What's amazing about this book is how it has maintained it's relevance for going on 50 years now. Still, saxophone pedagogy has progressed. So, if Teal were still here to work on a revised edition, what would you advise him to add, delete, or modify to reflect the state of classical saxophone pedagogy in 2007? Good question. I consider the Teal book my home base in as I near my first (adult) year as a sax doubling bassist. My principal concerns (as discussed in other threads) is the evolution of embouchure.
Specifically, how much bottom lip to roll over the teeth. Muscle rather than biting is a given, but I am wondering if Teal would consider the lower lip being more in front of the teeth rather than on top with just a bit of lip keeping the teeth off the reed. (see ) This confuses me and I am working to be proficient in both approaches since there is an enormous tonal difference. Not necessarily better or worse just different but the less lip the harder to keep from squeals and squeaks. This may just take more muscle development. The other discussion I am missing is the use of the F# key, and its uses in altissimo. I think Teal would be floored to see and hear the young classical saxophonists of today.Sinta talked about this 20 years ago in his famous, 'Sinta On Sax' video that all his students make fun of.(just ask for an impersonation.it's too funny).
Non-fiction
But, Honestly, for me, the Teal book never floated my boat: There were some interesting ideas and nice vintage pictures of Teal showing 'correct' embouchure and hand-position but I think the book.actually pamphlet that did more for me was the old Hemke-Selmer pamplet. I read that over and over.I think it was orange and there was one made for each instrument. In Indiana, no one mentioned the Teal book.never.when I got to Michigan.it was required reading on every high school and college sax syllabus.interesting. I also never understood the greatness of the Teal Workbook.All of the exercises are a normal part of a Jazz player's warm-up, i.e., long tones, patterns and intervals.I couldn't see the point of reading those books.And that goes for the Rascher book 158 exercises.No use.What I found builds speed in technique is not reading those exercises but developing a ear for the sounds and colors.Ever get to a point when reading music where you're eyes just won't let you go as fast as you wanna go?
It's because you're reading it.If you can hear what you wanna play.there is no limit.you're fingers will follow.I think that is the marvel and mystery of Charlie Parker.He never used a method book. I got a bunch of method books for sale.any interested?
I think that is the marvel and mystery of Charlie Parker.He never used a method book. One of my students reported back from Aebersold camp about a recording (can't recall if audio or video) or Parker extolling the virtues of Klose, and how important it was to his technical development. Also, the Trane bio Chasin' the Trane talks about how extensively Trane used the Rascher 158, among many others, including Slonimsky. The issue isn't whether or not to use them, but how completely you can integrate them into your playing and, ultimately, extend them in many creative ways. Outstanding playing on your site, Ryan, by the way. I'll see your trane and parker and raise you a Getz and stitt! Nah, But seriously, I didn't know that about the Klose with parker.I knew about the slonimsky with trane.Though, like you wrote, the 'application' or incorporation of the stuff in the books is the key.
But still, It's like this book I bought, actually 2 vol. Set by weiskopf. You know the ones.The most useful part of the book is the forward(where he explains the concept of triad stacking) and the etudes at the end(application). Then in the middle, there are hundreds of exercises written out and I just can do more than like 1 page.it's mindless and I feel lazy and stupid reading them when all I have to do is use my head a bit and I can play them.albeit slow at first but speed comes. With classical music, 'reading the books' is important for sight-reading and getting used to seeing the notation you'll see in solos perhaps. That said, the Teal book still never really floated my boat-Maybe because I had some good teachers teaching me all those thing that was in the book and by the time I saw the book, it wasn't much for me.
Literature/method books anyone? PS Drakeprof: thanks for the kind words about my site.
Shawn: There is no mystery to sax mutes. They moderately affect the TONE of the low notes(D thru Bb with Bb being th emost pronounced).
You can make them or buy them. Making them: You can use pipecleaner and felt and just make a donut with them.experiment to find right size for your horn. Use Black otherwise you'll be explaining to everyone your use of mutes. The main reason sax players use them is for INTONATION on the low Bb. 'I don't want to drop my jaw and change the timbre of the low Bb from all the others I've just played.' That is what Sinta and McCallister say about the mute. Mule, Teal, Sinta, Otis Murphy, George Wolfe, Sampen, Rousseau, Lulloff, Vana, McCallister, Thomas.all use/ used mutes.
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I saved paper. Even if it was virtual paper. What I found builds speed in technique is not reading those exercises but developing a ear for the sounds and colors.Ever get to a point when reading music where you're eyes just won't let you go as fast as you wanna go? It's because you're reading it.If you can hear what you wanna play.there is no limit.you're fingers will follow. Spoken like a poor reader. Sure, if you read one note at a time, you will hit a wall.
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It's just like learning to read text rapidly - there is a need for a shift in approach. In both music and text, you need to start reading with a wider vista, look beyond the note you are playing now - take in a measure at a time (or more). If you aren't willing to learn to dedicate the time to learning to read well, stay away from the sections that are filled with real musicians - chances are you won't pass the auditions anyhow. Sorry if others will consider it harsh but it's reality. If you choose not to learn to read, I respect that decision.
Just, please, don't put down others because they choose to develop their skills as well-rounded musicians. Two things - I have not read the Teal book so pardon my ignorance. Is the Teal book where the 'wheel' embouchure concept comes from? I ask because some of the major wheel proponents (ie. Pat Meighan) studied with Teal.
