Saxophone High Tones by Eugene Rousseau – A Systematic Approach to the Extension of the Range of All the Saxophones: Soprano, Alto, Tenor and Baritone
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).
The book begins with the author’s prefaces to the first (1978) and second (2000) edition, foreword by Claude Delangle and fingering chart for the normal range.
In this chapter there are a few words on saxophone embouchure Continue reading
Bruce Mishkit – Master Lessons for the Creative Musician
This is a short review of the Bruce Mishkit – Master Lessons For The Creative Musician (Published 2005). This book was originally published by Warner Bros. Publications in 1994, as Sax/Flute Lessons with the Greats. The book includes an audio CD with lesson examples.
As I remember, I read excerpts from this book back in the nineties in Saxophone Journal published by Dorn Pub., and I wished to buy it back then. Finally I bought it a couple of years ago directly from Bruce.
After a short foreword, the book is divided in seven chapters: Ernie Watts, Lenny Picket, Hubert Laws, Paquito D’Rivera, David Liebman, Joe Lovano Continue reading
Saxophone Embouchure Concepts (Allard)
This is a YouTube collection of excellent videos explaining saxophone and clarinet embouchure as simple as possible (Joe Allard, Dave Liebman, Harvey Pittel, Jerry Bergonzi). For further reading check out these posts Joe Allard – Basic Principles & Pedagogy, Developin a Personal Saxophone Sound and Jerry Bergonzi Instructional Videos. If you have any question contact me and I will try to answer.
Developing a Personal Saxophone Sound by Dave Liebman is the book which changed my life regarding saxophone playing. I got this book in December 1996 and started reading thoroughly sentence by sentence, chapter by chapter. At that time I already had a degree in classical saxophone from the Zagreb Music Academy and played professionally for four years in the Croatian Army Wind Orchestra, Big Band and in some jazz combos and pop bands. My embouchure and approach were based on French school classical saxophone playing (heavily influenced by Claude Delangle) and when I played jazz I just tried to be more relaxed (now I see that really wasn’t possible). But I realized that this approach really did not work for me regarding sound and flexibility, and I constantly had a sore lower lip, so I couldn’t go on like this anymore and I had to change. Continue reading
Joe Allard, saxophone master, playing principles and pedagogy.
About great Joe Allard and his woodwind (clarinet and saxophone) playing principles and pedagogy. He was a professor of saxophone and clarinet at The Juilliard School (1956-1984), Manhattan School of Music (1970-1987), New England Conservatory of Music (1970-1987), Mannes School of Music (1971-1976). He worked with Red Nichols (1931), DuPont Cavalcade of America (1935-1957), Red Norvo Orchestra (1936-1939), Bell Telephone Hour (1940-1965), WOR Radio Orchestra, Cities Service Band of America (1947-1957), NBC Symphony Orchestra (1949-1954), Voice of Firestone (1949-1956), Symphony of the Air (1954-1963). Among his famous students are Michael Brecker, Eddie Daniels, Bob Berg, Willie Schwartz, Dave Liebman, Stan Getz, Paul Winter, Marty Ehrlich, Victor Morosco, Eric Dolphy, Harvey Pittel, Steve Grossman, Lee Konitz, Ray Beckenstein, Paul Winter, Harry Carney, Kenneth Radnofsky, Teo Macero, Pete Yellin, Dave Tofani, Billy Kerr, etc.
Art has to have variety. Unless a tone has variety of color and variety in volume, unless vibrato has variety in pulse, you don’t have art. —Joseph Allard
When the effort is lost in the result, the latter is said to be artistic. —Joseph Allard
I am retired after seventeen years in Croatian Army Band (1992-2009), and I have to a make a living as a full freelance musician (quite a challenge in this small country). Now I will have more time to concentrate at my own music to learn and study things I missed before because of lack of time. My new album (Free Fall) is already on its way and should be released early next year (2010). This is my second solo album and fourth counting two with Donna Lee Saxophone Quartet. This will be full jazz quartet album recorded live (no overdubs) in a vintage manner for Zivaldo Records. After this CD I will probably try to explore some other settings and more modern genres. Next thing I would consider more is saxophone education. Continue reading