Lesson 22 of 26Alto SaxophoneBeginner

The Notes G, A, B and C - Fingering and Exercises

6:23

Play the upper G, A, B and C on the saxophone - fingered like the low notes plus the octave key - with exercises and tips on keeping a relaxed, open throat.

Copyright © 2023 Universal Edition (London) Ltd., All compositions by James Rae except where otherwise indicated.

Part of the courseSaxophone: Scales & High Notes26 lessons (0h 38m)

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26 lessons (0h 38m) · 1 free
    • 01. The Notes G, A, B and C - Fingering and Exercises

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      6:23

    • 02. Same Time Next Week? - Lesson

      0:34

    • 03. Same Time Next Week? - Performance

      0:29

    • 04. Going For A Take - Lesson

      0:30

    • 05. Going For A Take - Performance

      0:40

Lesson transcript

High Notes and Dynamics in Saxophone Playing

Now we come to high notes, focusing on G.

Introduction to Notes

We introduce:

  • G
  • A
  • B
  • C

These notes are fingered exactly the same as the low G, A, B, and C, plus the use of the octave key, which makes the low notes sound one octave higher.

Sound Comparison

You can hear that:

  • They are the same notes, but one octave higher.

It's particularly important when you play upper notes on the sax to keep a relaxed throat position for maximum resonance. This is often referred to as the old yawning position, which gives you a nice ringing sound.

Alto Saxophone

This is an alto saxophone. The word alto means high, and composers often write for this instrument at the top of its register. It has a nice low register, but if a composer desires that sort of sound, they might opt for a tenor sax. However, the alto sax is generally used for its top register.

Understanding Dynamics

Now, we also talk about dynamics in this lesson. I've deliberately not mentioned them so far in the book because there's a lot of other material to concentrate on.

Levels of Sound

  • The first dynamics we learn are:
    • Piano (P) - means soft
    • Forte (F) - means loud

Forte literally means strong in Italian, while piano means level. But in musical terms:

  • Piano means soft
  • Forte means loud

Crescendo and Diminuendo

There are also crescendo and diminuendo markings:

  • Crescendo starts narrow and gets wider, indicating the sound gets louder.
  • Diminuendo markings start wide and get narrower, meaning the sound gets softer.

Exercises

Exercise 1: Top of the Instrument

The first exercise takes us to the top of the instrument. We do the first four notes downstairs first, and then we press the octave key to go up.

Exercise 2: Introducing Dynamics

This exercise introduces the dynamics we discussed:

  • Notes start soft (piano)
  • Crescendo to forte
  • Then diminuendo down again.

This exercise is great for developing your lip muscles and tone quality.

Aim to keep the notes as level as possible. Watch that you don't bite; biting will cause the pitch to go sharp, affecting the ringing sound.

Scale Preparation

The next section deals with scale preparation. The next scale we learn in the book is C major.

Major vs. Minor Scales

  • Major scales are happy-sounding scales.
  • Minor scales are sad-sounding scales.

We will come to those soon, but let's deal with the major ones first.

C Major Scale Preparation

So, for C major scale preparation, we put that together and we get a nice C major scale.

Now we have the arpeggio to deal with. First of all, we practice the preparation exercise, and then we put the arpeggio all together.

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James Rae

James Rae

James Rae was born on Tyneside in 1957. He studied clarinet, bass clarinet, piano and composition at the Guildhall School of Music and Drama from 1975 to 1979, under professors Yona Ettlinger, Stephen Trier, Meriel Jefferson and Patric Standford respectively. Since leaving the Guildhall, he has pursued a highly successful and varied career across three areas: performing, writing and teaching.

James Rae has worked in many West End and Royal National Theatre productions, including Sir Peter Hall's award-winning Oresteia with music by Sir Harrison Birtwistle, and has received many freelance engagements with some of the country's leading orchestras and ensembles. He is the leader of the Phoenix Saxophone Quartet, who over the years have given many recitals and BBC broadcasts, and have recorded the complete works of Carey Blyton on two albums, 'The Return of Bulgy Gogo' and 'Sherlock Holmes meets Dr Who'.

As a composer, James Rae is one of Europe's most published writers of educational wind music, with over 250 publications to his credit, mainly published by Universal Edition. His music includes instrumental study books, sonatas, tutors, baroque, classical and jazz transcriptions, plus many volumes of duets, many of which feature on all the major wind examination syllabuses worldwide. He has also written four musicals for schools with Mike Cornick, and his larger commissions include The Turn of a Wheel, a major work for concert band that premiered in November 1999 for the North Tyneside Concert Band, of which he was a founder member as a boy, and the overture Moving On in 2012.

James Rae has worked extensively as a syllabus consultant and composer for both the Associated Board and Trinity College London, and has been highly involved in developing the woodwind sight-reading requirements for both exam boards. As a teacher, he has held many posts in both the state and independent sectors, and currently works at King's College School Wimbledon, where he directs the Wind Orchestra and Concert Band, and Shrewsbury House School in Surbiton, where he coaches three large bands and a chamber group. That teaching experience runs right through his saxophone series for MusicGurus, which takes you step by step from your very first notes to a confident, stylish player: First Notes, New Keys & Low Notes, Expanding Your Range, Scales & High Notes, Extended Range & Rhythm, and Polish & Style.

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