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he First Principle of my Solfa choir workshops is to ‘Use the Ear to Train the Eye’: we

never separate the look of something on the page or on the blackboard from the sound of something they already know how to do.

After this happens, I then am very strict in applying the Second Principle of my Solfa choir workshops: ‘Stop While You Are Ahead’.

Adding one more concept on top of this one – for example modulation to the relative minor, or even to the (!warning!) so-called ‘flat keys’ can immediately burst the delicate bubble of achievement and understanding.

Third Principal: ‘Be Kind, but Apply the Second Principle’. While it can be difficult to curb my own enthusiasm for my subject and my happiness at having conveyed something that leads to interesting questions, I do try to restrict myself to giving only very brief answers to further theoretical questions before closing these conversations and moving on to something else that is practical and that I know my students can do.

Although several lines of research (e.g., deliberate practice, mental practice, modeling, self-regulation) have begun to show links between general practicing approaches and achievement, relatively little is known about which specific behaviors are most effective in eliciting performance gains. Information regarding which behaviors are beneficial to school-age musicians is especially needed, given their often limited formal training and the scarcity of studies with this population. The purpose of this study was to examine relationships among observed practice behaviors, self-reported practice habits, and the performance achievement of high school wind players.

In general, the results of this study have shown that the quality of practicing that takes place may be more crucial to improvement than the quantity of time spent playing.

The results also have practical implications for music educators. Although the findings cannot be considered causal, the correlations between performance achievement and the behaviors repeat section, slowing, whole-part-whole, and skipping directly to or just before critical musical sections of the étude indicate that these may be particularly useful strategies for making improvement.

It may be that those who were more accustomed to practicing with specific musical or technical goals in mind were able to practice more effectively during the study

This suggests that teachers should guide students toward practicing with musical and/or technical goals in mind.

This could be done by assigning specific musical passages to students or by asking students to practice applying specific musical concepts (dynamic contrasts, vibrato, expressive tempo manipulation, etc.) to various pieces when working alone.

This suggests students may need to be trained to distinguish between efficient and inefficient practicing.

For example, teachers could demonstrate characteristics of inefficient practicing, such as repetition of errors and physical and/or mental fatigue, and warn students to guard against them. Conversely, teachers could also highlight characteristics of efficient practice, such as focusing on problematic passages and taking appropriate amounts of rest.

A different mouthpiece and reed combination. The classical and commercial genres require different sounds, approaches to articulation, etc. While the performer mostly accomplishes this, a purpose-built, high-quality mouthpiece will make their lives easier

Many charlatans are lurking in the world, touting their instruments as “perfect for jazz” or “great for classical playing!” In truth, a quality saxophone is a quality saxophone, and all reputable brands are manufactured to allow for absolutely any type of playing. The student should simply be on the highest-quality instrument possible

two “pants pockets.” In one, a saxophonist keeps their classical skills, and in the other they keep their jazz skills. The two different styles shouldn’t mix, but they should both be handy for any given musical situation.

classical alto performance include the Selmer S-80 C*, the Selmer S-90 190, the Selmer Concept, or the Vandoren Optimum AL3. For jazz alto, the Meyer 5M, Vandoren V16 5M, Jody Jazz HR 5M, and the D’Addario Select 5M are all great choices.

As far as reeds go, it’s really up to the preference of the student. Some players use “classical” reeds and “jazz” reeds, while others use the same make on both setups. However, since classical and jazz mouthpieces are designed differently, the student will normally need to play reeds that are slightly lower in strength on their jazz mouthpiece.

teachers advocate different embouchures for jazz and classical playing, I am of the opinion that one can serve both purposes

One of the biggest differences between the performance of commercial and classical styles is articulation

Classical and jazz saxophone sounds are vastly different

how are students supposed to know what a great classical or jazz sound is? How are they supposed to learn about style? As always, the musician’s greatest tool is a busy set of ears.

Young saxophonists, from the first day, should have quality recordings available to them. With online video-sharing and streaming services, it is incredibly easy to give a student a list of names and let them start exploring for themselves

It is also important for students to practice with a model and without a model. I give them a model about 50 percent of the time. In the very beginning, when it’s only three or four notes, the rhythm is not usually a problem

Thumbs up means “I got it, let’s go.” Thumbs sideways means “Almost, I need another pass.” Thumbs down means “I’m lost!”  

Audiation is the musical voice inside your head, something like your musical imagination

Professional brass players use rebreather bags, incentive spirometers, and other tools to create an air model and to increase lung capacity

Children are used to taking conversational breaths; we need to teach them to breathe like musicians

For the inspiration I recommend using a breathing tube – basically a ½ to ¾-inch piece of PVC coupling

I use “sizzling” and “long tones.” Sizzling is great because you have the students create a natural resistance that simulates what it is like playing the horn

Long tones are very important to the development of a good sound

The Condenser Microphone

USB Microphones

To many, composed music and improvised music seem to be opposites, but in jazz, they merge in a unique fashion.

But improvisation is not the be all and end all of jazz. Composers such as Duke Ellington and Eddie Sauter wrote, on occasion, jazz compositions practically devoid of improvisation. But the real challenge comes when a composer integrates improvisation into a