The Ultimate Beginner Sax Guide (For All Saxophones) | Kevin Cato | Skillshare

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The Ultimate Beginner Sax Guide (For All Saxophones)

teacher avatar Kevin Cato, Making memories on sax

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

28 Lessons (6h 8m)
    • 1. Welcome!

    • 2. Lesson 1 Choosing Your First Sax

    • 3. Lesson 2 Making Sound: Mouthpiece & Embouchure Set-Up

    • 4. Lesson 3 Putting Everything Together: Saxophone Set-Up

    • 5. Lesson 4 Saxophone Technique: Hand & Finger Placement

    • 6. Lesson 5 The Art Of Tuning: What Is It and How Does It Work?

    • 7. Lesson 6 Unit 1: How to Practice Effectively Final

    • 8. Lesson 7 Feel The Beat: Introduction To Time & Rhythm

    • 9. Lesson 8 Rhythm studies 1 answers

    • 10. Lesson 9 Your First Notes: G & C Major Scales

    • 11. Lesson 10 Articulations: How to Play Notes Cleanly

    • 12. Lesson 11 Ear Training: Introduction To Intervals

    • 13. Lesson 12 Song Form: How To Read Lead Sheets

    • 14. Lesson 13 The Chromatic Scale & Low Notes

    • 15. Lesson 14 The Harmonic Series Unraveled

    • 16. Lesson 15 Playing High: Palm & Fork Fingerings

    • 17. Lesson 16 Can You Feel the Love Rhythmic Study

    • 18. Lesson 17 Can You Feel the Love Verse Tutorial

    • 19. Lesson 18 CYFTL Chorus Tutorial

    • 20. Unit 2 Overview

    • 21. Lesson 19 A & D Major Scales

    • 22. Lesson 20 34+35 Song Form and Key Rhythms

    • 23. Lesson 21 34+35: Rhythm Sheet #3

    • 24. Lesson 22 34+35 Rhythm Sheet Answers

    • 25. Lesson 23 Ear Training Test 1 and Review

    • 26. Lesson 24 Ear Training Perfect Intervals

    • 27. Lesson 25 Ear Training Test

    • 28. Lesson 26 34+35 Verse and Exercises

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About This Class


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Congratulations, you did it! They say the most challenging part of any journey is taking the first step and I want to thank you for entrusting me with your first 180 days of sax tutelage. I promise, it will be well worth it! And with focus and dedication (along with my videos and tutorials) you will be well on your way to playing your favourite pop songs before long.

As the name of this course suggests, our goal is to have you playing pop tunes  within 6 months with a solid musical foundation. This is not a guarantee development will differ for each student, but I have designed the course with a 6 month time frame in mind. This does NOT mean you will be a master of the saxophone in this time frame; unless of course you are a prodigy unlike any before you!

To achieve “mastery” of one’s instrument takes a lot of hard work and dedication. I put “mastery” in quotations because ultimately it is a subjective term. It is up to each musician who takes up the divine horn to determine how far they will go with it.

In this course I’m going to give you the fastest way  to learn the basics of sax with thorough explanations of why you are doing what you are doing. Don’t worry, these methods have been thoroughly tested on my past students with astounding results!

Remember folks, you can have the best teacher in the world for any subject, but it is ultimately up to the student to put in the effort. Make no mistake, this course will require you to dedicate a fair amount of time (minimum 3.5 hours a week, but ideally 10 hours or more), but from experience, I can tell you that the best part of learning any instrument is the journey. Don’t worry, I’ll make this as much fun as humanly possible!


  • Reading
  • Basic Ear Training
  • Rudiment Theory
  • Saxophone Technique
  • Tone and Stamina Exercises
  • The Ability To Replicate Pop Song On Your Instrument

Meet Your Teacher

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Kevin Cato

Making memories on sax


Kevin Cato (A.K.A. CATOINMOTION) is an accomplished musician who has been making his
mark in the Toronto music scene for over 16 years. Kevin is a versatile saxophonist with a number of accolades including a 2008 GMA nomination and the Elm-Bedford prize for up and coming jazz musician. Kevin holds an Honors Bachelor of Fine Arts from York University, and has worked with some of the best musicians the Canada has to offer. Kevin has shared the stage with artists like Mary J Blige, Men Without Hats and Guido Basso. Kevin's work has been aired on Jazz FM, CIUT, CBC Radio.


Kevin has been teaching and motivating aspiring saxophonists for over 12 years. His teaching method focuses on training the ears and learning the technique of the saxophone through po... See full profile

