Chromatic Scale Saxophone Pdf

[Ariel Wascom]

Iuse a foot pedal to call these up, along with the needed delays, reverb settings. Some presets I use the diatonic scales, but for speed and trying to be ready for the unexpected in live situations, the chromatic scale option in the diatonic algos is very handy.

Hi David -

As I read this post I had to laugh to myself because for one, I AM a flute player; two, I know what you mean about the side-Bb and the one-and-one Bb (it's similar on flute - more on that in a bit); and three, as a sax doubler I actually do usually use the one-and-one Bb on the sax (I know, I know... don't even say it...)

Flute students are told NEVER to slide from B to thumb Bb for the same obvious reason as the B-bis key slide problem we have with the sax. But tell that to Prokofiev, Piazzolla, or Poulenc! I have learned that it is WELL worth it to learn the one-and-one, the side Bb, and then use the thumb. I still use the side Bb for a chromatic scale, but I almost never use the one-and-one for anything, always the thumb.

And you'd think I'd put two and two together and apply the same thinking to the sax. Duh! So, thanks for putting it out there.

-Susan

David, I'm another bis-only player. Occasionally, and only very occasionally, I use the 1 & 1 fingering. Now that I am wearing an orthopedic brace on my right hand, this bad bis habit is saving my bacon! I bet there are others out there like us...

Now, that was another great posting!! I struggled for years playing the side Bb, always sounding kind of awkward going from Bb to C. A saxophone teacher was watching me play something in Db or Ab and asked me if I wanted to try doing things differently. It seems that he had gotten in a big argument with Lee Konitz about the bis-key and Lee Konitz proceeded to ask him to show him any technically difficult passages that he thought didn't work on the bis-key.

For a half hour he said that Lee Konitz just played circles around him while he tried to prove that all of these chromatic type passages could only be played with side-A. At the end, Lee Konitz just started playing rapid fire chromatic stuff from G on up through D and Eb and back.

He told me to go away and practice all of my flat keys with the bis-key, even though he didn't use it. I came back and have never looked back.

Gawd, this I'm gonna show to my sax instructors! I'm a late bloomer that went to all the wrong schools in high school. I only used the 1 + 1 fingering. Thirty years later I start up again and I am luvin' the bis key trick. I still try to make the side Bb flat work, but only because it makes my instructors happy. ;o)

Gandalf,

In the end your instructors are correct. Ideally there should be a balance there, more bis useage than classical players use and more side Bb than me and Lee Konitz. I keep hitting the side Bb on my tenor and actually considered corking it closed. I decided to just bend the key down a little.

I learned on side Bb just like everybody else. Then Jackie McLean told us all to use the bis. I don't remember his exact words, but it was more or less that the side Bb would slow you down.

Two decades later, I still use bis for Bb in all situations and all keys, except the occasional trill. Lots of altissimo with side-Bb, of course.

I don't think bis has to be anybody's dark secret. It's right there at your fingertip. The side-Bb is just a little bit out of the way. Rolling Bb to B you just get the hang of. I could never go back to side-Bb. But in the end, I suppose personal preference prevails.

In western music, a scale is simply a group of pitches arranged in ascending or descending order. It consists of all twelve notes within an octave. Unlike a major or minor scale, in chromatic, a semitone or half-step separates each note.

One of the great things about chromatic scales is that they can add more richness and depth to your playing. When used correctly, chromatic scale patterns can really add a lot of interest to your solos and melodies.

These patterns will challenge you to use all of your fingers equally, which will, in turn, help improve your dexterity and coordination. As a bonus, working on these patterns will also help increase the speed and accuracy of your fingerings overall.

Scales are an important part of the warm-up and of clarinet technique. Whether they are major, minor, or chromatic scales, they are an essential part of daily warmups and in achieving virtuosity through methodical practice. There are multiple benefits to mastering the chromatic scale. Chromatic scales are often used and performed in music, required for auditions that involve playing the full range of the instrument, and allow players to develop a deeper knowledge of the instrument. The following is a guide on how to play a chromatic scale:

It is important to find good fingerings that are efficient and that use the least movement. Bad fingering choices often lead to clumsy technique. The chromatic scale can be a very difficult scale if you are not using logical fingerings that maximize technical proficiency. A fingering chart is useful because it provides multiple fingerings for different notes. These fingerings may vary according to the equipment that being used. Clarinet Fingering Chart: -Fingering-Chart-Amsco-Charts/dp/0825623839

This next part is a Leo P signature where he just plays one altissimo note fingered in the left hand while making hand gestures with the right. It reminds me of the record scratching in old rap recordings.

