afier learning how to phrase and interpret the music, Bob began to focus his efforts toward learning how to improvise. Having been inspired by local tenor man, Joe Anastasia (from Uniontown), as well as other saxophonists and local jazz trumpet players, he would begin collecting records of jazz artists (particularly saxophonists) and attempting to emulate their style. His initial sources of inspiration were alto saxophonist, Paul Desmond (featured soloist viwith the Dave Brubeck Quartet), and tenor saxophonist, Stan Getz. Later he would discover Charlie Parker and Lester Young, who preceeded both Desmond and Getz. In 1970, Bob graduated from Indiana University of Pennsylvania (Indiana, PA), where he earned a B. S. in Music Education as an alto saxophone major. Here, under the tutelage of bassoonist, David Borst; oboist, Robert Lloyd; saxophonist/clarinetist, William Willett; flutist, Phillip Swanson; and clarinetist/oboist, Daniel Dicicco, he would further refine his classical saxophone skills and also learn to play the other woodwinds. As a classical saxophone performance major at the master’s level, he would earn the Master of Music degree from Duquesne University (Pittsburgh, PA), where he studied with clarinetist/saxophonist, Nestor Koval, a great classical performer who is equally comfortable in the jazz idiom. In 1981, Bob completed a Ph. D. in enthnomusicology with a specialization in Afro-American music and jazz studies from the University of Pittsburgh. It was here that he first met and subsequently studied with Dr. Nathan Davis, director of Pitt's graduate Afro- American music program. Under the supervision of Davis, Bob would complete his dissertation on one of the greatest jazz saxophonists of all time, Lester Young, who was the star soloist with the Count Basie Orchestra from 1936-'40. The title of this first scholarly writing on Young, "A Study of Lester Young and his Influence upon his Contemporaries,” is available from University Microfilms International in Ann Arbor, Michigan. Throughout his musical career, Bob has continued to perform in both the classical and jazz styles, and his teaching experience at both the high school and university level encompasses two decades in the following states: Pennsylvania, New Hampshire, Illinois, Iowa, North Carolina, and Louisiana. Since 1978, he has led his own bebop-oriented jazz combo, Bob Luckey & Friends. Currently, he is the saxophone instructor and Director of Jazz Studies at the University of Southwestern Louisiana. vitCHAPTER 1 BACKGROUND During the 1940's, when classical saxophonist, Sigurd Rascher, and jazz artist, Ted Nash, had their unique books on development of the altissimo register published, very few saxophonists ever thought of extending the normal 2 1/2 octave range of the instrument. These extended tones were considered “freak tones" not deserving of legitimate study. Because of the pioneering work of Rascher, contemporary classical composers began to write more works for the serious saxophone soloist, which would incorporate either required or optional altissimo notes. In the jazz world, great soloists including: Ted Nash, Sam Donahue (of the Stan Kenton Orchestra), Paul Desmond, and John Coltrane would incorporate the altissimo register into their improvisations, the result of years of specialized practice with newly-devised fingerings combined with hecessary physical adjustinents. During the 1940's, 50's, and 60's, however, still relatively few performers in either the classical or jazz genre were serious about extending the normal range of the saxophone with artistic results. “squawks" were being heard with more regularity, particularly on the alto and tenor, but few individuals seemed dedicated to adding a complete chromatic scale of one or more octaves to their normal range. One of the exceptions to the above was Santy Runyon, a Chicago-based woodwind performer and teacher, who since the 1940's has taught many jazz greats including Charlie Parker, Sonny Stitt, Harry Carney, Lee Konitz, and Jerry Coker, to name only a few. He was able to connect chromatically the saxophone altissimo with atypical smoothness for one octave or more, (Today Santy Runyon's name is synonymous with high quality woodwind mouthpieces and specialized plastic products for woodwind players. He heads Runyon Products in Opelousas, LA.) Because of the dedicated efforts of this relatively small group of saxophone performers/teachers dating back to the 1940's, development of the altissimo had evolved by the 1970's and 80's to become a routine skill mastered by sincere performers in both the classical and jazz styles of playing. Jazz aficionados hear the sax top tones in the playing of Johnny Griffin, Sonny Stitt, Bud Shank, Pharaoh Sanders, Ernie Watts, Jerry Coker, Nathan Davis, Don Menza, Phil Woods, Eric Kloss, Richie Cole, Dexter Gordon, Paquito D'Rivera, James Moody, and numerous others. In a more commercial setting, the fusion playing of David Sanborn, Tom Scott, Michael Brecker, and Grover Washington reach a far-wider audience than do any of their altissimo-playing counterparts in either the jazz or classical genres. Due to their dedicated efforts coupled with their prolific record output, these (and other) jazz fusion players have brought forth the unique sound of the saxophone altissimo to the general music listener. It has taken nearly fifty years, but today it has become essential for all saxophonists to learn the top tones for the saxophone, particularly for the alto, tenor, and baritone saxophones. 1In this text, based on fifteen years of research, experimentation, and practice, I have compiled multiple high note fingerings for all members of the Saxophone family: soprano, alto, tenor, and baritone. More than two hundred fifty altissimo fingerings are provided. Exercises for daily practice are provided along with the excerpts of selected alto saxophone solo repertoire written by major composers for the instrument. Suggested fingerings are provided for each excerpt. In addition, sixteen jazz etudes based upon familiar chord progressions have been newly-composed by the author to include explorations into the altissimo. To enhance the study of the jazz material, chord symbols are provided along with the volume number and track of an appropriate Jamey ‘Aebersold play-a-long to gain the full benefit of the material. THE EMBOUCHURE AND THE EAR Prior to one's initial studies in the altissimo range of the saxophone, that person must possess a good tone from low B flat up to high Fy a correct Enbouchure, and must have a well-developed ear. Students who have not yet mastered these basic fundamentals of saxophone performance shoul f fhe study of the altissimo register until after a good tone, refined embouchui and_a well-developed sense of pitch can be demonstrated on_their instrument. Before an altissimo tone is attempted, the pitch must be heard accurately in the player's mind, Thus, it is essential to be able to hear intervals in tune and to be Eble to sing (or hum) them to yourself with consistency. Although the focus of this text is not development of a “good ear,” one's sense of pitch and ability to hear intervals is likely to improve considerably with study of the saxophone’s highest tones. To facilitate the refinement of one's pitch, 1 highly recommend practicing regularly with an electronic tuner. Practicing octaves with a tuner is pee of the best exercises I know to begin developing a refined sense of pitch. ‘Miter octaves can be played in tune, I recommend moving on to fourths and fifths. Those tuners that possess the ability to play a pitch back to the musician— in addition to registering a tone on a meter-are the ones I feel are most beneficial for this purpose. the high register sharp on many instruments. The saxophone altissimo {sino exception. Before proceeding with altissimo studies, the sincere saxophonist must be able to play his upper register acceptably well in tune, partic ‘upper C sharp up to high F. This requires a refined sense of. pitt diairelaxed’, but flexible, embouchure. (When the high notes' are’ sl jeeds to drop the jaw slightly while keeping the cornersi firht,t faiding tlaphragmatic support, and retaining a constant air streamjay fr ‘There is a universal tendency, it seems, to play Regardless of the style of mi must be under contro! relating to — oO eer1) Curl approximately 1/2 of the red of the lower lip over the bottom teeth. 