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1. Welcome!: Aspiring saxophonist, Welcome to the ultimate beginner saxophone guy. I'll be your instructor, Kevin cater, and thank you for taking this first step to learning this amazing instrument. So the goal here in this course is to help you learn how to play the saxophone through popsicles. To get a better idea are some examples of what we're looking at declining and what I hope to help you achieve. Visit my YouTube channel at Cato in motion. It's right there on the screen. And you could have a look at some of the songs that will probably be covering. Now the way this course is going to work is that we're going to take pop tunes and deconstruct them to their simplest farms, the bass notes, the scales. And I'm going to use this to teach you your theory, your ear training. You're reading Eurythmics settings and your technique, as well as your ability to learn a pop tune and perform it. Now, this course will require a fair bit of work I've had. It needs you to dedicate 30 minutes to an hour each and every day in order for you to see some really positive results in your growth. Now don't worry, you're not going to be alone at any point during this process. Post your questions into the comments and I'll be right there and to answer them as quickly as possible to help you along the way. I've also created a Facebook group for this course called The Ultimate. Again are saxophone guy. And there students can convene and share videos and then perform the songs in the class project. And I'll be in the group to also give you some advice on how you can further improve. But hey, if this isn't enough to make you click that button and you go and take that first lesson here. Well, one of my students had to say about a two-course. Hi there, my name is Kate, and I've been taking lessons with Kevin Cato for about 2-3 months, three months now. I just wanted to take a moment to share my thoughts on this great program. And Kevin as a teacher, it's, it's been really wonderful and really motivating to have such a great wealth of information available to answer all of my questions. It helps me from stopping and getting frustrated. I've tried to pick up the Sachs a couple of times before and it's just never really stuck. Normally I'll hit some sort of problem. I won't be able to hit a note or I'm doing something technically wrong, it's just holding me back. Kevin's been able to listen to my voice recordings, Get back to me right away and helps me solve my problems. It makes me really excited to try new things. And he's always coming up with new ideas and fun exercises. I can't recommend this course. And now anybody who's looking to get started to know the basics of how to play the saxophone does exactly the right course for you. Alright, so what do you waiting for it? Hit that button and go to the first lesson, and I'll see you in the classroom. Let's get this party time. 2. Lesson 1 Choosing Your First Sax: Aspiring saxophone is welcome to your first lesson of the six months Sachs. Today I'll be talking to you about selecting your first student model Sachs, for your lessons. If you don't already have a saxophone. Now, while there are a lot of benefits to getting a saxophone second hand as the price would be cheaper. And you could find lots of gray quality deals buying secondhand and private sale. I would personally recommend that you get your first saxophone brand new. Now the reason why I recommend this is that sometimes you get a warranty and you'll definitely receive the potentials you need to take care of your saxophone and to get you on your way, such as the reads, the neck strap, the cleaning rod, or sometimes cleaning cloth and cork grease. And usually when you buy second hand, you don't get those things with the saxophone. It's kinda just expected that you already have it or you go by it elsewhere. Now, there are many different alto saxophone you could buy that are at the student model level. And I know it can be very daunting for a lot of students. So often there are two that I recommend to my students. At number one, I personally like the Yamaha YES, 2-6. Now, this is a fabulous student model and saxophone bunnies, and it is so durable it will last you a lifetime. It has that quintessential Yamaha sound, which is clear. It has great intonation. So new notes will generally be pretty in tune and it's just easy to play and lightweight. Now the only drawback to the saxophone is because of his popularity. It's little bit more expensive than some other student model saxophones. You may come across at about 1200 USD. You can definitely find cheaper Aalto saxophones, but few will be as good as the Yamaha, YES. Now if you're on a tighter budget, would recommend trying out the John Paul AS 400. This oxygen has been picking up a little bit more traction of late and it is a great sounding sacks and is only 550 USD half the price of the Yamaha. So if you don't have the budget to spend 1200 USD right now and this acts, I would highly recommend the geom call. Now, there's one other consideration when buying the saxophones resale value. The AMA has such an old company with a great reputation that it's actually really easy to sell any Yamaha Sacks for private sales or even getting music stores to buy saxophone off. The John Paul does not have the same reputation. So if you think that you're gonna grow outgrow the sacks and here in the long haul for learning saxophone, it might be in your best interest to get the Yamaha because overall it is actually a better sacks and a better saxophone experience. But also you'll get more money when it comes time for you to resell it and then you can put that towards your next Sachs purchase. I assure you, if you're going to continue down this axle underneath, this will not do your last sacks. I think this one is my seven sacks. And for people that I've been playing as long as I have, that's a pretty low number. Just to put that in perspective, it's also important to note though, the largest factor and the quality of your sound is actually you. It doesn't really matter what saxophone you play at the end of the day, yes, it will contribute a bit to your, your sound quality, but your core sound will always stay the same once you get it going. The second biggest factor is actually your mouthpiece, but we'll talk about that in a different video. I hope you found this helpful guys. If you have any questions, please leave them in the comments and I'll be sure to help you guys out. See you next video. 3. Lesson 2 Making Sound: Mouthpiece & Embouchure Set-Up: Aspiring saxophone is welcome to another lesson. Today we are going to be talking all about the mouthpiece setup and the armature. We're gonna make sure that you have the perfect DOM shear to get the perfect time. Let's jump right into it. Now, there are three major components to the mouthpiece, and I've already broken it down for you so that you could have a look. The first is the mouthpiece or the body of the mouthpiece. Now online, you'll notice that there is actually a rubber pad. This is to protect both the mouthpiece MIT as little bit of cushioning and protects the mouthpiece from any scratches are dense, and also protects my teeth. The second part is the Read, which customarily is made out of bamboo cane. And I really like using bamboo over the other option because it's very warm and produces a very nice town, but is less terrible than its plastic counterparts. So yes, you could buy reads that are made out of plastic and lasts a lot longer, can use them for like six months, whereas this may only last you for two to three weeks. And sometimes when I'm playing louder, heavier use of like a fun band or something. This may only last three or four days. So it's matter or preference, but personally, I like the bamboo. And the last part is this metal ring, the ligature. And its whole purpose is really to keep this guy on this guy and allow the reed to vibrate as freely as possible. Though it may not sound like it does watch. It's a very important part to the mouthpiece. And they do come in various shapes and sizes. I'll show you some examples later towards the end of the video that we got that out of the way. Let's talk about the read. Now. The nor for the wreath vibrate on the mouthpiece, it has to be wet. If you're reached dry and you try and make a note, odds are you're gonna get a Squeak, are nothing's going to come out at all. So you wanna make sure that you soak your read sufficiently for playing the saxophone. And there's two ways that you can do this. The first way at my preferred method is for 15 to 20 seconds. Get it nice and wet. I prefer to just suck on the read up until the end of the files part. You can see where it is right here. But some players like to soak the entire aid and arouse and in which case you would do something like this and so forth for 15 seconds. Be careful not to hit the tip of the reed on your teeth or on your fingers or anything like that. Because if you damage that, it will greatly affect your sound and likely lead to a lot of squeaking. And we don't want that. The second option for silk and read is simply into a glass of water for 15 to 20 seconds. It does exactly the same thing. I just find it to be a little less convenient as you would have to have a glass of water on hand, which I understand isn't hard to get, but it just takes up more time for setting up. And I just prefer to problem my mouth, but either option is fine. Pick what is right for you. Now that we got that out of the way, let's talk a bit about putting this all together. So the first thing you're gonna wanna do is place your read, the flat side of the read usually where you'll see the logo and the reach strength on the back of it, on the face plate, the flat part of the mouthpiece. And you want to try and line up the bottom part or back of the reed on filed against the ridge of the back of the mouth pieces. She gets you pretty close to where you want the reed to beef. And then you're gonna do some minor adjustments where you try and get the reed to be just a hair's width below the back of the mouthpiece. This looks about right. Then take the ligature screws pointed down and place it over in the mouthpiece and be careful not to touch the tip of the reed with us as you will chip it. And then you will need a new one. Really put pressure on the bottom part of the reed to keep it in place. You don't want to move it around while you're placing this. Okay. Get the screws to a desired tightness. I prefer to screw the bottom screw a little tighter than the top scourge just to give the reader a little bit more vibration room. That's a personal preference. So I like typing the bottom a lot and then the top one a little bit less, just enough. Your ligature should be slightly behind the duckbill ridge of the top of the mouthpiece and also in front of the ridge of the backend mouthpiece, basically centered. Now there's a Tesla we can do to ensure that we have placed the read properly and it is the suction test. So what we're going to do is essentially seal the back of this mouthpiece with their hand. And then we're going to suck all the air out to create a vacuum. And then when we remove our mouse from a mouthpiece, it should make a popping sound if you had actually set your outputs up correctly. Great handy test and ensures that you have the perfect section between the reed and the mouthpiece. So it's gonna look a little something like this. Take the back of the Mounties, place it in the palm of your hand. Then you're going to suck all the air out of the mouthpiece. Now warning, do not put your tea, whatever you do, you never put your teeth on the reed. You will break it. Shatter it. Thought a good ideas. So you're going to want to roll your lips in a bit and then suck all the air out of the mouthpiece lights up. If you did it right, you should hear a pop after a couple of seconds. And that means that you're real, you read is sufficiently ceiling to the these and well-placed. Next thing we need to do is talk about your armature. And this is really important. So I want to make sure that you get all the mechanics right to having the perfect on Russia for the perfect SAT. So you'll notice that on the side of the mouthpiece and kinda see an area where the read comes into contact with the mouthpiece. Around there is where you want your teeth rest at the top and the mouthpiece. And that's going to be somewhere around a third of the way. Usually the mouthpiece and Bill. You're not going to want to cover your teeth with your top lip. And then below the lower job. Do you not rest your teeth on the actual read? You're going to want to roll your bottom lip over your teeth. Like so. To place that on the bottom of the mouthpiece. So it's going to look a little something like this. The next step is to pull down the corners of your mouth so that she created a nice seal between your mouth and the mouthpiece law. No errors escapes when you blow. Now you don't want to pull Te Tai, you wanna be comfortable, which is tight enough so that no errors escape. Ok, so now the next step is to say, ha, now you'll notice when you say Ta, You tongue raises to the roof of your mouth and then pushes air out. This is how we're going to articulate our notes, how we're going to attack and produce notes on our instrument. But for now we're gonna do it on the mouthpiece because a lot easier and it's a good way to practice these fundamentals before you put together your instrument. So it's going to look and sound something like this. So remember, checklist, you talk to you, they're going to go about a third of the way up the mouthpiece and rest on top of it. Your bottom loves going to roll over your bottom teeth. And then I want you to say ton about peace. So you'll find that around the tip of your tongue a little bit more will make contact with the read about gear. And that's going to help you produce the sound ready? Now, the cool thing you could do with the mouthpiece is actually play different pitches. So it is possible to play an entire scale, which I'll talk to you more about in a later video. But you could do all that on a mouthpiece. It's a great way to practice control and will help you so much down the road when you start playing the full instruments. So it could sound something like this. Okay, the last nose a bit. You get the guys. I want you to take a few minutes now to set up your mouthpiece if you haven't already and just start playing some note and getting accustomed to how it feels in your mouth. And once you've done that, I think we'll be ready to set up the full instrument and I can teach you your first scale and get you well on your way to playing your first popped. A quick note about mouthpieces, reeds, ligatures. There's actually a huge variety of these and achy kinda turn into a very expensive rabbit hole of kind of resisted. I only have a few on hand, but as you can see from the screen, they vary greatly in size, shape, and material. Mouthpieces can be made out of plastic, hard rubber, some sort of poly carb or even would reads, as I mentioned earlier, can be made from bamboo or some sort of synthetic material. Usually a plastic. And ligatures come in a wide variety as well. Sometimes you get ligatures that are made of a rope or a string. Brass, silver plated, gold plated, even plastic are available and they all make subtle differences to your sound. It's actually a lot of fun to experiment with. So if you have a music store near you, I encourage you probably in the coming weeks once you get used to playing your instrument, to go in and actually try some of these things. It's really fun. Just they'll go overboard the spending. All right. I think that wraps up this video, folks. Let me know if you have any questions. 4. Lesson 3 Putting Everything Together: Saxophone Set-Up: Aspiring saxophones, welcome to another lesson. Today we are going to be setting up or instruments for the very first time. So we've already talked about the mouthpiece, but I'll quickly run you through that as we're setting up. And we're going to start from the very beginning. So I'm just going to pull out my neck strap furs. So you definitely want to have that on before you go on any other pieces. You don't want to risk dropping anything. Now, for me, personally, I like to use the saxophone harness and it's, it's not the sexiest looking thing. I've had people tell me on gays before that it looks like a bra because when you're in your teams and you're wearing one of these is just not very cool. But now as I've gotten older, it's really protected my neck and then distributes allowed the weight to your back so that most of the weight on your back and your thumb Not in your neck. Because sometimes if you're wearing one of the more traditional next class for too long, you can end up with vertebrae issues in your 11ac. And I've had teachers tell me about this many moons ago. And I didn't want to have to go through that. Doesn't happen to everybody. If you prefer the traditional nag go forth. There's actually a whole bunch of neck strap options that help you distributed the way at the sacks and different ways that you can explore. Next, traps can be really cheap or they could be a 120 USD depends how far you want to go. In this case, this one was about 35 and I think goes well worth the investment. But also these bad boys, nice and simple. I recommend using it. You're gonna go into traditional extra. I recommend using one that actually has a locking mechanism. There are some that are just purely the hook. And I finally though, is depending on what emotion you're making, it's actually somewhat easy for your saxophone. You just slip off and you really don't want to drop your Sacks. Did that earlier this year and ACASI are pretty penny to get it repaired. So let's avoid that. I'll put both of these on. All right, traditional neck strap. Next thing you're gonna need to do is pull out the body of your horn. Now, I recommend that you get into the habit of grabbing your saxophone. Phi the bell. No keywords for you to squeeze. You'll notice that if you do push on the rocks, they do Ben inwards. So if you grab it by the body and the keys, you might run into the risk of misalign your saxophone over time. And that's just going to lead to you need to go to the repair shop more often and costumer money. So save yourself the trouble. Try and handle it by the bell. And then you're going to latch it onto your neck strap. So I will show you on the basic ones. You'll see that there's a rain here that is for your next job. So hook onto. Maybe just adjust your bit. Alright, so we're gonna do now is that we're going to take our mouthpiece and we're actually going to put it on the neck first to your desired spot. We'll talk more about that later. Once you have it on the neck, then I want you to place your read and your ligature on to the mouthpiece. The reason what we're gonna do it this way is because if you put your ligature onto your mouthpiece first and then put on try and put your whole mouthpiece onto the neck. You'll probably end up moving your ligature around that you don't want to do that after you've already set it up perfectly. It's kind of less of an issue if you're using one of these screw type ligatures because he had a pretty tight on there. But for ones like mine, it tends to just shift them around. And it creates a lot of hassle. Take out this stopper. Purpose of bees is to actually protect your octave key mechanism from bending when you put it away. So make sure you are making good use of these every time you finish playing or sex, pop it in. So you've done that was an S-curve. Twist and gently, if it doesn't twist in easily. Take some of this corporates and just put a little bit of it around the metal piece here, rabbit in. And this will just give it a little bit of lubrication so that it's easier to slide into the joint. Bang just like that. Now of course this is cork grease, so you should also use it on your cork. If you had a hard time getting your mouthpiece on fen let me just demonstrate. You would take the cork varies year to rub and onto your cork liberally. And this part gets a little messy, so it's good to have something to wipe your hands off. Then you actually rub it in with your fingers, your thumb, get a nicely all over the cork. And this way you don't need to do this every single time you play if you're robbing him properly. And then your mouthpiece should go on much stronger. Like so. Right. Now that you have the saxophone strapped and put together, we need to make sure that it is aligned with your mouth. Now you'll notice right now, the saxophones naturally reaching my chin. You want the Saxton actually come to your mouth so you're going to need to adjust your neck strap, sliding it up so that when you're aggressive position is falling into your mouth. Now you don't want to have a too high up because then you'll find yourself craning your neck back. It should be a naturally falling into KML. Looks up. And then once you have that all set up. Next step is to just blow unknown. Now, quickly gonna go over that again. Makes sure your teeth arresting a third of the way up onto mouthpiece. Roll your bottom lip. N tongue should be resting at the bottom of your mouth unless you're actually wanted to use it to articulate that by saying talk, which we are in this case. And that she kinda make contact just a little bit past the tip of the mouthpiece. Now when you're blowing into decides, Do not put fewer cheese. We don't want this, we want to focus there. So we had the maximum control. And you blow. And that is how you set up a saxophone. So now that we set up the saxophone, let's talk about cleaning it and putting it away. So there's a few things I recommend. One, you have a cleaner, which I did bring up in a previous video. For me personally, I like to use one of these cleaners. Silk is better, but this is like microfiber. It does a good job. And I like that one of these cleaners. Now the purpose of this one is to clean out your neck, which can get very gunky really quickly because otherwise it's impossible to clean. And I also use it to clean my mouthpiece. So firstly, what I like to do is just pop my mouthpiece often act and an echo of the body, of course. Take the cleaner Jazz quickly pass it through the mouthpiece. Saliva accumulates in here, and if you look inside the mouthpiece, not every chamber is made equally, but there are parts where saliva and organic matter can get caught. If you don't clean it out, then it starts to grow. And you don't need anymore friends helping you play the saxophone. It actually kinda changes your sound as well. Okay. I had one teacher in university tell me, yeah, don't clean out your mouthpiece, man. That's the best party you sound. Clean out your mouthpiece. It, it's just not so cool. It's totally unhealthy. Think about what you're breathing in. Cleanness regularly. Anyways. So you do that and then you take this and you kind of bend it through your neck and you should see it come out the other end and just push through a few times, get a nice and clean spick and span bam, sliding back into your case. Next, how do you use one of these gloss? Well, it has a weight on the end. So you're going to want to just scratch this up, tick the weight, pass it through the top of the horn. Let it fall down to the bottom. Sometimes it doesn't go through smoothly. You might need to give it a bit of a helping hand leading it and then turn your saxophone over. Remember, grabbed by the belt and the weight should come out. Which point? You just pull it through. And they'll get rid of any of the excess saliva inside your sacks because that can help that can deteriorate your pads over time. If there's moisture trapped in your sacks. So specced the cleaner. If you've done that and your move your socks from your next trip, you're going to take the stopper, put it back in. Slight interior gets. And that's because that is how you set up and take apart two saxophone as well as clean it. If you want to get really detailed about it, uh, you can also go over with a microfiber cloth and wipe the bell. And some of the key work because sometimes when you're playing really loud saliva comes splatter now the keys and then line onto the bell of your sax. And over time, a long time, it can erode the lacquer that's on the SAX. And then you start to get, I wonder if I can show you, kind of starts to degrade. And it looks a little splotchy. And for some people it's having this pattern happens is kind of cool. They really liked the way it looks because it looks vintage. But firstly, I try and keep the lacquer as originally intended. So if you look on this acts, it's been through a few things, but you can already see like kind of resting on the lacquer is faded off. This had a vintage lacquer on it. So she see in spots like here, it's different underneath you get to the raw metal. I kinda like to try and keep Wu Yes, I did. Keep the law on the saxophone. I'm the fourth owner this and one of the owners had this and use it in a Cirque du Soleil and traveled with it. I don't know if you've played by seawater or anything like that. Seawater is another really see air is another quick way of just taking a lacquer off your sax. It's a different sound and a different look. You could also buys axes that are unlike her and they're very bright or resonant, but you run the risk of just having your sax rock through. So try to take care of the lacquer that's already on your sax. Alright guys, that covers everything. For today's lesson. If you have any questions about saxophone care setup or anything like that, please put them in the comments so that I can ask them and help the whole community. And as always, happy practicing. And I'll see you in the next. 5. Lesson 4 Saxophone Technique: Hand & Finger Placement: Hey, you know what time it is? In all seriousness guys, you're going to want to play any notes. You remotely quickly and get your ideas out as they come into your mind, you're gonna need the proper technique. And so today's lesson is all about hand finger placement. Let's get down to it. Alright guys, so now that you've learned how to put your saxophone together and threw away and queen and all that good stuff. We need to talk about where to put your hands on the sacks and how to place your fingers. So we're gonna start off with your left hand. Left hands going to want to first of all, rest its thumb on the thumb rest on my phone. It's kind of like this gold circle on some facts phones, mostly malls axis, it's a plastic blacks are bolt. You're going to have one arrest the meat of your thumb on that spot and keep the tip hovering over this kind of like isosceles shaped key, that is your Octave keep. And that way you can touch it with as little motion as possible. Next, we're gonna take your fingers and we're going to number them. Because I find it's a lot easier to teach students the notes on the saxophone by numbering the fingers and Tom which fingers, which numbers to press down? So 1234123 central. So one on your left hand is going to want to skip the first key on my saxophone is kinda shaped like a triangle. Yes, I guess I was have oddly shaped for keys. But on most other saxophones will probably look like another pero qui are oval-shaped TF top that you're gonna wanna skip that key with your index finger and go down to the next one. My case is the first profile. So that's where wind goes to, is gonna skip this little key here and go down into the next 13, is going to place, be placed on the next approach at four's going to hover over the spatula. There's a series of four notes in here that you paint is responsible for. And we're gonna talk about that in a later video. Now for your right hand, you're right thumb's going to want to go into this hook here. This is the thumb rest. Now if it's not placed in a way that's comfortable for you, you could actually unscrewed, loosen it, and turn it in a direction that's more comfortable for you. And the idea here in general is to limit as much movement with your hand is possible while you're playing to maximize efficiency. For me, this is such a stray. Next you're going to want to place one on the first broke, eat two on the second, three on the third. And your pinky is going to hover over these two paintings. Alright. You now have all your fingers placed correctly. Should look something like this. This is your left hand. This is your right. Now, there are no left-hand, it's axes if you want to look at it that way. So your left hand is always going to be at the top. You're right hands always going to be at the bottom, regardless of your left or right-hand. It's going to be None of this is just literally not possible because the keys are on the other side and you don't wanna look like or triangle holder, sacks or clock sense. Alright, so now we've got the placement down. How can we try to claim your first note? So remember roll your bottom lip in, rescue top teeth about a third of the way up on the mouthpiece, the big at the beak here. And keep your cheeks firm. Say top. Your firstname is going to be g. Place it here on the screen for you for your convenience. And to play G on your left hand, you're going to need to press 123123, boom, g. So when you're ready, take a stab at it. And that is your GQ. So couple of quick tips for you. Your left hand, your fingers should be relatively flat on the keys. You do want to keep the meat of your fingers will pass in the dividends of the proteins. You'll notice why my sounds pretty flat and it can easily reach all the keys as needed. Second tip, the pinky on your left-hand, however, when you're using it and Lisa have a slight curl. Reason for this is that it's actually going to make it a lot easier for you to navigate spatula. You'll notice that there were these black rollers to help you reach from key to key. Well, it's easier if you add a little curl to your pinky because then you're applying more downward pressure, which will make it easier to transition from node to node. If it's flat, you might find that you don't have the necessary strength to make that transition. Fasten. To number three. On your right hand, you're going to want to curl your fingers a snips, not flat, slightly grow. Again, this is sludge or placing more pressure on a key. And this way you can play it faster when it comes time for you to play higher tempos, this will come in handy and paid dividends. Again, you're going to want to have the meat of your fingers into David's of the parochial on your right hand as well. And for your left hand, I also like to keep a slight curl in my lifetime as well, but you could obviously just keep it flat. Sure. I think that covers everything for finger and hand placement. And the next few episodes I'm gonna start preparing you to play your first few major scales and it will be well on our way to playing your first popped in. Hoped this was insightful guys. Again, any questions? Put them in a common sections like Nassim. And I'll see you in the next lesson at Nebraska. 