Voicing

An Approacli to tlie Saxoplione'sThird Register

%m ZM

Donald J. Sintai
 Forward
The efforts of Donald Sinta bring a necessary and long awaited
perepective to the teching and learning of skills related to the
production of overtones and the altissimo register. It is the sincere
hope of the author that Voicing will become an invaluable resource
for ali students and teachers of the saxophone.

Republished 2008 by Blaris Publications

Ali Rights Reserved
Originally Published 1992

Edited by Eric Satterlee and Sam Merciers

at Meridian Winds

This work may not be reproduced in whole

or in part by any means without written
permission from the author.
 Donald Sinta
is widely recognized as one of h\s
generation's most gifted soloists and
pedagogues. Sinta has premiered dozens
of new worl<s over his career by
composers such as Samuel Adler, Lesile
Bassett, Warren Benson, William Bolcom,
David Diamond, Karel Musa and William
AIbright. His performing career has taken
him throughout the United States
including Carnegie Hall, Lincoln Center
and other major venues around the
\Nor\d. Sinta is the recipient of the Harold
Haugh Award for excellence in studio
teaching, the Thurnau Professorship for
excellence in undergraduate education
and and has enjoyed the appointment as
Earl V. Moore Professor of Music since
1997. To survey Sinta's life is to chronicle
the very history of classical saxophone in
the United States.

Sinta's band director at the nationally

renowned Lewis CassTech High School,
who Sinta credits with instilling in him a
dedication to excellence in music
making. It was also during this time that
Sinta made his national debut at the age
of seventeen in Chicago as a soloist with
the Cass Tech Band. Sinta played
regularly with dance bands in the
Detroit area during this time and wouid
continue to do so throughout his
undergraduate studies at Wayne State
University.
Top Artist photo from the University of
Michigan. Left Sinta in uniform for the Detroit
Parks and Recreation Boys Band in 1949.
Bottom One of Sinta's (right) first lessons. The
photo was taken by Larry Teal himself.

Growing up in Detroit, Sinta enjoyed an

unusually supportive atmosphere in his
early music education. In addition to
playing in his school band and three
days a week in the Ali City Band, Sinta
began lessons with Larry Teal at age
twelve. However, it is Harry Begian,
It was during his Master's Degree at the
University of Michigan, once again studying
with Teal, that Sinta solidified his place on the
worid stage of classical saxophone. In 1961, at
the request of President Kennedy, the
University of Michigan Symphony Band began
a four and a half month tour of Eastern Europe,
the Middle East and the Soviet Union, featuring
Sinta as soloist. As the first student ensemble
from the United States to perform in the Soviet
Union, the group was very well received. The
trip proved a galvanizing experience for Sinta,
broadening his worId view and forever
changing his value system.

After completing his Master's Degree, Sinta

accepted teaching posts at Ithaca College and
The Hartt School of Music. While teaching at
Hartt in 1969, Sinta became the first elected
chair of the World Saxophone Congress. Sinta
returned toThe University of Michigan in 1974,
taking over forTeal and solidifying the future of
the school as one of the premier schoois for
saxophone in the United States. However, it

Top Sinta in a Selmer artist poster from the 1970s

Bottom Sinta with Warren Benson (both graduates
of Cass Tech) while presenting Benson's Stars Edge
with the CassTech Symphonic Band in the 1970$.

was during his four years at Ithaca that Sinta

met Warren Benson, forging a friendship
that wouId forever change Sinta's approach
to teaching. Warren's infìuence lead Sinta to
shift emphasis in his teaching away from
dictating to students to a more responsive
mode designed to challenging and inspire
them.
Sinta's commitment to teaching, nurtured
at Ithaca, is evidenced today by his long and
celebrated career on The University of
Michigan faculty, the many former students
who hold university positions and perform
internationally and by the young artists he
mentored during his time as director of the
AH State Program at Interlochen and
Michigan Youth Ensembles. It is this
dedication that led Sinta to commit an
entire sabbatical in 1993-94 to
practicing improvisation, a sl<ill Sinta
had never mastered and felt to be liis
greatest shortcoming as a player and
teacher. The originai publication of
Voicing is yet another manifestation
of this devotion to teaching. First
published in 1992, Voicing filied a
void in the literature that, since
Sinta's first lessons with Larry Teal,
had seen the expected facility of the
professional players shift from a two
and half octave range to three and a
half octaves. This reissue of Voicing
preserves a lifetime of knowledge for
future artists as they seek the same
musical perfection that stili drives
Donald Sinta today.

Top Sinta with James Houlik, professor of saxophone at Duquesne University.

The photo was taken when Houlik and Sinta were both performing as soloists
with the US Navy Band in Washington D.C. Bottom The first World Saxophone
Congress, held in Chicago at the Mid West Band and Orchestra Conference.
 Voicing for the next generation

Donald Sinta's Voicing is an invaluable resource that has been at the core of my
pedagogy--and a required text-ever since I began teaching college. The user-friendly layout
and overall accessibility make Voicing relevant for ali levels of student, and serves as a
wonderful aid in private studio instruction. Professor Sinta has helped reveal for so many the
skills necessary to overcome the acoustic and mechanical challenges of our instrument, and
his mastery of this subject will assist students and professionais for generations to come.
Thank you, Professor Sinta, for such a wonderful gift to us ali.

Dr. Timothy McAllister

Professor of Saxophone
Arizona State University
Member, PRISM Quartet

I remember what a revelation it was for me to discover Don Sinta's chamber music recording
of the work titIed Facode by William Walton which Sinta recorded with The Lincoln Center
Chamber Players. This amazing chamber music recording makes such a great case for the
saxophone in that Don's tone color and tuning concepts blend perfectiy with the other
members of the ensemble. This recording for me showcases yet again the inspiring and
extraordinary playing and tonai control that characterizes ali of Don's playing. It furthers the
case that the pedagogical ideas presented in Voicing are essential concepts to come to terms
with in ones approach to saxophone teaching and performance.

I highiy recommend this volume-just a few minutes spent each day on these exercises can
significantly expand one's control of the instrument.

Dr. James Umble, Professor of Saxophone

Youngstown State University and longtime performer with
Tlie Cleveland Duo and James Umble
(Chamber Music for Saxophone, Violin and Piano)

As a young saxophone student growing up near Ann Arbor, MI, I was exposed to Professor
Sinta's playing and pedagogy at an early age. Studying with a student of his, various voicing
exercises became a part of my daily routine. It wasn't until reading and studying from Voicing
however, that I was able to master many of the techniques described within the book. l'Il
never forget the day that I was working from Voicing and had a major breakthrough - an
epiphany - a moment that wouId forever change my saxophone playing. The idea of voicing
finally made sense! Since then, l've had the joy of witnessing many of my own students make
this same breakthrough, proving Professor Sinta's book to be a timeless and invaluable
resource for ali saxophonists.