2) Do not stretch the lower lip. Instead, bunch it slightly to serve as a cushion. Thinking the syllable "oo", form a circular shape with the mouth. 3) Drop the jaw, and insert the mouthpiece into the mouth. Approximately 3/8" should be inserted for alto players, 1/2" for tenor players. Soprano players should insert slightly less mouthpiece in the mouth than do alto ‘saxophonists, and baritone players should have a little more mouthpiece in the mouth than do tenor saxophonists. 4) Teeth must remain firmly on top of the mouthpiece to eliminate mouthpiece movement. 5) Corners should be firm. 6) The jaw should be down in a normal, relaxed position. It should neither be pointed nor bunched for proper saxophone tone and performance. 7) Maintain the circular shape with the mouth while playing. This will provide support for the mouthpiece while helping to establish a loose, relaxed embouchure. The saxophone embouchure should not be as firm as that of the B flat clarinet, or the resulting tone will be lacking in depth and beauty. Likewise, it is important to remember that the larger the saxophone, the more relaxed_the embouchure. To determine the relative firmness of the embouchure, alto saxophonists should be able to produce a concert A 880 (corresponding to the altissimo F#) on the mouthpiece, while playing at the fortissimo level Likewise, tenor players should be able to sound the concert G above the staff, which corresponds with the altissimo A on the larger instrument. Since most soprano and baritone saxophonists also play either alto or tenor (or both), they must keep in mind that the soprano sax embouchure is only slightly more firm than that of the alto, and that the baritone sax embouchure is slightly more loose than that of the tenor. (Comparatively, the mouthpiece for the B flat clarinet should produce a concert B above the staff when played fortissimo). This concept was introduced to me in Lafayette, Louisiana by veteran teacher /performer, Santy Runyon, more than a year after his eightieth birthday. Having adhered to this pedagogical principle for many decades, Runyon has produced some exceptional saxophone players and woodwind doublers, dating back to his early studio teaching years in Chicago during the 1940's. 3CHAPTER 2 OTHER PHYSICAL FACTORS RELATED TO THE PRODUCTION OF THE SAXOPHONE ALTISSIMO In addition to a good embouchure and a well-disciplined ear, additional factors must be brought under control before the altissimo can be realized. Proceed deliberately through this next section, for an omission of any of the specified techniques could result in top tones that are less than satisfactory. 1) 2) 3) 4) 5) The embouchure must be more firm in the altissimo register than in the saxophones normal range. To properly accommodate increased tension of the lips and facial muscles, a slightly stiffer reed may be needed. If a reed is too soft, it will choke off the tone entirely as pressure is increased. Practicing the succeeding group of exercises on the overtone system will serve to prepare the player for the necessary ‘embouchure adjustments needed to produce the altissimo. To produce the altissimo, the lower jaw will have to be thrust forward somewhat to allow a greater length of reed to vibrate. A slight adjustment of the lower jaw position can make a great deal of difference in one’s attempt to employ additional top tones to the normal range of the instrument. Velocity of the air stream must be increased, sometimes tremendously, to produce certain high notes out of the normal range. Diaphragmatic support must be maintained at all times in conjunction with the increased air velocity. The tongue must be arched high in the mouth, as though saying the syllable, “ee. This will insure a fast air speed, while facilitating the desired top tone. As the tongue is arched high, this serves to reduce the opening of the oral cavity through which the air passes, thus generaling a faster air speed. ‘The mouthpiece can either help or inhibit the development of the high notes. Simply put, some mouthpieces just do not work well to generate the saxophone’s highest tones. The subject of mouthpiece construction, unfortunately, cannot be addressed in this brief text. It is a highly complex and personal matter relating to material of construction, chamber design, battle, tip rail, side rails, tip opening, etc. Considerthese observations and recommendations based upon nearly four decades of playing the saxophone and two decades of teaching the instrument: a. The material from which the mouthpiece is made (plastic, hard rubber, or metal) has little, if any, effect in producing the high notes. Regardless of material, mouthpieces which exhibit any sign of damage or flaw in manufacturing will probably not produce a strong altissimo. (Do not settle for a mouthpiece with nicks In either the tip or side rails, hairline cracks; dents, or warpage. These factors will significantly reduce the possibility of developing a controlled altissimo) Tip openings from medium to very open (although | personally do not recommend excessively-large tip openings) can produce the high notes very wall, as long as it is coupled with the proper reed strength. In general, i reed; and the larger the tip opening, the softer the reed. Unusually-small tip openings do not generate a good altissimo because even with a stiff reed, the tones are usually choked off due to increased embouchure pressure. ‘A mouthpiece/reed setup which blows too easily may not produce a high register. There must be a fair amount of resistance to be overcome before satisfactory results can be achieved. Be cautious of reeds that are to0 soft for the selected tip opening. Granted, they will produce a tone with little effort, but without a reasonable amount of resistance, the altissimo may never be produced. Mouthpieces with high baffles and narrow tip rails (ihe type usually equated with contemporary jazz and commercial playing) are usually very responsive to the high tones, as long as the proper reed strength is selected to provide sufficient resistance, Jazz-oriented mouthpieces with a small chamber (to produce a bright sound with much projection) usually produce a strong altissimo. It is interesting to note, however, that there are some fine classical sax mouthpieces that lack the small chamber, thin tip rail, and