I receive a large amount of requests to teach saxophone lessons from scholars of all ages and abilities. Most are wanting to improve their strategy and for help with improving their abilities to improvise. Through the years, I have been able to help just about all of my students improve by identifying their strengths, working on their weaknesses and trying a four-part practice routine I have developed across the years.
In my view, the sound you create on your instrument is the most vital element of learning to play music. The saxophone has a wide range of sounds and in the hands of a master, it can be used to recall a mess of tones and emotions. Making a good tone on the saxophone takes years of practice so one can't expect to sound great overnite. Focused scrutiny to your airstream, your embouchure, and what type of mouthpiece and reed you play are all necessary to making a good tone. In addition, consistent long-tone practice with a metronome and tuner is totally if you need to enhance your tone. I usually focus on my tone for the first part of my practice routine and for new scholars, I take time to explain all the elements that go into creating a great sound and I prepare them with the necessary tools to be able to develop and improve their tone.
Working on your strategy is the second part of my routine and though crucial, most scholars start and stop here. Great technique is merely a method to an end and that end is to be in a position to express yourself on your instrument. Having flawless method is laudable however it means nothing without the power to relate to the fans or your fellow band chums. Dependent on your ambitions, I usually incorporate scales and related exercises, solo transcripts and interval work as part of method practice.
Part 3 of my routine is maybe the most important, especially if you're looking at improving your capability to improvise. As I stated above, most scholars practice on their strategy solely and as a result, many have developed an armoury of technical ideas but haven't any idea the right way to apply them. There is a awfully basic exercise I employ to help scholars make the jump from practicing licks in a practice room to really improvising on the band stand with a group. Remember that improvising jazz or any other sort of music does involve a vocabulary (your system) but equally important is your ability to listen to your band chums and develop a theme. Think about improvising as chatting with your band. If you don't stop, take a deep breath, and listen to what they have to point out then you really aren't talking, you are lecturing them. The exercise I teach is simple, but not straightforward, and can take a little time to develop. It does work.
Lastly, all scholars of music, particularly students of music looking to improvise, should compose and study compositions written by great gurus in a selection of genres. There is just as much to profit from J.S. Bach as there is to learn from Duke Ellington. In the end an improvisation should be an extension of whatever composition you are playing. Scholars often overlook this very important point and should make an attempt to write their own songs as well as observe the works of their fave composers.
In my view, the sound you create on your instrument is the most vital element of learning to play music. The saxophone has a wide range of sounds and in the hands of a master, it can be used to recall a mess of tones and emotions. Making a good tone on the saxophone takes years of practice so one can't expect to sound great overnite. Focused scrutiny to your airstream, your embouchure, and what type of mouthpiece and reed you play are all necessary to making a good tone. In addition, consistent long-tone practice with a metronome and tuner is totally if you need to enhance your tone. I usually focus on my tone for the first part of my practice routine and for new scholars, I take time to explain all the elements that go into creating a great sound and I prepare them with the necessary tools to be able to develop and improve their tone.
Working on your strategy is the second part of my routine and though crucial, most scholars start and stop here. Great technique is merely a method to an end and that end is to be in a position to express yourself on your instrument. Having flawless method is laudable however it means nothing without the power to relate to the fans or your fellow band chums. Dependent on your ambitions, I usually incorporate scales and related exercises, solo transcripts and interval work as part of method practice.
Part 3 of my routine is maybe the most important, especially if you're looking at improving your capability to improvise. As I stated above, most scholars practice on their strategy solely and as a result, many have developed an armoury of technical ideas but haven't any idea the right way to apply them. There is a awfully basic exercise I employ to help scholars make the jump from practicing licks in a practice room to really improvising on the band stand with a group. Remember that improvising jazz or any other sort of music does involve a vocabulary (your system) but equally important is your ability to listen to your band chums and develop a theme. Think about improvising as chatting with your band. If you don't stop, take a deep breath, and listen to what they have to point out then you really aren't talking, you are lecturing them. The exercise I teach is simple, but not straightforward, and can take a little time to develop. It does work.
Lastly, all scholars of music, particularly students of music looking to improvise, should compose and study compositions written by great gurus in a selection of genres. There is just as much to profit from J.S. Bach as there is to learn from Duke Ellington. In the end an improvisation should be an extension of whatever composition you are playing. Scholars often overlook this very important point and should make an attempt to write their own songs as well as observe the works of their fave composers.
About the Author:
Jazz saxophone player and composer Elias Haslanger has played jazz and taught saxophone lessons for over 20 years.
No comments:
Post a Comment