saxophone handbook 2015

gca s o n1 23 @ gm ai l . co m 77 0 . 71 2 . 171 9 h t t p s : / / s i t e s .go o g l e . com /s i t e / gca s on 12 3

This document provides suggestions for helping teachers and students

manage and correct common saxophone issues. These ideas

are compiled from years of study, practice, lessons, teaching,

research, and performance. Topics include: mouthpiece,

ligature, reed, embouchure, playing position, air, voicing,

altissimo fingerings, tone, vibrato, tonguing, tuning, pitch

tendencies, alternate fingerings, hand position, technique, style,

various problems, assembly, repair, and other musical items.

2015

Saxophone Handbook

and

Doctoral Study Project: Activating Students’ Prior Knowledge

Getting the best out of your students.

M. Glenn Cason, Ed.D.

DR. M. GLENN CASON

Saxophone Handbook

and

Doctoral Study Project

Activating Students’ Prior Knowledge

Getting the best out of your students.

For my colleagues.

M. Glenn Cason, Ed.D. © 2015 All Rights Reserved

Table of Contents

BRIEF DESCRIPTIONS ................................................................................................................ 1

Assembly ................................................................................................................................. 1

Mouthpiece .............................................................................................................................. 1

Pitch .................................................................................................................................. 1

Ligature .................................................................................................................................... 1

Reed ......................................................................................................................................... 1

Strength ............................................................................................................................. 1

Type .................................................................................................................................. 1

Embouchure ............................................................................................................................. 2

Tongue/Voicing ....................................................................................................................... 2

Playing Position ....................................................................................................................... 2

Posture .............................................................................................................................. 2

Instrument ......................................................................................................................... 2

Neck Strap ........................................................................................................................ 2

Mouthpiece ....................................................................................................................... 2

Hand Position........................................................................................................................... 3

Air Stream ................................................................................................................................ 3

Tone ......................................................................................................................................... 3

Tonguing .................................................................................................................................. 3

Vibrato .............................................................................................................................. 3

Tuning ...................................................................................................................................... 3

Pitch Tendencies ...................................................................................................................... 4

Alternate Fingerings ................................................................................................................ 4

Technique ................................................................................................................................ 4

Speed ................................................................................................................................. 4

Bis key ............................................................................................................................... 4

Style ......................................................................................................................................... 5

How to Practice ........................................................................................................................ 5

Practicing New Passages ................................................................................................. 5

Warm Up Your Embouchure and Instrument ................................................................... 5

Review Earlier Music ....................................................................................................... 5

Practice Current Music .................................................................................................... 5

Finish Up .......................................................................................................................... 6

Altissimo .................................................................................................................................. 6

Other ........................................................................................................................................ 6

Trills ................................................................................................................................. 6

Grace Notes ...................................................................................................................... 6

Lip Slur ............................................................................................................................. 6

Ritardando ........................................................................................................................ 6

Repair ....................................................................................................................................... 6

“My horn won’t play!” ..................................................................................................... 6

“My horn won’t play low!” .............................................................................................. 7

FULL DESCRIPTIONS AND REMEDIES ................................................................................... 8

Assembly ................................................................................................................................. 8

Mouthpiece .............................................................................................................................. 8

Pitch .................................................................................................................................. 8

Ligature .................................................................................................................................... 8

Reed ......................................................................................................................................... 9

Strength ............................................................................................................................. 9

Type .................................................................................................................................. 9

Embouchure ........................................................................................................................... 10

Tongue/Voicing ..................................................................................................................... 10

Playing Position ..................................................................................................................... 11

Posture ............................................................................................................................ 11

Instrument ....................................................................................................................... 11

Neck Strap ...................................................................................................................... 11

Mouthpiece ..................................................................................................................... 11

Hand Position......................................................................................................................... 12

Air Stream .............................................................................................................................. 12

Tone ....................................................................................................................................... 12

Tonguing ................................................................................................................................ 13

Vibrato ................................................................................................................................... 13

Tuning .................................................................................................................................... 13

Pitch Tendencies .................................................................................................................... 13

Alternate Fingerings .............................................................................................................. 14

Open C# .......................................................................................................................... 14

Fourth line D .................................................................................................................. 14

First ledger line A ........................................................................................................... 14

Fourth space E ............................................................................................................... 15

Second space A. .............................................................................................................. 15

Low D below the staff and first line E: ........................................................................... 15

Palm keys ........................................................................................................................ 15

Technique .............................................................................................................................. 15

Long Tones ..................................................................................................................... 15

Octave slurs .................................................................................................................... 15

Scales .............................................................................................................................. 15

Thirds .............................................................................................................................. 15

Speed ............................................................................................................................... 16

Bis key ............................................................................................................................. 16

Style ....................................................................................................................................... 16

How to Practice ...................................................................................................................... 17

Teachers ......................................................................................................................... 17

Practicing New Passages ............................................................................................... 17

Warm Up Your Embouchure and Instrument ................................................................. 18

Review Earlier Music ..................................................................................................... 18

Practice Current Music .................................................................................................. 18

Finish Up ........................................................................................................................ 19

Altissimo ................................................................................................................................ 19

Overtone Series .............................................................................................................. 19

Voicing ............................................................................................................................ 20

Fingerings ....................................................................................................................... 20

Other Musical Concerns ........................................................................................................ 21

High G ............................................................................................................................ 21

Trills ............................................................................................................................... 21

Grace Notes .................................................................................................................... 21

Lip Slur ........................................................................................................................... 22

Ritardando ...................................................................................................................... 22

Various Problems, Causes, and Remedies ............................................................................. 22

Sharp, thin sound ............................................................................................................ 22

Notes not speaking .......................................................................................................... 23

Hollow sound .................................................................................................................. 23

Sharp D and E ................................................................................................................ 23

Repair ..................................................................................................................................... 23

“My horn won’t play!” ................................................................................................... 23

“My horn won’t play low!” ............................................................................................ 24

DOCTORAL STUDY PROJECT: ACTIVATING STUDENTS’ PRIOR KNOWLEDGE ........ 25

Introduction ............................................................................................................................ 25

How to Use the Lesson Plan Sequence .................................................................................. 27

Lesson Plan Sequence to Activate Students’ Prior Knowledge: Plan ................................... 28

Lesson Plan: Detail ................................................................................................................ 29

Lesson Plan: Components...................................................................................................... 30

Research-based Support Summarized ................................................................................... 30

On the Board .......................................................................................................................... 31

On the Board: Sample ............................................................................................................ 31

The 9 Most Effective Instructional Strategies ....................................................................... 31

Format .................................................................................................................................... 32

Plan ........................................................................................................................................ 33

Lesson Introduction ............................................................................................................... 34

RESUME ...................................................................................................................................... 39

p. 1

© 2015 M. Glenn Cason, Ed.D.

Brief Descriptions

Assembly

I have my students put on the neck strap first, and then assemble the instrument from the largest

part (body) to the smallest part (reed). Reverse the process after playing.

Mouthpiece

Selection: Best to stay with mouthpieces that have a square chamber inside, not arched or round.

Placement on neck: typically about 1/3 of the cork showing.

Pitch

Play at the top third of the pitch. This pitch is an A concert on the alto saxophone mouthpiece, G

concert for tenor, D concert for baritone, and C concert for soprano. This should be in the top

third of the range of the mouthpiece if you made a high/low “siren” sound.

Ligature

Generally: Ideally, you would pick one that is holds the reed securely without damaging the reed,

free blowing, produces the same results in all registers, and does not generate or increase the

“buzziness” of the reed.

Observations: The $10 ligature that comes with most mouthpieces is generally good for middle

school and most high school players.

Reed

Strength

Generally: Soft enough for all of the notes to speak easily, hard enough to create enough

resistance so that the intonation is consistent and the tone is full.

Specifically: Strength 2 ½ for beginners for the first 10 weeks or so of playing, then strength 3

after that. I play Hemke reeds, strength 3.

Type

Wood: Reeds out of the box are usually not ready for performance. They must be sanded,

flattened, adjusted, and sealed.

Synthetic: Legere reeds come in quarter sizes where a player can easily find the right strength

and not half sizes always creating a compromise for the player. Start with a 2.5 and move to a

2.75 later. Beginner reeds cost between $6 and $15 but last for months/years with no

adjustments. A good alternative to a wood reed.

p. 2


Embouchure

Mouth: Teeth on top of the mouthpiece, small amount of lower lip over the lower teeth to

provide cushion, corners comfortably firm, chin flat.

Lip Placement: very important—lower lip is placed at the point where the reed and mouthpiece

lay meet. This point is usually about ½ inch+/- from the tip of the mouthpiece.

Tongue: Generally, the tip of the tongue is flat/straight, not pointed down. For the low register,

the voicing should be similar to, “whoooo;” the middle register, “haaaaay” and the upper

register, “heeee.” The back of the tongue will raise as you play overtones, the upper register, and

in the altissimo register. Voicing can be used to correct intonation issues.

Tongue/Voicing

The movement of the tongue position relative to the register being played is called, “Voicing.”

Voicing is a very important part of playing the saxophone just as it is in playing a brass

instrument and should begin early. Correct tongue position will help maintain a consistent sound

and correct intonation.

Generally, the tip of the tongue is flat/straight, not pointed down. For the low register, the

voicing should be similar to, “whoooo;” the middle register, “haaaaay” and the upper register,

“heeee.” The back of the tongue will raise as you play overtones, the upper register, and in the

altissimo register. Voicing can be used to correct intonation issues.

Playing Position

Posture

While sitting, the back is straight and the body relaxed, but more importantly, the hips are rotated

forward so that the body torso is aligned vertically creating a nice open, support system for the

air. It is important to keep the feet forward and not under the chair. “Feet flat, back straight,

hinny on the hump!”

Instrument

“Should my students play the instrument on the side or in the front?” The instrument should be

in whichever position allows for (a) maintaining correct sitting position, (b) correct hand position

to the keys, and (c) least amount of instrument contortion to fit the player.

Neck Strap

The neck strap needs to high enough so that when the head is held naturally and normally, the

mouthpiece will go straight to the lower lip and the upper teeth should allow the student to look

straight ahead.

Mouthpiece

The mouthpiece should come to the lower lip so that the mouthpiece is flat against the lip.

p. 3


Hand Position

Both hands curved like an open “C”. This is very important.

Hands should move very little while playing.

The left hand should be curved so that the palm keys can be played with as little movement as

possible.

Air Stream

Fast and focused. Tongue position low. Similar to blowing, “whoooo.”

Tone

Round and full; fluid. A good way to find the “sweet spot” of sound is to start with a somewhat

pinched embouchure and gradually loosen it. There will be a noticeable “opening” of the sound

when it hits the sweet spot.

Tonguing

The front end portion of the tongue should touch the tip of the reed to stop the sound. Typically,

the “tip” of the tongue is never used, but rather about ¼ inch back from the tip touches the reed.

Neither the jaw nor the throat should move while tonguing.

Vibrato

Vibrato is not an ornament to the sound, but a part of the sound (Dr. Frederick Hemke,

November 1995).

