Treasury of Scales for Band and Orchestra: 2nd E-flat Alto Saxophone Part

I found out that I needed to get into a performance mode quickly. This meant sight reading skills, awareness, ensemble practice, phrasing, styles, etc. All of this has to be addressed right away. This sounds like much preparation but remember it's all about performing not rehearsing. Even during rehearsal try to make music each time. This is something that is often overlooked when performers are too busy with their own thing and don't pay attention to what is going on in the rest of the ensemble. Try to pick out another instrument and see if the part you have matches theirs.

Use your ear to hear where you are in relationship to everything else. This seems easy, but always keep it in use. Not just with like instruments, but with all the instruments or vocals in the group. Try to create a sense of cooperation even if you have never met the person next to you.

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This probably means stepping up your performance level I know I already talked about this. Seeing something for the first time and reacting accordingly!! One of the greatest challenges I've had in teaching students jazz improvisation and interpretation is getting the melodic lines they play to feel good and sound authentic.

Put another way, get them to "swing". Swinging is the central element to almost every great jazz musician's conception. The first and most important thing a student must does to develop a good swing feel is to listen and copy the feeling that great jazz musicians get on recordings. Getting that feel on a wind instrument involves not only where the notes are placed in the beat, but also the way the notes are phrased and articulated in combination with the shape and timing of a particular line.

I've heard many students play a Charlie Parker solo they've learned from the Omni book and sound nothing like Charlie Parker because of the way they phrased it. On the other hand, I've heard students who have sounded much more like Charlie Parker because of their conception of phrasing, even though they may have played some wrong notes. If there seems to be communication gap, get the job done diplomatically. Reputation is what people think of you. Character is what you think of you. Try to keep what you think of you and people think of you in line.

Don't be surprised if what you perceive as right is different to other people. This sounds obvious but many people overlook it. Throughout the year it is a pleasure for me to travel to schools, colleges or universities and conduct clinics. One of the things I talk about is how to quickly go from rehearsal to performance mode.

An easily overlooked concept, one of the ways to get from one to the other is to immediately find your mistakes and work through them. What did you do wrong? How can you quickly fix it? I have a set of guidelines I use in my own playing and teaching that get people from rehearsing to performing quickly. My clinics can be divided into many categories: My experience involves working with everything from a small group, chamber ensemble to an orchestra, concert band, woodwind ensemble and sax section. Please contact me for more info. Remember, anytime you hear of a professional musician conducting a clinic, try to attend.

You never know what things you might pick up. Sometimes it's great to hear ideas and thoughts from someone other than your teacher or band director. Try to rid yourselves of that title The goal is to become and to be recognized as a great saxophone player, flute player, clarinet player, oboe, piccolo, bassoon, or whatever it is you want to play. Here are some ideas to get on track:. Summit Records has a series of Orchestral Excerpts.

Another great way to learn repertoire. And yes if you play the flute, practice the piccolo if you can get a hold of one. Mostly scales and arpeggios. Pay attention to connecting notes and phrases. One hint is to practice softly. Long Tones tough it out extremely important for developing control, pitch and phrasing. Hard work and worth every measure. Scales and Arpeggios using a metronome. The clarinet collection is performed and narrated by Larry Combs of the Chicago Symphony. This is a great way to learn repertoire. Eddie Daniels has just released a solo transcription through Warner Brothers Publications.

It is a wonderful study of his music. Pretty much anything you can get your hands on. From classical etudes and duets all the way to solo jazz transcriptions even your own of all the greats. Remember to play your scales and arpeggios with a metronome as this is important for saxophone and jazz Improvisation. A good idea is to make them up rather than read them out of a book. This starts to develop ear training. If a student has to read them out of a book, memorize them.

The metronome will help with your inner rhythm try it with beats on 2 and 4.

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Your melodies should make musical sense. Students will then start to develop musical ideas and the proper way to execute them. Try doing it with a sense of swing as well. In jazz, I'm sure you've noticed that when practicing an exercise, there is a tendency for the ideas you're working on to take on a life of their own. They branch off into directions that were not originally intended. Do not resist this tendency. Let it lead you wherever it goes. This exploratory work will take you into surprising areas of self discovery.

Belwin Treasury Of Scales For Band And Orchestra - Long & McQuade Musical Instruments

At a later time you can always come back to the original idea you were working on. Practicing then becomes more of a creative than mechanical process. These were originally written as oboe studies and work well for saxophone J. Link to his site from mine to look for it. Try the finger busters on page When sight reading in an ensemble, remember your basic skills. Things like rushing rhythms, playing incomplete phrases, not listening to others in the band can ruin a 1st impression. You may lose that chair you've wanted or that audition.

Keep all this stuff in your head while you're playing. Don't forget all the things you learned in those hours of study. As far as jazz, WOW, it's a lifetime of study and enjoyment. Play every chance you get. Find a one, two, ten or fifteen people and play with them. Play along with the TV, radio, anything you can find. Listen to every kind of music you can. Live and on CD or tape or vinyl, anything. Once you find a performance you like, absorb it.

Play along with it. The play along CD's are great and so is just listening and playing along with everything else on CD. You then start to develop your own language, your own style and no it isn't copying or emulating. There is no limit to this language. Transcribing is great for technique and ear training. Try playing the solo along with the artist and cop that person's attitude. After the transcription is on paper, it's a good idea to take some of the phrases and write out different variations.