6. Lesson 5 The Art Of Tuning: What Is It and How Does It Work?: Welcome back, aspiring saxophonist. Today we're gonna be talking about one of the sexiest topics in all of music. Tuning. Okay, so I know tunings probably not the most exciting topic for you guys, but it is actually really interesting and integrity you actually sounded good on the saxophone because at the end of the day it doesn't really matter how good you are at playing cool lines or you know how to diving into your technique is if you're out of tune with your reference pitch, be the track or the other instruments you're playing with. It's just not going to sound good. And people are going to be very distracted by just how jarring the tuning situation is and not focus on what amazing things you're playing. So we're gonna make sure that we get that all sorted out in this class. I'm sure you know what tuning is, how you do it, and why do we tune the way that we do? Because it just so happens that the saxophone is not in the same key as an instrument like the piano. Okay, so let's get right down to it. So first of all, what is today, tunings essentially just adjusting one pitch to match that of the reference pitch. And to do that, you either move the pig slightly higher, slightly lower, until they are exactly the same pitch. Now, in Western music, the reference pitch that we use is a four forty, a four hundred forty hertz. Now the reason why we use this specific pages, because in 1953, worldwide everyone gathered and just decided that, look, this is the pitch that we're gonna tune everything to. That's the a above middle C on the piano. What that means is if you look at a piano and you go literally to the C in the middle of the piano, that's middle C. And the a, a bug that happens to be a 440. They decided that A440 is what everyone's going to attune to. Forever more. Finito. Now, you can also tune your symphony or a band, two different pitches, like a 442. That's gonna make things sound slightly brighter because there's a little bit sharper than what we know as being a reference pitch. But any tuner you use or any tuning device use all d using A440 is the reference pitch. So that's the best one to work with. You'll want to experiment with different reference pitches later. By all means go for it. So what does a 440 me? Well, as I mentioned, it's a on the piano, which is a C concert instrument or concert pitch instrument. The 440 refers to 440 hertz. Now, not every note is 440 hertz. So when I say a for forties a reference pitch, this doesn't mean that every note is then two into 440 hertz. So matter of fact, the Hertz values kinda what determines what pitch we hear. So the higher the hertz value, the higher the note and the shorter the wavelength, meaning the pitch, the sound is moving faster. And to lower the hertz value, the longer the wavelength, but the lower the pitch you get. So if we were looking at the piano once again and we played the lowest note on the keyboard, the lowest SSE. It would actually be see 16 hertz, really slow, really low. On. Alternatively, if you play it, I think the highest D on a piano, it's something like D 7 thousand hertz. Just to give you an idea. So not every note has the same value. So you're probably thinking, well, OK Kevin, this is really cool and all, but how does this help me play the saxophone? Great question. It's super useful for all the reasons I mentioned at the very beginning of this video. And you're going to want to make sure that your instruments in tuned every time you play it. And you also are going to want to make sure that you're training your envoy sure. Muscles to adjust to where they need to be to get the pitches correct. Because unfortunately, saxophones not knowing for, known for being one of them more in tune instruments is kind of a pain. Typically, the higher you go on the instrument, the sharper people tend to get because they get a lot tighter and iamb Fisher and a really makes pitch go out of whack. Conversely, the lower you go, people tend to get really flat or they also get sharp because they're unable to relax the facial muscles. So it's important that you practice with a tuner and a maximum. Every time I practice, I do three things. Going approximately, scales, dirt slow. I'm gonna have my metronome going, so I keep time consistently at 60 BPM about that later. And I have a tuner going, so I play all my notes from the lowest note on the saxophone, D-flat, all the way up to the highest note I could play. And I make sure that it's in tune with the reference pitch. Excellent exercise. And it just means every time I do play without the reference pitch there be without the reference pitch present, I'm able to 0 in on where my instruments into and be able to tune with others accordingly. Now it also helps that once you do figure out where your instrument is most in tune, because not every node is going to be in tune with each other. You put a mark on your court just to save you time every time you set up and you could put your mouthpiece on to that point. And I'll explain why a little later in this video. So as you understand that, I recommend that you go to any app store and you just download a dinner. It's key that your tuner though, has the ability to transpose. Now what this means is that move from concert pitch, as I mentioned, pianos and concert pitch to the pitch of your instrument. Otherwise, when you play G, your tuner is going to show you a different value. It will show you B-flat if you're playing the Alto. Now in this case, I've set mine to transpose it. So be floss concert pitch, but g is the pitch that we are actually playing in the key of E flat. That was a good time to mention that the alto saxophone and meeting baritone saxophone, that's the largest commonly used saxophone, are both in the same key of E flat and the tenor saxophone, the soprano saxophone, or both in the key of B flat. Now this course is for all saxophones. So when I tell you to play G, you will in fact be playing Gian on your instrument, but it's going to sound like a different pitch if you're playing Tanner, because I'm playing alta. So I'll demonstrate for you guys probably on both instruments when I play scales or whatnot or tell you what notes you're actually going to be playing or going to be sharing one is played. Now there's a few other quick notes that you're probably going to want to know when you tune your instrument. Now if you're playing an extreme temperatures, you're probably going to run into this issue where if it's cold outside your instruments gonna get flatter and if it's really hot outside your interests gonna get sharper. So you want to be aware of that. You need to warm up your instruments so that she could find the correct tuning. You can mark your mouthpiece, mark your cork, but you might find that sometimes it's not quite in tune with the same way it was day four and has a lot to do with the room temperature. So how do you actually tune the saxophone? Now you recall a few videos ago I showed you guys how to set up the instrument, not gonna go through that whole thing. But the key part was actually how far you placed the mouthpiece on a cork. This may also have lead you not playing quite the same note that I was playing in the last video where I was teaching out of play G, You might have been playing G $0.20 to sharper G2M too flat. And this is now going to help you get the g And tunes that when we play notes together and these videos were playing the exact same? No. So the important thing to know for this axes, the further on the mouthpiece, the sharper than note, you're raising the pitch. Think about it this way. You're making the instrument shorter and therefore your air doesn't have to travel as far. Because it doesn't have to travel as far. The wavelengths are actually going to be moving faster, so you're raising the pitch of the instrument. Conversely, the further off the court you have, the longer the instrument, the further you travel, the slower the sound waves, and therefore you're lowering the pitch of the instrument. You want to find that sweet spot where you had the most notes in tune. And then you make micro adjustments. The way you make micro adjustments is with the use of your lip pressure, your jaw pressure. Basically how tight or how loose you are when you're playing the pitch. And you do have to make slight adjustments depending on what notes you're playing into register because as mentioned earlier, saxophone, not that in itself. I think that covers just about everything regarding tuning. And here's your homework now, you guys need to go to the App Store, download a tuner, make sure that it has the transposition ability. And then 2D your G-Major until you get perfect down the middle, the apple let you know. And then the next task is to go and take your tuning app and use the pure tone. There's usually a pitchfork feature, world play a pitch for you and then you can match to it. Select, in this case be flack, thus the concert pitch, and then play along with it and make sure that your G is perfectly in tune with the contour B5. If its attitude, you're going to hear really fast waves. If it's in tune, then you won't hear any waves at all. It's kinda like this weird pulsing. So the further attitude you are, the faster the pulse is going to be, and the closer you are to being in tune this Florida pulse until eventually you're perfectly in tune, you hear no pulse. So hopefully you can hear this in the example. Did you hear the pulsing off the top that tension and then eventually it just released. That's how you know whether or not you're in tune. So if you're playing on a bandstand or playing with other musicians, this is the quickest way for you to know if you're in tune with the reference pigeon in the room. Because not every time the bands can be perfectly in tune with eight for 48, it'll probably be closed and then you guys have to make adjustments as you're playing through music. So doing this short exercise is going to help you know what to listen for and help you make these adjustments quickly and efficiently in a planning setting. Alright guys, I think this concludes the lesson and I will see you in the next one. Also. Don't forget to leave any questions you may have in the comments. I know previously I said send me an email as well, but I think it's better and to the benefit of the community. If you just ask the question on the, on the common section and then if I answer it, it can help multiple people that may have the same question and we can all grow together. Alright guys, See you next video. 7. Lesson 6 Unit 1: How to Practice Effectively Final: Welcome Sachs family to another video and the sixth one Sachs program. Today's video discusses a crucial ingredient in your overall success in music. The art of effective practice. To be clear, I love practicing and I think you'll learn to love practicing too. But we all need to approach it with the correct mindset to ensure that we're improving at a quick rate while still enjoying the process. Remember, finding joy with music lies within the journey, not the destination. And on that philosophical note, let's jump right in. Okay, so like most things in life, to achieve success in the practice room, we need to set an intention. So ask yourself, what is my goal for this session? What is my goal for the month? What is my goal for six months? I recommend that you set realistic goals like don't realistic mid-term goals. So that all I'm say like I'm going to be the best saxophone player in the world and like six months left fast, not like achievable. That's not realistic. So I personally like to use the six month timeframe and the break it down, break down that end goal into individual steps necessary to achieve it. This is just basic goal setting. Use the steps to set monthly and weekly targets using this method will make even the most challenging goals achievable. I always it always comes down to daily small achievable goals and that will lead you to your larger overarching goal. For example, maybe. Your goal is to be able to perform a challenging piece of music from memory and six months, maybe in a month. You're goal is to become fluid and a particular scale, the song is written in. Your weekly goal can be memorizing specific patterns on that scalar, maybe increasing your accuracy and dexterity on that scale to a specific metronome marking. What about your daily goal? This is where your practice routine comes in. So I've heard this time and time again from some of the world's top saxophones, that having a routine makes all the difference in improving on the Sachs. A saxophonist That answers the woodshed with focus plan, we'll consistently outperformed the saxophones that wanes it in their practice sessions. So what should we cover in our practice sessions? I believe there are four cornerstones to great practice sessions. 50, if you wish to become like an improviser on the sax. So number one, you're gonna need to work on your sound and intonation. Here you perform a series of exercises to help you develop a good tone, proper tuning. I should also mention critical listening of good saxophonist does count this practice emerged as one of the best ways to learn any language. And music is in fact a language. So don't skip this course on number two, Technique and articulation. In this section, I'd probably recommend that you practice things that help you improve technical to sell these slats, your precision, your dexterity, articulation, which first to not just you're tonguing, but other attack abilities you getting orcas focus on air attacks as well as mentioned earlier in this course. Number three is oral learning, which is here learning. So in this section, I would focus on being able to identify different pitches and court structures, and then being able to categorize them into different things. So for example, putting this into application, if you're listening to a song and you're able to identify each of the roots and that each of the chords and then the progression, realize that progression is in fact just the blues. That's putting your oral training into practice. And this is why it's so important for you to work on it. Transcript. And there's two ways to do this. Either you transcribe it directly to your instrument or chance carbon directly to paper. They work on two different things, so I encourage you to do both over time. Now repertoire is the fourth cornerstone. This could be you working on memorizing certain repertoire really internalized and getting into the different stylistic aspects of it and things like that. So yeah, that's how you would set up and effective practice schedule. And then you would assign different amounts of time to eat section and try and stick to it. May be ten managed treats Saxon each section or, you know, it depends how long you want your practice to be, depending on how much time you have in a day. So remember, the important part of practicing is not the duration, it's actually the consistency of the practice. Look the saxophonist that goes into the practice room every single day and place with 30 minutes is going too far outperform his saxophone in psycho sensitive practices for him for six hours, twice a week. Repetition is key for an instrument. So do not lose sight of this. So now you're probably thinking like this is all great and all but, you know, I don't even know how to do anything on my horn yet. I'm going to show you how to create a practice schedule would just the skill set that you have right now and like your first week. And we're going to get you going ready. So I call this the mouthpiece gauntlet. It's far less scary than it actually sounds. So the first section down intonation, you're gonna spend 5-10 minutes. So using a piano doesn't have to be a real one. You can use a browser piano or an app to do this. You're going to play a key and then you're going to try and play that same pitch on the mouthpiece. Once you find the pitch plan, hold it on the mouthpiece. Work on releasing tension in your face. Open your throat up as if you were yawning and not biting down too hard on the mouthpiece, this will produce the desk town without stress and this is key to playing your saxophone one. Number two section to you rather, technique and articulation. So maybe five minutes on this. So your first exercise would be sustaining a note and slowly try lowering your pitch by opening your throat and lowering your jaw. That bend the pitch back to the starting pitch. Do not bite you heart. Excise to is just blow air into the mouthpiece and say, to articulate the pitch. Now, you want to do this evenly with constantly flowing air, and this should views about half an inch behind the tip of your tongue to do the articulation. Now you're gonna keep doing this with the metronome at different tempos, increasing in speed until your time gets tired. And the three is aural training, five to ten minutes. So take a simple song like Twinkle, Twinkle Little Star or something you know very well. And you're going to try and play that piece on the mouthpiece, which is going to be difficult, but you'll eventually be able to do as you keep trying. The second exercise for this section is try playing along to a recording of a simple song that you know. Now these are gonna work on two different things. If you play a song that you already know in your head, you're already able to sand. And if he could sing it, you can play. You're going to hear this a lot. The other exercise now is you're going to listen to a song you don't know well, and then stop the recording and try and play back what you heard. This is more like active listening versus playing from memory. What's in your year. So I encourage you to do both. And there you have it. That's the simple practice sessions, like 30 minutes for 45 minutes. I don't remember the math on that. Sorry. It's like 30-40 minutes long and you get a lot of great work in that will help you improve your overall tone on the sacs, as well as your ability to play to things you hear and working on simple repertoire right from the get-go. Because the mouthpiece doesn't have any keys. You can't rely on having the correct fingering to figure two, fatal your way through things. You just have to hear the pitching your head and go for it. So I think this is actually like a really great practice routine to even do in your first few weeks if you have more than 30 minutes in a day, I would even encourage you to do this practice routine. And then a separate practice routine with the whole saxophone if you have the time. So anyways, I hope you found this video insightful guys. I know I might have felt like a bit fast, but I wanted to make sure I got all his valuable information to you. How boring you because there's just me here talking today. But if you have any questions, don't forget to shoot me an email or leave in the comments and I'll be happy to answer them or even do like a blog post in these sacs FAQ section of this website. I hope you found this insightful and I hope it inspired you to get out there and practice. So as always, happy practicing and I will see you guys in the next video. 9. Lesson 8 Rhythm studies 1 answers: All right. All right. All right. All right. Okay, welcome back guys to another lesson at 600 sacks. Today we're just going to be taking up the answers to rhythmic study sheet Number one kind of intended to make this get difficult fairly quickly, to force you guys to kind of go through it multiple times, maybe go through methodically until you get used to seeing that rhythm of being able to work your way through it. It does get quite challenging towards the end. So I'm going to actually let this play through, find the bars that you had trouble with and hear how they're supposed to be play. But I will stop periodically to talk about certain sections at different ways. You can break it down, right? Let's do it. Come on. So bright they're bar 11. I was kinda meant to be a bit of a trick. It looks a little harder than it actually is. They're just downbeats. But I removed the second half of the note so that it would look more difficult than it actually is, but it is just straight onto downbeats and sensor clapping. It can't be elongated. So just literally 23. Bam, right? Not bad. Okay, starting from number 12. Alright, so around here's where it gets a little bit more difficult. I kept a pretty easy between bars 1317. And that's just so that if you are at the final stage of this exercise, we have to clap view the whole thing in one go. You get a bit of a breather and to gather yourself before you hit the more difficult section. So I'm bar 18, that is a key rhythm. The That happens all over the place in classical music. It happens a lot in jazz. Usually they'll replace I with a plane bebop though, replace that with a 16th note triplet. We'll talk about that another time, but it's important that you get this base rhythm down, which is why I really went into using sixteenths paired with eighth notes quite a fair bit on the latter half of this sheet. So really, really take your time to break it down and understand why the rhythm sounds the way it does. Make sure that you're counting while you're clapping. While practice both ways, at first it's kind of hard to multitask or maybe just clap with the metronome, but then add speaking, saying the numbers as you clap and subdividing. So remember if you're going to clap eighth notes 11234, and putting that end in between helps you keep things in time and subdivide between the downbeat and then 16th notes, you're adding one E, two E, and three E end up Fourier and want me to E and B. And it just keeps everything fluid and helps you break down where knows it's supposed to be placed, which comes really heavy. Right here between bar is less than o bar 21. But one of them, we start doing syncopation where you're hitting more offbeats and doing more difficult parents. It's really handy to have that. Make sure you're making good use of it. Practicing that and in practice, tapping your foot and time as well until you could do all these things together are right, let's start from 18. Alright, before we get into bar 25 and onward, syncopation is very common. Playing on the offbeats is very common. A lot of big band charts, a lot in jazz standards, lot and symphonic music. So it's really good to get used to doing eighth-note offbeats very early on in your music education. So I want to throw this one in here just to get you accustomed to feeling. So once again, if you're clapping and sing 12 and you're going to find is actually a lot easier to get through this bar than if you weren't doing that subdivision, 1234 N, Right? So make sure you're making use of those subdivisions and it'll break things down and make it far easier for you, alright, starting from bar 25 or things get a little hectic. And once again, in common rhythms. Actually, this is also a very key rhythm in classical music. So make sure you get this one down as well. First b2 bar 27, okay, but br 25. So, so, yeah, that's how that goes. Now the ending is pretty chaotic, obviously. I just thought compounding, adding together these rhythms to, to make a more complex. And once again, if you break it down into its simplest form, break it down, down by beat. So jumping a bar 31 briefly, bar 31 is just the next subdivision down from bar 22. So now you're playing the offbeats but in the 16th, so instead of counting one, and now you're counting 123, eat, eat that. And that's actually exactly how that bar is going to sound. Let's have another listen. And I'm a bar 32, even though it doesn't look as horizontal bars. Fairly annoying, especially if you're clapping everything together. I kinda figured out there with this eighth note. Because now your break, the offbeat sticky note pattern after doing it for a full bar. And I tested this out on one of my students before I posted this. And then those last few bars made him so angry. But he actually did end up getting through it and it made a huge difference from in his reading capabilities. So it works guys. It's been tested on out of Houston's align, but try not to get frustrated. Remember to break it down to its simplest form. And this case, this right here, the 16th though, 16th rests, 16 known and eighth rests is 1B. So this was right on the downbeat. It looks harder than it actually is. One E 234 and, and this is the other trap spot on a downbeat. I put on the offbeat because I was telling him that I was telling my students if you clapped rule is when you make a mistake, stop, work out the error, start over, or work reverse. That's another good technique actually. So if you're copying through this and you get to bar nine and you make a mistake. And you mess it up again, stop workout bar 19, then work out Bart 18 going into 1917. Going into 1917, 18-19, 16171819, and then do 17181920. And make sure that connecting between the bars, you're able to do that fluidly. Because if you isolate a section and only practice the isolation when it comes time to put it in context of the full song, you probably won't be able to do it. So it's really important to practice transitions. In this rhythm sheet. I didn't do any rhythms that go over the bar line because I'd be very complicated and it's too early for that stuff. But it's very important to remember, practise in isolation first and then start connecting them to the bars around them and the bars around those bars. And then you'll be able to fit in the context that a whole song a lot faster that way. Alright, that concludes this whole sheet. If you have any questions about rhythms or if you found the sheep far too hard, let me know in the comments and I'll actually make a simpler she Frigyes. I don't know what level everybody's add in terms of taking on challenges. If so, if you did find this too challenging, please let me know in the comments I can make them much easier sheet for you. And with that, this concludes this lesson and as always, happy practicing. And please make sure that you're taking a look at this daily. Even if it's just for two minutes, just look at the rhythms that you had the hardest time with and just reinforce the correct way to play it. And this is gonna pay out dividends very quickly, especially since I started taking some ideas from Can you feel the love tonight? You being able to plot these rhythms will mean it's a lot easier for you to read it. Ok, So on that note, happy practicing and see you in the next video. 10. Lesson 9 Your First Notes: G & C Major Scales: Welcome back, spires saxophones. Today I have a major, major, major lesson for you that will change the way you play the saxophone forever. That's right. We're, we'll be learning your G major and C major scales. I know is an absolutely terrible pun, but I regret nothing. So let's hop right into it. So we're gonna start combining some of the skills that we had mentioned in previous videos. So I need you to have your tuner and your metronome prepared because we won't be playing each note quite slowly for four beats are for a whole note at 60 BPM. And we wanna make sure that each note is in tune so that you start training your muscles to adjust where the note is most in tune as you were playing. It's really important for these first few weeks to practice. All of these things really slept well. Really. It's always important to practice really slow, but even more so in your first few weeks, just create good habits, guys create good habits. Alright, so I got my tuner set up, which I'm gonna throw up on the screen in post editing. And I'm just gonna make sure that my g is in tune. You should do the same. Just the quick check to make sure you still got your numbers. You're going teeth on top of the mouth piece about a third of the way up. Roll your bottom lip over your bottom teeth, pulled the corners down slightly. You don't want any tension, stay pretty relaxed. And then say ta. And you're fingering for G is don't forget on your left-hand. 1-2-3, That is it. Okay. Let me check my team. That's okay. This particular mouthpiece I use produces a very big sound, but it's also really hard to control each individual node and get into ban know was into it leaning more towards the flat side. But the next note I play, it will probably be smack centers. So just keep that in mind as you're going through this, you will have to make micro adjustments. Alright, I've got my tuner going now. Turn you up so you guys can hear. Alright. So we're gonna do your G-major scale first. The reason why we're doing to today g and c is because the song that you'll be learning, can you feel the love tonight is in the key of G for auto players, in the key of C for ten or players. So I figure we laws would just learn both scales because they're pretty easy on the fingers and more knowledge, more power, right? Ok. So your first, now we're gonna do G-Major first guys. Same thing for both tenor and altough religious sounds slightly different if you're paying ten array now you'll be a fourth way. So your first note is G, Once again, 123 on your left-hand. I've thrown the figuring up on the on the screen as well as what it looks like on The Music Staff. Ready, 1234. So remember we're going to hold each now for four beats. We're gonna do that again, so you get used to it. I'm gonna count you in there in a hold enough for four beats, then move on to the next node. If at any point you feel like I'm going too fast, just pause the video, make sure you get the fingering right. Makes sure that you have your fingers close to the keys at all times no matter what notes you're playing. And they show us you have a slight curling your right-hand. Okay. So I'm gonna do that again. Z r, 23. Make sure you're now we're gonna move onto your next node. This is going to follow a pattern for a little bit. So we're going to lift our rain finger on the left hand. So we're only going to be playing 12. Now just to reminder guys, you skip the first key on the saxophone. Skip the first key and then go down one. And that is the first T, That is where wind datas. So we're in repressing 12. Okay, that is, you're a. Remember the musical alphabet goes from a to D and It's repeats, repeats, repeats, repeats. Okay. Why do, during Now we're going to play D. Now, to play B, you only need one on your left hand. So we're going to lift our ring finger up now to play beep. And then we're going to play D, a, B, and C. So OK, four beats, 123. Good. Okay, now we're gonna play G for four beats, a before b and b for, for beach. We're going to start trying to build your, your lung capacity and build some more strength as you will need it to play the saxophone. So if you can attempt to play, all three of these, are all three of these in one breath and you succeed, great. Try and keep the tone even all the way through. Try and avoid any waves into sound. If you can't get through all three alone, that's totally normal. You can breathe in between each node, in which case you would shave a eighth note off the end so that you have time to breed quickly and breathe through your mouth. You try breathing through your nose. You won't be able to get enough air as quickly as if you could do it as you would if you breathe through your mouth. Okay, so G, a, B, want to dream. Great job. All right, we're going to hop on to the next note, which is C. Now we're going to break the pattern a bit to play. See you, you only need to press down to on your left-hand too. So g is 33123, a is 12, b is one, c is just two. Right? Want to drink? Good. So now we're gonna go over the break. This is where you transition from just using one hand to using both hands. We really wanna take time transitioning from C to D because we wanna make sure that we're pressing out all of the keys evenly. So it's really important that you practice slowly as you do this in pretty much every song you can imagine. And you want to have that submits ruined transitions, like you're not getting any notes in between. So the fingering for D is 123 on the left hand, 123 on the right hand. And now we're using the octave key. This is also where we transition to using the optimality. So C is just to know Activity D is 123123, right? Plus octave t. Now remember position your thumb on the thumb brass, but keep the tip of a close to the keys unless you don't have to move your hand up or down to reach the key. Ready? We're going to play D right now. Going to catch you n 12 through. Good. Remember, try and have the tone as even as possible through all four beats and want to try and develop a consistent town. Now we're going to play D, a, B, C. Breathe when you get on to do a good job guys. Alright. They only had three more knows to go. Why didn't we already know? So the next time we're going to play is sort of plait E. You will need to play 123 and your left-hand 12 on the right tests the octave key because every note above the break, so from D and above, Heidi and above requires the octave key. Remember, keep your thumb on the thumb brass, but keep the tip over the keys so that it's easy for you to play, right? 123. Good job guys. The next nacelle needs to know is F sharp at EFF. F sharp, which means it's a semitone above F. We'll talk about that more a little later. So to play F sharp, it is 123 on the left-hand, two on the right hand. And you're going to need the author gives us 123. And the final note, you already know it's your G, 123 on the left-hand, but we're going to add the often unique is it's up an octave. 123. That is your major scale. Now you're gonna wanna practices going up in whole tones and then dissenting and down in the hole downs. Because you want to have the technical facility to play going up and down. As you know a music, the music naturally goes up and down. So if you're only practicing going up, then you won't have the technical capabilities to play any descending lines. And you wanna make sure you practice these two things evenly to avoid any problems down the road. So now we're going to play the scale going up and are employed is scaled going down. On hold nodes. 123. The Dragos. Emotional tends to be triggering me tuner. And it is having a hard time pick MY socks. It is what it is. But this is just to demonstrate what you should be doing while you're practicing. The more things you can practice at once, and the more you're constantly thinking about, the faster you're going to get. So by practicing your scales going up and down, what you're working on is not just the technique to play these notes, but finger placement, intonation. How good your time is. Tone development, trying to get the note even and consistent, each node sounding the same. Lung capacity, increasing that work in your phrasing is you try and breathe every four bars. Because that is the natural phrase of pretty much anything you are going to play. So be conscious of all these things when you're practicing and you'll improve very, very quickly. So how does one scale down? We're now going to do C Major. I'm not going to walk you through all the notes because you actually know them all except for one. And the notes you're missing is F. So G major has F sharp, C has an F. The key of C doesn't have any sharps or flats, and it's often considered to be the easiest key, really they're all the same, but are going to play that now, f is 123 on the left hand and one on the right hand plus octave key because of the range that will be piloted. So I'm going to play in your C major scale, and it's C, D, E, F, G, a, B, C. So we're going to go about the Heidi just played, but it's the exact same fingers I, Charity learned a, B, and C. But we'll have the active keen as time if it above the 0.123. There you go. I apologize. Actually forgot to bring it on the way down and I held it all the way down to the third blast though, before I remembered that. Try and breathe out there every four bars. If you can't do that right away, just work up to it. Also, if you're doing the combination of having the tuner and the maximum go at the same time on your phone, I recommend that you use headphones, that the mechanism is not interfering with the tuner because on that last run, that barely pick that path my notes. But you get the gist. This is how you should practice. This covers both are your major scales. And I look forward to seeing you guys in the next lesson. Make sure that you practice these every single day. You don't have to practice and for a long time, but you have to be focused when you practice. Thinking of all of those things I mentioned earlier. Your lung capacity, your intonation, your your tone, your time, your finger placement, always keeping them on the keys, keep them close, very close and matter one note you're playing. Do not do this finger flying. Use a mirror to help train yourself because sometimes you're not aware of it. I still do it sometimes, especially if I'm playing a faster line. It's actually really difficult to keep your fingers on the keys, which is why you need to consciously be thinking about it and practicing it. Do that. It should only take you five to ten minutes. Truthfully, the more you do it, the faster you're going to get at it, the better you'll be. And you will need the scale to play. Can you feel the love tonight, which is coming up for ten years will be in seed for us, will be in G. So the better you are at scale, the faster you're going to learn a song and a better you get at practicing those written exercises, the easier the song will be. Because I'm actually taking a lot of rhythms from the song and giving them to you guys to practice without the nodes so that when you add the notes, it's going to be significantly easier because you've already practiced most of the song, just the rhythms. There is some method to the madness guys. Some method to the madness. Alright guys, see you in the next video. Don't forget to leave any questions you may have in the comments and I'll be right there to answer them. And I look forward. See you next video. Happy practicing. 