The vibrato only goes down from the pitch center and then quickly back up to pitch:

——v——v——v——v——v——v——v——v——v——v—— v——v——

Strictly speaking, the vibrato does not “swirl” or “spin;” the pitch goes down, then back up. If

the embouchure is tightened at all, the tone just pinches and the pitch does not sharpen. If you

tighten the embouchure to “make the pitch go up,” you are only changing the timbre of the

sound, not the pitch. The saxophone pitch, because you are already playing at the top third of the

mouthpiece range, is not affected by tightening the embouchure. If you tighten the embouchure,

you are only creating buzz and choking off the sound. If you try to make the vibrato a circular

motion, as most teachers recommend and students do, the end result is a change in the timbre,

then a flattening of the pitch, not a sharpening and flattening of the pitch as they would suggest.

Vibrato should change the pitch, not the timbre.

Tuning

Fifth line F# is generally the best note to tune all saxophones.

p. 4


Pitch Tendencies

Fourth line D (which uses the first octave key located at the top of the body) is sharp and then the

pitch gradually flattens to G# above the staff. First ledger line A uses the second octave key (the

one on the neck) and then gradually flattens to second ledger line C. Generally, the opposite

happens in the lower register. Open C# is very flat.

Alternate Fingerings

Open C#: Can be significantly flat. First and best option is the octave key and the G key.

Fourth line D. Depending on the instrument, add the low Bb or B key closing keys on the bell.

First ledger line A. Can be very sharp; use ●●○|○●○

Fourth space E. Usually adding the low B key (closing the key on the bell) brings the pitch

down enough.

Second space A. Open the F# alternate key or G# key to raise the pitch.

Low D below the staff and first line E: open the low C# key if necessary.

Palm keys can be sharp. An alternate would be to reduce the number of keys open. Generally,

an Eb can be played without the D key, an E can be played without the D key, and F can be

played without the D key, and so forth.

Technique

Long Tones: Allows the player the opportunity to focus on lip placement, tongue position, air

stream, hand position, and tone.

Octave slurs: This slur pattern will reveal any embouchure/tongue/air problems immediately.

Scales: Play all scales the full range of the horn at MM=152.

Thirds: The quickest way to increase technique is to play thirds the full range of the horn.

Speed

“Never play it faster than you can play it right!” Stop teaching your brain, fingers, and ear the

wrong notes! Stop learning it wrong! If you’re making mistakes while practicing, then you’re

playing it too fast, or not focused on what you’re doing. In either case, stop, slow the tempo

down, and continue to practice. Don’t practice for a certain amount of time; practice until you

get it right.

Bis key

The Bis key is the small key located between the B and A key on the left hand. It is played with

the left index finger simultaneously pressing the B and Bis key. I would not advise using the Bis

key for chromatic passages at all.

p. 5


Style

Singing syllables help demonstrate understanding and give the teacher a quick, formative

assessment of what is in the students’ heads. Sing first to understand style, sing and finger the

notes second to understand how it works together, finally play the passage.

Accents, marcatos, and staccatos have to be shorter at faster tempos and certain styles.

How to Practice

It is important to remember that, “Practice makes permanent; therefore, practice perfectly.”

Practicing New Passages

Never play the passage faster than you can play it correctly! Otherwise, you’re just practicing

errors and learning to play the passage wrong! Teach your fingers, ear, and brain only one way

to know the passage—the right way. This really can’t be overemphasized…

Sixteenth note passages: play the first 5 notes until those notes are completely even. Next, skip

the first note of the first beat and play 5 notes starting on the second note of the first beat; this

will create a pattern from the “e” of the first beat to the “e” of the second beat. After mastering

that 5 note pattern, start of the “&” of the first beat and play to the “&” of the second beat.

Continue moving to the third, then fourth note of the pattern until the passage is learned.

Learn passages with all of the musical elements in them from the very beginning.

Warm Up Your Embouchure and Instrument

Five minutes: Warm up on the mouthpiece. Play long tones on the mouthpiece for 8 seconds or

longer using a fast air stream. Gradually increase the time you can play a long tone. Saxophone

students form a secure embouchure and play medium high (concert A, G# with neck, or top 30%

of range) on the mouthpiece with a steady sound.

Assemble the instrument and play the learned notes as long tones. Make sure the tone is very

steady and the hand position and horn angle are correct.

Review Earlier Music

Five minutes: Start at least one page back, and play the notes, rhythms, fingerings, and musical

elements. Play them exactly as written; hold all notes out full value, and tap your foot. Play

each line at least two times. To develop listening and ensemble skills, play the lines with the CD

accompaniment.

Practice Current Music

Five minutes: play the current music from band class or private lesson. Don’t just play from the

first measure to the last, but play the music in sections. Work on individual sections by

note/fingering problems, tonguing/slurring problems, phrasing/breathing problems, and so forth.

Practice with a purpose and a goal in mind: you want to accomplish something specific that you

couldn’t do before and make the things you can do even better!

p. 6


Finish Up

Five minutes: play something fun. Go to the earlier pages of the book to play tunes you really

like and use the CD accompaniment. Experiment. Play some tunes for your parents or friends.

Altissimo

A four-octave range for the saxophone is normal, not exceptional. There are entire books written

on how to prepare, study, and play in the altissimo.1 Mastery of the embouchure, tongue

position, air stream, voicing, and technique must be well established before attempting the

fingerings, and saxophone equipment can make a significant difference in altissimo response.

Refer to Altissimo on page 19 for details on the overtone series, voicing, and fingerings.

Other

Trills

Trill up to the next note as dictated by the key signature.

Trills are measured.

Trills start and stop on original note.

In very fast left hand trills, it is acceptable to reach over and trill with the right hand.

Grace Notes

Start the grace note(s) before the beat; play the principle note on the beat.

Lip Slur

Move/open the lip/jaw to decrease the pitch but not so much as to change the timber or stop the

sound.

Ritardando

Each note as it progresses through the ritardando gradually gets longer in its relative value in the

ritardando.

Repair

“My horn won’t play!”

“Regular” notes won’t come out: make sure the student is not pressing the first palm key with

their hand (D palm key) or opening the side Bb key. Correct by using proper hand position.

1 Rascher, Sigurd. Top Tones for Saxophone: A Four-Octave Range. Third Edition Carl Fischer Music, 1977.

Rousseau, Eugene. Saxophone High Tones. Etoile Music, 1978. Sinta, Donald and Denise Dabney. “Voicing:” An

Approach to the Saxophone’s Third Register. Sintafest Music Co., 1992.

p. 7


There should always be a slight gap between the octave key that sticks up above the body of the

instrument (thus the need for the end plug when you put it in the case) and the octave key

mechanism on the neck.

“My horn won’t play low!”

Make sure the neck is not turned too much to the left or right. The brace under the neck should

align with the octave key mechanism.

Reed is too soft and the embouchure is too firm.

General leaks and pads not sealing.

p. 8


Full Descriptions and Remedies

Assembly

I have my students put on the neck strap first, and then assemble the instrument from the largest

part (body) to the smallest part (reed). If playing a wood reed, take a reed out and put it in the

mouth to begin soaking. Put the neck strap around the neck and then grabbing the saxophone

body by the bell brace, connect the neck strap to the body. Take the end plug out of the body,

put it in the case, and insert and align the neck into the body; tighten the screw to secure the

neck. Place the instrument on the right leg and while holding the neck with the left hand, gently

twist the mouthpiece onto the neck. Place the ligature, with the screws facing the right hand

side, on the mouthpiece. (“Regular” and inverted ligatures are constructed so that the adjustment

screw(s) are always on the right side.) Take the butt end of the reed and slide it down between

the ligature and mouthpiece; this keeps the tip of the reed protected from going up between the

ligature and mouthpiece. Align the reed so that it is distributed evenly side to side. The tip of

the reed should be just barely, slightly down from being even with the mouthpiece.

After playing, take the reed off by pushing it up and then place it in the reed case. To

disassemble the instrument, reverse the above process.

Mouthpiece

Selection: Selmer C* is excellent and always a solid choice; responsive and consistent in all

registers (which isn’t the case for all mouthpieces). Other than the C*? Careful. Best to stay

with mouthpieces that have a square chamber inside, not arched or round. The $5 and $10

mouthpiece will soon hinder any beginner.

Placement on neck: typically about 1/3 of the cork showing.

Pitch

Play at the top third of the pitch. This pitch is an A concert on the alto saxophone mouthpiece, G

concert for tenor, D concert for baritone, and C concert for soprano. This should be in the top

third of the range of the mouthpiece if you made a high/low “siren” sound. Consistently playing

the correct pitch on the mouthpiece will solve a multitude of problems.

Ligature

Generally: For most reed players, it is difficult to understand how much such a little thing as a

ligature can affect the sound. A friend of mine calls it “A clamp; what difference should it

make?” However, the ligature makes a big difference to the tone. There is no straightforward

answer to which ligature someone should play. The answer is whichever one creates the best

tone you want. Ideally, you would pick one that is holds the reed securely without damaging the

reed, free blowing, produces the same results in all registers, and does not generate or increase

the “buzziness” of the reed.

Observations: The $10 ligature that comes with most mouthpieces is generally good for middle

school and most high school players. For me, the Giglioti created a lot of noticeable buzz. The

expensive Vandoren Paris Optimum plays well; the Sumner is OK but dents the reeds. The

p. 9


Rovner works well, but doesn’t create the best seal between the reed and the mouthpiece. Which

do I play? The Charles Bay: free blowing, responsive, creates secure seal, and is beautiful as

well; I’m sold on the solid performance of the Bay. For whatever reason/design, it plays

beautifully.

Reed

Strength

Generally: Soft enough for all of the notes to speak easily, hard enough to create enough

resistance so that the intonation is consistent and the tone is full. The reed must be hard enough

so that the player will play at the top 1/3 of the mouthpiece pitch consistently (concert A on alto

saxophone) and not allow for biting into the reed to change the timbre.

Specifically: Strength 2 ½ wood for beginners for the first 10 weeks or so of playing, then

strength 3 after that. The determining factor for when to increase the reed strength is not the

time of year, but the tone of the student. If the tone is buzzy and thin, then that means the

student has increased the strength of their embouchure, and it is time to get a harder reed. I play

Hemke 3.

Type

Wood

Begin by soaking the reed so that it is very wet to the point of being water logged. Next, using a

perfectly flat surface, such as glass, verify that the flat part of the reed is not level. This can be

done by placing the flat part of the reed on the glass and pressing on either side of the reed. If

the reed is not flat, it will wobble from side to side. Begin by placing the reed on 800 grit

wet/dry sand paper on the glass and sand, lightly, ¾ of the reed—do not sand near the tip of the

reed. Remove the sand paper and check again if the reed is flat. Continue process until the reed

does not wobble. After the reed does not wobble, seal the back side by turning the sand paper

over and rubbing the reed back and forth quickly. Check to see if the reed is sealed by viewing

the reed at a near 0° angle and see if it is shiny.

To seal the face of the reed, rub the reed with the back portion of the wet/dry sand paper until the

reed is very smooth.

