Tenor Saxophone . Book 1A Beginning rts OF: PLINEN iC. 5 e, New " Moat nas wows By Harry H. Haines & J. R: McEntyre Contributing Editor - Tom C. Rhodes Gi) Pa B323, SOUTHERN MUSIC COMPANY Price 4.50 ONO, TEXAS 78292Musical Terms Index i {taff—5 lines and 4 spaces. 2 i Clef Sign 3 F=— Boss Clef Sign 4 4 = 4 ‘Time Signature ‘a4 beats in each measure. b—each J note gets one beat. 5: 6 GA > Flat—Lowers a tone % step. GB = Sharp—Raises a tone ¥ step. Natural—Indicates that the note is not GOH Netra tects tht te note at ue eee 7 © Whole Note = Bar—Divides staff into measures, Measure—Space between two bars. 8 = whote Rest 9 J Quarter Note 10 11d HaltNote 12 13 JJ Bignth Notes 14 d. Dotted Half Note 15? Quarter Rest 16 3 Time Signature ‘1-2 beats in each measure boeach J note gets one beat LOA ee a ear b—each ¢ note gets one beat. Double Bar—Marks the end of a section. Half Rest 17 qd Tie—combines two oF more notes of the same pitsh 18 Repeat Dots—Repeat entire section, 19 J, Dotted Quarter Note 20 = © Hold or Fermata—cive extra time. Ba 21 Ist and 2nd Endings ss Play Ist ending the first ‘time then repeat strain and play 2nd ending, 26= Key Signature Flats or sharp place at the beginning ofa action indicate that 23 24 25 26 27 28 29 30 31 32 34 35 FF 36 37 38 39 these notes are sharped or flatted throughout the section. J Slur—pifferent. pitches joined by & 2@F curved line in which only the first note is tongue Fine—Finish D.C. al Fine—Go back to the beginning and play until you come to Fine. Y Bighth Rest very soft soft moderately soft moderately loud loud very loud SN Qoggrg Repeat the preceding measure, Pick Up Notes—An incomplete meas- ture at the beginning; note values are usually taken from the last measure, C Time Signature—This means common time which is the same as 4 Time Andante—Moderately slow and smooth lowing. Allegro—Quite fast. ‘Maestoso—Majestically. € Cut Time—same as § time. Means to cat all note values to half as long. Sixteenth Notes Sixteenth Rest Accompaniment—A part, that sup- ports the melody but is subordinate to it. Enharmonic—two different names for ‘one tone, 9 Breath Mark.Division of Beat A Breath Impulse Method For Beginning Band Classes BOOK 14 By Harry H. Haines Music Department Chairman West Texas State University Canyon, Texas And J. R. McEntyre Coordinator of Music Odessa Public Schools Odessa, Texas Contributing Editor Tom C. Rhodes © Copyright 1980 by Harry H. Haines and J. R. McEntyre © Copyright 198 by Southern Masic Company, San Antoni, Teaas 78292 Thternational Copyright Secured. All Rights ReservedFINGERING CHART TENOR SAXOPHONE ‘© —indieates hole open. © —indicates hole closed (or key depressed). seeiceay, geeieoo, B Bb (At) (Ab) A Ge | go0igoq, geolooo, geciooa, 2001000, 2o0loog, 1800, goo1eog, ge01000, 3° 3201000, ed > se8i000, 7 > Fe (Gb) ogo they F (0b) Db De (Eb) E ce geeieoo, gesieea, gerieee, -ge0i00q, (be) Bb (A) bao A 2 Gt (Ab) G || _geoIoag, || gooicog, > > goolece, + ‘© ge0J009, 29% 2001000 gesicca, -seeioog, geeicoo, 2eeiooyyINSTRUMENT POSITION Ronnie Vaughn Embouchure 1. The upper teeth rest on the mouthpiece about "4 inch from the tip. The weight of the head should rest at this point firm- ly 0 that there is no problem of the teeth slipping on the mouthpiece 2, The mouth corners should be pushed in, the lower lip up, and the lower teeth and jaw down. Example: the embouchure wheel is a good example of the way the supporting muscles should surround the mouthpiece, with equal tension from all sides. 8. The lower lip should be above the teeth, in a rolled position supported by the chin and lip muscles. 