11. Lesson 10 Articulations: How to Play Notes Cleanly: Welcome saxophonist to another lesson at 600 sacks. Today we'll be talking about articulation, which is really important to helping you express yourself in the music. Let's get right down into it. Air attacks. Now, an air attack is when you don't use your note your tongue to start to know and to do this, you do wanna make sure you take a deep full breath. Typically, we do not use the full capacity of our lungs. We take shallow breaths from day to day. So it's important that we learn how to maximize this air capacity and put it to work in the sacks because the saxophone requires a lot of air. So the best way to describe this is to breathe like you're yawning. You notice when you breathe or when you yawn if fills your entire chest cavity or fire an entire lung capacity and it opens your throat, which is very important. This maximizes our airflow and leads us to have a bigger rounder sound. So instead of yet, which is why we want you really want the saxophone to resonate when you play. So keep that in mind. So if you have all of his going now and you do an air attack and you start to allergists error. It sounds a lot nicer as software and inviting, which will be gray for if you're playing a valid. So just a quick note is going to be a lot easier for you to practice air attacks on the higher register. So I'd recommend maybe doing it on your hygiene or your high a or IB. And then as you go lower, it gets more difficult. So it's important that you work your way up to doing this. Now, just like how Jim Burrows say don't skip lag days because they're important. Dumps give TEN days because you really need to strengthen your tongue. It's a muscle and you have to put in some work to get it to where you need to be to play songs at a faster pace and be able to articulate and so forth. So first thing you need to know when you are articulating with your tongue, try not to use too much of your time. Don't go too far back. Don't go into middle or anything like that because it'll sound very heavy. Though silane, heavy ozone constricted, and you could only go so fast when you do that. So your goal with your tongue is to spend as little time on the surface as the read as possible. And you want to use more so closer to the point of the tongue. Not exactly the point. A little bit in. And you just want to kind of tap the Reid as the air is flowing and that's going to create articulation. And you'll notice that it's a lot smoother and a lot easier to go fast. Right? So where do you want to be hitting the read when you're articulating now you don't want to just stop right on the tip of the reed. You want to have it a little bit below and just be hitting it around this area. And once again, as little time as possible. And you just want to be tapping tech that, that, that, that, that, that, that, that, that, that, that, that now to be able to get to the speeds that you want to get at somewhere between single quarter notes at 130 BPM and 140 bpm, you are going to have to work up to it. So what we will be doing is we're going to use our metronome to set it to 60 BPM. And we're just going to practice tonguing right on the downbeat and quarter notes until we're comfortable to N and so forth. Once you get comfortable with that, then start to sub-divide. So play eighth notes, 2-nodes and the play for each BGI, a metronome, it's x. And that foreign out 60 thousand per B of a. And as you get better at that than you could start increasing the metronome tempo. And you'll find your tongue is going to be getting really tired and start to hurt a bit. You kinda wanna have them feel that way because that means you've really work the muscle. And then the next time you come back, you'll be stronger and stronger, and stronger and faster and faster and so forth and so forth. So that's a simple exercise that you could do. Now you pair that with your major scales as you've just heard, working way up and down. And you do this every day for five minutes and man, in one month, you're going to be sounded great. But at a time you have this song down in a month because then we'll be moving on to another popped in. You will have a lot of strength and a decent amount of speed with your tongue. And it's gonna go a long way for future songs lets you learn that are a bit faster. We're trying to work you up to being able to play faster pop tunes of more complicated melodies. I hope this was insightful guys. If you have any questions, don't forget to put them in the comments. And as always, happy practicing. 12. Lesson 11 Ear Training: Introduction To Intervals: Welcome saxophone is to another lesson at the six months sachs. Today we're gonna be talking about your tray and introduction to ear training and all this means is how to take sounds that we hear and categorize them, name them all that good stuff. And this will help you with being able to play back music you hear, or as we like to call it playing by ear. And we're going to be looking at two different types of intervals today. And an interval is the distance between two pitches, two notes. We're going to be looking at the semitone, which is the smallest distance in Western music between two notes and the whole tone, which is essentially two semitones combined. Actually, you know, I'll, I'll give you a three for. We're also going to be looking at a minor third interval. So we're gonna do three integrals. Semitone, which is also known as a minor second, a whole tone, also known as a Major second, and a minor third interval. So we're going to play them melodically, which means the notes are separate. And we're going to play them harmonically, meaning that we're going to play both the notes at the same time. And it's important that you're able to figure out or determine what the integral is. Both ways, whether it be melodically and harmonically. And this will come in handy when you start transcribing music directly onto your instrument or writing it out, even if you need to figure out the chords of a song, This will be very handy. So without further ado, let's get right into it. And to do this guys, we are going to need to use the keyboard. And the reason why we're going to use the keyboard instead of saxophones, because a piano is a visual instrument and it will be very difficult for you to conceptualize or understand integrals and the distance between notes using the saxophone, because this not laid out like a grid, like the piano, is pianos very straightforward. And it's best that you become acquainted with where the notes on the piano, because this will be your best friend, or essentially all theory. All music theory is great to reference the piano. So I mentioned in a, in a previous video that the clef determines what range of the staff that we're in. It's just a way of simplifying the music stuff. And I mentioned Middle C. So what does middle C look like on a Music Staff? Well, it looks like this now right here. That is our middle C on the music staff. I taught you in the previous lesson how to play C major and how to play G-Major. Now what you're looking at here, minus these notes here, I'm not sure why you're here. You're looking at right here is your C major scale in quarter notes. Now, we've been practicing with the metronome sent to 60 BPM, four beats per bar, and therefore there are four nodes, four quarter notes in the bar. So that's why you have c, d, e, f, a lumbar and, and G, a, B, C, and the other bar. Just another quick note about time signatures. We have 44 right here. I did not explain that in the last video. I didn't want to give you too much stuff to digest, but I will go into it right now. So it's essentially a fraction, but the bottom number is going to tell you what subdivision each bar is based on. So if it's a four at the bottom, that means that the quarter note is the rhythm on which all of this is based. If it's a eight on the bottom than it means the eighth note is What is based on the bars based on, and if it 16 minutes to 16 out thirty-seconds, so forth. The note on top determines how many of that that particular rhythm, or I guess subdivision is used within a bar. So if it's 34, you would only have three notes within the bar. If it's 2-4, you'd only have two of these coordinates in the bar. If it's 68. It's actually quite similar to before, except the subdivisions would be in like eighth notes. So you would end up having 6 eighth notes in the bar instead of three quarter notes, and that's how you would be mere notes. Okay, so we're not gonna go too much into that, but it is important that you familiarize yourself, especially for pop tunes with 443468. Ok, so we have C going to see here. Now the important thing to note is that major scales are all constructed the same way. So you know, two major scales right now, but there are actually 12 major scales. Now in order to play them all, you will need to know all the notes on the saxophone. And right now, you know, kind of like half. We are going to learn the other half after we learned the song. So3 complete this unit. Can you feel love tonight we will move to another song that is in a key that will cover the rest of the notes that you don't know. But the construction of a major scale actually falls a specific intervals in particular order. And that order happens to be tone, tone, semitone, tone, tone, tone, semitone. So what does this mean? Now remember, intervals are the distance between two notes. So we look right here. I'm just going to lay this out so that they are over between two nodes. And this is how major scales are constructed. So the distance from C to D is a tone. How do we know that? Well, the easiest way to see this is if we use the keyboard, as I mentioned earlier. So going back to here, a semitones, the shortest distance between two nouns, as I mentioned earlier in Western music. So getting from C to D. 13. Lesson 12 Song Form: How To Read Lead Sheets: Hello, hello everybody, welcome to another lesson at six months sachs. Today we are going to be talking a little bit about song form. Give you a lot of information. The last few classes on how to read a bit. And now I just want to talk to you a bit about actually reading sheet music and some of the things you're going to need to know to get through a piece. Like can you feel the love tonight? Now of course, I also guys, I also wanted you guys to work on using your ears play this. I charted this out for you, but it isn't the exact same way it is done in the Lion King movie. This is more true to the Elton John version of the song. So you might notice some key differences. So I encourage you to practice playing it like you hear it in the movie. Learned out by ear and then use this version for practicing your reading. And you might actually notice some of the rhythms are ones that you are already familiar with from the rhythmic sheet, rhythmic exercise sheet. So hopefully that'll help you comprehend this a bit better. Few things. So I didn't mention in a earlier video, ledger lines are a kind of a way of extending the staff for showing you the full stuff. But it's easier to not have lines going through your entire page. So we use ledger lines to simplify the music. So right here, this is the alto sax chart. I've also made a tenor saxophone chart, which I'll upload both of these to the course material page on my website. So don't forget to go there to download all these materials. Now you did learn this in a previous video where you're learning G and C major. This is your B, your high V. So that's b with the octave key, that's one on the left hand plus octave key on the back. So the following note is a, which you already know, but here's one you don't know. D. Now this is D and the third octave for us. So we have d and the lower register, which you didn't play in that previous video, but it's essentially d without the octave key. So 1-2-3 in the left-hand, 123 and the right hand know off the key is first octave than the one you did learn. Same fingering but with the octave key. And then deed third octave is completely different. This is when we started using the palm keys, which are these guys right here. You'll notice there's three keys that kinda jet out. These are your palm keys. They're used to play the highest note on the saxophone within the known register. So to play D, You need to press the palm Keith, closest to the octave keys. So it's going to be like pretty funny inside of your hand. Now they're called palm keys because you play them with the palms of your hand. Do not pull your fingers back and attempt to press the keys like this. It's not the way to do it. It's going to greatly affect your dexterity because there's a lot of times you're going to need to be pressing these keys down and then quickly transition. The palm keys and you wanna keep your fingers close. So the plate upon keys, I encourage you to try and use this part of your hand. We'll have different hand sizes. My hands are actually quite large. So for me that happens to be where it hits, but try not to use your fingertips or anything to play those keys. Use the palm of your hand. And it should rest pretty comfortably inside your hand and be easy to press down. Anyway, so the plate, your Heidi, It's octave key plus first palm. Now you're going to want to relax your job because the tendency is to constrict your jaw and to tidy your lips and it makes the pitch really, really sharp. And we have a tendency, a saxophone player is that the higher we go, the sharper we get what we want to try and counteract that by having a relaxed I'm sure all the time. All you make micro adjustments to get things in tune. So it's important that you practice. This is not what the tuner. So this is your d. I'll put the fingering up on the page for you. D that every other note in the song, you do know you played them in our previous major scale video. Now let's get down to the specifics of song form. Alright. So we did already discussed time signature. This is 44 time for the song. So there's four beats per bar. And you are also familiar with the no types. You may, you may have a little trouble with the rhythms on this one, but I encourage you to clap your way through the song first before playing and break this up into smaller chunks. So if we're looking at the first four bars here, let's put them in a line. And there you go. That's what it would sound like just to get us through this. But I do encourage you to go through and clap this on your own. Clap and, and, and you could actually check back to this video to see if you've got a correct. So if we were playing with a metronome right now, which I'm just going to set up quickly. We're just gonna go through the song and I will point out things as we go through, okay, so the first thing you're going to need to know about the staff is this. This is called the key signature. Now, depending on which key you're in, this will change. Now, right now if you're playing Aalto, we are in the key of G, and G has one sharp note. As you may recall, G, a, B, C, D, E, F sharp, G. Now, there is a system for figuring out the different keys, how you know which Kiran. In the case of sharps, if it's a key with a sharp, then you go to the last sharp and you go a semitone above the line or space it's on, and that will tell you the name of the key. In this case, you'll notice the sharpest on the F line making this F sharp. So a semitone above F-sharp is G. We're in the key of G. Now in the case of the tenor saxophone, puts you back up here. Bam, you'll notice there's no key signature, no sharps and no flats. That means you're in the key of C, because C is the only key without any accidentals. So ten, there's going to be playing in the key of C And it's going to sound the same. Whoops. There you go. But because of the range of the instrument, it, you have to read it in different keys. So I prepare both those charts for you guys, don't worry about that. So the key signatures, Gn and what this tells us is every time you see an F on the stuff, it's actually an F sharp, so they put it on the side so that they don't have to continuously be putting accidentals throughout the song is supposed to make things easier. So if we jumped to the a section, now these a's and b's and letters mark the different sections of the song. Now knowing the form of the song, whether it be a B or a Baa or ABCD. And the letters represent different sections. This helps you learn music a lot faster for me. I could pick up a pop tune that I hadn't heard before and be able to play it just fine in 20 minutes and large. A lot of that is just being able to listen through the song once identified the different sections and note how many times they repeat and when they repeat. Now most songs take a, B, a, B, C, and then back to B. Form is usually the verse. B is usually the chorus. C is usually a bridge. And you'll notice this formula a lot and pop tunes. I listen to a lot of Justin Bieber's music very well-written. He likes to do a lot of abs. And then the odd c at Sharon does it a ton shape of you listened to shape a view and then the one on with my baby, I forgot the name of the exact song, but Boko sounds basically had the same song form. He likes to do. A, b, a, b, c, The Bridge where everything breaks down and he comes back in with the course. So if you know that you really just need to skip through to those three sections, figuring out the notes, and then glue them together. And that saves you so much time. So in the case of this song, there's actually only really two sections, the verse and the chorus. Okay, so now we're going to be looking at the verse. To do. In the verse, you will notice that there are these ties connecting notes. If you see a tie connecting two of the same note, in this case G and G. You add the value of those two notes together. So this would be the equivalent of 3 16th notes in length. Or you can look at it as a dotted eighth. That's how long it lasts. And the song uses it a lot and a ti's over beats. This is one beam, this is 1B, this is 1B. This is one beat that accounts for four beats. If your sight reading music, I really encourage you guys to look through it and really clearly label where the downbeats land. It will make it so much easier for you to feel where the notes are supposed to go. And it just makes it a lot easier to read the music. So here's a downbeat, here's the downbeat, but you're not going to hear it played because it's tied. Here's another downbeat that's tied and this is rest. So the rhythm for this would be 24, right? This is E, this is f, but because we have the F sharp in the key signature, this will now be F sharp, G, a, which is the first ledger line. G again, and then down to D With that rhythm. Now you'll notice up this rhythm continues to repeat through the a section. It is a common parts of the song. So once you really got that rhythm down, you already learned essentially half the song. Not that bad, right? Alright, so moving on to the next bar. Same idea. It's like a call and response. So a similar idea but slightly different. The snow right at the end here is actually the beginning of the next idea. We like to call those pick-up notes. So as part of the preceding idea, but it starts in the bar before. So this is a pickup 16th note. Why me and to the, and a 340 and data for Baghdad at 40. And now you'll notice in the second half their pickups to each phrase. So getting the feel of that 16th note is very important. So in your head count one, E and is where the 16th is placed. In this case, it's the last 16th of before. So for E And oh, okay. I'll leave this to you guys to sort through. It may take you some time, but don't worry, you will eventually get it as long as you take it slow. So we get through jumping over here, last bar. Now we go to the chorus. Can you fear? Which as you can see, is a lot easier to read than the verse. So if you can get through the verse comfortably, the rest of the song should be relatively easy to get through. And don't let the number of notes intimidate you. You can always break things down into a simpler form and work through it. So this B, in this case represents the chorus. Okay? So this is the verse eight bars long. And because this the slower song you might end up trying to breed every two bars. You don't want to just keep breathing every break you get because it disturbs the flow of the song. And so now that we're in the course, you'll notice that there are these two lines with two dots next to them. In musical notation, we refer to these as a repeat. And that means anything within this bracket with the two dots and the next bracket with two dots is repeated again. Okay? So in this case, you'd read through bars 13 through to 20. And then once you get to the end of 20, you would actually repeat back to bar 13 tablets. The k2, 234. As you can see, it went right back to bar 13. So anytime you see these brackets and we see these brackets appear and make sure you look for the next set of brackets because that's going to tell you where the section ends and then repeats. But what do these brackets, larger brackets with the number in the mean. These refer to the number of endings. So first ending, you play the first time through, second ending. You play the second time through instead of the first ending. Now there's really no limit to how many endings you can have. There are some songs were UC first ending, second ending, third ending or anything. I've definitely forth ending. I've definitely seen that in big band arrangements. So make sure that you're looking for these things so that you don't get caught off guard. You could also notate this chart in such a way where you don't use repeats, but then it's inefficient and you end up with a lot of pages. So I intentionally tried to make this more compact so that we would get to discuss some more of these musical terms. All right, so this time we're gonna go through the chorus are B, and then take the second ending because we've already done the first ending. So here you'll see that it says to Kota. And afterward I says DSL coda. So this two coda we're not going to use yet. Once again, through these things in there so that you can get a feel for what these terms mean. They do come up a lot of music. This symbol right here. So anytime you see, see DSL coda, it means go back to this symbol. It's another type of repeat and plays through until you see two CUDA, which happens to be here. Okay? So once you get to the end of the second ending on this chart, you take DSL Kota and send you back to the very top of the chart where you'll see the DSC symbol. And then you read through the whole thing again until you get to second ending and of first bar. Then it says two coda, at which point you conclude the song. So as you can see, there's really only two sections to the song and then the interlude, I like to call it because there were not actually playing these nodes. But I did write the man in case you choose to play the intro and the breaks in the thought, just say add the option. The let's just have a multi-layer works. Yep. Improved in full. I was actually just found an error because you should be in the same bar as the other ds. Because we want to do the full second ending before we go to the final form bars. And my apologies for that. Going to make that quick fix. Shi Zan. Okay, cool. And then it takes you to this ending that it added that at, at, at, at, at, at, at, at. And that is the whole song. Now what makes it song a little tricky is actually adding the emotion to it. And to do that, we're going to need a thing called dynamics. And that's something that I'll discuss in a later video. There's a lot of dynamics to cover, but the main ones that we will focus our justs, crescendos D crescendos and knowing what volume should you should be at, at different sections. Now keep in mind going through all this. Your goal here is to convey some sort of emotion, some sort of message. And when you're playing an instrument like saxophone, which doesn't allow you to use words. You have conveyed that through the movement. Music. Too often people get too focused on like what notes they're playing, but not necessarily how they're playing it. So how you articulate Are you going to play this note harder is going to be sought, is going to be delicate, should have mimic the words to the song. Vs are commonly played at a lower level and choruses are much louder. If you listen to EDM is kind of like here the verse and it's usually pretty chill. And then at a certain point you have this huge buildup leading to the chorus, which is where the drop comes in and all the energy comes in. Very typical formula for most music, if not all music. You gotta have sections of the song that really bring that energy and other sections that are more relaxed. Otherwise you won't be able to appreciate the different levels of intensity in the music. So I want you to keep that in mind. When you are practicing this song, working through your scale, please continue practicing your GNC major scales. The more proficient you are playing those, the easier will be to transition from note to note in this song. As you can see the songs that 60 BPM roughly. So you can practice this with your metronome first before you use the backing track, the better you get playing at this, playing this song without the backing track. And just your match node. The easier it'll be to play with the backing track. Don't just jump to using a backing track has in a lot of ways it's a bit of a crush. And you can listen to the different sections in the music to let you know where you are. Whereas if you practice this with just a metronome, you really have to be focusing on where you are in a song and listening to how your plane and also where you're playing notes. Okay. Hoped this was insightful guys. If you have any questions about Pfam form in the from this video, please post them in the comments and I'll be sure to answer and help you along your way. As always, happy practicing and look forward to seeing you in the next video. 14. Lesson 13 The Chromatic Scale & Low Notes: Saxophones, welcome to another lesson here at 600 sacks. And today I have a very exciting lesson for you yet again, because we will be learning the remainder of your notes in the lower register, the lowest part of the saxophone, using a new scale called the chromatic scale. And that is basically just playing every note without skipping any in ascending and descending semitones. So we're going to start on your low B-flat. I'm gonna put the fingerings up for you and we're going to work our way through. And on the way through, I'm gonna give you tips and tricks for various parts of the register. Ready? Let's do this. Alright, Guess we're going to start off with the lowest note and probably the most difficult now you're gonna play today. And that is low B flat, and that means all the holes are gonna be covered on the sax. And the fingering on your left hand is 123. And now we're going to use for your pinky is going to go on this spatula here. And there are actually four notes located on this special on the top one is for G sharp, G sharp or a flat. The insight key closest to the body is Sachs is for B, low B. And then on the outside, if you roll your finger out, you get low C-sharp. And if you go to the bottom, you get low B flat, bottom level, B-flat, lobby on the inside, C sharp, on the outside, G-sharp on top. Now a trick you might want to embrace right away is just do not have your pinky flat when you're trying to play to spatula, it's actually gonna make it a lot harder to slide from note to note. And you won't be able to apply a much strength in the pinkie to press the note down the t down quickly enough. So you want to have a little curl in your pinky finger. And this will make it a lot easier for you to be mobile on the spatula. Right now moving onto your right hand on your right hand you're going to have 123. You see these next two pinky keys here, the top ones D-Sharp and the bottom one is C. You're gonna wanna use low C for all the lowest notes on the saxophone. That would be low B-flat lobby and low C sharp. And of course low C, you're going to want to have your pinky on the lower key here. So little b flat, once again, 1-2-3, bottom of the spatula with pinky. Keep your pinky a little curled. And on the right-hand, 1-2-3, bottom pinky KEY. Ready? Let me start my mentioned. I'm here to three. So quick tip again for the lowest notes and saxophone, you want to make sure your armatures relaxed and maybe lower your jaw justice mesh to create that extra space. You want to be using like a warm air. You don't want to be trying to force the air through fast. So do not constrict your Omniture. You wanna relax your embouchure a bit. Mill at resonate. And you'll find it's also going to be more in tune. It's little hard to tune these notes, I advise, as always, practice with a tuner when you're going through the full range of the horn. I'll give you warm up exercises in a subsequent video to make sure that you work all these things out quickly and efficiently. So again, remember a relaxed on brochure. Deep breath. Say ta. There you go. Alright, onto the next note. So the next note after B-flat is of course b. We're going in order. And these are very similar fingering, but in the left hand instead of doing the bottom speci, okay, we're now going to shift up and in. So the key closest to the inside, close to the body of the sacks. That's your low Baekje and your right hand is going to be the same as the previous note. 1-2-3, lossy. Ready? Sorry, we're going to do this for four beats again. Same technique. Relax your jaw. Yankee. Now we're gonna move on to the next level, which is your low C and C, I guess law easier for guys. Pinky anymore, it's just 123 on the left hand, 123 on the right and the low C K two. Now of course, for these notes, you do want to practice doing it with a full tone. It might be a little hard for you to do if you're trying to restrict the error. So I encourage you play them as loud as you can to start. And then we can work towards dialing them back so that she could work on plane and quietly. But first we gotta get the foundation gets out and gets you your amber sure used to playing those loans. So that was low C8. And now we're going to jump over to your low C Sharp. Now we're going to be putting the pinky key back in place. Except this time we're going to be sliding out to the outside of the specialized. So away from the body. T3, pinky on the key, away from the body. And I want you three. Low C minor is for low C-sharp, depending on yours, ours. And not sound as clear and as resonance Some of the other nodes. This key does have a tendency of leaking around SMS access. They don't have a guard, a minor does not. But on some higher end models you may find it does have a key guard. C-sharp does tend to be a key that leaks very early on on your sax, C-sharp and it'll be flat. So if you are struggling to get it out, it could be a number of things, but just keep that in mind after you've been players socks for about a year and you definitely need to take it into a technician just to have them realize everything and make sure there's no leaks on your sacs, which is naturally happens no matter how well you take care of your saxophone, is probably going to start leaking within six to 12 months. Don't stress is usually a cheap process to get it fixed and it doesn't take very long. Ok, jumping over to the next notes, you already know it. That's your load d. So we're just gonna play that quickly and then jumped, you know, you don't want to drink. Now, the next step after D is D sharp or E flat, that is equivalent to sharp flat. And the fingering for D sharp is 123 on the left, 123 on the right. But the pinky keys now involved on your right hand and you're gonna play the top pinky T here, that is your load, D sharp or your D-sharp? Tn General. Ready? 123. There you go. Now we're moving into a more comfortable register. Now you're already familiar with E, F, F sharp, G. G sharp would be probably in the next one, you would need to know. But we're going to work our way through them, holding each one for four counts, starting on e to the alright, so now we are at the G-sharp which comes out the Jeep. And for this node it's just like your regular Ji Qi. Except now we're going to use your pinky and play the very top bar shaped key here very easily reach. I shouldn't be a problem. G, G sharp to three. Next I was going to be a, and then we're gonna go to B flat. And B flat is a very interesting out, as can be the last out of this scale today. And there's three ways you could actually play. So we'll get to that in just a minute. Okay? So H 34. Alright, so now for B flat, so there are three ways to play, and there's only two that I recommend. And you could pick whichever the tree you'd like. So the first way is one ILL tan, one on your right hand. I do not recommend that you use this key. Actually, I forbid you from using this fingering. It's probably the most, the leaf in tune and the least resonant of the three options. So instead, either use this B flat, which is 12 on your left hand. And now we're going to start getting into these psyches here. Now the psyches, you do not play with your actual fingertips down and out. You actually use the side of your hands. So you're gonna get used to making this motion, this adjustment. So it will be the bottom side key. And to stop little bottle. So you're going to play a century in your left-hand pointed and bottom side and your right, ready? 1234. There is a solid difference in sound between those two fingers. Listen. You'll notice the first option is more open, more resonant than the B flat. And the reason for that is just the way the fingers and the openings are. The keys are placed when you play it what the side fingering instead of 11, you're actually covering consecutive holes and the opening of that you're making with the psyche is actually close to the a fingering. Whereas when you're pressing 11, that B-flat, there's actually quite a few keys in between those two fingers that are open. Because I, I kinda makes the sound a little stuffy, which is why I do not recommend that you use 101. So either use this fingering, the 12x and I'd like to call it T3, the bottom side key and your right hand. And this option. Now this one requires you to use a little key that you may not have noticed right away. It's in-between your index and your middle finger. This little parochial here, it's called the biz key, BIS is key. And that key, combined with one on your left hand, makes the B flat. Now, I know you're going to be tempted to do this. Do not slide your right, your middle finger up to play this BUS key with the one, do not do this. And the reason why you should not do this, because if you need to go back to a now, you're trapped. The you can't slide your finger over. It's just not physically possible. But if you needed to slur Now's, it's just not happening sort of way yet to play the bass key is actually just use one finger. So you need to get a little use of this rolling motion. So when I play my d on my saxophone, I often like to have a kind of sliding it closer to the edge of the B key so that I can make contact with that this key with minimal effort. There's been no business based. None is. And it's just a slight rolling of the thing that also makes a B flat. So listen, 123. Say update motion, very subtle. So one plus b's key using just the one finger is another way of playing B-flat. So your two options are when a bys or one to see T3, side fingering or what's called S3 and makes a lot more sense as three. Bottom side fingering, There are actually proper names for this using a french system for numbering. Kelo dot, dot my head. Remember it's the bottom side key here and there. So difference between those two as well. So pick which one are the two you prefer personally, I like to use the biz key. Then I do have quite a few students that prefer to decide. Fingering for D flat is a matter of preference. Alright, so that actually concludes the chromatic scale. And this is what it sounds like all together. To dream. You'll notice it takes a lot of air to play those low nodes in sequence. And that's going to take some practice for you to play it as quarter notes or play it as whole mats, ideally, up and down without losing bread. Just keep practicing it. My case, I probably should not have put on a new read before doing this. Playing ALL those learners with an ear IED is very difficult. Gotta break it. But practice going up and out this whole notes. You want to do whole notes the practice, getting that air support practice, stabilizing your armature and strengthen yet, so do them nice and slow. Now, side-note about chromatic scales. You can start on any node and do a chromatic scale. Doesn't really matter. So the way I like to practice on personally is just starting from low B-flat and doing a full range of the horn and a back down. That's all fine. I usually do a lot slower. You use a metronome, use a tuner, but just showing you that that is what it sounds like. You do not skip any notes and it's a great way of developing your technique early on on sex because you hit all the notes and some of the transitions are a little awkward. Was also a lot of exercises that I'd recommend for doing this. But when I give you a video for warm-ups and a few exercises for you to do daily. I'll discuss that they're hooked. This was insightful guys. Let me know if you have any questions about the fingerings for the B-flat chromatic scale? Or if you have any questions about some of the other keys and their possible uses, let me know in the comments and I can make a separate video or just ask them for you in the common section. Look forward to seeing you in the next class, guys. And I was always happy practicing. 