A Tune a Day A First Book for Saxophone Instruction By C. Paut Herrurtu ‘The material in this method is so written as to be usable with “A TONE A Day For CLARINET” Copyright 1945, by The Boston Music Co. International Copyright Secured Revised Edition Copyright 1968, by The Boston Music Co. Printed in U.S.A. THE BOSTON MUSIC COMPANY BOSTON, MASS.PUPIL'’S DAILY PRACTICE RECORD Pupil fills in number of minutes of daily practice. Parent signs initials in space designated as certification of pupil’s record for the week. Teacher fills in grade for quality of each week's work as shown by the lesson. Teacher signs initials. E = Excellent: © = Good; V = Medium, Distinctly Abore Passings 1 Low, Lack of Bflort { FIRST SEMESTER SECOND SEMESTER sect] sim | roee fared: frmued] ec | sae | MSTA | TEESE [ESSEC] ec |aton [we | wear fron] wes | soe | Relea | Sets | HRA 5 T 3 ‘ I x in TEST GRADE ‘eh TEST GRADE i 5 oy | mil | | w | w | dnd TEST GRADE. ADE a a a a 4 a ied TEST GRADE eh TEST GRADE 7 "7 16 18 0 5 2 deh TEST GRADE FINAL GRADE Name Address ‘School GadeFOREWORD TO TEACHERS JR compling this course the abjective thes intentionally been not to eover too much ground, but rather to cou centrate on the acquisition of a thorough musical back- ground on a solid foundation in good saxophone playing. ‘These two requisites arc inseparable: A brie! section is devoted te the simpler rudiments of music which should be thoroughly understood az the need ‘The learning of the positions and fingerings as intro- duced should be insisted upon. Cultivate in the pupil the hubit of careful listening, ‘The familiar hynins and folk-sohgs have been selected because of their melodie interest as pieces, and because, in erdition, each one offers some technical point to be mastered ‘The velue of learning to “thinks count" from the very beginning cannot be over-estimated. Only in this way can a pupil sense rhythm. Rhythm, one of the most essential ‘elements of music, and usually conspicuous by its absence in smateur easemble playing, is emphasized throughout. ‘Many teechers do the thinking for their pupils, instead of helping them to think for themselves. Tnsisting upon ‘the mastery of each point will not dull their interest. What greater gratification can there be for a pupil, shether he be « child or adult, than for him fo recognize his increasing achievement. Lessons marked, “Supplementary Material” may. be given as a reward for well-prepared work. Class teaching should be # combination of indivudal instruction and eusemble playing. At every lesson there ‘should be individual playing so that all the necessary corree- tions can be made. Never allow a pupils’ mistakes to go unnoticed, since only in constant correction will they develop the habit of careful thinking and playing. A decided advantage of group-teaching ie thet it pro- ‘video experience in ensemble playing and gives every pupil the opportunity of listening to the others, of observing their mistakes, aad of hearing the eorrections. For the best results each class should not be made-up of amore than six for a half hour lesson, and twelve for an hou lesson. Irrespective of the numbers, the teacher must sot to it that there is individual instruction ax well as general class direction. Classes should be regraded whenever necessary $0 as not to retard the progress of the brighter students, nor ta discourage the slower ones. This procedure also acts as an incentive for greater effort on the part of the pupils. Lessons marked “Fingering”; “Seales and Arpesgios", and “Important Assigament” should be used whenever necessary according to the individual student's require- ments ‘The tests, following each five lessons, are given as a definite cheek on the pupil's progress of knowledge and accomplishment. ‘These tests are most important