Welcome to my educational page. I do a lot of teaching, so look for the part that concerns you. Important info for parents: • Payment is due…WHAT?!?!? • 24-hour cancellation policy • It is important for your child to see live musical performances. I play around Chicago a lot, and it can make a wonderful family outing. I encourage you to take your child to see the Chicago Symphony Orchestra, anything at Ravinia, a Tuesday night jazz set at Pete Miller’s in Evanston, or whatever you like. Teaching outline: Fundamental concepts: • Rhythm o Rhythm arrows o Rhythm syllables o Clapping o Play slowy • Embouchure o Key things to remember: Tight corners- make dimples Chin should be flexed Top teeth are on the mouthpiece, about 1cm from the tip Don’t puff your cheeks, making dimples helps this Relaxed throat Tongue in the “EEEE” position • Articulation o Use the tip of your tongue, or just above the tip o While separating notes with the tongue, the airstream must remain constant • Scales o Two octaves: Bb, B, C, Db, D, Eb, E, F, F# o 1 ½ octaves: F#, G, Ab, A o 8th grade: Play slurred eight notes at quarter note = 120 o 10th grade: Play slurred sixteenth notes at quarter note = 120 o 11th grade: Play major scales in thirds, slurred sixteenth notes at quarter note = 120 • Airstream • Hygeine o Always brush your teeth while you play an instrument. You definitely don’t want to leave your lunch in the interior of your horn. It is gross, but more importantly, your pads will stick. FAQ: • How much should I practice? o For all students, your weekly average should never go below 60 minutes per week o It is better to practice 30 minutes twice than 60 minutes once o Warm up with some long tones and scales • What’s the best way to learn jazz? o Copy some of your favorite songs- i.e. transcription Advanced stuff: Masterclasses: If you are interested in bringing me for a masterclass, Selmer and Rico will help support such events. Here is an overview of my college program: Doug Rosenberg, saxophones and woodwinds Doug Rosenberg will demonstrate some of his improvisational methods. Creating modal sounds using odd groupings. Getting comfortable with odd time signatures, including various clave-patterns and other ethnic elements. Tone development. Daily practice routines. Reed maintenance. Doubling. Transcription and its fundamental importance to making music. Developing musical intuition. Creating a personal divergent voice. Composition. Learning repertoire and styles.