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Joe Murphy, saxophone
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saxophone altissimo
circular breathing
saxophone multiphonics
saxophone quartertones
saxophone slap tongue
improvising, transposing
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Saxophone extended techniques
saxophone altissimo
Start with what you can do and stretch into other areas (slur/tongue, trill, dynamics). First practice front E & F (forwards/backwards, tongue/slur, loud/soft, long/staccato), then to F# and G, if unsuccessful stay with E and F. Periodically try the next higher notes, but one must get use to how the mouth feels in altissimo register, so practicing front E and F is beneficial.
Rousseau paper trick can help notes speak. Fold an index card in half, twice. Insert it under the high F key, covering about half of the
hole. Instead of fingering front E, F, F#, etc., finger G, A, Bb, etc. Opening the F key only a little helps the altissimo notes to speak.
Sequence of notes: F, E, (F), F#, F , G
Bb Bb Bb
After successfully getting the G there are a couple paths to try. Go with the one that yields the most success and perfect it. Scales to it, intervals, etc. Possibilities include:
- G# by lifting right hand first finger F (doesn’t work with Rousseau trick) - A by sliding the right hand side key Bb to also open side key C
- Try any of the higher notes isolated (A or B are often good), or any of the other fingerings of notes you can already play to sensitize the oral cavity to the various
possibilities.
Another approach is the overtone series, finger low Bb, keep the fingering and try to get middle Bb, F, high Bb, D, etc. by changing the oral cavity. Troubleshooting
Good sources include Dabney/Sinta voicing, Lang 1971, Rascher 1977, Rousseau 1978 link to fingerings
Circular breathing
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The principle of circular breathing is quite simple; the problem is getting the mind to accept the fact that it is possible to breath
while blowing out. The following exercise will demonstrate the principle and set your mind at ease. Standing over a sink, fill your mouth
with water. Now breathe in and out through your nose and continue to do so as you expel the water in a slow, steady stream. Air can be
forced out of the mouth in the same manner, without impairing and in fact without even involving the breathing apparatus.
Fingerings for Rousseau paper trick.
In the beginning stages, gather as much air as possible in the mouth, letting your cheeks puff out much like those of a beginner
who has not been instructed otherwise. The mouth should be tightly closed so the air cannot escape. Now, as with water, force the air out
of the mouth by using the muscle in the cheeks. If necessary, you can get the feel of it by placing the index fingers in the center of the
cheeks and pushing in to force the air out. Take care not to draw more air up from the lungs or to swallow it. This was not a
consideration with water, a more tangible substance, but is a great problem in this early stage. Next, while the mouth is filled with air,
start breathing in and out through the nose. While continuing to breathe in this manner again use the cheek muscles to force air out of the
mouth. This is actually an easy process, but for some reason, the mind will not accept it. Repeat the exercise a number of times in
succession until you can adjust to the idea that breathing in and out can be accomplished simultaneously.
The next step in the process is to blow air out of the mouth in `normal` fashion, with the aid of the diaphragm, while
simultaneously puffing out the cheeks by gathering air in the mouth cavity. When the cheeks are full, stop the push from the diaphragm,
but keep the air flow constant, using cheek muscles. At this instant, more air must be taken in through the nose. As soon as this has been
accomplished, switch back to the diaphragm. The trick is to make this whole cycle smooth and very quick. The flow of air must be
continuous. The instrument compounds the problem. With the mouthpiece in position, the resistance effected by the tightly closed mouth
will not be there to control the speed of the cycle. For this reason, the technique is much easier for instruments with greater natural
resistance (double reeds).
Begin with long tones and take the breaths quickly. The tone may stop at first. This is due primarily to the fact that the puffed
cheeks are altering the embouchres. You may notice large fluctuation in the pitch at the time the breath is taken. Practice will
progressively diminish any change in pitch, and as the technique becomes more natural, it will become unnecessary to puff the cheeks.
The final problem is that circular breathing for any length of time leaves a lot of "bad" air in the lungs and results in a very light
head. You can overcome this simply enough by letting all the "bad air out through the nose before taking a new breath in.
by Trent Kynaston
Double tonguing
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As in most problems associated with saxophone articulation, double tonguing successfully is a result of a constant, fast airstream.
1) Begin with a long sustained tone, interrupted by alternating tu, ku, tu, ku, each syllable = about 60 (using a metronome is not
necessary)
2) Isolate and build up the speed between one set of tu-ku
concentrating on a steady stream of air,
then backwards:
3) Play a series of five in a row:
concentrating on evenness of then
rhythm, attack, and sound
Bid Call by Libby Larsen
saxophone multiphonics
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Soprano
Alto
Tenor
Baritone
See http://www.mnsfld.edu/~jmurphy/saxweb/bibsearch.cfm for more sources Pieces include: pieces by Lauba & Noda
saxophone quarter tones
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Pendereki notation(
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See http://www.mnsfld.edu/~jmurphy/saxweb/bibsearch.cfm for more resources Pieces include: Shrude Evolution V
saxophone slap tonguing
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Defining the effect
First, we have to define the concept of slap tongue. It's easier to demonstrate than define, since the effect is a sound. A slap tongue may be merely the use of an overly-heavy tongue when articulating. The resulting sound is similar to any other, but the note begins with an explosive "pop". I prefer to think of it as a "wood block" effect, very similar to the sound made when hitting a wood block with a drum stick. My favorite use of the slap tongue is in Henry Brant's Concerto for Alto Saxophone and Orchestra. Merely seeing the effect in the music (indicated by a + over or below the note head), however, doesn't mean a thing. It's only when you hear the masterful performance of this piece by Sigurd Rascher (Woodwind Service record, D105) that the effect comes to life. Rascher's ability to alternate between the regular and slap tongue is phenomenal and exciting.
Producing the sound Moving the Tongue
1. Place hand 2 inches in front of mouth and whisper "dot". Leave tongue on roof of mouth for final "t".
2. Repeat step 1, but press tongue hard against roof for "d". Remove in a quick, violent motion and return with hard pressure.
3. Continue 2, working for a loud, popping or clicking sound. (Do not blow air as when playing a note. The only air released comes from the violent action of the tongue. Use the hand in front of the mouth to check this.)
Once the tongue motion is mastered, it can be applied to the instrument. Making the Sound
1. Place mouthpiece in mouth. (Use less mouthpiece than normal.) 2. Use tight embouchure to limit reed's vibration.
3. Finger low F.
4. Use violent "dot" tonguing and produce a slap tongued note. (Remember: The only air released comes from the violent action of the tongue. Do not "blow" air to produce the sound as usual.)
Few students will be successful with this process at first. This is because most are not patient in learning how to move the tongue. Be sure to drill the student thoroughly on this before letting them apply it to the saxophone. Once they begin to get the idea, have them restrict their practice to the lower range with simple rhythms.
Pieces include: Jungle by Lauba
Improvising
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– patterns, ear, India listen/imitate
compose (then compose in fast motion)
just do it! (the free weights approach) could initially limit parameters (drum – no melody; 2 notes)
Transposing
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Useful in jazz, church, shows
As with anything, the more you do it the better you get. Most common:
C to Bb (piano, guitar part played on tenor or soprano) Add 2 sharps (or take away 2 flats) play up one step C to Eb (C part played on alto or bari) add 3 sharps, play down a minor third
Other helpful hints:
Sometimes instead of reading each note up M2 or down m3, focus on melodic intervals (works best if mostly scalar)