4. The chin muscles hold the lower lip in this position so that there will be little pressure on the lower teeth. BazTENOR SAXOPHONE LESSON t Starting on the Mouthpiece This entire lesson is intended as a guide for activities to be explained and demonstrated to the student by the director. While performing, the student is encouraged to watch the director and not the book illus- | trations. The authors believe that best results will be achieved if the teacher will approach this lesson using a Suzukisike setting. The basis should be rote teaching using much imitation and repetition. I. Make a Sound Start with your mouthpiece (reed properly soaked and placed) and neck joint, Place the mouthpiece in your mouth as in- structed by your band director. NOW, can you make this sound by imitating your director? (Director and student should produce concert At) a a a ° ° ° Director Play Repeat this many times. Students Play ‘Try to hold this sound as long as you can, (You may want to hold it longer than anyone else in the class.) II. Practice Pulsing ‘To practice pulsing, “hiss” through your teeth very loudly and with great force, Imitate your director. Can you “hiss” louder than your director? Director: gd ewcene |e ee) See ee TIL. Pulse, the Mouthpiece Sound Now your director may permit you to Pulse this sound. Try to do this exactly as explained. Pulse: Pulse: el Hold your chin sti keep the air moving f ° and the sound going. t f Director play Students play TV. Put It Together Your teacher may now want to explain how to assemble your saxophone. Do this very carefully. V.. Play Real Notes. Your director will show you how to finger these notes, G G F F A A Repeat each note many times in sequence. DIRECTOR-STUDENT Director Students Director Students Director Students ay Play Play Play Play Play PlayVI. Tongue a Real Note ° SSA . =a fongue: seo ws etn , Tongue! mo cy ae Toney SS LSS Repeat this many times: ris me Sls . imitate your teacher. VIL. Pat Your Foot. Tongue the notes and pat your foot. Director: 1. Pat your foot and say ‘Students ieee ee ‘down-up-down-up-down.”” fs isk see a 3, Play the notes and pat your foot don (think ‘‘down-up-down-up-down"’. doe sap dorm sap «don 4, Tongue the notes and pat your foot. VIII. play a Tune. Your director may now show you how to play # tune, (Suggestion: any three note tune, such as “Merrily We Roll Along" by rote.) IX. Pulse with a Good Tone. Count silently on the rests. Pat your foot all the time — even on the rests. (Continue to pulse 8 per note.) G G G G Director Students Students Students XX. More Rote Practice. Count rests silently, but pat your foot. FE EF EF FE Director Students Students Students XL. A Good Warm-up Exercise (Repeat many times.) c G c Director: Students: XII. imitate Your Director. Pulse good tone. (Continue to pulse.) Pat oho accurately all the CR Silent A Director Students (foot pat] Students Students XIII. Things to Learn before Lesson 2 ef o# eg - J Music Bass Treble Time Bar Quarter Double Staff Chet Clef Signature Line Note Bar B23LESSON 2 Suggestion: Start each class with a warm-up using material from lesson 1 Think and Listen! 64 This symbol denotes something new! ‘Throughout this book, new musical notation and terms are marked with Wi sign. The number refers to the Index of Musical terms found on the inside front cover. 1 The First Written Note Repeat this line many times. whole note whole rest ‘4 counts 4 counts in $time in ftime 2 Add Breath Impulse and Footbeat Play this line many times. Use variations such. as teacher playistudent play or solo/class, Lootbeat wa P” we” ee ee ee a think Zea" Stop Saw ep cone te down p dons up doen ep down up 3 Quarter Notes and Counting (See page 33 for an explanation of the counting system used in this book) footheat wae” we” wea a oP a a a Bink Cre"we Seo og Seep Sgn op denn tp Senn op deem seen op doen up devs wp dren ap dows up dee ap doen tp darn wp dos tp A Tonguing the Air Stream mw dddg ee en 5 Tonguing Correctly (Smoothly) footbeat we we” ee ee er ar ar ar ee Gian doen up Sows oy Gorn up Sree op Seco Sige dere op frets ee fom. ap Gorn ve dgen op comm wp om Twigs sets fSartts 2.80.2 oe ee 6 More Quarter Notes and Whole Notes footbent a” wa” wa wa a a i SR Sas MSS ES ee eke BarsLESSON 3 Itis very important to start each class with a routine to build tone quality. ‘Suggestion: Use parts IX, X and XI from Lesson 1 7 A Lower Tone 8 Switcheroo Keep tonguing legato (smoothly). 