tag:richpagemusic.com,2005:/blogs/low-eh?p=3Low Eh!2024-03-06T09:03:54-05:00Richard Pagefalsetag:richpagemusic.com,2005:Post/73627112024-03-06T09:03:54-05:002024-03-06T13:30:07-05:00Listening List – The Rock Steadies
<p>I’m fortunate to work with the incredible corporate/party band, <a href="https://therocksteadies.com/home">The Rock Steadies</a>. I don’t do many of these kinds of gigs, but I love the lineup, song list (primarily 1970’s and 1980’s), and arrangements that <a href="https://edlistermusic.com/home">Ed Lister</a> has put together. Here are three recordings that I listen to on my way to these gigs, where I have to put my pop sax chops to good use. </p>
<ol>
<li>Prince – The Hits/The B-Sides – This compilation gets played the most in the car. I find that this set puts me in a great headspace to feel those grooves right away, as well as some beautiful tenor solos, and horn section parts.</li>
</ol>
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<p>2. Stevie Wonder – Anything in his catalog – When I started digging into solos over pop tunes, I listened to many saxophone players, but the sound that really drew me in on every solo was Stevie Wonder’s harmonica playing. His phrasing, rhythm, and note choice are really influential in my soloing over the songs that we’re performing. </p>
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<p>3. Michael Blake – Red Hook Soul – Michael Blake is one of my favourite saxophonists. Red Hook Soul is a recording that blends rock, and R’n’B elements with extended solo sections where the band interacts. I love the way that Michael uses his tone expressively throughout this record to evoke different moods. This album keeps me thinking creatively when I’m soloing over four, or eight bar loops, and the band wants me to play a longer solo. </p>
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<p>These are just three of the recordings/artists that I like to get my ears “tuned up” for the Rock Steadies gigs. </p>
<p>Do you listening to different music before you have a show in styles that you perform in less frequently?</p>
Richard Pagetag:richpagemusic.com,2005:Post/73589342024-02-28T14:36:10-05:002024-02-28T18:00:19-05:00Applying Rhythms From Jazz Etude Books – Part 2
<p>A few weeks back, I wrote about how I get my students who need to get solos together quickly (but are still getting comfortable with tunes, forms, and changes), to <a href="https://barisax.ca/2024/02/12/applying-rhythms-from-jazz-etude-books/">use rhythms from the jazz etude books that we’ve worked on</a>. Here’s the next steps after they’ve dealt with the initial rhythm that they have chosen. </p>
<p>We start by adding a half step approach tone, an eighth note in front of beat one. I want the student to pick a non-chord tone, because of the tension and release from the last note of the bar into the consonant downbeat. Here is the original (done up in Dorico, instead of my sloppy lines on the dry-erase board. Haha!), and the example with the approach tone.</p>
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<p>After we’re comfortable with this idea, then we add another eighth note that is a chord tone to have a consonant sound, that sets up the tension and release. </p>
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<p>One of the parameters that I set is that we can’t have any repeated notes – in the first bar the G could be repeated, and the 7th is a more interesting note than the 5th of the chord, but I find that when students start repeating notes as a default, they create lines that aren’t as strong. </p>
<p>As the bars start to fill up, we can start to edit, and the student can find ideas that work in their solo. As I mentioned in the first post – As this (“stage one”, and two, and three) becomes more familiar, and my students can start to play this idea without writing it out, we start to add and subtract notes, apply different patterns, and hopefully, get away from this entirely, as we gain more confidence.</p>
Richard Pagetag:richpagemusic.com,2005:Post/73544842024-02-20T14:16:22-05:002024-02-28T18:00:19-05:00Podcasts That I Listen To – The Jazz Session
<p>I’ve been a fan of <a href="https://thejazzsession.com">The Jazz Session with Jason Crane</a> (and Nicky Schrire for a run of 38 episodes) for a few years. I think that both Jason and Nicky are great interviewers, and I love the selection of guests that they have on the show. </p>
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<p>For me, the conversational style of the podcast is always engaging, and relaxed. I love that the hosts really dig into not just the music, but the artist’s lives around the time that the recordings were/are being recorded, and released. The short interludes of the album in between topics works beautifully, and I have gone on to purchase quite a bit of music that I hear from those snippets. </p>
<p>I often hear interviews with performers who I am less familiar with. In most of those situations, I know the name of the artist in passing, but I haven’t familiarised myself with their body of work. This is exciting for me! I listen to many artists, but when I’m able to discover someone who is new to me, or I am prompted to dig further into their work, I almost always find something to add to my library.</p>
<p>The Jazz Session is a perfect length for me. It’s typically 30-40 minutes long, and there is so much detail in the interviews. </p>
<p>I’ve become a <a href="https://patreon.com/thejazzsession?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_fan&utm_content=join_link">Patreon supporter of this podcast</a>. With my membership, there is an additional podcast – This I Dig Of You, where ” the guest from the main episode talks about something non-musical that is bringing them joy.” This is really fun for me, because musicians are people, and it’s always interesting to hear how musicians find balance in outside of their musical life. </p>
Richard Pagetag:richpagemusic.com,2005:Post/73503662024-02-12T17:52:16-05:002024-02-20T18:15:09-05:00Applying Rhythms From Jazz Etude Books
<p>In November 2023, I wrote a <a href="https://barisax.ca/2023/11/07/music-books-lennie-niehaus-basic-jazz-conception-for-saxophone/" target="_blank" rel="noreferrer noopener">post about the Lennie Niehaus’ Basic Jazz Conception</a>, and how one of the aspects of the book that I like is the ability to apply the rhythms over sets of chord changes. </p>
<p>I typically use this method when I have a student who needs to play solos, but don’t quite feel comfortable improvising over forms, or they are worried about getting lost, or playing out of time. I find that this gives the player something to latch on to, and more confidence in front of a band. </p>
<p>Here’s how I break it down. </p>
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<p>First, we pick a rhythm. In this case, it’s the fifth exercise in the Lennie Niehaus book. Then we identify the chord tones, and then we apply them to the rhythm. I then send this with my student as homework. I like it when they write several variations, and the goal is that they will internalize the tune with the consonant landing points. If they dig in, and learn this, they could play idea through the form, and have material that they can use to keep their place. </p>
<p>As this “stage one” becomes more familiar, and my students can start to play this idea without writing it out, we start to add and subtract notes, apply different patterns, and hopefully, get away from this entirely, as we gain more confidence.</p>
<p>I’ll post further variations in the upcoming weeks!</p>
Richard Pagetag:richpagemusic.com,2005:Post/73457632024-02-04T17:05:39-05:002024-02-04T18:30:06-05:00Listening List: Horns+Bass & Drums Recordings
<p>Over the next few months, I have some shows with rhythm sections that are comprised of just bass, and drums. I’ve been composing a ton, and I’m excited to be able to share that music in the near future. </p>
<p>In March, Marc Decho and I will have a trio show. I’m excited to explore the combination of woodwinds, electric bass, and drums. </p>
<p>I have put together a quartet with Ed Lister, Sage Reynolds, and Mike Essoudry, which was supposed to debut in January. Unfortunately, I had to be out of town unexpectedly, but we’ve been able to push the date to May. </p>
<p>Here are a few recordings with bass-drums rhythms sections that are on my listening list right now. </p>
<p><a href="https://waynorth.bandcamp.com/album/kings-county" target="_blank" rel="noreferrer noopener">Kings County – Way North (2015)</a></p>
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<p>This recording always makes me smile. I love the melodies, and the group’s ability to connect with each other. I really love all three of Way North’s recordings, and with each of the recordings, the music gets deeper, and deeper. <a href="https://waynorth.bandcamp.com/album/kings-county" target="_blank" rel="noreferrer noopener">Check them out on Bandcamp!</a></p>
<p>Two Of Clubs – Broadview (2011)</p>
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<p>I remember hearing this recording for the first time, and fell in love with the sound. I’ve been telling Marc Decho that I’ve wanted to do a project like this for a while, and it’s finally happening! Rich Brown has so much range on this recording – whether he’s laying down the bass line, playing chords, or soloing…it’s always inventive. There’s so much room for everybody to stretch out, it’s another fun, and engaging recording. </p>
<p>Damaged In Transit – Steve Swallow (2003)</p>
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<p>The ideas are flowing free on this one! I would have loved to catch this group live! To me, the whole recording feeling kind of through-composed. Every piece seems to flow into the next very logically. Another electric bass, tenor sax, and drums recording, I feel that there’s such a different tonal palette with the electric bass, which allows the music to float a little more. I really enjoy this period in Chris Potter’s playing as well (it’s when I started getting into him). </p>
<p>I know that there are more “classic” saxophone-bass-drums recordings, and that’ll be a list for another week.</p>
<p>Are there saxophone-bass-drums recordings that catch your ear?</p>
Richard Pagetag:richpagemusic.com,2005:Post/73418962024-01-28T13:10:44-05:002024-01-28T17:15:03-05:00I Lightened Up My Setup
<p>My mouthpiece/reed setups have been on the heavier side for a while, and after several performances with the Crius Saxophone Quartet, and working on transcriptions, I realised that I wanted a little more flexibility in my setup. </p>
<p>Gonzalez Reeds sent me a few boxes of their Malbec reeds for tenor, and alto saxophones, which played slightly softer than my usual Jazz Local #627 reeds, and in the practice room they were awesome! I found the flexibility that I was looking for – a little more shimmer in the top register, and a clearer sound in the bottom end. </p>
<p>I was excited to test them out on a gig.</p>
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<figcaption class="wp-element-caption">Harder Reeds</figcaption></figure>
<p>But they didn’t feel great on the gig – I went back to my harder reeds. I felt like I couldn’t control the softer reeds. The reeds felt mushy, and I was searching for the tuning constantly. </p>
<p>A few weeks later, I started working on a Joel Frahm transcription, and once again, I wanted a little more flexibility. So I tried the Malbec again, and started to figure them out – the sound started to open up, and I was finding the sweet spot for response. </p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/C2Lool4A91c/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<figcaption class="wp-element-caption">Softer Reeds</figcaption></figure>
<p>As I have moved to softer reeds across each of my saxophones over the last few months, I am loving the results. For years, I feel like I have been expending extra energy in just creating the sound, and now, I am able to focus on more musical things.</p>
<p>It has definitely been a change that was worth making, even if it took a while to get comfortable. </p>
Richard Pagetag:richpagemusic.com,2005:Post/73304062024-01-08T16:00:58-05:002024-01-08T17:00:07-05:00Three Things That I’ve Learned From Being A “Musician-Dad”
<p>I’ve spent the last week with my daughters (they were on winter break from school), and I was off from teaching. It was a great chance to have some time together where we weren’t running from activity to activity. I started to think about how lucky I am to have the career that I have, and how it has impacted the relationships between my daughters and I. </p>
<figure class="wp-block-image aligncenter size-large"><img src="https://barisaxca.files.wordpress.com/2024/01/single-dad-and-daughter-bond-1.jpg?w=999" class="size_orig justify_inline border_" alt="" height="666" width="999" /></figure>
<p>Here are three things that I’ve learned from being a musician-dad. This is likely going to turn into a long list as they grow up, because I’m learning new things every day. </p>
<ol>
<li>
<strong>I have been able to be available to be a dad.</strong> When my daughters were born, I was able to be a present parent. My teaching schedule usually started around 3:30-4pm, and my day times were generally clear, so we had outings every day – from the library to the music store, to getting groceries, and all of the appointments in between. We have had many long drives to visit my parents, and they are great travellers. I’ve loved the bond that we have created by sharing experiences, and now I’m able to volunteer for class trips, and share in their lives that are becoming more social. </li>
<li>
<strong>I have a “cool dad” job.</strong> As the kids have grown, it’s always been important to bring them to concerts, and music festivals. It’s amazing to have them back stage amongst the musicians, and on stage during sound check (with their cans on) to see what musician life is all about. There are pictures of them hanging out backstage at JazzFest and Bluesfest – great memories! They hear me practice (and curse occasionally) – it’s part of their everyday experience. Now that they are in school, they share those experiences with their community, and I’m regularly greeted with “you’re the musician”. </li>
<li>
<strong>Sometimes it’s hard. </strong>Sometimes, I have to miss things. Sometimes, I have to scramble to make things work. Sometimes, there’s not enough work. Sometimes, I’m burnt out from too much work. Being able to have time to connect makes the tough times easier. We’ve spent the last few weeks with the Rainbow Loom, making friendship bracelets. I’ve learned more about Rainbow Loom over the last month than I ever thought that I would! </li>
</ol>
<p>Over the last few weeks, I’ve been able to reflect on how fortunate I am to have chosen this career, which has afforded me the time to be a “musician-dad”. </p>
Richard Pagetag:richpagemusic.com,2005:Post/73227212023-12-21T19:30:42-05:002023-12-22T00:30:05-05:00Thank you!
