Thanks for the vid, and thanks for making the free content, it's greatly appreciated. What I really need is: The 10 best methods of freeing up time to practice, No1. Activate the fire alarm at work, wait for the office to clear and voila 10 mins of uninterrupted practice waiting for the fire service to arrive. No2...
I nearly spit Diet Coke out my nose reading this. You are my spirit animal. I'm homeschooling two kids during the pandemic, if only a fire alarm would work....
I have been using your Saxophone Fundamentals exercise Course. I am only on the first month but I am amazed by what I am hearing. I play a low Bb everyday in your zero exercises and the note sounds rich and full. I like the thought and logic you put into the monthly lessons. Thank you so much! I have been playing saxophone for over fifty years and your course makes me feel young again. I do avoid looking into a mirror as much as I am able so the feeling of youth remains in my conscience. .
I was, and still am, a big fan of Klosé. I feel that was good for phrasing, articulation, and tempo control. Bassi I like for etudes (or virtuosos... Whichever sounds fancier).
I really appreciate the Saxophone Fundamentals book that you made freely available. I am a beginner and I find the book to be very comprehensive and challenging. I appreciate your channel, and your awesome and entertaining sense of humor.
I'd suggest for voicing flexibility, intonation, practicing alternative fingerings and general finger/hand technique, tone matching, aural skills development etc. adding the chromatic intervals exercise: C, C#, C , D , C, Eb, C , E etc. slurred and articulated. Then repeating same on C# etc. Going up to the octave, but also including compound intervals for more extensive work.
There is something that I've never seen in music instructional materials: listen and repeat. I came across books with audio tracks like this when I wanted to study French, and I found it useful to master nuances of pronounciation. Maybe it would also work for music. Instead of going straight away to transcribing long solos of our favorite players, we could practice trying to reproduce the sound, dynamics and articulations of short lines, let's say one or two bars long, before moving to the next one. Just an idea.
This was so critical in training with my mentor: trading 4s. There's no substitute for playing along with and trading phrases with a master. Great suggestion.
Thanks Dr. Wally for such a generous contribution to Sax players community! Looking forward the announcement! It’ll be great if you can include some guidelines on how to build a study routine, how to make it increasingly challenging and how to evaluate the progress. I’m certain that with your experience as educator, you know exactly what’s needed in order to develop technique, a good sound quality, a strong sense of rhythm, intonation and a long etcetera
I feel like a section on self-recording and how to use it to get more out of your practice would be absolutely vital to a modern musician. I have a small recording device that works great for this (because I try to minimize any phone use in the practice room)
Excellent advice, thanks. I think organizing and structuring the session would be useful as well? I'm all about analog tools to keep my phone away from the studio! Happy Wednesday Tristan!
@@drwallysax That would be great too. I hope you have a great Wednesday as well! My professor is big on Exercices Mecaniques volume 1 by Londeix, I've found it has helped me a lot
@@tristanyokom1542 Those are great - my dear friend and podcast co-host Susan Fancher loves those as well. if you don't mind me asking, where are you studying!
@@drwallysax Southern Illinois University Carbondale with Dr. Richard Kelley. I took jazz lessons from him in high school and wanted to continue working with him
For supplementary scale work I highly recommend Nathan Graybeal's / Saxologic's "Comprehensive Exercises for All 12 Major Scales" that he has available as a $15 download. It covers the major scales in several different patterns across the range of low Bb to high F# (roughly 140 pages worth). Great for getting lots of low note and palm key work in.
Not sure if someone commented it already but the Donald Sinta book about the Approach on Voicing really is good, it help me with the concept of voicing and overtones excercises
This is not related to developing tone or technical abilities or anything but the book “a guide to the art of adjusting saxophone reeds” by James Rotter helped me a lot as a saxophonist
If you want some etudes which are not only good and difficult but also sound great, because it's good music too. F.i. no 3 I have been using as an encore. I am ofcause thinking of Joachim Andersen 24 studies Opus 15 for flute. They sound as well on the Saxophon.
An oft-ignored fundamental is how to hold the saxophone. It's so, so common, particularly among young saxophonists, to contort themselves to the instrument rather than adjust the instrument to them. On the plus side, if there's anyone who should use the adage of wearing the suit rather than letting the suit wear you, it's you.
Daily Studies for the Improvement of the Saxophone Technique, also by Larry Teal, almost fills out my basic must have books. I never saw or studied The Saxophonist's Workbook, but then I've only got my music degree in 1975. Rascher also published a great basic technique book called 158 Exercises, but his Top Tones book offers the best bang to develop a great embouchure and sax sound.
Played a bit of Rascher this morning - there will be similar diminished/augmented exercise (along with gazillions more) in the upcoming fundamentals course. My podcast co-host loves the teal Daily Studies as well!
Dr. Wallace, my one and only exercise book that ever owned was Klose 25 Daily Exercises. It was introduced to me in my early 20’s. I’m now in my late 60’s and am rediscovering it. It was helpful in developing phrasing and technique.
Ok, so I have no idea how I missed this video earlier, but I greatly appreciated you pointing to the stuff of my continuing nightmares at 2:19! 😂🙈 Thanks for the reminder to go back to Top Tones. Time spent doing overtones is never regretted. And total bugger about the Teal Workbook!
Another great video, Wally. Thanks! I feel very fortunate that I have a copy of Teal's "The Saxophonist's Workbook." It truly is a great one. (Side note: maybe a publishing house will bring it back to life, much like what was done for Rosemary Lang's "Beginning Studies in the Altissimo Register," which I ordered from a music store in Ithaca, NY). Larry Teal's "The Art of Saxophone Playing" is an excellent companion book to the "Workbook". As far as other books, I love Guy Lacour's "28 Etudes," Marcel Mule's "18 Exercises," and Karg-Elert's "Twenty-Five Caprices." With regards to potential content, I concur with tsbulmer: ergonomics. Poor habits lead to soreness and pain, which leads to more bad habits, which .... a downward spiral.
Excellent advice, thanks. I LOVE the Rosemary Lang book, especially that it's written with 8va rather than a gazillion ledger lines! Hope you're well, Aaron!
I suggest 100 classical studies for flute by Faber, they are difficult on sax, and require embouchure flexibility., plus the odd altisimo notes. Furling is great.
As a kid saxophone player, I went thru Larry Teal's "Studies in Time Division" with my teacher, Arthur Hegvik...that was really the book that got me started down the road to being able to count pretty well. Of course, it's not just a saxophone thing, but I mention it as it's probably yet another Larry Teal book that might be out of print!