9 Half Notes and Half Rests 10. who Will Play in the Rest? 11 Quarter Notes and Half Notes 12 All Mixed Up! How to become a good player... Tap foot, count and play every line! B23LESSON 4 Suggestion: Start each class with a warm-up. Use parts IX, X and XI from Lesson 1. Learn How to Clean Your Instrument Properly. 13 The Third Note (ask you teacker about Transposition of instruments.) ho ccasrasreme: egies cae esses 14 Three Tones Together 1 5 woke bad class solo class solo class solo class 16 Two Lines Together Play these lines in unison one at a time, then divide the class and play them as a duet. a 17 fete th ie a eh a Se a ed 18 Lots O’Notes Work for legato tonguing style—long notes. 19 Who Will Play in the Rest Again? Don't puff out cheel BaLESSON 5 ‘Suggestion: Add to your warm-up routine line XII from Lesson 1 Every Note is a Pearl! 20 Going Higher 21, Eighth Notes Are Easy 22 Eighth Notes with Quarter Notes TS ae ee dotted half quarter rest 23> Tricky Second Count Special Assignment: Before going to line #26, try to count and play 1st measures of 22, 23, 24 & 25; then do 2nd measures straight down, then 3rd measures. . . this is a great exercise in rhythm! 26 Rhythmic Challenge 27 our First Tune Keep the air flowing; work for legato tonguing style Baz, Bb LESSON 6 Always Carry Your Instrument Case with Lid Toward You! 28 ANew High Note 29 Three Beats Per Measure 30 Three-Four Time Again 31. Two Beats Per Measure Wa 32 Counting Notes 33> Counting Rests 34 Hymn Tune Legato tonguing will help you the most! myLESSON 7 ¢ 6 2- Suageton: Start ach las with warmap #1 age 28) é & ooo|oed 35. High Leap Va 36 Another New Note 37 Twinkle Twinkle This song can be played togother with all instruments except Bb Saxes, Hors, and Oboes. 38 The Tie By 39 Play It Again Sam Ry ‘Sia AO Who Will Play on a Rest? A1 Lightly Lightly This line can be played together with all instruments except Bs Saxes, Horns and Oboes. Special note to your director: It is suggested that tonguing style now be augmented to include a medium marcato, Bars uLESSON 8 Review All Notes 43 Move Those Fingers AA Fingering Mix-Up A5 Fingering Challenge AG Fingering Fight ‘Suggestion: As a special assignment, go back and do the Ist measures of lines #43, 44, 45 and 46, Count and then play each “Ist measure.” Next, count all the Ist measures straight down (without stopping) and then play them straight down. Do the same for the Ind measures (a ha! the counting isnt written out for you). And finally, count and play the 3rd measures straight down. A7 Dotted Quarter and Eighth Notes ighth Notes are ighth sometimes written with rest a'single fag on the stem, 47-A More Dotted Quarters A8 Dotted Quarter Again AQ Name That Tune Proper playing position is important. Ba 12LESSON 9 2 8 2 Q, 50 Playing Lower 51 Clarinet Solo (clarinets only) 2 52 Fermata 53 Higher and Lower 54 Moving Up and Down 55 First and Second Endings 7 56 Jolly Ole St. Nick 57 The Hardest Line (so far) BesLESSON 10 The Key Signature Lesson oy é 58 “The Scale” Ra ta 59 Another Scale 60 High and Low 61 Last Note Mystery 62 Key Signatures 63 Merrily with a Key Signature 63A Learn a Key Signature Chant to DL 7 Key of C, no flats, no sharps. Key of G, 1 sharp: F sharp. Key of D, 2 sharps: F sharp, C sharp. 