| One of my saxophone teachers in college told me this | | | | Next, I'd turn my efforts to what ever I happen to be |
| story/joke: A man was walking in New York and was | | | | working on at the time. If I have a solo in school, or I |
| headed for Carnegie Hall. He was lost, and stopped to | | | | need to play for a family party or whatever the case |
| ask directions from another person. He said, "Hey, do | | | | maybe; that is what I'd practice. |
| you know how to get to Carnegie Hall?" The person | | | | After that, work on something for fun. If you want to |
| thought for a second and replied "Practice man, | | | | try to play a song by ear that you heard on the radio, |
| Practice". This is good advice. You have to practice if | | | | or work out of book of solos from you favorite movie, |
| you want to be good. | | | | just have some fun! Music stores have all sorts of |
| First let's talk about a time to practice, and then outline | | | | music in any style that you can imagine- get something |
| the procedure. I view practice as an open-ended | | | | you like and go for it! Remember that practicing |
| assignment. You can never be done with practice. | | | | doesn't have to be boring. |
| There will always be something else to learn. This is | | | | Here is my favorite pointer on practicing things that are |
| what keeps people playing music their entire life. I like | | | | difficult: Slow makes fast, and fast makes slow. If |
| to setup a specific time to practice, and then stick to it. | | | | something is not working for you, slow it down until you |
| For kids in school, make it right after school, so you | | | | can play it. I believe that you can play ANYTHING if |
| won't forget. Just set aside the time and do it. When | | | | you play it slow enough. Something magical happens |
| you practice, always have a purpose; something you | | | | when you play slowly. If you tell your fingers that they |
| want to get done. | | | | need to repeat a certain passage over and over in the |
| Here is a sample: First, warm-up with long tones. This | | | | exact same way, pretty soon they will figure out how |
| will get the air moving through your body and | | | | to do this on their own! It is truly amazing how many |
| instrument. EVERYONE ALWAYS sounds better | | | | times I have a student play something ten times slowly, |
| after playing long tones. Practice these LOUD! | | | | and then have them try it fast; it just pops right out of |
| Next, work on something for your technique. This | | | | their sax! Slow makes fast, and fast makes slow. |
| means something to get your fingers working well. This | | | | The next pointer I love is the method called |
| can be scales or technical exercises, anything to | | | | Whole-Part-Whole. First you take the passage you |
| develop coordination. | | | | are working on- say four measures. You can't play it. |
| Next work on your tongue. The only way to develop a | | | | Concentrate on the first measure until you can play it. |
| fast tongue is to practice using your tongue. The | | | | Then concentrate on the second measure. Now, hook |
| tongue is just a muscle, and needs to be "worked-out" | | | | the first and second measure together. |
| if you want any speed and accuracy. | | | | Whole-Part-Whole. Now move to the third measure, |
| Next, I'd work on Sight-reading. This means your ability | | | | then the fourth, then hook them together. Now hook all |
| to play things that you are seeing for the very first | | | | four together. It will work wonders. |
| time. You should have a lot of music at your disposal. | | | | The old saying of "practice makes perfect" is only |
| Play anything that you can. If it is music, you can play it. | | | | partially true. |