I studied saxophone under Reuben Haugan at the University of Minnesota back in the late 1970’s to early 1980’s. I don’t remember if we used Teal’s book but we did use the Ferling and Racher books. I still like to do overtones to keep a handle on control and tone.
Looking forward to learning from you... love your sense of humour! All I can suggest is a little structure that I can follow to attempt to do this beautiful instrument some justice. There is so much info out there that some days I don't know what path to take and/or continue down. Thanks for all you do.
Hey Julie, it can certainly be overwhelming. Take comfort in knowing there is no "correct" path. Whatever you're studying, it will have it's benefits. Above all, make sure you're enjoying this magnificent hobby! That said, I'm putting together a progressive "path of study." Likely for the intermediate and beyond levels, hopefully give some assurance and confidence to the pursuit. Let me know if you have any questions!
A couple of years ago I purchased Saxophone Warm-ups: Materials for the contemporary saxophonist by Steve Mark. I wish I had this book in collage. It completely changed my approach (mainly by offering one) to my warm ups and my tone has improved substantially. It is a pretty comprehensive book, but the section on long tones is the one I find most valuable.
He is! I was in the Roanoke Symphony with Carmen. She hooked me up with a copy of his Shel Silverstein album and I've been a big fan ever since. I play his work for my sax students and they enjoy yours too.
Just wanted to thank you for making such a great resource available for free (potentially). Specially to those of us who are cheapskates :D No suggestion on contents since I´m an amazing expert with all 5 months of saxophone experience
Ha! Thanks for being part of the academy, Javier. I'm glad you're here! Cheapskates and poor saxophonists are welcome! That's why I'm building free resources, for those who don't have access or can't afford a good teacher. happy Tuesday!
My teacher Joe Allard also taught using Ferling Etudes, as well as Rascher's "Top Tones". One suggestion as far as material, which I think is very good for jazzers as well; "25 Capricen und Sonate für Saxophon solo" by Sigfrid Karg-Elert (Op.153). I studied those with Joe as well and they really challenging.
SUNY Fredonia has a huge amazeballs collection of Rascher material, maybe reach out to them to see if they have public use .pdf's to share with your students? As for suggestions, maybe include some hardware technicals in your training, e.g. mouthpiece design dynamics, and how reed:tip:baffle:chamber effect sound? I took my first mpc (meyer 5 which I initially abhorred, but my teacher required of us) out after 27 years!!!(grade school) and finally played it again instead of my selmer c*, as I'm jut now getting back into sax, and starting to go for a 'jazz' instead of a 'classical' sound.
Just been searching like crazy for a copy of The Saxophonist's Workbook by Larry Teal as I was watching and then you said it wasn't in print - so I would love a similar book/course by you! Yes please! 👍
Good morning Dr. Wally. You asked what should go into the material you're preparing to put online, and this is my suggestion. Please, whatever exercises you include, accompany them with videos and, if possible, shoot from both the front and the side so we can see exactly what the "ideal" embouchure looks like while doing them, or what you're aiming for us to achieve. The reason I say this is that I started playing saxophone about ten years ago (after thirty years on flute). I had a few lessons, bought the Rascher and Teal books (The Art of Saxophone Playing, not the Teal Workbook) and one by Eugène Rousseau, and was promptly posted to Africa for several years. In the absence of a high-speed internet connection I was condemned to learning on my own and only had lessons from a professional instructor (who has since become one of my best friends) about twice a year when I managed to get back to Europe on leave. It's all too easy to flounder around practicing endless scales and exercises but if you don't have a good sound as a reference, and if you can't see your instructor's embouchure, you're almost condemned to learning mistakes. I'm an avid fan of Rousseau, Rascher, and Teal, but reading printed word (sorry Peter Gabriel) is no substitute for live action. Thanks a lot Dr. Wally, I'm looking forward to your next video. PS - apologies if this request is a little late and you've already got that covered, I see that the original post is from the end of September.
After learning the basics I use “First Book of Practical Studies” by Hovey for my students. My go to book from the old days that I still enjoy for a technique tune up, “158 Saxophone Exercises” by Rascher.
The first book every saxophonist should own is The Universal Method For Saxophone by Paul DeVille. Everything is in it, and I challenge anyone to go through the whole book. I have had it 40 years and I have never gone through the whole book. Of course the other books are great, but if you could only have one book, it is The Universal Method
Excellent Book! I listed the Teal due to the other exercises as well as scales, making the Londiex redundant (thought it does go to F# and intervals beyond 3rds). And if I'm honest, I really never practice intervals larger than 4ths. I'm not alone in that, right? RIGHT??
I really enjoy playing the Ferling studies on saxaphone, so much more than on oboe. I'll often start my practice on oboe, and switch to saxophone on the same etude once I get tired. I like doing this for the reasoning of rationalizing the differences in fingerings, one of which being the insanity of having 3 different ways to play F on Oboe! I'm working towards being a capable multi-instrumentalist. I've been playing on a 1920s Buescher C melody, and I really wish they didn't fall out of vogue when that World War began. I wonder if you might do an episode on the C pitched instruments? Just discovered the channel, so far loving it !
I like Ferling. I think Universal Method is worth mentioning, it's in that category of "I learned on it so you should too" but it does have a lot of challenging pieces that I cut my teeth on.
Amazing video as always. I've been studing the Ferling book for about a year since now and it's amazing. I would like to see a bit of altissimo and overtones exercises, appart from technique and all that stuff, in a saxophone worbook of fundamentals . regards from Spain
Great suggestion! altissimo may be outside the scope of the first edition, but certainly overtones. Hope all is well across the pond, happy Wednesday my friend!
The Ferling book seems fiendish and diabolical. My copy arrives tomorrow. I see the Teal book is back in print on Amazon as well. Thank you for all your great content.
@@drwallysax Yes! I’ve enrolled in your year long course. I am working in your saxophone fundamentals book as we speak, I mean text. Great stuff! Should be a wonderful ride. Loves me some overtones, at least the first couple so far. Intervals are very good as well.
Word! The rhythms, intervals, and key signatures in Ferling can be soul crushing if you aren't a pretty strong reader/player. I'd suggest working through something like Klose first to keep you from feeling like you've been completely clown-hammered by Ferling.
@@RidingEasttoWest Excellent suggestion! I actually purchased a copy of Klose and then went on a side tangent of working on scales and modes. Time to try it out. I'll keep my eyes peeled for Pennywise.