<p>I just wanted to post a huge thank you to everyone who read Low Eh! in 2023! </p>
<p>Over the last few months, I have been more active on the blog, and the support has been incredible! I’ll be off for a few weeks, but I have lots of new material for 2024! </p>
<p>Stay tuned!</p>
Richard Pagetag:richpagemusic.com,2005:Post/73187562023-12-13T11:51:44-05:002023-12-13T14:15:19-05:00Music Books – Graded Studies Series
<p>I’ve been using 80 Graded Studies for saxophone and clarinet, and 76 Graded Studies for flute for many years now, and I think these books are great for students who are needing material outside of their band books (Essential Elements, Standard of Excellence, etc.), and looking for a faster paced method that allows them to focus on all elements of the <a href="https://barisax.ca/2023/06/11/my-music-pyramid/" target="_blank" rel="noreferrer noopener">musical pyramid</a>.</p>
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<p>I love that the melodies are singable. This makes it easier for myself to help guide my students through sound, rhythm, notes, articulation, dynamics, and overall musicality. It also allows the student to reinforce the fundamentals while focusing on each element. </p>
<p>The introduction to articulation is particularly important to me. Most band books don’t have enough material that requires both articulated, and slurred passages, and I find that students either become over, or under-articulators. When I introduce this book, the varied articulation patterns get the student to work to control their tongue muscles, and the control that they are able to gain works well in their band situations. </p>
<p>The books are paced well – half notes to quarter notes, add articulation, and dynamics. Then, quarter notes to eight notes, add articulation, and dynamics. They also include some good melodies that introduce syncopation, and triplets as the student progresses. </p>
<p>Although you need to add a separate book for technique, the Graded Studies series allows the student to focus on the fundamentals while digging deeper into musical concepts that give them more tools for their musical toolbox. </p>
Richard Pagetag:richpagemusic.com,2005:Post/73161482023-12-07T18:11:41-05:002023-12-07T19:45:05-05:00I Let My Students Pick Their Own Rep
<p>It’s the season where many of my students are performing the same tunes. The same tunes that I have taught for years…and I’m okay with it.</p>
<p>When I student contacts me about lessons, we discuss scheduling, and policies, but I also send a rundown of how I like my lessons to run.</p>
<p><em>My teaching concept (which is the same concept I use in my own playing) revolves around efficiency. If I have to think about playing my instrument, I’m probably not making music, and ultimately, not having a great time. Also, when a student comes to me, I tend to break down embouchure and air issues right away. Sound is the foundation of music, and if we can get to a point where the sound is consistently open and in tune, it will make our lives’ easier doing everything else on our instruments.</em></p>
<p><em>I will assign studies from a method book, and I let my students pick their songs. I find that when a student plays music that they love, they dig into the lesson material, and stay interested in all elements of their instrument.</em></p>
<p>My students have chosen their instruments for a reason that is personal to them, and because I teach woodwinds, the students are typically older than a five or six year old piano student. To me, this means that they have started to develop their own taste in music, and that is something that I should respect.</p>
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<p>As I learn about the music that they enjoy, I am able to shape the technical aspects of our lessons to fit their needs, and I find that they get more out of their lessons because they see the value in practicing. They need to love the music that they’re playing!</p>
<p>There are a few concepts that are great to introduce this way.</p>
<ol>
<li>Playing by ear – the students can sing the songs that they love. It makes a great connection for them to start to learn how their instrument sounds. It also takes the pressure of sight-reading vocal melodies away. </li>
<li>Improvisation – as they work on their tunes, we can start to introduce embellishment, and work our way into improvisation eventually. This also helps introduce scales, and chords. </li>
<li>Duets – I have been writing duets using my students tunes, which then allows them to focus on playing with others, playing in tune, and with good rhythm. <a href="https://www.sheetmusicdirect.com/en-US/Search.aspx?query=Rich%20Page%20Music" target="_blank" rel="noreferrer noopener">Some of my arrangements are available here, with more to come in the near future.</a>
</li>
</ol>
<p>It’s also great for the parents who are not always musical to hear their child perform music that they hear on the radio. Not every saxophonist’s parent is into Coltrane! When the parents start to hear familiar melodies, it gives them a clearer picture of how their child is progressing, because they have a point of reference. </p>
<p>In my experience, as a student progresses, they end up digging deeper into the music that their instrument is more known for, and my saxophone students who started playing Careless Whisper, start playing from the Charlie Parker Omnibook – it’s all about getting them to love the instrument, and finding their path.</p>
<p>I don’t shy away from Christmas music, or pop tunes, or video game music, or movie themes! Everybody should be able to perform the music that they love!</p>
Richard Pagetag:richpagemusic.com,2005:Post/73110392023-11-29T10:45:53-05:002023-11-29T14:00:18-05:00Listening List: Drummerless Groups
<p>I have been (and will be) performing with several drummerless groups over the next six weeks, and wanted to share some of my favourite recordings. </p>
<p>Jimmy Giuffre 3 – Fusion and Thesis (re-released in 1992 as 1961 on ECM). I’ve put these two together, because I originally knew the compilation, 1961, as the entire work. I can’t deny a little recency bias – I just performed a tribute to Jimmy Giuffre’s music with Sage Reynolds, and Ali Berkok a few days ago (November 25, 2023), and dug into this music. </p>
<p>The music is fresh – it could have been recorded yesterday, and I find that with most of the music from this iteration of the Jimmy Giuffre 3 (with Paul Bley and Steve Swallow). </p>
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<iframe class="youtube-player" width="640" height="360" src="https://www.youtube.com/embed/UmClvTgZSzY?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe>
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<p>Kenny Wheeler – What Now? (2006) Since listening, and performing Music For Large and Small Ensembles, I have been a Kenny Wheeler fan. There are several drummerless offerings from Kenny Wheeler, but this is the one that has stuck with me. I heard this in college, and Chris Potter seemed to be THE influence for many tenor saxophonists at the time (this is also some of my favourite Chris Potter). </p>
<p>The melodies are singable, and every composition has a twist that makes each track memorable, and interesting to me. </p>
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<iframe class="youtube-player" width="640" height="360" src="https://www.youtube.com/embed/GptdMHSIgP8?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent&listType=playlist&list=PLLD8tmFAuglrtBTYa6ut4jS1QkXgKV2G8" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe>
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<p>Adrean Farrugia and Joel Frahm – Blued Dharma (2018) I just love the interplay between Adrean and Joel on every track on this recording. I was fortunate to have spent time in Adrean Farrugia’s ensemble in college, and then to perform with him in Ottawa with a tribute to Thelonious Monk. Joel’s control of the saxophone is something that I marvel at. </p>
<p>This is a recording that I love to listen to post-gig when I want to cleanse my ears – pure musicality!</p>
<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe class="youtube-player" width="640" height="360" src="https://www.youtube.com/embed/H5OvhfZyPNE?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe>
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<p>Do you have any favourite drummerless recordings? Maybe recordings with two drummers?</p>
Richard Pagetag:richpagemusic.com,2005:Post/73071442023-11-21T12:48:12-05:002023-11-21T15:30:11-05:00My Social Media Journey
<p>I often get asked by other musicians about my commitment to posting on social media platforms. I have always been an early adopter of new platforms, and I enjoy trying to figure out what works, and what doesn’t. Posting clips is built into my daily routine, and I have been so fortunate to have these platforms as an avenue for my music over the past few years. </p>
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<p>During lockdown in 2020, social media became my outlet when there weren’t any gigs. I was teaching online 6-8 hours a day, and my drive to practice was possibly the lowest that it had ever been. After a few months of living in this state, I knew that I had to start finding the motivation to create, and improve. </p>
<p>I started forcing myself to post a clip a day – 30-60 seconds of what I was working on that day. That routine motivated me to get to my instruments regularly, and stoked the fire. Soon, I was recording etudes, and examples for my students. </p>
