So, I just posted my latest song, and I'm looking to gain as much feedback and critiquing as I can since I'm trying to make a "Summer Push" to be a better composer!
One of the main problems every saxophone player faces at some point is: “what and how to practise”. I just wanted to share some experience and knowledge on the topic - I’ve been a practising saxophone player for about 18 years already. This is not a complete guide or an instruction, but a note containing some suggestions. Though I am more into practising improvisation now, I’ve tried to mention some more general practise activities here .
So let’s just go through an example of daily practice schedule:
Whenever I have time I get back to some breathing exercises (see my article on breathing) - 3-5 minutes or so - as breathing is one of the most important things for producing great sound, and cool sound is what we are constantly aiming for.
- Long tones
- indispensable both for embouchure and for breathing skills. Moreover, different dynamics, cresc, dim, steady tone, etc. - at least 15 minutes. Be aware of your intonation and timbre during this exercise! You may want to use some tuner. Also read the article about embouchure posted in this group, I find it important. One of saxophone myths is that “only beginners should practise long tones”. I like to compare that with sports: every sportsman warms up before actually starting doing sports; long tones - is a warm-up for professional wind player, we need that to be in good shape, that’s of vital importance!
- practising overtones and matching them to standard fingerings. Try to match the “full” timbre and pitch of overtone when playing tones using “normal” fingerings. There are several books on the topic, a good place to start is the corresponding section of David Liebman’s “Developing a personal saxophone sound”
- Techniques you need:
tonguing exercises for “junior” saxophonists , different articulations - for all sax players (it’s extremely helpful to start with simulating articulation of your favourite saxophonists, especially for jazz-oriented musician) for more advanced players the list might look like this: flutter tonguing, split tones (multiphonics), altissimo, growl, circular breathing, etc.
- Scales and arpeggios.
All kinds of scales and arpeggios you need; a plenty of things for jazz players: all modes of major/minor scale, diminished and augmented scale, melodic minor scale (actually there are tons of scales, see the fundamental work of “Yusef Lateef “Repository of Scales and Melodic Patterns”) , triads and 7th/9th chords (including augmented ones) arpeggios, studying chord/scale theory (check Mark Levine’s “Jazz Theory Book”). David Baker’s “Creative.Approach To Practicing Jazz” is a good source of ideas. “ I am not too familiar with classical stuff, so feel free to post your thoughts and share your experience in comments.
Both classical (for developing your overall playing technique, like “Daily exercises for saxophone” by H.Klose) and jazz (elements you need for improvisation - enclosure, 3 to b9, licks and patterns:II-V7, all kinds of cadences, cycle of fifths, etc.. Just remember to practice things in all 12 keys whenever it is possible. Here are the authors of literature on the topic: Jerry Coker (co-writer of “Patterns for jazz” and the author of a bunch of other books), David Baker (“How To Play Bebop” in 3 parts, etc.), and, of course, the educational books with playalongs by Jamey Aebersold.
- Practising improvisation.
That is: studying transcribed solos (and the process of solo transcription itself, of course) - remember analysing not only the notes played in different harmonic situations, but also the master’s articulation and time feeling (is he behind, before or on the beat?; learning tunes with chord progressions, applying patterns, licks and everything you’ve learnt in steps 5 and 6 and, finally, several minutes of “just improvising” to track your progress and just for pleasure. There is a really cool book called “Elements Of The Jazz Language For The Developing Improvisor” by Jerry Coker, I highly recommend it. The same author has an article entitled “How to practice improvisation” in his “Complete Method for Improvisation” book (part of this article was included in Jamey Aebersold’s “Jazz Handbook”)
If you have any questions or if you have something to add to this article - please don’t hesitate to do it in comments!
If you are a non-pro user but wish to be given the chance to have a pro account, this is the comp for you!
Follow the guidelines under the "ABOUT" section. Only for NON-PRO USERS ONLY
Hope to see you all there :)
I'm in eigth grade and I have learned control of the lower register and I am trying to learn altissimo notes. I made the all state band and the highest band at my high school.
Only just joined this - looking really for some direction. Have been learning for 1 month so know my notes, practice every day . . . . what should I be ding? What should I be expecting?????