Zachary Shemon
PRISM Quartet
University of Michigan Alumnus: BM'07, MM'09.
 Jeff Steinberg, Diary ofChanges
Works written for and premiered jeff steinberg, Tones
by Donald Sinta warren Benson, Farewell (1965)
Warren Benson, Star-Edge (1965)
Walter Hartley, D u o (1965)
Vaclav Nelhybel, Concert Piece (1966)
~ ~ George Andrix, F o u r Afovements (1967)
Lesile Bassett, Mus/c for Saxophone and Piano (1967-1969)
Arnold Franchetti, Sonata (1971) Ellwood Derr, One in Pive in One (1967)
Ed Miller, Fantasy Concerto (1972) David Diamond, Sonata (1967)
Ed Diemente, Diary Part II (1972) Karel Husa, Concerto for Saxophone and Band (1967)
Ed Diemente, Mirrors IV (1973) Alee Wilder, Concerto with Band (1967)
Arnold Franchetti, Saxophone Quartet (1973) Wayne Barlow, Concerto with Band (1970)
Ed Diemente, Mirrors VI (1974) Arnold Franchetti, Canti (concerto) (1970)
R o s s Lee Finney, Concerto with Band (1974) T o m Putsche, Sextet (1970)
Samuel Adler, Canto IV (1975) Arnold Franchetti, Sonata (1971)
Steve Chatman, Quiet Exchange (1976)
Steve Galante, Sax Sounds II - Diminishing Returns (1978)
Ted Huggens, Air Nostalgique (1979)
Paul Cooper, Concerto for Saxophone and Band (1981)
William AIbright, Sonata (1984)
William Bolcom, Lillith (1984)
John Anthony Lennon, Symphonic Rhapsody (1984)
Steve Galante, Shu Gath Marna (1987)
William Bolcom, Concert Su/te (1996)

Recordings by Donald Sinta

American Music for Saxophone, Mark Education Records. 4372-MCD.

Ingolf Dahl, Concerto for Saxophone and Winds, University of Michigan Serìes, SM009.
Lesile Bassett, Music for Saxophone and Piano, from New Music for Virtuosos, New World
Records, 80541-2.
Walter Hartley, Concerto for Saxophone and Piano, from Beeler Premieres Music For Concert
Band, Golden Crest Records, CR 4077.
Paul Creston, Concerto for Saxophone, Golden Crest Records.
RaveI, Bolero, Detroit Symphony Orchestra, Neeme J à r v i , conductor, 1992, Chandos,
BOOOOODRLl.
Duke Ellington, Harlem: Detroit Symphony Orchestra, Neeme Jàrvi, conductor (CD).
Conversations: Keiko Abe and Michigan Chamber Players (CD).
George Crumb, Quest, Bridge Records, 9069.
William Walton: Facade, with the Lincoln Center Chamber Players, Arabesque Recordings,
Z6699.
Video recordings "Master Teachers on Video," 1987 release. University of Wisconsin,
Extension Department.
TABLE OF CONTENTS

CHAPTER 1 Random Thoughts

- Altissimo
- Voicing
- Overtones
- Resuits
- Overtone Reference Chart

CHAPTER 2 Preliminary Exercises

CHAPTER 3 Step One - The Rrst Mode

- General Notes
- Introductory Exercises
- Range Extension - Upward
- Range Extension - Downward
- Matching Exercises
- Summary/Review
CHAPTER 4 Step Two-The Second Mode
- Introductory Exercises
- Range Extension
- Matching Exercises
- Summary
- Review

CHAPTER 5 The Next Step

- Experimental Exercises
- The Third Mode
- The Fourth Mode
- Summary/Review

CHAPTER 6 Fun With Voicing!

- Tunes
- More Tunes
- Voiced Scales

CHAPTER 7 Altissimo Technique - Part 1

- Front Fingerings
- Bridging the Gap

CHAPTER 8 Altissimo Technique - Part 2

- Suggested Fingerings
- Technical Studies
- References
CHAPTER 1:
RANDOM THOUGHTS

ALTÌSSIMO
Is the altissimo register necessary? For the contemporary saxophonist playing
modem repertoire, it is a must! The competitive saxophonist of the 1990's must
be proficient in the instrument's third register.

Many players have arrived at success in the performance of the altissimo

register, often attributing their success to varying means such as maturity, talent,
mouthpiece choice, reed strength, brand of instrument, and fingering selection.
The intent of this method is not to disclaim the significant role that these
components play in this success, however, it is the belief of the authors that
these factors are secondary rather than prìmary. Various manufacturers since
the 1920's have designed saxophones with a third octave key, but prototypes
have not been convincing enough to encourage mass production of such
models. It appears therefore, that there is no mechanical quick fix and that the
responsibility for the third register lies with the player to bring the body in phase
with the instrument.

The purpose of the exercises contained in this book is to allow for greater
access to the altissimo range with a minimum of frustration. The exercises
provide a pedagogica! sequence which aims to yield insight, develop control
over the supporting physiology, reduce anxiety and faiiure, and allow any
serious student to master this frequently elusive range. It is beiieved that
gaìnìng control over the exercises will allow the player to review the multitude of
varied altissimo fingering charts with greater flexibility, and select from the
enormous potential the instrument holds. The demands of new repertoire and
the increased flexibility and facility which many accomplished players
demonstrate, has resulted in a regular abandonment of traditional fingerings. It
is for this reason that saxophonists are encouraged to first focus on developing
voicing skills and eventually begin to explore actual altissimo fingerings
contained in the later chapters of this method.

1
VOICING
This method is based on a study of voicing as a means of acquiring the skills
necessary for the production of the altissimo register. Voicing refers to an
awareness and control of the muscles and soft flexible tissue in the orai cavitv
an(j vQgai tragt-

The vocal tract can be varied in shape and dimension by control of orai
muscles. Both the forward and rear humps of the tongue may be moved
longitudinally and pronounced tongue constrìctions produce two cavities, front
mouth (or orai cavity) and rear (or pharyngeal) cavity. Playing the saxophone
requires change in the configuration of our mouth, tongue, and throat which
contributes directiy to control over range, intonation, and dynamics. Further, our
personalized timbres are greatly influenced by how we manipulate this tract to
resonate each note.