7] 7] 7) Key of F, 1 flat: B flat Key of Bi, 2 flats: B flat, E flat. (0 2 7 Key of Bs, 3 flats; B flat, E flat, A flat. (OY J 9 7) (Later, your director will perhaps give you additional chants for other Keys.) aa 4LESSON 11 Suggestion: Add warm-up #2 (Page 28) 64 Sturs and Ties 65 Sturring and Tonguing ee 66 Clarinets Lower 67 Echo the New Key a \ 68 Is the Echo Correct? | i 69 Play Lots O’Notes 70 Moving On 71 Marine's Hymn Pn. ~__* ~~ Cal Fine Congratulations! You're half-way through the book! Ban 15LESSON 12 What Are Keys? 72. Barcarolle in Three Keys 73 Same Song, New Key 74 Again, Another Key 75 Name the Notes (Watch the Key!) 76 More Notes, New Key 77 Say Chant, Name Notes 78 Syncopation 79 Caisson Song 80 _—_,. (Part of) Our Boys Will Shine Here's help! On page 30, practice rhythms #43-72. They're lots of fur! 8323 16LESSON 13 81 Going Higher 82 Higher Clarinets 83 Clarinets Higher Still 84 Dedicated to Clarinets 85 Clarinets Sometime Squeak ak 87 Saints (and pick-up notes) —., B23 ‘An incomplete measure?LESSON 14 88 sturs 89 Clarinets Can't Play This Now (Later?) 90 Keep It Smooth 91 (om) Pa (Oom) Pa 92 Oom (Pa) Ooni (Pa) 93 Round 94 Michael Row the Boat Ashore Are you counting the first two notes correctly? 95 Twinkle Twinkle with Harmony BarsLESSON 15 Time Signature Lesson A traditional explanation is as follows: ‘Top Number — = Number of counts in a measure Bottom Number = The kind of note which receives one count (similar to the bottom number in reading fractions, 1 = whole note; 2 = half note; 4. = quarter no! ighth note; etc.) QUESTIONS: { time = _4 counts per measure, Quarter note receives 1 count. time =___counts per measure, note receives 1 count. J time = counts per measure, __note receives 1 count. SUGGESTION: Make up some time signature and drill for fun! 96 Count and Play gd BIT MT 4k pe Oy 97 For Fun 98 Down in the Valley —or— 99 Row Row th’ Boat (Round) + + a 100 East Side-West Side a 19LESSON 15A Time Signature Lesson (and a suggested new way to explain time signatures) ‘The time signatures listed on the previous page are explained in terms of their traditional definitions. (Sometimes is referred to as “'simple time.”) A lot of music today, however, makes it necessary to explain time signatures in a different way. One different way to do this is to group three eighth notes into one beat (exampl quarter becomes the note that gets a beat in fast j time.) Combining several counts into one larger beat is sometimes called “compound time.” For this reaeon, itis important that you lea a different way tounderstand time signatures, is as follows: ‘Traditional Explanation: [= 8 counts per measure and an eighth note receives 1 count. Different Explanation: §] = 3 eighth notes or their equivalent in each full measure, Does this help? ‘Try it out to see how it actually works! For each of the lines on this page (which may sound very familiar) try to tap your foot, count and play using only one beat per measure, three breath impulses per beat. ‘The counts have been written under the first few measures to help you. You may have more fun and these lines might, sound even better to you played one beat per measure. Now play this entire page in one count per measure 96A Count and Play this way (in one} aye NH HE 97A For Fun 1 ah lee 1 un un 1 tah tee 1 tee 98A Down in the Valley I —> 99.4 Row Row th’ Boat (Round) as 100A East Side-West SideLESSON 16 Suggestion: Add warm-up #3 (Page 28) 101. A» Concert Scale in j Time jG Dynamics: Can You Name 6 Levels? my (Can you count and play this 2 ways? 102 Ab Concert Scale in } Time de ‘Suggestion: Now go back to Lesson 6 and play through the book again counting and playing all } lines one beat per measure. You'll be surprised how quickly you can do this {and how much better many lines sound when played fast!) Can you count and play this 2 ways? P 104 Dona Nobis Pacem J= 60 \s Pp Some fines will always sound better when played slowly pans 21DIVISION OF BEAT SUPPLEMENTAL LESSON I The “Waltz Time” Lesson. I, Po00100 a 8 A. Scalein % Time J.