CARAVAN - Preliminary Exercises&Etudes In Contemporary Techniques For Saxophone(1).pdf

8/10/2019 CARAVAN - Preliminary Exercises&Etudes In Contemporary Techniques For Saxophone(1).pdf

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imbre Variation

The ssue of timbre, or tone quality, as a parameter which can be predictably manipulated by the perfor-

mer suggests a wide range of manifestations. The development of a performer's characteristic tone quality is it-

self, in

the

final analysis, the development of his ability to achieve and consistently manifest his tonal concepts

throughout

the

pitch and dynamic ranges of the instrument. But, of course, this tone quality is not a single timbre

resulting from a fixed pattern of harmonics (overtones) throughout the range of the instrument. The harmonic

spectrum, and hence the timbre, changes with every pitch and dynamic nuance which is played. (Other elements

which enter into the acoustically complex issue of timbre a re formants, phase, noise elements, presence of

inhar-

monic

partials,

transients, and radiation properties of the instruments. Additionally, there ar e moment-to-moment

changes in the balance of harmonics in a humanly-produced sustained tone.)

For all of the variables involved in the tone-production processes of th individual saxophonist

e-g.,

em-

bouchure components, tongue positions, air pressure), an effectively consistent tone quality

s

generally achieved

by the more mature player ( the frustrations of different

reeds

mouthpieces, and even instruments notwithstan-

ding

.

However, it would

e

futile

to

attempt to define precisely the exact effects of these variables, with their

complex interactions, in even one player, not to mention from one player to the next.

The act emerges that the most effective and mw t easily standardized method of achieving a variety of tone

colon, on a particular pitch on the saxophone is to employ several fingering combinations, in addition to the most

conventional one, which produce different harmonic spectra from one to the other and hence, varied timbres.

Using alternatef erings is the most predictable method of varying tone color on the saxophone since the different

reson nces inside nstrument which result are more predictable th n the human components which enter into

th

tone-production process.

The Etudes on im bre Var ia t ion

which follow exploit some of the passibilities for tone-color variation

through

theuseof

arious fingering alternatrives. \Many of

the

alternate fingerings employed may seem awkward

a t first,

but

tbe performer should experience no difficulty once

he

is used to adjusting his fingers

to

th unconven-

tional pattern mvolved. It will probably

be

necessary for the saxophonist to focus his eyes more on the fingering

diagrams

th n

on the music notation in the course of playing, at least in the early stages.

With

regard

to changes in embouchure, oral cavity, or ai r speed components in the course of performing

tone-color variations with alternate fingerings, there a re a t least two circumstances when tone-production ad-

justments might

be

appropriate. First, some of

the

unconventional fingerings

will

result in minute pitch variations

a8well

as

hne+colot

changes;

y careful "favoring," the performer might

be

able to minimize pitch fluctuation in

a successionof timbre changes involving different f ier ings . A second and more subtle consideration is that of

utilizing one's tone-production flexibility to complement the tendency of a given alternate f i e r i ng . For example,

a slight amount

of

supportive tone-pmducti~n djustment added to a succession of fingerings on a constant pitch

going from "dart" to "bright" can enhance the effect of theoverall gesture.

With the possibility of predictable timbre variations

through

theuseof alternate fingerings, the potential also

exists for producing trills between two different tone qualities (where the fingerings employed @re lausible for

rapid alternation). Timbre trills are utilized in the fourth and sixth of the etudee which follow; the graphic un

dulating

lineabove

the

staff

indicates

relative

trill

speed.


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Multiphonics

I I

-

U s e o Special ingerings

General1 he most easily produced, most dependable, and most manageable multiphonics for saxophone

i

re those whic are produced by means of unconventional fingering configurations which seem to encourage the

peculiar balance of resonances in the air column which result in more than one audible tone. Multiphonics

produced with special fingerings usually re ~u ireess deviation from normal playing technique, depending on how

efficiently

the

fin ering patterns affect the al r column.

owever, or saxophonists inexperienced at producing multiple sounds, utilizing

a

specific multiphonic

fingering may not necessarily lead to immediate success. As in

the

production of single tones, while a particular

fingering may enhance the possibility that a specific sound will result,

this

in and of itself is not totally adequate for

theproduction of that exact sound. The performer must

be

able to affect the result by manipulating the air stream

in various ways just before it enters the instrument. For multiphonic production, some degree of adjustment in

tongue mi tion , embouchure, and/or air speedwill probably be necessary, and the extent and nature of these ad-

justments is likely to vary substantially among different multiphonic fingerings.

In approaching the production of multiphonics (as weU

as

numerous other unconventional techniques

1

it is

important that

the

performer

possess

an adequate flexibility

with

the tone-production processes. Eie must gain the

capacity to subahntially manipulate the embouchure, tongue position, and air speed.

Often

t is h e aspect of oral-cavity manipulation

i.e.,

tongue position) which the saxophonist has experi-

enced

the ieasf

Among various activities one might use in working toward greater flexibility w~thongue position,

a valuable pnkedure can

be

the practicing of harmonic, or overtone exercises. Typically this involves sounding a

itch

in the lowest, or fundamental register and then, with no change in fingering, sounding as many of the over-

rrras canbe achieved. On sax0 hone, a ood starting point

is

probably the lowest B-flat.