You can check to see if the reed is sealed by wetting the reed completely and then blowing on

the butt end of the reed. If water bubbles appear on the reed surface, the reed is not sealed.

Any reed player who has played for a while knows that the reed can be the most wonderful part

of playing and then the next day be the bane of our existence. What most people do is spend

tons of money on reeds, hours of sanding and polishing them to make them sealed and flat so

that they work, rotate several in and out of the process, buy everything from a $2 reed case to a

$50+ humidor to hold them when not playing, changing them during practices and performance

because they change so easily due to humidity and temperature, and then 5-6 weeks later, throw

them away. In a recent concert one person changed their reed 3 times, another adjusted it to try

to get the tip back because it was beginning to cave in, and a third said that she had a terrible

p. 10


reed at the concert, a terrible reed last week, but had 8 in the rotation for the concert 4 days from

now. In 2003, I gave up on that process…

Synthetic

I don’t like the old plastic reeds; even though the right strength may play and make a sound,

they’re harsh sounding and don’t produce even tone throughout the registers. I don’t recommend

them.

After 11 years of playing the Legere synthetic reed on soprano clarinet and alto and tenor

saxophones, these are the good reeds for teachers, beginning, intermediate, and most players in

regular situations. I’d recommend them for marching band members. The reeds come in quarter

sizes where a player can easily find the right strength and not half sizes always creating a

compromise for the player. Reeds cost between $6 and $15 each and last for months, or years if

taken care of, with no adjustments. The difference between the Legere sound and the wood reed

sound is very small. They need to be stored in a case that will keep the tip flat or they will warp.

I’ve been playing my saxophone reed since 2003 and my clarinet reed since 2004. However, I

have seen them warp, scratched, and split by some of my 6th grade students.

Embouchure

Mouth: Teeth on top of the mouthpiece, small amount of lower lip over the lower teeth to

provide cushion, corners comfortably firm, chin flat.

Lip Placement: very important—lower lip is placed at the point where the reed and mouthpiece

lay meet. This point is usually about ½ inch+/- from the tip of the mouthpiece. Too little

mouthpiece in mouth, and the sound is small; too much, and the sound “honky.” Tight lips

produce slight sharpness and a lot of tension/buzz to the sound; too loose produces a flat, “truck”

sound.

Tongue/Voicing









There are several excellent texts that explain this concept further, give practice exercises, as well

as provide multiple upper register fingerings: “Voicing: An Approach to the Saxophone’s Third

Register” by Donald J. Sinta, “Saxophone High Tones” by Eugene Rousseau, and “Top-Tones

for the Saxophone: Four-Octave Range (Revised Edition)” by Sigurd M. Rascher.

p. 11


Playing Position

Posture

A great way to determine the correct sitting posture is to start out by standing up. Stand with the

feet shoulder width apart, shoulders down and relaxed, back straight, and eyes forward. Next,

with your legs touching the chair behind you, gradually bend the knees until you are seated on

the front part of the chair. You will notice that the back is straight and the body relaxed, but

more importantly, the hips are rotated forward so that the body torso is aligned vertically creating

a nice open, support system for the air.

It is important to keep the feet forward and not under the chair. Placing the feet under the chair,

beside the chair, or wrapped around the legs of the chair creates a lot of undue stress on the back

muscles. A simple way to check this excessive back pressure is to create the correct upper body

posture (by standing then gradually sitting) and then move the feet under the chair. Move the

feet under the chair, then place them flat footed in front, then under, then flat. The stress on the

lower back is undeniable. We use the “Feet flat, back straight, hinny on the hump!” chant to

learn and remember the basic posture.

Instrument

“Should my students play the instrument on the side or in the front?” The instrument should be

in whichever position allows for (a) maintaining correct sitting position, (b) correct hand position

to the keys, and (c) least amount of instrument contortion to fit the player. On some instruments,

the keys are at a significant angle which would allow the best hand position to be created by

holding the instrument to the side. On others, the best hand position is attained by holding the

instrument in the front. I start by having the students stand with the saxophone held comfortably

in playing position; then, I ask them to sit slowly as described in the Posture section. Whichever

way the students end up with the saxophone usually is the best; I correct position as necessary. I

play with the instrument in the front both standing and sitting. While standing, my right wrist is

very close to my waist.

Neck Strap

The neck strap needs to high enough so that when the head is held naturally and normally, the

mouthpiece will go straight to the lower lip. The upper teeth should be able to come on to the

mouthpiece and still allow the student to look straight ahead. If the student has to look down, the

neck strap is too high forcing the mouthpiece too high; if the student has to look up, then the

neck strap is too low. I tell my students to, “Make the saxophone come to you; don’t you adjust

to it!”

Mouthpiece

The mouthpiece should come to the lower lip so that the mouthpiece is flat against the lip. Do

not allow the mouthpiece to be at an angle causing either the student to angle the head while

playing or creating more pressure on one side of the lip and reed that the other. Unequal

pressure will cause unnecessary calluses on one part of the lip and, because the reed should be

symmetrical, cause the reed to squeak or not respond well.

p. 12


Hand Position

Both hands curved like an open “C”. This is very important.

Hands should move very little while playing. This is largely impacted by where the left thumb is

angled on the thumb rest and, unfortunately, the design of the instrument. Some beginner

instrument designs are terrible and force the students to have their thumb pointed straight up

which causes their palm to collapse, fingers to angle unnaturally, and allow for multiple future

problems. Some of the top-name brands have an octave key that allows the left thumb to be

angled 45° which is much better. Correct hand position must be used regularly from the very

beginning—it will absolutely determine the amount of available technique later on—I found this

out the hard way…

The left hand should be curved so that the palm keys can be played with as little movement as

possible. When playing high D, Eb, E, F, and F#, the hands and fingers should remain calm and

as close as reasonable to the home keys. This will facilitate excellent technique when

approaching the more difficult literature. Again, I found this out the hard way…

Air Stream

Fast and focused; cold and fast—you should always use a cold air stream approach to the

airstream. The airstream should be cold and fast, not warm and heavy. Tongue position is low

in the mouth for middle and low-range notes with tip pointed straight, not down below the lower

teeth or gum line. It is good to practice with the idea that the air is not going into the mouthpiece

but rather through the neck, straight to the music stand. See, “Tongue/Voicing” on page 10 for

important information about tongue position and voicing.

One of the best ways to discover how to breathe correctly is to sit in a chair with knees and feet

together, lean forward as far as you can with your arms relaxed hanging down by your side. As

you breathe in and out deeply, you will immediately feel the lower abdominal area expanding

and contracting; the upper body/shoulders do not move much at all. Another way, which is not

quite as dramatic, is to lie on the floor on your back with your knees bent. Just breathing in and

out in a relaxed fashion will show you that the natural way to breathe is in the lower area and not

shoulders. Lastly, breathing slowly through the nose allows the air to fill the lower abdomen

first.

Tone

Round and full; fluid. Different registers on the instrument will have different characteristics

and amount of projection, but all notes should be round, full, and be pleasant. The best way to

determine what you sound like on your instrument and set up is to play a 2nd

line G (Hemke)

facing the wall (Cason). G is the tone of the instrument. Whenever I can, I play facing a wall so

that I can better hear what is coming out of my saxophone. A good way to find the “sweet spot”

of sound is to start with a somewhat pinched embouchure and gradually loosen it. There will be

a noticeable “opening” of the sound when it hits the sweet spot. Anyone can hear it–including

my beginning students. The sound will go from pinched (rectangular shaped), fuller (more oval),

to a full round sound with a clear center (picture a doughnut). The tone generally reflects the

shape of the embouchure. It is easy and amazing to hear.

p. 13


Tonguing

The front end portion of the tongue should touch the tip of the reed to stop the sound. Typically,

the “tip” of the tongue is never used, but rather about ¼ inch back from the tip touches the reed.

It is important to use the front portion of the tongue to touch the reed and keep the middle and

back portion still. An easy way to check this is to look at a mirror while playing. If any area of

the throat is moving, then the back of the tongue is moving; this should be stopped. If the player

tongues correctly, no movement should be visible in the throat area.

The jaw should not move while tonguing. This can be viewed in a mirror too, but can be heard

easily by a “scooping” of the sound while tonguing.

Another easy way to check for correct tongue position and tonguing is to tongue notes on the

mouthpiece/reed only. Everything wrong in the mouth will be heard in the mouthpiece alone…

Vibrato

Vibrato is not an ornament to the sound, but a part of the sound (Dr. Frederick Hemke,

November 1995).

The vibrato only goes down from the pitch center and then quickly back up to pitch:

——v——v——v——v——v——v——v——v——v——v—— v——v——

Strictly speaking, the vibrato does not “swirl” or “spin;” the pitch goes down, then back up. If

the embouchure is tightened at all, the tone just pinches and the pitch does not sharpen. If you

tighten the embouchure to “make the pitch go up,” you are only changing the timbre of the

sound, not the pitch. The saxophone pitch, because you are already playing at the top third of the

mouthpiece range, is not affected by tightening the embouchure. If you tighten the embouchure,

you are only creating buzz and choking off the sound. If you try to make the vibrato a circular

motion, as most teachers recommend and students do, the end result is a change in the timbre,

then a flattening of the pitch, not a sharpening and flattening of the pitch as they would suggest.

Vibrato should change the pitch, not the timbre.

Tuning

Fifth line F# is generally the best note to tune all saxophones (concert A). The F# falls between

the very sharp 4th line D and the flat G#. This note can be used to double as a mouthpiece pitch

as well. Fifth line F is OK, but G above the staff is less so.

Pitch Tendencies

Octave keys: there are 2 octave keys on the saxophone activated by one lever located above the

left thumb rest. On most saxophones, there are strong peaks and valleys of out-of-tune pitch in

short ranges of notes with the corresponding opposite effect in different octaves. A 4th line D

can be quite sharp while the lower octave D below the staff can be equally flat. Notes on the

extreme of the instrument (bell and palm keys) have their own tendencies. The correct strength

reed, embouchure tension, tongue position, and air stream can reduce the degree/cents of out of

p. 14


tune significantly. After that, alternate fingerings should be used to correct out of tune notes.

The embouchure should never be used to adjust pitch (i.e., “loosen up” to correct a sharp D).

Fourth line D (which uses the first octave key located at the top of the body) is sharp and then the

pitch gradually flattens to G# above the staff. First ledger line A uses the second octave key (the

one on the neck) and then gradually flattens to second ledger line C. Generally, the opposite

happens in the lower register.

Alternate Fingerings

Unfortunately, alternate fingerings will need to be used on each and every out of tune note until

incorrect embouchure/air/tongue is corrected or a different instrument is purchased. The

exception would be if the musical passage were too fast to use alternate fingerings easily. I tell

my students to use alternate fingerings on all notes a quarter note or longer at moderate tempos.

Open C#

Can be significantly flat. First and best option is the octave key and the G key. This opens the

first octave key as a “vent” and raises the pitch. I teach this to my beginning students the same

week they learn “open” C#.