Hello, I just wrote my first piece entitled "A Rainy Day" for a sax quartet and I would LOVE any feedback. Please listen to it and help me. It would be greatly appreciated. (Just listen to it on my profile)
Write here your recommodations for songs and transcribes
Welcome to the Saxophone group! Here is some Information for you and links to sax scores and other sax-related groups on MuseScore.
First of all, this particular group (Saxophone) is kind of “basic” saxophone group, containing discussions and articles about saxophone. To read an article - just scroll down after clicking the "discussions" section. You will recognize an article in "discussions" by the [article] prefix in its title.
You are very welcome to make more posts!
Then, here are some links to other saxophone-related groups including sets of valuable saxophone scores:
1) Saxophone ensembles group (quartets,quintets,etc.) -
2) Jazz Standards Lead Sheets -
3) Sax arrangements group - saxophone arrangements of rock/pop music or movies’/games’ soundtracks
4) Sax solo transcriptions -
5) Collection of scores: sax solo or with accompanying instrument - https://musescore.com/groups/saxophone/discuss/5015764
Feel free to create discussions and articles, to add your scores and to comment!
There were a lot really close, so all of the numbers are pretty tight :D
so here they are!
First place - @lizzapie
Second place - @vesteel
Third place - @Grimes Music Press
Scores! (in order of judging)
SCORE - 15
SCORE - 20 (1st)
SCORE - 15
SCORE - 18 (3rd)
SCORE - 17
SCORE - 16
SCORE - 15
SCORE - 19 (2nd)
SCORE - 16
SCORE - 17
SCORE - 16
Thank you all! be sure to watch for a summer original competition! :D
*I did average out a little bit the scoring of the scores, so some scores scored higher in caparison to others than what is written, but they all had some really great ideas!!*
You may have seen my “Shorts for Trombone.” It is by far my most popular score, probably because it pops up if you search for a lot of popular music. It has not been updated in a while and I would like to add a whole bunch of new excerpts to it. If you have any suggestions, comment them below and I will add pretty much anything.
I am also interested in creating versions of my shorts for concert pitch treble, Eb treble, F treble, and Bb treble, and a version in bass clef an octave lower than the current version so that more people can play my shorts. I am not pro, so those would be something you would have to ask for.
Here’s the score: https://musescore.com/user/2878026/scores/2800021
Now I will start going through them, and I think I will judge on a scale of 1 to 20 :D
and I will try to add a short comment on the piece along with the score :D
And I must say, it's so cool how many of you did it! Thank you all!
The order I'll be judging in: (And This Is NOT The Results in case I didn't make it clear lol ;P)
I hope to get the results out within a few days, so stay tuned! :D
Would anyone here be willing to arrange Crazy la Paint by Minimusicman for a saxophone quartet of two altos, a tenor, and a bari? I think it could really sound great and be lots of fun since it kind of has the feel of an energetic reel, but I'm definitely not up to the task yet.
Hello everyone! I am a professional improvising sax player (mainly tenor sax). Created this group to post sax solo transcriptions synchronized with youtube videos/audios.
Have posted first 2 solos - check out them in "sheet music" section of the group, here they are:
Please feel free to post solos transcribed by you and sync them with original recordings on YouTube.
See the post below on synchronizing scores with youtube videos/audios
Well I decided to do a competition here in the spring while waiting for the summer competition :D
you must do an arrangement of this polka type piece -
( https://musescore.com/robin_m_butler/the-minute-polka )
using this template -
( https://musescore.com/robin_m_butler/the-minute-polka-template )
You must be creative! this competition is all about being creative with the colors in the orchestra, the winning score will be judged on usages of color and creativity! :D
Deadline: Must submit before April 1st. (unless not enough entries have been made, then I will change it to May 1st)
Have fun Everyone! :D
(put links to your arrangements down below!)
And once the submissions are closed, I will post a score with my own Orchestration :D
This is Joshua, and I'm a composer and a performer and a new admin for the group Saxophone Ensembles. I just wanna generate some discussion and get some activity for these forums. Alex has done a really great job so far with his helpful information. Now, it's my turn: to do this, I think the best way to start would be a feedback form: post your scores to the group or just post a link in this chat and I'll do my best to give feedback. Arrangements or original compositions, I'd love to look at all of them and give feedback. This is just to raise some awareness for this community and also get activity going. Expect more discussions and whatnot in the near future.