15. Lesson 14 The Harmonic Series Unraveled : Welcome to another lesson that six months Sachs tab a very interesting topic for you. We'll be talking about harmonics on the saxophone and developing the foundation for all Ticino knows. So to get things rolling, we are going to need to define a few things. And I promise you this is going to be really cool. So just stick with me here. This is a pretty short presentation. So what are harmonics? Harmonics, sorry, the divergent infinite series or the wavelength of the overtones in music. So to put that very simply, when you play a single note, it actually consists of multiple pitches that are just stacked on top of each other to create the notes you're playing as if you're playing, gee, there's actually a whole bunch of harmonics on top. G up an octave, D up Anakin, B, E, F, and so forth. And the series is actually infinite and they stack on top of each other to create the pitch that we are hearing. Alright? So would you believe me if I told you that on the saxophone we could actually isolate these individual overtones. Yes, we can. So similar to a Trump here where you have three vowels, but then you can produce all the notes. You need all 12 notes and whatever octave. And you could actually do the same thing on the saxophone using just the bottom four announced, but you could actually build harmonics on any of the notes on the saxophone. Pretty cool. So a harmonic sequence is actually a naturally occurring sequence of notes and it follows a specific orders. So I just kind of wrote it out here in a way that hopefully you'll understand. We haven't talked too much about intervals. I thought it might be easier to visualize it this way. So the numbers represent the degrees of the scale, so forth talking about G-Major, then one would be g, two would be a 3dB dB and so forth and so forth. Eight would be g again up the octave. So here you'd see the Harmonic Series goes from G to G up the octave to D above that, to G above that, D to B, to D to E flat seven in this case, means instead of the natural seven in G-Major, which is F sharp, it would be an F. And then you end up with the octave yet again, and it keeps going and going and going. Now, a key thing to notice here is that the intervals between notes becomes smaller as you ascend through the harmonic series. So at a certain point, it's kinda not practical and it's probably nigh impossible for us to play those notes because they're just so high and require so much tension and control to even reach them, that is not possible. But what also ends up happening is that we stop using notes that exists within Western music. At a certain point, you end up getting quarter talons and quarter tones are smaller. The next degree is smaller than semitones, and those do not exist in Western music, but they do exist in Middle Eastern cultures in parts of Asia, India, Indonesia, and so forth. But we will not be dealing with that. So we definitely do not need to get into those ranges. Here's another way of visualizing actually using intervals. So as you can see from here, we have from the base clef, low bass clef Stein from low C. And this is the order you get octave, fifth, Perfect fourth of minor third and so forth, so forth, pole, so forth, and it keeps going. Okay, so the next thing we're going to need to define our water Altis monads. So Altis modes refer to pitches that are above the normal range of our instrument. So practicing harmonics are going to help you get to those notes. So without harmonics and Altis Minos, the highest note you will play it on the saxophone is F sharp, which is this one. Now there's a whole two octaves above that. If you can become muscle it out, I mean usable, I'd probably say a whole octave above that. There's the GI. And it keeps going. I would say those are the, probably the most usable notice you get going from G to D. There are a couple of phenomenal saxophone players. I would recommend you guys go check out that use the SysML range absolutely beautifully. And I will produce a listening list for you at the end of the course or in a few lessons from now. Because it's important that you guys are listening to process phone is daily, which is going to help influence your sound, is show you what's possible with some of these tools that I'm giving you. So I strongly recommend you go listen to you. Gerald Albright, that's GER, a LD, one of my students right now, it's just completely obsessed with them and rightfully so if you haven't heard before, once you hear him, there's no going back. It's more of a smooth jazz vibe, but I promise you, you will not be disappointed. And my favorite tenor saxophone is modern tenor sax bonus. Joshua Redmond, just so lyrical and rhythmic at the same time. And he really extends the range of the sacks on his tenor alike by an octave, octave and a half, and actually uses it effectively. So definitely check those two guys out. Okay, so how are you going to practice harmonics? So there's a few very important tips you're going to need to know guys. Firstly, you need to hear the note you want to play before you play it. As I was showing before, the natural sequence or the harmonic series. Starts off with 1858. And the exercise you would end up doing is actually playing those first four notes in order up and down. But to hit those notes, you need to build a sound like beforehand. So, so a sampling B-flat on the saxophone, which we learned in our last lesson. A fifth above the above, that would be F. And I was like, that's the pitch I need to hit. Once you have that picture in your head, you could finger that same low B flat, but then hit F. Alright, so this will be your harmonic and plead the fifth above it. So. That's going to help you hit those pitches. I have some students get all four of the pitches within two weeks. And other students like I have a current one that is kinda struggling to get through them and it's been six months. But on the flip side, he can play autism OGG sharpen a with relative ease, which in my opinion's far harder. It's going to be a learning process for you to figure out where it's placed. Different aspects of your envoy sharing your tongue, which is the next key tip, tongue placement, armature pressure are important to hitting the overtones consistently. So up until this point, you've had your tongue mostly at the bottom of your mouth, unless you've been articulating and lightly tapping the read as I showed you in a previous lesson. Look for some of these harmonics. It's actually easier to hit it if you adjust your tongue placement. For the fifth, I personally like to raise the back of my time on land and that way I can just hit it right away. And I just know that that's where it needs to be. And I practice different positions as I work through the different ranges, the different harmonics on different notes. And it helps me a great deal. I've had two schools of thought. I've had teachers. Tell me You don't move anything, you just make adjustments really would like your throat, which is also possible. And you could also do it with your tongue, is probably more effective honestly to do it without, with moving as little as possible. Because I think it's more practical for when you're playing. But you know, give both ago. Um, see what works for you to start and it's going to get easier and you'll be able to make a micro adjustments as it go. Remember play are Marxists just like singing really. When you go to sing your favorite song or that you are on your radio, you're not stopping to think about all what are my vocal chords doing? You're all k. I'm going to hit that d Now I'm going a long my vocal chords by another millimeter and so forth and so forth. You don't need to do that. You just hear the pitch and you sing it back. Kind of the same idea with harmonics on the sex. You hear the pitch and your head and you play it. You just need to know what harmonics are available too, because it does follow a specific pattern. There's certain notes you won't be able to hit. Like, I can't play my low B flat and then hit the D minor third above it. That's just not how the naturally occurring harmonic series goes. The next available now to me would be B flat and octave above. So keeping those things in mind will help you a great deal. So exercise number one, you're gonna play the first, foremost and harmonic series up and death. So here are the four unknowns you will need to get 1 first octave, second octave. And then we're only gonna do this on your low B flat for now, okay? Now eventually we are going to want to do it on your lobby flight, you're low below, see your low C Sharp, those that are foreign knows I will want you to work on eventually, but for now, get it down, pat on your little B-flat and get it out consistently and sounding full. And the second exercise you're going to want to do, you don't necessarily need to do this one to a metronome. Maybe try and use a tuner and try and get these in-tune. That they should generally be relatively in tune with your sax wherever it is positioned in tune. So next oxides is pitch matching. So you're going to essentially do the same thing. And you're going to hold the harmonic and switched to the real fingering. This was pitched crashing. So you're gonna play the harmonic, the first harmonic, which is the octave above D flat. And then you're going to squish the real fingering and try and match town and so forth. So he exercise here is to try and get the real fingering sounding as close to the harmonic sound, harmonic fingering as possible in sound. So it's really important that you almost meditate on these pitches and listen to every minute detail and just try and make those slight adjustments to get closer to a harmonic sound or end up happening is that your sound is going to become a lot broader, bigger, fatter, up stronger. And you're going to have way more control over your armature, allowing you to do some pretty cool things, like sliding around on the saxophone and so forth. So you do this throughout the harmonic series and you're gonna find your regulars on analysis is gonna get so much better. So those are the 2x sizes you guys are going to need to do. In a subsequent video, I will provide you guys with a full warm up and a practice scheduled. You should be roughly at about 33 and we get to that. And at most a week four should be spent working on these individual aspects of music. And I'm learning to play, Can you feel the love tonight, which I promise you if you've been spending the time working on these things, you will have no issues getting through. Can you feel the love tonight? And then it'll just be a matter of refining. Alright guys, as always happy practicing, don't forget to posterior comments, questions or so forth. And the common section, I'll be sure to reply. See you guys in the next video. 16. Lesson 15 Playing High: Palm & Fork Fingerings: Saxophones Welcome back to another less than at six months sachs. Today we are going to be finishing off learning all the fingerings In the saxophone range before the autism orange. And we've already learned from low B flat all the way up to high C-sharp. And you also did learn D In a previous video, but we're gonna recap on it because that video wasn't really dealing with fingerings, praise a, but we did touch on it. So to play your first palm key, remember to play your palm keys, you gotta use your palms. So keep your fingers on the keys and just kind of turn your wrist downwards, such you make contact with these keys. Now we all have different size hands, so the technique might be slightly different, but the goal is to move your fingers as little as possible and to do the slightest hand motion, motion to make contact with these keys. So to play D, It is the palm key furthest back closer to your body on the sax. So it'll be this one right here. And you want to make contact with that impressed the octave key. Got our trusty little nutshell. Let's just turn that on and we're going to hold it for four counts. 60 BPM because sixties your friend until the end 12. Now remember you don't want to constrict your armature here the tendency is always to play these high notes quite sharp. So to counteract that, you actually need to relax. Kind of seems counterintuitive when you're going higher, you typically want to, in your armature, resist the urge to do so and relaxed as much as you possibly can with good towel. Alright, so moving on to the next one. That would be D sharp or E flat, and which is the enharmonic equivalent name. And to play that note, you're now just going to add the next palm key in order so the one closest to your body and then the one after that, this one's a little weirder to make contact with. I find it works best if I use behind the second knuckle of my index finger to touch that key. For some of you may be easier, but my hands are actually quite large and end up with a, a sizable gap between the keys and my fingers. So that's how I'm pressing it down. And you just keep the Oxford gate. Okay. 123 or the next note we will be touching on is e. And now here's where things get, maybe just a little tricky. But there are two fingerings for E. There's one that I'm really going to push and recommend this course. Not everyone likes using them. And then there's one that most other people use. So we're gonna start with the most commonly used one. And that is the same fingering you just did the exact same fingering. One PUB two, octave key. But now we're going to add psyche won the top psyches year to play your E. Ok. So it's gonna look like this. Keep your fingers on the keys if you count as close as you can. If your right index finger ends up lifting off. The approach is not the end of the world for this particular node. Just because it's a hard motion, especially if you have smaller hands. Alright, to drink. Now, the other fingering you can use for this high, high E is something called the forked fingering. And this is actually like a harmonic. So practicing your harmonics are gonna make it easier for you to be able to play this note. And don't worry if you can't get the node out right away, keep practicing it because it's going to help you hit those higher pitches, those Old Testament Jesus autosomal G-sharp and so forth later on. So it's just best to get into the habit. And to play that one. It's 1-2-3 octave key on your left hand, but you're, one finger is actually going to shift up to that key. That isn't a pro key or it might be approaching on your socks. But the key that we skipped at the very top of the horn here, that's called your 14. And you'll notice it presses down one as well, but it opens up one of the valves on the side. So that 1234123 and octave key is also the same as Pompeii. Now you'll notice that the forked fingering actually has fuller sound. It's a lot better. And the reason for that is just, you're covering more holes. You're covering like a third of the horn when you push down all these extra keys versus just using a palm keys are actually leading all these openings. And therefore it sounds a little bit more shrill. So for me personally, I like that sound better. But also if you're practicing your scales to octave, it's actually a much easier fingering to incorporate into lines. And to exercise is then to do the alternative. The other tendency is if you switch two using the, the more commonly used fingering odds are you're not going to use the next forefinger age player, F or F sharp. You're gonna have to use this app, which is actually kind of inconvenient my opinion, but I'm going to teach you both ways as well. So you've just learned e. Remember there's two ways of plant, palm, palm to octave key and side1. Top psyche or for curing is 4k 123 and octave key. Next note you're going to need to know is your palm F and forecasts. So to play the regular asked them most people play. It's all three of the palm keys plus side1. So you're going to notice right away that when you try and play this, it's basically impossible. Especially if you have larger hands to keep all your fingers on the keys. Like every time I try and play those, I end up having to use my second knuckle and my middle finger to hit that last F pomp and my fingers rise off or they kind of move out of position. And when you're playing faster, you tend to do stuff like this and it's just awkward. But nonetheless, is the fingering 23. That's the fingering and it sounds good. So 4x minus I'm going to just record is probably getting distorted because my lapel mike, I apologize for that. So that's the fingering, but I think it's a little inconvenient for practicing skills. I supported a forefinger, you know, naturally. So I'm just gonna tell you right now, it's going to use that out. Then you should pair it with the other asset incorporates beside one key. It makes more sense to make this transition. Then to do 4k e going to this, or even the regular e going to forget. Which leads me to my next fingering for you. Fork F Now forecast, actually really easy in terms of fingerings. And to play that note, it's for 12 plus octave key. Once again, folder sound. There's also a slight difference in tuning, so I encourage you to check both of those. But you'll notice right away going from 40 to fork f is so easy. Which is why I like doing it for a lot of the scales. It is just such a faster transition to go from Palm D to four, E to Fort f, or the fourth F sharp, which is x naught that will be talking about. So I encourage you to really spend some time doing long tones on those two forked fingerings for key and fork out. Cause I'm willing to bet that on your first attempt, it won't come out. But she's just got to keep practicing until you find that sweet spot. It's just like how you practice the harmonics, how placement of your tongue and then what you're doing is so key to getting about pitch out. So make sure that you tried different ways to get it out and then work on until it feels natural and I promise you will pay dividends later when you're trying to do more dexterous motions. Okay, last thing I'm going to teach you today is the palm F-sharp, and there's two ways to play this. The most common way. Now that almost every modern Sachs has the F sharp key, which is this oddly shaped key right here. It may look different on yours acts, but it's next to the f trill key. You pressed that along with 123, all three palm keys, sorry, all three palm keys up here. And if you want to get a more in tune, and I recommend using the side one. So it's going to be a little awkward, but you gaze. You heard the weird fluctuation. Thus the difference. If use the side1 key as well, it just adjust the tuning a little bit. Smith flatter. And the other fingering, I use a combination of both these. It's really situational frame, but it would be the fork F sharp, which is force F. So 4k, 12 octave key. And now you would use side three, bottom psyche here. Now you'll notice if you do the regular fingering with the F sharp key, it's a little bit brighter and more open than the fork F-sharp. I don't really think the forecast sharps sounds like grape, but it is a better combination when used in conjunction with the 40 and forecast your transition to get to G. So I still recommend that you actually practice getting both of these into your little toolkit there to work them out when it makes sense. Alright guys, are that actually covers all your fingers now from low B flat all the way to high F sharp or so the first time I did without for triggering a second time I only with portray agrees. So those are all the fingerings. And now you are fully equipped to learn all the scales and learn anything you want. And I hope you found this video very insightful. In the next video we're gonna talk about warm-up exercises and then I'm going to give you your practice routine. And we'll talk a little bit more about schedule. So as always, guys happy practicing, Don't forget to leave any questions you may have in the comments. And I will see you in the next video. Bye for now. 17. Lesson 16 Can You Feel the Love Rhythmic Study : Hello, hello, hello. Welcome to another lesson that's six months sex. Today we are going to be analyzing the rhythms and can you feel the love tonight? Personally, I find it easiest to learn new song when you break it down into bite-sized chunks. Which is why we are going to be focusing only on the rhythms of the song today and the most challenging part. And then leaving the pitches for another lesson. Alright, let's get this party pop it. Okay. So I've created a score in MuseScore, as you can see. And the first thing we are going to want to do is identify how many unique sections there are in the song so that we can design it in an efficient plan of attack. Right away we can see that there are only three truly unique sections. We had the intro being. Then we have the a section, which is also the verse. That's eight bars right here. And we add the B section right here. And that's really it. Then we have this coda, but it's kind of a continuation of the b at the end of the song. So we're not going to worry about that. Great. So why do we do this? Well, it's good to make this a habit because while this pops on does have a pretty simple form, not every single pops on does, especially if you're getting until the links from the classic pop tunes, they have more intricate forms. Or if you're playing other types of music, like if you're doing classical or if you're doing a jazz composition, some of those have more complex arrangements and they may have multiple sections there way before maybe a progressive song. Being able to identify when you're returning to a repeated section makes it easier for you to learn the song because then you could just focus on learning those two or three sections. And then after you have them down pat, next step is just the order them correctly. And then you've essentially learned song, thus giving yourself kind of less work, saving yourself some time. Now the whole nature of pop music is that it hence tends to be repetitive and catchy. That's why it's popular. So it's gonna be really easy for you to identify how many sections are in a pop song. Modern-day pop usually doesn't have more than like for and most. And that's counting like pre-course is going into course. In the case of this song, we only really have to diverse. And of course, the intro is usually played by strings on, on ascent. But where I added it into the score because you can play it on the sacks. And I think it sounds nice. Now that we have identified all the sections, it has become quite clear that the section at poses the greatest challenge is a or the verse. As such, this is where we're going to spend the bulk of our practice. And this Because if you wish to improve it, you know, really fast rates, you're going to always have to tackle what your weakest that first while your focus and energy is at its peak, you really don't want to leave the hardest things in your practice session to the very end, you're not going to have the energy, your focus to get through it and you'll likely be more likely to give up and therefore, making the whole process much longer for you to learn a song or for you to learn a particular skill on saxophone. So remember it. If you're not practicing what you're weak at, you're not really practicing. But I will leave that more to a separate video on how to practice. Alright, so let's take a look at a more closely. What is the key reoccurring theme in this section? You guessed the ape. Now going into these 2.6D notes, you would be correct. And as you can see, it kind of reoccurs everywhere. Here it is again. Here it is again, here, again, again, again, again, every single bar in this section has it at least twice. That means it's going to be a really important rhythm for us to know very well. And to do this, we're going to clot through the most common rhythms in the section and its mirror image. And that only occurs once in this section, but it doesn't hurt if you're more times in the song. As you can see, this is the inverse, the first rather that we identified. By the way, this is a tenor saxophone chart. Socket, a matter for this really because we're clapping rhythms, but I feared I've been talking very alto saxophone centric, so I'm showcasing the tenor saxophone in this lesson. Ok, so jumping to my other sheet here, or you can clearly see the rhythms above it. I wrote the subdivisions. Now I talked about this in our other video. If you're dealing with just eighth notes, are dealing with just quarter notes, then even eight nodes, you could just count 1234 if you're dealing with a lot of eighth notes, some single patient, I encourage you to do 1234. And that way you're subdividing the eighths. If you're dealing with a lot of sixteenths, then it's best to count one end, and each one of those syllables is attributed to a 16th note. This will really ensure that you get the placement of the rhythm. Bang on. Okay. So at 60 BPM, we're gonna Club through these. Thankfully, the song is also 60 BPM. So once you've learned it at this tempo, you don't have to worry about gradually speeding it up or anything like that. So the first Rhythm and probably the most important of them in this whole song. When E and a TV and a 34001 or Y E, And that's what it would sound like. Now the inverse of this would be the second bar right here to a priori and wanted me. Good. So once you get these two rhythms down pretty comfortably. Now the next step is to kind of link them together. Because if we go back to the original score, you'll notice that there are actually two of these rhythms in a row. Bonnie, rest. Ok, so we're really, I don't want to make sure here that we're not rushing these and we're getting them right in the pocket. Quanti and 2y and rest. Cornell rest right here. Rest, rest. Why me to rest? Rest. Okay, so now moving on to bar for now, the first thing we're going to note here is that there's this peculiar little thing here. It kinda looks like a line connecting two nodes that is called a tie. When you see two notes tied together it as the value of those two notes together, it could be two or more nodes. You can have. And we'll see without a doubt, something like this. Now in this scenario, the value of this would be 20 beats held all the way through. Obviously that's a really long time to be holding your breath at 60 BPM, but that is the purpose of the ties. So in this case, we have 16 though, tied to an eighth note. So we got to add the value together, which is basically equal to 360 notes because two 16-ounce make with one method, or you can look at this as a dotted eighth because that happens to have the exact same value. Same value as this. Okay. So if we had the clot this now, Now were you would normally hear two E, it's going to be connected to the one, which sounds weird, but is what it will sound like. Want pure 0s and 0s and 0s and 0s and 0s and 0s and 0s, t0 and t0 and our guest, guest. So that is what that would sound like. Now you're really going to want to get used to this. As you can see in every single one of these bars is the Thai connecting two nodes together and aggregate value. And when we move to the B section, though it's more clear in those 16 thousand, quite frankly, a lot easier to play. You will have rhythms that are tied together yet again, over the bar line as well with sometimes can be a little confusing when you're just starting out. So we're going to really want to make sure that we have this mechanic down comfortably. So back to this page and the last room we're going to work on here is the exact same thing you just saw in bar four. But now we're going to have this approach note. Well, not really approached a pick up note. And then pick a naught is just a note that perceives an idea in a previous bar. So now we're going to bar six. Here's the main idea, but we have this note at the very end of bar five that clearly as part of the IDM button bar six, pick up them. Okay. So we already know the Roman's gonna be whiny and t2 e. And now we just need to add, I'm a 10X. 20x is what that will sound like. 342. And that is the rhythm. Now we're going to need to know this because there are a few bars or you'll see the pickup. So in the first half of the a, not really any pickups, but then we have a pickup going into the second half of the a section. And then again and again. So you're going to want to be comfortable with that. The other thing I want to show you is the difference between a star and a tie. As you can see, a slur looks quite similar, but it's kind of overarching a series of notes and not necessarily time two notes. Gather. All it means is that you don't articulate the notes that are underneath the slurry, you'll articulate. First note, it put an attack here and then the rest of them, you just play the notes with air and you're not going to be tongue in them. In this scenario, you would actually be telling you all these notes. But these two are tied so you add the value together, that would be a quarter note. So you'd hold that for a corner and then continue today. Slur tie. Okay. Back we go to the main lead sheet and we're just going to look at bar one. Now, here's a really good trick to help you get through a song much, much faster. Anytime you're working on a specific idea, whether you'd be clapping rhythms or actually playing these rhythms, always played to the downbeat of the next bar. Practice this. Now the reason why you're going to want to practice all the way here instead of just practicing this bar and then this bar and this bar is select your connecting these two ideas. A common problem that I see all the time with my students or working through a song is that they'll work on this one idea to death and they'll have a download sound. Perfect. And then as soon as we try and put it back into the context of the whole song now. And they try and connect this to this bar. They just fall apart over and over and over again. It's like the brains can't process it. And that's because they practice them as two separate ideas. So the minute you try and link them together, it's almost like it's one new idea and it just makes it so difficult, and then eventually they get it. But then we've burned through a lot of time. They're a little discouraged. So save yourself the heartache and make this a habit. Always try and go to the downbeat of the next bar or the downbeat of the next idea. So we are going to clap bar one and on beat one by two to the one e and 234234 and is what that would sound like. Now, obviously you're going to know it's, it's far more difficult to count these things out loud while you're clapping, but it's going to improve your time tremendously if you can. So I'm not expecting you guys to go out there and just get this right off the bat. It's gonna take some work. But know that once you do have the rhythms and you get comfortable saying it and clouding it. You're not gonna have any trouble getting through this song leg is going to be so ingrained that when you do now come back and he focused on trying to play the notes, you're only focus will be playing the right notes rather than trying to figure out what are the right nows, but what is this rhythm? Oh my gosh, I can't handle this is too much to process. You would have already worked on this part of it enough that you confident enough in the design that you could just focus on the notes because this is a lot to take it. You're learning a new instrument. You're basically learning a new language. The more you can break these things down into simpler forms to get through, the faster you're actually going to learn these things. I know it sounds like it's gonna take more time, but you're actually saving yourself time by doing this. Okay, so now we have that and you'll see the second bar is quite similar. So now we're gonna do the same idea, but we're going to Karen Allen to b1 bar three. So you get 123 and the 400 to the 3441. Okay? So that's how that goes. Now you'll quickly notice that the rhythms are virtually the same. The only key difference here is that you have an eighth note and the end of three MR1. And in that same spot, this is actually just now quarter note. This extends over, but you're covering the same amount of time. And the third bar, it's slightly different again now we're back to the eighth nob and now we're adding a quarter afterwards. Then run a DFT pair. So because you are applying the 16th notes, The Temptations going to be to rush this eighth note and make it a 16th, which would then displaces quarter now because you likely played in the wrong place. This is commonly, I mean, I've run into this problem a million times and I still do because say reading is not my strongest suit. But in Tennessee is when you see a lot of a really a father of a faster rhythm or a smaller subdivision. And then suddenly you transition to a much lower subdivision. The tendency is to rush those lower notes and really got to fight to avoid falling into that trap. You definitely will. And especially when you just start learning and I mean, I still do to this day, I'm just a little bit better at it now because I've gotten more accustomed to seeing these kinds of rhythms, but just be wary of that and make sure that you're making this note right here, a landing right on beat four. And that can be your beacon to propel yourself forward to the next part, which again is exactly the same as B2, Y 2Y 34. But now we have a pickup going to the next bar. So you end up with y, 2i and R3, and R4, R3 and 11. And then from that point forward, we basically have the same rhythms that we just saw, but now we have pickups before every other bar. Now, we will take a look at bar three. I counter just ran through that whole section because it's very similar to the previous one. So if you're really good at playing through the previous one, you won't have much trouble here as long as you place that 16 they'll correctly and don't rush it or play it too early. So this, the second last bar of the a section. Now, the key thing is, it's the exact same thing as the first bar rhythmically. But now on before we have the mirror image. You first read them we worked on, so now we have 2608 instead of an eighth and 2-6 days. So you end up with 12342 v three and bam on 2344344, five B section. So that's the a. Now of course you're going to spend some time with us. But make sure you get these rhythms down really well. This is where the bulk of your time should go. And then you're probably going to find the other sections much easier. And the reason why I need spend most of your time here is because yesterday was more complicated, but also once you try and put the notes to it, there's some intervallic leaf that you need to be really focused on and you don't want to be dividing your tension between trying to have the rhythms right? And then now it's right at the same time in the early stages. Okay. So next most difficult section would be the B section. We're not gonna spend as much time on this. With the skills you have. You should be able to work through this if you're patient. So now we're not really dealing with 16 for the first half of this first half of this section. And as such, we don't really need to count one, E, two E. And now we could simplify it to 123 because eighth notes, sort of smallest subdivision we need to go down to. So why complicated. So you end up with 1234. That's it. Again, you fill the love to nine, like you can start to hear once you're clapping rhythms. So b2 is actually a continuation of bar one. So we're gonna work on this. I probably work on it together. But as you can see, Sam, rhythm. Rhythm right here. Same ribbon yet again, right here. 3412341234 AD is how that would go. So again, the sixties too fast for you. Just slow it down. Slow down to a temperature comfortable at and, and just get it down and gradually speeded up. Now we have two-eighths, quarter two-eighths title out. So 12341234. And because we're clapping, We can actually sustain any pitches, so any rhythms. So this would last a whole bar and then we'd move to this next bar. Now, here's that familiar rhythm you have been now it's on beat two. And here's a eighth. No, Pikaia at the end of the bar are leading you into x bar. So make sure that you practice this rhythm going into B1 of bar 18. So you end up with 12341. Right? Is out of this whole section sound like, but because now you're familiar with these rhythms, I'm not gonna go through this name great detail because you actually already have all the tools you need to get through this last remaining part of the section. Second ending, similar to previous ending. And the very end of the song is pretty darn similar to what you just heard me Club. Because these two bars are the same as these two bars. Very similar here as well, but this isn't tied, so you will articulate both notes. I mean, you've essentially just worked through all the rhythms and the song except for the beginning. But this is also quite linear. So if you did work through that rhythm sheet, you saw more rhythms like this early on the sheet. But it's more straightforward to or on at 2341234123424. So once again, once you're browsing these guys or through the hardest section first and then that's hardest and easiest section. Spend the bulk of your time on the most difficult section. Again, this will be the a section or the verse of the song. And once you've got that down Now the next step is to place everything in order and to play the song in its correct form. But we haven't discussed song form yet, but that is coming up in a lesson very soon. Because we are going to need to know what symbols like this mean, what's going on here. Now this may not have been the best way to notate those, but it'll teach you a few things about repeats within music that I think would be invaluable at this point for you to know any who. I hope this lesson was insightful guys. And as always guys, happy practicing. And I will see you in the next lesson. 