<p>I started to build my platforms, started this blog, and gained connections with musicians all over the world. This included collaborations with composers, I played on recordings, I started to book students, and make friends who were living in the same situation that I was around the globe. </p>
<p>I continue to post regularly. I don’t make a post every day – it’s busier now that gigs are back, I’m in school, my kids are growing – life resembles more pre-lockdown now, but I update my stories, and have maintained the connections that were built. </p>
<p>Building the community has been the most important, and rewarding part of the journey – the support was, and continues to be overwhelming! Thank you!</p>
<p>Please feel free to follow me on any of my platforms!</p>
<p><a href="https://www.instagram.com/richpagemusic/">Instagram</a></p>
<p><a href="https://www.threads.net/@richpagemusic">Threads</a></p>
<p><a href="https://www.youtube.com/richpagemusic">YouTube</a></p>
<p><a href="https://www.facebook.com/RichPageMusic">Facebook</a></p>
<p><a href="https://twitter.com/richpagemusic">Twitter (X)</a></p>
<p><a href="https://www.linkedin.com/in/richpagemusic/">LinkedIn</a></p>
<p><a href="https://www.tiktok.com/@richpagemusic?lang=en">TikTok</a></p>
<p></p>
Richard Pagetag:richpagemusic.com,2005:Post/73038122023-11-14T15:06:14-05:002023-11-14T18:45:06-05:00Three Things That I’ve Learned From Playing In A Saxophone Quartet
<p>Since April 2022, I have been fortunate to be a founding member of the <a href="https://criussax.com/home">Crius Saxophone Quartet</a> – a project that includes Mike Tremblay, Petr Cancura, and Catherine Gendron. As we have dug into some classic saxophone quartet repertoire, some newer material, and written some of our own music, there are some things that I’ve learned from working with this group.</p>
<figure class="wp-block-image aligncenter size-large"><img src="https://barisaxca.files.wordpress.com/2023/11/crius-logo-3.png?w=500" class="size_orig justify_inline border_" alt="" height="500" width="500" /></figure>
<ol>
<li>
<strong>The fun is in the trust.</strong> Playing in a saxophone quartet becomes so much more fun when you really trust the performers around you. From tuning, to tempo, to feel – when you’re riding the line of control, and feel supported by the other players, the music gets so exciting!</li>
<li>
<strong>Endurance is key!</strong> I’ve played around with reed strengths, cuts, and my ReedGeek since starting to play with Crius. We play a variety of music from Piazzolla, to Gordon Goodwin, and I need a reed that I can play really warm and delicate, as well as bark when I need it to. I’m still using my Gonzalez 627 Local Jazz reeds, but I work on them a little more than usual. I also use the Balam Strap from Boston Sax Shop, which lets me carry my horn around for extended periods of time. </li>
<li>
<strong>Playing in a saxophone quartet has reinforced my love for the baritone saxophone chair.</strong> Laying down bass lines, playing solo parts, and ensemble sections – I get to do it all. I often get the most unique parts, and rarely get to take breaks. I love those aspects of the bottom voice in the group. </li>
</ol>
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<p>Have you played in saxophone quartets? Is there repertoire that you’re drawn to?</p>
Richard Pagetag:richpagemusic.com,2005:Post/73001392023-11-07T13:58:43-05:002023-11-07T16:15:17-05:00Music Books – Lennie Niehaus’ Basic Jazz Conception for Saxophone
<p>Here’s a classic! </p>
<p>When I have students who are starting to show an interest in jazz, Lennie Niehaus’ Basic Jazz Conception is one of the first books that I introduce in their lessons. </p>
<figure class="wp-block-image aligncenter size-large"><img src="https://barisaxca.files.wordpress.com/2023/11/ln1.jpg?w=300" class="size_orig justify_inline border_" alt="" height="393" width="300" /></figure>
<p>This book offers simple melodies that introduce a rhythmic theme with each exercise, and brings it all together with some singable tunes at the end of the book. </p>
<p>I love the fact that the melodies are not technically challenging, so that my students can focus on playing with a good swing feel, and don’t get overwhelmed with chromatic passages. </p>
<p>Another benefit is that the material in the book allows my students to integrate the rhythms into their early improvisations. For example, when they play with only the blues scale over the blues, they can be confident in their rhythms, and feel. </p>
<p>Most saxophonists are aware of the fact that Lennie Niehaus has a plethora of incredible material for saxophone, and I find the Basic Jazz Conception for Saxophone to be a particularly useful resource for musicians who are looking to explore jazz. </p>
Richard Pagetag:richpagemusic.com,2005:Post/72972962023-11-01T13:19:18-04:002023-11-01T15:00:13-04:00Pre-Gig Listening List: Big Band
<p>I end up in many different performance situations, and I have found that listening to music that gets me in the correct headspace for a gig is essential for me. Here are three recordings that I will put on before heading to a big band gig where I’m performing on the baritone saxophone/bass clarinet chair. </p>
<ol>
<li>Nostalgia In Times Square – Mingus Big Band (1993)</li>
</ol>
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<p>Ronnie, Ronnie, and more Ronnie – his sound is such an essential part of this recording. Whether he’s filling the bottom of the section, or blowing over the top of the band, the sound, and presence is just incredible. I also love the time feel of this band – there’s a real urgency in the music. </p>
<p>2. Live At The Village Vanguard – Thad Jones/Mel Lewis Orchestra (1967)</p>
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<p>Thad Jones/Mel Lewis Orchestra is my favourite big band. The groove! The shouts! The solos! The harmonies! It gives me everything I want in a big band. There’s a ton of energy in this recording, and I love the “loose precision” of this band. It reminds me to go for it every time I play. Also, how could I not mention Pepper Adams (baritone sax), and Eddie Daniels’ clarinet solo on ?</p>
<p>3. The Great Paris Concert – Duke Ellington Orchestra (1973 – recorded in 1963)</p>
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<p>This is the first Ellington recording that I really got into. There’s so much variety in this set of recordings. For me, listening to Harry Carney fill out the saxophone section has been a huge influence on how I support a sax section with my sound. It has also taught me when to lay back, and when I can lean on the section creating a little bit of tension, and forward motion. Harry Carney has some beautiful moments on both baritone saxophone, and clarinet (a doubling situation that I’m called upon for frequently). </p>
<p>I know that I’m leaving some major big bands off of this short list, but these are the first three that I reach for when I’m driving to a gig where I’m performing on the baritone saxophone chair. </p>
<p>What do you listen to on the way to your gigs? </p>
Richard Pagetag:richpagemusic.com,2005:Post/72248042023-06-11T12:46:29-04:002023-10-16T11:02:21-04:00My Music Pyramid
<p>My students are familiar with my music pyramid. I use it when I’m assessing a student’s playing – it helps them put elements of music in perspective, and breaks down their approach. I have found that when my students approach their practicing in this order, they are able to tackle music that they find difficult quicker, because it gives them a clear direction. </p>
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<p>Each aspect of the music builds on the previous layer.</p>
<ol>
<li>Sound – I value playing with a good sound above all else. If the player is constantly adjusting to get a good sound, they won’t be able to focus on anything else.</li>
<li>Rhythm – most people I show this to, think that notes come next, but for me, it’s rhythm. I was once told that notes, and harmony without rhythm is mush. That has stuck with me. When we break down their rhythms first, and then apply the notes, we are able to process the piece, and future pieces much more quickly. </li>
<li>Notes – applying the correct pitches to the newly learned rhythms allows us to play the piece. </li>
<li>Articulation – how we shape each note, or phrase. This comes before dynamics, because at first, we need to play with a louder sound to have each articulation speak clearly. As we gain more control over our articulation, then we can apply them at all volumes.</li>
<li>Dynamics – once we have control of all of the elements that come before, dynamics add the character, and excitement that the music needs. Dynamics can add intensity, and variety to our pieces!</li>
<li>Musicality – once we have our sound, rhythm, notes, articulation, and dynamics together, then we can be truly musical. It could be ornamentation, vibrato, or a player’s personal phrasing. The top of the pyramid, is always developing with practice (on all of the preceding elements, and with musical maturity). </li>
</ol>
<p>When we run the pyramid, I always note that as a player becomes more proficient, the bottom three elements take far less time that they do initially. With enough practice, players can break down some or most of these elements simultaneously, and music becomes familiar.</p>
Richard Pagetag:richpagemusic.com,2005:Post/72051712023-05-08T12:51:33-04:002023-05-08T17:15:11-04:00Ease The Tension! I Love The Rulon Rest!