Some orai cavity shapes are learned easily, while others are often difficult or
evasive, requiring determination, discovery of new and seemìngly unusual
muscle exaggerations, and Constant repetition to allow for muscle memory. The
exercises are designed to facilitate control of the muscles necessary for mastery
of the altissimo register as well as generally improve tonai and pitch flexibility.
Muscle habits learned from random trial and error, though adequate, are not as
dependable as a consistent, sequential study. Therefore, the objective of this
sequence is to maximize muscle control and memory, encourage an
understanding of the performer's interface with the instrument as a response to
conscious and disciplined muscle control, and reduce the risk factor of
performing in the extended range.

OVERTONES
The most efficient means to meet the objective of controlied and consistent
altissimo technique is through a study of overtones or harmonics. As
demonstrated by the "Overtone Reference Chart," (page 5) the saxophone's
overtone behavior is based on a predictable yield. The lowest pitch sounded
on each fingering is calied the fundamental and each successive interval is an
overtone or harmonic. In each case, the fundamental or "fingered note" will
eventually yield ali of the overtones following it in the sequence, resulting in the
production of the modes indicated.

Practice playing at the piano and singing the first several notes of each
overtone series. Concentrate on hearing the intervais and leaming to anticipate
the pìtches. (Remember that the actual piano pitches must be transposed to
correspond to the indicated saxophone pitches.) Successful altissimo skill
requires excellent pitch anticipation and placement. Eventually, this aural
antìcipation will trigger muscle memory resulting in correct pitch placement.

2
Work towards eventually hearing and singing the pitches before striking them
on the keyboard.

RESULTS
Voicing study is intended as a training procedure, not as a technical skill directiy
applicable to normal saxophone performance. The benefits of a study of this
kind are not lìmited to the acquisìtion of altìssimo and daily practice ìs
recommended for even the most advanced players. The skills acquired through
the study of voicing will undoubtediy aid the saxophonist in improving tone
quality, intonation, and overall control of the instrument. The orai cavity is a
significant timbro influence and pitch control mechanism as well as a variable in
resource exploration. Insights into its manipulation and control provides a
passage way to individuai exploration and discovery.

Frustrations shouid be anticipated, especially for the advanced player

unfamiliar with orai cavity manipulation. It is for this reason that the authors
strongly recommend the study of voicing to begin at an early age and with this
in mind have omitted chromatìcs from the early exercises. Beginning students
will master the concept surprisingly fast and be spared many future frustrations.

The role of the vocal tract in wìnd instrument performance has been often
misunderstood and therefore toc frequently ignored causing it to remain outsìde
of traditional pedagogy. The real potential of an understanding and mastery of
this kind is slowly but consistently finding its way into various pedagogical
sequences. Previous methods based on a trial and error approach result in
lìmited success and high levels of frustration for most players. Leaming
processes which focused on an "auto pilot" approach without awareness
building drills often resulted in faiiure or inconsistent performance. This method
intends to reduce fmstration and provide an eniightened approach to orai cavity
control. Through sequential repetition, the user is provided with a means to
long term muscle memory and reliable performance skills.

USING THE BOOK

The recommended approach is a sequential one. However, some may fìnd
overtone practice difficult at first while others are impatient and remain skeptical
towards this systematic approach. For those preferring the "trial and error"
approach and actual altissimo fingerings, the authors recommend beginning
with chapter 7 to become comfortable with the use of the front E and F
fingerings as a technical bridge to the next register. The authors suggest that
returning to the earlier exercises will eventually add to your control and

3
understanding of the extended range. Players aiready proficient in the
instrument's third register are encouraged to explore voicing exercises for
insights into flexibility and control of resonance, intonation, timbro, and
dynamics. Ali players are encouraged to periodically refer to the voiced scales
(chapter 6) and fingering charts (chapter 8) as a way of checking progress
towards the third register objective. Students may find it helpful to alternate a
sequential progression through the method with various "check points" to
evaluate individuai progress and success. Regular interfacing with later
exercises will also serve to stretch the boundaries of one's own success. Good
luck, and remember that patient and consistent practice is the key to successi

NOTE: As with any new physical activity, lengthy or prolonged practice

sessions using the voicing techniques described herein shouid be avoided.
Maximum benefits and improvements in skill will result from short daily practice
sessions. Because many of the procedures require unusual manipulation of
the orai cavity mechanism, long sessions (over 20 minutes) shouid be avoided
as they may result in discomfort or injury. If, at any time, pain or fatigue is
experienced, the student shouid stop. Persons with a history of respiratory
ailments are advised to contact a physician before beginning voicing study.

4
 OVERTONE REFERENCE CHART

d _ = ZI

I
PO.
-o-

fxindamental Ist mode 2nd mode (3rd, 4th, etc.)

. te fe i
I (sim. )

I o

QL ^

Po.
PO-

I
I
5
CHAPTER 2:
PRELIMINARY EXERCISES
Orai cavity and vocal tract muscles are very sophisticated. We learn to use
them to communicate verbally and finely tune them to produce the unique and
varied dìalects and accents we each speak with. These same muscles are
immediately calied upon when we play a wind instrument, though we frequently
dont realize that this is the case.

Recali, as a beginner, how difficult it was to produce the octave "G":

Even with the proper fingering, a good embouchure, and an adequate reed, the
note frequently wanted to sound either in the lower octave or as both notes
simultaneously. This effect is attributed to the compromised placement of the
saxophone's first octave vent. To compensate for this mechanical inadequacy,
the player must learn to stabilize the note with the assistance of a new and
different orai cavity configuration by using the tongue as an "octave key."
Frequently, this initial control is arrived at unconsciously as the body discovers
the necessary manipulation through kinesthetic muscle memory.

Young saxophonists are also frequently frustrated by early attempts to play

accurately in the lowest register (some of us older folks continue to have this
problem.) Attempts to produce the low Bb, B, C, and C# often yield the upper
octave. This explanation also lies in control of the vocal tract muscles. The
appropriate orai cavity shape must be discovered, understood, and
remembered by the kinesthetic muscle memory.

The exercises in this chapter are designed to aid in developing an awareness

of the physiological movements in the orai cavity which are necessary in the
performance of the various ranges of the saxophone.

EXERCISE A:
Prepare saxophone mouthpiece as if intending to play. Play mouthpiece alone
and see how many different pitches you can produce. Avoid trying to make

6
these pitch changes by varying embouchure pressure alone. Also aim for
minimal facial contortions (ie: nose movement, eyebrow lift, forehead wrinkles.)
Maintain normal facial mask and concentrate on tongue movement. While
blowing air, attempt to deliberately move the tongue to different posìtions in the
mouth. (ex: forward; backward; sideways; arch in center, front, back; curied up
or down)

Using a piano or other tuning reference, sustain a concert A (F# on the alto
saxophone) on the mouthpiece. Next, try to lower this pitch as far as possible,
continuing to use a pitch reference. Hopefully, you will see that it is possible to
play a range of pitches and even largo parts of songs and scales with the
mouthpiece alone. This is the first evidence that changing the resonance cavity
can shift the mode of the vibrating air column thus producing various pitches.