and should not be omitted ‘The eventual success of each pupil depends on the regular and careful home practice, according to directions If possible, it would be well for the teacher to keep in touch with the parents ‘This course provides one lesson a week fora schocl year. ‘The material in this method is so written as to be usable with “A Tune A Day for Clarinet’. wich to acknowledge my indebtedness to Phyllis Crowe for the drawings and to Mr. Edmund Schill, Director of ‘Music in the schools of Verona, N.d., for h gestions and criticisms. helpful sug- ©. PAUL HERFURTH Director of Instrumental Musie East Orange, N. J. RUDIMENTS OF MUSIC ‘Music is represented on paper by a combination uf characters and signs; it ‘to play the saxophone intelligently Characters called notes are written upon and between five lines, ‘The character ‘The staff is divided by bars into measures as follows: Bar BM. Co, 10587 necessary to learn all of these in order called the staff placed at the beginning of the staff is called the treble or G clef. Bar. Bar‘These rheasures, in turn, are equial in time value, according to the fractional numbers, (Time signature) placed at the beginning of each piece ‘Dhe time signature indicates the number of notes of equal valuein each measure. The upper figure gives the number of beats or counts in a measure, and the lower figure indicates what kind of « note has one beat. or example, $ or @ oat aay lowe avr cet Cc acne Poste Oe i tr pt) we § rmoosure: ¥ equals @ quitter notes in ench measure x equals 4 eighth notes in each measure: ete, ‘There are different linda of notes, each variety representing @ certain time value, as follows: wv 42541234 12 § 4 LeRERELE Whole Note equals: Two Half Notes, Four Quarter Notes, Eight Bighth Notes. “The count for the above would be; four to the whole note; two to each half note; one to euch quarter note, and one to each group of two eighth notes. ‘The niotes are named alter the first seven letters of the alphabet (A, B, C, D, B, F, G,) according to the line on or tpace in which they are placed. ie ci C= atch epic: esi tea SSG cm il HU other lines and spaces are named, as follow: wf = GA 8 6D Fie Ee ee oa In addition, notes are written upon and between short lines above and below the staff, These lines are called leger lines. are 2 =~ a eS a ——— a 2B DE F eo c eas every Gooa Boy Docs Fusy F A rest indicates « pause, or silence for the value of the note after which i WHOLE REST HALF RESTS «QUARTER RESTS EIGHTH RESTS ‘The enid of the picee is indicated by a light and heavy line. to be repeated it will be shown by a double bar with two dots, When a section or part of = piece is M. a, 10587 tiv]THE SAXOPHONE Ep Alto By Baritone CARE OF THE INSTRUMENT ‘Your saxophone will not sound its best, nor will your learing to play it be easy unless everything pertaining to the instrument is kept in perfect condition, ‘This applies to mouthpiece, reed, keys; pals, springs, ete. If any one of these is not in perfect condition, your playing will be greatly handicapped. ‘THE MOUTHPIECE, one of the mest important parts of your instrument, should be of good quality and should ue tested by your teacher before being used. "THE REED should be sclected with utmost care. One of medium soft texture is best for the young player. Too hard or too soft a reed will make it impossible to produce a good tone. BE SURE TO MOISTEN THE TIP OF THE REED THOROUGHLY BEFORE USING. The reed should be held firmly, but not too tightly by the ligature. Your teacher will show you how to “set” the reed After playing, remove reed from mouthpiece and wipe moisture from both parts. Replace reed but do not lamp too tightly. Put on cap. BE SURE TO HAVE BXTRA REEDS ON HAND ‘THE KBYS on your sexophone are very delieate mechanisms and should not be hent or thrown