narrow side rails which still produce a strong allissimo in the hands of a seasoned musician. Instead, they possess a 5large chamber with moderate to broad tip and side rails.) Such universally-accepted classical mouthpieces as the Selmer S 80 and its predecessor, the Selmer Soloist in a standard C* tip ‘opening ate capable of producing a great extended range. This is somewhat due to the fact that these mouthpieces have a considerable amount of resistance built into them to help control both the volume and quality of tone. Coupled with the proper reed (in combination with the necessary physical adjustments just addressed), these mouthpieces and others of similar design can produce excellent high notes that sound well-centered and in- tune. g. A premium quality ligature can definitely enhance the saxophone's top register. (I prefer those manufactured by Rovner! which are made of practically-indestructable material resembling leather and with one adjustment screw on top. Almost impervious to any type of breakage, these excellent ligatures are reasonable in cost and allow the reed to vibrate at its maximum.) Many other brands of quality ligatures are available at belter music stores across the country. It pethaps deserves mentioning that Runyon Products of Opelousas, Louisiana has recently marketed a new saxophone mouthpiece called the "Bionix,"2. which Santy Runyon designed expressively for the purpose of facilitating the altissimo register for today's musician who also desires added projection. It is likely that in due time other mouthpiece manufacturers will follow Runyon’s lead and develop their own high note sax mouthpieces. Lastly, don't be afraid to experiment with many mouthpieces, reeds, and ligatures until you find a combination that works well for the type of playing that you do, whether it is classical, jazz, fusion, or commercial. If you regularly perform in two (or more) distinctly different genres--such as classical and jaz2-- don’t expect to find one mouthpiece which will perform with excellent results in both situations, Finding one such "compromise mouthpiece” can be very frustrating. Instead, I recommend that you look for two contrasting mouthpieces that will allow you to perform at your very best in each musical situation. ‘Rovner Products, P.O. Box 15006, Baltimore, MD 21202. 2Runyon Products, Inc., P.O. Box 1018 Lewisberg Rd., Opelousas, LA.CHAPTER 3 OVERTONES Because of the acoustical phenomenon known as the harmonic series or overtone series , every note played on a wind instrument is comprised of several different notes heard in varying degrees of prominence. The strongest of these tones is called the fundamental, while each of the inherently weaker tones is called a harmonic, overtone, or partial. Illustrated is the overtone series through the 12th partial based upon the saxophone’s five lowest notes: Bb, B,C, C#, and D. These are for reference only, and are not intended to be played as an exercise. See Example 3-1: All of the harmonics can be produced from the fingering of the fundamental if the following adjustments are made: 1) The embouchure must be made more firm than normal while maintaining the circle or "oo" formation. 2) The girvelocity must be increased to create more air pressure. 3) The tongue must be increasingly arched (as though pronouncing the syllable "ee") when ascending the overtone series. The converse of this principle must be followed when descending the overtone series. 4) Slightly more reed must be exposed in the mouth by rolling the lower lip out a little. 5) The jaw should be thrust forward slightly to allow for better reed vibration. Make certain that the reed is firm enough to vibrate fast under increased embouchure pressure. A soft reed will not produce good results.EXAMPLE 3-1 Much experimentation will be necessary to achieve the desired results with the production of the natural overtone series. Once the overtone series can be controlled, one will have obtained the correct “feeling” for producing the altissimo register with special fingerings as illustrated in Chapter 4. First, begin by practicing the overtone series based on fundamental BP, the easiest to play and the best in-tune of all. Try to produce the second partial, third line Bb. This harmonic can be challenging to isolate because of its relatively low frequency. It is not unusual to produce the 12th, F, while aiming for the octave B®. Do not despair if you experience the usual difficulty in finding the second partial. What offen happens is that due to increased embouchure pressure and air velocity, the 12th sounds immediately after the 8fundamental, bypassing the desired octave Bb. If this occurs, try using a slightly slower air stream while intentionally keeping the tongue low in the mouth. As a final aid, take a little bit of mouthpiece out of your mouth and try again. This technique will dampen some of the reed vibration, and, in turn, it will greatly facilitate the production of the second partial. Remember, YOU MUST HEAR THE TONE BEFORE YOU PLAY IT. HUM OR SING IT TO YOURSELF BEFORE YOU BLOW. The inner ear must accurately hear the desired pitch before you ask the embouchure and the air stream to produce it. Before proceeding any further, practice the exercise outlined in this paragraph. Because of the importance of developing the inner ear along with the embouchure and air stream, you must work methodically to strengthen each of these related facets that affect one’s performance. Octaves, fifths, and fourths, should be practiced first--in that order. These are the first intervals produced as one ascends upward through the overtone series, and you must learn to hear them in tune, Once you can isolate the second partial you should begin working on producing the third partial, top line F. This harmonic generally responds easily with only a slight increase in pressure and air speed. If you find difficulty getting this overtone to speak, arch the tongue slightly as if saying the syllable “ee.” This technique serves to increase the air pressure by generating a faster air speed due to the greatly reduced opening in the oral cavity caused by the arched tongue. See the next illustration, Example 3-2. Notice the intervallic relationship between the first three tones of the overtone series: an octave from the fundamental to the second overtone, a perfect fifth from the second overtone to the third.EXAMPLE 3-2 r- Oct. 5 = ; 1 2 3 After each of these two additional tones can be produced in succession, try isolating the 12th, F. Finger low BP, and then stop. Hum the 12th, and then play it from the low BP fingering. Check the intonation of this third partial by fingering and playing a regular F. Practice descending from F to middle BP, to Jow Bb, all with the low BP fingering. ‘Once you are comfortable producing these first three tones of the Bb overtone series—regardless of how long it takes you~try comparable exercises starting on Low B, C, C¥, and D. You will discover that these harmonics work less well than do those based on Bb. This is because the overall responsiveness of the harmonics diminishes as one ascends to the upper fundamentals above Bb, When you ascend from the third partial to the fourth, a perfect fourth results. See Example 3-3: 10EXAMPLE 3-3 Thus, in practicing up to the fourth harmonic of the overtone series, you are confronted with all perfect intervals: the octave, perfect fifth, and perfect fourth. These are the most important intervals for any musician to learn to play (and hear) in tune, Practice in a variety of ways on the BP series while you finger the fundamental: 1) Ascend from the fundamental to the fourth partial, BD = BD. Don't worry about articulating for now. 2) Descend from the fourth partial to the fundamental. 