I found the graded studies books (Faber I think) very useful as they progressively help develop skills and technique. I used the ABRSM grade system to progress and motivate myself.
I believe something that is often forgotten in 'method' books, is really explaining what needs to physically happen. How to move hands to keys (remember those palm and side keys) , (how many students is see playing high Fis with two fingers). but especially what happens on the invisible part (tongue, throat: no it's not 'relaxed', but it is not under tension eather). Of course not everything can be explained, everyone is different, but making sure students are aware of what is happening is vital to me. (oh god, I'm rambling a bit)
great suggestion. I actually do keep the sensation of a "relaxed" throat. Does it move? absolutely, but I don't want my students to focus on it. I focus on "voicing" using tongue position - which of course, alters the position of the soft palate and throat - without overcompensating or creating unnecessary stress/strain. For me it's like the diaphragm - of course it moves, and it's critical - but I focus on abdominal muscles to get the desired result.
@@drwallysax indeed, I also do not talk about the throat but on tongue positioning, mostly involving saying 'ee' and 'aa'. As you call it voicing. I noticed on your earlyer videos you tend to focus on that during teaching. Glad I'm not the only one :p
There should be a slow and fast audio demo of all exercises so you know how they are supposed to sound, for the people who don't have access to a teacher.
That's an excellent recommendation - and in the works. Though, I'm not certain I'll have time to do slow and fast. But - my whole intent is to create high quality instruction for those without access or can't afford a good teacher. Thanks!
The Rascher book really works best supplemented with Sinta and Rousseau altissimo books imo. (There are some other books but I don't have experience with them)
Agreed Austin - it's a bit dense. That's why I use my Larry Teal sock puppet to address air support to my younger students. "you see kids, air is like a Pokemon!!" Middle school students are my favorite, I love teaching them the first four bars to the pink panther, and they light up like winning the lottery. Where you teaching?
Couldn't help but laugh when you ranted about the playability of the Ferling etudes and (at random I'm sure) showed the part with those giant ass leaps in etude 4. I kinda made my peace with that measure, but it instantly came to my mind even before you showed it :-D I love the content and your fun teachingstyle, way to go! Kind regards from Germany, Marc (... you may call me Franz Wilhelm though)
Hey Marc! That was NOT by accident - I actually "tapped" that measure during the b-roll clip. Even the "pros" who demonstrate these for all-state videos sound like poop. It's just a terrible, god-forsaken measure. Thanks for the kind words, hope the weather in Germany is as nice as it is here in North Carolina! happy practicing my friend.
Doc Wally do you recommend we use a bass + drum recoding to play over? … if so which one + and how to find it? You once mentioned Ebersol. I think.. many thanks, Wayne
I have thought of another thing while practicing just now. There are a lot of times when doing runs that you can make it easier by holding down a certain finger like 4 or 5. I call it planting, as in "I can just plant down 5 for this entire section here." I feel like it would be a cool idea to have exercises where this matters. I know that Rascher's 158 has some good exercises, but I don't think it's talked about enough as an efficiency thing when playing fast and you can get away with any potential timbre changes it would cause
@@lukeserrano62 I'm a big fan of his pedagogy, my classical mentor studied with him in Bordeaux. For the life of me, I've never understood his fingering abbreviations.
@@drwallysax Ha, yes - maybe he just made them up to intimidate his students. ;) BTW I've gone through the first 12 Ferling etudes over the last couple of days. Haven't touched these since the late 90s when I was at university! I'm currently a Head of Music at a high school, and it's been great getting back into doing some solid practice during a school break over the last two weeks. The trick is now to keep it going when the chaos starts up again tomorrow! Oh and the Reso arrives in a couple of days.
Hey Dr Wallace good to see you again. I hope all is well how are you? I would definitely say do overtones since most of the time we miss out on learning how to listen to ourselves in that regard. Stay safe.
I think you can find the Teal Saxophonist's Manual here and there, but it wouldn't surprise me if it is not being printed anymore. That is a shame. The staccato patterns and Basic Articulation pattern are some of my favorite practice materials out there. I have written them out in all twelve keys, major and minor. However, I try to play them with as light of a tongue as possible. As Rousseau says, "A short note is a long note played short." Along that same line, I've seen people mentioning the de Ville Universal Method. I like a lot of the material in there, but in my opinion I think a lot of the exercises in there are "fluff"...they're there just for the sake of being there. Vibrato development exercises that don't lock the player into a steady undulation are lacking. James Houlik and Eric Lauver's The Complete Saxophonist, one of my favorite texts, does a very good job of development of a spinning vibrato while noting when a constant vibrato is more appropriate. This probably wouldn't fly today, but a band version of Ronkin/Frascotti The Orchestral Saxophonist would be invaluable. The Teal / Rousseau / Hemke NASA biographies are really important.
I was told an insightful story involving Joe Henderson, who was a student of Larry Teal. Would love to know the exercises Teal taught Henderson that made him the awesome sax man he became.
I imagine it was similar to the workbook and "daily exercises." Two of my teachers studied with Teal - they had me workin' up a storm out of the workbook!
@@drwallysax it was in the mid 60's at Sparks music (later to become Browns and Sparks Music) Royal Oak Michigan. I was in attending Ferndale high school.
@@lawrencemccoy7021 I also took lessons at Royal music from Jack Kripl. Classical studies really helped me along but I was hoping to learn jazz. Just a youngster back then, I wasnt as focused as I currently am.
Hi Dr. Wally ............ just like to give you a big thank you for producing such an informative channel and especially in a light hearted manner. You seem to have a very English sense of humour. Quick question for you, when I watched you playing the studies, with that awesome classical sound, I noticed that there appears to be a 'donut' item in the bell of the horn. Is this some sort of tone enhancer? Is this something that Marcel Mule promoted when he was at the Paris Conservatoire for Music I guess in the 1920's? If so does it darken the tonal quality and help the pitch of the lower notes? If so where can I get one? Many thanks
Dont' hate me, but I REALLY don't like enclosure or approach patterns. I teach those concepts in context of the greats - through transcription. When I hear someone who's practiced those patterns for ages - it sounds rather formulaic when I hear them improvise (in general). I'd really rather learn how the b9 resolves to the tonic in the context of learning a Charlie Parker solo by ear - then we get the inflection, phrasing, and nuance that pattern books just don't give.
