Top Groups

Discussions

Help Appreciated

I'm not too great at spicing up Low Brass or bass parts. Nor am I too great at writing battery parts. Bear with me on this piece since I haven't figured out on an opener and if you'd like to help me write it that would be awesome! Either way help is much appreciated so if you'd like to collaborate on my piece Life To Undead (which needs a better title too) I'd love the help!

Help

I have been in my school band for 2 years. I went from elementary to middle school. We started in 6th grade and are now in 7th and I am a tenor sax. I currently gave problems with coming from over the break to some of the lower notes like F, F#, E, D, et cetera. If anyone has suggestions, please post some.

Indoor Percussion

 Hey, guys! I'm new here and have been recently writing an indoor percussion piece (I've only written front ensemble) and I need someone to write battery for it. I need a snare, 5 drum tenor/quintet quads, and 5 bass drums. Whoever is willing to do it must be able to stick to a schedule. I will credit you and allow you to post, but if you claim you wrote everything yourself, I WILL report you.
Thank You!

My email is 
rednotewriter@icloud.com">rednotewriter@icloud.com

Indoor Percussion

 
Hey, guys! I'm new here and have been recently writing an indoor percussion piece (I've only written front ensemble) and I need someone to write battery for it. I need a snare, 5 drum tenor/quintet quads, and 5 bass drums. Whoever is willing to do it must be able to stick to a schedule. I will credit you and allow you to post, but if you claim you wrote everything yourself, I WILL report you.
Thank You!

My email is 
rednotewriter@icloud.com">rednotewriter@icloud.com

[article] Sax practice routine

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:

  1. Breathing.
    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.

  2. 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!

  3. Overtones*
    - 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”

  4. 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.

  5. 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.

  6. Exercises.
    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.

  7. 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!