<p>I started using the <a href="https://keyleaves.com/products/rulon-ergonomic-saxophone-thumb-rest-plastic">Rulon Rest</a> in January of this year (2023), and it’s one of the best pieces of equipment that I’ve ever used!</p>
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<p>Over the last year, ergonomics have become increasingly more important to me. </p>
<p>I started experimenting with risers on my saxophone <a href="https://barisax.ca/2022/12/14/custom-key-risers/">(detailed here)</a>, while I was working on the Glazunov Saxophone Concerto. There were sections of the concerto that I was having trouble executing, and after checking out another horn with custom risers, I decided that I needed to make my own. After completing that project, I noticed that playing with efficient technique was far easier, and then I saw the Rulon Rest. </p>
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<p>I have been incredibly fortunate to be a KeyLeaves artist since 2018, and watched Rulon introduce so many amazing products to the woodwind world. I started out with the wooden “test” version of the new rest, and almost immediately order the plastic versions (which I use on all of my saxophones). </p>
<p>I really love the way that my hand sits behind the saxophone, and my thumb isn’t jammed underneath the thumb hook (my hands are large, and it’s always been uncomfortable for me), and from a playing perspective, my fingers are quicker, because there’s no excess tension on my wrist or thumb from being forced to an angle that’s less that ideal. I’ve also found that I don’t go through any muscle fatigue in my hands, wrists, and forearms – more practicing! I never had much discomfort when it came to endurance on the saxophone, but any that I had experienced is now a non-issue. </p>
<p>The only change that I’ve made is on the soprano, where I use a neckstrap (before I didn’t), for extra security, and I’m happy with how that horn feels too!</p>
<p>The Rulon Rest has made a huge difference in my day-to-day saxophone playing, and I’m really happy to have added it to all of my saxophones. </p>
Richard Pagetag:richpagemusic.com,2005:Post/72004112023-04-30T16:45:03-04:002023-04-30T20:30:17-04:00Line #14 – Lady Bird Turnaround
<p>I worked on different ways to approach Tadd Dameron’s tune, Lady Bird this year, and here is a line that I like over the turnaround at the end of the form. </p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CrrHxRNN_ms/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>Here’s the PDF with it in all keys. </p>
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Richard Pagetag:richpagemusic.com,2005:Post/71960962023-04-24T14:45:57-04:002023-04-24T17:30:05-04:00Transcription – Lester Young – Almost Like Being In Love
<p>I was chatting with a friend (and fellow saxophonist) last night about how important Lester Young’s playing was to me. So this morning, I decided to put this solo, that I transcribed in 2009 or 2010, down on paper…really into Dorico. Haha.</p>
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Richard Pagetag:richpagemusic.com,2005:Post/71828122023-04-02T12:54:19-04:002023-04-02T15:00:13-04:00I Survived The Glazunov Concerto
<p>I performed my arrangement (for saxophone quartet and solo alto saxophone) of the Glazunov Saxophone Concerto last night. I was nervous, I made mistakes – lots of them, I even opted out of a section…and I’m thrilled with how it went. </p>
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<p>Last night was Carleton University’s Saxophone Ensemble concert. There were four university quartets, plus a quartet and saxophone ensemble for Canterbury High School, my performance of the Glazunov, followed by a double saxophone quartet, and two saxophone choir pieces. </p>
<p>I ended up performing in my usual quartet, and recently joined a second quartet just three weeks ago. In addition, I had saxophone choir duties, and I two of my pieces were performed (all on baritone saxophone). Then just one, the big one, on alto saxophone. It was a ton of playing in different styles, and configurations. I love that!</p>
<p>My day (and the night before) of the concert was full of nervous energy. Not anxiety, but sheer excitement. This was it – the culmination of my academic year (well, at least from October to April). I booked my students off, I had lots to do, and I needed to get myself calmed down a bit. I was so amped up, I hit the weight room hard, and still was bouncing off of the walls. Haha!</p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CqgKRpTAq-p/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>I arrived at the venue early, I wanted to get some time in on both instruments, pick a reed or two that would work, and get comfortable in the space. Sound check on some of the choir pieces ran a little long, and I didn’t get a chance to hear my alto in the hall before playing. To honest, I was a little relieved to not have to switch gears right before performing with the quartets. </p>
<p>The quartet performances went great, and I took off into the back room to get my alto warmed up, and hopefully, get into a good headspace for my first performance of a major work. I stalled…and stalled. I paced, I filled my water bottle up three times – the nerves were setting in. I could not believe how wobbly my legs started to get. I tried running a few sections really slowly, but my fingers didn’t want to work. Just thinking about it is making my hands tingle right now. I had asked Rebecca (the soprano player in the group to come get me I case I lost track of time). She found me, and we went to the hall. We listened to the final piece before it was our time to hit the stage, and entered the hall. </p>
<p>I had told Mike (Tremblay) that I wanted to say a few things before we performed. It was at this concert last year where I decided that I wanted to finish my degree. I was a last minute sub in the quartet that I am currently playing in, and it really sold me on the idea that I could finish my degree at Carleton. I wanted to thank the musicians who were performing with me, and Mike, who has been so incredibly supportive of me while I navigate new musical challenges, university life, and my life outside of academia, as well as being (and most importantly) a great friend. </p>
<p>I performed the Glazunov. I was so nervous – funny to me, the technical sections that I was worried about, came off beautifully, and some of the sections that I had no trouble in rehearsals, and in the practice room, had some warts. I could not believe how nervous I was, and how my nerves played a role in the way I played, but every time that I made a mistake, I was about to regroup, and move forward. I’m really proud of that. </p>
<p>When I got home, I listed to the stream right away – I couldn’t help myself. I loved certain elements – I thought that my sound was really locked in, and I thought that I paced the cadenza well, and cringed at the mistakes, but I survived. </p>
<p>I would perform it again tomorrow. </p>
<p>I think that’s what it’s going to take for me to get comfortable performing classical music. Doing it over, and over again. Making mistakes, and rebounding, until the nerves subside (at least a little). </p>
<p>I survived my first performance of the Glazunov!</p>
Richard Pagetag:richpagemusic.com,2005:Post/71615782023-02-27T14:13:57-05:002023-02-27T14:15:06-05:00Line #13 – Half-Diminished
<p>Here’s a line over a half-diminished chord.</p>
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<div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"></div> <div style="background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"></div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"></div>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CpLVMALgwLE/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>Here’s the PDF in all keys. </p>
<div class="wp-block-file">
<object class="wp-block-file__embed" data="https://barisaxca.files.wordpress.com/2023/02/13-min7b5.pdf" type="application/pdf" style="width:100%;height:600px" aria-label="Embed of 13-min7b5."></object><a id="wp-block-file--media-57c68f40-bd56-49e9-9fc8-7b48c5620a24" href="https://barisaxca.files.wordpress.com/2023/02/13-min7b5.pdf">13-min7b5</a><a href="https://barisaxca.files.wordpress.com/2023/02/13-min7b5.pdf" class="wp-block-file__button wp-element-button" download aria-describedby="wp-block-file--media-57c68f40-bd56-49e9-9fc8-7b48c5620a24">Download</a>
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Richard Pagetag:richpagemusic.com,2005:Post/71527922023-02-12T18:42:13-05:002023-02-12T22:00:17-05:00Line #12 – Dom9#11, 13
<p>Here’s a line over a Dom9#11, 13 chord.</p>
<figure class="wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram"><div class="wp-block-embed__wrapper">
<div class="embed-instagram">
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</div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"></div>
</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/ColLo0FAdk9/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>Here’s the PDF with it in all keys.</p>
<div class="wp-block-file">
<object class="wp-block-file__embed" data="https://barisaxca.files.wordpress.com/2023/02/12-dom91113.pdf" type="application/pdf" style="width:100%;height:600px" aria-label="Embed of 12-dom91113."></object><a id="wp-block-file--media-87a99cc7-e920-4193-a459-44ef4e68c1ba" href="https://barisaxca.files.wordpress.com/2023/02/12-dom91113.pdf">12-dom91113</a><a href="https://barisaxca.files.wordpress.com/2023/02/12-dom91113.pdf" class="wp-block-file__button wp-element-button" download aria-describedby="wp-block-file--media-87a99cc7-e920-4193-a459-44ef4e68c1ba">Download</a>
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Richard Pagetag:richpagemusic.com,2005:Post/71490042023-02-05T13:14:52-05:002023-02-05T13:59:02-05:00The Classic Balam Back Strap from Boston Sax Shop
<p>I’ve been back at university – preparing the Glazunov (on alto), saxophone ensemble pieces (mostly baritone), private lessons material (on all sizes of saxophones), as well as my gigs, and teaching has changed the intensity of my practice schedule. I’m grabbing time on all of my woodwinds whenever I can. </p>
<p>At the beginning of December, I started notice some muscle pain in the left side of my neck whenever I put one of my two neck straps on. They were a few years old, starting to become less comfortable, and I wanted to make sure that I could tame this pain before it actually became a real problem. </p>
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<figure class="aligncenter size-large"><img src="https://barisaxca.files.wordpress.com/2023/02/brace-yourself-neck-pma09f.jpg?w=600" class="size_orig justify_inline border_" alt="" /></figure>
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<p>In the past, I had tried different harnesses (of most of the popular brands), but they never fit properly. I’m tall, and broad, with large shoulders. Either they were too short, or didn’t fit over my shoulders, or I had to snug them up so tight to get the horn to feel secure, or I couldn’t use them on multiple instruments on the same gig, or they fell off when I stood up to play a solo with a big band – the tenor player beside me, saved my horn, and my back! Up to that point, I hadn’t found anything that worked for me. </p>
<p>I decided to check out the Balam after being in rehearsal with a big band in December, and the entire sax section, excluding myself, were using Balam straps in some form – two were using the Classic, and one was using the Premium. They were all happy with them, and I tried one out as best as I could (they shaped to fit the player). We determined that it would be long enough, it would fit over my shoulders, I could use it for multiple instruments on a gig, and most important, it took off any pressure from my neck – all of my requirements. </p>
<p>Here’s a video of me using the Balam on my Yamaha baritone saxophone.</p>