@@drwallysax I completely agree, but in my opinion you have to have the patterns mastered to be able to fluently make lines with them. If the book is focused on jazz, then I would love to see theory through transcription, like you've mentioned.
I played baritone sax for 2 decades and switch to alto for ease of traveling. Having a difficult time with low C to Bb. Recently began playing mouth peice for at least 5 mins a day, seems to be helping. Is their specific mouth peice exercises that would be a benefit to include in this 21st century fundamentals practice guide?
I've enjoyed your videos. I just started learning Sax 1 month ago. I've never played an instrument. So I'm also working to learn music theory and just reading music. All the videos on sax I see gloss over the basics and assume you know what major or minor keys are and what Am7 means? I've resorted to watching music theory vids which usually are based on piano. Also... finding resources. What do I learn first? What should I practice as an extreem noob? Where do I get sheet music or other things to things to play? Software I should use? or websites? Thanks!
I haven't "seriously" played my sax since high school. Thank you so much for your videos and the way in which you teach. I can't wait for the online course!
Doc,...are you familiar with the book, "beginning studies in altissimo register by Rosemary Lang", used that with students for the title, but also overtones. Told it had been out of print, but was being re-issued. Foundation studies for saxophone edited by David Hite from Southern Music is a good book also.
GARY! My Doctoral dissertation was a survey of methods and resources, and the LANG was my absolute favorite for altissimo! So excited it might be back in print, it's just so well put together. My favorite thing: simple tunes written in the staff (marked 8va) rather than a kazillion ledger lines! It's fantastic. I like the Hite as well (tried to incorporate many of those elements in my free Fundamentals workbook). Happy Sunday, Gary!
@@drwallysax Thanks Doc. So glad I kept most of my old books. I liked the Lang book for the same reasons. I hope my source on re-issue is accurate. BTW, speaking of publishers, used to work as clinician for Hal Leonard, and played with Hal's son in a band in college. If your interested, I have some great history on them.
I'm knee deep on exercises now - hope to be done within a month or so. It will be the backbone of our year-long fundamentals course - all keys and new etudes to boot. It will all be free.
Thanks for the vid, and thanks for making the free content, it's greatly appreciated. What I really need is: The 10 best methods of freeing up time to practice, No1. Activate the fire alarm at work, wait for the office to clear and voila 10 mins of uninterrupted practice waiting for the fire service to arrive. No2...
I nearly spit Diet Coke out my nose reading this. You are my spirit animal. I'm homeschooling two kids during the pandemic, if only a fire alarm would work....
Yes! Time!
I have been using your Saxophone Fundamentals exercise Course. I am only on the first month but I am amazed by what I am hearing. I play a low Bb everyday in your zero exercises and the note sounds rich and full. I like the thought and logic you put into the monthly lessons. Thank you so much! I have been playing saxophone for over fifty years and your course makes me feel young again. I do avoid looking into a mirror as much as I am able so the feeling of youth remains in my conscience. .
Thank you for offering to put out a course on fundamentals. I'm looking forward to seeing what you release.
'Best,
Aaron
Thanks, Aaron! I'm getting to work, hopefully we can all have some fun and refine our skills along the way. Happy Wednesday my friend!
I was, and still am, a big fan of Klosé. I feel that was good for phrasing, articulation, and tempo control. Bassi I like for etudes (or virtuosos... Whichever sounds fancier).
I dig Klose!
I use my Klose book a lot.
I really appreciate the Saxophone Fundamentals book that you made freely available. I am a beginner and I find the book to be very comprehensive and challenging. I appreciate your channel, and your awesome and entertaining sense of humor.
I'd suggest for voicing flexibility, intonation, practicing alternative fingerings and general finger/hand technique, tone matching, aural skills development etc. adding the chromatic intervals exercise: C, C#, C , D , C, Eb, C , E etc. slurred and articulated. Then repeating same on C# etc. Going up to the octave, but also including compound intervals for more extensive work.
"Universal Method for Saxophone," by Paul Deville, covers a lot of ground.
My teacher is making me use this book. It has a lot of good exercises and pieces to play.
An excellent book, whatever style you play.
Lot of great stuff in there. Happy Wednesday, John!
Another freebie online too ;)
@@drwallysax Back at ya, my fellow Canadian!
There is something that I've never seen in music instructional materials: listen and repeat. I came across books with audio tracks like this when I wanted to study French, and I found it useful to master nuances of pronounciation. Maybe it would also work for music. Instead of going straight away to transcribing long solos of our favorite players, we could practice trying to reproduce the sound, dynamics and articulations of short lines, let's say one or two bars long, before moving to the next one. Just an idea.
This was so critical in training with my mentor: trading 4s. There's no substitute for playing along with and trading phrases with a master. Great suggestion.
You can "play along" with Dr Wally in his latest improv videos!
@@MyRackley I've checked them out, they are exactly what I expected!
Thanks Dr. Wally for such a generous contribution to Sax players community! Looking forward the announcement! It’ll be great if you can include some guidelines on how to build a study routine, how to make it increasingly challenging and how to evaluate the progress. I’m certain that with your experience as educator, you know exactly what’s needed in order to develop technique, a good sound quality, a strong sense of rhythm, intonation and a long etcetera
Thank's Eduardo - I hope so!
I was brought up on Paul DeVille when I was studying in the 50' & 60's. Still use it.
Definitely some good stuff in there.
Ferling Studies is a great book for saxophonists, a standard really. Marcel Mule added 12 more etudes in his version.
Marcel Mule really helped my reading chops
I feel like a section on self-recording and how to use it to get more out of your practice would be absolutely vital to a modern musician. I have a small recording device that works great for this (because I try to minimize any phone use in the practice room)
Excellent advice, thanks. I think organizing and structuring the session would be useful as well? I'm all about analog tools to keep my phone away from the studio! Happy Wednesday Tristan!
@@drwallysax That would be great too. I hope you have a great Wednesday as well! My professor is big on Exercices Mecaniques volume 1 by Londeix, I've found it has helped me a lot
@@tristanyokom1542 Those are great - my dear friend and podcast co-host Susan Fancher loves those as well. if you don't mind me asking, where are you studying!
@@drwallysax Southern Illinois University Carbondale with Dr. Richard Kelley. I took jazz lessons from him in high school and wanted to continue working with him
For supplementary scale work I highly recommend Nathan Graybeal's / Saxologic's "Comprehensive Exercises for All 12 Major Scales" that he has available as a $15 download. It covers the major scales in several different patterns across the range of low Bb to high F# (roughly 140 pages worth). Great for getting lots of low note and palm key work in.