=60 » Pocoloe. B. Scale in Waltz Time 1=60 Cc. Round in Waltz Time 4=60 D. Bear Went 0’er the Mountain /.=60 E. sweet Betsy From Pike melody # accompaniment ‘SUPPLEMENTAL LESSON II Some lines with Two Impulses Some lines with Three Impulses E_ Duet (Part 1) G. Duet (Part 2) H. Helping Clarinets I. More Help For Clarinets —,. J. Band Played On 1.=60 ft. rs K. Sidewalks of New York melody accompanimentSUPPLEMENTAL LESSON III Reviewing the Dotted Quarter Note ® cooled” 2 E L. America (/ =60; 3 beats per measure) M. Dotted Quarter Notes N. The First Beat O. The Second Beat ¥. is ope ie Ai t ti 4 ik tl tig ul P. The Third Beat Q.. West Texas Song melody accompanimentSUPPLEMENTAL LESSON Building Range and Technique R. Duet (Part 1) S. Duet (Part 1p; H : ; : T. Basic Technique U. Building Technique V. On Top of Ole Smoky ( ¢-=60, in one) " —~, W. East Side, West Side /.=60 Ba23 aLESSON 17 ay é 6 é be i ay ial = oole: 9, ®, 105. D+ Concert Seale in { Time 106 D> Concert Scale in § Time 107 Chopsticks —— mp 107A triplets ; 3 108 Pop Goes the Weasel — Pop! 111 Dotted Half 3 Counts 3-60 ae 109 Dotted Halt 1 Count 110 Dotted Half 2 Counts 112 our Director March solo It is very important that you use warm-up #3 to practice every day playing four impulses per beat. Baa 26ct Bac LESSON 18 = = 0001008) QSoo|008 Sc0|ed °, 113 Chromatic Scale in j sa Le 114 Chromatic Seale in § (See page 22.) og bee ee Beautiful Dre a ee 116 Funarmonie™ “Ask your teecher about “E to F” and “B to ©, "then write some enharmonic notes. 117 Sharps Ascending, Flats Descending 118 Looby Loo 119 Earnival of Venice o irs 2 120 Goa Night Ladies Andante solo. mf Baa 2LESSON 19 ‘Suggestion: A really great way to review furdamentals and practice playing cut time (at the same time) is to go back through this book playing all of the { lines (that do not include 8th notes) twice as fast. as though they were written in cut time. You'll be surprised how quickly you can play these lines and it will probably help your ego to see how much You've improved. | 12° Fooibat Tune Allegro. a 1288 Beethoven's Sth — i mf 124 Palo Duro Canyon March Baz 28LESSON 20 125 Technique Fun 126 Technique Fan Lil’ Harder — 127 Harder 'N Harder 128 Hardest Line in the Book? 129 Stars and Stripes Forever 130 Long, Long Ago i | | Practice “more rhythms" on page 31 — this will help you even more. Bans 29LESSON 21 Suggestion: Add warm-up #4 (Page 28) 131 sixteenth Notes Have Finally Arrived 132 More Sixteenths 133 Love Those Sixteenths 134 Sixteenths Forever 135 Ten Little Indians 136 Little Brown Jug 137 Dixie (Is Too Hard for This Book?) ‘This line is too difficult for this book. Can you play it? ans 30LESSON 22 138 Running Sixteenths 139 Same Thing in Cut Time notes... right) go back through the Book and play all of the 4 lines which contain 8th notes and do them in cut time, Tap foot, count and play every line; you'll be an expert in DIVISION OF BEAT! [ THE BIG PAY-OFF! Now that you can count and play 8th notes in cut time (which are really sixteenth 140 Witiam Te Allegro 141. Hi Ho, Nobody Home (Round) 142 Aura Lee ‘Andante , ’ mp per 3SUGGESTED WARM-UPS Note: These should be memorized as quickly as possible and played as a daily routine at the beginning of eack class session. Warm-up 1 (For lessons 7-22) Two breath impulses per J = 60 Warm-up 2 (For lessons 11-22) Three breath impulses per beat 4. = 60 think 3 ibe lah oe Warm-up 