○○●|○○○ ●

If this does not correct the open C# enough, add the side Bb key. If this does not come close to

correcting the pitch, double check the pitch on the mouthpiece, reed/embouchure strength, and

the F# tuning note.

Fourth line D

Depending on the instrument, add the low Bb or B key closing keys on the bell. Each

instrument/player will be a little different. The only Ds I’ve seen very close in tune are the ones

on professional instruments played with the correct reed strength and embouchure, with a very

open throat (i.e., very low tongue position/voicing, “whoooo”).

First ledger line A

Can be very sharp as it is the first note that uses the second octave key. The alternate fingerings

(all with octave key) suggested in order are:

●●○|○●○

●●○|●○○

●●○|●●○

If these fingers don’t come very close to playing the A in tune, check for the correct reed

strength and embouchure, and play with an open throat (flat tongue, fast, cold air). Again, the

only As I’ve seen very close in tune are the ones on professional instruments played with the

correct reed strength and embouchure, with a very open throat (i.e., very low tongue

position/voicing, “whoooo”).

p. 15


Fourth space E

Same problem as 4th line D, but not quite as bad. Usually adding the low B key (closing the key

on the bell) brings the pitch down enough.

Second space A.

Can be flat (opposite of higher octave); open the F# alternate key or G# key to raise the pitch.

Low D below the staff and first line E:

Can be flat (opposite of higher octave); open the low C# key if necessary.

Palm keys

Palm keys can be sharp. An alternate would be to reduce the number of keys open. Generally,

an Eb can be played without the D key, an E can be played without the D key, and F can be

played without the D key, and so forth. Experiment to find one that works on the particular horn

(remembering to have a round, full sound) without altering the tone.

Technique

Long Tones

I can’t overstate how important it is to warm up with long tones. This allows the player the

opportunity to focus on lip placement, tongue position, air stream, hand position, and tone. I

recommend starting around middle C, play down chromatically to the bottom of the horn, then

play middle C and go to the top, and use at least 16 counts for each note. This will force the

player to become aware of how the different registers and notes feel and respond, give time to

listen to tone over the whole instrument, and increase breath control as well.

Octave slurs

As mentioned in tone, the sound should be open and not tight. On a Selmer, the tone should

sound like a doughnut (without glaze!); if the tone sounds rectangular (with glaze), then the

embouchure is probably too tight and the tongue may be too high. A way to correct this

immediately is to play octave slurs. If the embouchure and/or tongue position is incorrect, octave

slurs are pretty close to impossible. Slur middle C then high C in an eighth note pattern for 8

counts; proceed to middle B and do the same. Play chromatically down to low Bb. This slur

pattern will reveal any embouchure/tongue/air problems immediately.

Scales

Play all scales the full range of the horn. If playing the G scale, start on low G, play up to high

F#, down to low B, and return to low G. Play the arpeggio from low G to high D, to low B, and

return to G. Play scales in this manner at least 120bpm, 152 for more advanced players.

Thirds

The quickest way to increase technique is to play thirds the full range of the horn. I can’t

overstate how much this improves finger facility and control of the instrument. For the C

p. 16


pattern, play C, E, D, F, E, G, etc. Again, this is where really playing the instrument begins…

Play at least 120bpm, 152 for more advanced players.

Speed

“Never play it faster than you can play it right!” Stop teaching your brain, fingers, and ear the

wrong notes! Stop learning it wrong! If you’re making mistakes while practicing, then you’re

playing it too fast, or not focused on what you’re doing. In either case, stop, slow the tempo

down, and continue to practice. Don’t practice for a certain amount of time; practice until you

get it right.

Bis key

The Bis key is the small key located between the B and A key on the left hand. It is played with

the left index finger simultaneously pressing the B and Bis key. I use the Bis key 90% of the

time for Bb/A#. Technically, it is quite easy to use in that every time the first finger is raised, it

can be placed down on the B or the B/Bis key combination allowing for quick adjustments from

Bb to B in musical passages. I would not advise using the Bis key for chromatic passages at all.

Style

Singing syllables help demonstrate understanding and give the teacher a quick, formative

assessment of what is in the students’ heads. If the band isn’t playing the right style, it’s because

the students have different things in their head. Correct that by having them use the same

syllables. “If you can say it, you can play it.”

The articulation syllables I use are directly related to the style I want the students to play: “doo”

(legato, with fast, focused air), “dahh” (lightly tongued tenuto notes), “Dah” (tenuto accents),

“tah” (tongued notes with more separation but with a breath release), “Tah” (notes that are more

accented), “dit” (super short notes), “Daht” (loud, accented notes that are shortened), “Doht”

(accented, shortish note), and so forth. We sing the uppercase louder and lower case letters

softer.

The rhythm syllables I use I think I picked up from playing jazz. “did-dle, ah, dot” (triplet

followed by a tongued short note), “da, did-dle, ah, dee, dah” (tongued eighth note followed by a

triplet, long eighth note and quarter note), “dee, Dot, dah, dah, Dot, dee dahh” (tenuto quarter,

accented staccato quarter, two quarters, accented staccato quarter, tenuto eighth note and tenuto

quarter), and so forth. Singing syllables really helps teach swing and other musical styles to

middle schoolers.

Sing first to understand style, sing and finger the notes second to understand how it works

together, play. Accents, marcatos, and staccatos are played differently depending on the style

and tempo of the music.

Musical styles must be considered when determining the length of notes with markings. An

accent in a march will be played much stronger than one in a chorale. Similarly, a staccato mark

will be played shorter in a grade 5 Spanish influenced dance piece than a grade 2 festival piece.

p. 17


As the tempo or rhythm increases, the length of the notes has to be shorter to have the same

effect on the music. Separating eighth notes at 60bpm is quite different from separating them at

144bpm. You have to play shorter the faster you play to have the same proportional effect.

How to Practice

Teachers

It is important to remember that, “Practice makes permanent; therefore, practice perfectly.” As a

general rule: Don’t every let your students’ fingers learn the wrong way to play something; have

them play it right (slowly) from the very beginning—including dynamics and style markings.

Some slogans I have around the band room: “Don’t practice for a certain length of time, practice

until you get it right!” “Perfect practice makes perfect!” “Play it only as fast as you can play it

right!” Also, for me, I have the sign in my office that says, “Don’t rehearse the band. Teach the

band.” It’s a good reminder of what I’m supposed to do…

I have learned on thing in particular about teaching middle school: the students won’t learn

anything if you don’t intentionally teach it to them (there is a lot of research behind that too).

Middle schoolers can process, comprehend, determine, and evaluate as good as anyone, but they

are limited by their age—usually 11-14 years old. As a result, I set up some guidelines for my

beginning students to help them develop some basic practice habits.

Practicing New Passages

Never play the passage faster than you can play it correctly! Otherwise, you’re just practicing

errors and learning—training your fingers, ear, and brain—to play the passage wrong! Teach

your fingers (muscle memory), ear, and brain only one way to know the passage—the right way;

therefore, only play the passage one way—the right way. This really can’t be overemphasized…

Sixteenth note passages:

Most players start with the first note of the first pattern and play 5 notes to the first note

of the second set of sixteenths. After mastery of that beat, the player goes to the next

beat, plays 5 notes and then eventually combines the beats to have a 2 beat pattern that is

smooth and even. This is a good beginning, but completely inadequate if the passages

are beyond the current technical level of the player, especially difficult, or not necessarily

grouped by beats musically. If the player only learns the notes by the beats, then the end

result will be a clumsy metronomic pattern of notes and not music.

To correct this and make for a completely smooth, musical line that becomes a part of the

technical ability of the player, play the first 5 notes as before until those notes are

completely even. Next, skip the first note of the first beat and play 5 notes starting on the

second note of the first beat; this will create a pattern from the “e” of the first beat to the

“e” of the second beat. After mastering that 5 note pattern, start of the “&” of the first

beat and play to the “&” of the second beat. Continue moving to the third, then fourth

note of the pattern until the passage is learned.

p. 18


For longer passages, learn in 5 note sections, moving the 5 notes one sixteenth note over

at a time, and then group by 9 notes. Move the 9 note pattern over one sixteenth note and

continue in the same manner. Add, combine, include more 5 note sections into larger 9

note sections and begin grouping into larger sections until the passage is mastered.

It is very important to note (I learned this the hard way), that the mastery of the patterns and

intervals does not increase the overall technical ability of the player. It only increases the

technical and playing ability of that passage. The technical mastery learned in that passage only

transfers to passages exactly like it—note for note… Scales, arpeggios, thirds, and similar

techniques are the best way to increase the overall technical ability of the player which will

transfer to musical passages. This is another reason that just playing music, or teaching your

band students various band pieces, will not increase transferable technique. As an example,

playing G, B, D, G in a piece of music will transfer to playing the G arpeggio, but only to the G

arpeggio; it will not transfer technically to other arpeggios or other parts of the G arpeggio or

other ranges of the arpeggio on the instrument. However, learning all the arpeggios in the full

range of the instrument will directly transfer to a G, B, D, G passage in music.

Learn passages with all of the musical elements in them from the very beginning. Do not learn

the notes first, then go back and add the tonguing, then add the dynamics, then add the accents,

then add… Obviously, that makes no sense. You’ve trained your fingers, ear, and brain 4 or 5

ways to play the passage wrong. Do it right, do it right the first time.

Warm Up Your Embouchure and Instrument

Five minutes: Warm up on the mouthpiece. Play long tones on the mouthpiece for 8 seconds or

longer using a fast air stream. Gradually increase the time you can play a long tone. Brass

students buzz low-high-low-high-low smoothly. Try for a big buzz sound that is steady and

gradually increase the range of low and high. Clarinet students form a firm embouchure and

play very high on the mouthpiece (concert C; F# with barrel, or top 10% of range) with a steady

air stream. Saxophone students form a secure embouchure and play medium high (concert A,

G# with neck, or top 30% of range) on the mouthpiece with a steady sound. Flute students

practice playing the end pipe closed with a low pitch (concert A), open with a low pitch (concert

A), closed with a high pitch (concert E), and open with a high pitch.

Assemble the instrument and play the learned notes as long tones. Make sure the tone is very

steady and the hand position and horn angle are correct.

Review Earlier Music

Five minutes: Start at least one page back, and play the notes, rhythms, fingerings, and musical

elements. Play them exactly as written; hold all notes out full value, and tap your foot. Play

each line at least two times. To develop listening and ensemble skills, play the lines with the CD

accompaniment.

Practice Current Music

Five minutes: play the current music from band class or private lesson. Don’t just play from the

first measure to the last, but play the music in sections. Work on individual sections by

note/fingering problems, tonguing/slurring problems, phrasing/breathing problems, and so forth.

p. 19


Play each line or piece of music that was played in band class or lesson that day. Practice with a

purpose and a goal in mind: you want to accomplish something specific that you couldn’t do

before and make the things you can do even better!

Finish Up

Five minutes: play something fun. Go to the earlier pages of the book to play tunes you really

like and use the CD accompaniment. Challenge yourself and look forward in the book to find

some tunes you’d like to learn; begin playing through them slowly. Look at the fingering chart

in the back of your book and learn a few new notes. Experiment. Play some tunes for your

parents or friend. Record the 20 minutes practice time on your practice record.