In my clinics, I get more into the attitude of the musician. Also the roles every player has group playing. Transposition is also important. Not just knowing your instrument but also how it relates to all others. There are many times in a working environment where I am given notes in concert key or asked to sight read something in another key and immediately transpose to whatever instrument I happen to have in my hand. For some reason, I started doing this in college using fake books written in C.

I didn't know it at the time but it is something I now view as priceless. I'm about to contradict what I said a couple of paragraphs ago: I just said the following Don't forget all the things you learned in those hours of study" Let your instincts take over. Look at that empty canvas and just start to create. You are then free and able to draw from your creative side while reaching to your teachings and study for musical language skills.

Learning tunes is essential for a musician to survive. I recently spoke with an orchestral clarinetist. This person wanted to start playing jazz in performance and inquired as to how to learn. I asked this person how they prepare for an audition. Learn every piece that is important in the classical clarinet world. So you understand the form, different entrances from other instruments, etc.

Playing them as much as you can is important but also listening to other musicians play them is equally as important. You get it inside your mind and soul so that eventually you can perform them at a moments notice. It is equally essential for a jazz musician to know tunes. It helps improvisation, ear training, technique and eventually, teaching. As many possible but for now, how about 2 week?

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Find them in Real Books, fake books or wherever else you can find them. Trade em, collect em. Once you find them play them, improvise over them, find jazz artists who have recorded these tunes and listen how they do it. Bring the tune in and the recording if you can to a lesson and tell the teacher you'd like to learn this. There are many many ways to find the recording Spotify,iTunes, Amazon emusic,etc Learning a tune by way of listening is fun to do.

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You get to hear what they had in mind and sort of get in their head. When I first gave this assignment to students, I came up with a list of tunes that I knew. This list is still getting longer because there are still tunes I know that I forget to put on the list. Even if they give you a lead sheet on it.

Know what the first note is, where that first note is in the given key or scale, what beat it starts on. I remember conducting a clinic a couple of years back and while discussing this very topic, someone in the audience said, "The next step from what they tell me is to learn the tune in all 12 keys. When it comes to learning tunes, we also have an edge on orchestral musicians, because with many of these tunes there are lyrics. Learning the lyrics to a tune is extremely beneficial when it comes to performance.

Go ahead and put in some inflection. But keep to the page. Now play it with the lyrics in mind:. There will be other songs to sing, Another fall But there will never be another you. These lyrics should outline the melody you are playing on your horn. Sort of changes things around doesn't it? Playing the tune with these lyrics in mind gives you more freedom with the tune which leads to better understanding of the song and better communication with the listener.

Try this with contemporary pop tunes. A pop ballad works nicely. Look at the sheet music and check out the lyrics. Combining lyrics with form, chord progression,rhythm and a whole lot of listening to other artists makes for a fine performance. Another thing to practice is your performance. Are you playing in tune? Reed players, does the reed work? Brass players, chops ok? Does your air go through the phrase? Playing with time is probably the most important thing.

Try recording the melody Acappella and see if you are playing with good time Ok now go ahead with the 12 keys. Quickly answer yourself these questions: On what note does it start if you were playing it in the key of E? This exercise will also help in the contemporary pop music culture. FInd a tune that some popular artist sings and try to play it by having the lyrics in your head. Take it up to a performance level and then try other keys. It was an honor. His drums solos were works of art. We just finished rehearsing an up tempo tune for a CD and Louie mentions how the rhythm section should just play time when you sightread something and don't put too many things in it until the band is more comfortable with the tune.

He would play one tune with them, then leave and come back and sit in with us. So on a break, we were at the bar and I asked him, 'Hey Bird, how come you don't want to play with your trio? And if you can't find one, you sure as hell ain't gonna find 2, 3, and 4 after that. I smell alot of garlic, you like garlic, Louie? Sal, it's coming out of my ears!! All of the music was newly written so we were sightreading all of it instead of the usual case where they send you the music ahead of time to look at it because there isn't alot of time to rehearse.

This case there was ample rehearsal time. Still the people who write, arrange and orchestrate the music have been living with it for a while and they have an idea in their head as to what it should sound like. That leaves us to be the mind readers with the job of trying to get the style down as quickly as possible, let alone the notes and rhythms. What performers need to do is to adapt as quickly as they can to different styles and settings.

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Treasury of Scales for Band and Orchestra

Listen and absorb as many styles as you can. This show happens to be based in the 's and the saxes and clarinets were played a certain way in jazz. Fast vibrato, more articulated rhythms. You think you want to be the next Cannonball, Coltrane, Pepper Adams, etc. Make sure you can also maybe earn a little bit of money while you are pursing that. Treasury of Scales for Band and Orchestra: Smith November 17, The Treasury of Scales includes all major and minor scales in harmonized form -- 96 total. Scales are harmonized in SATB format. The harmony and tempo conditions give the conductor material to teach tone, balance, and intonation.

It's easy to use because so many of the instruments are playing the exact same lines. Treasury of Scales should be in every band folder as a permanent part of the repertoire and used daily as a warm-up exercise. It syncs automatically with your account and allows you to read online or offline wherever you are.

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