3) Randomly jump around to any of these four tones, but do nol proceed until the inner ear hears the targeted nate. Producing the fourth partial, which is two octaves higher than the fundamental, requires a noticeable increase in embouchure pressure and air speed as compared to the previous one. In addition to increasing the air speed and embouchure pressure you will likely need to arch the tongue more (while thinking the syllable “ee"), expose more reed by rolling the lower lip out slightly, and thrust the jaw forward a small amount. This barely-noticeable movement of the jaw allows the player to increase embouchure pressure without sacrificing maximum reed vibration, a must for altissimo playing, ulOVERTONE EXERCISES The following, series of exercises incorporates overtones up to the fourth harmonic utilizing only Bb, B, and C. Maintain the fingering for the fundamental tone for all given notes in the exercise. Strive for accurate intonation. HEAR THE PITCH BEFORE YOU PLAY IT. Check the intonation of the overtone with that of the comparable note played with the normal See Example 3-4 finger EXAMPLE 3-4 Practice the following until these tones can be played with relative ease. Use the ‘cringe of the fundamental indicated with the diamond shape note head (ese == ie i Pe 12EXAMPLE 3-5 ip bo 2This next series of exercises incorporates overtones up to the eighth harmonic based upon fundamental Bb. Since this overtone series is more stable and better in tune than others, it would be best for you to limit yourself to only this one as you attempt to extend the harmonic series to the eighth partial. In spite of the intonation deficiencies of the seventh partial (noticeable flatness), you should ‘clearly recognize the familiar sound of the Bb dominant seventh chord (Bb7) once you produce the seventh harmonic, Ab, Again, strive for accurate intonation, and HEAR THE PITCH BEFORE YOU PLAY IT. See Example 3-5: OVERBLOWING SIXTHS Thus far we have concentrated on overblowing harmonics based on the saxophone's lowest tones, a necessary stepping stone for developing a strong altissimo register. It behooves you, however, to also explore the technique of overblowing sixths from the Saxophone'’s upper register. Actually, many excellent altissimo fingerings are based on the standard fingerings a sixth below. (Minor fingering adjustments will be made to these standard high note fingerings to improve the overall tone quality, stability, and intonation of the top tones. These can be seen in Chapter 4, Altissimo Fingerings.) Soprano, alto, and tenor saxophones will overblow a major sixth above the following notes: C#, D, D#, E, F, (F#), Noticeably less consistent than its smaller family members, the baritone sax tends to overblow minor sixths above C4, D, and D#, and major sixths above E and F. This, however, can vary depending on the manufacturer of the instrument. See the following illustration, Example 3- 6 15EXAMPLE 3-6 SOPRANO, ALTO, AND TENOR SAXOPHONES BARITONE SAXOPHONE fe ovensiows 8 2 ovenmows fa #2 ovennows “a In? 2 © ovennons fe 2 overoiowsLearning to overblow sixths from the saxophone’s upper register is an excellent way to develop not only the ear, but also the embouchure and the air Stream. Since many altissimo fingerings for selected tones are based on the standard fingerings a sixth below, practicing these harmonics from high C¥ or D upward is particularly valuable for you as you strive to extend your high range: Try the following exercises, Example 3-7, and continue to work on them until they can be executed without difficulty.EXAMPLE 3-7 ' SOPRANO, ALTO, AND TENOR SAXOPHONES ft fee Tae ThHts 3e thie ul ft, beyCHAPTER 4 ALTISSIMO FINGERINGS Once you can execute comfortably the overtone exercises provided in the previous chapter, you are then ready to begin utilizing the altissimo fingerings That follow. “Those physical adjustments that you had to make to produce the overtones in Chapter 3--including increased embouchure pressure and air velocity, position of the tongue and jaw, and the amount of lower lip rolled over the bottom teeth-must now be coupled with a high note fingering. Separate fingerings are provided for the soprano, alto, tenor, and. baritone saxophones, and multiple choices of fingerings are available for each altissimo tone beginning with high F¥. Because of the inherent high pitch of the soprano saxophone, you may prefer not to employ the altissimo notes on that particular instuiment.. For those who choose to do so, however, I have listed soprano fingerings for those tones up to altissimo C, a perfect fifth above the instrument's normal range. In general, the saxophone’s top tones can be achieved easier on the larger instruments. Therefore, because of the soprano’s diminutive size, it will create the greatest challenge for the saxophonist who is attempting to increase the normal range of this already high-sounding instrument. You will find that with few exceptions, each member of the saxophone family requires a slightly different fingering to produce the same altissimo nole in tune, Do not assume, for instance, that an alto and a tenor sax of the same make and model can use the same high note fingerings. This will probably not be the case because of the difference in the overall size and bore. A few identical fingerings may play reasonably well in tune on both of these instruments, but generally, the fingerings will vary slightly to produce good intonation in the extended range. Note: Producing the first altissimo note, FM, is a challenge for many. Often initial efferts result in undesirable squeaks. This frequently occurs when attempting to connect a high F (fork fingering) to neighboring F* while employing the front F key in combination with side Bb. (Refer to the accompanying fingering diagrams for variations of this basic fingering pattern.) If you continually produce a squeak (harmonic) while fingering high F#, try the following remedies: 1) relax the embouchure; 2) flatten the tongue more (as though saying the syllable "aa"); and 3) decrease the air speed. Soon you should achieve solid, resonant high F¥ without the need for a high F# key, 20SOPRANO SAXOPHONE 2angen ail 2SOPRANO SAXOPHONE 23SOPRANO SAXOPHONE ge TIONAL Cecde oe E> KEY OPTIONAL EP KEY OPTIONAL LOW B OPTIONAL LOW ¢ OPTIONALSOPRANO SAXOPHONE i e oe Oo 9 4 LOW B GeTIONAL Low c! OPTIONAL 25SOPRANO SAXOPHONE Be 2 eeo AO @@c00 OO e090 oeSOPRANO SAXOPHONE ba @000 @®&00 eeeSOPRANO SAXOPHONE i : ; oh it, 2s ‘SOPRANO SAXOPHONE bol 29ALTO SAXOPHONE all 2090 OoALTO SAXOPHONEyen Cg huaby’th th i " £ u ALTO SAXOPHONE a) ec@o ALTO SAXOPHONE rd a > KEY OPTIONAL E C@cd0 @@0 nS OS oe § F KEY OPTIONAL E> KEY OPTIONAL F KEY OPTIONAL 90 | ts it |w08ALTO SAXOPHONEALTO SAXOPHONE ¢ E> KEY OPTIONAL D, E KEYS OPTIONAL oO Sh S| <) q ° ihe oO e eALTO SAXOPHONE ge __ts ecce cece} —~ = : e0e oe| = Fo *a5e een] SaALTO SAXOPHONE ZB Coe oa ° 2 Q ° le? @ Ir ie ) Q ap. % ob, e e oO | /\) BI / 8 / s A) eo el iD IZTENOR SAXOPHONETENOR SAXOPHONEeo eo