Page 19 - Embou-Sure Book Series

#6-WEAK AND NASAL
#7-POOR INTONATION
SOUND EXAMPLE #6
the euphoniums. Remember that the “buzz’ of a wide reed instrument is easily heard. It will not blend.
Teachers must have their hearing checked. Can teachers hear a difference of two vibrations, three vibrations, etc. An examination -will give confidence
to the teacher in some areas of recognition and will show the teacher where work is needed in ear training, etc. Young wind players do better in flat keys. They are not confident in sharp keys. In other words, we feel best when we tune down and we are sure when we try to “tune up.”
Vibrato, phrasing and interpretation are an extensive treatise beyond this Sax Embou-Sure article. So get the basics first and many of the other facets of playing will come easily.
TECHNIQUES
SOUND EXAMPLE #7
Arms, hands, and fingers do not hold the instrument. Its weight is well balanced by the neck strap. Fingers are completely free to press and release keys. Play with fingers in a definite arched style as if student is holding a ball. (You would not catch a ball with straight stiff fingers) Do not “BLUFF.” We try to play next note before fingers are set. We let a bad note enter a line of technical notes because we do not have enough patience to be sure of that particular note. Technique is a problem of eyes, finger control, breath and tongue. One correct answer will solve a problem in mathematics. One correct rehearsal is only the beginning for music. It must be correct every time. Try to play a passage five times with out a mistake.
Practice slow trills. The effort to lift a group of fingers is the same effort as needed to put down a group of fingers. Trills will give each finger and each combination of fingers an exactness that has no lost motion.
Practice scales. Brass students quickly think in terms of the skips or ar- peggios that go with the valve combinations. Woodwind students think in terms of the diatonic scale. These combinations are awkward: E flat to E needs two finger movement, E flat to F needs three finger movement, E to F# to G# just does not fall easily. B to C# is easier than B to C. Work slowly. The eyes must recognize first, then fingers must be taught to easily press or lift the keys.
TONE AND INTONATION
The great soloists will have one idea of tone. The great jazz artists will have their individual tonal characteristics. Yet, the section must fit into the band’s balance and technical proficiency. Saxophones can sound like French horns.
They can fill in for the third clarinets. Tenors and bari tones can blend with
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