EXERCISE B:
Articulate aloud the long vowel sounds contained in the English alphabet.
These sounds include: (a) as in "say," (e) as in "we," (i) as in "hi," (o) as in "low,"
and (u) as in "new." Notice the different orai cavity shapes which result. Which
vowel sound resuits in the largest orai cavity space? Which resuits in the
smallest?

EXERCISE C:
Whistle a familiar tune. How do you change the pitch of your whistle? Is your
tongue moving? Study the tongue movement that occurs while whistling. This
is similar to that which occurs during execution of the saxophone's various
registers.

EXERCISE D:
While singing or humming, place your hand around the throat area under the
lower jaw. Can you feei movement as the voice changes pitch?

7
EXERCISE E:
Possibly the most important and beneficiai of this group of exercises is the front
"F" glissando or "F-trick." This skill is often elusive for non-jazz saxophonists,
but once acquired seems to be a significant skill in mastery of other voicing
exercises.

STEP 1 : The student must first learn to produce the third octave "F" with the
front fingering:

o
n O
O
O

(FRONT F)

NOTE: Some instruments manufactured in the early part of the century may not
have this key as part of their mechanism.

STEP 2: Once you are successful at controlling intonation, duration, and

articulation, begin to lower the pitch with orai muscle adjustment (Do nsìl
change fingerings!) Your initial goal shouid be to lower the pitch by one half
step as indicated on the following page.

8
Finger front "F" and play the following:

Attempt to produce a full glissando between the two pitches while working
towards a true half step, not simply a lowered note. This takes some players a
fewweeks. BE PATIENT!

STEP 3: When control of the half step is accomplished, begin to expand the
interval. Attempt to lower the pitch of the fingered front "F" by a whole step and
then a minor third, increasing the interval by half steps as far as you are able.
Eventually you will improve muscle control, and with extremely exaggerated
muscle tract positioning, be able to produce nearly an octave glissando.
STEP 4: Use the following exercise to gage your success as you gain
increased flexibility and awareness of the orai muscles involved in this
manipulation. These same muscles will play a very significant role in voicing
control and the production of overtones. (Remember to finger front "F" for the
entire exercise.)

It is recommended that the student review the "F trick" periodically during the
course of this method as a reminder of the importance of orai cavity awareness
and manipulation.

GOOD LUCK WITH THE FIRST MODE!

10
CHAPTER 3:
STEP ONE - THE FIRST MODE

GENERAL NOTES
1 ) The notation for the entire book is such that when a note is indicateci above
another, the bottom note is fingered while the top is produced.

2) Note values are relative and shouid not be interpreted literally. (ie: play half
notes shorter than whole notes and longer than quarter notes)

3} Ali exercises shouid be practiced with a tuning device.

4) Remember that the primary goais of voicing study are ACCURACY,
AWARENESS. AND CONSISTENCY.

5) Please be PATIENT and PERSISTENTI

INTRODUCTORY EXERCISES
This chapter will focus on developing first mode skills. Begin by playing the low
"F" as indicated and trying to "voice in" the octave without the assistance of the
octave key. Use a "kuh" or "kah" sound produced in the back of the throat for
the attack of the upper note. Try to avoid using the instrument's octave key - use
your tongue as an "octave key."

ex 1:

Avoid trying to slur upward, but rather thrust the tongue info the new position for
the upper note using the "kuh" or "kah" sound. Attempt to hold the upper note
as long as possìble and remember what this orai cavity setting feels like. As

11
you meet with success both mentally (remembering) and physically (doing)
begin to extend your range.

ex 2:

ex 3:

Attempt to add a new note every few days or weeks. You may attempt new
exercises without complete control of the preceding ones, however, it is
advisable to return and master earlier exercises with increased control and
facility. Use those aiready "conquered" as a daily warm-up.

ex 4:
^ ^ ^ /?N
s — 1 — ^ — 1 1 ® '
1—<91 o 1—c o

ex 5:

—e— 1 ® 1 1 o
1 e 1 o

12
ex 6:
^\
*^ ^
—f- 1 1
...
1 ® 1 ^
" 1-
V3 «-

ex 7:
If you are having trouble with low "C", the following exercise will help:

é—1 ^— 1— » o 11—1 C—5^— _ =—o * V

•—& 1—
' *—e '—
' •—o
*— 0 »—a • Or

Other helpful hints include practicing away from the music in order to focus ali of
your awareness towards vocal tract movement. You might even try the
following: Go info a corner of the room, turn out the lights and focus your mind
inside the orai cavity attempting to increase your own awareness of the
movement within.

RANGE EXTENSION - UPWARD

The production of the overtone often becomes increasi ngly difficult as the range
increases. Proceed gradually realizing that the exercises often require a
consistent and persistent effort. You will notice that as you proceed the
uppermost notes often want to drop back down. Due to previous muscle habits,
the body is resistant to unfamilìar demands of tongue movement. Remember,
you are attempting to learn new physiological patterns, some of which are
dramatically different from those previously learned.

13
ex 8:
Here we will attempt to extend your ability to voice in first mode notes upwards
to high "C."

If high "C" is giving you problems, doni be discouraged... Try "cheating" by

adding the octave key, and then see if you can sustain the note after releasing
the key.

ex 10:

14
ex 10 (confd):

ex 11:
Start each of the following with the "kuh" attack then relax vocal tract muscles
and lower in the fundamental.

Remember to check your intonation with a tuning device or piano. Good

intonation is valuable to avoid tightening embouchure muscles.

RANGE EXTENSION - DOWNWARD

The goal of the next set is to extend the range downward to low "Bb." As you
approach the low "B" and "Bb", your orai tract will undoubtediy resist the
exaggerated shape. Try to slightiy loosen your embouchure and drop your jaw.

15
ex 13:

Continue with the following:

ex 14:

ex 15:

• lo 1 i>o [ l»o
»— 9 —'—W o -Va o '

16
ex 16:

MATCHING EXERCISES
The following are intonation-timbre matching exercises. They are to be done
with criticai listening and with the assistance of a tuning device. Tuning the
voiced note to match the pitch and timbra of the regular fingering often requires
adjustments such as a lowered jaw and the feeling of an eniarged or "open"
throat. The overtone pitches tend to be sharp and demand an exaggerated orai
manipulation for a correct match with traditional fingerings. These exercises will
aid in voicing control as well as the potential for timbre variety and sub-tone skill
development. Attempt to master them with increasing speed.

ex 19:

17
ex 20:

^ t^o t^^ tjo

CT

ex 21:

ex 22:

4 l o l? o-

SUMMARY/REVIEW
ex 23:

Demonstrate your mastery of the first mode by playing the following:

1 — « — 1 — * — 1 ii'=p=>^

— 1 — I » — 1 — 1 * — 1 — r-*r—

18
ex 23 (confd):

=h=\ • r—

1 h

ex 24:
In the next study, the saxophone shouid be removed from the mouth completely
during rests. This will force you to use an old fingering with a new orai cavity
configuration.