TENOR SAXOPHONE ot bs rey optroua (i i ogg) Coxe y F#y Bal oO gi a i i oO Oo‘TENOR SAXOPHONE-_el ~ en 38 TENOR SAXOPHONE owl| gh cS - OK) ee “REY OPTIONAL TENOR SAXOPHONE‘TENOR SAXOPHONE‘TENOR SAXOPHONE Soll gb KEY OPTIONAL‘TENOR SAXOPHONE to Ga08 gee OO —™~ OO |‘TENOR SAXOPHONE Se bat CPed0 C@cOo oeCRs00 oO 31 /BARITONE SAXOPHONEBARITONE SAXOPHONEBARITONE SAXOPHONE te oe) ep he 0 | / f § 9) § E KEY OPTIONAL G* KEY OPTIONAL E REY OPTIONALBARITONE SAXOPHONE ge fi of KEY OPTIONAL 64BARITONE SAXOPHONE @&00 — @2c00 en » D XEYS OPTIONAL SIDE C OPTIONAL 66BARITONE SAXOPHONE @00 e Oo oO $1 /) | 18 3 § S § AREY OPTIONAL A KEY OPTIONAL LOW B OPTIONALBARITONE SAXOPHONE 3" 2 Pe oe ceo oo D0 ee te 990 OO — Ss a A-KEY OPTIONAL A KEY OPTIONAL LOW B OPTIONAL‘ ;BARITONE SAXOPHONE fe NAL HIGH D OPTIONAL F KEY OPTIONAICecde BARITONE SAXOPHONE TS 8” § SIDE BP OPTIONAL G KEY OPTIONAL 7 foXe) 8200 — ~~ Lap 990 ere 'o cose —— @®00 § [|| # E KEY OPTIONAL SIDE RP OPTIONAL e> KEY OPTIONAL H ,ope? eo BARITONE SAXOPHONE TIONALa2 [oece® eee gall BARITONE SAXOPHONEBARITONE SAXOPHONE gu 2 Sedo 290 @0@o Oo ~~ Za O50 LZ Oe ~ Zam O50 A KEY OPTIONAL G KEY OPTIONALBARITONE SAXOPHONE ge fo —— 00 @c@0 si eres Cee *aE8 990 fe 7 SIDE C OPTIONAL G* KEY OPTIOMAL S G KEY OPTIONALBARITONE SAXOPHONE, Be 2 sh RUB: These fork fingerings, shown in Example 5-7, should be utilized: IEXAMPLE EXAMPLE 5-7Additional F¥ fingerings available include those illustrated in Example 5-8: EXAMPLE5-8 It is not unusual at first to experience difficulty in both producing and articulating certain notes whose fingerings utilize the front F key, especially fork E. This high register tone (played with only the left hand for all saxes except the faritone) often presents a far-greater problem for the saxophonist than its upper neighbor, fork F. For this reason, I have chosen to begin this next series of exercises (intended to bridge the gap between the saxophone’s normal range and the altissimo register) with emphasis on producing and articulating fork F. With a slight increase in air speed and a subtle arching of the tongue, fork F should sound, and its intonation should match that of the regular or “long” F fingering. Because of its employment of the saxophonist’s left hand middle finger, the fork F fingering is usually a routine choice following a high C. In the following exercises, use either the breath or tongue to repeat upper tones. Finding the exact tongue placement to articulate either a fork-fingered note in the normal range (such as high E or high F) or selected altissimo tones can be exasperating. Because of the arched position of the tongue, the familiar 84manner of tonguing that you have employed in the saxophone's normal range will most likely not produce any sound at all while the tongue is in its elevated position. Since the tongue position is different for sounding the top tones, it will necessarily be different for articulating those same tones. Consider the following recommendations for tonguing in the saxophones highest register: 1) Produce the tone using only the air stream at first. 2) Play at a forte level. 3) While maintaining a constant ait stream, begin to articulate in various places on the reed’s surface until you find the tight spot. Once you've found the exact location where you can articulate, repeal the tone over 4) Finally, work toward increasing the clarily and speed of your articulation in the extended range. Remember how each note felt when the tongue struck the correct position on the reed for the articulation of each high note. Through repeated practice, develop consistency in preparing the embouchure, tongue, and air stream to work together in top tone articulation Note: Parts A and B should be completed successfully before proceeding to the remaining exercises and folk songs. Once proficiency has been achieved in parts A and B, feel free to sample the remaining material in Chapter 5 in any order that you desire. 83Use the front F key forall upper tones between high E and altissimo G# found in section A (Choore an alternate fingering aaly if your instrument will not produce a given pitch with the opetified fingering.) After you can play each exercise alurrad, try using the tangs to {nitiete all tones as you repeat each exercise. All repeated notes should be fongued lightly dnd held full value Don't be in a hurry. Strive for a uniform tone and precise intonation, ‘even if you must change the rhythm to accomplish this. mnN A) ak 86oo fe rfefefef = eas eae ft i -# iPERFECT INTERVALS: OCTAVES, FIFTHS, AND FOURTHS In the following sections you will need to use altissimo fingerings that do not always raploy the front F key. (Refer to Chapter 4 for illustrations.) Choose @ fingering that will Sitgw you to connect smoothly with adjoining notes. Some fingerings ‘will work better than stem on your particular inetrament. Look for ones that are stable, play in tune, and generate a uniform tone quality, For accuracy, check your ‘harmonies with an electric generat’ you do not have one of Unese accessories, check the pitch of your ‘altissimo tone with that of the tone one octave Tower. B) te f a1MAJOR AND MINOR ARPEGGIOS 92 ih leCHROMATICS96Qe. ---------------- 222-5 gue ------ 2-2 - een 7F) MAJOR SCALES UP TO THE NINTH 9899(B)---- PENTATONIC SCALES 100101102(8)-, 103AMERICAN FOLK SONGS ‘The United States is rich in the folk song tradition. From this wealth of folk material T jected twelve short songs-each one in a different key-to be practiced. Choose ‘mo fingerings that will allow you to smoothly connect the varied intervals of the melodie line. HEAR THE TONES BEFORE YOU PLAY THEM. ‘Strive for consistent intonation and uniform tone quality. EACH OF THE FOLLOWING EXAMPLES SHOULD BE PLAYED ONE OCTAVE HIGHER THAN WRITTEN. 1, LUCY LOCKET 2, RAIN, RAIN o 3. GOODBYE OL’ PAINT5. HOT CROSS BUNS 6. FROG WENT A-COURTIN'7. MERRILY WE ROLL ALONG . 9. THERE'S A HOLE IN MY POCKET Et ey 10. SHENANDOAH 106Ee 11, THE FARMER IN THE DELL 12, LONESOME VALLEYCHAPTER 6 EXCERPTS FROM SELECTED CLASSICAL ALTO SAXOPHONE SOLOS Since the mid 1930's when Jacques Ibert and Alexander Glazounov wrote respectively The Concertino Da Camera and Concerto in E Flat for classical saxophone virtuoso, Sigurd Rascher, a wealth of solo repertoire has evolved for the serious saxophonist. Many outstanding composers have contributed compositions that have become standard works for today's saxophone recitalists, and many of these works incorporate required altissimo notes. Today, most of the exceptional solo saxophone repertoire is written for the alto. This is probably due to the fact that early saxophone artists including Rascher, Marcel Mule, and others performed and recorded extensively on the E flat instrument. Little by little, we are finding more quality solo literature being written for the soprano, tenor, and baritone saxophones by fine composers, but, to date, the majority of the great solo saxophone works has been penned for the alto. Thus, the excerpts that I have selected because of their use of the saxophone's extended range are written for the alto saxophone. Perhaps the best known saxophone solo written for the solo alto saxophone and chamber orchestra is the Concertino Da Camera by Jacques Ibert. This demanding piece, which has been transcribed for piano and saxophone, calls for only one altissimo G flat near the end of the second movement along