Not sure if someone commented it already but
the Donald Sinta book about the Approach on Voicing
really is good,
it help me with the concept of voicing and overtones excercises
This is not related to developing tone or technical abilities or anything but the book “a guide to the art of adjusting saxophone reeds” by James Rotter helped me a lot as a saxophonist
If you want some etudes which are not only good and difficult but also sound great, because it's good music too. F.i. no 3 I have been using as an encore. I am ofcause thinking of Joachim Andersen 24 studies Opus 15 for flute. They sound as well on the Saxophon.
Never realized you pointed out the measure that is the bane of my existence at 2:19
An oft-ignored fundamental is how to hold the saxophone. It's so, so common, particularly among young saxophonists, to contort themselves to the instrument rather than adjust the instrument to them. On the plus side, if there's anyone who should use the adage of wearing the suit rather than letting the suit wear you, it's you.
Form, ergonomics, and voodoo. I'm on it Tom! Hope you're well, man!
@@drwallysax Can't complain. I hope you're well, too!
Backing tracks, having a "band" to play with will always work you harder. Timing, tuning and blending.
If you want, I can share a pdf version of The saxophonist's Workbook by Larry Teal. Just write in comments.
I think it's back in print!
Daily Studies for the Improvement of the Saxophone Technique, also by Larry Teal, almost fills out my basic must have books. I never saw or studied The Saxophonist's Workbook, but then I've only got my music degree in 1975. Rascher also published a great basic technique book called 158 Exercises, but his Top Tones book offers the best bang to develop a great embouchure and sax sound.
Played a bit of Rascher this morning - there will be similar diminished/augmented exercise (along with gazillions more) in the upcoming fundamentals course. My podcast co-host loves the teal Daily Studies as well!
Dr. Wallace, my one and only exercise book that ever owned was Klose 25 Daily Exercises. It was introduced to me in my early 20’s. I’m now in my late 60’s and am rediscovering it. It was helpful in developing phrasing and technique.
Klose is fantastic!
Definitely a video example of each exercise
I've started building a website for that purpose - absolutely. Wait, now I have to start practicing...
@@drwallysax The real secret is that making the recorded examples counts as practice
Ok, so I have no idea how I missed this video earlier, but I greatly appreciated you pointing to the stuff of my continuing nightmares at 2:19! 😂🙈 Thanks for the reminder to go back to Top Tones. Time spent doing overtones is never regretted. And total bugger about the Teal Workbook!
I copied all the essential stuff in the Saxophone Academy workbook :)
Another great video, Wally. Thanks!
I feel very fortunate that I have a copy of Teal's "The Saxophonist's Workbook." It truly is a great one. (Side note: maybe a publishing house will bring it back to life, much like what was done for Rosemary Lang's "Beginning Studies in the Altissimo Register," which I ordered from a music store in Ithaca, NY). Larry Teal's "The Art of Saxophone Playing" is an excellent companion book to the "Workbook". As far as other books, I love Guy Lacour's "28 Etudes," Marcel Mule's "18 Exercises," and Karg-Elert's "Twenty-Five Caprices."
With regards to potential content, I concur with tsbulmer: ergonomics. Poor habits lead to soreness and pain, which leads to more bad habits, which .... a downward spiral.
Excellent advice, thanks. I LOVE the Rosemary Lang book, especially that it's written with 8va rather than a gazillion ledger lines! Hope you're well, Aaron!
I suggest 100 classical studies for flute by Faber, they are difficult on sax, and require embouchure flexibility., plus the odd altisimo notes. Furling is great.
When I was in college, I studied out of the Prestini Recolta Di Studi oboe Method. Saxophone and oboe share same written range , Low Bb to high F
I like your clothing style!!
That's very kind. I've always said: If you can't sound good, at least look good. Happy practicing my friend!
@@drwallysax don't get me wrong: You sound great, too 😄
As a kid saxophone player, I went thru Larry Teal's "Studies in Time Division" with my teacher, Arthur Hegvik...that was really the book that got me started down the road to being able to count pretty well. Of course, it's not just a saxophone thing, but I mention it as it's probably yet another Larry Teal book that might be out of print!
I've never seen that one! To eBay.....
I studied saxophone under Reuben Haugan at the University of Minnesota back in the late 1970’s to early 1980’s. I don’t remember if we used Teal’s book but we did use the Ferling and Racher books. I still like to do overtones to keep a handle on control and tone.
Overtones are magnificent. Even if they didn't have any effect on tone (they do), I'd still play them.. I just love the way they feel!
Looking forward to learning from you... love your sense of humour! All I can suggest is a little structure that I can follow to attempt to do this beautiful instrument some justice. There is so much info out there that some days I don't know what path to take and/or continue down. Thanks for all you do.
Hey Julie, it can certainly be overwhelming. Take comfort in knowing there is no "correct" path. Whatever you're studying, it will have it's benefits. Above all, make sure you're enjoying this magnificent hobby! That said, I'm putting together a progressive "path of study." Likely for the intermediate and beyond levels, hopefully give some assurance and confidence to the pursuit. Let me know if you have any questions!
I have found this book quite helpful over the years. Patterns For Improvisation by Oliver Nelson . $12.95 on Amazon
A couple of years ago I purchased Saxophone Warm-ups: Materials for the contemporary saxophonist by Steve Mark. I wish I had this book in collage. It completely changed my approach (mainly by offering one) to my warm ups and my tone has improved substantially. It is a pretty comprehensive book, but the section on long tones is the one I find most valuable.
Perfect description of Ferling and glad to hear your Chad Eby shoutout!
You know Chad?! He's a hoot.
He is! I was in the Roanoke Symphony with Carmen. She hooked me up with a copy of his Shel Silverstein album and I've been a big fan ever since. I play his work for my sax students and they enjoy yours too.
@@oboeash What a small, fun world! Good to "virtually" meet you, perhaps we'll play a gig one day when the world of music returns!
Just wanted to thank you for making such a great resource available for free (potentially). Specially to those of us who are cheapskates :D No suggestion on contents since I´m an amazing expert with all 5 months of saxophone experience
Ha! Thanks for being part of the academy, Javier. I'm glad you're here! Cheapskates and poor saxophonists are welcome! That's why I'm building free resources, for those who don't have access or can't afford a good teacher. happy Tuesday!
My teacher Joe Allard also taught using Ferling Etudes, as well as Rascher's "Top Tones".