Altissimo

A four-octave range for the saxophone is normal, not exceptional. There are entire books written

on how to prepare, study, and play in the altissimo.2 This section is an introduction to serve as

an overview. Mastery of the embouchure, tongue position, air stream, voicing, and technique

must be well established before attempting the fingerings. I learned many of these fingerings

while working on Air and Scherzo by Henry Cowell. The fast section in the first movement

starts on altissimo D and quickly goes to highest altissimo G. Quite a thrill, but you must have a

good working reed too.

I would be remiss if I did not recognize Sigurd Rascher’s book Top-Tones for the Saxophone,

Four-Octave Range (Revised Edition) [Carl Fischer, Inc., New York, 1942] for giving me the

information, tools, techniques, exercises, and motivation for practicing the altissimo. As Mr.

Rascher noted in his book:

I am reminded of a frequent complaint: “I looked at the fingerings and my results

were now and then a squeak, but no reliable tones!” Many a player has doomed

himself to failure by neglecting or omitting the exercises on the preceding pages.

If so, he deems them either a waste of paper or he believes that he does not need

all this preparation. (p. 19)

Overtone Series

Figure 1: The Saxophone Overtone Series

2 Rascher, Sigurd. Top Tones for Saxophone: A Four-Octave Range. Third Edition Carl Fischer Music, 1977.

Rousseau, Eugene. Saxophone High Tones. Etoile Music, 1978. Sinta, Donald and Denise Dabney. “Voicing:” An

Approach to the Saxophone’s Third Register. Sintafest Music Co., 1992.

p. 20


Voicing









There are several excellent texts that explain this concept further, give practice exercises, as well

as provide multiple upper register fingerings: “Voicing: An Approach to the Saxophone’s Third

Register” by Donald J. Sinta, “Saxophone High Tones” by Eugene Rousseau, and “Top-Tones

for the Saxophone: Four-Octave Range (Revised Edition)” by Sigurd M. Rascher.

Fingerings3

A note of caution: not all fingerings work the same for each player or every equipment

combination as a mouthpiece/reed combination can make a significant impact on altissimo

response. As the saxophone equipment changes, so have the fingerings. For more fingerings,

consult the resources in the footnotes. These fingerings work for me in the pieces I play, and I

play a silver Selmer Series III, Selmer C* mouthpiece, Legere reed, and Charles Bay silver

ligature.

Definitions: “F” is the front fork key; “○” indicates the key is open and “●” indicates the key is

pressed; right-hand side keys for Bb, C, E, F# (high) are labeled with “SK” and the key name;

palm keys D, Eb, and F are labeled with “PK" and the key name; octave key is assumed on all

fingerings.

F#: PK D, Eb, & F

○○○|○○○SK E & F# or F○●○|○○○ SK Bb or F○●○|○○○SK F#

G: F○○○|●○○ SK Bb

G#: ●○●|●○○SK C or F○○○|○○○ SK Bb

A: ○●●|○○○ or ○●●|○○○SK Bb or C or ○●●|●●● Low C & Bb

Bb: ○○●|○○○SK C

B: PK D

○○●|○○○

C: PK D & Eb

○○○|○○○

C#: F○○○|●○○ or PK D & Eb

○○○|○○○SK E

D: F or PK D, Eb, & F

○○○|○○○SK E

Eb: ○●○|○●○ or PK D, Eb, & F

○○○|○○○SK E & F#

3 Excellent compilation can be found here: Reichard, T. (2005). Alternate Fingering Chart for Saxophone. The

Woodwind Fingering Guide. Retrieved February 19, 2015, from http://www.wfg.woodwind.org/sax/sax_alt_4.html

p. 21


E: ○○○|●○●

F: ●○●|●○●

F#: ? No practical experience. I have never needed one.

G: ○●○|●●○ or PK D

○○○|○○○ (overblown)

G#: ○●○|○●○

A: PK D


Bb: PK D & Eb


B: PK D & Eb

○○○|○○○SK E (overblown)

C: PK D, Eb, & F

○○○|○○○SK E (overblown)

Other Musical Concerns

High G

“Crunch G” (Hemke, June 2012): Octave key, bis key, side Bb, high F#, Eb

Trills

Trill up to the next note as dictated by the key signature. If the trill note is D and there are two

flats, then trill to Eb; if the trill note is D and there is one flat or less, then trill to E. On occasion,

the composer may adjust this rule by including a #, b, or natural sign to the trill note.

Trills are measured. Do not just wiggle the finger as many times as you can and stop when the

note value is over. In general, depending on the style and tempo of the music, the trill will be

sixteenth notes or sextuplets. Baroque trills may be performed slower than contemporary trills.

Melodic trills will be slower than trills written for energy.

Trills start and stop on original note unless a Baroque or Classical style dictates otherwise.

Low B to Bb trill: I never thought it would be possible, but Dr. Hemke showed me this fingering

which is a credit to how knowledgeable and skilled the great players are. Finger a low C and

move the middle finger of the right hand far enough to touch the flat connector to the low B key

to close the low B key. Trill the low Bb key with the left hand normally… This trill is in the 3rd

movement of the Karel Husa Concerto for Alto Saxophone.

In very fast left hand trills, it is acceptable to reach over and trill with the right hand. This

technique would apply for trilling G#/A, G/A, A/A# Bis key, A/B, and B/C#.

Grace Notes

Baroque music style: Start the grace note(s) on the beat (or upbeat) as indicated with the

principle note following. Many times the “old style” grace note is a musical tension leading to

the musical release, or principle note. Also, be aware that many of the transcriptions of Baroque

and older music is the editors idea of what it should be; the actual performance of the piece (then

and now) may in fact be quite different. It is often quite valuable to verify slurring, tonguing,

p. 22


accents, dynamics, staccatos, and so forth with other transcriptions or performances by well

known performers. Sir James Gallway influenced my performances of Bach and Handel sonatas

transcribed for saxophone. Likewise, reviewing an original Bozza work for oboe actually

changed the notes in an Improvisation written for saxophone.

Other music in general: start the grace note(s) before the beat so that the principle note is exactly

in rhythm.

Lip Slur

Move/open the lip/jaw to decrease the pitch but not so much as to change the timber or stop the

sound. It is important to keep the air moving. Return the embouchure to the correct position

quickly. Alternately, use a ½ step grace note and slur to create a lip slur.

Ritardando

After playing musical instruments for 32 years, I had a paradigm shift about playing and teaching

ritardandos. One day in a Cobb Wind Symphony rehearsal, Alfred Watkins told us not to think

of the beat as slowing down, but rather that the notes were getting longer. We played the

passage a bit, and it was amazing how quickly this affected not only the music, but also me as a

player. It made playing ritardandos much easier, more musical, and in an unusual way, less

stressful. Thinking of ritardandos in this way completely changes the emphasis from the speed

of the notes to the musicality of the notes and why the ritardando is there in the first place. Each

note as it progresses through the ritardando gradually gets longer in its relative value in the

ritardando. As an example, in a series of quarter notes, each note doesn’t get longer by 10%, but

rather the first note by 10%, the second by that 10% and then another 10%, the third note by

10%, 10%, and then another 10%, and so forth. The math may help to set up the idea, but in

practice, ignore the math, make each note longer than its original value as well as its place in the

ritardando, and listen to the music. This concept benefits my middle schools students as well.

Various Problems, Causes, and Remedies

Sharp, thin sound

Problem: Very thin, choked sound, not round or full, that probably plays 5+ cents sharp on

most notes.

Cause: (a) embouchure is too tight or (b) tongue position/voicing is too high resulting in

student playing extremely high pitch on the mouthpiece.

Remedy: Have student play A=440 on the mouthpiece. A=440 is the best starting point.

Have student blow “whoooo” air and not “heeee” air. Air stream can be checked

by blowing air onto hand; if air is warm, it indicates “ahhh,” if air is cool, it

indicates “whoooo” or “heeee” air.

Instant check: have student slur low G to high G in eighth notes MM=100. If the tongue is in the

wrong position, this slur will be almost impossible. From there, play F, E, then D

slurs. This slurring pattern is impossible if the player is playing too high on the

mouthpiece and/or if their tongue position/voicing is too high. When the student

can slur on all of the notes, the sound should round out, tongue position drop, and

pitch decrease on mouthpiece.

p. 23


Notes not speaking

Problem: Notes not speaking

Cause: (a) lack of air speed into instrument or (b) terrible reeds

Remedy: (a) Students should blow fast, cool air into the instrument. Double check the

student’s posture as most student’s posture does not support a fast air stream. (b)

I know there’s a lot of bad memories about the original plastic reeds, but there’s a

new kid on the block. I recommend the Legere 2.75 as a starting point; Legere

reeds are made from a new polymer and are highly stable. If the reed is too soft,

hard, or has defects, it can be exchanged free of charge from Legere. Given the

correct strength, the Legere reed can produce a flawless, sound that is not airy or

buzzy; it will speak instantly. The reeds don’t squeak or change, and last for

years. I’ve had my saxophone reed since 2003 and played the same reed in at the

2003 and 2011 Midwest International Band and Orchestra Clinic; I’ve had my

clarinet reed since 2004. Because the reeds come in ¼ sizes, given the correct

strength, a Legere reed takes all of the normal reed problems completely out of

the picture.

Hollow sound

Problem: Sound is overly hollow, wide, on the brink of squeaking, or very thin

Cause: Improper mouthpiece placement in mouth

Remedy: Place lower lip on the exact spot where the reed and mouthpiece connect on the

lay. Students should view the mouthpiece from the side and draw a line on their

reed to identify where the reed and mouthpiece touch. The thumb should be

placed on that line, and then the bottom lip should be placed up to the thumb—

this is the amount of mouthpiece that should be used for this mouthpiece/reed

combination. Note that the amount of mouthpiece to be used will vary for each

mouthpiece.

Sharp D and E

Problem: Middle D and E are either sharp or very sharp.

Cause: Older and non-professional saxophones are not built in tune.

Remedy: Add the left hand little finger B or Bb key (low B or Bb); this closes either one or

both keys on the bell. This will bring the pitch down considerably, but not

enough to compensate for terrible embouchure/air/too hard reeds. I check each

student and determine which alternate fingering they may need to use, if any. I

tell them that they will need to use that fingering 90% of the time for as long as

the own that instrument. In addition to concert A as a double check, I actually

have the students “tune” an F concert (while adding the B or Bb key) so that they

can practice playing it in tune.

Repair

“My horn won’t play!”

The G# key is “articulated” on the saxophone unlike the clarinet. This also means that the low

C# key could open the G# key if the adjustment screw on the G# key is not quite low enough.

p. 24


Check by fingering low C# and alternately pressing the G# key; if the G# key moves/opens at all,

lower the adjustment screw to keep the G# key/pad closed/sealed.

“Regular” notes won’t come out: make sure the student is not pressing the first palm key with

their hand (D palm key) or opening the side Bb key. Correct by using proper hand position.