with a concluding altissimo F sharp. There are, however, several passages with optional (8va ad lib) altissimo notes, which extend far into the saxophone's top tones. These passages are playable by only a small number of truly exceptional saxophone performers who are not intimidated by the extreme challenge presented by Ibert. The following passage, Example 6-1, occurs twice in Movement I: 108EXAMPLE 6-1 Allegro Con Moto( J = 126) Copyright 1935 by Alphonse Leduc, Used with permission. This ascending run, comprised of whole steps and half steps, calls for altissimo F#, G¥, and A to be played at the prescribed tempo of 26. This is a challenge! To meet the challenge, the soloist must find fingerings that can be connected easily, and, in addition, each tone must be stable enough to be articulated staccato at a fast tempo. Due to the presence of a high F# key on most of today's professional model alto saxophones, some altissimo passages will be somewhat simplified. Many fine top-of-the-line saxes, however, such as the ‘older Selmer Mark VI's lack the high F#, and they are still preferred by many professionals. For this reason, I will include suggested fingerings for both alto saxophones with and without the high F¥ 109EXAMPLE 6-1A xophones with the High F#) (For Se:EXAMPLE 6-18 (For Saxophones tacking the High FF) . oe 74s E> KEY OPTIONAL OO 090 ne first movement, the performer is given the tave higher, necessitating the ability to play standard high F) in a legato In Example 6-2, also from the option of playing the passage one oc! up to altissimo F (one octave higher than the manner. Mm.EXAMPLE 6-2 Allegro Con Moto ( J = 126) The problems presented here are major and multi-faceted: 1) choosing fingerings that are stable and connect easily, 2) playing in tune, and 3) executing the passage with a singing tone quality. For those who dare, consider these fingerings: g> KEY OPTIONAL EP KEY OPTIONAL 2ate Cece OO y Ss S Near the end of Movement Il, Ibert has written a very exciting passage comprised entirely of sixteenth notes which ends on a high G flat. See Example 6-3: EXAMPLE 6-3 Animato Molto ( J = 132) 3‘The altissimo G flat should present very little problem to the saxophonist once he has mastered the sixteenth note run that precedes it. Simply choose a smooth fingering that will connect easily with the note before, high F: EXAMPLE 6-3A (For Saxophones with the High F#) C309 Goede OO oO 1aEXAMPLE 6-38 (For Saxophones lacking the High F#) acde |Z OO — The final excerpt from the celebrated Concertino Da Camera consists of the last two measures. Refer to Example 6-4: usEXAMPLE 6-4 Animato Molto( J = 132) This two octave F* major arpeggio ending on altissimo F¥ can be executed handily even on saxophones lacking the high F# key: EXAMPLE 6-48 (For Saxophones with the High F*) 116EXAMPLE 6-4B (For Saxophones lacking the High Fé) or For more than half a century Alexander Glazounov's Concerto_in EP continues to be one of the most frequently-programmed solo works for Seasoned musicians. Containing only two optional high notes above the saxophone's normal range, this major work is very melodic and, in places, very challenging technically. Example 6-5 occurs seven bars from the end of the concerto: 7EXAMPLE 6-5 Allegro, Piu Mosso (J = 138) [ [ [ { Copyright 1936 by Alphonse Leduc. Used with permission Glazounov outlines a C major triad which ends on an altissimo G. Try either of these two prescribed fingerings for a resonant, in tune, high G:To conclude the work, Glazounoy writes for the alto saxophone a descending thirty-second note run in Eb concert from the saxophone’s high E down to low C. In this final excerpt, Example 6-6, we see a powerful concluding statement on octave written C's, and the last two tones may be played up the octave EXAMPLE 6-6 Bad Hb, A concluding altissimo C can add a very welcome element of surprise to this old “chestnut”. Consider either of these two fingerings: E> KEY OPTIONAL D, E KEYS OPTIONAL 119Sonata, composed by Bernhard Heiden, is an excellent saxophone solo that calls for only one altissimo note, high G, at the very end. See Example 6-7: EXAMPLE 6-7 Presto Molto Vivace Copyright 1943 by G. Schirmer, Inc. All Rights Reserved, Used by permission. 120Playing this note an octave lower is not an option; Heiden definitely wanted the high G. Since this final note is very short in duration, a stable fingering is needed. Also, do not hesitate to slightly articulate the high G to allow the note to speak quickly. Try either of these fingerings: or During the early 1950's French composer, Jeanine Rueff, had published Concerting for alto saxophone and chamber orchestra, a most demanding work Chek required tremendous technique on the part of the saxophonist: Only sparing use of the extended range is called for-one high F¥ at the end of Moverent I and one more near the end of Movement Ill. Example 6-8 has been extracted from Movement I: 12EXAMPLE 6-8 Allegro Molto ( 3 = 144) iphonse Leduc. Used with permission. Copyright 1951 by All In this instance, I recommend the following fingerings: 122EXAMPLE 6-8A (For Saxophones with the High F#) osoo iD) 0° —~,EXAMPLE 6-8B (For Saxophones lacking the High F#) ‘The other altissimo passage in Movement III which 1 referred to--not lusteated.-calls for the identical fingerings as employed in Example 6-8. By the mid-1960's American composer, Paul Creston had become recognized as a contributor of two major works for the alto saxophone: Sonata Opus 19 and Concerto. Each work has a very lyrical and beautiful second opts vont that requires only a moderate amount of technique. The frst and a veiveryements of each work, however, are technically different and present cae rerous challenges. Regarding Creston's use of the saxophone’s extended range, let us begin by examining Movement I of the Sonata, ‘Opus 19. See Example 6-9: 124EXAMPLE 6-9 With Vigor ( J = 126) Copyright 1945, Templeton Publishing Co., All Rights Reserved. Sole Selling Agent: Shawnee Press, Inc.; Delaware Water Gap. PA 16327 Used with permission. ‘This high register passage calls for an altissimo F* to be sounded after 2 high A. Because of the brisk tempo, none of the fingerings for high F# that require the fork F key can be employed without risking a delayed attack on the high F¥. My preferred fingering for this passage is as follows: 125EXAMPLE 6-9A (For Saxophones with the High F#) COed0 OO 126EXAMPLE 6-98 (For Saxophones lacking the High F#) @c@o The next excerpt I have selected occurs at a climax near the end of Movement Here a high G is called for, and it follows a high Fa whole step below. Example 6-10 illustrates the passage: 127EXAMPLE 6-10 With Vigor (J = 126) In this situation, where the top F follows the high C, the fork fingering should be used for the F. Since the high G follows the fork F finger compatible fingering must be selected for the upper tone, G. I recommer following choice: 128F¥ as his note of climax. It In Movement Ill, Creston returns to altissimo but the must be employed three times during the final measures of the piece, same fingering will work each time. See Example 6-11 that follows: EXAMPLE 6-11 With Gaiety (J = 160) F¥ follows the Here again, the tempo is a limiting factor. The altissimo note, B, but due to thé fast tempo, the choices are limited: 129EXAMPLE 6-11A (For Saxophones with the High Ff) 130EXAMPLE 6-11B (For Saxophones lacking