^ - I n
I TV (Tv

—*—=— i — ì — - — •—t—=—
r i *—l— -—e—

As you proceed to second mode exercises, be sure to constantly review and

reinforce first mode skills.

GOOD LUCK!

19
CHAPTER 4:
STEP TWO - THE SECOND MODE
The exercises contained in this chapter focus on developing skills necessary for
performance of the second mode and shouid be attempted only after the
student has gained an awareness of the tongue movement necessary for
production of the first mode. The orai cavity must now learn a new physiological
setting required for the production of second mode pitches.

As with ali voicing study, one shouid constantly review previous skills (ie: the
first mode) Remember that ali exercises are to be played with the fundamental
fingerings as indicated by the lower notes. Practice ali exercises both tongued
and siurred.

INTRODUCTORY EXERCISES

ex 1:
Begin by playing the first mode notes as indicated using the throat "kuh" attack.
Once the first mode on "F" is played, attempt to switch to a low "Bb" fingering
while maintaining the octave "F." This will result in production of the second
mode on "F."

|—o ,1—® 1

( — j
^—

ex 2:
Continue similarly while attempting to ascend chromaticaily. Be sure to
maintain a Constant sound on the upper notes in each series when switching
from the first harmonic fingering to the second.

20
ex 2 (cont'd):

—• f—1 1 — — — ^ —
4^
ex 3:

^1
1»—
—e
^ Il '1—« N =

ex 4:

*1 — 1 *—1 ^ [ r—1^ j
r—*^
4^ Hi • —

RANGE EXTENSION
The next step is to extend the range of second mode skills. Hold each voiced
note and attempt to develop an awareness of the dìfferent orai cavity setti ngs
necessary for the production of different registers.

ex 5:

(vent"C#"key)

21
NOTE: Depressing the low "C#" key is recommended when producing the
second mode on "D." Due to the acoustical properties of the saxophone, this
technique, known as "venting" often assists in stabilizing overtone pitches.

ex 6:

H» 80 1^ I tf~^
fu- ' IJ'^
(*)

-o—
n

ex 7:

The goal of the following exercise is production of the second mode on "Eb."
Venting the "C#" key may facilitate this pitch as well as the "D" as mentioned
above.

y O
n D

(*) D n n

n = KEEP THE C# KEY DEPRESSED.

22
ex 8:
Now add your "new" note "Bb" to exercises above:

« fio-

ex 9:
Similarly, add "Bb" to ex 6:

I ti-

Remember to always build from a strong skills foundation (ie: Do what you can
do and slowly add new skills based on these). Continue to add a new note
each day or week.

Continue work until the following exercises can be played with accuracy and
consistency. PLEASE BE PATIENT AND PERSISTENTI

ex 10:
r\
•—
r
• 1 I*-

M 'i
4^ y ni ^ fi r p — • • L-o 1

(vent "Eb" key)

23
NOTE: Venting the "Eb" key may facilitate production of the second mode on
"E" and notes above it in the sequence.

ex 11 :

» 1— 4 p L
r *'
' J
ex 12:

=#=1
9 f *1
r 'i
4^
ex 13:

1 c :

MATCHING EXERCISES
ex 14:

As mentioned in the previous chapter, matching exercises shouid be done with

a tuning device. Mere, in addition to matching the first mode to the second as
indicated, try matching regularly fingered notes to second mode pitches.

24
ex 14 (cont'd):

SUMMARY
Complete mastery of the second mode may be demonstrated by performance of
the following exercises:

ex 15:

^-HP r r — — \
1

-p—k-o 1— »—fc|-o 1

25
26
ex 17 (cont'd):

27
ex 18 (cont'd):

e. t J

4i w » — • »—1^- » — '

l:H.. ^ jt?: 1^ t?^ ttl?: ^

REVIEW
At this point, a revìew of combìned first and second mode sl<ills is
recommended. Exercises such as the following will aiso aid in inner ear pitch
development (try to "hear" the note before playing it.)

it Is a good idea to repeat each measure several times until accuracy and
consistency is achieved. Do not slur but rather use the "kuh" attack.

ex 19:

* 4 «-
i U iJ

28
ex 19 (cont'd):

—H ^— 4

ex 20:

l \ « 4
h — h —b-
— ^

— f Si tri" ^
H^-
S'iti 1) J • ^

1 '

• — ^ —
ex 21:

1 « — «
=^
•

1 4^ 1 1

ex 22:

—0 < — é « — «
=^ •

H •
1

30
ex 22 (cont'd):

— U ^ —Ih

Each of these "gymnastic" type exercises shouid be repeated many times until
accuracy, consistency, and flexibility are achieved.

ex 23:

ex 24:

ex 25:

31
ex 26:

1*

ex 27:

—
— f c r » Pn

Nowforthe NEXT STEP!

32
CHARTER 5:
THE NEXT STEP
The goais of this chapter are threefold: increased awareness and discovery,
introduction of the third and fourth mode, and reinforcement of skills through a
review and combination of first, second, third, and fourth mode pitches.

EXPERIMENTAL EXERCISES
At this point, we will take a diversion from the typical exercises presented in
chapters 3 and 4. The objective of the following "experimental" exercises ìs
extended exploration of orai cavity manipulation. Realizing that these exercises
are somewhat unconventional, it is the belief of the authors that they are of high
value.
The exercises serve two main purposes. First, by forcing the orai tract into
exaggeratediy new positions, increased awareness of orai cavity and vocal tract
flexibillty capabilities results. In addition, by placing pitch control on
physiological (orai cavity) movement rather than mechanical manipulation
(depressing octave key), independence of the two is achieved.
The "experiments" may be especially difficult for experienced players due to
musale memory and long term reinforcement of previously learned
physiological patterns. Be patient as you add new and dìfferent muscle skills to
your Increasing vocabulary of orai cavity shapes by forcing your body to
respond to the demands of the exercises.
As you proceed with this set of studies, upper harmonics may begin to occur
"accidently." It is important not to reject these notes, even though they may
appear at unexpected times. Realize that your anatomy is beginning to
discover new and different orai cavity positions, identify the new notes, and
analyze the new feeling as it will be necessary to cali upon these later.

ex 1:
This drill involves a sort of "reversed" voicing exercise. Sustain each low pitch
as indicated. While adding the octave key during the second measure, attempt
to maintain the low register. This will require an exaggerated "openness" once
the octave key is depressed.

