Techniques of Saxophone Playing Ebook Free Download

Total Page:16

File Type:pdf, Size:1020Kb

Techniques of Saxophone Playing Ebook Free Download TECHNIQUES OF SAXOPHONE PLAYING PDF, EPUB, EBOOK Marcus Weiss, Giorgio Netti | 188 pages | 31 Aug 2010 | Barenreiter-Verlag Karl Votterle | 9783761821145 | English, German | Germany Saxophone technique - Wikipedia Breathing life into the saxophone should bring you joy. I think all three of the albums I have done recently with Jimmy Chamberlin best known as the drummer of the Smashing Pumpkins have examples of this technique. David Sanborn, another great user of this technique, was gracious enough to be a special guest on our most recent album, Bye Bye Blackbird. Check it out here for more examples. I get emails and questions at clinics all the time about as to what kind of gear I use. Thanks for watching and reading! Frank Catalano is a jazz saxophone player and educator based out of Chicago. His solo albums have been 1 on iTunes and Billboard Jazz Charts. Frank's most recent collaboration features work with drummer Jimmy Chamberlain. You can learn more at his website. Your purchases also help protect forests, including trees traditionally used to make instruments. We understand the importance of online privacy and are committed to complying with the EU General Data Protection Regulation. To reflect our commitment, we updated our terms and conditions. By continuing to use Reverb, you agree to these updates, and to our cookie policy. Learn More. Reverb Articles. Your guide to the latest gear trends, demos, and deals. Sign up for the Reverb Newsletter: Subscribe. By clicking Subscribe, I agree my data may be used for marketing purposes including email communications and third party marketing. Reverb Gives Your purchases help youth music programs get the gear they need to make music. Carbon-Offset Shipping Your purchases also help protect forests, including trees traditionally used to make instruments. Oops, looks like you forgot something. Please check the fields highlighted in red. Learn what all the great musicians seem to know intuitively, how to listen, interact and respond, improvise, and become part of the groove. Developed by the faculty of Berklee College of Music, the book and play-along CD will help improve your timing, technique, and reading ability. Become the great player that everyone wants to have in their band. Lessons throughout this book guide you through technique that is specific to playing the saxophone in a contemporary ensemble. When you play in a band, your primary concern is with melody and improvisation, how to develop your mastery of phrasing, articulations, breathing, chords, scales, and improvisation techniques. Daily practice routines are designed for practicing by yourself or with other musicians. The accompanying CD features outstanding Berklee players and covers a variety of styles including rock, funk, jazz, blues, swing, and bossa nova. This series coordinates methods for many different instruments, and all are based on the same tunes, in the same keys. If you know a guitarist, bassist, keyboardist, vocalist, horn player, etc. This offers students an opportunity to play together and develop a sense of teamwork, while at the same time, learning technical details about their instruments. I feel it is very correct to insist in training the ear, the ability to compose, and especially to read music. As a saxophonist, I am pleased at how Jim Odgren and Bill Pierce combine technical aspects, such as the use of breathing and articulation, with concepts that are purely artistic, whether playing as part of the rhythm section or as a soloist. The book will keep your nose in the music and the CD will keep your ears open to the goings-on of the other musicians who are playing. The World Today Archive - Saxophone playing a health hazard This work is the result of 30 years of personal teaching and performance experience. Beginning chapters consider various brands of saxophones, mouthpieces, ligatures, reeds, and maintenance techniques that reflect the standard practices and expectations of the advanced performer. The secrets that follow develop and improve embouchure, tone, articulation, and finger technique, allowing saxophonists to analyze their own playing and adjust accordingly. Heavner pulls back the curtain further to introduce those secrets for developing the altissimo register and extended saxophone techniques, from circular breathing and multiphonics to slap and flutter tonguing—all absolute necessities for saxophonists seeking to play contemporary classical, jazz, or commercial music. Finally, Heavner concludes by letting musicians in on those little-revealed secrets for taking their saxophones on the road. Saxophone Secrets is the ideal work for saxophonists, saxophone instructors, band teachers, and anyone looking to improve their saxophone performance skills or those of their students. Vibrato and bending are two great techniques that will help to bring your guitar playing alive. Think of any accomplished lead guitarist - all of them would use vibrato and bending at some s Read more. You have no items in your shopping cart. What's this? Checking "Remember Me" will let you access your shopping cart on this computer when you are logged out Close. Forgot Your Password? Join Login. Choose a sheet music product Books eBooks Choose an instrument Guitar. Product details. Buy this print book now from our online retailer. Buy Print Book Now. Audio Sample 1. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Description Specification Reviews Details Teach yourself how to play saxophone with our easy rock saxophone lessons for beginners. Teach yourself: How to play alto sax, how to play tenor sax, how to play soprano sax, or how to play bari sax How to play rock saxophone notes, saxophone scales, saxophone riffs and saxophone melodies used in rock saxophone songs All the fundamental expressive techniques of rock saxophone playing including vibrato and growling Saxophone theory for learning how to read and transpose saxophone music for beginners Rock saxophone tips and saxophone tricks that every player should know when learning saxophone Shortcuts for how to learn saxophone fast by getting the most from saxophone practice sessions Contains everything you need to know to learn to play the saxophone today. Features include: Progressive step-by-step easy saxophone lessons written by a professional rock saxophone teacher Full color diagrams Easy-to- read rock saxophone music for beginners and chords for accompanying all types of saxophones Saxophone chord chart containing diagrams for all important rock saxophone notes rock saxophone exercises, rock saxophone licks, rock saxophone solos and popular easy rock saxophone music for beginners in rock saxophone styles Beginner saxophone lessons have never been this easy for anyone who wants to learn how to play the saxophone, fast. Customers reviews Write your own review. Customer Reviews 2 Item s Show 10 20 50 per page. Customers reviews summary. Write Your Own Review How do you rate this product? Submit Review. Your Recently Viewed Products. Saxophone Tricks: Growling & Split Tones with Frank | Reverb News I get emails and questions at clinics all the time about as to what kind of gear I use. Thanks for watching and reading! Frank Catalano is a jazz saxophone player and educator based out of Chicago. His solo albums have been 1 on iTunes and Billboard Jazz Charts. Frank's most recent collaboration features work with drummer Jimmy Chamberlain. You can learn more at his website. Your purchases also help protect forests, including trees traditionally used to make instruments. We understand the importance of online privacy and are committed to complying with the EU General Data Protection Regulation. To reflect our commitment, we updated our terms and conditions. By continuing to use Reverb, you agree to these updates, and to our cookie policy. Learn More. Reverb Articles. Your guide to the latest gear trends, demos, and deals. Sign up for the Reverb Newsletter: Subscribe. By clicking Subscribe, I agree my data may be used for marketing purposes including email communications and third party marketing. The saxophone is a versatile and expressive instrument and, with proper training and lots of practice, can be relatively easy to play. From practicing the right breathing to properly caring for your instrument, here are a few tips for playing the saxophone to help get you started. Not only does playing the saxophone require more breath than most instruments, but the flow of breath needs to be constant. Diaphragm breathing involves expanding the lungs downward. The combination of tensing these muscles and pushing the abdomen out is the easiest way of training yourself to breathe properly. If possible, try to practice everyday. To encourage yourself to do this, some experts recommend leaving your sax out of the case, set-up, and ready to play. When practicing, make sure your music is positioned in front of you at eye- level. Laying music flat on a table will contribute to poor posture and bad habits are hard to change. Depending on the personal preference of your music teacher, you were probably taught to either hold your instrument between your legs or to the right side of the legs. There are pros and cons of each method, but once you choose a position, stick with it. An invaluable aid for those interested in filling in the gaps in their knowledge and gaining the tools to help them continue to learn and grow. That's what is so special about this series: it gives you the theory you need, but also prepares you to play in a band. This series will help you master the skills you need to become a creative, expressive, and supportive musician that anyone would want to have in their band. Founded in , Berklee Online is the premier innovator and largest provider of worldwide music education, offering more than 75, students from countries the renowned curriculum of Berklee College of Music, at a fraction of the cost.
