BHS BAND WARMUP PACKET BARFONE SAX

Fingering Chart, 1

Intonation Tendencies 2

Long-tones 4

Circle of Fifths 5

Articulation 6

Flexibility/Technique 8

Scales 13

Chorales 18

“Need to Know” 24

Theory 25

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Add 4, 5. 6 Use4&6 Add4,5,6 Close LS2 Close LS2 orUs RPI

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hTendencies&AdustmeitsMcjicne

Note: Finger Adjustments willV- Very tend to cause timbre changes

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Pitch

Tendency F F VF F F VFAdjustment None Add LP2 Add LP2 Add LP3 or LP4 Add F# key Add RS2 or

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page 17

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page 16

ninocessWoodwinds

Fs.n,thfipcolQsi Play diatonically from top line F up to Bb three or four times. Tune the Bb 8 cents

sharp. (Note: Bb on piccolo is not always the most centered note. If you find this to be true, tune to top line

F playing up from 3rd space C three or four times. Again tune approximately 8 cents sharp.) Be aware that

many piccolo and flute players tune with more air than needed. This pushes the pitch up considerably Play

with what Emory Remmington called ‘a conversational breath. This will give you a more accurate reading.

Be aware of the head joint and its adjustment, as this has a severe influence on the pitch. (Note: Bb above

the staff should be well centered. Use frequent checks to see if this note stays constant.)

Beingawa.re of the problems that the reed and instrument present, itis still imperauve that we become

consistent in our approach to tuning. Play diatonically from 1st space F up to 3rd line Bb three or four times.

The Bb should be slightly sharp. Then play diatonically from 3rd line Bb up to F three or four times The

F, especially the fork fingering, will be slightly sharp. if you use the regular fingering for top line F, thepitch

will tend to be flat. (Note: A reed of approx. 70mm is recommended to achieve the desired pitch without

squeezing.) Constantly check 2nd space A and A above the staff as this is the most centered note on thehorn.

.aaQ.onz The instrument, reed and bocal have a great deal to do with the pitch of this instrument. Check

the 2nd line Bb and 4th line F, playing to both of them diatonically from below three or four times If these

notes are not close to the required pitch immediately work with the bocals (size 00 to 4 from small to large

or sharp to flat) and the reed lengths. The reed should be 2-1/8’ overall and a #2 bocal on a good instrument

should work best, Also be aware of the distance the reed fits on to the bocal Too much or too lttle wjll cause

the instniment to play far enough out of tune so that accurate tuning will be impossible. It is important to

notethatchoosinga qualified student, instrument, reed and bocal wifl tend to make the pitch problems

less frustrating for you and your double reed players.

Clarinet: Check 2nd line G and adjust the baffel (approx. 1/8 inch), Then check low C. If ills sharp, adjust

the middle joint. Finally check 3rd space C. If this note is also sharp, adjust the bell. (Note If this adjustment

further flattens low F then disregard.) Once this is completed, play up to each note, diatonically, three or

four times to insure consistency. (Note: Most student clarinets are built sharp. Thtr is why it is lmperaiive

to secure an accurate reading on 2nd line G first.)

Alto and Ban Sax: First check 2nd line G. It should be very close to the centered pitch Second check

G above the staff. This noteshould register slightly sharp. Play up to these notes diatonically, from D, three

or four times. (Note: Top line F sharp is the best note to check for zero tolerance

IoSaj Follow the same procedure as alto sax, Second line 0 should be almost perfect and 0 above

the staff should be sharp. (Note: 3rd line B is the best note to check for zero tolerance.)

It is again noted that the quality of the instrument, reed, ligature and mouthpiece play a very

mportanE part in the successful development of acceptable intonation.

page 5

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Appendix

G

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A

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(f sharp minor.)