33
ex 1 (cont'd):

ex 2:
Now attempt the same thing as you descend chromatically.

ex 3:
Begin by playing the low register and adding the octave key while maintaining
the low pitch (as above.) Following this, change to the higher register by
voicing in the higher note. The goal here is to control octave manipulation
solely by orai cavity manipulation rather than by the mechanics of the
instmment.

, I I o I I III" Il II"
ex 4:
Begin by fingering an octave "A." Next, maintain the same pitch while changing
fingerings as indicated. Finally, voice in the lower pitch. Do the same thing on
"Bb" and "B."

^
-& o-

NOTE: "Bis Bb" is recommended in the above example.

ex 5:
Review the "F trick" from chapter 2 while remembering the objective of orai
cavity awareness and exploration.

ex 6:
Finger a low "Bb." Explore the highest pitches (or squeaks!) and any and ali
variances in pitch you can get with this fingering. You shouid play in a "wild and
abandoned" manner in order to realize ali possibilities. This is a great exercise
to vent your frustrations, just "go for it" and observe what is produced.

THE THIRD MODE

As with the first and second modes, the third will require consistent and patient
attention. By now you shouid be somewhat aware of the area in your orai cavity
which makes the various manipulations. Once again, we will attempt to build
third mode skills by adding on to our established foundation.

ex 7:
Begin by ascending chromatically on second mode pitches as indicated. Upon
reaching the fingered low "Eb," switch to a low "Bb" fingering while maintaining
the voicing for a second octave "Bb." You have now produced the third mode
on "Bb."

35
ex 7 (cont'd):

4^ rH
ex 8:
Now isolate the transfer from second to third modes and treat as a "matching"
exercise. It may be necessary to "kuh" the return to the third mode.

ex 9:
Continue to extend your range by half steps.

m
M p r
1 h
r
r *l » ÌBf~&- '

Uh»—

ex 10:
ex 10 (cont'd):

ex 11:

m
ITN

THE FOURTH MODE

ex 12:
Finally, proceed with development of fourth mode skills in a similar manner.

ti Ir
? or

Y ^ llf -
m ti]- ttf

37
38
SUMMARY/REVIEW
These exercises will serve as reinforcement of skills learned in preceding
chapters through the combination of the first, second, third and fourth mode.
Use this section to improve your problem areas, isolate difficult orai cavity
manipulations, and improve consistency on others. Remember that in ali
exercises it is valuable for muscle memory to sustain the upper most notes.

ex 16:
Success on these five note groups may be graduai. Add a few each week until
the highest notes become familiar. (optional: also try in minor)

39
ex 16 (cont'd):

to.

1° 11°
cr

L
^ Q-

bar o r

o o a ^ ^

PO.

«2 ^ ?

4
NOTE: Patterns 17 and 18 may be transposed up by half steps as above.

40
ex 17:

» T~"—rV~^^—1—

ir" Il

ex 18:

9 1f—1—1 •—
r—
rH
i ^

»—1 p—^ 9—V-

IT • r r - 9-

4H r
» ' 4 r • -
r1 r

f
c :
i

=^ r •
V—'

Now for some FUN WITH VOICING!

CHARTER 6:
FUN WITH VOICING!
The importance of hearing a pitch before it is played is of utmost importance in
the study of voicing as a means to the altissimo register. One must attempt to
auraiiy imagine each note in order to transmit the appropriate physiological
message to the mind and vocal tract. With this in mind. the study of familiar
songs and scaies has been included in this chapter.

TUNES
Play exercises 1-4 using any fundamental fingering which produces the
indicated pitch. Suggested fingerings are given for the first example. It may be
necessary to refer to the overtone reference chart included in chapter 1.

e x i : "AURA LEE"

\\
p. PO.

4r| • • 7 7

42
"AURA LEE" conf d:

•r tr r

J
:
•
r' h
•
X I

<0- ' Ir r * > or

5"

ex 2: "BINGO"

• — 1 — • — 1 •—[-
1 I»
P 1•—1 • 1 rh
4*=^ ? ^-
r -r • r - \>- p- -

(continue witti fundamental fingerings...)

43
ex 3: "OH, SUSANNA'

r f f f: f ^ r r _J_ ^ . 1,,
rT
-»• '

mm ^ f f f tj f T TT

(continue with fundamental fingerings...)

ex 4: 'THIS OLD MAN"

• 9^
— •
r fj\
- - e.

4^ 9—:
Ir r • r

(continue ••)

1—1*

m ' r rr

MORE TUNES
Exercises 5 and 6 consist of tunes based on a single fundamental. These are to
be played initially using the fundamental fingering of "Bb." Once successful,
also attempt them on other fundamentais ("B", "C", "C#", etc).

44
ex 5: "REVELIE"

Songs recommended for further study of this l<ind include other bugie calls,
children's songs and Christmas carols. Make up your ownl

45
VOICED SCALES
The following scaies are to be played with or without the assistance of the
octave key. Some intervais may be slurred, but most require a slight articulation
either in the traditional manner or with a throat "kuh." Remember to practice
aural imagery by hearing each note before playing it.

Begin each of the following scaies by playing one, two, and three notes until
mastery of the entire scale is accomplished. Dont become frustrated if success
is net met with immediately. The daily goal of an exercise such as this shouid
be the accomplishment of ONE new note or ONE increased awareness.

ex 1:

— e — o - V
PO.
o

1
>
— e —
u
o

ex 2:

o -

-a l^-o - o

ex 3:

o o- p a

t^^^ ^ ^ ^1^^ ^ ^ Ter

(Are we having fun yet?)

46
Always remember to challenge the mind and body beyond their perceived
capabilities. This often requires being creative in an attempt to fool the
kinesthetic memory bank and bring a new perspective to previous limitations.

ex 8:

te c o :
lo i'^ ^
V o
7 CT

47
ex 9:

IO- o o

ex 10:

o Pe- PO-

ex 11:

Q.

—r T

ex 12:

O "E* PO.
4 —r^;^—^—^

ex 13:
^ te te
io te ^
il

48
ex 14:

49
CHARTER 7:
ALTISSIMO TECHNIQUE - PART 1
Once the student has acquired the skills necessary far the production of the
altissimo register, the need stili exists to work these notes into already existing
technique. Chapters 7 and 8 are aimed at this goal.