Second, regarding Coltrane's use of the Rascher 158, it's important to remember that Coltrane and Rascher were friends and fans of one another (Rollins as well). Both Coltrane and Rollins used the 158 Exercises and the Top Tones books and both credit Rascher for their experimentation with overtones and top tones in their playing. (Rollins mentions Rascher by name in an interview in the liner notes to Way Out West I THINK!, but I'm not 100%). You've mistaken my point.I wasn't making a black and white statement.
Most people will agree that once you've worked on a piece for long enough.it's memorized and you are only looking at the page peripherally-as a roadmap sort of. My point is not to discount the importance of 'reading,' but to make the point that method books that outline all the exercises one could ever think of don't really help ME. I'd rather work thru the exercises myself.for example, Coker's Patterns for Jazz is good because it gives many patterns but DOES NOT write them ALL out for you.He gives you the first one in C then gives you a space to play them in all keys. Le Gamme is another example.none of Hemke's students could play 4ths, 5ths, 6th and 7ths at 152-160 while reading Le Gamme.They just work em out.That is my point.
There is a difference in this and 'reading.' Reading is entirely useful and very important for working musicians-Most of my job entails sight-reading new music on the spot: I am intimately aware of this skill as a musician and practice it regularly. Hope that clarifies my point. Second, regarding Coltrane's use of the Rascher 158, it's important to remember that Coltrane and Rascher were friends and fans of one another (Rollins as well). Both Coltrane and Rollins used the 158 Exercises and the Top Tones books and both credit Rascher for their experimentation with overtones and top tones in their playing.
(Rollins mentions Rascher by name in an interview in the liner notes to Way Out West I THINK!, but I'm not 100%). I did not know that about Trane, but I knew it about Rollins. I believe they lived not far apart in upstate New York and that Rollins played at the memorial service for Rascher. To answer the original question, I think more etudes and other exercises, possibly even a few tunes, would make for a more complete reference. I know there are plenty of etude books for all tastes, but I often felt that the Teal book would have been more complete with more examples to play.
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However, I think the absence of etudes may be a function of publisher requirements because 'The Art of Clarinet Playing,' by Keith Stein, and 'The Art of Flute Playing,' by Edwin Putnck, are written in very much the same format as Larry Teal's book. I use The Saxophonist's Workbook in my private studio.
I don't use the entire thing, but there are pages that I think are very helpful to a young saxophonist's development. These are p.5 and p. 6 slow arpeggios. I use these for tonal development, vibrato and tonal evenness p. 9 the 'large leap page' voicing, tonal uniformity p. 11 tonguing speed p. 20 extended major scales p.
23 major 3rds p. 37 chromatics p. 38 and 39 high and low register mechanisms Again, as others have stated, nothing revolutionary, but great to find all of these things all in one place. Teal penned a few workbooks that have exercises in them. Nothing revolutionary compared to what else is available, say, in the Rubank blue book series.
These book are sometimes difficult to find, but one of Larry's old tennis partners (yes - he was an avid tennis player) runs the sheet music department at a local music store. If you gotta have them and can't find them, let me know. And as of a few years ago, if you called Larry Teal's Publishing company, Encore Music, chances are you would get to speak to Mr. Teal's widow, Mary Teal, a delightful woman, who I met in 1994. I don't know if this is still the case.
This book is the widely acknowledged prime source for saxophone information. Every sax player should have it! It brings together a wealth of information about many aspects of saxophone playing that is not available in any other single source.
It explains the embouchure (lip) needed to play and even has exercises for helping to develop it. It has a fingering chart including alternate fingerings. It also has a very useful chart of pitch alteration fingerings – if your instrument has a few notes that are flat or sharp (very common), then these fingerings can be used to bring them back in tune with the rest of the horn. The essentials of breathing for saxophone are also discussed, again including exercises for developing breath control. The various aspects of tone control are discussed thoroughly. Also the legato and staccatto techniques and how to properly tongue a note are explained very clearly.
Mouthpiece terminology and design considerations are shown. Advanced exercises are also given for “mastering the technique”.
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This involves learning to keep the fingers in contact with the keys, proper hand positioning, etc. Doubling (i.e., playing a second instrument, like a clariniet) is often required of the saxophonist and this is discussed. Altissimo fingerings are also shown, although only the advanced students will be interested in them. According to Larry Teal, the best method of learning to play the saxophone is to study with a competent teacher. Teal’s studies were mostly of instruments other than the saxophone, but as a student at a Chautauqua summer session, he came under the influence of Georges Barrire, the eminent French flutist.
He played bass clarinet with the Detroit Symphony, but he continued to be absorbed by the saxophone. As a result of his acquired expertise and growing reputation, he was appointed to a full-time faculty position as a saxophone teacher by the University of Michigan – the first ever to receive such an appointment from a major university. Shortcut keys for tally erp 9.
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During his 21-year tenure, he attracted students from all over, thus exerting an ever widening influence on saxophone teaching and performing. Table Of Contents:. Introduction. The Instrument.
The Mouthpiece. The Reed. Playing Position.
The Breathing Technique. The Embouchure. Tone Quality.
The Vibrato. Intonation.
Developing The Technique. Attack and Release. Staccato. Articulation. Phrasing and Interpretation. Doubling.
The Altissimo Register. Selected Literature Format: PDF + Audio tracks (Mp3).
96 Pages Download Larry Teal – The Art Of Saxophone Playing free and other lessons from our site.