North American Saxophone Alliance May/June 2006 in this issue... President’s Message President’s Message I write this message on the heels of years. Their regions have had many 1 another successful Biennial Confer- very successful conferences over the ence. Many thanks again to Kenneth years. Thank you Jackie and Jim for Tse and all the others in Iowa City your contributions to NASA. Bernard Member Update who helped organize this conference. Savoie has also decided not to continue 2 Special thanks are due to all those who for another term as Region 10 Direc- performed at this conference. It is the tor. He has contributed in many ways performers who share their talents and over the years-we remember espe- new and varied repertoire that make cially his work organizing the 2000 Sixth Annual Siskiyou these events truly special. World Saxophone Congress in Saxophone Workshop Montreal. 2 It appears that North American participation will be very strong at the At the NASA General Membership upcoming World Saxophone Congress meeting in Iowa City, changes to the in Ljubljana, Slovenia. Seventy-seven NASA constitution were approved Flute and Clarinet soloists and ensembles from Canada creating a new, low-cost youth mem- Doubling Tips and the United States are scheduled to bership. This new membership cat- 3 appear on the program in July. Lists of egory will facilitate some of our performers and further information on outreach activities, allowing those conference attendance can be found under 18 years of age to attend on the official WSC web site at http:// regional conferences and obtain full www.worldsax.net. access to the new NASA web site. We hope to be able to involve younger I am pleased to announce the audiences at many of our regional appointment of two new NASA conferences next year. Regional Directors. David Dees (Texas Tech University) assumes the Jonathan Helton, President Directorship of Region 4. James [email protected] Kasprzyk (Vandercook College of Music, Chicago Saxophone Quartet) is the new Director for Region 5. Please join me in welcoming them to their new positions. We look forward to their contributions to the Alliance. A word of appreciation is due to those who are stepping down. Jackie Lamar and Jim Umble have both served as regional directors for many 2 Martin Wesley Smith’s composition Stanislaus in Turlock, CA. In addition Member “Weapons of Mass Distortion” he was a featured soloist with The written in reaction to the US invasion Walnut Creek Concert Band of Iraq. Last September, Dr. Wolfe (SanFrancisco Area), and the Update performed Duquesne University Wind Ensemble. The Ancia Quartet presented the with “Ensemble C’est La Vie” for the American premiere of Gregory Rhea Miller Concert Series in Vajda’s Forgo (Turning) as part of Saginaw, Michigan. He recently gave the Music Now and From Almost a master class on “Motivic Improvisa- Southern Oregon Yesterday series at the University of tion” at Bowling Green State Univer- Wisconsin-Milwaukee on March 16, sity and was a featured clinician along University and Britt 2006. The Quartet also performed on with Branford Marsalis at the 17th the Sonict New Music series at the annual Central Flordia “SaxFest.” Festival Present the University of Wisconsin-Whitewater and on Wisconsin Public Radio’s Sixth Annual Siskiyou Sunday Afternoon Live at the Matt Olson has released his Saxophone Chazen. Included were perfor- debut jazz CD entitled Vortex. mances of Indianapolis composer Recorded in Phoenix in September Workshop Chris Rutkowski’s Dervish, Jonathon 2005, it also features trumpeter Vern Dove’s Tuning In, and Pitch Black Sielert, pianist Mike Kocour, bassist June 26-29, 2006 by Jacob ter Veldhuis. Ancia Quartet Dwight Kilian, and drummer Dom members are Kurt Claussen, Joan Study saxophone this summer in Moio. More information on Matt’s the valley between the Cascade and Hutton, Matthew Sintchak, and new recording can be found on his Angela Wyatt. Siskiyou mountain ranges. The website(www.MattOlsonMusic.com). Siskiyou Saxophone Workshop offers a fun and relaxing environment to study with an internationally re- nowned faculty. Directed by Rhett Bender (Southern Oregon University) this year’s artist/teachers are John Bleuel (State University of West Georgia), Julian Nolan (University of British Columbia) and Don Aliquo (Middle Tennessee State University). The Siskiyou Saxophone Workshop is designed for intermediate to advanced saxophonists. High School, College and advanced adults are encouraged to apply. All Saxophone voices (soprano, alto, tenor, and baritone) are welcome. Saxophone quartets coached by the faculty serve as the Photo L-R: Angie Wyatt, Kurt Claussen, Joan Hutton, Matt Sintchak, Chris Rutkowski) foundation of the workshop. In addition to quartet rehearsal, the students will participate in the George Wolfe, Professor of Joe Lulloff has presented recitals Siskiyou Saxophone Orchestra with Saxophone at Ball State University and