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<div style="padding: 19% 0;"></div> <div style="display:block; height:50px; margin:0 auto 12px; width:50px;"><svg width="50px" height="50px" viewbox="0 0 60 60" version="1.1" xmlns="https://www.w3.org/2000/svg" xmlns:xlink="https://www.w3.org/1999/xlink"><g stroke="none" stroke-width="1" fill="none" fill-rule="evenodd"><g transform="translate(-511.000000, -20.000000)" fill="#000000"><g><path d="M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631"></path></g></g></g></svg></div>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CoDjHT_gEOo/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>I ordered it, and I’ve been using it for about six weeks now. I’m really happy with the way it feels. It took me about a week to really get the fit dialed in. I love it across my baritone, tenor, and alto saxophones, as well as my bass clarinet. I was totally sold when I left it in my alto case, and had to teaching an evening on baritone sax with my regular strap (which still lives in my case, just rarely used now). I couldn’t believe the difference a few hours later. </p>
<p>I always thought that I could “tough out” the discomfort of long practice sessions, or intense gigs, but I’m really happy that I’ve made the switch. I feel that being more comfortable in general is going to help my playing. </p>
<p><a rel="noreferrer noopener" href="https://www.bostonsaxshop.com/shop/p/balam-back-strap-classic" target="_blank">Check it out here</a>!</p>
Richard Pagetag:richpagemusic.com,2005:Post/71453362023-01-29T14:03:23-05:002023-01-29T17:30:14-05:00Line #11 – Major 7#11
<p>Here’s a line based on a Major 7#11 sound.</p>
<figure class="wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram"><div class="wp-block-embed__wrapper">
<div class="embed-instagram">
<blockquote class="instagram-media" data-instgrm-captioned data-instgrm-permalink="https://www.instagram.com/reel/CoAoeTAgaV7/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><div style="padding:16px;"> <a href="https://www.instagram.com/reel/CoAoeTAgaV7/?utm_source=ig_embed&utm_campaign=loading" style=" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;" target="_blank"> <div style=" display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div>
</div>
</div>
<div style="padding: 19% 0;"></div> <div style="display:block; height:50px; margin:0 auto 12px; width:50px;"><svg width="50px" height="50px" viewbox="0 0 60 60" version="1.1" xmlns="https://www.w3.org/2000/svg" xmlns:xlink="https://www.w3.org/1999/xlink"><g stroke="none" stroke-width="1" fill="none" fill-rule="evenodd"><g transform="translate(-511.000000, -20.000000)" fill="#000000"><g><path d="M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631"></path></g></g></g></svg></div>
<div style="padding-top: 8px;"> <div style=" color:#3897f0; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:550; line-height:18px;">View this post on Instagram</div>
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<div style="padding: 12.5% 0;"></div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;">
<div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"></div> <div style="background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"></div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"></div>
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<div style="margin-left: 8px;"> <div style=" background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"></div> <div style=" width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg)"></div>
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<div style="margin-left: auto;"> <div style=" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"></div> <div style=" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"></div> <div style=" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"></div>
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</div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"></div>
</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CoAoeTAgaV7/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
</div></blockquote>
<script async src="//platform.instagram.com/en_US/embeds.js"></script>
</div>
</div></figure>
<p>Here’s the PDF in all keys.</p>
<div class="wp-block-file">
<object class="wp-block-file__embed" data="https://barisaxca.files.wordpress.com/2023/01/11-major-711.pdf" type="application/pdf" style="width:100%;height:600px" aria-label="Embed of 11-major-711."></object><a id="wp-block-file--media-83fd32aa-7e2c-4aae-af83-4eb09a4cae04" href="https://barisaxca.files.wordpress.com/2023/01/11-major-711.pdf">11-major-711</a><a href="https://barisaxca.files.wordpress.com/2023/01/11-major-711.pdf" class="wp-block-file__button wp-element-button" download aria-describedby="wp-block-file--media-83fd32aa-7e2c-4aae-af83-4eb09a4cae04">Download</a>
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Richard Pagetag:richpagemusic.com,2005:Post/71348842023-01-08T15:44:24-05:002023-01-29T17:30:14-05:00Line #10 – Minor 7
<p>Here’s a line based on a Minor 7th sound.</p>
<figure class="wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram"><div class="wp-block-embed__wrapper">
<div class="embed-instagram">
<blockquote class="instagram-media" data-instgrm-captioned data-instgrm-permalink="https://www.instagram.com/reel/CnKvW2TKxww/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><div style="padding:16px;"> <a href="https://www.instagram.com/reel/CnKvW2TKxww/?utm_source=ig_embed&utm_campaign=loading" style=" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;" target="_blank"> <div style=" display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div>
</div>
</div>
<div style="padding: 19% 0;"></div> <div style="display:block; height:50px; margin:0 auto 12px; width:50px;"><svg width="50px" height="50px" viewbox="0 0 60 60" version="1.1" xmlns="https://www.w3.org/2000/svg" xmlns:xlink="https://www.w3.org/1999/xlink"><g stroke="none" stroke-width="1" fill="none" fill-rule="evenodd"><g transform="translate(-511.000000, -20.000000)" fill="#000000"><g><path d="M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631"></path></g></g></g></svg></div>
<div style="padding-top: 8px;"> <div style=" color:#3897f0; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:550; line-height:18px;">View this post on Instagram</div>
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<div style="padding: 12.5% 0;"></div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;">
<div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"></div> <div style="background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"></div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"></div>
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<div style="margin-left: 8px;"> <div style=" background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"></div> <div style=" width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg)"></div>
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<div style="margin-left: auto;"> <div style=" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"></div> <div style=" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"></div> <div style=" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"></div>
</div>
</div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"></div>
</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CnKvW2TKxww/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
</div></blockquote>
<script async src="//platform.instagram.com/en_US/embeds.js"></script>
</div>
</div></figure>
<p>Here’s the PDF with the line in all keys.</p>
<div class="wp-block-file">
<object class="wp-block-file__embed" data="https://barisaxca.files.wordpress.com/2023/01/10-minor-7.pdf" type="application/pdf" style="width:100%;height:600px" aria-label="Embed of 10-minor-7."></object><a id="wp-block-file--media-32259ee9-64a8-4242-bccc-ae5a47ee4723" href="https://barisaxca.files.wordpress.com/2023/01/10-minor-7.pdf">10-minor-7</a><a href="https://barisaxca.files.wordpress.com/2023/01/10-minor-7.pdf" class="wp-block-file__button wp-element-button" download aria-describedby="wp-block-file--media-32259ee9-64a8-4242-bccc-ae5a47ee4723">Download</a>
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Richard Pagetag:richpagemusic.com,2005:Post/71320672023-01-03T14:44:06-05:002023-01-03T15:15:04-05:00Vacation Chops – Clarinet Edition
<p>I had written about how my vacationing priorities have changed as I have gotten older, and had kids (<a rel="noreferrer noopener" href="https://barisax.ca/2022/09/03/vacation-edition/" target="_blank">read about that here</a>). While I appreciate the break, I’ve had to develop a “vacation chops” routine to get my face, and fingers back to performance-ready levels quickly. </p>
<p>This year was a little different for a few reasons – the big winter storm kept us from travelling, I had just come off of my first semester back at university, and I have been focusing on my classical alto, and baritone saxophone playing for a few months. </p>
<p>This meant that my clarinet has been neglected since September. By neglected, I mean that I have been maintaining what I already had under my fingers, and teaching it regularly, but I haven’t been writing for the clarinet, or trying to develop on it. I have a big band gig tomorrow night (January 4th – with the Prime Rib Big Band), where I have several features on the clarinet, and we’ll be performing one at the show. </p>
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<figure class="aligncenter size-large"><img src="https://barisaxca.files.wordpress.com/2023/01/meme1.jpg?w=345" class="size_orig justify_inline border_" alt="" /></figure>
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<p>There are three things that I like to get settled on the clarinet before heading out to a performance after some time off – 12ths (and the break), articulation, and improvising. For 12ths, and over the break exercises, I go right back to <a rel="noreferrer noopener" href="https://amzn.to/3igOnXz" target="_blank">Galper Book One</a>, lessons 17-19, and 21-22. Theses are lessons that I assign to my students, but I find them incredibly beneficial to review, and they help lock in my sound. </p>
<p>For articulation, I head into the<a href="https://amzn.to/3WZu9Ar" target="_blank" rel="noreferrer noopener"> David Hite Melodious and Progressive Studies</a> book, and start at 18 Expressive Studies Based On Chords (page 12 in my copy). Most of these etudes are arpeggio based, and have lots of common articulation patterns. I like the fact that they aren’t technically challenging, which allows me to focus on how the articulation feels at all volume levels, across most of the clarinet’s range.</p>
<p>I am mostly in situations where I’m expected to improvise. Creating a strong connection between my ears, and what’s coming out of the instrument is important, so I practice improvising. Most of the time, I will pick a scale, or chord to base my improvisation off of, but if I know what material I’ll be working with, I’ll check out melodies, and chord changes to those particular pieces. I also find that working with few boundaries allows my to focus on my sound as well.</p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/Cm7okz_qO5n/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>For myself, if I follow this “formula”, I know that I can feel comfortable on my instruments, and have a good show. It puts me in a place where I can stay relaxed on the gig, and allow me to get back to my productive routine.</p>
<p>How do you get your chops back after some time off?</p>
<p><em>Disclosure: The links above are affiliate links. This means that, at zero cost to you, I will earn an affiliate commission if you click through the link and finalize a purchase.</em></p>
Richard Pagetag:richpagemusic.com,2005:Post/71248572022-12-18T14:37:21-05:002022-12-18T16:30:09-05:00Line #9 – Minor 7
<p>Here’s a line based around a minor 7th sound. </p>
<figure class="wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram"><div class="wp-block-embed__wrapper">
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<blockquote class="instagram-media" data-instgrm-captioned data-instgrm-permalink="https://www.instagram.com/reel/CmUjDTcAijz/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><div style="padding:16px;"> <a href="https://www.instagram.com/reel/CmUjDTcAijz/?utm_source=ig_embed&utm_campaign=loading" style=" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;" target="_blank"> <div style=" display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div>