Recommended publications
  • An Ultrasonographic Observation of Saxophonists' Tongue Positions
    An Ultrasonographic Observation of Saxophonists’ Tongue Positions While Producing Front F Pitch Bends by Ryan C. Lemoine A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2016 by the Graduate Supervisory Committee: Joshua Gardner, Co-Chair Christopher Creviston, Co-Chair Sabine Feisst Robert Spring ARIZONA STATE UNIVERSITY May 2016 ©2016 Ryan C. Lemoine All Rights Reserved ABSTRACT Voicing, as it pertains to saxophone pedagogy, presents certain obstacles to both teachers and students simply because we cannot visually assess the internal mechanics of the vocal tract. The teacher is then left to instruct based on subjective “feel” which can lead to conflicting instruction, and in some cases, misinformation. In an effort to expand the understanding and pedagogical resources available, ten subjects—comprised of graduate-level and professional-level saxophonists— performed varied pitch bend tasks while their tongue motion was imaged ultrasonographically and recorded. Tongue range of motion was measured from midsagittal tongue contours extracted from the ultrasound data using a superimposed polar grid. The results indicate variations in how saxophonists shape their tongues in order to produce pitch bends from F6. i ACKNOWLEDGMENTS I would like to acknowledge and thank the saxophonist who volunteered their time to make this study possible. Also a special thanks to the members of my doctoral committee: Joshua Gardner, Christopher Creviston, Sabine Feisst, and Robert Spring. They have all been sources of encouragement and inspiration, not only during these final stages of my degree process, but for the duration of my studies at Arizona State University.
    [Show full text]
  • The Evolution of the Baritone Saxophone in Jazz History
    THE BARITONE CHRONOLOGY a study of the baritone saxophone evolution in jazz history Piersimone Crinelli Degree Project, Master of Fine Arts in Music, Improvisation Spring Semester 2015 Degree Project, 30 higher education credits Master of Fine Arts in Music, Improvisation Academy of Music and Drama, University of Gothenburg Spring Semester 2015 Author: Piersimone Crinelli Title: The baritone chronology – a study of the baritone saxophone evolution in jazz history Supervisor: Per Anders Nilsson Examiner: Anders Tykesson ABSTRACT This project investigates the history of the baritone saxophone. The role of the baritone saxophone as a soloist instrument has historically often been overshadowed by the tenor or the alto saxophone. Even if important innovations have been made by many great baritonists during the years, no extensive literature regarding the baritone saxophone is to be found. My aim with this Masters´ thesis is to trace the history of the baritone saxophone from its invention until the modern era, around the 80´s. My research questions are: which innovations have been done on the baritone saxophone in the previous century regarding sound, phrasing and articulation? Is there a relation between the first baritone players in jazz history and the modern ones? My purpose is to contribute to the literature regarding the baritone saxophone, creating a chronology of the most influential soloists in jazz music. My aim is also to find methods that could be helpful in a correct approach to the instrument. In addition to this, I have analyzed the ways in which the greatest baritonists have influenced my personal musical background, thus creating a link to my own artistic profile.
    [Show full text]
  • Open Obrienfinalthesis.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC A FUNDAMENTALLY SOUND SWITCH TO BASSOON KATHERINE ANNE O’BRIEN Spring 2010 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music Education with honors in Music Education Reviewed and approved* by the following: Linda Thornton Associate Professor of Music Education Thesis Supervisor Joanne Rutkowski Professor of Music Education Honors Adviser Daryl Durran Professor of Bassoon Thesis Reader Sue Haug Director, Penn State School of Music Thesis Reader *Signatures are on file in the Schreyer Honors College ABSTRACT The bassoon can be an overlooked instrument in the school band. Frequently, this may be attributed to a director’s limited experience with the instrument. An overwhelming amount of material for bassoon pedagogy is available, but not all is appropriate for use in a secondary school setting. Most of these materials were written for more proficient players than the typical middle or high school player. Consequently, directors may give their bassoon students music to learn without re-enforcing the fundamentals of the instrument. Woodwind methods books used in a mixed instrument class may ignore bassoon specific technique, such as “flicking”, voicing, and reed adjustment. The purpose of this thesis was to provide a resource for band directors to assist them in helping their students make the transition to bassoon from another instrument. This resource contains information about the fundamentals of bassoon playing, as well as a list of appropriate method books and a corresponding list of techniques to work on with each exercise. The specific problem of this study was to identify the obstacles facing students beginning to play the bassoon, and give an overview of the process for successfully switching students to the bassoon from another woodwind instrument.
