Erik Steighner. Progressive Warm-Ups for Saxophone. version 1.21

Transcription

1 Erik Steighner Progressive Warm-Ups for Saxophone version 1.21

2 Contents Novice Warm-Up...2 Intermediate Warm-Up...6 Advanced Warm-Up...12 Quick Warm-Up (Int./Adv.)...19 vertone Reference...23 Scale/Interval Progress Chart...2

3 Saxophone Warm-Up Novice (15 min) q = Neck and Mouthpiece,,,,, mf ff n. ff pp ff pp ff pp q = Long Tones,, b b b b Perform at a comfortable mf or add dynamic variations. Breathe more frequently if necessary.,,, n # # b b,, # # # #,# # Copyright 2018 Erik Steighner

4 Articulation X notehead = tongue on reed, producing a muffled sound or subtone. Diamond notehead = tongue on reed, alloing only air to sound Mouthpiece Exercises (Concert Pitch),, Bend as lo as possible. f p f p f p Maintain consistent pitch. Vary dynamics once the exercise is easily achieved at mf. Perform the above exercises on the appropriate pitch for your instrument's mouthpiece: Soprano saxophone = concert C (ritten D) Alto saxophone = concert A (ritten F#) Tenor saxophone = concert F/F# (ritten G/G#) Baritone saxophone = concert D (ritten B)

5 5. Skips Breathe hen necessary and repeat stubborn intervals. n some days, perform entire exercise legato tongued. 6. Vibrato and/or Articulation Speed (mit for Quick Warm-Up) q = 0- q = 5-9 Each notated rhythm represents one complete vibrato pulse (ooo-ah). If vibrato becomes choppy and uneven, stop exercise for the day. Vary notes as desired. Cycle tempos each day from 0/5/50/etc. to 1/6/51/etc. and so forth. You may also remove the ties and use this as an articulation speed exercise; in this case, proceed past 89 bpm and/or make larger tempo jumps. q = 50-5 q = q = 60-6 q = q = 70-7 q = q = 80-8 q = 85-89

6 5 7. Primary Scales/Intervals as Assigned From Kynaston Daily Studies, Londeix Les Gammes Conjointes et en Intervalles, etc. 8. Scale/Interval Revie (mit for Quick Warm-Up) Each person's scale revie ill look a little different, but here is an example progression over many eeks: LEARNING CYCLE: 2 major scales per day, repeat each day for a eek major scales per day, repeat each day for a eek 6 major scales per day, repeat each day for a eek All major scales each day, repeat each day for a eek LEARNING CYCLE: 2 minor scales per day (includes both harmonic/melodic forms), repeat each day for a eek minor scales per day, repeat each day for a eek 6 minor scales per day, repeat each day for a eek All minor scales each day, repeat each day for a eek REVIEW CYCLE: All major/minor scales over days (3 keys per day) All major/minor scales over 3 days ( keys per day) All major/minor scales over 2 days (6 keys per day) All major/minor scales each day LEARNING CYCLE: 2 major thirds per day, repeat each day for a eek major thirds per day, repeat each day for a eek 6 major thirds per day, repeat each day for a eek All major thirds each day, repeat each day for a eek REVIEW CYCLE: All major scales/thirds and minor scales over days (3 keys per day) All major scales/thirds and minor scales over 3 days ( keys per day) All major scales/thirds and minor scales over 2 days (6 keys per day) All major scales/thirds and minor scales each day Continue pattern until you have learned all major and minor scales, thirds, and arpeggios. Alays choose tempos that you can execute ith complete accuracy.