One suggestion as far as material, which I think is very good for jazzers as well; "25 Capricen und Sonate für Saxophon solo" by Sigfrid Karg-Elert (Op.153). I studied those with Joe as well and they really challenging.
I've used the Karg-Elert Atonal studies, they're pretty cool!
Dr. Wally, the Larry Teal book is on Amazon.
There’s a few copies being sold by Meridian winds, but I believe it’s out of print.
SUNY Fredonia has a huge amazeballs collection of Rascher material, maybe reach out to them to see if they have public use .pdf's to share with your students? As for suggestions, maybe include some hardware technicals in your training, e.g. mouthpiece design dynamics, and how reed:tip:baffle:chamber effect sound? I took my first mpc (meyer 5 which I initially abhorred, but my teacher required of us) out after 27 years!!!(grade school) and finally played it again instead of my selmer c*, as I'm jut now getting back into sax, and starting to go for a 'jazz' instead of a 'classical' sound.
Muy bueno.maestro gracias saludos desde peru
Just been searching like crazy for a copy of The Saxophonist's Workbook by Larry Teal as I was watching and then you said it wasn't in print - so I would love a similar book/course by you! Yes please! 👍
I'll get to work! Coffee...need lots of coffee. Happy Wednesday, Alexandra!
Good morning Dr. Wally. You asked what should go into the material you're preparing to put online, and this is my suggestion. Please, whatever exercises you include, accompany them with videos and, if possible, shoot from both the front and the side so we can see exactly what the "ideal" embouchure looks like while doing them, or what you're aiming for us to achieve.
The reason I say this is that I started playing saxophone about ten years ago (after thirty years on flute). I had a few lessons, bought the Rascher and Teal books (The Art of Saxophone Playing, not the Teal Workbook) and one by Eugène Rousseau, and was promptly posted to Africa for several years.
In the absence of a high-speed internet connection I was condemned to learning on my own and only had lessons from a professional instructor (who has since become one of my best friends) about twice a year when I managed to get back to Europe on leave. It's all too easy to flounder around practicing endless scales and exercises but if you don't have a good sound as a reference, and if you can't see your instructor's embouchure, you're almost condemned to learning mistakes.
I'm an avid fan of Rousseau, Rascher, and Teal, but reading printed word (sorry Peter Gabriel) is no substitute for live action.
Thanks a lot Dr. Wally, I'm looking forward to your next video.
PS - apologies if this request is a little late and you've already got that covered, I see that the original post is from the end of September.
After learning the basics I use “First Book of Practical Studies” by Hovey for my students. My go to book from the old days that I still enjoy for a technique tune up, “158 Saxophone Exercises” by Rascher.
I like they Hovey! That was one that made it into my bibliography. I'll dust off the 158, I'm not sure I remember it! Happy Tuesday, Craig!
I used and still use Hovey for clarinet. Good book.
The first book every saxophonist should own is The Universal Method For Saxophone by Paul DeVille. Everything is in it, and I challenge anyone to go through the whole book. I have had it 40 years and I have never gone through the whole book. Of course the other books are great, but if you could only have one book, it is The Universal Method
Another good book is les gammes conjointes, uts pretty much an extended scale book that goes to f# and does also sorts of scale excersises. I love it.
Yes this is a great book and also cheap!
Excellent Book! I listed the Teal due to the other exercises as well as scales, making the Londiex redundant (thought it does go to F# and intervals beyond 3rds). And if I'm honest, I really never practice intervals larger than 4ths. I'm not alone in that, right? RIGHT??
Saxophone Academy yeah it definitely seems a little overkill. Certainly comprehensive! Haha
@@drwallysax I do all intervals (3,4,5,10,15) Just to help with sight reading and to make my tone imagination better.
Now, we all finally know how to pronounce "Peda-go-gee".. getting a bit of English class too... you Rock Doc.....
Thanks, Jim! I do love tee-ching
Dr. Wally thanks again for a great video.
Thanks, Jason! Hope you're having a great Wednesday. Happy practicing my friend!
Excellent choices i have all three .
Here in Texas they always pick one piece from 48 studies for all state auditions
Texas does a lot of things right. Though I once burned my arm leaning against a motel door in Texas. Hot. Man that place was hot. But great bands man.
I really enjoy playing the Ferling studies on saxaphone, so much more than on oboe. I'll often start my practice on oboe, and switch to saxophone on the same etude once I get tired. I like doing this for the reasoning of rationalizing the differences in fingerings, one of which being the insanity of having 3 different ways to play F on Oboe! I'm working towards being a capable multi-instrumentalist. I've been playing on a 1920s Buescher C melody, and I really wish they didn't fall out of vogue when that World War began. I wonder if you might do an episode on the C pitched instruments? Just discovered the channel, so far loving it !
I like Ferling. I think Universal Method is worth mentioning, it's in that category of "I learned on it so you should too" but it does have a lot of challenging pieces that I cut my teeth on.
I would love to see fingerings of altissimo notes. Each note in altissimo should have up to 6 fingerings up to altissimo C.
“My teacher learned so you have to too” funny enough I received that book as a freshman from my teacher also
Awesome video. Yep every serious student shouldn't go without.
Amazing video as always. I've been studing the Ferling book for about a year since now and it's amazing. I would like to see a bit of altissimo and overtones exercises, appart from technique and all that stuff, in a saxophone worbook of fundamentals .
regards from Spain
Great suggestion! altissimo may be outside the scope of the first edition, but certainly overtones. Hope all is well across the pond, happy Wednesday my friend!
Currently i'm using the rubank
The Ferling book seems fiendish and diabolical. My copy arrives tomorrow. I see the Teal book is back in print on Amazon as well. Thank you for all your great content.
hey! Enjoy those great books! (also be sure to check out my new free workbook - Teal doesn't have overtones or scale intervals, but I gots em!)
@@drwallysax Yes! I’ve enrolled in your year long course. I am working in your saxophone fundamentals book as we speak, I mean text. Great stuff! Should be a wonderful ride. Loves me some overtones, at least the first couple so far. Intervals are very good as well.
Word! The rhythms, intervals, and key signatures in Ferling can be soul crushing if you aren't a pretty strong reader/player. I'd suggest working through something like Klose first to keep you from feeling like you've been completely clown-hammered by Ferling.
@@RidingEasttoWest Excellent suggestion! I actually purchased a copy of Klose and then went on a side tangent of working on scales and modes. Time to try it out. I'll keep my eyes peeled for Pennywise.