    [Show full text]
  • The Poetics of a Multiphonic Landscape – Reflections on the Project.Torben Snekkestad 2016.Pdf
    ________________________________________________________________________________ THE POETICS OF A MULTIPHONIC LANDSCAPE ________________________________________________________________________________ -! reflections on the project Torben Snekkestad January 2016 Research fellow at Norwegian Academy of Music 2012-2016 The National Norwegian Artistic Research Fellowship Programme Table of Contents Introduction………………………………………………………………………………..4 1. Entering the Multiphonic Landscape ……………………………………………….15 1.1 Acoustical aspects of saxophone multiphonics………………………………………..15 1.2 Interlude – personal note………………………………………………………………17 1.3 Historical Survey……………………………………………………………………....19 1.4 Daniel Kientzy - Les sons multiples aux saxophone…………………………………..23 1.5 Marcus Weiss & Giorgio Netti’s The techniques of saxophone playing……………...24 1.6 Other contributions…………………………………………………………………….26 1.7 So where are we now?…………………………………………………………………29 References……………………………………………………………………………..34 2. Exploring the Territory of Multiphonics …………………………………………...36 2.1 The philosophy behind………………………………………………………………...37 2.2 Step by Step (Factors, parameters and manipulations)………………………………..40 2.3 Method – different levels of manipulation……………………………………………44 2.4 Classification?………………………………………………………………………...45 2.5 The Archive Box………………………………………………………………………46 2.5 Excerpts (from archive box, sketchbooks and recordings)……………………………49 References……………………………………………………………………………..64 3. The Reed Trumpet - a gratifying obstruction……………………………………….65 3.1 Background……………………………………………………………………………65
    [Show full text]
  • The Development of the Saxophone 1850-1950: Its Influence on Performance and the Classical Repertory
    The development of the saxophone 1850-1950: its influence on performance and the classical repertory Abraham Albertus de Villiers A mini-dissertation submitted in partial fulfilment of the requirements for the degree Magister Musicae (Performing Art) Department of Music University of Pretoria Supervisor: Dr DJ Galloway Words: 25 296 January 2014 ii. STATEMENT I declare that the dissertation/thesis, which I hereby submit for the degree Magister Musicae (Performing Art) at the University of Pretoria, is my own work and has not previously been submitted by me for a degree at this or any other tertiary institution. iii. Then suddenly I hear the real note of the saxophone, unforgettable, high, and clear, as if from a heart of brass, the new thing, the thing we have come to hear. To me it has quite passed out of humanity, this famous upper register, but it is still near enough for me to understand; piercing, musical, the cry of a faun that is beautiful and hurt. The leader tips his instrument into the air; he blows with all his force but his cheeks remain pale. He is now at the height of his art. The voice of our age has come through his lips through this marvellous instrument. He is a priest possessed with half human god, endlessly sorrowful, yet utterly unsentimental. Incapable of regret, with no past, no memory, no future, no hope. The sound pricks the dancers, parts their lips, puts spring into their march. This is the thing that makes the saxophone great and brings fortunes and ruin to its players.
    [Show full text]
  • Van Cott Information Services, Inc. Presents Woodwind Books, Music
    Member: Van Cott Information Services, Inc. International Clarinet presents Association Woodwind Books, Music, CDs and More! This is our complete woodwind price list. Ask for the catalog for your area of interest or visit our web site at http://www.vcisinc.com for a complete description of all our products and downloadable catalogs. We accept orders by phone, fax, and the internet. Price List dated 4/01/20 – Price and Availability Subject to Change B115. Concerto for Bassoon & Orch (Pn Reduc) (Mancusi) ................... 19.95 Bassoon B112. Concerto for Bassoon and Orchestra in B-flat (PR) (JC Bach) ....... 17.95 B103. 2 Duos Concertants Op. 65 for 2 Bassoons (Fuchs) ...................... 18.50 B113. Concerto for Bassoon and Orchestra in E-flat (PR) (JC Bach) ......... 6.95 B098. 6 Sonates Op. 40 Vol. 1 for 2 Bassoons (Bodin de Boismortier) ..... 13.95 B118. Concerto for Bassoon & Orch Op. 75 (PR) (Weber/Waterhouse) .. 23.95 B099. 6 Sonates Op. 40 Vol. 2 for 2 Bassoons (Bodin de Boismortier) ..... 13.95 B170. Concerto for Contrabassoon Piano Reduction (Dorff) .................. 16.95 B100. 6 Sonates Vol. 1 for 2 Bassoons (Braun) ........................................ 10.95 B148. Concerto in F major Op. 75 for Bassoon & Pn (Weber/Sharrow) .. 14.75 B101. 6 Sonates Vol. 2 for 2 Bassoons (Braun) ........................................ 13.95 B147. Concerto for F Major for Bassoon and Piano (Hummel) .............. 14.95 B166. 8 More Original Jazz Duos for Clarinet and Bassoon (Curtis) ....... 14.50 B035. Concerto for Bassoon and Wind Ens. (bs & piano ed.) (Ewazen) .. 24.95 B128. 10 (Ten) Etudes for Bassoon (Lowman) .......................................... 4.00 B132.