out of alignment, A drop of light oil should be applied to screws and springs from time to time. ‘Take pride in the way your instrument looks and Keep it bright and clean. FAILURE ON YOUR PART IN FOLLOWING OUT THE ABOVE INSTRUCTIONS CAREFULLY IN REGARD TO THE CARE OF YOUR INSTRUMENT WILL RESULT IN EXPENSIVE REPAIR COSTS. BM. Co, 10587 {vlBM.Co. 10667 Low TONES roses 4-2] 14-2 | RIGHT HAND) FOURTH ORDIAGRAM OF FINGERING LOWER OCTAVE HIGH TONES: > Deb EB F Bow 9 ¢ Gop & fare he 2 io iota D__Dhorrh EF FlerGh G Gta ab A ALL OPEN HAND FIRST FINGER 4 [4 4 4 4 | ala 9_| 9-10 |9-i0}9-10. 'D FINGER 2 |2 2 [2 2 | 2 2 a_|s —— L. MEANS LEFT HAND Pd | o HEANS RIGHT HAND RIGHT HAND FIRST FINGER aja a |4 1 a |e SECOND FINGER a. |e 2 zi 6 | THIRD FINGER 313 1 I Red ie 1B bate bo | o_o be D DiorEY E F FhorG> G G¥orab A thor At BHC UPPER OCTAVE - OCTAVE KEY OPEN B.ML.Co, 40587 vanFOREWORD TO STUDENTS Nostudent should ultempt the study of an instrument without the aid of a competent inetructér for that particular instriment, Dus to the variations of mouth, tocth, and lip formations of diffsrent individuals, the all important questions con- cetning the position of mouthpiece, breathing, tonguing, and lip control should be answered by the teacher for each individual student. ‘TECHNICS ‘The most important technics for wind instrumont players are as fallows: (2) Develeping and strengthening the lip muscles. (Process) Playing of long sustained tones. (2) Developing clarity and precision in attacks. (Process) Proper use of the tongue. (8) Developing a fine quality of tone, CEréeess) A combination of No. 1 and careful listening, (@) Developing fuency in fingering. (Process) Playing of scales and arpeggios in ‘various keys. () Developing a mastery of the entire range of the instrument, (Process) A combination of all of the above, CORRECT POSITION (POSTURE) When playing the saxophone alwarsstond or sit grec with the head up, Atms, hands and fingers shou be come pletely relaxed ard held in a natural position. Any stifiness of the body will be reflected in the quality of your playing. When practicing, it is better to play in a standing position as this will help you to breathe properly HOLDING AND FINGERING THE SAXOPHONE ‘The saxophone is bilanced atid supported in position by 2 strap or cord which should be adjusted so us to bring the moutlipieee in « comfortable position for playing. The first joint of the RIGHT land thumb should press slightly upward ggaiast the thumb rest fuze of the RIGHT hand are used for the keys of the LOWER pert of the instra- Ment ‘The LEFT hand thumb js placed om the thumb button so as to bs in position to use the octave key (Z) when necessary. The Singers of the LEPT han are ured for the keys of the UPPER part of the saxophone ‘TUNING YOUR INSTRUMENT re pitched in Rb and By, which moans that when you read and finger C, the ectnal pitch sounding will be Eb or Uy. The Bb Alte sounds a sixth lower than written and the Bb Tenor sounds an octave end a tone lower than written ‘The instrament is tuned hy adjusting the mouthpieee. Written Sounds on Piano Written Sounds on Piano Eb ALTO 5 Bb TENOR pe PHRASING ‘The breath marks (); in addition to indicating the proper places to breathe, also serve as an introduction to the feeling of proper phrasing of melodies. This is important as it is that which gives meaning to musi. HOW TO PRACTICE The mest important past, of your practicing is being able to think out the problems at hand, fingering, tongu- ing, phrasing, ete. “WHAT YOU CAN'T THINK YOU CAN'T PLAY. Bo aure to do a good piceo ‘of worle on lesson TBefire attempting lesson 2, and so on with cach auccoeding leson. Play slowly at first aud think cerafully the *hythm (ate values), phrasing, tone, fingering and attack (fonguing) YOU are your own best teacher. Learn to criticise ftar own playing intelligently. You knsve when yout have dene a good job and when you haven't. Don't be satisfied With a lesson halt done. You are only footing yourself. A good student is cte who practices regularly every day. DO You? 1B, M. Go, 10887 tv Saxophenes 1A TUNE A DAY 4 LESSON 1 OBJECTIVES: 1. To learn the correct habits of la) Posture 'b) Holding the Saxophone. (c) Position of mouthpiece. (@) Breathing and production of tone. 2, To correlate the keys of the Saxophone with the note B on the staff. 