Scales and Arpeggios - Introduction and Exercises

With
James RaeJames Rae introduces scales and arpeggios on the saxophone, with exercises to get the new fingerings under your fingers.
Copyright © 2023 Universal Edition (London) Ltd., All compositions by James Rae except where otherwise indicated.
What's in the course
26 lessons (0h 38m) · 1 freeLesson transcript
Introduction to New Notes
Now we introduce three new notes: F, B flat, two Fs and one B flat.
Fingering for F
- F is fingered like G plus the first finger of the right hand.
- The next F, the high F, uses the same fingering, but add the octave key at the back, forming an octave.
- Note: That's why it's called the octave key, when you depress it, the note goes up an octave (8 steps).
Fingering for B flat
- B flat is on the middle line, like good old B, which is the first note we learn.
- It has a flat in front of it, meaning it's lower than B.
Side B flat Fingering
- There are several fingerings for this note, but for the purposes of this course, we will deal with the side B flat.
- Use A plus the key at the side, known as the BIS key.
- This is the little button pressed with the index finger of the left hand, similar to playing a B.
- Just place your finger about half a centimeter below where it would normally be, keeping it on the B key.
- This turns your B into a B flat.
Summary of New Notes:
- Low F
- Upper F
- B flat
Leap of an Octave
- The leap from F to B flat is achieved by fingering as previously described:
- Side B flat: Finger the A and add the key using your right-hand index finger.
- The BIS key should be pressed at the same time as the B key.
Exercise One: Scales
Exercise one introduces scales.
F Major Scale
- F major scale uses a single flat, the B flat.
- If there's one flat in the key signature, it will always be a B flat.
- If there's one sharp, it will always be F sharp, which we've already introduced.
We have broken the scale into bite-sized chunks:
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First section: The first four notes.
- You'll notice I was using the side B flat here. Some players use that; others prefer the BIS key. Both work.
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Second section: Starts on A and goes up to D.
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Final section: Starts from C and takes us to the top F.
Goal: Develop even finger technique to ensure when you play the scale, it comes out very evenly.
- Tongue Scale: For F major, we can also play it slurred to achieve a smooth feel.
Arpeggios
In addition to scales, the other major building blocks in music are arpeggios.
Definition of Arpeggios
- An arpeggio comprises the first, third, and fifth degree of the scale.
- For F: F, A, C, top F.
Characteristics
- Arpeggios have fewer notes than scales but are harder to play due to the required leaps.
- Movement: More than two fingers are often involved at a time.
Exercise Three: Preparation for Arpeggios
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First section: Involves F to A, try not to catch the G key.
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Next section: C to A to C, easier since it only involves one finger.
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Final section: C up to F, the hardest part.
Practice: If you practice these sections, the arpeggio will come out beautifully smooth or tongued.
Conclusion
This is the F major scale and arpeggio.
When you start playing music for exams, Grade One typically involves three scales:
- Usually F major, G major, and A minor.
In this book, we decided to introduce F major first, just my personal preference.
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Meet your guru

Meet your guru
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.






