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F(a minor)

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Option 2 (octave slur study with brass lip slur)

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Options 3, 4, & S (technical patterns with brass lip slurs)

1 2 .1 4 5 6 7 8— — — — — — — — —Articulatzon Patterns:

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Articulation Patterns:

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BANDNFO”NEEDTOKNOW”

Strategies for SMART practice:

1. Play rhythms on one pitch first if difficult

2. Look for patterns

3. Play in a comfortable range first (down an octave?)

4. Isolate one challenge at a time

5. Work slow to fast (use a metronome)

6. Build from the middle

Logical Steps to Effective Intonation

1. Listen for “beats”

2. Make an adjustment; if beats get faster, try the opposite until the beats slow and

eventually disappear.

3. If you have to pinch to make the beats stop, make your instrument shorter

4. If you have to relax to make the beats stop, make your instrument longer

5. When you hear no beats while playing with your normal embouchure you are in tune!

Ways and Steps to Listening

1. If you hear yourself sticking out of the band’s sound you may be playing too loud. This is

BALANCE. See below for info on the Pyramid of Sound.

2. if you adjust your volume and still stick out of the band’s sound, adjust your posture,

embouchure, and breath support to make your tone mesh better. This is BLEND. Think

of putting your sound “inside” other voices...e.g. Alto’s try to fit “inside” the horn sound;

Trumpets try to fit “inside” the tuba sound.

3. If you adjust your volume and tone and still stick out of the band’s sound, you may be

out of tune. This is INTONATION (see above).

4. Always listen down to the lowest instrument, to the people on either side of you, and to

yourself.

The Pyramid of Sound (BALANCE)

1. Higher voices are more easily heard than low voices; therefore to create a more

balanced sound, adjust all dynamics levels as follows.

2. Low voices (tuba, low brass, tenor sax) should be strongest...play at or above the written

dynamic level

3. Middle voices (alto, horn) are the next highest priority...play at or slightly below the

written dynamic level

4. High voices (trumpets, flute, clarinet) should be least prominent...play one level below

the written dynamic level

Scale and Chord Related Theory

scale is a series of single notes which ascend or descend in a cpwjse mannç within the range of an octave. V

ecause scales are arranged in a stepwise manner the note names will always be in 2ihetici order.

he notes within scales have a specific whole step/half step

utervalic with each other.C natural minor scale (lower the 3rd, 6th, and

7th scale degrees a half step).

Intervals: W H W W H w W

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C DEF GABCScale Degrees: 1 2 3 4 5 6 7 8

C melodic minor scale (ascending lower the 3rd and descending lower the 7th, 6th,

and 3rd scale degrees a half step).

w It’ W W IS’1 w W W IV H w

CDEFGABCBAGF EDCScale Dc,res: 1 2 3 4 S 6 7 8 7 6 S 4 3 2 1

Intervals of the C major scale:

Interval - the distance between two notes

Half Step - the closest interval between two notes -

Whole Step an interval of two half steps Augmented Sus 4raise fifth fourth

Third - the distance of two adjacent lines or two adjaZpaces

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Scale Degree - a note’s classification according to its position in the scale

Tonic - the first note of a scale, the key-note from which the scale takes its name

Dominant the fifth scale degree, chords built on this note are “dominant’ and normally resolve to the tonic

Leading Tone the seventh scale degree, ft is one half step below tonic and its tendency is to “lead” or rise to the tonic

Basic chord types constructed from C:

Major Minorlower third

C major scale (half steps are between scale degrees

3 - 4 and 7 - 8).

Intervals: W w H 14’ W 14’ H

I- II II II

CDEFGABCScale Degrees: I 2 3 4 5 6 / 7

Tonic Dominant Leading Tone

C harmonic minor scale (lower the 3rd and

6th scale degrees a half step).

J,,tervals:

C DEF GABCScale Degrees: 1 2 3 4 S 6 7 8

Augmented & DiminishedIntervals from C

Augmented 4th(trirnne)

I)

Diminished 5th(intone)

Major 2nd Major 3rd Perfect 4th Perfect 5th Major 6th Major 7th Perfect Octave

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Augmented 5th

A

Minor Intervals from C

minor 2nd C major triad (three note chord) in root position and inersions

minor 3rd Root Position

minor 6th

minor 7th

First Inversion Second Inversion

Essential Vocabulary:

From Bottom:root-third-fifth

From Bottom:third-fifth-root

From Bottom:fifth-root-third

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