3 (For lessons 16-22) Four breath impulses per beat 4 = 60 Warm-up 4 (For lessons 21-22) Six breath impulses per beat 4. = 60 Suggestion: As soon as practical, change warm-ups 1 and 2 above to chromatic and delete rests. Warm-up 5 (For introduction to Book II) —> — B33 32TENOR SAXOPHONE Andantino Arranged by B. G. EVANS pedalRHYTHM EXERCISE Set {All exercises on this page can be counted with 2 impulses) 3 4 5 7 ; Do e era 1 feo Pe A hh 7 7 ee 4% 4 " }= da 2 lid i 2 tye _ T T % or ne oN oo A a 8 a Ps : gi _—LTeo 40 4a fn t POT de ds th I I Ny {dl pJ FR A tbl bo 57 x ey 60 s | pl ts BABAR AAT # t 1,17, Li, , 9 Py. +Gel. *Exercises 73:84 should be counted one beat per measure using three pulses ‘You could be tested on some of these rhythms. M "J oo iD Migs 44RHYTHM EXERCISE (for impulses end 4 impulses) ¢T 86 87 88 89 90 91 92, 93 04 95 96 | 133, roa 195 196 ar 138 139 40 165 166 167 168 169 170 171 172 PA / ‘These rhythm exercises are available on 35mm slides: Set #1 for measures 1-84, Set #2 for measures85-172, zs and Set #3 (Book II) measures 173-214. Available from Southern Music Co. 35B23 SPECIAL SONGS FOR INDIVIDUAL PRACTICE Note: This is not a unison page. Songs will vary from instrument to instrument, Up On the Housetop America the Beautiful Red River Valley Home on the Range ’ D. S. al Fine ,*EASTMAN SYSTEM OF COUNTING (Simplified) I. Notes of one or more counts Notes of one count (or longer) are counted much the same way as any counting system; simply say the number of the count on which the note begins and continue the word-sound for the duration of the note. Thus a note which receives ‘one count and which begins on the first beat of the measure would be counted “one”; if it were on the second count, say “two,"’ete. A note of longer value would simply be held longer; thus a whole note (in 4 time) would be counted “onnnnnnnnnnne” for 4 counts. This has che advantage of making the verbalization most nearly approximate the sound of an instrament playing the actual rhythm and requires the identical mental process of thinking the number of counts while a continuous sound is produced. The following example quickly illustrates Eastman Counting as applied to rhythms (including rests) of 1, 2, 3 or 4 counts. —+4 petty. id ppt 3094 1-ununan 1 2 Se 1 3 4 I+unun II. Counting the sub-divisions Notes which receive less than a full count are divided into rhythms which are divisable by 2 and those which are divisable by 3 (some would say duple and triple rhythms). Again, any note which occurs on a downbeat is simply counted with the number of the count; the important difference is that # note which occurs the last: ¥ of a count is counted ‘‘te” (latin, rhymes with May) and notes which occur on the second ‘4 of the count and last. of the count are counted “lah” and “lee.” Rhythms which are divisable by 2 Rhythms which are divisable by 3 1 te ee ye Py III. Everything else is counted “Ta” fT] FT 1 ta te ta 1 ta lah ta lee ta ITM 1 te ta 1 lah ta lee ta lt te 1 ta lah ta lee 1 ta ae 1 ta lee For the compl ete explanation of this counting system, soo Ear Training and Sight Singing Dictation Manual by Alan 1. Metiose, pablsed by Bre — a “ mice Hall BaDivision of Beat Book 1 INSTRUMENTATION Conductor's Guide with cassette Flute Cornet/Trumpet/Baritone TC Oboe French Horn Bassoon Trombone Clarinet/Bass Clarinet Baritone BC Alto/Baritone Saxophone Tuba/Bass Tenor Saxophone Percussion/Mallets Book 2 INSTRUMENTATION Conductor's Guide Baritone Saxophone Flute Cornet/Trumpet Oboe French Horn Bassoon Trombone Clarinet Baritone B.C. Bass Clarinet Baritone T.C. Alto Saxophone Tuba/Bass Tenor Saxophone __ Percussion/Mallets Rhythm Slides: Set 1 - for Book 1 Set 2 - for Book 1 MM Set 3 - for Book 2 SOUTHERN MUSIC COMPANY