7 Note: Baritone saxophonists may adapt exercises to utilize lo A, soprano saxophonists may abbreviate the altissimo range, etc. q = 0 Saxophone Warm-Up Intermediate (30 min) 1. Neck and Mouthpiece,,,,, mf ff n. ff pp ff pp ff pp 6 q = Long Tones,, b b b b Perform at a comfortable mf or add your on dynamic variations.,,, n # # b b #, # #, #,# # Continue pattern into altissimo if desired Articulation b b - - etc. X notehead = tongue on reed, producing a muffled sound or subtone. Diamond notehead = tongue on reed, alloing only air to sound. b - - # n etc. # - - Copyright 2018 Erik Steighner

8 7 b n b b # b b. Chromatic Skips n Loest note may rotate daily beteen A (on bari), Bb, B, and C. Breathe hen necessary and repeat stubborn intervals. n some days, perform entire exercise legato tongued. b b n b b b # n b b b # b n # b b b b # # n b b b b Continue pattern into altissimo if desired. # 5. Voicing and vertone Matching 5 5 b n # X notehead = play note ith octave key depressed. Diamond notehead = finger bottom pitch, play upper pitch as harmonic/overtone. # # # b # # # n n n # n b # b b # (Thumb on C3 if needed) # # b n n n n b b b b (Fr F#) # n

9 q = 0s 6. Vibrato and Dynamics Keep vibrato at the speed of the 16th note throughout.,,, q = 50s 5 b n # # n. ff n. ff n. ff n. ff b,,,, q = 60s # 6 # b n. ff n. ff n. ff n. ff,, q = 70s,,, n n. ff n. ff n. ff n. ff n. q = 90s n # # # q = 80s b n, #, #, 7 ff n. ff n. ff n. ff n. 8 7 Each day, increase your vibrato by 1 bpm (Day 1: ; Day 2: 1-91, Day 3: 2-92, etc.) until you hit 9-99, folloed by a reset to 0-90). Regularly r0tate the location of your starting note. This exercise may also be performed ith the octave key don in the loest octave (this may be possible only at louder dynamics) and on overtones. This is also a great exercise ith the vibrato omitted; in this case, play all notes for 10 counts at 0 bpm.

10 9 7. Mouthpiece Exercises Bend (as lo as possible) Scale (substitute other scales/modes as desired) # # # Thirds # # # # # Fourths # # # n Fifths Sixths Sevenths Chromatic # # # # # # # # n # b n b n # n # etc. # n # b n b n Chromatic Intervals # n # n b b n b Perform the above exercises starting on the appropriate pitch for your instrument's mouthpiece: Soprano saxophone = concert C (ritten D) Alto saxophone = concert A (ritten F#) Tenor saxophone = concert F/F# (ritten G/G#) Baritone saxophone = concert D (ritten B) n 8. Front F Bends n b etc. 5 Slide ithout changing fingerings, or eliminate the portamentos and voice straight to the loer pitches.

11 10 port. b 9. Bends Throughout the Range b # Bends become progressively smaller as needed until a half step is reached. etc. b b b b b 10. vertone series b Finger loest note and slur up and don the overtone series, using air attacks only hen necessary. Vary the pattern each day (slurring up and don in sets of three or four, skipping every other partial, etc.). # # # # # # # # # # #

12 Primary Scales/Intervals as Assigned From Kynaston Daily Studies, Londeix Les Gammes Conjointes et en Intervalles, etc. 2 bb b bb b C major C melodic minor C harmonic minor 12. General Scale/Interval Revie nn n n n n n n n n Proceed through all 12 keys either chromatically or by the circle of fifths. Add major and minor thirds and/or arpeggios to each key if desired. Work to increase tempo over time using a simple linear progression (0 bpm,, 8, 52, 56, etc.) until you can no longer maintain accuracy and control, then reset to 0 bpm. Inegrate cycles of hole tone, diminished, and chromatic scales/intervals as desired. 13. Finish ith a fe exercises from the Londeix Exercices Mécaniques.

13 Note: Baritone saxophonists may adapt exercises to utilize lo A, soprano saxophonists may abbreviate the altissimo range, etc. q = 30 Saxophone Warm-Up Advanced (30-0 min) 1. Neck and Mouthpiece,,,,, mf ff n. ff pp ff pp ff pp 12 q = Long Tones,, b b b b Perform at a comfortable mf or add your on dynamic variations.,,, n # # b b #, # #, #,# # Continue pattern into altissimo if desired Articulation b b - - etc. X notehead = tongue on reed, producing a muffled sound or subtone. Diamond notehead = tongue on reed, alloing only air to sound. b - - # n etc. # - - Copyright 2018 Erik Steighner

