The Note C - Fingering and Exercises

Introduction to the Note C

In this section, I'd like to introduce the note C.

• C sits on the third space of the stave and is played with the middle finger of the left hand, like so.
• Think of your A and remove the top finger.
• It's the highest note we've done.

It'll feel slightly odd at first having the top finger off and the second one down, but you will get used to it.

The Importance of Long Notes

Going back to what I said earlier in the course, it's very important to play long notes to develop your sound.

• When we learn a new note, it's good to practice them as long as you can until your breath runs out.
• This develops good lung capacity and a nice, smooth, straight sound.

Introducing Crotchet Rests and Note Values

In this lesson, we also introduce crotchet rests as well as notes having value.

• Rests also have a value: a crotchet or a quarter note.
• A rest is like a black squiggle, looks like a black seagull on its side. This means you don't play for one beat.
• Crotchets mean you do play for one beat, while rests mean you don't.

Exercise 1: Play Rest

For example, Exercise 1 is:

• Play rest.
• Play rest.
• Play, play, play, play, rest.
• Play rest.
• Play, play, play.

It's good to practice these exercises with the use of a metronome to keep you in time.

• Eventually, you will develop your own internal metronome, but in the early stages, it's good to have a metronome nearby.
• You can use an electronic one or a mechanical one. Both are very useful.
• You can get them for your phones as apps or get a physical one.

This is a typical clockwork metronome.

• We wind it up just like a clock and set the speed by moving the weight up or down the arm, which affects the speed.
• It's very important that you put it on a level surface.
• Here it gives us a regular tick.
• Set it to a comfortable speed so you can play along with it; this helps to keep you in time.

Exercise 2: Moving Up and Down

Exercise 2 involves going up and down a hill.

• We start on G, go up to C, and back down again.

If you notice, these exercises are repeated. I call it looping, where you take a bite-sized chunk of the music and play it over and over again, listening to it all the time. You will hear it improving before your very ears.

• Don't just play around and switch off, but be active, okay?
• Aim to improve. Each time you play it round, aim to make it better than the previous time.

Smooth Transitions: From B to C

Now, this exercise involves the technique of going from B to C and back smoothly.

• This is a little like playing the piano, where you put one finger down and take the next up.
• There's not much of this in saxophone technique, but in this particular corner, it is essential, like a police car.

After a while, you'll be able to do it without thinking.

Exercise 3: A Little More Complicated

Exercise 3 is a bit more complicated.

• If you look through, you'll see every second note is a G.
• So it starts on C, down to G, then to a B, to a G, to an A, to a G, and back to B, G.

This exercise is a workout for both leaps and steps.

Exercise 4: The Final Challenge

The final exercise in this section, Exercise 4, is a bit of a jumble.

• It looks like a complete set of random notes, but it isn't.
• There is a pattern.

If you look at the first two notes, it's C, A. Then look at the first two notes in the next bar, it's A, C.

• The second two notes in the first bar, G, B.
• The second two notes in bar two, B, G.

There is a cunning little pattern going on, although when you hear it, it just sounds like a jumble.

With perseverance, you'll get it, but it is the hardest of the four.