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<div style="padding: 19% 0;"></div> <div style="display:block; height:50px; margin:0 auto 12px; width:50px;"><svg width="50px" height="50px" viewbox="0 0 60 60" version="1.1" xmlns="https://www.w3.org/2000/svg" xmlns:xlink="https://www.w3.org/1999/xlink"><g stroke="none" stroke-width="1" fill="none" fill-rule="evenodd"><g transform="translate(-511.000000, -20.000000)" fill="#000000"><g><path d="M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631"></path></g></g></g></svg></div>
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</div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"></div>
</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CmUjDTcAijz/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>Here’s the PDF with the line in all keys. </p>
<div class="wp-block-file">
<object class="wp-block-file__embed" data="https://barisaxca.files.wordpress.com/2022/12/9-min7.pdf" type="application/pdf" style="width:100%;height:600px" aria-label="Embed of 9-min7."></object><a id="wp-block-file--media-9c03ab5b-6fe4-44e4-b3da-26bec8107073" href="https://barisaxca.files.wordpress.com/2022/12/9-min7.pdf">9-min7</a><a href="https://barisaxca.files.wordpress.com/2022/12/9-min7.pdf" class="wp-block-file__button wp-element-button" download aria-describedby="wp-block-file--media-9c03ab5b-6fe4-44e4-b3da-26bec8107073">Download</a>
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Richard Pagetag:richpagemusic.com,2005:Post/71230122022-12-14T17:16:58-05:002022-12-14T18:00:16-05:00Custom Key Risers
<p>I have been working on classical repertoire, both as a soloist, and in a saxophone quartet, and I have found lots of little technical holes in my playing – nothing that I can’t work around, but there are definitely things that I’ve had to keep in mind in the practice room. </p>
<p>As I dug deeper into building (and rebuilding) my technique, things were only getting marginally better, and there was some frustration setting in. </p>
<p>I was able to check out <a rel="noreferrer noopener" href="http://miketremblay.com" target="_blank">Mike Tremblay</a>‘s alto (which has some risers on it), and several of my technical issues were solved – even though we play different models of alto (Mike plays a Selmer Super Action 80, and I play a Yamaha YAS-875EXBII). I thought about trying, and potentially acquiring a different horn, but figured that my favourite part of his alto was the keywork. </p>
<p>I thought about it for about a week, did some reading on what I might use, and decided on using <a href="https://amzn.to/3j3UoqN" target="_blank" rel="noreferrer noopener">Sugru</a> (since I read that it was removable), in case I didn’t like it. </p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/Cl63sMYOHLS/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>It was really easy to use – it’s kind of like Play-Doh. I wrapped it around the keys that I needed raised, and let it dry. It took three full days to dry completely. My hands are large, and I needed the risers to be about 2cm thick on the palm keys, I build the spatulas up (I tend to overshoot them), and made a huge extension on the high E side key. It took 6 of the 8 packets to complete the work on my alto. My alto being slightly heavier, but I’m really happy with the results, and my hands are really set when I play, so my technical issues have started to disappear. </p>
<p>I’m waiting for my new <a href="https://amzn.to/3j3UoqN" target="_blank" rel="noreferrer noopener">Sugru</a> order to come in tonight, so I can get all of my other saxophones set up to feel great!</p>
<p><em>Disclosure: The links above are affiliate links. This means that, at zero cost to you, I will earn an affiliate commission if you click through the link and finalize a purchase.</em></p>
Richard Pagetag:richpagemusic.com,2005:Post/71113812022-11-27T14:29:27-05:002022-11-27T15:30:06-05:00Three Things That I’ve Learned From Working On The Glazunov Concerto
<p>I’ve been fortunate to be able to dig into some classical repertoire since going back to school (in both solo, and saxophone quartet settings), and it has opened my eyes to some elements of my playing that I hadn’t looked (or rarely looked) at before. My appreciation for classical saxophone has grown exponentially since starting to work on this material. </p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/ClUu8oTL6DV/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>Here are three things that working on the Glazunov Saxophone Concerto has made me realize. </p>
<ol>
<li>Learning the Glazunov is making me address little holes in my technique. I tend to practice in real time, especially when learning tunes or sets of chord changes – I want to be able to execute my ideas with a band, and every night on the bandstand is different. Working primarily as an improvisor, and responding to what’s going on around me has influenced my practicing. Learning this piece has forced me to slow down, and really think about my concept in articulation, sound, response, tone colour, and even fingering choices. </li>
<li>I’m capable of change, but maybe my playing is not as flexible as I thought it was. I had considered myself a flexible player – I always want to sound authentic in the situation I am in, but digging into classical rep has made me question how flexible my playing is. My classical tone, and vibrato are developing – I’m almost at a point with them where I’m comfortable being able to switch it on, and off without a huge amount of brain power. At first, the tone felt really stuffy, and the vibrato felt awkward (I was holding back). I might be too far the other way with it now, but it’s all part of the process in figuring out my sound. </li>
<li>I’m amazed with the amount of individual sounds in the classical saxophone world. This might sound obvious – everybody has their own sound, but because I hadn’t done any heavy listening, I couldn’t tell any players apart. It’s been interested to me to start to find players who I’d like to emulate, and will ultimately become strong influences on my playing. I’ve worked on, and taught Ferling, Royal Conservatory of Music, and other standard etudes, but never listened to major classical works. I owned a copy of Romances For Saxophone – that was the extent of my listening, but listening to different performers make their statements on this piece, I’m blown away with the variance between players. I’m partial to Debra Richtmeyer’s interpretation of the Glazunov – I’ve been listening, and playing along with her – I love her tone, and phrasing! </li>
</ol>
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Richard Pagetag:richpagemusic.com,2005:Post/71068812022-11-20T16:33:22-05:002022-11-20T20:30:16-05:00Line #8 – Dom7 – flat 9, sharp 11
<p>Here’s a line that works over a dominant chord that emphasises the flat 9, and sharp 11. </p>
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<div style="padding: 19% 0;"></div> <div style="display:block; height:50px; margin:0 auto 12px; width:50px;"><svg width="50px" height="50px" viewbox="0 0 60 60" version="1.1" xmlns="https://www.w3.org/2000/svg" xmlns:xlink="https://www.w3.org/1999/xlink"><g stroke="none" stroke-width="1" fill="none" fill-rule="evenodd"><g transform="translate(-511.000000, -20.000000)" fill="#000000"><g><path d="M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631"></path></g></g></g></svg></div>
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<div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"></div> <div style="background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"></div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"></div>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/ClMqQEdA2pU/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>Here’s the PDF with the line in all keys.</p>
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<object class="wp-block-file__embed" data="https://barisaxca.files.wordpress.com/2022/11/8-dom7b911.pdf" type="application/pdf" style="width:100%;height:800px;" aria-label="Embed of 8-dom7b911."></object><a id="wp-block-file--media-4684d002-711c-4d16-9e3c-4cc2da12bb7f" href="https://barisaxca.files.wordpress.com/2022/11/8-dom7b911.pdf">8-dom7b911</a><a href="https://barisaxca.files.wordpress.com/2022/11/8-dom7b911.pdf" class="wp-block-file__button wp-element-button" download aria-describedby="wp-block-file--media-4684d002-711c-4d16-9e3c-4cc2da12bb7f">Download</a>
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<p></p>
Richard Pagetag:richpagemusic.com,2005:Post/71015142022-11-13T14:31:35-05:002022-11-13T17:15:05-05:00Music Books – 3D Band Book
<p>I recommend so many print resources to my students, that I wanted to share some of those on the blog. </p>
<p>I rediscovered the 3D Band Book in 2020, and have found it to be a great resource for students who are trying to get their technique together in most keys. </p>
<figure class="wp-block-image size-large"><img src="https://barisaxca.files.wordpress.com/2022/11/81j1k2b4-ml.jpeg?w=768" class="size_orig justify_inline border_" alt="" /></figure>
<p>This is one of the books that I learned out of in high school, and when I saw it, I had to pick it up. I was unaware of how accessible, yet thorough the book it. </p>
<p>The book is broken into three parts –</p>
<ol>
<li>Tuning and warm ups – this includes some long tones with harmony (if you have more than one player), lips slurs and embouchure studies, arpeggios, and a page of chromatic exercises. </li>
<li>Key Preparation – each key has a page dedicated to a (1) long tone scale (with harmony (2)), (3/4) the scales, I-V-I arpeggios, (5) a short etude, (6) a chord study (harmony for multiple players), and (7) a hymn. </li>
<li>Rhythm Preparation – starting at eighth, and sixteenth notes, and progressing through to mixed meters, with accompanying etudes. </li>
</ol>
<p>I will get my students to work through exercises 1, 3, 4, and 5 in the Key Preparation sections. I find that if they can get through those examples in all of the keys, they are mostly prepared to deal with most keys in their concert band music. </p>
<p>It’s also great that they’ve considered players at different levels when it comes to range, offering different octaves so a student can get the most out of the key. </p>
<p>The book comes in instrument specific books, so a group can play all of these together (which is great when I’m teaching siblings or friends – they can work together!). </p>
<p>I wish that the book had completed the cycle of all keys. It’s missing concert B and E. But overall it’s more than enough material for an advancing beginner, to intermediate player, who will need to develop their technique in all keys to progress in band or music class. </p>
<p>Here are links to the books that I use regularly – </p>
<p><a href="https://amzn.to/3EpPZGN" target="_blank" rel="noreferrer noopener">Oboe</a></p>
<p><a href="https://amzn.to/3GgTfph" target="_blank" rel="noreferrer noopener">Flute</a></p>
<p><a rel="noreferrer noopener" href="https://amzn.to/3E7qwRd" target="_blank">Clarinet</a></p>
<p><a href="https://amzn.to/3XbDciP" target="_blank" rel="noreferrer noopener">Alto Saxophone</a></p>
<p><a href="https://amzn.to/3TAPXAh" target="_blank" rel="noreferrer noopener">Tenor Saxophone</a></p>
<p><em>Disclosure: The links above are affiliate links. This means that, at zero cost to you, I will earn an affiliate commission if you click through the link and finalize a purchase.</em></p>
<p></p>
Richard Pagetag:richpagemusic.com,2005:Post/70972502022-11-07T12:20:13-05:002022-11-07T13:00:14-05:00Line #7 – Major 7
<p>Here’s a line based on a major seventh sound. </p>
<p>As the line descends, the first two notes of each grouping of four expands – the first two are a minor third (G#-B), the next two are a major third (E-G#), and the last two are a perfect fourth (C#-F#). </p>
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<div style="padding: 19% 0;"></div> <div style="display:block; height:50px; margin:0 auto 12px; width:50px;"><svg width="50px" height="50px" viewbox="0 0 60 60" version="1.1" xmlns="https://www.w3.org/2000/svg" xmlns:xlink="https://www.w3.org/1999/xlink"><g stroke="none" stroke-width="1" fill="none" fill-rule="evenodd"><g transform="translate(-511.000000, -20.000000)" fill="#000000"><g><path d="M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631"></path></g></g></g></svg></div>