So, if you want any feedback, I'd be happy to give some to your saxophone score. Post to this discussion or just send to me and I'll take a look at it.
Check out the instruction on how to do that:
Post sax solo transcriptions here and sync them with original recordings!
This is a collection of scores for sax+accompaniment (sax+piano or sax+guitar) or solo scores, mostly of classical style, provided by ORWELL6 ( https://musescore.com/user/139709 ), checked by me. I also added some scores there. Please feel free to post more scores of this type (post in this group for now and paste the link to it in comments).
The idea is: If we get more shit music of this type, we will create a separate group of classical sax scores, which will contain this set as a part of it.
- Tango Amigo for Saxophone and Electrical Guitar - Theo Thomassen
- Chromatischer Tanz for Alto Saxophone
- John Williams - Remembrances (from Schindler's List) - rearranged for alto sax and piano, Dave Koz's solo parts included:
- "Peace by the River" for Alto Sax & Piano
- Sonata for Alto Saxophone and Piano, Robert Muczynski Op. 29
- Schubert's Ave Maria arranged for E♭ Alto Saxophone and Piano
- Saint-Saens – The Swan – Sax Tenor & Piano
- Gustav Holst — Jig from St. Pauls Suite — in B for Sax Tenor
- Prélude de la première Suite de Bach en Sol M - Saxophone Alto
- ENVELOPE: For Baritone Sax and Piano (2017) -
- Fantasia for Alto Saxophone
- Prélude de la première Suite de Bach en Sol M (BWV 1007) - Saxophone Alto
- Mist" For Baritone Saxophone and Piano
- "Symmetrical Brutality" for Unaccompanied Baritone Saxophone
- J.S.Bach - Flute Sonata Nr.1 Bb minor BWV 1030 III.Presto (alto sax arr.)
- Vasil Yurchanko - “Zhart”
It is not discussed too often, but in fact each note fingered on the horn has an “optimal” spot (for lower lip) on the reed. It’s worth covering the edge of the reed with your lower lip for lower notes, whilst uncovering the read is done for higher notes - this allows more of the higher overtones to come out. That is accomplished by lower lip forward and backward movement (not up and down, which results in “biting”): less of the lip’s fleshier area and lip rolling away from the edge of the reed for higher tones (let’s say beginning with higher B - above the staff) and more of the fleshier area and rolling in the direction of the edge of the reed in case of lower tones. You can read more about the lip movement and embouchure in Chapter 6 of David Liebman’s “Developing a personal saxophone sound”
What do you think about this suggestions and what is your experience? I am eager to know how the stuff with lower lip works for you.
Embouchure is one of the main things affecting the quality and timbre of our sax sound. It includes lips,teeth,jaw tongue as well as almost all the muscles contained in our mouth and face. Embouchure affects both the air stream (finally) coming to your mouth and the characteristics of reed’s vibration. If one has some embouchure faults, it immediately results in unsteady, week and muffled sound and lack of control. Who wants to listen to and to produce that kind of sound ? I bet no one does. So here are a few words about embouchure appropriate for sax playing,
In other words, saxophonists’ embouchure is basically just “how do we hold the mouthpiece in our mouth”. Here is a simple algorithm:
- Place the top front teeth on the mouthpiece making sure they are centralized. You can figure the distance between the tip of the mouthpiece and your teeth only by trial and error, as it varies from player to player. Perhaps a good point to start with is about 10 millimeters and then to “find your own place” on the mouthpiece you are comfortable with.
- Slightly turn in the lower lip as if you are saying the syllable “v”.
- I prefer to obtain the right position of my tongue and lips by imagining that I am pronouncing ö (german o umlaut), as it combines approved and advised by saxophone pedagogues “o” position of lips with “ee” (like in english word “eat”) position of tongue, which makes the air stream (and, consequently, the sound) more focused.
- Finger the middle C or B note and blow your horn pronouncing “four” (according to Sonny Rollins) or “vo” (according to Eugene Rousseau) or “vö” (according to me)
But the main thing to keep in mind is that the embouchure should be “natural”. That means firm but relaxed, feeling maybe like putting a popsicle in your mouth; and let’s remember to avoid putting pressure on the reed with your bottom lip.
Playing long tones every day in the beginning of your sax practise session is an indispensable exercise for both our embouchure and breathing.