the High F#) Paul Creston’s Concerto for alto saxophone and orchestra (or band) is an unusually-difficult solo work which inéludes more altissimo work than does his earlier Sonata. Repeated high F¥'s (Gb's) have been written along with occasional G's and one optional high Ab. Early in Movement I, Creston calls for ahigh GP. Refer to Example 6-12: 131EXAMPLE 6-12 Energetic ( J = 138) Copyright 1966 by G. Schirmer, Inc. All Rights Reserved, Used by permission. This passage, which begins on a forte high G?, can be played easily with the following fingerings: 132EXAMPLE 6-12A (For Saxophones with the High F#) 133EXAMPLE 6-128 (For Saxophones lacking the High F*) The next passage, Example 6-13, ascends stepwise to a high F#, and then begins to descend: 134EXAMPLE 6-13 Energetic( J = 138) eS I recommend the same fingerings that were called for in the previous example: EXAMPLE 6-138 (For Saxophones with the High F#) e900 D0 135EXAMPLE 6-13B (For Saxophones tacking the High F#) Two more F#'s must be negotiated in Example 6-14: 136EXAMPLE 6-14 lela age ca aa 5 ie Increase gradually In addition to selecting an appropriate F* fingering, you need to choose the best fingerings for high E# and E natural. This fingering pattern will work nicely: EXAMPLE 6-144 (For Saxophones with the High F#) ade Boe Baas ESE hede 10 OO — 0 00 900 137EXAMPLE 6-14B (For Saxophones lacking the High F#) oO O § fecde OO — oO Oo 9 4 ete Oo The next excerpt from the first than it is: of KEY OPTIONAL movement of the Concerto looks easier 138 cf KEY OPTIONAL,EXAMPLE 6-15 Original Pace( J = 138) For the saxophonist whose instrument has the high F# key, the problem is minimal. The player, however, whose instrument lacks this additional key, needs to use the best possible F# fingering for this situation, and then practice diligently to coordinate it smoothly to the high F which follows: 139EXAMPLE 6-15A (For Saxophones with the High F#) soe OO — 140a t aed ded EXAMPLE 15B (For Saxophones lacking the High F#) Example 6-16, which ascends to a high G, requires technical precision at a very fast tempo: iatEXAMPLE 6-16 Faster (J = 152) a tae ti : b x Try these fingerings, and then practice methodically to achieve clean technique at the prescribed tempo: 142An optional high G occurs near the end of Movement I. Comprised exclusively of sixteenth notes, this challenging excerpt necessitates the proper fingerings for not only altissimo G but also the following F# and E. It appears as Example 6-17: EXAMPLE 6-17 Original Pace ( 4 = 138) OO @cC3e —~— 143,‘The only top tone used in the second movement of Creston’s Concerto can be seen in Example 6-18: EXAMPLE 6-18 Meditative ( J = 60) Several different fingerings could work in this instance, but I have reduced the choices to the following reliable ones: EXAMPLE 6-18A (For Saxophones with the High F#) Ff i OO 1sEXAMPLE 6-18B (For Saxophones lacking the High F4) = Movement Ill of Creston's Concerto is extremely challenging, and the first top tone called for is an optional Ab! Refer to Example 6-19: EXAMPLE 19 Rhythmic( J = 144)I recommend the following fingerings for use in this passage: #° KEY OPTIONAL E KEY OPTIONAL In Example 6-20, we find altissimo tones F¥ and G occurring at the end of a phrase: EXAMPLE 6-20 Rhythmic( J = 144) 146Clean execution can result if the following fingering choice is made: Rede OO The next excerpt has been extracted from a segment of Movement III where the tempo has slowed down considerably and the mood is somewhat passionate. Example 6-21 illustrates this passage: EXAMPLE 6-21 Slower, with Passion ( / = 104) 17The fingering problem seen here is not a very difficult one to overcome: EXAMPLE 6-21A (For Saxophones with the High F#) Ceed0 100 ~~ N 148EXAMPLE 6-21B (For Saxophones lacking the High Fa) al fast and rhythmic section of Movement Ill, we W's and G's that must be handled as evidenced ‘As we approach the find additional use of altissimo F in Example 6-22: EXAMPLE 6-22 Slower, with Passion ( J = 104) 149)Due to the semitones in the melodic line (F, F#, G), the saxophonist must employ high note fingerings that connect half steps smoothly. I highly recommend these fingerings: Cacce ene Coade oe oO ID

KEY OPTIONAL Aria for Alto Saxophone and String Ensemble by Jerzy Sapieyevski is an unusually-difficult work which demands expertise in the saxophone's highest register. Written in 1976, this single-movement piece requires great technical facility in addition to mastery of the altissimo register. ‘The first high note passage is seen in Example 6-24. It contains twelve consecutive altissimo tones to be played legato, 152EXAMPLE 6-24 Andante ( / = 56-50) Copyright 1976 Mercury Music Corporation. Used by permission of the publisher. Sole Representative, Theodore Presser Company. Try the following fingerings to smoothly execute this very challenging phrase: 153- 3) y 8) Sh 4 a et a / e ° F KEY OPTIONAL =D KEY OPTIONAL ni > KEY OPTIONAL F KEY OPTIONAL @@c0° —, ~@ > #200 queoe = eno | aes ee nay Zpgb KEY OPTIONAL The next excerpt from the Aria cadences on an altissimo A after numerous sixteenth notes have been negotiated: EXAMPLE 6-25 Andante ( 4 = 56-60) (Accelerando) atempo 155I recommend the following fingering for high A: 4 | ° o i g> KEY OPTIONAL Example 6-26 is ten measures long, and it is comprised almost entirely of top tones for the alto saxophone: 156EXAMPLE 6-26 Allegro( J = 120) The following fingerings will assure a smooth legato line, but you may have discovered other fingerings that will work even better on your instrument:EXAMPLE 6-26 Allegro( J = 120) The following fingerings will assure a smooth legato line, but you may have discovered other fingerings that will work even better on your instrument:The final example from the Sapieyevski Aria occurs at the end of the Allegro section. The passage begins low and ascends to an altissimo EP before descending into the saxophone’s normal range: EXAMPLE 6-27 Allegro ( J = 120) This passage can be handled by employing the following fingerings: 159Picnic_on the Marne, published in 1984, is_a multi-cmovement work consisting of seven waltzes. Composed by Ned Rorem, this programmatic saxophone solo is based on one of his visits to the southeastern suburbs of Paris with another person during the summer of 1956. The following excerpt has been extracted from the first movement, “Driving from Paris." EXAMPLE 6-28 Fast and Blatant ( J = 144) Copyright 1984 by Boosey & Hawkes, Inc. Reprinted by permission. I recommend the following fingerings: 16kEXAMPLE 6-28A (For Saxophones with the High F#) cesce 900 — ‘a ade 00 —, Ln eee eee eeEXAMPLE 6-288 (For Saxophones lacking the High F#) ie OOIn Example 6-29, Rorem calls for one altissimo F¥, EXAMPLE 6-29 Fast and Blatant( J = 144) Gar al ten te The following fingering is a good choice in that musical situation: EXAMPLE 6-29A (For Saxophones with the High F*) rf ede 2 Oo ae 164EXAMPLE 6-298 (For Saxophones lacking the High F#) In the next excerpt, also from Movement I, the composer writes another high FH: EXAMPLE 6-30 Fast and Blatant ( J = 144) a 165In this very similar situation, the same fingering selected for Example 6-29 should be employed here. Movement V, entitled "A Tense Discussion” calls for an extended use of the saxophone's highest register up to altissimo G#. Refer to Example 6-31: EXAMPLE 6-31 Neurotic( J = 63) 166Try this fingering for high G# each