3, ‘To know the value of half and quarter notes and rests L. mean LEFT HAND=R. mean RIGHT HAND HALF (2 Count) NOTES and HALF (2 Count) RESTS Introducing 3rd line B. Played with the left hand ist finger key (L. 1 FINGERING GUIDE EERE £2 (le Means key pressed down) Bd waacaareae ooe ‘This note is B and is played L.1 HALE eat « REPEAT ® Think Count: 1234 is notes @ = Think Count:12 34 QUARTER (1 Count) NOTES == and QUARTER (1 Count) RESTS 6ne = eS surge Ge eee Half Notes and Quarter Notes Beethoven From Seventh Symphony) mage * Attack each note firmly. ) ‘Advanced students may also play the teacher paris in ail lessons. Copyright UCUXLY, by The Boston Music Co. ee “Iniernattonal Vopyrighi Secured. Revised Edition Copyright 1968, by The Boston Music Co.LESSON 1A OBJECTIVES: 1, Continuation of the cbjectives of lesson 1. 2, To learn the meaning of the TIE (—). 3, To learn the ame and fingering for the notes A and G. 4. To learn the meaning of the breath mark. (7) gt Introducing 2nd space A. Played with left hend Ast & 2nd finger keys. (L.1€ 2) = LEFT ‘This note is A i Think Counti1 294 ‘This note ie @ SSS Think Counts 234 = 6 $s SS SSS + aceon a ey 8 * ‘These are. notes and receive count —— — ‘Think Count:t 2 3 4 Little A and B March ‘This mark (9) indicates the breathing places. Pupil @ Teacher This noto is. EM.Co. 10087LESSON 1A-cont. Introducing 2nd line G. Played with the left hand Ast, 2nd & 3rd finger keys, (L. 1-2-3) This note is__. 3 ‘Think Count:12 3.4 > ave counts, ‘These are—__notes and receive Sb “e Think Count:1 234 simile Merrily Pupil ® Teacher * When two notes on the same degree (line or space) of the staff are tied by 4 clur ——~ they are to be Wed as ene rote, adding the value of the two notes together. '** simile— Ia the samo manner. BM.Co. 10587& LESSON 2 4. Application of pre-knawledge by the playing of melodies. 2, Learning to feel the rhythm of half and quarter notes. 3. To do home work assigament. Melody Time signature is_— 2 Pupil Teacher Pupil ® Teacher Pupil Teacher Home work: Weite line of notes thus far studied using half and quarter notes. Mark the letter name (G-A-B) above each acte, BM.Co. 105576 LESSON 3 OBJECTIVES: 1. To learn tho namo and fingering for 3rd space ©. 2. Coatinuation of previous objectives. 3, To aswer questions and do home work assignment. Introducing rd space ©. _, Play with the left hand 2nd finger key (L. 2) This mew note is C. > = ® Think Count: 2 3.4 This note is__. > > simile ® Think Count:1 2 3.4 ® Think Count: 23 4 > 0 ¢= et i Think Count 28 4 Time sig. is. Pupil Teacher Pupil © Teacher e ee ik e Home werk: Weite a Use of notes thus far studied, marking the name of each.- LESSON 4 OBJECTIVES: 1. To Jearn the name aud fingering for 3rd line D. 2. To learn the proper use of the lef hand thumb for the octave key. 3. Application of pre-knowledge by the playing of familiar melodies. 