There should always be a slight gap between the octave key that sticks up above the body of the

instrument (thus the need for the end plug when you put it in the case) and the octave key

mechanism on the neck. If the neck and body are lined up correctly and there is no gap, a

technician could hold the neck key and add pressure to the lower loop of neck mechanism

increasing the gap.

“My horn won’t play low!”

Make sure the neck is not turned too much to the left or right. The brace under the neck should

align with the octave key mechanism. If the gap between the key and neck mechanism is

reduced or eliminated, the neck octave key may be slightly open and not allow the lower notes to

speak.

Reed is too soft and the embouchure is too firm. This closes everything and only the higher

overtones (upper register) will respond. Probably time to get a harder reed (&/or reduce

embouchure pressure). Double check the mouthpiece pitch.

General leaks and pads not sealing. Nothing to do about that other than to replace pads…

p. 25


Doctoral Study Project: Activating Students’ Prior Knowledge

Effective Lessons for Effective Learning

A research based, instructional lesson design for a

standards based curriculum using proven instructional strategies.

Introduction

Effective learning begins with effective teaching.

This project was a result of reflecting on the lack of substantial improvement in

standardized test scores at my low-SES middle school after 8 years of using a model of

instruction designed to help schools just like mine. My school district uses the same lesson plan

design throughout the county, but not all schools are successful in increasing student

achievement as measured by standardized test scores used in determining adequate yearly

progress (AYP). Most of the high-SES schools make AYP; many of the low-SES schools

regularly fail AYP. If the lesson plan design is effective for all students, why was my school

continuing to fail AYP and other schools were passing? Did the other schools have better

teachers? Were the higher-SES students smarter than our students? Our county uses this model

of instruction because it was supposed to provide an equal education to all, but we were not

having equal education in our county. Something must be wrong…

The purpose of this project was to correct the deficit of our current model of instruction

by activating students’ prior knowledge before proceeding with the main learning goal. This

simple instructional strategy of activating prior knowledge is the foundation for all learning for

all students of all grade levels in all subject matters—but especially for low-SES students who

may come to school with less prior knowledge than their higher-SES peers. Activating prior

knowledge for low-SES students is critical to increasing student achievement as supported by the

ANCOVA results in my doctoral study F(1, 863) = 35.398, p < .000.

A significant amount of research supports not only the sequence of the lesson plan, but

also the need for setting expectations for learning and behavior each day for the students. The

design and sequence of the lesson plan introduction is structured so that the teacher can:

relate the current learning goal to the state-mandated curriculum standard,

associate that standard to the new learning goal,

explicitly and intentionally link the new content to students’ prior knowledge,

explain how the students would learn the new material,

set forth student expectations for learning and behavior,

provide the students with an outline of the class period, and

use effective instructional strategies.

The audience for this sequenced introduction is anyone who needs to teach someone

something. The design is prepared primarily for classroom teachers, but is adaptable for private

tutors remediating or extending student learning, teacher aids in small group instruction, or

persons making professional development presentations.

p. 26


To make the best use of the lesson plan design, the instructor should gather the standards,

learning goal(s) (objective), activities to help the students learn the concepts or skills, and think

about not only the subject matter prior learning, but also what the students may bring with them

to the class from their personal histories. The best way to know how a student’s personal history

could be applicable to the current lesson is to ask them!

Teacher: “Baroque music is very ornate… (hum, not a great word for 8th

graders)… very elaborate… (not much better)… fancy… (that’s not

very good either… how can they relate to this?) How would you say it?”

Student: “Like a gold mirror!”

Teacher: “Yes! Just like a fancy gold mirror with all the stuff around the edges!

Baroque music is fancy, like a gold mirror!”

Other elements for effective instructional strategies include frequent formative

assessments during class, checking for student understanding, gaps in learning or

misunderstandings, having the students identify similarities, differences, and relationships of the

new material with previous material/concepts/skills, and having the students summarize what

they have learned. As Marzano (2003) said succinctly, “Effective teachers use more effective

instructional strategies” (p. 78).

Part of my motivation for this project stemmed from a simple question and answer

prompt:

“How do you find an effective teacher?

Look for effective learning.”

In reflecting on the current educational atmosphere, I concluded teachers are highly

certified, highly qualified, or highly effective. Which do you want to be?

Respectfully,

M. Glenn Cason, Ed.D.

References: Marzano, R. J. (2003). What works in schools: Translating research into action.

Alexandria, VA: Association for Supervision and Curriculum Development.

p. 27


How to Use the Lesson Plan Sequence

Lesson Planning

The teacher should

have a clear idea of the main learning goal for the lesson: what the students should learn,

do, experience, improve, or how the student should be changed when the lesson is over,

gather the curriculum standard(s) that applies to the lesson and specify what is the main

learning goal or objective for the lesson,

decide on the essential question for the lesson,

plan for all instructional materials and decide on specific activities necessary to help the

students accomplish the main learning goal,

list all associated prior knowledge for the topic and speculate how students may have

personal histories that could be included,

specify ways for students to identify similarities and differences,

determine what formative assessments would be beneficial to check for student

understanding,

plan for a summarizing activity that the students can generate, and

identify what elements of the lesson will be posted on the board.

Lesson Script

The teacher should

use the Lesson Plan Sequence to Activate Students’ Prior Knowledge Format page to

begin structuring the introduction to the lesson,

associate and fill in the planned lesson elements with the appropriate alphabetical (“a”

through “m”) marker in the lesson plan sequence, and

reword the script to personalize the word choice for that particular lesson but maintain the

lesson plan sequence.

Lesson Introduction

The teacher should

post the lesson outline on the board before class begins,

use the lesson plan script and refer to the lesson outline to introduce the main learning

goal(s) to the students, and

refer to the posted outline to guide, manage, or redirect students through the lesson.

Lesson

The teacher should

use formative assessments to gauge students’ understanding of the material

review lesson elements as needed,

remind students of expectations for behavior, transitions, interactions, or special items

that pertain to the lesson as needed, and

pace the lesson so that in the main learning goal(s) there is an intentional link to,

connection with, and building from students’ prior knowledge.

p. 28


Lesson Plan Sequence to Activate Students’ Prior Knowledge: Plan

Let’s start class by looking at your standards. Today you’re going to work on standard

_____. Let’s read the definition together. (Read definition). That standard means that you’re

going to learn about _____ (state in simple terms). You’re going to be learning about that

standard by working on _____ (specific activity). While you’re working on _____ (activity),

remember to keep demonstrating correct _____ (other standards, skills, knowledge, etc.) from

standard(s) _____.

Today’s learning goal is _____ (short and specific). Do you remember that we studied _____

the other day? Who can tell me what that was about? (Student input). What else do you

remember? (Student input). Anything else? (Student input). (The teacher is to keep prompting

or asking questions until the students have recalled all the points have been led to the day’s main

learning goal.) Well, today is an extension of that because _____ (state the learning goal) is just

_____ (tell how learning goal is related to prior knowledge). At the end of the lesson, I’d like

you to be able to answer _____ (essential question).

I’d like for you to _____ (explicit directions and expectations for students’ behavior or

participation for class). To accomplish the learning goal, we’re going to _____ (activating

strategy, warm up) first, then work on the _____ (concept, skill) next, and finish up with _____

(summarizing activity).

p. 29


Lesson Plan: Detail

Standard Association


_____. Let’s read the definition together. (Read definition). That standard means that you’re

going to learn about _____ (state in simple terms). You’re going to be learning about that

standard by working on _____ (specific activity). While you’re working on _____ (activity),

remember to keep demonstrating correct _____ (other standards, skills, knowledge, etc.) from

standard number _____.

Learning Goal

Today’s learning goal is _____ (short and specific).

Activate Prior Knowledge

Do you remember that we studied _____ the other day? Who can tell me what that was

about? (Student input). What else do you remember? (Student input). Anything else? (Student

input). (The teacher is to keep prompting or asking questions until the students have recalled all

the points have been led to the day’s learning goal.) Well, today is an extension of that because

_____ (state the learning goal) is just _____ (tell how learning goal is related to prior

knowledge).

Set forth expectations

At the end of the lesson, I’d like you to be able to answer _____ (essential question). I’d like

for you to _____ (explicit directions and expectations for students’ behavior or participation for

class).

Lesson

To accomplish the learning goal, we’re going to _____ (activating strategy, warm up) first,

then work on the _____ (concept, skill) next, and finish up with _____ (summarizing activity).

During the Lesson

Formative assessments. During the lesson, the teacher frequently verbally and visually checks for understanding and may use formative assessments. Students must be mentally engaged in the lesson and not just busy doing activities or work.

Identify similarities, differences, and relationships. During the lesson and learning

activities, the teacher should have the students identify how the different elements for

activities of the lesson are similar, different, and/or relate not only to each other, but also

to prior knowledge, prior lessons, or prior standards.

State practice time or homework opportunities. The teacher should allow for specific

in-class individual practice and/or state specific items to practice at home for the students

to practice in a self-paced environment and explore the content on their own.

State means for acquiring and maintaining an orderly classroom. The teacher should

state expectations for student behavior during the class, making transitions, and for

ending class.

p. 30


Lesson Plan: Components

Specific lesson plan and intentionality for the learning material,

Specific curriculum standard,

Specific learning goal,

Specific learning activities,

General and specific prior standards,

Specific strategy to activate students’ prior knowledge,

Specific essential question,

Specific explicit directions,

Specific learning activity structure (beginning, middle, end),

Specific identify similarities, differences, and relationships;

Specific practice time or homework assignments;

Specific directions for an orderly classroom;

General language that is easy to understand.

Research-based Support Summarized

Expectations for the behavior, learning goals, participation, and demonstration of

learning must be clear to the teacher before the lesson begins then clearly and directly

communicated to the students. The teacher has intentionality in the lesson.

Learning goals (concepts, skills, and/or relationships) must be specific and directly linked

to prior knowledge.

Students’ prior knowledge must be activated before proceeding with the instructional

component.

As part of the learning activities, teacher incorporates identifying similarities, differences,

and relationships between new content and prior knowledge.

The teacher uses data and formative assessments to gauge student understanding.

Practice time and specific homework provides self-pacing and exploring the required

concepts and skills.

p. 31


On the Board

The teacher should provide a visual outline of the lesson in an area where each student can see.

The outline should contain:

1. Standard for the day

2. Learning goal

3. Prior Knowledge (PK)

4. Essential Question (EQ)

5. Learning activities

6. Warm up

7. Learning and practicing activities

8. Summarizing activities

9. Homework or practice assignments

On the Board: Sample

2/29/11

Standard Number 6: Demonstrates the ability to perform individually, in small

groups, and as a member of the total ensemble.

Learning goal Play in a trio

Prior knowledge Posture, embouchure, air stream, tonguing, and key signatures

EQ “What are the biggest similarities or differences you notice when

playing a trio compared to playing as a full band or duet?”

