This is especially true for the saxophone section, for whom the very act of marching requires a different instrument position, which can lead to adverse effects on embouchure and toneproduction. Over-blowing and other marching band missteps can lead to the “laser-tone” all too often encountered in band rooms throughout the country. Of course, many band directors continue some form of concert-ensemble training during the fall, and many also have active private-lesson programs throughout the year. Whether or not a program is able to support these endeavors, however, an active chamber music program during both semesters can lead to great technical and musical advances with a minimal amount of active oversight from the directors. There are several reasons why a saxophone quartet can be a particularly advantageous educational undertaking. First, tone quality – with the correct guidance – can be greatly improved. The small ensemble offers the student saxophonists a chance to play out with full sounds, without the fear of drowning out others, as they might in a band. As a result, they will learn to support more, and their sounds will improve in solo, chamber, and large ensemble performance. By seeking to balance and blend with each other, also, the students can learn to hear and manage in microcosm the problems that are encountered in dayto-day band rehearsals. Second, intonation can more easily be addressed in the small ensemble. While out-of-tune saxophones may be able to hide somewhat in a full band, poor intonation will be painfully apparent in a quartet setting. With the reduced musical texture provided by the ensemble, it also provides a prime laboratory to resolve this issue. Third, the quartet offers an opportunity for the budding tenor and baritone players to stretch their technical wings. Quartet literature offers many more chances for those instruments to shine than the standard band repertoire. Further, along these lines, the activity allows young saxophonists to play all of the voices of the instrument family. The student who is primarily a baritone player can work on his alto
chops, the tenor player can pick up the soprano, and so on.
“Intonation can more easily be addressed in the small ensemble.” Also, by introducing student saxophonists to quartets, they are given an
arena through which they can continue to enjoy playing their instruments upon graduation from high school or college. It is much easier to find three other saxophonists and rehearse with them regularly and avocationally than it would be with a band of fifty or more instrumentalists.
Where Do I Start? When forming a middle school or high school quartet, the first issue to
Department of Music
B.S. in Music Education B.S. in Music Adelphi offers its students: • Commitment to excellence in teaching and musicianship • Integrated learning through common music literacy skills • Interactions with expert public school music teachers • Concentrations in performance, composition and jazz • Distinguished faculty artists • Competitive talent scholarships
For more information on Adelphi’s music program, visit pfa.adelphi.edu.
School Band and Orchestra • August 2012
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