18. Lesson 17 Can You Feel the Love Verse Tutorial: Welcome to another lesson, everybody. Today at long last, we're ready to play the verse of can you feel the love tonight? I'm really excited for this and I hope you guys are too. Let's jump right into it. Okay? So the first thing we need to do is identify the key signature. Now, because I've been neglecting the tenor socks for the majority of the beginning of this course, I've decided that I'm going to focus on it today. I'll also be playing in this video for you. But on the tenor saxophone chart, you don't really have to worry about the key signatures because as you can see, three is not. The tenor saxophone places song in the key of C, which has no sharps or flats. And so we don't have to worry about a key signature, the Aalto, however, let me just pull that up for you so it's visible to the full score so you can see both of them. De alto, however, is in the key of G, in the key of G has one sharp, F sharp. So what does this mean for reading this chart? Well, if you're reading the alto sax part, every time you see an F, That is actually an F sharp. F sharp, sharp fish are, and so forth. So when the key signature tells you what notes have accidentals, this applies to the entire score unless otherwise specified. And now, the way that a composer can specify if you want you to actually play an F natural and seven F sharp is that he would use something called a natural sign. And that is this bad boy right here. A natural sign is an accidental that cancels previous accidentals. And a represents a unaltered pitch. So we have an F sharp here. If I were to put a natural sign here, this will now be an F-Natural. As you can hear it lowered the pitch by a semitone. Now if there was another F sharp in this bar, let's just change your back. And let's say this was an F-sharp natural. So what happens here is that if you were to play through this bar, as you heard in lower the pitch by a semitone and canceled out the F sharp at the beginning of the bar. Now, any accidental that appears in a bar from the point of its appearance, its effect lasts for the whole bar, but starting in the next bar, this is now an F sharp. Again, this is important for you to know as you'll come across as quite a fair bet in reading music. But we'll talk more about this in a future video. Just wanted to give you a quick heads up because there is an accidental this song if you play alto sax. Ok, so now step to find the most difficult parts and work them out before playing. Since the rhythms are quite repetitive, we mostly have to focus on the rhythms in bar five. Actually, let me just switch back to the tenor sax, so that's not too cluttered. By the way, alto sax players were all in the same key here. So as I'm playing through this, pull out your chart for can you feel the love tonight and play along? It will be perfectly and sank. You won't have any issues with key. So we need to focus on bar one because this is the repeating rhythm as we discussed in the rhythm exercise video number two for Kinney field left height and we need to, sorry, bar one, bar R5, R5. I'm going to stop making this confusing. And we need to also focus on bar 11. And those are really the only two unique rhythms we need to be worried about. One, we're getting through this section. The reason why we need to look at bar 11 and not all of these other rhythms, even with the 16 though pickups is just because of this ending right here with the two 16's heading into the eighth note, the mirror image of the first rhythm we see here, it only appears in this bar. So if you're reading your way through this and may throw you off, even if you know it's coming. And for the most part, these other bars and virtually the same way. So as long as we can get these two rhythms down and connect them to their, to the following bar. We should be OK to get through this section. So I'm just going to put on this to metronome. We're going to tackle bar five here. We're just going to check the rhythm again, make sure that we're on point with that. And then we're gonna talk about the pitches to 3400 1i. And almost route to go to the next bar. And that is the read them as we did talk about in the previous video. Now, let's take a look at the notes that are in this section. So I find it very helpful. First of all, again, make sure you're practicing the scale that's relevant to the song. Playing tenor saxophone, you shouldn't really know your C Major inside and out. And if you're playing all toys, you really know your G-Major. Before approaching the song. I hope you guys have been practicing that every day playing through and making sure that you're getting fluid with the fingerings because you will need it to get through the song. I like to number the notes in the scale. So C major is C, D, E, F, G, a, B, C. I would number them accordingly. So c would be one, di is 23456, B is seven, and C up the octave is eight, or just one again. So now looking at this, we're going to try and find patterns and the music that makes it easier for us to read this cell right here we see we're starting on a. A is the sixth note of C Major. A by itself doesn't really mean anything, but knowing its relationship to see, well help you train your ears to be able to hear in the future what the sixth note of a major scale sounds like. And by developing your errors more and more, you're actually going to become a better reader, believe it or not. You're also going to become much better improviser, which we haven't talked about yet. And we will get to much further down the line. But let's start training those skills now. So this is starting on six a. Now we'll see that here it goes to b, which is seven, and then back to one. So this is kind of falling as scale, a scalar motion right now. We're just ascending through to scale back to one, but starting on six. So this actually isn't that hard, just looking at the pitches. So you end up with, now what comes after the C is D? So now we're actually just continuing an order up the scale, a, B, C back to D, and then we're descending back to C. So all these notes or an order, G is the only note here that has a bit of a jump. You're jumping back from one down to five. So there's a few notes here that we're skipping past. But this should impose any real problems for us. Now when you're reading music, you're not just trying to focus on the individual trees, so to speak, it's important to see the forests. So when you're looking at a chart, look at the contour of the lines. See where if the lines are ascending or descending is a mix of both, either huge intervallic leaps. These are things are really important, see, because reading music isn't just about to get individual notes. It's actually about identifying patterns. And you'll even find for classical players, I have a great friend, i plays violin and she would always talk to me about like, really difficult concertos she's working on. And one of the things she would do is just, oh, well, I know what the shape looks like, especially when they're playing in the stratosphere with a million ledger lines up here. It'll so hard for me to process but Washington or work through as she would just always tell me yeah, I know what the key is. I know what the harm is and I can see the shape and therefore I know what's coming next. And because I've seen the shape so many times, it's actually really easy for me to read. So we're trying to develop that same skill here. Don't focus on just the notes. Also look for the shape and the pattern because that'll help you out in future bars when you see the same shape and pattern to the point where you're kind of reading the notes, but you're seeing past the notes as well. They'll reinforce your ability to read passages and you'll improve much faster. Okay, so bar one in time on two. Very good. So we got, sorry, we got bar five down. Now jumping over to bar 11. For the sake of making this clean, we're going to add this pickup note as well because we wanna make sure that we're getting those pickups accurate. Otherwise, we might find ourselves misplacing the rhythms here and then it may disrupt, all know, succumb afterwards. So as you can see, the beginning of bar 11 is very similar to bar five, but now we have this huge intervallic leap. It's no longer scalars, so it's not as obvious anymore. But what are the nodes we have here? So we got six, as you may remember, because that's a, we got seven till we got eight or one back to c. Then we ever dropped down to. G, which is actually virtually the same thing you have here in bar five. But it's the next part that may throw us off a bit. It jumps really high up to this no, sitting on top of the staff. Now if you're still not used to identifying this, this is a G. I encourage you to actually just read your way through the lines and spaces. G, a, B, C, D, E, F, G. Until you get really used to like where the notes are supposed to be placed on what their names are. So this is an octave leap. So as the Sox player playing octaves isn't as complicated as some other instruments like bras. Instruments can't really rely on this convenient thing. We have the octave key. So actually making this big leap isn't really that bad. It's just got to remember that for the low G, There's no octave Keith, and you press down the octave key to reach that high G. And then you follow through for the rest of the bar. Pattern is the same as your bus six. But now we're going to add this little bit at the end, which is the mirror image of the first rhythm that add that. So I'm going to put on the trustee metronome and we're gonna clap through this and make sure we still know the rhythm. And then pleasure. One, 2341. Starts are the rhythm goes. Now with the pickup note 10x and the, and the three and the glory. And so that is how that rhythm with a gun case. Now looking at the notes on the Sox2 and we had this pick up now, but we don't really have to worry about like the pitch. Because as you can see, it's got His ascending motion and not skipping any lines or spaces. So we're basically just playing to scale from five, which is G, all the way up to one, which is C. And as mentioned before, we descend from she jumped the octave. Here we have another jump downs or skipping the app and going to E. Is this a difficult figure? Nope, not a complex fingerings, so we don't worry too much about that. Then we had the Rayleigh. Now with things like this, it's really important that we are really light on our tongue. The tongue should just gently disrupt the airflow, and I didn't mention this previously in another variable. We should touch on this again because we haven't really been playing songs together and a last videos. But you don't want to disrupt the air too much. You don't want to have a heavy Tang or use too much of your time. You're pretty close to the tip and you're just lightly disrupting the air so that she could remain agile. Takes some time to develop a speed and strength with your tongue. So, you know, make it work as little as possible for now and just try and get accurate articulations that are in time. Now, let's play it. Again and TV and me. And I just went ahead and played the whole next bar. Because again, it's very similar to what we just saw. But there is a big jump now going from a to F. So only having two keys down to having four keys. Again, not a difficult transition if you see a coming. So it makes sure that when you practice this bar, you practice right downbeat. And then from there it's pretty similar to what we've been seeing before. This bar is quite similar to bar eight here. So we've already would have seen it. Okay, so now we're going to play through the first four bars knowing that the rhythms are virtually the same. And all these bars don't get cut here. Just very quickly. As you can see, this transition here in bar 11 goes into 12. Virtually the same thing. Just slightly less complicated, and bars seven going to, All right, so now we're going to play through this. Don't worry if you don't get it right the first time I encourage you. If you don't get it right, stop. Go back to the beginning clad again. If you don't get it right. The third time, stop. Second time, go back through getting played all again. If you don't get it right the third time. Now I need you to stop identified specifically to bar that you keep getting caught on because odds are you're getting caught in the same spot. Isolate, workout the issues one step at a time. If the bar is too hard for you to work on just the individual rhythm, clap it, make sure you know it. Then add onto it, then add onto it. And then let's say you were getting stuck on B2. Work out the individual rhythms, maybe break the tie and make sure you know these rhythms. And then the next step is to reverse engineer it. So maybe add all of bar one if you're a hold bar five, sorry if you're comfortable with it or just add B3 of bar five, make sure that she could play this transition from here to here, then maybe the half of bar five and then add the whole thing. You don't want to always getting stuck in like bar three or further down in the past is you don't want to always start over from the very beginning. And the reason for that is what ends up happening is that you become a lot stronger, more confident at playing the beginning. Because every time you make a mistake, you're not really spending as much time working on the mistake is spending more time actually reinforcing what you already know every time you jump back to the beginning and play from the beginning to the point where you're getting stuck. So really make sure you're isolating the areas where you're getting stuck. Work them out. Jump one-bar back, work them out together. Jump one bar back, work them out together, jump all the way back to the beginning, especially if you are already consistently getting the beginning right. Lets you try and get all of the sections bright and stronger together. Ok? So right from bar five, let's go. Want to do okay, what right to beat one? So assess what you played. Did you have an even tone and all the pitches to the best of your ability, whether rhythms, even where you rushing in some sections was really sitting right in the pocket of the metronome. These are all important things to keep in mind when you're playing through practicing sections of a song. You really want to have the foundation solid before you start adding more things because we haven't added really more articulations. We haven't added dynamics, which is really big because it's important that we get the foundation right first. Okay, so now we're going to look at the next four bars, which is quite similar, but now we have these pickups. Remember it's on 4n, 4n 140 at r1 from Barna. One, 23. And that is the end. So another key important thing. And I notice there's a lot to think about. So if you are getting caught up with other things, don't worry about this last thing as much the triad Holden knows for the full value. So when you get to endings here, make sure you're holding us for the full eighth and resting right on beat four. When you get to this half note, make sure you're holding a right through until almost one, basically, you, we are going to need to breathe here because it's the end of a phrase. So you may need to shave an eighth note off so that you have enough time to take a deep breath before you proceed to bar 13. Now, of course, if you're breathing through your nose, you're not gonna be able to breathe as quickly as you need to. Remember, breathe through your mouth. Quick inhale. Make sure you're expanding through your abdomen. Expanding your stomach first and your chest. Really fill that chest cavity up. And the reason for this is that this is one of the most important factors to actually having a great sounding tone on the saxophone. You really don't want to skimp out on the breathing by doing short breaths. Make sure short shallow breaths. You really don't wanna do that. Make sure you're taking a full breath to the point where the release is just the natural lease of the muscles. Muscles. I'm pushing the air out. Your muscles in your back here. Your obliques, your diaphragm just pushing the air out. And I'll sound a lot better to three. Now as you heard there, I held her right to basically end, but I left an eighth note off. So this was only a dotted quarter slag and take a deep breath through my mouth to proceed to the next line so I have enough air to get through this phrase. Okay, so this concludes playing the verse. Obviously also take a look at the intro. Now as you can see, the intros not as complicated rhythms as the other thing. So this is just a matter of how well do you know you see major scale. Can you identify the patterns here and be able to play through? There's a lot of scalar motion. Here we go for moving all the way down to one, then a small jump to six. This is an interesting pattern, just getting comfortable with that, getting comfortable the range you cover, making sure that you really support, Take a deep breath and relax your job it for the lower notes. So for your low D, so that it comes out cleanly. Otherwise you're gonna end up with if you were to type because then it's going to want to jump the octave and hit the harmonics. So make sure that you're relaxed and not having any unnecessary tension. This is the second thing that is very vital to producing a good socks down. Before we end this, let's play through the whole section with the metronome that would make sense. Let's do that. 123. That is how that whole section sounds. We haven't added dynamic style to make this really move and add emotion to it. But this is a really good start. So make sure you are in this out before you move to the next video. Really get a nice and clean and perfect. I've also provided the backing track for you guys to practice with. If you are getting a little more, would just working with the metronome, of course, you're going to improve a lot faster if you work on your internal time. So the more time you spend working with the metronomes that have a backing track, the better you're going to become way faster. But sometimes it's good to change it up and you do need to enjoy what you're doing and enjoy the process. So if the backing track helps you work through some difficult sections, so be it. Okay, I hope this was insightful guys and I will see you in the next video. And as always, happy practicing. 19. Lesson 18 CYFTL Chorus Tutorial : Welcome Sachs bonus. We are so close to learning our first popped in, and this is definitely the home stretch. So I hope you're as excited as I am to be doing today's lesson. Today we'll be playing through the course and the intro of can you feel the love tonight? And since we've already learned the verse, that pretty much puts the whole song perspective. Now, we just have to put them together after this and add some dynamics to add emotion and whatnot. Alright, so without further ado, strap your socks on and let's get right down to business. Let's begin by following roughly the same steps we used to play through the verse. Stub. One's gonna be Identify the most difficult sections and the chorus. And I would probably have to go ahead and say that that would be bar number 18 would be suspect Primo, and then we're gonna do br 17. And since this is kind of part of the same idea, after we work out the rhythms and bar 18 and then the rhythms of bar 17, we're gonna play them to gather. And then we're going to jump back up here and do bars 1314. Since this is one idea, largely because of the syncopation that goes over the bar line, we should practice them together. And then about pretty much covered this section. The rest of it's pretty straightforward or repetitive. And then we'll jump up to the intro. I'm not going to cloud the rhythms for those, but we will play through it and we'll talk a little bit about phrasing. Alright, so let's take a look at bar 18 first. Since there are 16th notes in this bar when we're clapping it, we're going to want to sub-divide using 16th notes. So I'm just going to pull out our trusting metronome. Ready? 340 and whiny and truly and a 340. Don't forget to always clap right down to the downbeat of the next bar so that you can practice transitions. Good, so that one's not too bad. The only tricky part here is just doing the 16 nodes to the Thai. And other than that, it's fairly straightforward. Now if we look at bar 17, The only thing that might make this tricky is just getting the correct duration for the rest. So we're gonna clap through this right now, right, to be one, 1234, 0s and 0s and 0s and 0s and 4001. So that's how that would go. I think the other issue you might run into here is just being a little too early with that eighth note, we're going at 60 BPM. So things are fairly slow here and patients is key to get the rhythm clean. Okay, now we're gonna put the two bars together, bars 1780, and make sure that we can clap our way through those rhythms. 3n of 40 and a 10x and a e and a 3040. And though 1D and 2D and 3D. 41. Bam. So that ends that section right there, those two bars, so definitely trickiest are most challenging section through this course. As you can see, the chorus is not packed full with difficult rhythms like the verse was, so he could get through the verse. Odds are you won't have too much trouble with the course. But it's still important for us to isolate and work our way through it. Okay, so now we're going to look at bars 1314. So make sure that you have clear subdivisions in your head for this because you don't want to rush these ties. These are the exact same rhythm. So you don't want to find yourself cutting some of these short and moving up the rhythm of bit. You want to make sure that everything is even. All right. So because there are ties, this is now the value of a dotted quarter or 3 eighth notes. And because there are no sixteenths in either of these bars were going to sub-divide with eighth notes. You could sub-divide was 16's If you prefer, but it may make things more difficult for some of you subdividing such a small subdivision when you don't necessarily need it for this. So we're going to use and we're going to actually write to beat to a bar three. I know it's not really necessary because we have these two rest, but I do want to make sure that you have a clear idea of how this connects to and how long that pauses. Before we move on to the next thing. Okay. 1234123412341 thousand Heard. This is all even the biggest concern here is just making sure you don't rush these ties. Okay, now that we have those two core sections together of the cores, I think we're ready to actually clap away through the whole thing and then play it. So I'm going to clap for you now, the chorus in its entirety. Hey, want to 3412341341234124234341234123423412341234123. And the four and the one, 0s and 0s and 0s and 0s and 0s and 0s and 012341 to four. So that concludes this section. Now you probably noticed that I wasn't using the exact same subdivision. For every single bar that I approached, again, it's sometimes easier to only use the subdivisions in your head that are required for this section. If you're only playing quarter notes, then doesn't necessarily make sense for you to sub-divide using sixteenths. I'd probably use eighths or just count quarters in that instance if I'm very confident in my time. So having that ability to switch back and forth between the subdivisions you need will also deepen your time feel and make sure that you're able to feel on a deeper level. So sixteenths or to feel on a more shallow level, quarter notes and eighth notes and still have the time in place. Okay, so now we've covered that section. Let's try playing through it. And this would be step number two. We're going to want to study the notes and look at the line contour and make sure that there isn't anything. They'll catch us off guard while we're playing through it. So right away, the first thing I jumped too is this big jump right here we have an octave jump from your log2. Your hygiene doubtless won't be difficult, but just so that we don't panic when we get here, it's good to identify it early. So you just have to press the octave key down to make that jump. And then there's nothing really to worry about there. This section is a little less scalar than the verse, Even though the verse looks more difficult, you're generally not skipping a whole lot of nodes. But here you are doing a lot of leaps of a third or fourth, or the second-largest lit, bright leap right here is a fifth going from a to E. And after that is kind of scalar motion moving down. So we don't have to worry too much about this. The first ending or the second Adam, because virtually the same minus this little tidbit here, they're not tied, so don't fall for that. And then here this is scalar, so we're lucky, or going from six to one. So a is six, B is seven, and c is the root. We're in the key of C. Moving back up here and now we have a lot more leaping. So I think for this first bar, the key thing to note is the note you're skipping is F. So we're gonna go, gee, skip F, go down z, e, or five, skip four, go to three, go to, to skip 34, go back up to five, and then skip down back to three. And then we have another jump down to the root of major third. And then we have another jumped down, Meyer third to the a. And then when we move on to this bar, well, okay, we have two fourths and a row, so G to C then C to F. So making sure you know that is probably really important. You don't want to make any mistakes hair. So play through that before you play through the whole section, I can see that catching some people off guard and then we move downward scalar. So we don't really have to worry to much of the last part here. But the force might be a little tricky. So make sure you're able to play this. Make sure you don't. I call Dar, by this octave leap. And at the beginning here you do have a lot of time between those to see what the next note is. But just in case, make sure you're comfortable with the jumps here as well. Okay. Put on the metronome. I'm going to play through this little section here. Want to three. Okay, so just play the first half. And key thing to note is that when you get to these long notes, he's tied notes. Don't cut them short unless otherwise specified by some sort of notation which we haven't talked about yet. You hold these notes for their full value. So that's right up to the beginning of the next beat. You're going to hold this for its full dotted quarter value. You're gonna hold it for a full four bit value. The exception to this rule is when you're at the end of the phrase and the next bar has notes right away. But you need to breathe. And you will have an example of that when I play the second half of the course because then we're gonna trends for ourselves from the end of the course with this whole note straight back into playing this quarter notes. So what we would do in that instance will be make this an eighth note shorter just so that we have enough time to take a deep breath for a mouse and come in strong for, for the beginning of the course. Okay, so I'm gonna play the second half now for you. Or at least up until the end of first ending 340 and not hear that little gap there at the end of this whole note. If you need to breathe at the end of a phrase because you're going back into another, a string of notes, make sure you just make a little gap there such you have enough time to breathe. Another key note is ending your notes. So when you get to the end of these phrases is very important that you stop the air to make sure that you have clean ending. Or if you want a really abrupt ending than you would actually block the tip of the mouthpiece with your tongue now, but the tip of your tongue, but like maybe an inch or half an inch up on your tongue. And that gives you a nice clean cut. What you don't want to do is when you get to these long-held nodes now is kind of trail off and sound noncommittal. So I'm gonna play for you the bars 1516. And given you an example of what not to do. Three, for dog do that. Unless there's a dynamic marking telling you to do a diminuendo like lower the volume. Make sure you hold the note strong, fully supported until the end. So it should be 34. Like so a little bit of a week start there. My apologies. But hold an outright to the end. Okay, so now I'm going to play through the whole course section, listened to where I breathe. The goal is to always aim for those four bar phrases. Of course, if there's a big gap with rescue can breathe there if need be. But you don't want to wreck or disturbed, disrupt too much the flow of the musical phrase. And then we're going to jump right up to the top and play the intro. Because as you may remember, the repeat at the end, you go back to the beginning of the course. You read through cores instead of taking a first sending, you take the second and the second time through that at the end of the second n0 we have this DSL coda does senior al Qaeda, which means repeat from the sine. And this is the size that we have to go back to the intro. And that would basically get us through the only other part we don't know the song. And the codas, virtually the same as the end of the course. So I wouldn't worry too much about that, but do make sure that you're comfortable. The song forms led Xiang get lost partway through. Ok. Let's do this. 123. And so I will play this again for you right now and will not clap through the rhythms because they're pretty straightforward in comparison to the rest of the song. So if you use your metronome and take your time and clap through using the correct subdivisions. You'll be able to get through this just fine. Just note that you do go pretty low here to the low D On the tenor sax part. So make sure that you have an open throat in the shape of. The syllable, ah, so if you say, oh, you know, it's, your tongue comes down and opens the throat. You're going to need that shape to be able to hit this D cleanly. Otherwise you might jump up the octave. So from here, before looking at the notes, now, it's pretty straightforward. We have one leap here from, from D to G of a fourth. We're moving down scalar and now we're basically walking the scale down to the root. And we dropped down to six. This is interesting. Jump up a fourth of them returned back for us. So G to C, back to G, It's not bad. Skip the f, e, d, e, again, moving down to an auto, returning to the same note, and then a jump to G. And it gives you time to planning, needs to take a breath at the end here because now we're jumping right into a slew of notes. Okay, let's try playing through this, 123 and so forth and so forth. So this concludes the course and the intro makes sure that you are very comfortable with playing both. And then the next step would be, I guess this would be step number three, would be work on the transition. So now you have these individual parts and not to play them. But we need to be able to connect them all cleanly. Now going into the course, we'll be playing this bar right here and a verse which has a lot of notes going on in different rhythms from what you'll be approaching. It's almost like everything slows down. A don't want to get caught off guard and loose time or anything like that. So it's important that we practice bar 12 going into bar 13 and playing that phrase so that we're comfortable. And then the next spot would be passing from the end of second ending going into the intro. But that's not nearly as difficult because we're holding a whole note and that gives us plenty of time to move our eyes up to the top of the page and see what we're playing. Max, You don't have quite as much time here, even though it is a half note. So we're going to focus on this 1 first. So just a reminder, the rhythm, 34312334. It's how the rhythm goes. And if we look at the notes that are in the picture here, this is all scalar, going from four down to one, so F to C and then back to two. So we don't have to worry about any jumps. You're basically playing the scale. Okay, let's try playing it. And then we're going to play right through to b2, bar 15 to three. And so you'll notice that I did take a breath here even though I really wasn't necessary because I could have held my bar breath through this whole section. But if we were playing this altogether, you would likely need a breath at the end of this phrase before going into this section. So I took a breath here just to get that practice. So I shave that half node down by an eighth note before entering the next phrase. And then the next transition we are not going to practice in today's video, but I encourage you to work on the transition still to make sure that you're comfortable moving from second ending to the introduction. Key thing here, guys, is that it's a slow song, gives you a lot of time to look at what comes ahead, but do not rush. Do not rush. That's probably the biggest trap here in reading this chart. Okay, this covers everything for today's lesson on playing the course, you are now capable of playing through the entire song. So I encourage you to practice reading through the form and playing through the whole thing on your saxophone. And once you're feeling pretty comfortable with it, we're moving on to the next step, which is adding dynamics and saw adding emotion to the song. Okay, I hope you found this lesson insightful and as always, happy practicing and see you in the next video. 