Activities #86-88; review new notes; #131; discussion

Homework #131 lines A, B, and C

The 9 Most Effective Instructional Strategies

1. Identifying similarities and differences

2. Summarizing and note taking

3. Reinforcing effort and providing recognition

4. Homework and practice

5. Nonlinguistic representations

6. Cooperative learning

7. Setting objectives and providing feedback

8. Generating and testing hypotheses

9. Questions, cues, and advance organizers

(Marzano, 2003, p. 80)

References: Marzano, R. J. (2003). What works in schools: Translating research into action.

Alexandria, VA: Association for Supervision and Curriculum Development.

p. 32


Format

Lesson Plan Sequence to Activate Students’ Prior Knowledge

(grade, subject, course, or class period)

Let’s start class by looking at your standards. Today you’re going to work on standard (a). Let’s

read the definition together. (Read definition). That standard means that you’re going to learn

about (b) (state in simple terms). You’re going to be learning about that standard by working on

(c) (specific activity). While you’re working on (c) (activity), remember to keep demonstrating

correct (d) (other standards, skills, knowledge, etc.) from standard number(s) (e).

Today’s learning goal is (f) (short and specific). Do you remember that we studied (g) the other

day? Who can tell me what that was about? (Student input). What else do you remember?

(Student input). Anything else? (Student input). (The teacher is to keep prompting or asking

questions until the students have recalled all the points that have led to the day’s learning goal.)

Well, today is an extension of that because (f) (state the learning goal) is just (h) (tell how

learning goal is related to prior knowledge). At the end of the lesson, I’d like you to be able to

answer (i) (state essential question).

I’d like for you to (j) (explicit directions and expectations for students’ behavior, transitions, or

participation for class). To accomplish the learning goal our goal for the day, we’re going to (k)

(activating strategy, warm up) first, then work on the (l) (concept, skill) next, and finish up with

(m) (summarizing activity).

a.

b.

c.

d.

e.

f.

g.

h.

i.

j.

k.

l.

m.

p. 33


Plan


5th

and 6th

Period: 6th

Grade Beginning Band














participation for class). To accomplish the learning goal our goal for the day, we’re going to (k)

(activating strategy, warm up) first, then work on the (l) (concept, skill) next, and finish up with

(m) (summarizing activity).

a. number 6. “Demonstrates the ability to

perform individually, in small groups, and as

a member of the total ensemble.”

b. show me you know how to play as a full

band and in a small band.

c. #131, Kum Bah Yah, which is a trio.

d. posture, embouchure, tonguing, and

playing in the right key.

e. 1, 2, 3, and 10

f. to learn how to play as a trio.

g. duets and playing as a soli group

h. a little smaller than a soli group and a

little bigger than playing a duet

i. “What are the biggest similarities or

differences you notice when playing a trio

compared to playing as a full band or duet?”

j. sit quietly and listen carefully when the

trio groups are playing so you can critique

their performance

k. warm up on #86-88 and review the new

notes

l. sight reading and learning the notes and

rhythms of #131, then practice playing in

small groups and trios

m. describing what you noticed when you

played as a trio group and what you heard

when others played

p. 34


Lesson Introduction


5th

and 6th

Period: 6th

Grade Beginning Band

Let’s start class by looking at your standards. Today you’re going to work on standard number

6. Let’s read the definition together. “Demonstrates the ability to perform individually, in small

groups, and as a member of the total ensemble.” That standard means that you’re going to show

me you know how to play as a full band and in a small band. You’re going to be learning about

that standard by working on #131: Kum Bah Yah, which is a trio. While you’re working on

#131, remember to keep demonstrating correct posture, embouchure, air stream, tonguing, and

playing in the right key from earlier standard numbers 1, 2, 3, and 10.

Today’s learning goal is to play as a trio. Do you remember that we studied duets, and playing

as a soli group the other day? Who can tell me what that was about? (“Duets are when 2 people

play.”) What else do you remember? (“A soli is when your section plays.”). Anything else?

(“A soli doesn’t have an exact size; it can be all the first chair players or the whole clarinet

section.”) (The teacher is to keep prompting or asking questions until the students have recalled

all the points that have led to the day’s learning goal.) Well, today is an extension of that

because playing in a trio is just a little smaller than a soli group and a little bigger than playing in

a duet. At the end of the lesson, I’d like you to be able to answer the essential question, “What

are the biggest similarities or differences you notice when playing a trio compared to playing as a

full band or duet?”

I’d like you to sit quietly and listen carefully when the trio groups are playing so you can critique

their performance. To accomplish our goal for today, we’re going to warm up on #86-88 and

review the new notes first, then work on sight reading and learning the notes and rhythms of

#131, then practice playing in small groups and trios next, and finish up with describing what

you noticed when you played as a trio group and what you heard when others played.

p. 35


Lesson Plan Design Sequence to Activate Students’ Prior Knowledge

6th

Grade NBI Math

Plan






Today’s learning goal is (f) (short and specific). Do you remember that when we studied (g) the

other day? Who can tell me what that was about? (Student input). What else do you remember?


questions until the students have recalled all the points have been led to the day’s learning goal.)





participation for class). To accomplish the learning goal, we’re going to (k) (activating strategy,

warm up) first, then work on the (l) (concept, skill) next, and finish up with (m) (summarizing

activity).

a. M6A3: students will solve simple one-

step equations using each of the four basic

operations

b. Finding the value of “X”

c. creating and solving an equation from a

short word problem.

d. Math skills for inverse operations and

building your knowledge through problem

solving

e. M6P1

f. Use letters to represent numbers

g. Using math to represent problems

h. Where we may not know all of the parts

of the problem and we have to use an

alphabet letter, or variable – like X – to

solve the problem.

i.

j. Why do we use letters to represent

numbers?

k. Write each step out on your paper, show

all of your work for each problem, and circle

your answer. At the end of class, please

give me your paper so I can review it.

l. Review inverse operations

m. Creating an equation, then solving the

one-step equation

n. A group discussion of why variables are

used and how they may be helpful in finding

solutions to some everyday problems.

p. 36



6th

Grade NBI Math

Lesson Introduction

Let’s start class by looking at your standards. Today you’re going to work on standard M6A3.

Let’s read the definition together: “students will solve simple one-step equations using each of

the four basic operations.” That standard means that you’re going to learn about finding the

value of “X.” You’re going to be learning about that standard by working on creating and

solving an equation from a short word problem. While you’re working on the word problems,

remember to keep demonstrating correct math skills for inverse operations from standard

number(s) ( e ).

Today’s learning goal is use letters to represent numbers. Do you remember that when we

studied using math to represent problems the other day? Who can tell me what that was about?

(“Math can represent buying things at the store.”) What else do you remember? (“Word

problems can be things from our lives.”) Anything else? (“Subtracting is the opposite of

adding.”) (The teacher is to keep prompting or asking questions until the students have recalled

all the points that have led to the day’s learning goal.) Well, today is an extension of that

because using letters to represent numbers is just where we may not know all of the parts of the

problem and we have to use an alphabet letter, or variable – like X – to solve the problem. At

the end of the lesson, I’d like you to be able to answer, “Why do we use letters to represent

numbers?”

I’d like you to write each step out on your paper, show all of your work for each problem, and

circle your answer. At the end of class, please give me your paper so I can review it. To

accomplish the learning goal, we’re going to review inverse operations first, then work on the

creating an equation, then solving a one-step equation next, and finish up with a group discussion

of why variables are used and how they may be helpful in finding solutions to some everyday

problems.

p. 37



1st and 2

nd Period: 6

th Grade ELA

Plan














participation for class). To accomplish the learning goal, we’re going to (k) (activating strategy,

warm up) first, then work on the (l) (concept, skill) next, and finish up with (m) (summarizing

activity).

a. ELA6W4

b. How to start and finish a writing project

c. Pre-writing for a persuasive essay on,

“Should movie stars or athletes be

considered role models?”

d. Interactions with me and other students,

and give me a reason behind your answers

e. ELA6LSV1

f. Practice pre-writing techniques

g. Persuasive writing and the steps to

writing

h. Is where you begin when writing an

essay

i. “How does pre-writing help you form an

effective persuasive essay?”

j. Work by yourself and be very quiet so

that everyone can concentrate.

k. Free write about the topic for 5 minutes

l. Looping and brainstorming for 10

minutes each

m. Clustering and discussion

p. 38



1st and 2

nd Period: 6

th Grade ELA

Lesson Introduction


ELA6W4. Let’s read the definition together: “The student consistently uses the writing process

to develop, revise, and evaluate writing.” That standard means that you’re going to learn about

how to start and finish a writing project. You’re going to be learning about that standard by

working on pre-writing for a persuasive essay on, “Should movie stars or athletes be considered

role models?” While you’re working on your persuasive essay, remember to keep demonstrating

correct appropriate interactions with me and other students, and give me a reason behind your

answers from standard number(s) ELA6LSV1.

Today’s learning goal is practice pre-writing techniques. Do you remember that we studied

persuasive writing and the steps to writing the other day? Who can tell me what that was about?

(“Persuasive writing is when you’re trying to convince somebody of something.”) What else do

you remember? (“You have to prove your point.”) Anything else? (“You have to get ideas,

make a draft, and edit the essay before you turn it in.”) (The teacher is to keep prompting or

asking questions until the students have recalled all the points that have led to the day’s learning

goal.) Well, today is an extension of that because pre-writing is just step 1 for writing a good

essay. At the end of the lesson, I’d like you to be able to answer, “How does pre-writing help

you form an effective persuasive essay?”

I’d like you to work by yourself and be very quiet so that everyone can concentrate. To

accomplish the learning goal, we’re going to free write on the topic for about 5 minutes first,

then work on the looping and brainstorming for about 10 minutes next, and finish up with

clustering and a group discussion.

p. 39


Resume

PROFESSIONAL INSTRUCTION Prepare and deliver six standards-based, teacher-directed, student-focused, interactive

instructional lessons to a diverse student population each school day. Prepare and teach

ongoing remedial writing or math needs-based instructional units.

Mentor to first year teachers with over 100 hours of observation, evaluation, planning, and

interaction which helped create a positive and successful teaching/learning environment.

Selected as Mentor Chair for 2013 and 2014-2015.

Created flexible, all subject, all grade level Teacher Keys Effectiveness System (TKES)

lesson plan and Keys to Your Successful Evaluation on the New Teacher Assessment on

Performance Standards booklet.

Created Honor Band which was straight Superior-rated at the 2004 and 2005 Trills and

Thrills Concert Festival as well as the 2006, 2007, and 2008 Large Group Performance

Evaluation; Tiger Band: football games, pep rallies; elementary school orientation and

recruiting; winter, spring concerts; Tribute To Our Troops fund-raising concert; students

have made District Honor, Region, and/or All-State symphonic band, concert band, jazz band

or orchestra every year to 2009; created curriculum and provided instruction for new general

music classes

Instructed intermediate and advanced symphonic bands, marching and jazz bands, advanced

theory classes, guitar, music appreciation classes and orchestra; performed grade II—VI

literature

Created spreadsheets for 3-year tracking and scheduling of all middle school students in

Connections classes at Herschel Jones Middle School 2006-2009 and Ritch Middle School

2012-2015

Created spreadsheets for projecting budget allocations, profits, managing $1M+ cash flow,

monitoring 401(k) contributions, calculating bonuses, tracking account balances,

expenditures, staff work days, office purchases, and financial analysis and projections

PROFESSIONAL HONORS AND AWARDS Prepared, programmed, and managed all details for an exclusive Jazz Band performance for a

campaign rally for President George H. W. Bush in 1992 and an exclusive band performance

for Paul Coverdell in the only Senate run-off election in the United States in 1993.

