Fast Fingers Are Important - And Not Just On Saxophone!
Oct 07 '00 (Updated Nov 25 '05)
The Bottom Line Take care of your hands and they will take care of you!
That was a line written in my yearbook about my first composition (the forgettable Fast Fingers), the technique of the saxophone and a little adolescent prurient conversation.
The fact is, playing the saxophone and, really, any instrument is a physical event. There are aspects of playing the saxophone that, when done properly, will enhance the player’s enjoyment and skill. If not done properly, they will hinder the skill and could cause tightness or even pain.
Hand position is an important part of comfortably playing the saxophone. I work with students almost immediately when they come to me to make sure they have a way that works for them and will permit future development. Items which impact proper position include the size of the instrument (soprano, alto, tenor, baritone), whether they are standing or sitting, whether the instrument is in front of them in the center, or to the side.
There isn’t really a “right” way to hold the instrument as long as it is comfortable and it permits proper hand position, which I will now describe. Of course, baritone players are probably the most constrained because of the size and weight. Also, the instrument may be a constraint - generally, professional quality instruments are made for hte finger and hand positions to me more comfortable. This permits fluency.
Wherever the instrument is held, the correct hand position is simple to describe. The wrist and the forearm should be in a straight line. For my adult students, I describe it as reaching for a beer on a bar. The description for the grade school students is reaching for a glass of water (particularly if a parent is in the lesson). That is the first thing I look for and it can be done in any reasonable position for saxophone.
Next, I assess the finger position. The fingers should be a close distance from the pearles (there is a coating on the main keys of mother of pearl, with an indentation for the fingers). I focus on making sure that the first three fingers of each hand can easily access their spots and the pinkies, which roam a bit, based on their responsibility, can do their job. I generally don’t change a lot at this point, unless there are fingers inappropriately curled or out of position. I do suggest that the students occasionally play while looking in a mirror. This helps them to self-assess hand position, as well as proper embouchure (how the mouth holds the mouthpiece).
Once students have memorized a scale to the point that they do not have to think about it (see my Ear Training, part 1 epinion), I start on another exercise. I have them play the scale from memory, extremely slowly, with the overriding goal of minimal finger movement from the keys. It’s a matter of physics. Any player will be faster if there is a shorter distance for the fingers to travel to the keys. Yes, dexterity is a factor, but the good news is that improvement is possible. Certainly, there have been greats that have had some movement away from the pearls. Others, such as John Coltrane, have been able to train themselves that way. I have them do this for maybe 5 minutes or so per practice session. A chromatic scale is also useful for this purpose. The key is that they don’t concentrate on notes or sheet music, only on the minimized movement. Once there has been some improvement, I bring in the metronome.
Plus, I assign technical exercises such as scales or other exercises to every student I have. For playing to be fast and accurate, it must first be accurate and then the speed must be expanded. I believe that you learn to play good fast by playing good slow and getting faster. Repetition and playing with the metronome can help with this.
This has always been a challenge for me. My dexterity is basically low average and I never realized these principles about finger movement until adulthood. I have to do a LOT of practice to achieve a LITTLE improvement. So, I work on this with students early on, the same way I wish that I had worked on it with my teachers when I was first learning as a kid.
These techniques help my students enjoy themselves and play their instruments to their ability. I believe that any player committed to improvement should consider these issues and I work with my students and myself on them.
As for Fast Fingers, the composition was forgettable and I didn’t get enough opportunities with the opposite sex to use my fast fingers in high school. Still, I put a lot of effort into practice and it paid off for me! Plus, I'm living proof as a player that it's never too late to commit to playing and to improve.
Thanks for reading. God Bless!
You might be interested in the related reviews listed below:
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Ear Training I - Beginning and Intermediate Players
Ear Training II - Jazz Applications
How to start a jazz band
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How to get your child started on an instrument
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If you like mainstream and fusion jazz, check out my web site, www.jazzobsession.com. You’ll find information on my newly-released CD, The Power of Two by John Temmerman's Jazz Obsession Quartet. It is available through Amazon.com and www.cdbaby.com. I have a special discount available on sales through my web site. Come on by!
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