    [Show full text]
  • Techniques of Saxophone Playing Free
    FREE TECHNIQUES OF SAXOPHONE PLAYING PDF Marcus Weiss,Giorgio Netti | 188 pages | 31 Aug 2010 | Barenreiter-Verlag Karl Votterle | 9783761821145 | English, German | Germany The Techniques of Saxophone Playing/ Die Spieltechnik des Saxophons Because we all relate very intimately to the sound of a human voice, its innate ability to express the emotional part of human nature is indisputable. Of course, all of this is just my opinion, but my guess is that many of you will agree. I believe that we can hone certain skills so that when it comes time to express those powerful emotions we have engrained in our consciousness the techniques necessary to get those emotions across in the most powerful way possible. Remember when you first learned how to scoop notes? For most of us, as newcomers to the instrument, the tendency is to overdo the bending and scooping. There are countless approaches to vibrato and I could probably write an entire article on this subject Techniques of Saxophone Playing. Used by players from Dexter Gordon to David Sanborn, this is an extremely common approach to vibrato in jazz and jazz-related music. Dynamics are a great way of adding elements of depth, drama, and storytelling to your playing. But his approach of playing at a mostly loud volume was his method of deep self expression. For example, we may want to calm our listeners into a mellow trance, and then work our way up to a swift kick in the pants. To make the saxophone really sing, we need to notice the way we attack and release notes.
    [Show full text]
  • The Legendary Saxophonists Collection
    THE LEGENDARY SAXOPHONISTS COLLECTION The LEGENDARY SAXOPHONIST COLLECTION of Vintage Saxophonists, Legendary Virtuosos, Great Artists and Extraordinary Saxophonic Entertainers sets the benchmark both for scholarship and for high-resolution picture and sound. This information was derived from the most authoritative sources from all over the world. The set serves as a critical analytic guide to the developmental performance history of the classical saxophone. This is a museum quality reference. The disks are beautifully hand scripted in the nearly lost legacy left by master engravers James “Jake” Gardner , and Charles “Doc” & Julius Steinberg of Conn as well as the master engravers of Buesch er, (Paris) Evette Shaeffer and (Paris) Selmer. All Video DVDs and Audio CDs have been engineered with state of the art digital studio equipment and feature high definition sound. When one thinks of pioneering saxophonists in classical music, two names immediately come to mind: Marcel Mule and Sigurd Rascher . These men had roughly parallel careers beginning in the 1920s and spanning much of the 20 th century. But what else is known of the classical tradition? The LEGENDARY SAXOPHONIST COLLECTION includes these spirited, passionate men, visionaries intent on establishing the saxophone as an instrument capable of high artistic expression. These artists were the firsts - pioneers searching, probing, experimenting, and working it out; literally treading on new musical ground. Their fervor creates palpable electricity that currents through all of these performances. Feel the adventure! The cumulative effect of these historic performances serves as Pharos : the beacon for all. Available nowhere else in the world. NOTICE: Some selections on these DVDs and CDs contain offensive opinions, politically incorrect language or racially derogatory material.