Recipient: Walden 2013-2014 Presidential Alumni Research Dissemination Award

recognizing interaction with other professionals to initiate positive social change.

Conducted the Alto Saxophone III/IV sectional of the Northwestern University Alumni

Saxophone Orchestra celebrating the 50-year teaching legacy of Dr. Frederick L. Hemke.

Recipient of the Sudler Silver Scroll, founding member of the Cobb Wind Symphony (1999

to present); featured performances at: Midwest International Band and Orchestra Clinic 2011

and the Grand Finale Concert in 2003, Georgia Music Educators Association In-Service

Conference 2005, 2007, 2010 and 2015, CBDNA/NBA Southeast Convention 2006 and

2008, Cobb County (GMEA District XII) District Honor Band 2006, and University of

Georgia’s JanFest 2010

Chairman of Southern Association & Accreditation of Schools 10-year study music

subcommittee. The study resulted in new classes, programs, teaching techniques and

evaluation procedures for all music classes.

p. 40


Herschel Jones Service Excellence Award 2003, five-time Service Award Recipient;

Nominated for Herschel Jones Teacher of the Year 2005; Teacher of the Month May 2008,

March 2009, November 2010

EPCOT Center Walt Disney World Grand Opening Celebrations and Dedication Ceremony

Musician 1982

National Association of Jazz Educators Special Citation for Outstanding Musicianship 1980

PROFESSIONAL ACTIVITIES JUDGE

o 2014, 2013 Kappa Delta Pi International Honor Society Educational Foundation

International Scholarship Program, Harold D. Drummond scholarship; 2014 Sandra Jo

Hornick and Vince McGrath scholarship

o 2015, 2014 Phi Delta Kappa International Pi Lambda Theta Future Educators Association

National Conference Job Application Interview Finals (Washington, DC; Minneapolis,

MN)

o 2013 Kappa Delta Pi International Honor Society/Association of Teacher Educators’

National Student Teacher/Intern of the Year Award

o 2012 Phi Delta Kappa International Future Educators Association National Essay

Competition

o 2011 Celebrating 100 years of Kappa Delta Pi Convocation Presentation Proposal

PRESENTER

o Poster presentation of “Activating Students’ Prior Knowledge: A Key Instructional

Strategy for Increasing Student Achievement in Low-Socioeconomic Middle Schools” at

the Georgia Music Educator’s Association State Conference (2014 and 2015) and

Walden University Winter Research Symposium (2012)

o “Saxophone Teacher’s Handbook” presented to Georgia Music Educators Association

District 7 Honor Band directors 2012

o To local faculty:

o “Fair is not equal”

o Discipline with Dignity, Chapter 5: Consequences vs. Punishment

o “Differentiating instruction: Why bother?”

o Activating Prior Knowledge with Cues and Questions: A Key Instructional Strategy

to Increase Student Achievement for Low-Socioeconomic Middle School Students

MASTER CLASSES, SAXOPHONE CLINICIAN, AND BAND CLINICIAN

4 Years East Paulding High School Symphonic and Concert Saxophone Master Class

3 Years North Paulding High School Symphonic and Concert Saxophone Master Class

South Paulding Middle School Saxophone Master Class

McClure Middle School Saxophone Master Class

3 Years Cartersville Middle School Saxophone Master Class

Moses Middle School Saxophone Master Class

Other: Herschel Jones Middle School; Kennesaw High School; Harrison High School; Lost

Mountain Middle School; Woodstock Middle School; Clinician Moses Middle School,

Paulding County High School, South Paulding High School, East Paulding High School,

Hiram High School; Guest Conductor Paulding County High School, East Paulding High

School

p. 41


ADJUDICATOR

6 Years Georgia Governor’s Honor Program Final Interviews

7 Years All-State Band Final Auditions

8 Years District Band Honor Band Auditions

3 Years Cobb County Fall Solo & Ensemble

2 Years Lassiter High School

Georgia Music Educators Association District Six Jazz Ensemble Festival

INSTRUCTOR

Academy of Performing Arts, FBC Atlanta: Flute, Clarinet, Saxophone

9 Years Paulding County High School Marching Band

5 Years East Paulding High School Marching Band

2 Years Hiram High School Marching Band

1 Year South Paulding High School Marching Band

DISTRIBUTED WRITINGS

o Handbooks

o 2015: Learning is a process

o 2014: Updated Results for Marzano’s 1998 Most Effective Instructional Strategies

o 2014: Instructional Strategies That Increase Student Achievement & Lesson Plan

Design, Meta-Analytic Research-Based Results

o 2014: Doctoral Study Project: Instructional Lesson Design

o 2014: Thoughts and Quotes Regarding: A Teacher’s Pocket Guide to School Law

o 2013: The Keys to Your Successful Teacher Assessment

o 2012: Doctoral Study Project: Activating Students’ Prior Knowledge

o 2012: Activating Prior Knowledge: A Key Instructional Strategy to Increase Student

Achievement in Low-Socioeconomic Middle Schools

o 2011/2014: Saxophone Teacher’s Handbook

o 2011: Surviving a Doctorate: Year 1, How to be Productive and Efficient

o Essays

o 2014: Demonstrating All 10 TAPS Standards in One Lesson

o 2014: Effective teachers, effective strategies, and effective assessments may not get

noticed through the TKES/TAPS evaluation

o 2014: Metacognition

o 2013: Uses Grading Practices That Report Final Mastery in Relationship to Content

Goals and Objectives

o 2013: Uses Flexible Grouping Strategies to Encourage Appropriate Peer Interaction

and to Accommodate Learning Needs and Goals

o 2013: Understanding the Content and Mastering the Skills Through Research-Based

Instructional Strategies

o 2013: Provides Remediation, Enrichment, and Acceleration to Further Student

Understanding of Material

o 2013: Plans for Instruction to Meet the Needs of All Children

o 2013: Instructional Technology Used to Enhance Student Learning

o 2013: Displays an Understanding of the Intellectual, Social, Emotional, and Physical

Development of the Age Group

p. 42


o 2013: Differentiated Content, Process, Product, and Learning Environment to Meet

Individual Developmental Needs

o 2013: Develops Appropriate and Adaptable Course, Unit, and Daily Plans

o 2013: Checks for Understanding

o 2013: Festival Sight Reading

o 2012: Why Walden?

FORMAL EDUCATION WALDEN UNIVERSITY

Doctor of Education in Teacher Leadership—2011; 4.0

My doctoral study, Activating Prior Knowledge With Cues and Questions As a Key

Instructional Strategy to Increase Student Achievement in Low Socioeconomic Middle

Schools, and other supporting documents can be found on my online portfolio here:

https://sites.google.com/site/gcason123/

NORTHWESTERN UNIVERSITY

Master of Music in Saxophone Performance—1985

Finalists for Doctorate of Musical Arts in Instrumental Conducting—1996

UNIVERSITY OF SOUTH CAROLINA

Bachelor of Music Education and Performance Certificate—1984 cum laude

President’s Honor List, Dean’s List, Honor’s College

CLINTON HIGH SCHOOL

College Prep Diploma—1980, High Honor Graduate

National Honor Society, International Thespian Society, Honor Thespian

CONTINUING EDUCATION BIBLE TRAINING CENTRE FOR PASTORS

Certificate of Completion; Bible Training for Church Leaders, 300-hour curriculum

FURMAN UNIVERSITY

South Carolina Governor’s School for the Arts—Gifted and Talented Education—1986, 1987;

Nature and Needs and Curriculum and Strategies for Gifted and Talented, Created second-year

teacher G&T training Internship Program, Developed process for evaluating G&T students in

school systems

UNIVERSITY OF NORTH CAROLINA

Orff: Level 1 Certification AUGUSTA COLLEGE (now Augusta State University)—Post Graduate Classes

Exceptional Children; Research/Statistical Analysis; Foundations/Philosophy of Education

AFFILIATIONS, ACTIVITIES, AND PUBLIC SERVICE Memberships have included: Phi Delta Kappa International Professional Association in

Education, Executive Board Member/Secretary for the Alpha Epsilon Xi chapter of Kappa

Delta Pi International Honor Society in Education, Pi Kappa Lambda National Music Honor

Society, Phi Mu Alpha Music Fraternity, Professional Association of Georgia Educators,

Georgia Music Educators Association, Music Educators National Conference

Bramlett Towneship Architectural Control Committee Chairman (2003-2005); Spinnaker

Cove Condominium Association Director (2001), Vice-President (2002)

American Taekwondo Association: Brown Belt Recommended; published amateur

photographer

https://sites.google.com/site/gcason123/

p. 43


Recording artist for six commercial albums, featured saxophone soloist performer, volunteer

director and performer for community quartets and jazz ensembles. Featured with East

Paulding High School Symphonic Band at Troy State Band Clinic, 2003. Recipient of NAJE

Special Citation for Outstanding Musicianship and John Philip Sousa Band Award. Co-

originator of Instrumental Ministry Resources, Inc. music publishing company; saxophonist

at Brevard Music Center; producer for South Carolina Governor’s School for the Arts

Teacher Internship informational video.

Involvement in major musicals as Music Director/Conductor: Stop the World I Want to Get

Off; Orchestra Member: Oklahoma!, Once Upon a Mattress, Brigadoon, The Music Man,

1940s Radio Hour, Atlanta Passion Play, Man of La Mancha, The Sound of Music, They’re

Playing Our Song; and Cast Member: Camelot, Annie Get Your Gun, Hello Dolly!, Lil’

Abner, and Dark of the Moon

WORK EXPERIENCE 8/02-Present Instrumental Band Director, Paulding County School District

Ritch Middle School: Christine Carson, Principal (2013-present), Cassandra

Dobbs, Principal (2012-2013); Herschel Jones Middle School: Craig Wilcox

(2008-2012); Scott Viness, Principal (2006-2008); Kimberly Fraker, Principal

(2004-2005); Eddie A. Mosley, Principal (2002-2004)

9/93-8/02 Law Firm Administrator: Dupree, Poole & King; Hylton B. Dupree, Jr., Managing

Partner; Law Firm Office Manager: Lord, Bissell & Brook; Michael J. Athens,

Managing Partner; Law Firm Administrator: Gorby, Reeves, Peters & Burns, PC;

Michael S. Reeves, Managing Partner; Law Firm Administrator: Isaf, Vaughan &

Kerr; Louis T. Isaf, Managing Partner; Office Manager: Atlanta Passion Play Box

Office; John Glover, Director

8/88-7/93 Instrumental Band Director: Thomson High and Norris Middle School; Shamrock

High School

8/85-7/88 Instrumental Director: East Middle School; Thomas Sumter Academy

saxophone handbook 2015

Documents