The Second Edition (2003) of
Saxophone Master Classes
By Dr. Michael Hester
Copyrighted by Michael Hester and available through Dorn Publications, and Van Cott Information Services, Inc.. Published by Smooth Stone Productions, Inc.
"Knowledge is given to us with the unspoken understanding that we will pass it along."
"Learning comes from discovery and the student's journey toward discovery is guided, not traveled by the teacher."
"Squeaks played by young saxophonists are simply valid notes that they did not have the control to avoid."
"We practice the notes until they become transparent, allowiing a view into the music."
"That which we are capable, is limited only by how tightly we hold onto what we can already do."
Introduction by Dr. Hester
"I have
written this series of master classes in order to present philosophies
and methods which may help others to better understand and communicate
technical information related to playing the saxophone. Saxophonists
majoring in music and intending to one day teach privately, may
find this book particularly useful. Saxophone Master Classes
should also prove to be a valuable reference tool for grade school
band directors. The last chapter, Saxophone Diagnostic,
is designed to help teachers quickly identify, diagnose and find
solutions to the most common technical prob-lems.
I believe strongly that as we learn to teach, we must also teach
to learn; it's a lifelong process. Since Saxophone Master
Classes was first re-leased in June of 1998, my approach
to playing and teaching has continued to develop, and about a
year ago it became obvious to me that it was time to begin working
on a second edition. There have been changes and addi-tions to
each chapter, but the basic principles and philosophies that
in-spired the first edition have remained intact.
I acknowledge my most sincere and heartfelt gratitude to my wife
Julia who inspires me each day and is the best teacher I have
ever known, my parents Jackson and Judith who allowed and encouraged
me to choose my own path in life, my brother Matthew who was
my first best friend, my grade school band director Martin Benstein,
the many wonder-ful students I have taught, my good friend Dr.
John Fitch and my saxo-phone teachers Elizabeth Ervin, Trent
Kynaston, Jean-Marie Londeix, Eugene Rousseau, Donald Sinta,
Larry Teal and Joseph Wytko. A career in music, like a tree,
has strength against the elements only if it is deeply rooted
in fertile ground."
reviews:
"Saxophonist Michael Hester has created a unique book that addresses all of the basic issues of beginning saxophone playing in a clear, easy to read manner.
"Throughout the book, the author takes a disarmingly personal approach, while keeping a straightforward non-conversational tone that makes this book equally useful as a class textbook or for personal use.
"Materialis discussed in an equally personal yet succinct manner. Such issues as dealing with a student's frustration, the introduction of a new concept, fear of physical change, misconceptions and the difficulty of teaching such concepts as tongue/throat placement and breathing that are not visible to the eye are all covered elegantly. These discussions will inspire younger players and teachers alike.
"This book is a valuable addition to the pedagogical literature, and would be a welcome addition to the catalog of a major publisher to increase its availability on the textbook market."
David
Demsey, July/August 2002 Saxophone Journal
"Michael Hester has written an excellent teaching and performance tool!...concise and very readable thoughts...an admirable job."
Dr.
John Sampen, Saxophone Professor
Bowling Green State University
"Michael Hester's new book Saxophone Master Classes, is a great addition...greatly needed with fresh insights and understandable explanations. I will recommend it for all of my undergraduate and graduate students. Convincing evidence of the authors understanding and application can be found on his recently released CD recording titled An American Patchwork...Bravo on Both!"
Donald
Sinta, Saxophone Professor
University of Michigan
"Saxophone Master Classes by Michael Hester is a thoughtful book that draws on the many years of teaching, playing and studying of the author. It is highly useful text that is well organized; the material is presented in a clear and concise form. I cannot imagine any young saxophonist not benefiting from this excellent addition to the library of saxophone pedagogy."
Dr.
Eugene Rousseau, Retired Saxophone Professor
Indiana University
"Saxophone Master Classes...a new publication authored by Michael Eric Hester... is extremely well organized...presentations successfully address many facets related to each topic...revealing a thoughtful and creative educational philosophy...anyone aspiring to teach would benefit from exposure to these ideas....I enjoyed this book very much.
"Many helpful descriptions and teaching techniques are found
throughout...Dr. Hester's positive educational philosophy is
reflected throughout this volume, a refreshing addition to such
technical discussions. I recommend this volume to all teachers
and students of the saxophone."
James
Umble, The Saxophone Symposium, Volume 24, 1999
The annual journal of the North American Saxophone Alliance
excerpts from the second edition:
Embouchure..."A saxophone tone which is "focused," demonstrates a clear, sharply defined, stable and uniform timbre throughout the entire range. When used describing an embouchure, the word "focus" refers to the use of facial muscles in the area of the mouth and lips. The discussion of focus with regard to saxophone tone, therefore, speaks not only to the sound itself, but also to the muscular structure of the embouchure which helps to make that sound possible."
Air..."The extent to which the diaphragm is useful in normal breathing is irrefutable. However, production of the type of significant air pressure needed to speak loudly, yell, blow out the candles on a birthday cake or play the saxophone requires much less effort from the diaphragm muscle than one might think."
Articulation..."Because of its hidden nature, many developmental problems are either misdiagnosed or avoided altogether. It is essential that a clear mental picture of articulation be developed by each wind musician. Learning to see where sight is not possible is the beginning of a concept and a clear concept of what occurs in the mouth is essential to the creation of a consistent articulation technique."
Vibrato..."The use of vibrato should be emphasized more as a color than a technique, but technique is the stage on which any artistic expression must be presented."
Altissimo..."An understanding of the potential for flexibility available within the oral cavity, with regards to air speed, must be made prior to having success with harmonic exercises and altissimo fingering charts."
Practicing..."Practicing scales for scales sake becomes a waste of time soon after the key signatures have been learned. Each scale should become fertile ground from which all techniques can grow, rather than turning into a reflex action done as a matter of course and without thought."
Diagnostic..."Teachers are not-so-different
from medical doctors in how problems are approached and dealt
with. A student or patient wishes to improve their current condition.
The teacher or doctor observes symptoms of the most immediate
problem. Possible causes are eliminated one-by-one, allowing
a diagnosis to be made based upon the information at hand."