master classes at The University instrumentation from bass to was recently honored by being of North Texas, Baylor University, sopranino, special topic master- featured in David Horowitz’s new Texas State University in San classes, jazz clinics, and enjoy the book, “The Professors: 101 Most Marcos, The Cincinnati Conservatory faculty recital, as well as the opportu- Dangerous Academics in America.” Saxophone Day in Cincinnati, OH, nity to have a private lesson with Wolfe has been active performing and University of California - workshop faculty. The workshop 3 begins on Monday with an opening each instrument. Be sure it includes Remember that the clarinet overblows faculty recital. Participants will all alternate and chromatic fingerings. at the interval of a 12th, not an octave perform in a closing recital. Workshop The Frederick Westphal’s Guide to like the saxophone and flute. participants may earn graduate or Teaching Woodwinds is an excellent Our goal as a doubler is to play under-graduate credit through South- source for these charts. these instruments with fine intonation. ern Oregon University’s Extended Use a light finger touch on flute However, many saxophonists have a Campus Programs. For more infor- and clarinet when practicing tech- tendency to “overblow” the flute and mation contact Joelle Graves at nique. The springs that hold the keys the result is often playing sharp. Be 800.882.7488 ext.122 or visit off the tone holes are approximately aware of this tendency and make sure www.brittfest.org. half the size of saxophone springs. If to practice with a tuner. The opposite your fingers are too heavy, your air is true with clarinet intonation, partly stream may be negatively affected. because the embouchure is firmer. Flute and Clarinet This can be especially detrimental on To counteract this flat tendency, use a the flute where it is very easy to slightly shorter barrel to help alleviate Doubling Tips from a disturb your airflow into the head this problem. Saxophonist’s joint. Finally, schedule lessons with a It is important to have a concept of qualified professional to ensure proper Perspective sound for each instrument. Purchase pedagogy. I hope these ideas are Chris Beaty a few quality recordings of flute and helpful to you in your quest to develop Assistant Professor of Saxophone clarinet artists such as Jean-Pierre your skills as a doubler. Jazz Studies Rampal and Eddie Daniels. Many Eastern New Mexico University beginning flutists have difficulty Bibliography maintaining a round, steady tone. Many saxophonists consider being Daily long tones will help facilitate a Liebman, David. Developing a able to play different woodwind better overall sound. Marcel Moyse Personal Saxophone Sound. instruments a valuable skill as a sonority studies or the Trevor Wye Medfield, MA: Dorn, 1989 teacher and performer. Here are a tone studies volume are good sources few helpful ideas for aspiring wood- for this. Visualize yourself blowing Moyse, Marcel. De la Sonorité. wind doublers. into the back wall of the flute to Paris, Alphonse Leduc, 1934 The first important step is to find a achieve a more focused, round tone. quality instrument. When buying a This requires flexibility in the top lip Westphal, Frederick W. Guide to flute, purchase a solid silver head which is a distinct difference from the Teaching Woodwinds. Boston, joint, or at least silver-plated, as clarinet and saxophone embouchures. McGraw-Hill, 1962 opposed to a nickel-plated head joint. Tone production when transitioning to A wood clarinet is preferred over a clarinet is not usually as big a chal- Wye, Trevor. A Practice Book for plastic model. If you are purchasing a lenge, but when working toward the Flute: Volume 1 Tone. London, used wood clarinet, be sure to check improving your sound on clarinet, be Novello, 1980 very carefully for cracks or if pos- sure to keep the angle of the instru- sible, take the instrument to a qualified ment at approximately a 35-45º angle repair technician for a careful inspec- from your body. This is an important tion. Wood instruments are least difference from the saxophone where prone to cracks when they are kept at your mouthpiece enters at approxi- a steady temperature and humidity mately an 80-90º angle. For sound Update Staff: level. When selecting reeds for production, overtone exercises are clarinet, consider purchasing 1/2 to 1 very beneficial on saxophone. David Editor strength higher than you use on Liebman presents an excellent J.Scott Turpen saxophone to compensate for the explanation and set of exercises in smaller mouthpiece opening. Developing a Personal Saxophone Art Direction When you have found a quality Sound. They can also be used on Darryl Dean instrument, you should obtain a flute and clarinet to improve flexibility complete fingering and trill chart for and overall tone quality in all registers. Presort Std U.S. Postage 6 PAID North American Saxophone Alliance Laramie, WY Permit No.