He makes that sound easy. The fact that he starts notes with a breath attach was a surprise to me, but now it makes sense. By putting the importance for the attack on the air rather than the tongue you get a lot more power which helps with the rhythm and speed.

Now we are back to the bass line with the rhythmic overtone glisses, but he mixes in these 16th note blues scale licks. He also throws in this other classic blues lick which is one I actually teach in my Blues Language course.

Be sure to follow , Instagram, and Facebook to hear more of his incredible playing. You can also check out 2Saxy on YouTube, which is Leo P and Grace Kelly absolutely shredding it with saxophone riffs and killer dance moves.

The logic behind my fingering system is straightforward. One note follows the next chromatic note by closing down the next key with the next finger of your hand, and so on down the line, one after the other in linear sequence.

The Schmidt chromatic fingering makes perfect sense and is a pleasure to play. Since the tone holes are generally located directly underneath the fingers being applied, the player understands that he/she is making the sax longer and dropping the pitch by applying more fingers, making it shorter and raising the pitch by lifting fingers, or venting it for altissimo by lifting some fingers and closing others. This direct link of fingers over tone holes enables players to visualize what they are doing to the sax. It encourages them to use more creativity and intelligence in their playing. For example: it is easy to transpose down a third by simply pressing down 4 more fingers on their keys.

Sleek, high strength keys which are formed from stainless steel which does not wear and become sloppy like brass keys. They are designed to be much stronger and resist bending which would upset the precise seal of the pads. Conventional key cups and pads are clumsy and heavy by comparison. Lightweight stainless steel keywork offers more control, a better feel, and the lighter, faster action.

The top keys have been designed to be played with either the undersides of ones knuckles (as with conventional palm keys) or with the fingertips. Using the fingertips improves playability and overcomes the clumsy limitations of palm keys.

More even spring pressures throughout the key system due to the elimination of interlinkage mechanisms (such as Bb and F# on conventional saxes). The keys require minimum closing pressure to seal the pads. This feature allows the player to play faster and longer without tiring. Players find my touchpiece layout to be more ergonomic and considerate to the hands than conventional horns..

Excellent intonation due to the fact that there are no flattened or shaded notes (which occurs with Boehm interlinkages). This allows for an even graduation of tone hole size and location, allowing correct location at the exact nodes of the scale which in turn provides better response, tone production and intonation.

JS Gold pads are quiet, form an excellent seal and are much longer lasting and superior to conventional pads. Skin deterioration, moisture warpage and all those other headaches are no longer a problem. Gold pads reflect more tone than conventional leather pads which act like mufflers by dampening out the sonic qualities of your horn. Leather pads will fit right into my stainless steel cups if you should choose to install them.

Advanced players find tremendous potential at their fingertips. Tone quality is improved for classical playing, accelerated passages are available for the jazz artist, and a whole new horizon opens up for extended techniques.

Ever wonder what technical studies college students follow in developing facility on the saxophone? Below is the list UNCG students follow, semester by semester, extracted from the Studio Syllabus. Keep in mind that this is the minimum expected from our students.

Developing a fluent and commanding technique on any music instrument takes a lifetime of ongoing and dedicated work. As my saxophone teacher was fond of saying "On n'arrive jamais" - we never arrive. The list of patterns, scales, and technical exercises we can construct is limitless, and moreover, as each individual is different, no one order will best suit all musicians. On the other hand, there are a few core technical skills that nearly all saxophonists learn during their undergraduate years of study. I have listed these skills below, in roughly the order I feel most beneficial. I have also listed a few guidelines to help in your study of scales. In the future I hope also to include examples of each scale and fingering choices to help guide you.

3a8082e126