14 13 b n b b # b b. Chromatic Skips n Loest note may rotate daily beteen A (on bari), Bb, B, and C. Breathe hen necessary and repeat stubborn intervals. n some days, perform entire exercise legato tongued. b b n b b b # n b b b # b n # b b b b # # n b b b b Continue pattern into altissimo if desired. # 5. Voicing and vertone Matching 5 5 b n # X notehead = play note ith octave key depressed. Diamond notehead = finger bottom pitch, play upper pitch as harmonic/overtone. # # # b b n n # # # n n n # n b # b # (Thumb on C3 if needed) # # b n n (Fr F#) b b b b # n

15 6. Vibrato and Dynamics q = 0s Keep vibrato at the speed of the 16th note throughout. 5,,, b n # # n. ff n. ff n. sim.,,,, q = 50s # # b n 1, q = 60s,,, # 6 # # q = 70s,,,, # b n # # q = 80s #, #, b 7 q = 90s,,, n # # Each day, increase your vibrato by 1 bpm (Day 1: ; Day 2: 1-91, Day 3: 2-92, etc.) until you hit 9-99, folloed by a reset to 0-90). Regularly r0tate the location of your starting note. Change the rate of vibrato progression to 2-3 measures at each speed if you ish to avoid vibrato in the altisismo register. This exercise may also be performed ith the octave key don in the loest octave (this may be possible only at louder dynamics) and on overtones by fingering the loest possible fundamental for each pitch. This is also a great exercise ith the vibrato omitted; in this case, keep the metronome at 60 bpm and don't change time signatures.

16 15 Bend (as lo as possible) 7. Mouthpiece Exercises Scale (substitute other scales/modes as desired) # # # Thirds # # # # # Fourths # # # n Fifths Sixths Sevenths Chromatic # # # # # # # # n # b n b n # n # etc. # n # b n b n Chromatic Intervals # n # n b b n b Perform the above exercises starting on the appropriate pitch for your instrument's mouthpiece: Soprano saxophone = concert C (ritten D) Alto saxophone = concert A (ritten F#) Tenor saxophone = concert F/F# (ritten G/G#) Baritone saxophone = concert D (ritten B) n n 8. Front F Bends b etc. Slide ithout changing fingerings, or eliminate the portamentos and voice straight to the loer pitches.

17 5 9. Bends Throughout the Range b b # Bends become progressively smaller as needed until a half step is reached. etc. b 16 b b 10. "Lip Slurs" b Perform entire exercise on X-Ta fingering. Use X--Ta fingering. # # # # n n n n Use X-2-Ta fingering. Use X-2 fingering. b b Use standard fingerings and continue pattern until fourths are no longer possible. etc. # # b b n b n b b 11. vertone series n n Finger loest note and slur up and don the overtone series, using air attacks or leak keys only hen necessary. Vary pattern each day (slurring up and don in sets of three or four, skip every other partial, etc.). # # # # # # # # # # #

18 Primary Scale/Interval Study Day 1: C major scale and thirds q = 50 2 Use single, double, and/or slap tongue. q = 60 Use single, double, and/or slap tongue. Continue alternating scale and thirds using the folloing bpm: 70: Scale tongued up, slurred don 80: Thirds tongued up, slurred don 90: Scale slurred up, tongued don 100: Thirds slurred up, tongued don 110: Scale tongued up, slurred don 120: Thirds tongued up, slurred don 130: Scale slurred up, tongued don 10: Thirds slurred up, tongued don 150: Scale double tongued up (no altissimo after this point) 170: Scale double tongued don 190: Thirds double tongued up 210: Thirds double tongued don 230: Scale double tongued up 250: Scale double tongued don In the previous exercise, double tonguing may begin earlier or later as needed, and use patterns such as: The rest of the routine proceedes using the same alternating pattern: Day 2: C major fourths and fifths Day 3: C major sixths and sevenths Day : C major octaves and arpeggios Day 5: C harmonic minor scale and thirds Day 6: C harmonic minor fourths and fifths Day 7: C harmonic minor sixths and sevenths Day 8: C harmonic minor octaves and arpeggios Proceed through all telve major and harmonic minor keys folloed by cycles spent on chromatic, diminished, and hole tone scales.