FRONT FINGERINGS
In developing altissimo technique, it is important that the player become
comfortable using the front "E" and front "F" fingerings as indicated below:

O O

O
n O O
O O
O O

FRONTE FRONTE

50
BRIDGING THE GAP
It Is important to giva special attention to palm key exercises. The palm key
area provides the necessary connection between existing technique and newly
acquired altissimo register, thus demanding focused practice. Exercises such
as the following will help to develop digitai skill which "bridges the gap"
between "old" and "new" technique. Practice ali exercises in front of a mirror in
order to develop a smooth and rapid movement between palm and front keys.
Be sure that the wrist remains down and avoids arching when playing the front
fingerings. Often players tend to exaggerate this movement unnecessarily
resulting in inefficient physical movement. The authors suggest keeping the
palm of the hand dose to the palm keys when moving to the front fingerings.

BE SURE TO CHECK YOUR INTONATION ON ALL PITCHES! AVOID

DEVELOPING SKILL THAT ACCEPTS INACCURATE INTONATION.

NOTE: USE FRONT FINGERINGS FOR ALL OF THE FOLLOWING

EXERCISES:

ex 17:

ex 19:

r & ^ Si
& — & —

51
 ex 20:

Once you have achleved success at playing " P with voicing and fingering
conslstency, then proceed to the following which add front "E." Ali exercise
pattems shouid be repeated many times with increasing speed. Practice with a
metronome is recommended.

ex 21:

ex 22:

-^^^F i^f^

ex 23:

It
^ fi 1
^ • - •

52
ex 24;

ex 25:

4
ex 26:

:= ;= ^ := :z :z

ex 27:

ex 28:

53
The following examples include palm to front movement and are essential in
order to extend one's usable technical range into the altissimo register.

ex 29:

ex 30:

ex 31:

54
ex 34:

ex 35:

ex 36:

ex 37:

55
ex 38:

ex 39:

ex 40:

Another invaluable exercise is to practice arpeggìated chords incorporating the

front fingering technique. These shouid be played both tongued and slun-ed. It
is recommended that the student practice the following with careful listening
and an electronic tuner sustaining the appropriate tonic pitch. This will help to
develop an aural tuning response and correct intonation.

ex 41:

56
ex 42:

ex 46:
ex 47:

58
CHARTER 8:

ALTISSIMO TECHNIQUE - PART 2

SUGGESTED FINGERINGS
The student shouid now begin to explore the many available altissimo fingering
charts. With the ability gained through the study of voicing, these charts shouid
provide a framework from which to build an entire "repertoire" of usable third
register fingerings.

The authors believe that most altissimo notes can be produced with a multitude of
fingerings and that mastery of voicing control is directiy related to the number of
potential fingerings available to the performer. For this reason, the following
chart is lìmited to a maximum of five fingerings per note. Many fingerings are
Identical for alto, tener, and soprano saxophone and others require slight
varìatìons to accommodate the acoustical differences among the various types
and brands of Instruments.

The performer's selection of fingering may vary for one of a number of reasons
including instrument, mouthpiece, reed, individuai physical coupling, ortechnical
expectations of a particular passage. Many performers have altered their choice
of fingerings in the recent past as a result of varying technical and musical
demands in contemporary repertoire. With increased orai cavity control, players
may generally choose fingerings using fewer keys and involving easier
accessibility to and from them. As the literature continues to define the
appropriateness of fingerings, each new piece requires experimentation to find
the fingering to most adequately serve the particular demands of the musical
sequence.

59
Ali notes are to be interpreted 8va:

60
61
62
p

63
 O palm F
O
Q
palm Eb
o o o
o o o
palm D

o o o
1 1 o
o o o o
o o 1o o
e e e ©

64
65
TECHNICAL STUDIES
Technical studies for building technique into the altissimo register are included
on the following pages. The student is advised to slowly extend their usable
technique by proceeding one note at a time and addressing each of the scales
and modes as indicated. Chromatic scales and major thirds are included at the
back of the section and shouid also be addressed.

NOTE: Be sure to ìnterpret exercises 8va as indicated.

Building a strong, usable, altissimo technique demands an ongoing, daily

commitment. In addition to the technical studies included here, the authors
recommend that the student consider playing previously studied exercises and
completed lesson books up an octave. Another idea is to practice reading flute
music which naturally extends into this range. Explore the many flute method
books which are available and use the exercises provided as a model for your
own altissimo technique work.

THE AUTHORS WISH YOU THE BEST OF LUCK!