time it occurs in this passage: BP KEY OPTIONAL The final excerpt from Movement V of Picnic on the Marne can be seen in Example 6-32: EXAMPLE 6-32 Neurotic ( J = 63) al idee EE coh een ie 167The only high note called for is F#, and it should not present much of a problem even for those players whose instrument lacks this additional key: EXAMPLE 6-32A {For Saxophones with the High F4) Gedo P2000 OO OO 168EXAMPLE 6-328 (For Saxophones lacking the High FA) In conclusion, in this section we have examined eight classical alto saxophone solos representative of great works from the 1930's through the 1980's, a span of half a century. After having studied each excerpt and having practiced each with the recommended fingerings, you should be able to make the right fingering choices for high notes in any piece of saxophone literature which confronts you. In many instances, there could be fingerings other than those which I specifically recommended which would work perfectly fine in identical or similar playing situations. By all means use them! Just because a particular fingering works well on a majority of instruments, does not preclude the likelihood that another fingering might work better on your particular setup--saxophone, mouthpiece, reed, and ligature. Each time you ponder over which fingering to use in an altissimo passage, ask yourself the following questions: 1) Is the note in tune? 2) Is the tone resonant, or does it sound thin and weak? 1693) Is the tone stable and not likely to "jump" to an undesirable higher or lower pitch? 4) Can this fingering be articulated in a variety of ways with musical results? 5) Is the fingering combination simple enough to be employed with the previous note and the one that follows? If you can answer each of these questions affirmatively, you have chosen a very good fingering for that particular musical passage, and you should continue to employ it in similar situations. 170CHAPTER 7 JAZZ ETUDES In this final segment of the text, I have composed eight jazz-styled etudes for both E flat and B flat saxes which correlate with Volume 43 of Jamey ‘Aebersold’s Play-A-Long jazz improvisation series--Groovin’ High.! Although it is not imperative to practice with the the Play-A-Long recording (available in record, cassette, or compact disc), I highly recommend doing so. Not only does it aid the saxophonist in achieving, the right style and developing good “time,” but it's great fun playing with the pros in the rhythm section! Most tunes in volume forty-three are recorded at a modest tempo between J = 120150 with the exception of the familiar standard, I] Remember April, recorded at_ J = 228, a challenge for players of all ability levels. Because of the moderate tempos involved, technical problems in these etudes can be overcome without great difficulty by those who have attained an intermediate to advanced level of technical facility. Each etude is composed to sound like an improvisation utilizing techniques that have become idiomatic to jazz since bebop of the 1940's. Such devices have been employed including: emphasis of the upper partials of the chord, ornamentation, chromaticism, pentatonic scales, the bebop (dominant seventh) scale, the bebop major scale, the diminished and diminished-whole tone scales, non-terminal and terminal patterns, the lydian and lydian dominant scales (modes), plus, of course, the saxophone's altissimo register. Until command of the altissimo passages has been attained, I recommend practicing the etudes slowly without the use of the pre-recorded rhythm section tracks. Suggested fingerings have intentionally been omitted. Ultimately, it is you, the player, who must choose the fingering that best facilitates the passage on your instrument. Some fingerings will connect chromatically with ease, whereas others will not. When a large jump is encountered, that same fingering may not be a good choice. Instead, you may need to select one that is stable and well in tune, but will allow you to move without causing a "break" or “gap” in the melodic line. Do not trust your memory to recall all the recommended fingerings for a particular note with accuracy. Use the list of fingerings provided in this text as you would a reference book, for, the addition or deletion of just one finger (or the placement of a finger on a wrong key) can cause an otherwise satisfactory fingering to respond poorly or not at all After you have selected the best fingerings for each passage, practice each until you are comfortable with the fingering combinations. Try to connect one phrase smoothly to the next so that the altissimo register sounds like a normal part of the saxophone's range. With practice, it will not be apparent to the m1listener where the normal range ends and the altissimo register begins. This should be a saxophonist's ultimate goal. Now you should be ready to play the etude(s) along with the recorded rhythm tracks of Jamey Aebersold’s, Volume 43, Groovin High. Start by playing the melody of the original tune. Then proceed directly into the etude. Should you miss a note or two, do not let it bother you. Have fun! Try it over seen ives antil the recorded rhythm track ends. Let me caution you, however, that lengthy practice on altissimo passages is very fatiguing ‘o the embouchure, especially the lower lip. Practice the high notes in ‘moderation for the best results. ‘A dedicated musician should strive for more than satisfactory completion of the classical and jazz excerpts found in this text. The contempoln'y saxophonist should be able to play the saxophone’s top tones. in any style that sale It Ag you continue to develop your improvisational skills, don forget sees the altissimo register. As an extension of the normal range, it can be Very expressive, and as a “tension device,” it can be particularly useful in bringing ores seilance of “tension and release” in one’s improvisations-a mark of a mature improvisor. Finally, dor't be afraid to experiment. Feel free to alter the suggested fingerings in this text to provide superior results on your instrument. Always freer MBs intonation of these fingerings with an electronic tuning device °o insure good intonation. (The ear likes to hear this registet noticeably sharp.) Try to create your own fingerings that produce good Tesults, and write them dawn in a notebook, for, at the time of this writing, there are no universal gerings for the saxophone's highest register iJamey Aebersold, Improvisation (New Albany, IN: Jamey Aebersold, 1968) 172 — aETUDE No. 1 E-Flat Sax (Volume 49, Groovin High — Side 1/Irack 1) (BREAK) : ne 7 Crt te ee. the a / rte 5 te =f ae = Geaige ert tp , FH BT ce! p-riesle fier I foe. : Bi — as = : = E- al pb oe Bm----) ere e Ef theirs _ thete oft gfe tee etree 9 SESEESESESSSSHEISRISSEESESS 173ETUDE No. 2 E-Flat Sax 3G ” Hil Side 1/Track 2) i y Walume 43, Groovin’ High - Side 1/Pract dige FA Ee’ ATa9 D- G- 7 Fa B+ B- e”175E-Flat Sax (BREAK) da3g ETUDE No. 3 (Wolume 43, Groovin’ High - Side 1/Track 3)Bs nes SacHcuHE Se! cf Fi’+s B- we 2 28 (FINE) 7179ETUDE No. 5 E-Flat Sax roovin’ High - Side 2/Track 1) 7 dazo Bo 8” - 2 A” begh: $ prtb9)181ETUDE No.6 E-Flat Sax (volume #9, Groovin’ High - Side 97hack 2) Jago GT F’183ETUDE No. 7 EFlat Sax (Volume 48, Groovin High Side Track 8) (BREAK) +228 . as 7 186186ETUDE No. 8 eee (Volume 43. 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