Lesson 6 of 20Alto SaxophoneIntermediate

The Chromatic Scale - Introduction and Exercises

6:46

James Rae introduces the chromatic scale - ascending and descending in semitones - with exercises and a slow-practice tip of playing each note twice.

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    • 01. The Chromatic Scale - Introduction and Exercises

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Lesson transcript

Chromatic Scale Lesson

Introduction

Now to the chromatic scale. The word chromatic in general terms means coloured or colourful. In musical terms, it refers to a scale that ascends or descends in half steps (semitones).

It's used frequently in music and serves as an excellent way to exercise every key on the saxophone or any instrument that involves keywork.

Sound of the Chromatic Scale

That's how the chromatic scale sounds. It's quite easy to spot. If you miss out a note, it sticks out like a sore thumb.

If I play, you can hear there are gaps, and we've got to eliminate those gaps.

The Importance of Slow Practice

Slow practice is definitely the order of the day with the chromatic scale. A good way to learn it is to:

  • Play each note twice. This gives your brain a chance to regroup and think about what's coming up.

This technique can be applied to any tricky scale. By repeating each note, you give yourself time to think ahead.

Putting It All Together

When you put the whole chromatic scale together, it results in a very nice sounding scale.

The next exercises are just little workouts based on the degrees of the chromatic scale, all the way up to the top while maintaining a clean action. Remember:

  • Do not squeeze the key. Firmly press it to ensure a smooth connection.

Exercises Overview

  1. Exercise 3: Slightly bigger pattern run.
  2. Exercise 4: Just a chromatic scale again to develop a natural chromatic scale.

After a while, you'll be able to play a chromatic scale without thinking about it. It will become second nature. Just think of your starting note, the top note, and your final note, string the other notes in between, and they will fall into place.

  1. Exercise 5: The same scale but in triplets. We talked about triplets earlier:

    • Triplet, triplet, triplet, triplet, triplet, triplet.

Alternative Fingering for F to F Sharp

I want to show you another fingering that some people use for transitioning from F to F sharp. Instead of lifting the F key, hold it down and use the key adjacent to turn the F into F sharp. This creates a nice smooth connection.

  • Recommendation: Learn the conventional fingering first.

When you feel confident, you can add the chromatic fingering, which, while slightly harder to master at first, becomes faster and smoother in the long run.

Flute Players' Technique

Flute players have a more complex F sharp fingering, yet they exhibit excellent agility. If they can do that, I believe we can manage it much easier.

  • This technique uses the middle F sharp, which is a small detail but can come in handy.

If you have a fast passage going from F to F sharp, it's much easier to use the alternate key than the conventional method.

Conclusion

That's the alternative F sharp key. Practice these techniques, and you'll gain confidence with the chromatic scale in no time!

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Meet your guru

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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