66
 TECHNICAL STUDIES - E 3

^ P 8>
i I r »r r i r *r r f i r »r

r f te

MAJC« SCALE
MAJCH SEVnWH

NATURAL MINCK SCALE

r r f f ^ if f r r r «r
HARMONIC MINCR SCALE

: I T r r ^ ^ ' i*" ^ ^ r r ì
MELODIC MINOR SCALE

r f 'F f f it r r,
DCKIAN MODE MINOR SEVENTH

MIXO-LYDIAN MODE DCWINANT SEVENTH

WHOLE TONE SCALE AUGMENTED TRIAD

r'r ' r ' r ^ |i^t«rtr«

DIMINISHED SCALE DIMINISHED SEVENTH

67
 TECHNICAL STUDIES - F 3

r r ir r r r y f f

r r y f f ^ r r 'r f ^

MAJCR SCALE MAJC» SEVENTH

NATURAL MINOR SCALE

HARMOJIC MINOR SCALE

f Y Y r
MELODIC MINOR SCALE

DQRIAN MODE MDJCR S E V ^ H

MIXO-LYDIAN MODE ANT^VEWTH

DOMINANT

WHOLE TOJE SCALE AUCa40ITED TRIAD

rrr'^'^ g¥>f r »flf

DIMINISHED SCALE DIMINISHED SEVENTH

68
 TECHNICAL STUDIES - Gb 3 (play 8va)

iJ i'^ r 'r^
MAJOR SCALE MAJC» SEVENTH

NATURAL MINCR SCALE

HARMONIC MINOR SCALE

1
MELOT)IC MINOR SCALE

DCRIAN MODE MINOR SEVENTH

MIXO-LYDIAN MODE DOMINANT SEVENTH

WHOLE TONE SCALE AUGMENTED TRIAD

i[j LJ l'tj 1^ Il IInn L^'I!• il

DIMINISHED SCALE DIMINISHED SEVENTH

J J J i3 f i r n l'f r y If ^iTO

69
 TECHNICAL STUDIES - G 3 (play 8va)

f r r IJ ^ f

é ^ ^ f f
MAJCR SCALE MAJCH SEVOmi

itr r I <

NATURAL M D K » SCALE

1—i—rr—I • ^
I
HARMONIC MINC« SCALE

I
MELODIC MINOR SCALE

DCRIAN MODE MINC» SEVENTH

MIXO-LYDIAN MODE DOMINANT SEVENTH

WHOLE TONE SCALE AUC3MEHTED TRIAD

ni. un
DIMINISHED SCALE DIMINISHED SEVENTH

70
 TECHNICAL STUDIES - Ab 3 (play 8va)

é r ^l'i ^ ^ ^ ^ ^ ^

NATURAL MDJC» SCALE

HARMONIC MINCR SCALE

' 'T 'f 'I V

i hT t ir
MELC»IC MINC« SCALE

l I i| || 'i 'I t 1^ ^ 3
DC»IAN MODE MINOR SEVENTH

il 't'i'i 'l'ir'rti^rr^^
MIXO-LYDIAN MODE DOMINANT SEVENTH

i-Tir ^

WHOLE TONE SCALE AUGMENTED TRIAD

1 i-TO r r r»r 1 t*r r h r—f r—1 H

^ ^ L i ^ 1 ^ L•i L!T
DIMINISHED SCALE DIMINISHED SEVENTH
tv-

7 1
 TECHMCAL STUDIES - A 3 (play 8va)

r 'r 1^ r T r r 'r f r U ir r r 'r

I Ir I I 'I II |. if I I 'I 'r

MAJCK SCALE MAJCK SEVENTH

NATURAL MINOR SCALE

HARMOIIC MINCH SCALE

1 I I r r ir i i j
MELCHJIC MINCH SCALE

I
DCHIAN MCOE MINOR SEVEMTH

MIXO-LYDIAN MODE DOMINANT SEVENTH

WHOLE TC»IE SCALE AUGMQITED TRIAD

4 n 11^ LT iLf
DIMINISHED SCALE DIMINISHED SEVENTH

72
 TECHhflCAL STUDIES - Bb 4 (play 8va)

I I I 'I M ' i I

MAJCR SCALE MAJCm SEVENTH

..ti'.
,| •Lj_L^LirrirrL^^
NATURAL MINOR SCALE

•> L

HARMC»JIC MINC» SCALE

r I' 'I 'Lj i|

MELODIC MINCR SCALE

DC»IAN MODE MINOR SEVENTH

MIXO-LYDIAN MODE DOMINANT SEVENTH

WHOLE TONE SCALE AUGMENTED TRIAD

^ l'I-
4 ^•

DIMINISHED SCALE DIMINISHED SEVENTH

tr I y »r "i
U U l ' - Il

73
 TECHMCAL STUDIES - B 4 (play 8va)

i| I 'I 'r i| 'I 'r I Ir T 'f i 'r ir

»f »r 'r
MAJOR SCALE MAJOR SEVQJTH

NATURAL MINCH SCALE

^ 'I' I u I
HARMONIC MINC« SCALE

Y r ^ i'^ ^ ^ Lir f
MELODIC MINCH SCALE

tf ìf «r r
DORIAN MC»E MINCR SEVQJTH

! L U J ' I 'rrrir'r
MIXO-LYDIAN MODE DOMINANT SEVOn-H

WHOLE TC»re: SCALE AUGMENTED TRIAD

DIMINISHED SCALE DIMINISHED SEVENTH

74
 TECHNICAL STUDIES - C 4 (play 8va)

MAJOR SCALE MAJCR SEVHWH

NATURAL MINCH SCALE

HARMONIC MINCH SCALE

MELC»IC MINCR SCALE

! i I 'I I'
DCHIAN MODE MINOR
— SEVENTH

I iiLirrrrr

LiJjTrtf itrrr
MIXO-LYDIAN MC»E DOMINANT ^EVENTH

mOLETONESCALE AUGMENTED TRIAD

DIMINISHED SCALE DIMINISHED SEVENTH

75
 TECHNICAL STUDIES: CHROMATIC SCALES

ti- r ' r r ' r r f . t f ^ i ^ ^

8va

i.n"'J"i Ir f r 'r f „.'i, 1/ 'I' I *!' l'r [JiQ

r 'r r 'f r.L*r r i r [.r ,^r,; • ' " " ^

r tr I Hr Y »f >r F Vr
I

I
« r r j r r ' r ,'t f »r ^r »r Hi

76
 TECHNICAL STUDIES: THIRDS

" L II 1 -

j>kiK r r r T r TTT IL

SAhh P r r rrf f f ,f
" L II 1 1 ' -^ ' 1
8va

nX I I I - ] y—,— IP P . r •
> P •r.f-r^ ™
l. 1 1 J LLJ=J Il
<jp ^ j ^ rj I I
sim.

hhh,^ rm r . r 1
r 1 r 1 r 1 r:k

(h ^ —J * '
fTT^ r r r r I r r r
p p U ,1, [Il
r r r rI I r=

i^kh.^ • F . r r r r r ir r r rr r r r rrrrrfrr

;juttf*^ • , r r r r r ir r r rr r rr

^niiV r r r r r r ^ ^ ' ^ rrrrr1 rfrfrfrff •

,

lh"'tf^i^ . r r r r n ^ ir r r r r r r r r f r f f f r f *^

'rrrfrf ,

77
REFERENCES
Anfinson, Roland E. "A Cineflourographic Investigation of Supralaryngeal
Adjustments in Selected Clarinet Playing Techniques." State University
of lowa, 1965.
Appleman, Ralph. The Science of Vocal Pedagogv. Bloomington, Indiana:
Indiana University Press, 1967.

Crelin. Edmund S. The Human Vocal Tract - Anatomv. Function. Development.

& Evolution. Vantage Press, 1987.

Hammer, Russel A. Singing - An Extension of Speech. The Scarecrow Press,

Inc., 1978.

Lang, Rosemary. Beginning Studies in the Altissimo Register. Indianapolis,

Indiana: Lang Music Publications, 1974.
Rascher, Sigurd. Top Tones for the Saxophone. New York, NY: Cari Fischer,
Inc., 3rd edition, 1977.

Rousseau, Eugene. Saxophone High Tones. Bloomington, Indiana: Etoile

Music, Inc., 1978.

Teal, Larry. The Art of Saxophone Playing. Evanston, Illinois: Summy-Birchard

Co., 1963.

Wheeler, Raymond L. "New Technology Refutes Old Techniques," The

Instrumentalist. September 1977.

Wheeler, Raymond L. "Tongue Registration and Articulation for Single and

Doublé Reed Instruments." NACWPI Journal, voi. XXII, No. 1. 1973.
pp. 3-12.

Wheeler, Raymond L. "Pedagogie Concepts for Reed Instrument Performance,

Based on Cineradiographic Research of the Orai Cavity." NACWPI
jflumal, voi. XXV, No. 3. 1977. pp.3-10.
Zilz, Edwin. How to Whistle Songs. Costa Mesa, CA: Stanton Press.

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