19 2 b b b b b b q = see note belo C major C melodic minor 13. General Scale/Interval Revie nn n C harmonic minor n n You may eliminate the last quarter note and proceed to the next scale/pattern, circular breathing if necessary. n n Proceed through all 12 keys either chromatically or by the circle of fifths. Add major and minor thirds and/or arpeggios to each key if desired. Work to increase tempo over time, but never play faster than you can excute ith complete accuracy. Beyond a simple linear progression (60, 63, 66, 69, 72, etc.), one possible long-term progression might be: Day 1: 60 bpm Day 2: 120 bpm Day 3: 62 bpm Day : 126 bpm etc. Day 11: 75 bpm Day 12: 150 bpm n n n Next, reset to 60 bpm and try to carry your progression further using smaller jumps each day, and/or introduce slo/medium/fast days ( such as , , , etc.). The same principles can be applied to the revie of hole tone, diminished, and chromatic scales/intervals Finish ith a fe exercises from the Londeix Exercices Mécaniques.

20 19 Note: Baritone saxophonists may adapt exercises to utilize lo A, soprano saxophonists may abbreviate the altissimo range, etc. q = 60 Saxophone Warm-Up Intermediate/Advanced, Quick Version (5-10 min) 1. Long Tones,, b b b b b b Perform at a comfortable mf or add your on dynamic variations., n # # # # #,# # # Continue pattern into altissimo if desired Articulation Warm-Up b b - - etc. X notehead = tongue on reed, producing a muffled sound or subtone. Diamond notehead = tongue on reed, alloing only air to sound. b - - n # etc. # - - Copyright 2018 Erik Steighner

21 b n b b # b b 3. Chromatic Skips n Loest note may rotate daily beteen A (on bari), Bb, B, and C. Breathe hen necessary and repeat stubborn intervals. b b n b b b # n b b b # b n # b b b b # # n b b b b Continue pattern into altissimo if desired. # 20. Voicing and vertone Matching 5 b n # X notehead = play note ith octave key depressed. Diamond notehead = finger bottom pitch, play upper pitch as harmonic/overtone. # # # b # # # n n n # n b # b b # (Thumb on C3 if needed) # # b n n n n (Fr F#) b b b b # n

22 21 Bend (as lo as possible) 5. Mouthpiece Exercises Scale (substitute other scales/modes as desired) # # # Thirds # # # # # Chromatic Intervals # n # n b b n b Perform the above exercises starting on the appropriate pitch for your instrument's mouthpiece: Soprano saxophone = concert C (ritten D) Alto saxophone = concert A (ritten F#) Tenor saxophone = concert F/F# (ritten G/G#) Baritone saxophone = concert D (ritten B) n 6. Front F Bends n b etc. 5 Slide ithout changing fingerings, or eliminate the portamentos and voice straight to the loer pitches. b b b b 7. vertone series b Finger loest note and slur up and don the overtone series, using air attacks or leak keys only hen necessary. Vary pattern each day (slurring up and don in sets of three or four, skip every other partial, etc.). # # # # # # # # # # #

23 8. Chromatic Scale (ptional) q = 50 2 bn # # # # # # # n# n# n # # n# n # n b b b b bnnb b nbnbn b bnb n b Use single, double, and/or slap tongue. q = 70 bn # # # # # # # n# n# n # # n# n # n b b b b bnnb b nbnbn b bnb n b Continue scale at the folloing tempos: 90 - slurred up, tongued don tongued up, slurred don slurred up, tongued don tongued up, slurred don 170, 190, 210, 230, optional, for double-tonguing This method could also be used on a different scale, a scale and its intervals, etc. Extend into altissimo register if desired. 22

24 23 Saxophone vertones Quick Reference ith ptional Leak Keys b b Ta Tc n n # # # # b # n Ta # # b b n Tc 1//5 C1 C2 C3 C C5 n n # n # b # n n b # n French key nomenclature: Side Bb = Ta Side C = Tc Palm D = C1 Palm Eb = C2 Palm E = C3 Palm F = C High F# = C5 Copyright 2018 Erik Steighner

25 Scale/Interval Progress Chart 2