    [Show full text]
  • UMI Dissertation Publishing
    NOTE TO USERS i This reproduction is the best copy available. UMI Dissertation Publishing University of Alberta "Four Recitals and an Essay: Christian Lauba and His Saxophone Etudes: From an Historical Perspective" by Po-Yuan KU A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Music Department of Music ©Po-Yuan KU Fall 2009 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-55841-6 Our file Notre r6f6rence ISBN: 978-0-494-55841-6 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant
    [Show full text]
  • El Saxofón En Guatemala Historia | Ejecución | Educación
    El Saxofón en Guatemala Historia | Ejecución | Educación Presentado por Rosse Mary Elizabeth Aguilar Barrascout Licenciatura en Ejecución Musical Programa de Actualización y Cierre Profesional UNIVERSIDAD DA VINCI DE GUATEMALA Guatemala, 6 de mayo de 2019. ABSTRACT El saxofón, uno de los instrumentos relativamente más recientes en la historia de la música, ha sido parte de la enseñanza y la formación de músicos ejecutantes en Guatemala. Es un instrumento altamente versátil, y con una creciente oferta educativa local. El presente trabajo, siendo el primero en su tipo en el país, aborda la historia del instrumento, desde su creación en Europa hasta su llegada a América; se menciona su uso en bandas marciales y el jazz, no solo en EEUU sino en Guatemala, en donde ha cumplido un papel importante en la formación de músicos. Se presentan las instituciones públicas y privadas, de tipo extraescolar, educación media y superior, en donde se ejecuta y enseña el instrumento. Se toma como base el método inductivo, y los datos fueron recopilados en base a observación, entrevistas, cuestionarios e historias de vida de algunos de las personas importantes en el tema. La delimitación del tiempo del saxofón en el país está abierta, ya que es instrumento que está empezando a popularizarse; se encuentran registros de los primeros saxofonistas de Guatemala a principios del siglo XX hasta nuestros días, no siendo muchos en número. Este trabajo deja una puerta abierta a seguir recopilando nombres, instituciones, ensambles, bandas, orquestas y dejar un legado importante sobre el saxofón en el país, debido a que no existía un registro del tema.
    [Show full text]
  • US Army Band Section Leader Handbook
    TC 12-44 Army Band Section Leader Handbook MAY 2005 Headquarters, Department of the Army DISTRIBUTION RESTRICTION: Approved for public release; distribution is unlimited. This publication is available at Army Knowledge Online (www.us.army.mil) and the General Dennis J. Reimer Training and Doctrine Digital Library at (www.train.army.mil). TC 12-44 Training Circular 12-44 *TC 12-44 Headquarters Department of the Army Washington, DC, 23 May 2005 ARMY BAND SECTION LEADER HANDBOOK TABLE OF CONTENTS PREFACE ................................................................................................ iv CHAPTER 1 MUSICAL INSTRUMENTS ............................................. 1-1 BRASS GROUP....................................................................................................... 1-1 Trumpet ............................................................................................................ 1-1 Euphonium/Baritone ......................................................................................... 1-2 French Horn ...................................................................................................... 1-3 Trombone.......................................................................................................... 1-4 Tuba.................................................................................................................. 1-6 WOODWIND GROUP ............................................................................................... 1-9 Flute ................................................................................................................
    [Show full text]
  • Let's Discover Their Potential
    About Andy Let’s The Andy Firth Reeds virtuoso Andy Firth has performed with some discover Masterclass of the world’s finest jazz acts and ensembles. In 2008, Andy was invited to play a concert under his own name their Series at the famed Recital Hall in Carnegie Hall, New York, with guest artist, US clarinet legend, Buddy DeFranco. There are many topics that I love to talk about and teach, so I potential... Andy is a published composer and arranger with have put together a list of some of my most popular classes. In the classrooms and playgrounds Boosey & Hawkes London, Trinity College London, All workshops and masterclasses are designed to inspire Reed Music Australia, Alfred Music and AMEB of our schools and colleges await the confidence and practice in order to achieve better results. next generation of great performers Publications. He has been awarded an Australian For the Student film and television award, MO award for best live jazz and artists. Specifically for clarinet and saxophone students. performer in Australia, South Australian Jazz Archives I believe that all they need is the chance For best results, please allow a minimum of 1 hour per class. Award and an Australia Day Honours award for his • Clarinet Technique Class (Beginner to Advanced) services to music in Australia. to see where careful study, practice, In 2000, US mouthpiece maker Lomax Classic, • Saxophone Technique Class (Beginner to Advanced) discipline and having fun doing what further honored Andy with his own series of clarinet they love doing, can take them. • Improvisation: Beginner mouthpieces, the “Andy Firth Jazz Series”.
    [Show full text]