4, Questions and home work in this and following lessons. Introducing 4th line D. Played (L. 1-2-3) (R. 1-2-3) Octave key. Zz USE OF THE OCTAVE KEY Starting with 4th line D and all netes above, the octave or loft hand thumb key mast be © D nnsed. cymbol 7) Tn -usiag this keys ths thumb must not be lifted but rolled upward or for. OCTAVE KEY & ward until the key is pressed down (see Lesson OPEN isi, For these higher notes (using the octave hey) a slight increase in the pressure of the lower lip will make them respond more eas oy = o¢e ‘Think Count:1244 This note 2 Q Thine Count:1204 e Think Count:1234 These are. 4 te easnes! @ BE ‘Think Count:129 4 e) Think Count:1 2 3 4 Oats and Beans ae oae Tine sig. ie A e ie Pupil ® Teacher Home wer e Howe work: Write line of notes thus far studied. Divide into measures using half and quarter notes, BM.Co. 10587LESSON 4A z OBJECTIVES: 1. To learn the value of whole notes and whole rests.. 2, Emphasis oa rhythm (note values). 3. The playing of Duets and Trios (Practice all parts). WHOLE (4 Count) sores GE and WHOLE (4 Count) RESTS se 1288 ind_reveive__couats. = SS wuore Rest = These_are___notes ai = = ® Think Count:123.4 T 6284 ® Think Count: 23.4 Different Note Values @ This note @® This note is is a *Simile Py This note is => > Sinite This note is_—_ Ove mote is SS > simile > simile a = ere Pupil Duct (Two Parts) Practice tath pasts Pupil Pupil Pupil Pupil * vimile— To continue as before. BM.Co, 105678 LESSON 5 OBJECTIVES: 1. To learn the name and fingering for 4th space E. 2. Continued use of the octave key. &. Application of pre-knowledge by the playing of familiar and unfamiliar melodies. OCTAVE KEY OPEN Tutroducing 4th space E. Played with the three fingers of the left hand plus the 1st & 2nd fingers of the right hand Octave or T key pressed down. r Pa @ 3 Think cae ae RIGHT Es = simile ® ‘These are__notes and receive counts Folk Song Trio) @ Pupil Pupil Teacher ®: ThinkCount:1 2 a 4 BAM.Co. 10567LESSON 5A 9 Slurred Notes (legato OBJECTIVES: 1. To learn the meaning of legato (slarred notes), 2. Slurring notes in groups of 2-4 and 8. 3. Application of this knowledge in the playing of a familiar melody. ‘This sign — ‘siurl when placed above or below two or more notes indicates that they are to be played in one breath, and that only the first note of each group should be toagued, Think Count:1.2 3 4 TONGUE____TaNauE. ThinkCount:14 203 4 Lightly Row [Pitina ciara carafe) 2 ss 2 © * Smocthly- connected ‘M.Co. 1058740 TEST QUESTIONS THROUGH LESSON 5 Questions from this, and following test-sheets, will be given a8 a check on your home study of preceding lessons, REMEMBER: The more you know and understand about the eigne and synibols used in smuisie-writing, the it will be for you to learn to play weil. Yee This SSS hc cates —_—____. 5 Ee 5 6 hepalltEaicted ace ee 7 a ee 5 thie SSH is a note and as oats. ee "5 6. these QI SEIEY ore notes and te cous eten : ese GSES sro cies an nave count ne ‘ 8. Lines and spaces are named after the first letters of the alphabet. 5 9, This z is rest. + 10. ‘These = are rests. 4 11. “These : Se 4 12, Trin gn GE cans coutsto cach mean. ey eae 19; “Nast vm notes: ts far audio 6 ire (Gas nc alo et ae ar =| 6 sy; Wiktwthe itor names abe tha folowing 00s. 6 =p = i, sine a ela eo eam 6 5 == SSS Ss 2 Toaintion of fatten, e 48, Sight roadiog. elie rea 400 & TEACHER: Write line of notes thas far studied, using whole, half and quarter notes as a sight reading test, BM.Co, 10587LESSON 6 s OBJECTIVES: 1, To learn the ame and fingering for rd space CH. 2. To learn the meaning of the sharp. (#) § PLAY OPEN-NO FINGERS. z Introducing 3rd space © sharp ‘A SHARP () RAISES THE NOTE TO WHICH IT APFLIES BY ONE-HALF TONE. ‘A NATURAL lH) TAKES AWAY THE EFFECT OF A SHARP OR FLAT AND RESTORES THE NOTE 70 ITS ORIGINAL PITCH. ® = Bi Think Connt:| 23% © fea 0 == =| =e cy) ch “o @ Sf 3 . Think Count:1 2 3 4 Lightly Row 2 rae ® 3 = THINK 9 9 9 This note is__ 2 = Abide With Me SHARP Think fingering and note values. Monk 5 3 HINK ® == Home work: Mark the letter name below all notes in Ex. 4, 5 and 6. + Boing in the same measure, this note will also be played sharp. BM.Co. 10887= LESSON 7 OBJECTIVES: 1. Application of pre-knowledge through the playing, of DUETS. Practice both parts.) 