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</div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"></div>
</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CkqvBr4gUgD/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>The line also works over a major ii-V-I, starting from the 13 of the ii chord, the root of the V chord, and ending on the major seventh. </p>
<p>Download the PDF here in all keys. </p>
<div class="wp-block-file">
<object class="wp-block-file__embed" data="https://barisaxca.files.wordpress.com/2022/11/7-maj7.pdf" type="application/pdf" style="width:100%;height:600px;" aria-label="Embed of 7-maj7."></object><a id="wp-block-file--media-c16ca558-4e7a-4245-a587-39ee2afabda9" href="https://barisaxca.files.wordpress.com/2022/11/7-maj7.pdf">7-maj7</a><a href="https://barisaxca.files.wordpress.com/2022/11/7-maj7.pdf" class="wp-block-file__button wp-element-button" download aria-describedby="wp-block-file--media-c16ca558-4e7a-4245-a587-39ee2afabda9">Download</a>
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<p></p>
Richard Pagetag:richpagemusic.com,2005:Post/70918192022-10-30T13:31:12-04:002022-10-30T15:45:15-04:00Three Things That I’ve Learned By Going Back To School
<p>You may have noticed that the blog has been quiet since the middle of September. This past summer, I made the decision to head back to university to finish my degree, and in September, I started at Carleton University. Between university in the mornings, my students in the evenings, and my life outside of music, the blog had to take a back seat for a bit. </p>
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<p>Today is the last day of the fall reading week, and I figured that it would be a good chance to reflect a bit on my experience so far.</p>
<p>Here are some of the positives that I’ve taken away from becoming a student again.</p>
<ol>
<li>
<strong>I’m studying music that I wanted to study, but in the past, I never could find the time</strong>. It’s been amazing to dig deeper into my sound, technique, and my overall musicality, but I’ve been especially enamoured with classical saxophone repertoire for a while now. It’s a great chance for me to explore that rep with some guidance. I’ve been chipping away at Glazunov at the moment, and with performance dates in the spring, it’s given me some urgency to get that piece (and my alto saxophone playing) together. Also, this includes the saxophone quartet that I’ve been playing baritone saxophone in – we’re working through some great classical rep, which has made me think about my tone production differently than I would have in the past. </li>
<li>
<strong>My approach to school has changed</strong>. At 35, my approach to life is very different than it was at 18 (when I started my post-secondary journey for the first time). I’m more willing to take risks in the classroom. I’m not afraid of not knowing the answers. In turn, I’m less concerned with what the marks are, or if the content will be on the exam, and more concerned with internalising the material that is being presented. It’s also put me in a position to reassess my thoughts, and opinions. I have found that I have been much more open to others’ ideas than I would have been when I was younger. </li>
<li>
<strong>The university system is not built for people who have commitments outside of its walls</strong>. This has been a tough one to navigate – applications, scheduling, course expectations, the university system is built for students coming out of high school. I don’t blame them, that’s their main demographic, but it’s interesting to see how rigid (and inefficient) the system can be, especially when coming from life outside of academia. </li>
</ol>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/CdbXE5zJDRZ/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>Through this half semester, I’ve had a blast so far. There’s so much material that I can’t wait to explore, and I’m planning for so many exciting performances, and projects over the next few years!</p>
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Richard Pagetag:richpagemusic.com,2005:Post/70630962022-09-18T17:26:03-04:002022-09-18T18:45:13-04:00Phrase from Sugar
<p>I was working on Stanley Turrentine’s tune, Sugar, with a student – we were working on the 16th note triplets, and I wanted to find different ways to use it on the horn. For my own practicing, I will take a lick that I like, and put it through all the keys, and use a variety of interval patterns, and root motion. </p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CiqZ3qwA1Ia/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>Here are a few ways that I could approach the root motion of the phrase so that I’m comfortable using it in any place that I hear it. </p>
<ul>
<li>Diatonic, 4ths, major 3rds, minor 3rds, whole tones</li>
</ul>
<p>I believe that when I start to move it around in this way, a phrase will become more integrated into my playing, and as the lick becomes more consolidated with my personal approach, I can use it while altering the rhythmic (starting it in different places, stringing several together, etc.), and harmonic elements (using it over different chords) of the initial line. </p>
<p>Here are the PDF for several iterations of this phrase.</p>
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<object class="wp-block-file__embed" data="https://barisaxca.files.wordpress.com/2022/09/phrase-from-sugar.pdf" type="application/pdf" style="width:100%;height:600px;" aria-label="Embed of phrase-from-sugar."></object><a id="wp-block-file--media-7d74b187-1b32-4636-837d-c9d411785d8f" href="https://barisaxca.files.wordpress.com/2022/09/phrase-from-sugar.pdf">phrase-from-sugar</a><a href="https://barisaxca.files.wordpress.com/2022/09/phrase-from-sugar.pdf" class="wp-block-file__button wp-element-button" download aria-describedby="wp-block-file--media-7d74b187-1b32-4636-837d-c9d411785d8f">Download</a>
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<p></p>
Richard Pagetag:richpagemusic.com,2005:Post/70568362022-09-09T12:41:32-04:002022-09-09T12:45:12-04:00Line #6 – Dom7 (flat9, sharp 11)
<p>Here’s a line based on a Dom7b9#11 sound.</p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CiSvARJA-nl/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>Here’s the PDF in twelve keys. </p>
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Richard Pagetag:richpagemusic.com,2005:Post/70525022022-09-03T09:30:00-04:002022-09-03T12:00:15-04:00Vacation Edition!
<p>As I’m sitting here writing this post (with a beer in hand. Haha!), I’ve been outside playing soccer with my daughters, checking out the chickens, bunnies, and hanging out with my family! I’m away on vacation before the school year starts! </p>
<p>Normally, I get away earlier in the year, but this summer has been a little bit hectic with festival season back in full tilt, and new extra-curricular activities as my girls grow up. </p>
<p>My vacations have changed significantly over the years. I used to bring a few horns, and made sure that my practicing was consistent throughout the vacation. Typically, I would have a small suitcase for a week, my instruments (tenor, clarinet, and flute at the time), hop the Greyhound, or Via Rail, and figure out the rest of the details when I got to my destination. Now, it’s pool toys, bikes, golf clubs, more than one suitcase (I have two amazing, young daughters) in my own car with rest stops, and still I bring a horn or two, but the practicing priorities have changed.</p>
<p>I have found an incredible amount of value in embracing my surroundings, and taking advantage of inspiration that comes from non-musical experiences – hanging out with family members, day trips, and taking in life in a different part of the country, are all releases from the rush of the music world. While I don’t spend as much time on my instruments as I normally would, all of these other experiences enhance the time I have an instrument on my face. It’s also great to be in a totally different space than my own. </p>
<p>Today, I practiced in the screened in gazebo, which was windy, but also made me think about my flute sound differently. </p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/Ch7n0IsAFJD/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>In March, I had a call and response with some chickens. I had been off of the horn for about six or seven days at this point, forgive the vacation chops. </p>
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<div style="padding: 19% 0;"></div> <div style="display:block; height:50px; margin:0 auto 12px; width:50px;"><svg width="50px" height="50px" viewbox="0 0 60 60" version="1.1" xmlns="https://www.w3.org/2000/svg" xmlns:xlink="https://www.w3.org/1999/xlink"><g stroke="none" stroke-width="1" fill="none" fill-rule="evenodd"><g transform="translate(-511.000000, -20.000000)" fill="#000000"><g><path d="M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631"></path></g></g></g></svg></div>
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<div style="padding: 12.5% 0;"></div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;">
<div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"></div> <div style="background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"></div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"></div>
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<div style="margin-left: 8px;"> <div style=" background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"></div> <div style=" width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg)"></div>
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<div style="margin-left: auto;"> <div style=" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"></div> <div style=" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"></div> <div style=" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"></div>
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</div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"></div>
</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CbOKQPTpttR/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>At the end of the day, the break in my regular day-to-day practicing is refreshing. I’m grateful when I get to my instruments, but I’m not heartbroken if it doesn’t happen every day. Sometimes it’s nice to take in your surroundings, and have a beer! Cheers! <br></p>
Richard Pagetag:richpagemusic.com,2005:Post/70474222022-08-27T13:48:41-04:002022-08-27T13:56:42-04:00Line #5 – Major7#11
<p>Here’s an idea using a Major7#11 sound.</p>
<figure class="wp-block-embed aligncenter is-type-rich is-provider-instagram wp-block-embed-instagram"><div class="wp-block-embed__wrapper">
<div class="embed-instagram">
<blockquote class="instagram-media" data-instgrm-captioned data-instgrm-permalink="https://www.instagram.com/reel/ChxYhHpgs1S/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><div style="padding:16px;"> <a href="https://www.instagram.com/reel/ChxYhHpgs1S/?utm_source=ig_embed&utm_campaign=loading" style=" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;" target="_blank"> <div style=" display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div>
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<div style="padding: 19% 0;"></div> <div style="display:block; height:50px; margin:0 auto 12px; width:50px;"><svg width="50px" height="50px" viewbox="0 0 60 60" version="1.1" xmlns="https://www.w3.org/2000/svg" xmlns:xlink="https://www.w3.org/1999/xlink"><g stroke="none" stroke-width="1" fill="none" fill-rule="evenodd"><g transform="translate(-511.000000, -20.000000)" fill="#000000"><g><path d="M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631"></path></g></g></g></svg></div>
<div style="padding-top: 8px;"> <div style=" color:#3897f0; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:550; line-height:18px;">View this post on Instagram</div>
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<div style="padding: 12.5% 0;"></div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;">
<div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"></div> <div style="background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"></div> <div style="background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"></div>
