- Mouthpiece work- using a concert "A", articulation work with a droning tuner (also on A). 4 quarter notes, 8 8th notes, and 16 notes.....gradually increasing tempo.
- Long tones based on a key per day with a droning tuner set on the tonic of the particular key. (we learn to tune with our ears, not our eyes)
- Basic voicing/overtone work
- Scales...and this is where things get fun....
Scales will be run on a four day cycle and be for the full range of the horn (no altissimo....YET).
Day 1- all 12 keys- Major scales full range, 3rds, and arpeggios with a metronome.
Day 2- all 12 keys- Harmonic minor scales full range, 3rds, and natural minor arpeggios.
Day 3- all 12 keys- Melodic minor scales full range, 3rds, and natural minor arpeggios.
Day 4- OTHERS- Chromatic, Diminished, Whole Tone, etc...full range, 3rds, 4ths, etc
There seems to be a mentality that high school kids should only learn major scales and that adding minor and other scales would be 'too much'. I think that's selling the student WAY short.
Following scales will be 1-2 etudes per week (Klose', Ferling, Mule....any of the standard etude books. Since our regional honor band audition material is taken from Ferling, it will be the likely choice).
Then there is literature. It's time for my kiddos to begin immersing themselves in saxo-lit. We are going to be learning some introductory literature this year. Eccles is on the menu as are Maurice and possible works like Heiden's 'Diversion' and Rueff's "Chanson et Passepied".
There will also be a heavy jazz component. The studies by Lenny Neihaus and a heavy dose of listening assignments will be just the ticket.
This might seem like some of you to be a lot for high school age kids but I'll suggest this- Their parents are paying money for me to help them improve on the saxophone. That's what I intend to do.
Hi Andy,
ReplyDeleteI would be keen to see you expand a little on the jazz component. Specifically, which Neihaus books are you using? Have you explored others by the likes of Jim Snidero, Greg Fishman, Fred Lipsius etc.? And… what will the listening assignments involve and what recordings make the list?
Cheers,
Adam
Hi Kevin,
DeleteSorry, I replied last night but apparently it didn't go through. I chose the Neihaus Basic Jazz Conception because these students (I'm talking about two here) have a very limited/non existent jazz experience. This text (though I like the Fishman and Minzter texts very much) seemed most appropriate. As far as the jazz component of their listening, I offer suggestions and do SOME assigned listening but much of it is encouraging them to listen on their own and do some exploration. My suggested or assigned listening is in order to expose them to some of the earlier names in our lineage to whom they may not find easily...Bechet, Chu Berry, Weidoeft, etc. I don't give them written assignments, though I do encourage them to jot down anything which stands out. At the next lesson we simply discuss what they heard, likes, dislikes, etc. I LOVE it when they discover a new artist. One, Abigail, was blown away by Cannonball from the first note. I remember that feeling and how cool it is to see someone else experience. On the classical end, we talk about the usual suspects but also Heifitz, Domingo, Yo Yo Ma, etc. I want them to listen to great musicians regardless of genre and instrument.