Air Varié - Saxophone
Book file PDF easily for everyone and every device.
You can download and read online Air Varié - Saxophone file PDF Book only if you are registered here.
And also you can download or read online all Book PDF file that related with Air Varié - Saxophone book.
Happy reading Air Varié - Saxophone Bookeveryone.
Download file Free Book PDF Air Varié - Saxophone at Complete PDF Library.
This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats.
Here is The CompletePDF Book Library.
It's free to register here to get Book file PDF Air Varié - Saxophone Pocket Guide.
Editor First edition. Original images: dpi, black and white tif files. Editing: re-sampled to dpi, de-skewed, and set uniform margins.
Indispensable Folio - Eb Alto Saxophone and Piano
Indispensable Folio - Eb Alto Saxophone and Piano
Embed Size px. Start on. Show related SlideShares at end. WordPress Shortcode. Full Name Comment goes here. Are you sure you want to Yes No. Martha Cruz. Arthur Guz. Show More. No Downloads. Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide. Universal Method for the Saxophone by Paul de Ville 1. Based upon the celebrated works of A. KLOSE, and others. HE Author takes great pleasure in stating to the Student, that everything which patient research, practical experience and knowledge of my favorite instrument could suggest, has been brought to bear to make this the greatest and most com- prehensive Method for the Saxophone ever attempted.
The plan of study is thorough and progressive, and if strictly adhered to, cannot fail to produce a first-class per former. Yours truly, Paul de Ville 6. He was the son of Charles Joseph Sax, the celebrated mr. Since the instrument was first invented, it has been greatly im- proved, and now thanks to the skill of Messrs. Evette and Schaeffer, Paris, France, it has developed into the Saxophone as we know it to-day.
The body of the Saxophone, a parabolical cone, is made of brass and provided with a set of keys, The mouthpiece is similar to that of the clarinet, and is fitted with a single reed. The fingering of the Saxophone is similar to that of the Oboe, a clarinetist can readily master same after a little study. The tone of the Saxophone is soft and penetrating in the upper register, and in the lower register it is full, rich and profoundly impressive. One great merit of the Saxophone is its nobility in sustaining singing tones.
Its tone is richer and has far more volume than the clarinet, and it has an extraor- dinary range of swell from soft pp. The full harmony of a quartet of Saxophones pro- duces a grand effect. In brief, the tone of the Saxophone is peculiar to itself, presenting vague analogies with the tones of the 'cello, clarinet and oboe. The Saxophone is now an indispensable instrument in bands, and also fills an important place in large or- chestras.
Saxophones are being made in many different sizes, and are classed in two series: Series A. Saxophones, when they are used in military bands, are generally employed in choirs of four, each of a different pitch, as follows : Soprano in Bb, Alto in Eb, Tenor in Bb, and Bari- tone in Eb. It is now quite common to see in Saxophone quar- tets two Alto Saxophones in Eb used, one taking the part of the Soprano in Bb.
The Saxophone used most as a solo instrument is the Alto in Eb. The compass of the Alto and Tenor Saxophones is two octaves and a major fifth. The Soprano Saxophone is held in the same man- ner as a clarinet. The Alto, Tenor, Baritone, Bass and Contra-Bass are held, with the lower part or bell of the instrument resting against the right leg of the per- former, but not too much on the right side, for in this position the left arm is stretched and the right arm is bent, thus interfering with proper execution, and also tiring the arms.
The right thumb should be put below the support, to hold the instrument in position, but not to hold it up ; the strap will do that. Especially avoid resting the instrument on the thumb, for this tires and paralyzes the fingers. The thumb of the left hand, supported on the round mould, will at the same time be in position to use the two octave keys, and in order to be able to use these two keys, the thumb should always rest in the same position, this is very important for equality of fingering.
The chest must be well expanded, which facilitates the action of the lungs and allows the performer to bring out sounds both long and well sustained. The arms should fall naturally along the bcty- The hands must be held without contrad'on or rigidity upon the instrument; the fingers ir-ust be 8.
The fingers must NOT rest on the plates or keys, as this interferes with smooth execution. With fingers flat, instead of being arched, one cannot properly take the G sharp, C sharp, B natural and low B flat keys, the left little finger is necessarily raised, whereas with the fingers arched on the plates, the little finger takes a good position, and easily commands the above notes.
- Saxophone Music?
- Alto Saxophone?
- You can narrow down your search criteria by filtering by instrumentation.
- Soprano Sax Pieces.
- Running on Empty: Refilling Your Spirit at the Low Points of Life?
Touch the keys with the tips of the fingers. When performing before an audience bear a calm appearance, emit the sounds without showing ex- ternally the difficulties that have to be overcome ; it will greatly impress those around you with the ap- parent facility of your execution.
On the other hand, it would offer the company some temptation to laugh if you were to move your head, balance the body, raise the shoulders as a mark of ex- pression, or fill up your cheeks with wind. Insert about one-third of the mouthpiece into the mouth, the reed being underneath. The lower lip should be a little drawn in, so as to cover the teeth : and the upper lip slightly pressed downward, to pre- vent the teeth biting the mouthpiece and damaging the quality of tone.
The mouthpiece being thus held by a light pressure of both lips the air cannot escape by the sides of the mouth, the reed can then act freely and perform its vibrations with all desirable facility. The tone on the Saxophone is produced by the tongue, which sends the air into the instrument and at the same time causes the reed to vibrate. To produce a tone the player must take in a sufficient quantity of air and force it into the instrument by a short stroke of the tongue and by pronouncing the letters T or D or the syllables "Too" or "Doo", according to the quality of tone required.
Strike the reed about half an inch from its top or thinnest part , with the tip of the tongue. Great care should be taken in choosing a reed, as the quality of the tone depends upon the reed. When the reed is "hard" and the mouthpiece open, the quality of tone is very bad. In the low notes the tone is loud and hoarse; in the middle notes it is husky, and in the high notes it is thin and the notes are false.
When the reed is "soft" and the mouthpiece closed, the notes have the tone of a reed pipe and becomes low, and if one wants to raise them the reed hugs against the lay of the mouthpiece and there is no sound. On the other hand, when the mouthpiece is a little open and the reed of medium strength, you can regu- late the tone, diminish or increase it at will, and all the m tes are smooth and in tune, and the tone is full, even and mellow in any of the registers, low, medium or high. An apt student will soon be able to choose a proper medium, and also, perhaps, learn to "touch up" his reed by judicious manipulation, to get it to speak easily, w.
Reeds are made of Frejus cane, which must be ripe, but not overripe. For a Baritone and Bass Saxo- phone a softer reed will be better; while for the So- prano and Alto a more substantial one will be prefer- able, with a medium for the Tenor. The reed of the Saxophone being large and flexible, too much pressure closes it, therefore a slight pressure only is necessary to produce high notes, contrary to the effect on a Clarinet. The control of the tone consists, first, in sustaining with strength; second, in emitting it softly and husbanding it; third, in increasing and diminishing the tone without altering its pitch.
During the emission of the air the tone must be equal, the same at the end as at the beginning. When the lungs are filled the tone is naturally stronger at the beginning, afterwards weak.