2. Notice key signatures and what they mean AL Lasening the keys of G lone sharp, F#! and D (two sharss, FH and C4 4, Learning fo hear intervals (difference: in piteh hetween two notes The Key of G Major ine sharp 2, FH ‘The stiarp (#) placed on the top tine of the staff, just after the plef Sigh, affests every PGiroughout the piece, except when temporarily canceled by a natural ) sign. NOTICE KEY SIGNATURES AND FINGER AUOORDINGLY. Upidee Key of G—Cne sharp-FH) ‘Think fingerings and ngte values Upidee ikey of D=Two sharps FH & C2) ‘This note fs 7? anine 2 Pupil Pupil Merrily key of. ‘This note the sharps ace his note Au clair de la lune «ey ot) > > > BM.Co, 10587LESSON 8 13 nd fingering for tat space FH. 0 playing: noe of practising tong to: Introducing 18 space FE Played with the three fingers of the left hand plus the 2nd finger of the right hand For alternate fingering see diagram, Oz Think Count:1234 @ # Think Count:1224 Practice exercises Sa 4, slurring two and four notes, > not easy. Praoticn it carefully until you can play & smoothly, —— es @i = - potas = Think Count 2e0 DON'T FORGET YOUR DAILY PRACTICE ON LONG TONES. ONLY IN THIS WAY CAN YOU GAIN BREATH CONTROL, LIP DEVELOPMENT AND A FINE QUALITY OF TONE. @; > BAMCe. 10557& LESSON 9 ORIEOTIVES: 1, To learn the names and fingerings for law E and D 2. Continued emphasis on chythm and fingering 8. Application of pro-knowledgo. Introducing Ast line E. Played with the three fingers of the left hand plus the 1st & 2nd fingers of the right hand. Preparation » An interval is the difference in pitch between two tones. Intervals are connted from the lowast note to the highest. BM.Co. 10587LESSON 9-cont. a5 Introducing 4st epace below the staff D, Played with the three fingers of the left hand plus the three fingers of the right hand. Preparation &. ——- cn ES > © ogee ® = Evening Song Schumaan Key of. sharp is, " 2 mun @3 © Think Count:1 23 2 BM.Co. 10587= LESSON 10 OBJECTIVES: i, To learn the formation of the natural scato, placement of whole and half steps) fo play the D Major scale ane arpegeto from moory. Playing melodios in the key of D. (Think FH & CH) To teain the meaning of staccato, (the dot (4 Ex. 5, The Scale A seale is succession of tones from a given note'to its octave, 8 totes higher, The form oa which all major seales are modeled is as follows: ‘The Natural, or © Major Scale No sharps or flais pen rawr = TONE WoT a ‘The ascending progression is: two whole tones, one half tone, three whole tones, one half tone, The half tones come between the numbers 3-4, 7-8. Scale of D Major ‘Two sharps, FH & C#, Half tones F} to G, & Of to D. ume renee Beneath Thy Guiding Hand ‘Think key and sharps. [Gira shar carer) From the Second Symphony Key of. The sharps are. Time sig: is. THINK 2 > EM > 2 ‘This note as 2 Home work: Learn to play the D Major scalo from memery. “A dot (-) above o below a note indicates that the note is to be played short, about half its regular valuo. For explanation see page 29. BM.Co, 1058710. it, 12. 1B. cr 1. ”. 18. TEST QUESTIONS THROUGH LESSON 10 This ‘|| means This @ is a How docs a(t} affect anole? This b) is a How does ah) aftect a note? Name the following lines and spaces of the staff: ist space 2nd space Srd space —__ ist line Bed tine 2nd line ——_ 4th space —___ ist space below staff ‘The key of (28) is Write inotate) the key signature of 225 ‘This sign — connecting two or more notes means What is a seale?. Write (netate) the D major scale. ‘The key off) is. Notte the key signature of tif This note ie This note is ‘This: note is ‘Music written for two Saxophones is called Inspection of instrament. Sight reading. TEACHER: Write line of notes tius far studied using sturs. B.M.Co. 10987 Points a7