I found the graded studies books (Faber I think) very useful as they progressively help develop skills and technique. I used the ABRSM grade system to progress and motivate myself.
Daily Warm Up Exercises For Saxophone by Jackie McLean is a good one.
I believe something that is often forgotten in 'method' books, is really explaining what needs to physically happen. How to move hands to keys (remember those palm and side keys) , (how many students is see playing high Fis with two fingers). but especially what happens on the invisible part (tongue, throat: no it's not 'relaxed', but it is not under tension eather). Of course not everything can be explained, everyone is different, but making sure students are aware of what is happening is vital to me. (oh god, I'm rambling a bit)
@Stephen Biebuyck Ramble on Stephen. You bring up some excellent points!!
great suggestion. I actually do keep the sensation of a "relaxed" throat. Does it move? absolutely, but I don't want my students to focus on it. I focus on "voicing" using tongue position - which of course, alters the position of the soft palate and throat - without overcompensating or creating unnecessary stress/strain.
For me it's like the diaphragm - of course it moves, and it's critical - but I focus on abdominal muscles to get the desired result.
@@drwallysax indeed, I also do not talk about the throat but on tongue positioning, mostly involving saying 'ee' and 'aa'. As you call it voicing. I noticed on your earlyer videos you tend to focus on that during teaching. Glad I'm not the only one :p
There should be a slow and fast audio demo of all exercises so you know how they are supposed to sound, for the people who don't have access to a teacher.
That's an excellent recommendation - and in the works. Though, I'm not certain I'll have time to do slow and fast. But - my whole intent is to create high quality instruction for those without access or can't afford a good teacher. Thanks!
@@drwallysax Put your students to good work :p everyone gets an etude!
I’m an avid feeling user and I am reading out of the Sigfreid Karg-Elert book. Top tones is terrifying for me as I am not so good on overtone control.
Thank you, Wally!
You're most certainly welcome! Happy Wednesday my friend!
Technique of the saxophone volume 1, 2 , & 3 by Joseph Viola are also excellent resources
I'm a fan of the Viola books as well. Good stuff!
I like to see front E and front F fingerings for alto saxophone
The Rascher book really works best supplemented with Sinta and Rousseau altissimo books imo. (There are some other books but I don't have experience with them)
Technique of the saxophone is my favorite book.
The Joseph Viola? That was in my dissertation, it's a great book!
Yes. My mentor Eric Person has me learning from it.
"The Art of Saxophone Playing" is a great book! Tough read for middle/high school age kids though, which are all of my students.
Agreed Austin - it's a bit dense. That's why I use my Larry Teal sock puppet to address air support to my younger students. "you see kids, air is like a Pokemon!!" Middle school students are my favorite, I love teaching them the first four bars to the pink panther, and they light up like winning the lottery. Where you teaching?
@@drwallysax I'm in the Charleston, WV area! It's been a lot of fun getting back into the swing of lessons and playing again.
@@youtubebanddirector Fantastic! I'm just south of you, in North Carolina!
Being a doubler, I would add Vade Mecum for oboe.
Couldn't help but laugh when you ranted about the playability of the Ferling etudes and (at random I'm sure) showed the part with those giant ass leaps in etude 4. I kinda made my peace with that measure, but it instantly came to my mind even before you showed it :-D
I love the content and your fun teachingstyle, way to go! Kind regards from Germany, Marc (... you may call me Franz Wilhelm though)
Hey Marc! That was NOT by accident - I actually "tapped" that measure during the b-roll clip. Even the "pros" who demonstrate these for all-state videos sound like poop. It's just a terrible, god-forsaken measure.
Thanks for the kind words, hope the weather in Germany is as nice as it is here in North Carolina! happy practicing my friend.
Doc Wally do you recommend we use a bass + drum recoding to play over? … if so which one + and how to find it? You once mentioned Ebersol. I think.. many thanks, Wayne
I have thought of another thing while practicing just now. There are a lot of times when doing runs that you can make it easier by holding down a certain finger like 4 or 5. I call it planting, as in "I can just plant down 5 for this entire section here." I feel like it would be a cool idea to have exercises where this matters. I know that Rascher's 158 has some good exercises, but I don't think it's talked about enough as an efficiency thing when playing fast and you can get away with any potential timbre changes it would cause
Excellent suggestion. Efficiency in fingering choice and hand position are critical.
The Londeix books 2 and 3 discuss this well from my memory.
@@lukeserrano62 I'm a big fan of his pedagogy, my classical mentor studied with him in Bordeaux. For the life of me, I've never understood his fingering abbreviations.
@@drwallysax Yeah, I know what they all are, but not why they are called what they are. Why p for bis? Why c1-5?
@@drwallysax Ha, yes - maybe he just made them up to intimidate his students. ;) BTW I've gone through the first 12 Ferling etudes over the last couple of days. Haven't touched these since the late 90s when I was at university! I'm currently a Head of Music at a high school, and it's been great getting back into doing some solid practice during a school break over the last two weeks. The trick is now to keep it going when the chaos starts up again tomorrow! Oh and the Reso arrives in a couple of days.
I to use h. Klose Alphonse leduc
It's a great book. Happy practicing, Donna!
@Donna Evans it is. Great book and I love H. Klose!
Great video as always!
Thanks TenorLingLing! Can I call you T-Ling for short?
Saxophone Academy of course!
Are you familiar with Emile DeCosmo’s poly tonal Rhythm studies?
Hey Dr Wallace good to see you again.
I hope all is well how are you?
I would definitely say do overtones since most of the time we miss out on learning how to listen to ourselves in that regard.
Stay safe.
All is well! Thanks for checking in, Samuel. How's practice going?
It’s going great! I’ve been able to crack at more of the harmonic series and technically things are much better.
Ted Nash-?I've heard the nsme,but that's about it.Does anyone have any information on him.Oh,also;Joe Viola?
I think you can find the Teal Saxophonist's Manual here and there, but it wouldn't surprise me if it is not being printed anymore. That is a shame. The staccato patterns and Basic Articulation pattern are some of my favorite practice materials out there. I have written them out in all twelve keys, major and minor. However, I try to play them with as light of a tongue as possible. As Rousseau says, "A short note is a long note played short."
Along that same line, I've seen people mentioning the de Ville Universal Method. I like a lot of the material in there, but in my opinion I think a lot of the exercises in there are "fluff"...they're there just for the sake of being there.