A

second-partial B-flat,

hird-partial

F,

and perha

f partia B-flat would

be

the overtones to aim h a r d producing initially. (The

a1

Fwill

robab y

be

attained most easily.)' Use a breath attack rather than attempting to tongue or slur

from

r

undamen 1 egister.

Ifone experiences initial difficulty producing

the

overtones after the fundamental, perhaps

a

productive a p

poachwould

be

to play the hird-partial tone with thenormal fingering, then release the register key and sustain a

dectescendo. When his

can

be

executed successfully without having the tone change

rtials at some point in the

long

decrescendo,

the necessary tongue position

has

probably been achieved and a wi ened flexibility has already

beeun.

S

Another activity which can

be

very profitable for achieving and exercising a greater tongue-pasition

flexibility

b

bat

of tone bending. his

nvolves sustaining a tone and then, with no change of fingering, bending it

down in

pitch

aa

ar

aspoesible. For the saxophonist, it is probably best to

use

tones around

C

just above the staff or

higber.

A related

activity aimed toward helping to develop the same flexibility would

e

to use the mouthpiece

alone or parsibly

th

mouthpieceandbarrel alone) and practice producing

a

portamento or even a scale.

In

approaching flexibility activities such as these, it is important to realize that the key factor is oralcavity

manipulation aa termhd

by varying

the

ongue position. Slight embouchure variations will doubtlessly enter in-

to

procedures

such as hese, but there should be little

if

any conscious emphasis of

this

It is the flow of the ai r

streanlwhich

must

be

affected, and

this

is done mainly in theoral cavity.

In addrwaing

tbe issue of multiphonic production, as well as that of undertaking such activities as overtone

exercises,

perhap the

most important consideration of all is that of developing

the

aural flexibility.

As

important

as

the

physical

flexibilitiesmay be theperformer who does notpossess a clear aural concept of the sound which he

aeedca to

produce has

a much lower potential for success in

his

endeavors. He must

be

able to imagine the

Mwnd-vi8udh it-actuall hear it in his mind before attempting to produce it. While success with multiphonics

v l ~ i n g r e a t p r t b ~ o n L wlexible

the

petformer can

be

in

his

approach

to

blowing the instrument, this finely

mmitized tons

production presuppoees the existence of a clear mental image of what is to

be

played in advance of

th

actual execution.

This

factor of aural imagery cannot

be

overemphasized.

*For a Wt V dm nl ve approach

to

o v e r h e exercises,

seeSigurd

M

Ruchsr, Top Toner for the Saxophone Carl Fisch er Inc.


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Multiphonics

III.

S i ng i ngwhile P l a y i n g

BYproducing tones with the voice in combination with normal playing on the saxophone, harmonic intervals

as well a s simultaneoous melodic lines can be performed. Singing while playing has been utilized extensively over

theyearn by woodwind performers in

the

azz idiom where a growling tone, or buzz tone is often produced by

singing an unspecified pitch while performing a melodic line on the instrument. Composers of music other than jazz

heve made use of this

of sound in the recent past, and occasionallythe

former is even called upon to coor-

inatetheproduction tones of the instrument with specific tones producedr?=the voice.

The simultaneous reduction of tones in this manner is often difficult for the saxophonist who has done little

or no experimentingwi

this

teehni ue. Typically,

the

most difficult hurdle

s

getting used

to

the feel of singing

and blowing into

the

instrument at same time. Cl le demand on the air stream is substantial, and correct

breathing habits

are

essential.

The

exercises which follow are intended to assist the saxophonist's earliest efforts in attempting to coor-

dinate the voice and laying the instrument. Even prior to attempting these examples, the saxophonist mi ht find it

f

enefi~hl

o impw%e some vocaltmrdination exercises such as producing isolated harmonic interva s, a suc-

cession ofharmonic intervals where the voice holds a pedal tone agalnst moving saxophone tones, or perhaps vocal

manipulations (including portamento) whilethe saxophonoe holds a constant pedal. To expand material for prac-

tice beyond theexercises

provided

here, the saxophonist could vary these examples in different ways e.g., tran-

spi t ion) or create similar ones of his own,

Once

the performer has achieved some initial success in coordin ting the voice with his instrumental

production attention should be directed toward careful balancing of

the

two sources. In performing two melodies

simultaneauely in this manner, th most common difficulty is keeping the sung part loud enough andlor the played

part

soft

enough

to smwe

appropriate balance.

Regarding

the balancing of two parts, it might

be

advisable for the

atxopborht

toemploy the aid of a tape recorder in racticing. Since he hears in part through bone conduction while

he is

playing,

btening

to

a of himself mi& bemost revealing.

otation

of th

preliminary exercises as well a s th duet sections in the etude section, all of

the

p i t c h ,whe

intended

forthe nstrument or thevoice, ar e transposed and written in the treble clef. Because

of

individual

diffemnce6

in

vocal range and tessitura, it may

be

necessary or simply beneficial for the saxophonist

to transpaaeth ex and etudes entirely in order to accomodate

his

or her particular voice. (Use of dfferent

s&

of

aaxophorm

is

another

way of effecting upward or downward transposition.

Robably the

h r g a

r W

X O ~ ~ O ~sed, he moredifficult thistechnique will

e

due

to

the greater volume of air required.


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CARAVAN - Preliminary Exercises&Etudes In Contemporary Techniques For Saxophone(1).pdf

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