20. Unit 2 Overview: Welcome saxophone family to another lesson at six months, sex are the ultimate beginner saxophone guide. Once again, I'm Kevin Cato and congratulations on making it to unit two of this program. So if you did manage to get your way through unit one all I think 15 of those lessons, we covered a lot of ground and a lot of information. And while it may seem like a short period of time, we talked about the basics of harmony, melody, rhythm. You learned how to read rhythms, you learned how to read sheet music. He learned song form. You learned about the harmonic series and how to apply that to playing the saxophone for tone improvement. We talked about technique when talking about tone development and coal, so many things than that 15 lesson periods. So if you did not get all of that information or you're still working through some stuff. Take your time. Remember, learning an instrument is not erase. It's more of a marathon. And the goal here is to really enjoy yourself at the end of the day. So if you feel like you're losing some of that and that enjoyment from the process. Now find ways to spice things up. Maybe do a different practice routine, maybe find some friends that she can jam with or go to a local jam when and when Colvin's over, I'm recording this daring Covitz. So obviously don't do that now and possibly spread the virus. But once that's all done, you know, go out to jams, record yourself. We're going to be talking about that as well, probably in the next unit. Just how to record yourself at home with minimal gear. And there's so many things you could do is a cute things. You're learning an instrument. So if you did have a rough time with the first section, do not be discouraged. This will get easier the more you do it. So in this section we are going to be talking about a lot of things we did discuss in unit one except now we're going to be reinforced in and maybe making things just a smidge more difficult. So we're going to be playing some Ariana Grande day Songs in the Key, keys of D and G of leave, but we won't be talking about you're a major and D major scales, so it'd be like a on the alto and tenor. And of course you would learn both for each respective instrument. You will need those skills to help you play the area on a Grundy songs, which are very rhythmic and nature. So we are going to be doing some more rhythmic sheet work in this section. Just because you're going to need it, we're going to be tackling some new rhythms, some more syncopation. And you're going to need that information anyways for learning a lot of different music down the road. Aside from that, we are also going to be talking a bit more about ear training, which is something that we did touch on in the first section, but it was more of an introduction. I taught you some basic integrals, how to listen for them and then we didn't revisit it. I encourage you to go and find an app that can help you practice. But we're going to dig in a little bit deeper into this because ultimately music isn't oral language. And the more you train your ears, the better you're going to be a playing your instrument, the faster you're going to be able to learn music, the faster you're going to be able to play with others. And to lift and transcribe things you hear. It just speeds up the process so much. So I thought it'd be important if we spent a little bit more time in this section discussing those things. As always guys, if you have any questions thrown down a comments, I also have a discussion sections so you can post your questions there. Or if there's something specific you would like to learn about in this program, let me know in that section and I will make a video about it. I'm here for you and I want to be as helpful to you as possible on your saxophone jury. So that would forget to love the process guys. There was definitely a period for me also learned a saxophone worlds more about trying to impress my fellow musicians and just tried to execute technique and so forth. Moore was more about those things that ultimately don't matter. And less about communicating effectively through my instrument, finding joy and creativity and what I was doing. And I don't really want that for you. So, you know, anything I could do to make this more enjoyable to process and to keep you on the road of learning the saxophone, let me know how I can help you. Alright, so that concludes this overview. And we're gonna jump right into the lessons. You're gonna have a lot of fun with this one and the music's also gonna be a lot of fun to play, a little challenging, but I think you're going to enjoy it. So I hope this was insightful and continue with your current practice schedule from unit one. And we're going to start adding some new stuff to it in unit two. I'll see you in the next video. 21. Lesson 19 A & D Major Scales: Alright guys, so we're gonna start with a major again. See, concert is a major on the alto sax, that's a minor third blow. And because we've kinda gone through this process once already, I'm not gonna spend as much time like explain to you like what the exact fingerings aren't, but I will pop it up on the screen for you for your convenience. So you already know all the notes on a sacks because you worked on a chromatic scale. So this should be relatively easy, easy. This should go pretty quickly for you. Alright, so your first note is going to be a. We're going to start in the middle of the register. And a is 12123. Good. Now remember every major scale falls exact same patterns so you can figure out what the next note is. Remember the rule is tone, tone, semitone, tone, tone, tone, semitone. So now with that knowledge, what do you think the next note is? I'll give you a few seconds. If you guess b isn't butterfly, that would be correct because B is one tone away. Eight a, b is one town. A to B flat would be a semitone. So your next now it will be B because the pattern is tone, tone, semitone, tone, tone, tone, semitone. Alright, so b is just one on your left hand. On to that, we're going to want to place C sharp because that would be a tone. B to C sharp is a tone. Want, and C-sharp is no figures. 123. Now for this particular note, tonight, get into the habit of linear fingers fly off the keys and leave your sax hanging. You definitely want to still keep your fingers on, like touching the keys for the sake of dexterity, you don't want to get into the habit of having your fingers playing ground, as mentioned in an earlier video. Also C-sharp is one of those notes on this access just chronically attitude. It's I encourage you to spend some time with your tuner and make sure that you get this one spot on and know how you should form your arbitrary to get it into every time. Alright, the next note is going to be over the break. So we're going to start using the key. Now we're going to play D, and that is 123123 up Turkey. Want do. Great. Good. Thou eat. So just lift your ring finger any right-hand? So 12312 with AKI One, 23 Good job. Only a few more notes left. Now we've got F sharps, so that's 1232 on uranium. 123. Nice, almost there. G-sharp now so 1234, so top spatula Kenya leptin, want to three. And of course your last note will be as EMS and first now both geography, a 12x plus osteopathy. One, 23. That's an, a major. So of course, when you're practicing this, make sure that you play going up and down and now going to demonstrate skill for you as quarter notes 123. So when you're practicing the scale, makes sure that you practice a versus whole notes. You really want to get it perfect, get the fingerings perfect positioning, and reinforced that at a slower tempo before you make it go faster. So at 60 BPM, do your whole notes, then you could do your half notes when you get comfortable with that after a few days and then your quarter notes and you're just going to find that this is gonna transition, translate better to music. If you ground yourself and play it properly multiple times before you start speeding it up. You're gonna hear this a lot, but an arts play fast. You must first be able to play slow. There's now, there's no way around it. Okay, so now that I've done that, I'm going to switch to the tenor sax. Then we're gonna go through D major, which is the exact same scale, but because they're in different keys, you're gonna be playing different fingerings. Alright? Think from concert pitch and we're doing concerts. See right now, for tenor sax, you just have to go whole step above whatever key the concert key is. So in this case concert, see, you go up a whole step, okay, tenor sax and will be playing in D. If you're in concert G, you go up a whole step ten or be playing an a and so forth and so forth. Okay, so you already know all the notes in the scale. I will stop to just recap playing the palm D. But we're gonna go through those very quickly and we're going to send a lower register. So your first note is D 123123. Ok, want to three? Okay, so it's important to know that for your long notes are remembered. That for your long notes you want to make the OS shape with 0's. So when you say, Ah, you'll notice your throat opens up and allows through, allows for better flow of air, slow warm air. And you also want to lower your job and you don't want to have it to time when you're playing these low knows, otherwise you'll have the node jumps up the octave. So if you really want to get those low now it's popping out on your tenor sax with relative ease. The key is to relax. Okay, so now we're gonna go on to the next hub that is e. So that is 12312123. Then F sharp, 1-2-3 to 123, and then G, 123123. And then you're going to want to play a. So 1223. Then b, just 123. Great job, everybody just tumor notes. So C-sharp once again, you don't want your fingers to be flying everywhere, keep them touching the keys even though you are not pressing anything down. 123. And that of course d up the octave. So 123123 with octave key, Want to three. As always, you want to practice these skills going up and down, Star with whole notes, get really good at. It might take a few days, then moved to your half-note, get really good at it. That moves here quarter. Now. I'm going to demonstrate it now for you in quarter notes 123. You're going to hear this a lot, but in order to play fast, you must be able to play slow first. Never forget this because I know I've gone through the same thing. The tendency is always to want to play fast first. You always trying to rush to play as quickly as possible that you got to slow things down. And ironically, it is the fastest way to improve at the instrument and to get your technique up to speed. Okay, so unlike the Aalto, where we were playing a major and you're only able to play one octave unless you know how to play Altis monos, which we'll talk about in future lessons. The tenor playing in the key of D. You actually have two octaves and played a scaling. As such, I recommend that you practice this scale and both octets, not necessarily in one go like that, but separate them, work on them separately because it does require you to make slight adjustments to your publisher and to avoid doing certain things when you hit the highest note, your Heidi. Okay, so I'm just going to play a scale and I'm going to stop at the palm D And just talk to you a bit about arbitrary things. Ah, 23, K. So your highest known as scale, the pum dee, the tendency for most beginners saxophone is, is to really constrict their Omniture as they get higher. And this is the complete opposite of what you're gonna wanna do. The minute you do that, the note is going to become several sends sharp, twentieth-century 37 sharp. And it's going to sound closer to the D sharp or E flat, the next note up than it will to the actual core pitch of D. And we do not want this. Select, just nip this in the button now before it gets it. And when I was learning, I did not have this instruction and I've played this way for years and it was a real pain to unlearn this habit. So frontal jump guys, trying keep the same, relax, arbitrary having lower register as you go up the scale, or go up the range of the saxophone. It's gonna give me a nice full sound, nice warm sound, and it's going to help you allows your tuning. You are still going to need to make micro adjustments, of course, because the saxes not an in Tunisia in to begin with. So that's unavoidable. But to get as close to that core PhD in tune pitch, you're going to want to have a relaxed atmosphere to start so that you don't have any wonky things going, going on. So I hope this lesson was insightful. And if you guys have any questions, no questions, don't forget to throw them in the comments. And as always, happy practicing and see you in the next video. 22. Lesson 20 34+35 Song Form and Key Rhythms: Welcome saxophone family. Today we're gonna be jumping in to learning the Ariana Grande, a tube 34, 35 off of her recent album positions. This is a really popular song, little raunchy, but that aside, there's a lot of really good content in here. Thou will help take your planes to next level because we'll be learning about really key rhythm in music. The triplet. Triplets for a lot of beginners can be really challenging only because you have to equally subdivide the triplet between us. Certain metrics measure. So if you look on the screen right now, I'm just going to jump over to the chart. You'll see right here we have a triplet, so they are being together and there's a 380 to representing it being a triplet. And they keep coming a few different farms, different subdivisions. This is an eighth note triplet. And if you saw three-quarter notes with a bracket and a 300, that would be a quarter note triplet. So that would look like to have 33 current notes with the little bracket you see here, plus the three. And a mental means it's a quarter note triplet. So what does this mean? So we'll start with the eighth note triplet because I think it's easier to actually understand. The eighth note triplet means that you're going to fit three notes evenly divided in the a timeframe of one core in us on 1B, you're gonna fit three nodes and they have to be even. This is key. A lot of people, what they do is they'll do like triple that Paul area on 2k 34. This is wrong. And you don't want to do that because what you're actually doing there is kind of playing the first too low even and then rushing the last node. So you're making these two longer than they should be. Turning this off. So you just set the cursor you're making no 12 longer than they should be. And then rushing this and turning him more into like 16, heading into the next bar. What you really want is even 12341212341234. So i didn't fall into right away. But you get the gist, you want the nodes even. And this song is littered with this triplet and it even comes in different forms because if we jump over here, you might be having a WTF moment. What's going on? Now you have one and now it's in the triplet removed. And here you actually have to the eighth notes grouped. So you really do need to subdivide in a slightly different way or at least be able to feel it accurately. But I think it's better practice subdividing, which we'll talk about when we go through the rhythm sheet in the next video. But for now I just want to show you what that chart looks like. Talk a little bit about song form. This song is going to be far more tricky than the last one. So just a heads up. Will pose a lot of challenges, especially for beginners. For one year, articulation capabilities are going to need to take a bit of a leap. You do have a lot of 16th notes here. It's not a fast song as you can see from the tempo, but it's Jess fast enough that this will pose some challenges to the beginner. So look, if you're struggling with the song and you having a hard time getting through it. It's okay. To be honest. This song's gonna take you some time. And it's more important that you go through the process of working on the sections and even getting the song together at a much slower tempo than it is for you to play perfectly. Ai Weiwei. And if you can get through this song at 108, or even just get through the song, I promise you every other pop tune after this is going to seem like a walk in the park. That they, I honestly don't think they get much more complicated than this. Maybe harmonically they can with some more leaps, but you have runs in hearing of a wide range of rhythmic qualities. And furthermore, the song form isn't actually consistent. You do return to the chorus. Three-ish tines on the song, but like the verse every single versus different. So look, it will be hard but don't get discouraged on up putting this here to break you. Putting this here to introduce new concepts that will make you a better player, faster. Don't worry, also, I will put out some more songs as we get through all 12 keys, I will put out some more songs in this key and other keys that are simpler that you can practice with. But I do want you to go through this process, just stick with it. Stick to your practice schedule and just chip away at this bit by bit and you will get there. So I'm just going to delete this and let's jump back to the top. Okay, so around the tenor sax chart doesn't really matter right now because we're mostly talking. Sam form. So you go through the intro one, the daga, daga, daga, daga, daga, daga, daga daga down. And bumping scatter data. Well, oh, want data, data, data down. That, that, that, that, that, that that, that that dot-dot-dot. So the good thing about this is, yes, the rhythms are complicated, but usually when Ariadne goes to a particular ribbon, sure beats it. Bar, f bar at the bar, at the bar. So I made this in itself is a really good like rhythmic sheet for you to practice. But I have made a separate supplementary sheet for you to work on getting some of these rhythms down. Okay, so in the a section you can already see you kind of have a section. Or verse. Then you have this pre-chorus. I would kinda consider this. And then this is the course that happens over and over and over. Well, a few times in the song. Now you are familiar with some of these rhythms like this one, even though you may not have liked him practicing it that much recently. But once you hear it, you should be fine. Was that first bar, 124. And it repeats over and over again with slight variants. But once you get it, you're pretty much off to the races. So that's going to happen I think three times in the song. Once here, once again on the repeat, which we'll talk about in a minute. And then again at the very end of the song. So already that kinda takes care of a quarter of the song, which is amazing. Okay, maybe a fifth. Alright, so we do first. Now, I hope you've listened to the song before going through this. Just a familiar, familiarize yourself with the melody. It's a little different. It's more R&B flavored, I guess. And then we ever pre-course, then we have B, which is going to be our chorus. Cool. Then it says a one. When I put a one or a prime. All I'm saying here, okay? Maybe I'll put you here. Is that this is still the verse, but it's kind of an altered version of it. So you'll see it's actually completely different for the first four bars of the verse. And then I'll put a repeat sign here because it's going to take us back to the second half of the verse because that everything from that point forward is the exact same. So you're gonna do verse, chorus, verse, repeating back partway through continuation of the verse, all the way to chorus. Second ending. Now, where we're going to be onto like verse three, which is completely different from everything before. This is the only tricky part in terms of following the song form. So I'm going to go through it one more time. Grid to a section. You're doing your verse pre-chorus. Great. Read through now or in the chorus. This is a section that gets repeated a few times. Now we're inverse two versus t starts here. This is why this is A1. It's kind of a slightly alter version of verse. One. We're going to play through the first four bars. Then it's gonna repeat back to here. Where you have the second half of the verse, all the way back down. You're gonna go through the course again. Ok? Now this time we're gonna take second ending, which is right here, a little obscured chart. Got a little Islam, I've got a little messed up. So now we're in the second ending. These are rhythms you're familiar with, but it may seem a little daunting just because there's a lot of 16 thousand at this tempo, it's not that bad. And with a little bit of practice, you'll just be able to feel your way through this because it's not too complicated until they throw you this curve ball here where there's a triplet. But it's essentially the same rhythm over and over again, again with slight variance jumping into the second part of it. Really just feeling that transition from here into getting this far right is the challenge. And the other reason that feels like a challenge is because the triplet will probably throw you off. Don't worry about that too much. Just work on that transition a bit and you're going to find this section with a little bit of time to be doable. Not easy, not super challenging either, but doable. You just need to go through the motions and remember what's key. This whole song is n. And this case for saxophone. Her saxophone, in this case for tenor saxophone, is going to be your g. But if you're playing the alto sax, it will be your d. I'm just going to jump back to the other one for consistency sake. There's a toggle for that. Cool. So now you get through this. Here we go. Rhythms are a little bit more complicated now, but again, you're seeing the same rhythms, repeated. Slight variants here. Triple Ed's descending, actually a cool and very common lake. When you play it, I encourage you to kind of take us through the other keys. You know. You talk about that more in a future lesson, but you see this particular idea done quite a fair bit in different styles in music. Cool. Here we have something that's a little bit more complicated. We're dropping one of the triplets. So if it's 12341234 is what that feel like. You're a pro circle is what that would feel like. One more time, 1231234. Basically. And then we move onto here, you'll notice these symbols, do to-do. We'll talk about those quickly. Those are fall offs. So basically your play the note, and then for the last half of this note, you're going to be doing like a chromatic descent. Sometimes people just do random descending notes, like it's more about the effect. And we will talk about that more when we actually play through this sections. But you'll see where I'm talking about. If you listened to the vocals, you hear her doing, it's going to sound slightly different on the sax, but that's the premise. Triplet, triplet fall, fall off. And I really, the rest of the song here is pretty easy because now we're back to the course. And then we have this ending that's slightly different to 234 on like that thing. I caught that accurately, but we're gonna go through this all again anyways. So there you go. That's the song. Really the only tricky parses repeat as far as song form goes. And then you can literally, once you get to that second ending Coase's clear, you can just read the chart all the way till the end. You will notice that there are courts symbols all over this chart. We're going to talk about that in a theory lesson a little later. It gets a little bit more complicated. And to really understand what this means, we're going to have to talk a little bit about modal theory. That's the core of a lot of improvisation you year it's the core of a lot of music. How the harmonies structured. It requires you to have a basic understanding of what Mozart. So we are going to go through that. That's going to be a more in-depth lesson. I might even do like a theory course separate from all of this. We'll see for now, that's what you need to know about this song. It's not too fast. It's totally doable, but you really are going to have to dial in to get these rhythms right. I hope this lesson was insightful and don't forget to leave any questions or concerns you have in the comments. And I will see you in the next video. Bye for now. 23. Lesson 21 34+35: Rhythm Sheet #3: Alright guys, welcome to another video at the alternative beginner saxophone guide. I am your instructor, Kevin Cato. And today we're gonna be talking about rhythm sheet number three, which I realize I've labeled number two here. Whoops, for them, sheet number three, which is going to deal with ties and triplets. And this is really important to be able to play the area on the ground. A song that we're focusing on for this unit that is 3435. I did talk about triplets briefly in the last video. I'm just gonna go over very quickly again. Also, the sheet has instructions for how you should conceptualize triplets and the different forms that they come in. So this should help you work through it and get more accustomed to the wave, feels and sounds because they are crucial to all types of music. You'll see them pop up a lot in jazz. Seeing them pop up a lot in classical music, you actually see them pop up quite a fair bit often in pop tunes as well, especially if you get into R&B hits, whether it be like an area on a grand day ahead or sada. As said a however you pronounce name or a Chris Brown hit. On a lot of those runs, they do in-between the melody. There's a lot of triplets and 16's going on there. So it's good to familiarize yourselves with this early. This is going to be a pretty short video because really the homeworks up to you. And as always, as she mentioned this because I just got a message from a student that can find materials. So honoring these my videos, you'll see a little tab that says course projects or projects. And if you click on that, I, I edited the page lab right at the top of that, there's a link that takes you to the course projects page, which is on a separate website because I can't upload them directly to these videos. And you'll see project number two, area underground day 34 plus 35. And there you can download the rhythm sheet and download the backing track for you to practice over. Okay, so now jumping over to this rhythm sheet, soft atop it, it's a bit more straight forward and you know, take your time working through those, getting yourself back into this way and things. But just very quickly, triplets or member. Every node and triplet has to be even, no exceptions. There's always this tendency to, to speed up the last note, mostly on quarter note triplets because it's actually compound time. So you're doing three over two. That's three notes over two beats. And because of that, it can get a little confusing for students. And then you had the tendency of hearing this three bar. You don't want to do that. Again, I did mention this in the last video, but I want to stress it because it happens basically every single time and it takes some getting used to, to avoid falling into this trap. It's gotta be even so remember every fourth note you clap or play will land on the downbeat. So the first on downbeat, the foregone downbeat. So to go to Even there, I like that wasn't perfectly tight. I think it was a little weight on the first two of those. But you get the gist when we go over the answers, which I'll do in the next video, we'll talk more about the individual bars. I'll be more difficult. So just remember that surplus gown in many different forms. And this x0 we deal mostly with Coordinator and eighths, and you throw in a few 16 triplets, but they can also appear as half note triplets. I have no triplet is 3.5 nodes over the course of four beats. Which is also interesting. You don't really come across those too often. If he do as most San, symphonic music. Not really in anything else, but get to know 16's happen over the course of 16th note triplet happens over 1 eighth note. And sometimes you come into scenarios where the notes are grouped together differently or there's no missing. So right here in crush number 14, you'll see that there's one missing. Now, eighth-note triplets are lot easier to subdivide cuz you're getting three nodes into one. So every B has three nouns, right? Like that. But if you drop the first node, I'm not gonna clap three because I want you guys actually worked through it and get the practice. But it does kind of change the way that ship with fields. And another thing that could be a little weird is when they group some of the eighth notes together in groups on the glass together. So here instead of having a hearing aids, you have one N one quarter notes together. Again, I'm not going to clapper for you. I want you guys to work through it first and I'll give you the answers in the next video. But this does actually happen in pop music, not too often, but I just made a chart for sizes, good days. And men, the vocal phrasing in that song is just incredible. She hasn't had much range, but she does so much in there. There's actually a lot of fun to like study what she was doing as well as she does do this rhythm right here that I've highlighted. So, you know, don't take any of those for granted. You will run into situations where these things happen and don't be discouraged if you're struggling with that, these things always take time. But the more you see it, the more you do, the more you clap through it, the better you're gonna get, and the faster you will get at being able to process it, even if your sight reading. Other than that same thing as previous sheets, clap through them as individual questions. Once you get through the whole sheet, cleft threw them in groupings. So either due to bars at a time or four bars at a time, then maybe eight bars. And then when you get really good at it club to try and cloud through the whole thing without any errors. Which I admit will be very challenging for this one. But I believe in you guys and I know you can do it. And again, you don't have to complete this in one setting. This could be over the course of mine, so you just keep revisiting the sheets and seeing the rhythms and clapping through the rhythms. And this will translate to your prompt you're playing, I promise, of tests this on many students and it always works. And it's also going to help you with your reading, even though we're not dealing with really notes, it's just the rhythms. This comes in handy, I promise. Okay, so that is all for today. Don't forget to check the, the Projects tab for this course to get all these materials and download them so that you can work at it, print it off, and work on it. And I hope this was insightful and as always, don't forget to leave your questions in the comments. I will answer them. I am here to help you. So don't be afraid. Tossed him in there and I will try my best to assist you. That's all for today and I will see you in the next video. Bye for now. 24. Lesson 22 34+35 Rhythm Sheet Answers: Welcome everyone to another video in the ultimate beginner saxophone guide. I am Kevin Cato, your instructor. And today we're going to be taking up the rhythm sheet and read them sheet number three, ties and triplets. I mostly just wanted to focus on the more difficult questions, but we'll see how this goes. I will show you the sheet on the screen. So first question, we got here, we got quarter two-eighths, quarter, quarter. If you're having trouble with ties, sometimes it's just better to break the tie, clip out the rhythm first and then add the Thai afterward. So 1234. Now you're going to add the tie now genome and it sounds like without it and kind of leave that space between nodes 34, like connect them. So I end up with 1234. If you really do struggle with ties, I really recommend that you take the extra time to break them. Really looked for the down beats. This is a simpler example that sometimes he come into scenarios where it ties go over bar lines or ties don't necessarily connect to note that's on a downbeat. And things like that that make it a more complicated. And so if you get into the habit of breaking ties, that actually gets a lot easier to read some of these rhythms. So jumping on to question two, you're familiar with this need spent time on that first triplet. So remember this is has to be evenly dividing you trying to target beat three in this case, because that's a clear down the right. And you don't want to rush that last triplet because then it'll just massive beginning with a triplet, which point is no longer Tripoli, you end up with Eigen died in 16 or dotted, dotted 8, 16th time feel or something. And that's not what we want. We want to keep this even. So 123 or 34, just like that. Skipping ahead. Same thing. You don't need to worry about this because this is basically what you just did. But I shifted the triplet because it's going to feel different. Don't eat that, don't eat this. You familiar with stuff like this from the earlier rhythm sheet. 