Vibrato development exercises that don't lock the player into a steady undulation are lacking. James Houlik and Eric Lauver's The Complete Saxophonist, one of my favorite texts, does a very good job of development of a spinning vibrato while noting when a constant vibrato is more appropriate.
This probably wouldn't fly today, but a band version of Ronkin/Frascotti The Orchestral Saxophonist would be invaluable.
The Teal / Rousseau / Hemke NASA biographies are really important.
Great suggestions. A lot of the orchestra lit is public domain. Would be touch wit the Band lit, as you mention. Happy Weekend, Jacob!
I was told an insightful story involving Joe Henderson, who was a student of Larry
Teal. Would love to know the exercises Teal taught Henderson that made him the awesome sax man he became.
I imagine it was similar to the workbook and "daily exercises." Two of my teachers studied with Teal - they had me workin' up a storm out of the workbook!
L Bassi “twenty seven virtuoso studies” my teacher Herb Couf turned me on to this book and it is a definite keeper
Thanks Lawrence, I'll check it out! You studied with Couf???? Too cool man! I've had friends with Couf saxophones, nice instruments!
@@drwallysax it was in the mid 60's at Sparks music (later to become Browns and Sparks Music) Royal Oak Michigan. I was in attending Ferndale high school.
@@drwallysax the more i think about it it was at Royal Music where i took lessons
@@lawrencemccoy7021 I also took lessons at Royal music from Jack Kripl. Classical studies really helped me along but I was hoping to learn jazz. Just a youngster back then, I wasnt as focused as I currently am.
@@lawrencemccoy7021 I've still got my Couf alto.
Hi Dr. Wally ............ just like to give you a big thank you for producing such an informative channel and especially in a light hearted manner. You seem to have a very English sense of humour. Quick question for you, when I watched you playing the studies, with that awesome classical sound, I noticed that there appears to be a 'donut' item in the bell of the horn. Is this some sort of tone enhancer? Is this something that Marcel Mule promoted when he was at the Paris Conservatoire for Music I guess in the 1920's? If so does it darken the tonal quality and help the pitch of the lower notes? If so where can I get one? Many thanks
What resource do I need? TALENT
When you find it, save some for me!
I would love to see approach notes and enclosure patterns in the material you are making
Dont' hate me, but I REALLY don't like enclosure or approach patterns. I teach those concepts in context of the greats - through transcription. When I hear someone who's practiced those patterns for ages - it sounds rather formulaic when I hear them improvise (in general). I'd really rather learn how the b9 resolves to the tonic in the context of learning a Charlie Parker solo by ear - then we get the inflection, phrasing, and nuance that pattern books just don't give.
@@drwallysax I completely agree, but in my opinion you have to have the patterns mastered to be able to fluently make lines with them. If the book is focused on jazz, then I would love to see theory through transcription, like you've mentioned.
@@drwallysax "you got that right!" Student of Parker, Trane, Henderson et al
I played baritone sax for 2 decades and switch to alto for ease of traveling. Having a difficult time with low C to Bb. Recently began playing mouth peice for at least 5 mins a day, seems to be helping.
Is their specific mouth peice exercises that would be a benefit to include in this 21st century fundamentals practice guide?
I've enjoyed your videos. I just started learning Sax 1 month ago. I've never played an instrument. So I'm also working to learn music theory and just reading music. All the videos on sax I see gloss over the basics and assume you know what major or minor keys are and what Am7 means? I've resorted to watching music theory vids which usually are based on piano. Also... finding resources. What do I learn first? What should I practice as an extreem noob? Where do I get sheet music or other things to things to play? Software I should use? or websites? Thanks!
No list for the saxophone would be complete without the RUBANK Elementary, Intermediate, Advanced 1 Advanced 2, & Selected studies.
I haven't "seriously" played my sax since high school. Thank you so much for your videos and the way in which you teach. I can't wait for the online course!
Thanks martin, it's live now!
@@drwallysax Thank you! I'm signed up already ! :-)
Hello Dr. W. . Were you a clarinettist before saxophonist ?
I started on bagpipe.
Is 'The Saxophonist's Workbook' perhaps now published as 'Daily Studies for the improvement of the saxophone technique'? Or is that a different book?
Two different books! Good question!
Doc,...are you familiar with the book, "beginning studies in altissimo register by Rosemary Lang", used that with students for the title, but also overtones. Told it had been out of print, but was being re-issued. Foundation studies for saxophone edited by David Hite from Southern Music is a good book also.
GARY! My Doctoral dissertation was a survey of methods and resources, and the LANG was my absolute favorite for altissimo! So excited it might be back in print, it's just so well put together. My favorite thing: simple tunes written in the staff (marked 8va) rather than a kazillion ledger lines! It's fantastic. I like the Hite as well (tried to incorporate many of those elements in my free Fundamentals workbook). Happy Sunday, Gary!
@@drwallysax Thanks Doc. So glad I kept most of my old books. I liked the Lang book for the same reasons. I hope my source on re-issue is accurate. BTW, speaking of publishers, used to work as clinician for Hal Leonard, and played with Hal's son in a band in college. If your interested, I have some great history on them.
Did you start on a replacement for the Teal book?
I'm knee deep on exercises now - hope to be done within a month or so. It will be the backbone of our year-long fundamentals course - all keys and new etudes to boot. It will all be free.
Triads?
Which classical mouthpiece do you play on ?
It's a Selmer Larry Teal
Hey Dr. Wally! In past videos, you’ve talked about overtone scales. Can you share overtone fingering chart? If you have, where can I find that? 😄
Hey Steve - you can find those in the overtone scales download:
www.thesaxophoneacademy.com/overtones
Happy new year my friend!
@@drwallysax Thank you much! I appreciate that. Happy New Year!!
Contact Hal Leonard about reissuing the teal book
I learned it, But list it.
Hello wally could you make a video about Charlie Parker books🙏🏼
Hi Pollo, I like Ominibook as a reference, but not sure what a video would cover?
What is your opinion on the saxxas ligature, also you have a great classical sound?
Honestly never heard of the saxes ligature. Is the question mark about my sound or the ligature? If the ligature, thanks!
@@drwallysax yea it was about the ligature
@@eoinryan8222 I'll check out the saxxas lig if I can get my hands on one. Happy Tuesday!
I been trying to learn Zax-How can I obtain that book-I love it
Afraid I don't know "zax"?
I hope that for the new book there will be also able in German language :-)
Das is not likely. I barely speak English!
I mvst say, I haven’t pvlled ovt the famovs stvdies in a minvte...