Saxophone High Tones by Eugene Rousseau (second edition) is one of the best books covering saxophone altissimo and overtones and you should have it in your library, aside with Developing a Personal Saxophone Sound (David Liebman), Top-Tones for the Saxophone (Sigurd Rascher) and Saxophone Altissimo (Robert H. Luckey).
In this chapter there are a few words on saxophone embouchure in Larry Teal, Marcel Mule concept (as I see it) and overtones explanation, followed by overtones exercises (more on this topic in Top-Tones for the Saxophone by Sigurd Rascher). This is followed by excellent explanations about saxophone acoustic and venting. The chapter also has an extremely useful explanation about venting with high F key, associated exercises, fingerings employing front F key and guide how to adjust front F key/high F key combination for optimal venting. After that some advanced overblowing and venting techniques are explained: overblowing sixths, venting with high F# (if available, obviously), overblowing fourths above sixths. All this is well accompanied with numerous practical exercises while keeping in mind saxophone family peculiarities, eg. separate exercises for soprano, alto, tenor and baritone.
Saxophone High Tones book pdf
DOWNLOAD: https://miimms.com/2vFk3S
Of special importance is Raschèr's emphasis on the extended range of the saxophone. As early as 1930 he demonstrated that an advanced player can achieve a range of four octaves on the saxophone, despite the fact that few players at that time ever played beyond the conventional range of two and a half octaves. This upper range became known as the "altissimo register," but Raschèr himself refused to use that term, preferring to call them "top tones."
Raschèr was vocal in encouraging composers to make use of this extended range. He was eager to demonstrate his command of these "top tones," and argued that the use of these tones was a legitimate musical technique, not a trick or novelty. His book on this subject, Top-Tones for the Saxophone, was published in 1941 and remains highly regarded to this day.
To better demonstrate that the technique of playing tones above high F had its basis in the natural overtone series of the saxophone, he had the Buescher factory create a custom instrument for him: a saxophone body with no tone holes at all. A picture of this instrument is seen on the inside page of the Top Tones book. He demonstrated that it was possible to play at least 16 overtones on this instrument, and on a conventional saxophone as well, and claimed that diligent study of the overtone technique was the best way to gain a command of the extended range and improve overall tone quality.
The extended range (altissimo register) was highly controversial throughout the middle of the 20th century, and Raschèr stirred the controversy among the classical saxophone community by insisting that the instrument's inventor, Adolphe Sax, had intended the instrument to be played in this manner. Raschèr cited evidence that Sax had demonstrated a three-octave range (up to a high C) to composers in the 1840s.
Despite the initial resistance on the part of the saxophone community to the altissimo register, it has since come to be an accepted technique, and is utilized by nearly all classical and jazz saxophonists. Despite its difficulty, it is now commonly taught to advanced high school and college students, and has become a required skill for any student who desires a degree in saxophone performance.
During the earlier decades of his career, many saxophonists resisted and even ridiculed his pioneering work in extending the upward range of the instrument beyond two and a half octaves. Composers, however, were more inclined to embrace this expanded expressive capability that Mr. Raschèr had singularly fostered. By [1977], his lifelong commitment to the saxophone's high register, coupled with the momentum provided by so many composers who used it, had served to establish the extended range as an essential element of modern artistic saxophone performance.
Teaching Woodwinds: A Guide for Students and Teachers is a comprehensive resource perfectly suited for university woodwind technique classes, band directors needing woodwind details, or anyone looking for in-depth information on how to play flute, oboe, clarinet, bassoon, or saxophone. Teaching Woodwinds is the only resource of its kind: a book and a website. The book contains playing exercises for each instrument, group exercises in score form, and fingering and trill charts. The website contains information about how to play each instrument including sub-chapters on getting started, technique, intonation, tone and much more, and offers over 300 full color images, 130 videos, audio files, PDF downloads, PowerPoint/Keynote quizzes, and hundreds of links. Designed to be a lifelong resource, the platform of a book and website has provided the authors with a rich palette with which to deliver the content with clarity and precision. This format serves as an effective woodwind methods curriculum, and will continue to be a valuable resource for music educators long after graduation.
This is why you have to work the exercises on the overtones until you can play them without error. It is important to understand that getting higher overtones is not just biting harder on your lip. You can really get hurt if you just bite harder and harder on your bottom lip. 2ff7e9595c
Comments