234. Jumping to the first, a triplet eighth note. Remember this fits into 1B, which my opinions a lot simpler than dealing quarternary triplet or any larger subdivision or triplet. So in this one, you want to fit these three nodes into 123 or triple a to your fall, close to the end of year. One more time, trickle up. 234 anyways, that's how that question goes. Now here we have a combination of the 200 question ten. All right, one more time to lead. 31 is how number talent go. So remember now for 16 triplets, I didn't do a lot of 0s in the sheet, but they fit evenly into an eighth note. So in this case, you end up with 1234. Credited that triple, triple in three. And 234234 is what you end up with. So little faster clap, maybe I can't go too fast, but that's what that feels like. I'm not going to touch on this because it's similar to the previous sheet. Similar, similar. Okay, so first curve ball at number 14. For stuff like this, I find it helps actually fill it in first, play at coffee like irregular triplet first, and then imagine and feel that it would be like to just drop one of those nodes and then do it again. So if we now can lead to check 234 and maybe go always try and break things down into a simpler form or somebody else you more comfortable with first, if you're struggling with it and then work towards your goal. This is a combination of things. I don't think I'm going to do number 1516. You went through this on a previous xin, our combining things you've done before. Here's this narrow at number 19 where the group to the a's together now is and I have a coordinate on the middle. And this one can feel a little awkward because it's a subtle, subtle difference, right? So in this case, if you know, already went out, adventure both feels like we should do it. Wow, I should call it tuned. You already know it feels like trip all at doing thing. We're going to now dropped the last eight integer glut, fuse it together with this note and then aim for the downbeat is how I'd look at it. So then you end up with federal. All right. So 12341234 and and that's how that would feel. Jumping down similar to previous sheets. This is just to get you feeling this 16th note. Clearly. I'm going to do that. Bringing this similar rhythm to what you just sob and I'm adding rest before to throw you off. But these are just downbeat, so I wouldn't worry too much about this one. Here's another example. One. Fu Yeah, it's like a barge number 25 by 25, which I think's really the last hard bar, I think 28. Given the tempo, it's gonna be harder to really just clap it fast enough. Maybe would have been the biggest challenge. But that'll be the last one I take out. So let's do 21st. So remember said toll that. Check all they want. And four, the last two birds of the bar, now, or last three quarters. And now for the first beat. And to want, want is what it ends up being. Like. You wanna give yourself an extra challenge, you can start trying to count. Still keep counting 12 and are 10x and GE and while clapping triplets, now you're working on a compound time again, and I assure you that it is very difficult. I will make you time a lot better. I must set stuff up all the time. It's something that I'm going to be working on a lot more this year because I personally want to improve my time V01, I'm improvising and stuff like this helps. So if you want to take it to the next level, you know, try counting 16's while you're lacking some of these triplet or thems and see if you can get it locked in K. This is an agency different in 2627, also pretty linear, 28 talking about the speed here. Right? Any why me and Julie, and at the end of Boeri and L1 and 2D and 3D and 40 is how that works. And so that's the whole sheet. I encourage you to just keep practicing and the unit if you've gone through a revisited like once a week at least. And make sure that you're really familiarize yourselves with these rhythms. Because as mentioned before in the previous song, it's one thing to know the rhythm isolated without any harmony involved. Once you start adding harmonic sequences like maladies with these same where thems, it's, it adds another layer of complexity because now you're trying to coordinate with your fingers, the crack nodes and the correct with rhythm. So it's always nice to kind of break it down into a simpler form, which is really what this whole programs about. Looking at the end goal and then reverse engineering and essentially that, that covers the whole sheet. I don't think you're going to need another one for this unit because the rhythms don't get more complicated in this, and I think this covers everything that you will need. So as such, this concludes today's lesson. I hope you found this video insightful. If you have any questions about any of the rhythms and the sheet, feel free to leave me a comment and I'll be sure to answer. Alright, happy practicing and see you in the next video. Guys, take care. 25. Lesson 23 Ear Training Test 1 and Review : Welcome saxophone fam to a, another lesson at the ultimate beginner saxophone guide. I am your instructor, Cato and motion. And today we'll be doing a year training test. Now if you think back to video number. There are a lot of videos in this course. 12, I give an introduction to ear training and we do a bit of an ear training exercise today, we are going to be testing you on the intervals that we learned in that video. And then the subsequent video to this, I will be teaching you three more intervals until we get to the point where you know all your intervals and I can test you on irregularly. If you find this difficult, that's totally normal. But the best way to get better at it is to do it. And as such, I want to keep giving you guys opportunities to practice it. There is also a plethora of apps you can download for free. But I figure as long as you are going through this course and spending the time here, I might as well give you the resources as well. Okay, so jumping right into it, we looked at three intervals in that first video. If you need to recap before watching this video number 12 ear training exercises. For the first integral that we worked on was the minor second. And that is the smallest distance between two notes. Like so. So the reference song that I like to use, and maybe you'd like to use two is Gaza. Okay, on to the next interval. So the second integral that we discussed was the major second, that one. I like to use either the major scale. The first two integrals are both major seconds. But if you want to hear it harmonically, a reference for that, good reference for that is chopsticks and harmonically as two nodes at the same time, logically is to nose play one after another. So if you want to hear a major second, harmonically, chopsticks is a great example of that. So the first, first 2 notes that are played together, that is a major second. Hey, jumping onto the third and final interval for this test. The minor third, minor third. If you're Canadian, then is the national anthem. Yey, really easy to remember. So national anthem, still easier to remember. Not a singer, whatever. But there, yeah, that is a minor third. There are a few other examples of this. You can look them up on the internet. If the Canadian national asset doesn't really resonate with you. But when I'm choosing to use for this course, remember, you're not limited to these. You can explore and find ones that, that are easier for you to remember if necessary. Good. And with that, let us jump into test mode. All right guys, so here's how it's going to work is going to be a series of questions. Maybe ten, maybe 20 might do a lot. And the way it's gonna work is I'm going to play for you the question three times. The first time I'll play for you melodically so as to node separate. Second time, I'll play it for you harmonically, that's Bolton those together. And then the third time I will play yet again, melodically. This gives you three opportunities to really try and figure it out after which you iterate your answer down. And while we do this, I think I'll actually write the answers down. And then I could just give you the answers at the end of the video. And on odds to make another video saves everybody a lot of time. Here, writer on right at the end of this. Now that I got this set up, I'll give you a minute to write your answers down. And I don't really need that. Halfway mark. Ten questions. Alright, this concludes the test guy's job. Now we're going to take up the answers. So jumping back to the first question, if you wrote down major second, I'm just gonna put that up here on the screen so you know what all your options are for notating a correctly. Then you are correct. Major second and does have distance, but it is not as dissonant as the minor second, major seconds microseconds. You can really feel the increase in tangent when you go from major second, minor second. And as such, microsecond will make you major cycle and make you feel a little bit uncomfortable but not leg, overwhelmingly uncomfortable. Question to the answer was Major second, I wrote this up very weirdly. So same thing. This was just a test you guys and make sure that you're not just guessing. Question three was a minor second, Thus the distant one. Question four was a minor third. That's what actually seems a little bit of pleasant when you actually hear them harmonically. So it's pretty easy to pick it out after some practice from the other two options. Question five was a minor second. Question six was a minor third. Again. Question seven was also a minor third, make sure you're not sleeping on the job. Question eight was a minor second. Question nine was a major second. And lastly, question ten was a minor third. I didn't play at the exact same notes in each interval for the answers. But this is to prove a point that, or make a point that it's important for you guys to actually practice these in different ranges. People generally find it a lot easier to pick out the integrals that happened to sit within their natural senior range. And if you go above or below that, it suddenly becomes really hard to hear them. So this test, most of them were sitting random milled register where most people can saying they'll be easy for you to hear it and pick it out. But when you get into higher octave, you still need to be able to pick out the intervals. So the best way to get good at doing that is to practice in different ranges. Alright, that concludes today's lesson. I hope this was insightful guys and I'll see you in the next video or I will teach you some more integrals. The next time. 26. Lesson 24 Ear Training Perfect Intervals: Welcome everybody to another lesson at the ultimate beginner saxophone guide. I am your instructor, Kevin Cato. Cato in motion. And today we'll be talking a bit more about intervals, specificly, perfect intervals. That would be your perfect unison, your perfect fourth, perfect fifth, your perfect octave. We will not actually be dealing with the perfect unison for this particular lesson simply because a perfect unison is the exact same note in the exact same range plate at the same time. And since I am the only person here playing a single keyboard, I can't actually play you a perfect genus. And harmonically I can only play or for your melodically, which would just be the same now played again when after another perfect unison interval. So that being said, perfect fourth, fifth, and octave will be the focus of today's lesson. The reason why they're called perfect intervals is because they sound perfectly consonant. They already sound resolve, they sound perfect. And thus the name, it's really nothing more to it than that. And when you hear them played harmonically, it's very clear as to why they receive such a name. Because when you hear some of the other intervals you learn like the minor second, major, second, minor third. Really dissonant. Still Desmond, still this. And then when you get to the perfect fourth, all the tensions got cleans out. Perfect fifth, perfect octave. You don't get the clashing of those sound waves that you would get from any of the other intervals. And this is why it's received this name. So without further ado, we're going to jump right into these intervals. I'm going to give you a song for each of them. They'll help you recall them when you need them. I remember your training is very useful for music. It allows you to play what's in your head on your instrument and allows you to listen to music and transcribe it's paper or play it directly on your instrument. It really frees up, frees you up to do essentially wherever you want and music. So the more you train your ears you'll find, the better you get at playing your instrument. So it is worth the time and effort. Okay, Now with that, let's get into the intervals. We're going to start with the perfect fourth. Now the song I like to use for the perfect fourth is Here comes the bride. Almost everyone knows the song, so it's an easy one to grasp onto when you hear the perfect fourth and so forth. So perfect fourth. Don't forget these intervals can be played ascending or descending. We're only deal with a ascending right now we will come back and talk about all these intervals descending. But for the time being, we're just going to work with ASME. It's just easier for everyone to digest that this stage gap. So here comes the bride for perfect fourth. Make a note of that. Next one is the perfect fifth. Very clean, very rich. This intervals generally really easy to pick out just by the sound. But if you need like a, a song aid to help you recall what it is, what its name is. I personally like to use the last post. This is something that we use for remembering stay. In Canada, you could think of another silo resonates better with you by all means, use that saw you could even check the internet for a perfect fifth intervals and find a song that you like, that you can recall faster, but the last post. This is also a great song for practicing advanced harmonics. We will get into that much later in this course. But essentially you could play this entire song, the last posts on the saxophone using OneNote, your low B-flat or your low B edges do the harmonics. It's really, really good exercise, but we'll talk about that more later. So that's a perfect fifth, so you're perfect. Fourth is Here comes the bride. Perfect fifth is last posts. And now the perfect octave, generally pretty easy to pick out sometimes when the ears get tired, you might miss this one. But the song I like to use for the perfect octave is somewhere over the rainbow. The theme from Wizard over pill, Wizard of Oz. Wow. Classic film. Most you guys will know at Swiffer, this would be a good one to throw in there. So those are your three new intervals. So just to quickly actually go over all the integrals, you now know you have your minor second. Jaws. You made your second, which can be a major scale, could also be. And then we also have the minor third, Mia like okay, as you could pick something else. And then we skipped over one, we'll come back to it later than we had to put forth. Here comes bright purpose. That's the last posts and the perfect octave. Thanks you. Up to six intervals. We only have a few more to go, so this is a great, great, great start. In the next video, I'm going to give you a quick test and just on the new integrals that you've learned. I may not mention this, but they're probably one of the easier intervals to here. Don't worry if you are struggling with it. The key thing is that you keep going through this routine, keep practicing it. There's many apps you can download in the App Store, but I'm just going to throw them here, throw a few tests and here and there just for your convenience. And just honestly just do a little bit of this every day if he can. And before you know it, you'll be able to call these integrals easy peasy. And this concludes today's lesson. I hope it was insightful guys and I look forward to see you in the next video where I'll give you a quick test and then we're going to jump back and play. Teach you how to play the different sections for 34, 35 actually on the saxophone. And that will conclude this unit. Thanks, thanks for sticking with it, guys. I hope you've seen a lot of progress in your plan and I'll see you in the next video. Bye for now. 27. Lesson 25 Ear Training Test: Welcome saxophone family to yet another lesson at the ultimate beginner saxophone guide. I am your instructor, Kevin kid oh, AKA keto and motion. And today we'll be doing a integral test. And this test will cover all the intervals you've learned up until this point. So that is your minor second, major second, minor third, your perfect fourth, perfect fifth, and your perfect octave, or perfect eighth, whatever. So yeah, here's the test format. I'm going to play each question 3 times. You'll get a once harmonically, once, sorry, once melodically, then once harmonically, then once again melodically. At which point I'll give you about two or three seconds, and then I will give you the answers. So it is important that if you need more time, you pause the video before I give you the answer. No need for heroism here. Just do what you need to do to be successful. I'll sing, you have doing ten questions, I might do more. We'll see. And with that, let's get this ball rolling to do right out of lead. All right. Let's jump into question number one. Remember these are all ASME. All right, so the answer to question number one is a minor third. All right. Question number two. Yes. Her question number 2 is a perfect fifth. On to question number three. The answer to question number 2 is a minor second. On to question number four. Answer to question number four is a perfect fifth. On to question number five. Number five is a major second. Question number six. Answer to number six is a perfect octave, perfect date. Question seven. Answer to question 7 is a minor third. On to question number eight. Answer to number 8 is a major second. On to question number 9. Answer your question. Number nine is a perfect fourth onto question. Answer to question 10 is also a perfect fourth. On to question number 11. And set a number 11 is also a perfect fourth onto question 12. And CR two. Question 12 is a minor second. Question 13. Answer to number 13 is a perfect fifth. Question. 14. Answer to number 14 is a perfect eight, or Perfect Octave. And 15, and the final question, and sort of 15 is a minor third. All right, guys, so total up your answers and see what you got out of 15. If you score below 10 out of 15, I encourage you please download an app and take some time and review this daily, even if it's just for five minutes. If you've got 12 out of 15, You did great, you're probably fine. This will just get better with time. And obviously, if he got 15 out of 15, then you already have some pretty solid ears and you probably ready to go onto the next step where you practice these descending. But we're not gonna do that yet. So you're going to have to wait several videos before we get to that. We do have some other intervals that we need to explore. The major third, the tritone, also known as the diminished fifth, the minor sixth, the major six, the minor seventh, and the major seventh, which are a bit more difficult than previous intervals, but you get them, you got the gist of how this all works now. So it's just a matter of getting a rep sit and training your ears. All right, guys, I hope this was insightful and I look forward to seeing you in the next video. Bye for now. 28. Lesson 26 34+35 Verse and Exercises: Welcome everybody to another lesson at the ultimate beginner saxophone guide. I am your instructor, Kevin Cato. Cato emotion. Today we'll be talking about playing the verse first 16 bars of 34 plus 35 by Ariana Grande day. And I'm gonna give you a few exercises to help you improve your proficiency and hopefully your speed. One plane through the song. As I mentioned before, this is a bit more of a difficult pop song to play, but it is very repetitive. So once you understand the rhythms and you can feel them, and you can play them on your instrument. There's really nothing to fear in this song, but you are going to have to get some reps in playing triplets, articulating 16th notes to make that happen. And that's really what we're going to be talking about today. So let's hop over to the actual chart. Right? All right. So right off the top. We did talk about this on the rhythm sheet. You'll notice that bar 1, 2, and 4 are essentially the exact same thing, just different notes. Even bar 3 is the same and it just has this 60 mil pickups. So the rhythm you're going to need to really internalize this just on Mm-hm, Mm-hm, Mm-hm, Mm-hm. That rhythm. Now if you could play that rhythm accurately, That's a good chunk of the song because that keeps coming up as you know. But for this section, the first 16 bars, that's already a quarter of it down. If you could just get that accurate. The third barring question, very repetitive. So we're going to jump over. How do you get better at playing these eighth note triplets? Well, one of the ways, there's many ways you could always tackle these problems, but one of the ways that you can improve upon your eighth note triplet playing is simply by making an excise out of it using your major scale. This kills two birds with one stone, obviously because you should be practicing your music, your major scales. Anyways, select your more proficient on saxophone. You have the technique necessary to play whatever song as you want in any key. In this case, I'm playing alto on a Monday Alto chart. So let's jump over to this other page here where I've laid out in an exercise for you and it's essentially your major scale in triplets. But you're going to play them in three-note cells. So you're going to go up for D major, D E, F sharp, and you're going to go back to the second node, E, then play E, F sharp, G. Then you're going to go back down to the second node of the last triplet, which is F sharp. F sharp, G, a, go back down to the second of the previous triplet and so forth and so forth until you get to the top and then descending you're going to reverse it. So now the triplet is going to be descending. So you're going to play D, C sharp B. Then you're going to go back up to the second node of the previous triplet. So C-sharp, D, B, and then so far all the way down to the bottom. So what that would sound like is this just going to pull out my trusty metronome, I'm going to set it to 60 because 60 is our friend until the end. That being said for these exercises is actually beneficial for you to get good at. It's cheaper than keep trying to push the tempo sets. You could keep. Pushing your technique to improve dexterity and articulating capabilities. But we're going to get to them. All right? No. That's exercise. Just getting your fingers used to playing triplets in the key of D on the altos axis. G on China's actually do the equivalent. I will make this sheet available on the website that I mentioned in information section. So you can always download it there and I'm practice through it at your leisure. This is one way you can tackle it. There are different permutations for playing triplets on your major scale. Now I just showed you playing a triplet, assigning on the way up and then playing it trivially descending on the way down. But you can do it ascending in both directions if you want. You can play a dissenting or both directions. And there's a few other ones we could do but done a talk about those. So if you get bored, you can change the direction that your triplets going in. All these different things are going to make you better at playing triplets and better at playing the saxophone. So try and do as many permutations as you can and try and get them sanding as good as you possibly can. So that's the exercise I'd recommend. And then once you've done that, going back to this song, it's very easy for you to feel these triplets as they come. Have this set to 60 BPM. I know it sounds a 10, eight, but it's important to practice these things slower. Get it right, be able to play the sound with the metronome and then work your way up to that tab so that you can play with the record. Well done. And that's what we're stopping today. Now of course, you'll notice that the general field changes as soon as we hit the second half of the verse. Now you have those 16th notes paired with an a with 28 and a quarter. Now, over and over and over again. Swipe slight variances. But again, if you get used to that rhythm, just, you know, you don't even have to play the exact same notes when you're practicing is just getting used to the red and the different combinations and now it's helps. But what I wanted to discuss with you today is actually just the articulations use. We did talk about articulations very early on the course, but I do want to revisit it and actually expand our bit and teach you as another way of tongue in your notes. So we got through exercise number 1 and I want to talk to you about two types of articulations. And there's a whole bunch of nuances that come from these two things for other types of tonguing on the saxophone. Well, we'll say these are the basics. So one is just your standard articulation. So anytime you see a note like this without any sort of notation showing you that you need to slurred or a whole, no longer anything like that. You just do a standard articulation time. Now obviously, for different styles of music, this may differ if you're playing jazz and you don't see any slurs, anything, it's still means that you're likely doing jazz tongue. You're swinging in different story. But for pop or anything else like that. Generally, if you see a note without any accident, with any notations for articulations. It just means you're gonna do a standard tongue. Tongue. So that's what we have there. And I put down here for you, for Cornell's for to practice and then a series of eighth notes just to practice getting your articulation. Chris, now, the key thing to note is that when you're articulating, I know often people like to think of it as you're hitting the read with your tongue is probably the easiest way to explain it. But what's actually happening when you're doing your center articulation so that you're actually blocking the tip of the reed with ideally the tip of your tongue. But you're gonna have a little bit further in. You're going to seal it and then you're going to create air pressure behind it in your mouth. What's actually creating the tonguing sound? Articulation is you releasing your tongue from the read and the air blowing, blowing through the mouthpiece. That's actually what's creating the articulation, not you hitting the read precis. So when you do that, you get a nice clean, crisp articulation. Now, something you can experiment with is actually how much air pressure you build up in your mouth before you release your tongue. If you put a lot of air pressure in your mouth, you're gonna get an explosive. Articulation, which isn't necessarily good, but it's good to experiment and play around these things so you know what's possible. So it sounds like this. It's not ideal. If you use less air pressure in your mouth, you're gonna get like a lighter articulation. Now as you can imagine, if you are using less air pressure in your mouth and your tongue more lightly, you can talk faster than if you did with more air pressure. So more air pressure as fast as I can talk. Sounds gross and it's slow. Lesser pressure, gets hung way faster and it's nice and clean. So this is showing you what's possible experiments with that when you're playing your major scales and go from there so many exercises that you can develop using articulation. I almost encourage you like when you're practicing your scales every day, try doing a different articulation, just make up a combination. Maybe it's going to be Tang Once-ler to out that was Tang slur to time. Anyways, you can make up your own articulation and try different things. So now I'm going to show you Legato time. So in this example here, actually let's jump back to this triplet. Typically when you have a series of notes and then you see a slur. It means Yutang, the first note, but then the next notes in the sequence underneath the SLR, you don't articulate. So this would be, if I did this whole passage going up using this rhythm, it would be versus without the slur. However, if you have a series of notes that are the exact same underneath a slur, you have to do something that we like to call legato tongue. Now, as you can see in the song, you have a bunch of notes that are saying one after another. They don't have the slur, but you also want to be pretty dexterous when you're articulating it. So I'd recommend doing legato tongue for those sections. What is Legato time? Essentially instead of now creating like this vacuum sealing the mouthpiece and then letting air flow through after you release your tongue, you're actually just going to disrupt your airflow lightly with the tip of your tongue on the mouthpiece, not on the tip of the mouthpiece is a little bit further underneath it. Just tapping it, this disruptions going to make a pulse and is going to make the articulation you want. And it's going to be light and it could be fast and it's going to enable you to tongue the 16th notes with proficiency. So it sounds like versus versus. So you can hear like there's a bit of detached between the notes when you do the standard time where you seal the mouthpiece versus legato tongue and the notes are actually all connected. There's just pulsing. So I would encourage you to practice your major scales using legato tongue as well so that you get used to that action. And over time this will just kinda come naturally to you. So a good exercise for you to do, to do that. Now jumping down here looks daunting, but basically it's just your D-major scale again. But for each note you're going to be playing four 16th notes going up, going down. You don't have to do in one breath. You can drop a few nos. Take a breath at the top if you'd like. Work on different ways to get through it. But that's the gist of it. The idea here is that your tongue is a muscle. And if you wanna get faster or tongue, you basically just have to Tom Moore, it's like lifting weights and you've got to push yourself to your edge. So normally I'd say, yeah, just do it at 60. But in this case, do it at 60. And then keep increasing the tempo until you can't do it cleanly anymore. And the work on that tempo, this shouldn't take you more than light. Five minutes out of your practice schedule. If you want to do a dialogue, prioritize as your needs. Okay, cool. All right. The idea here is that you definitely want to tire out your tongue. This whale get stronger this way, you'll get faster over time and you just kinda have to keep doing this. It's not a hard exercise at all. I just encourage you when you practice your skills, practice maybe one different permutation, one different articulation, and just practice getting your tongue moving to develop that strength and dexterity. So that when we come back to playing something like this, I didn't play it accurately, but you get the idea. So I'm just saying, when you do this, practicing articulating 16 nodes on your major scale and tiring out your time and continually pushing the temple. Keep going until it becomes really hard. Okay, cool guy, you keep going and keep going. Obviously do this gradually, but I'm just demonstrating. So I still have more and so forth and so forth. Warning. You will notice that when you are practicing articulations like this consecutively, as you go up or down in range, the amount of pressure you need to get the node out, 10 increase or decrease. And by default, this affects how quickly you can tan, be aware of that when you're ascending. Be aware that when you're descending so that you can make the necessary adjustments in air pressure without disrupting how fast your time is moving. Otherwise, it's going to be really difficult for you to get this perfectly in time at the higher tempos. And this just comes with practice. All right, so with that information, you should actually be able to play through the first 16 bars without any real problems. Obviously, you're gonna have to practice these exercises for like a few days, few weeks if necessary, depends on what stage you're at, in, what skill level you're at. And as you do that, you're going to find this gets easier and easier. And then you can just practice it with the metronome at once. You've got that down, you can move on to the next video where we'll talk about playing through the course. And some of the other difficult sections in the song. Since the notes, the rhythms and the chorus repeat again at the end of the sign consume. Actually the bulk of the end of the song will be mostly focusing on that C-section, where once again it's still 16th notes. This is a matter of you building that dexterity both in your fingers and with your tongue. But I'm going to give you one other exercise to help you build the dexterity in your fingers. Okay, I hope this video was insightful guys. And I look forward to seeing you in the next video. Happy practicing and see you soon.