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<div style="margin-left: 8px;"> <div style=" background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"></div> <div style=" width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg)"></div>
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<div style="margin-left: auto;"> <div style=" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"></div> <div style=" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"></div> <div style=" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"></div>
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</div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"></div>
</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/ChxYhHpgs1S/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
</div></blockquote>
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<p>Here’s the line in all 12 keys.</p>
<div class="wp-block-file">
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<p></p>
Richard Pagetag:richpagemusic.com,2005:Post/70429682022-08-21T17:58:40-04:002022-08-21T21:45:18-04:00My Reed Storage
<p>I get asked about my reed storage regularly – probably because I’m usually carrying three or four instruments, so I thought that I would share. This is no new idea by any means, I’ve seen <a href="https://www.earspasm.com" target="_blank" rel="noreferrer noopener">Michael Lowenstern</a>, and <a href="https://www.richiehawley.com/news/7683" target="_blank" rel="noreferrer noopener">Richie Hawley</a> use similar or explain similar methods on reed storage. </p>
<p>In the winter of 2021, I couldn’t keep my reeds from getting mouldy. It seemed like I was throwing out a set of reeds a week, and cleaning my cases – in the dishwasher, letting it sit in different solutions, and I even replaced a few of the cases. </p>
<p>I had tried other cases in the past, but I’ve seemed to have fought mouldy reeds since I moved to Ottawa (humid summers, and dry winters). When I decided to rethink my reed storage, hoping that I would be able to fix the problem, I went back to Rico reed bag storage idea (which they don’t make anymore). </p>
<p>Here’s my version.</p>
<figure class="wp-block-image size-large"><img src="https://barisaxca.files.wordpress.com/2022/08/img_6748.jpg?w=768" class="size_orig justify_inline border_" alt="" /></figure>
<p>It’s simple, and I haven’t had mouldy reeds since. </p>
<p>Here’s what it is – </p>
<p><a rel="noreferrer noopener" href="https://amzn.to/3CkRXHS" target="_blank">D’Addario Reed Guard</a> – colour coded for each instrument and either jazz or classical reeds.</p>
<p><a rel="noreferrer noopener" href="https://amzn.to/3wnjd4S" target="_blank">Boveda Humidity Packs</a> – I like the 72%.</p>
<p><a rel="noreferrer noopener" href="https://amzn.to/3A7HexM" target="_blank">Ziploc Power Shield Bags</a> – I wanted the slider on the bag, so I knew that it was sealed.</p>
<p><em>Disclosure: The links above are affiliate links. This means that, at zero cost to you, I will earn an affiliate commission if you click through the link and finalize a purchase.</em></p>
<figure class="wp-block-image size-large"><img src="https://barisaxca.files.wordpress.com/2022/08/img_6749.jpg?w=768" class="size_orig justify_inline border_" alt="" /></figure>
<p>I am happy to say that since I have switched from my old reed cases, that I used for years, I have had no friends growing on my reeds. I also notice that with only four reeds ready to go at a time, as opposed to eight or ten, I’m much better at keeping track of where they are in the process – I tend to rotate them out a little earlier than I used to, which keeps them sounding where I want them, and keeps my face used to fresh reeds.</p>
<p>What reed storage do you use?</p>
Richard Pagetag:richpagemusic.com,2005:Post/70377412022-08-14T13:22:58-04:002022-08-14T16:00:20-04:00Line #4 – Dorian
<p>Here’s an idea using the Dorian scale. </p>
<figure class="wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram"><div class="wp-block-embed__wrapper">
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<blockquote class="instagram-media" data-instgrm-captioned data-instgrm-permalink="https://www.instagram.com/reel/ChP3Qu2AjrR/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><div style="padding:16px;"> <a href="https://www.instagram.com/reel/ChP3Qu2AjrR/?utm_source=ig_embed&utm_campaign=loading" style=" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;" target="_blank"> <div style=" display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style=" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/ChP3Qu2AjrR/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>Here’s the PDF with the line in 12 keys. </p>
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<object class="wp-block-file__embed" data="https://barisaxca.files.wordpress.com/2022/08/4-dorian.pdf" type="application/pdf" style="width:100%;height:600px;" aria-label="Embed of 4-dorian."></object><a id="wp-block-file--media-83403117-3988-4e5d-92bb-f38c4e2bbd49" href="https://barisaxca.files.wordpress.com/2022/08/4-dorian.pdf">4-dorian</a><a href="https://barisaxca.files.wordpress.com/2022/08/4-dorian.pdf" class="wp-block-file__button wp-element-button" download aria-describedby="wp-block-file--media-83403117-3988-4e5d-92bb-f38c4e2bbd49">Download</a>
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Richard Pagetag:richpagemusic.com,2005:Post/70328012022-08-07T16:37:41-04:002022-08-07T19:45:05-04:00Notion For iPad
<p>Music notation programs make so many things easier – saving, editing, and sharing charts, transposing with one click, consistency in the look, and formatting of charts, and so much more! I use Notion on my iPad, and Dorico on my desktop (although I still have versions of Sibelius and Finale active as well). </p>
<p>Notion is a tool that I use almost daily. I compose, arrange, build worksheets, and provide examples for students using the app on my iPad. While I am much more fluid at inputting my ideas on Dorico now than I was before, I still love the option to work when I’m not in my office. </p>
<p>Here’s how I chose Notion.</p>
<p>When I was in college (2005-2008), in both my composition, and arranging classes, all of my assignments were done by hand – no computers. We had copying parties – bringing in beer, and pizza to the first, and second year students to copy our big band scores, or our arranging assignments, and then playing through the arrangements to make sure it was done properly (because hand written charts have no automatic playback button. Haha!). It was all done by hand. I still love composing, and arranging with pencil on paper, and I feel like my ideas flow more naturally, I can keep track of my voicings, as well as see the “big picture” of the score. </p>
<p>Over time, I transitioned the bulk of my music for both teaching, and gigs, to my iPad, and eventually (after I upgraded to my iPad Pro, and Apple Pencil), started composing, and arranging using Notion. </p>
<p>Notion was an attractive app for me, because of the handwriting function (which is a paid feature). It allowed me to continue to “write” my music out. I could feel more connected to the ideas that I was inputting, because of the pencil, and paper idea, not inputting by keystrokes. It also saved me a step – I didn’t have to write everything out, and then slowly enter it into the computer (Sibelius, or Finale, and later Dorico). Also, as I mentioned above, the portability of the iPad with good notation software is a win for me (writing duets for students on the couch late at night has become a regular occurrence for me).</p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/Cg4UXI3gCXy/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>Notion’s purpose for me is strictly input. After I have the bulk of the work done in the app, I will then transfer it to Dorico, and format the piece. I like viewing the piece on the large monitor, and I can customize the formatting however I see fit. The XML transfer between Notion, and Dorico is pretty good – the pitches, rhythms, articulation, and dynamics all transfer well, but make sure that you’ve filled out all of your empty bars with rests, because the desktop programs don’t recognize empty bars. If you don’t, it’s a huge copy, and paste job into a new document. </p>
<p>Overall, the app has paid for itself several hundred times over, not just in arranging, and composing commissions, but in time saved. The ability to feel comfortable with the Apple Pencil, and the accuracy in which the program translates to Dorico keeps me using it while I’m away from my office. </p>
<p>I can definitely recommend it as a tool for someone who prefers to write charts by hand, or who need to work on the go frequently. </p>
Richard Pagetag:richpagemusic.com,2005:Post/70282442022-08-01T11:04:29-04:002022-08-01T12:45:20-04:00Tim Price
<p>I never had a teacher like Tim Price. Tim’s passing on July 21st, has had me looking back through our lesson notes, Facebook posts, and emails from the last 10+ years.</p>
<p>We connected when I was in a rut, and needed some direction/motivation. His individual approach to my playing, and humour always made me look forward to my lessons with him – it was the first time that I had taken lessons seriously since my first years at college. </p>
<p>I remember being nervous about my first lesson with Tim – not realising how open he would be to my musical journey, but I soon understood that he was always going to work in my best interests. We hit it off right away. Our lessons were early (8:30am), and although they were scheduled for just an hour, it was common for those to run until 11am or noon. We would talk everything at the beginning of the lessons from music to everyday life, and ease into the saxophone, clarinet, or flute. </p>
<p>His approach justified my playing to myself. I was in a stage of real doubt about whether I was moving in the right direction – Tim made me lean in harder to that direction, and add to it (something that I have tried to incorporate into my own teaching). </p>
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<p>Here’s an excerpt from an old blog post from over ten years ago. </p>
<p><em>Our first lesson was great – Tim had me play over a bunch of my favourite tunes and then he started emailing me the exercises and concepts. </em></p>
<p><em>I really felt (and still feel) like Tim really understands what I’m looking for in my own playing. We have discussions, tell jokes, swap stories and after every lesson I have a huge amount of creative energy that I can pour directly into my horns. One of the biggest challenges and one of the things that I look forward to every week is the spontaneity. I’m not saying that the lessons lack direction or that they are unstructured, Tim has a system, but it’s not a cookie-cutter system. Every exercise or concept that we talk about or apply relates directly to what I’m doing as an artist. This extremely personal approach makes me think about these concepts deeper and I take much more initiative than I have taken in the past to make these concepts my own.</em></p>
<p><em>Over the last two months I can feel the direction in my playing has changed. I have a positive outlook on my practice time and I’m truly interested in the music again!</em></p>
<p>The amount of material that I have collected over the years from Tim is incredible. From worksheets, and woodwind exercises to bootlegs of great performances, I am fortunate to have been able to have him as such a positive influence. If he had transcriptions, lead sheets, photos, or audio in his collection, he would share it.</p>
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<p>Over the last year or so, Tim had really stressed to me the importance of writing my ideas down, and sharing them (this is one of the main influences behind the jazz lines that I’ve been sharing lately). His commitment to the woodwind community was extraordinary.</p>
<p>I’m going to miss seeing his name popping up in my feed regularly – usually sharing stories, or photos, or videos that would get me to dig deeper into the history of this music. </p>
<p>Thanks for everything, Tim!</p>
Richard Pagetag:richpagemusic.com,2005:Post/70225802022-07-24T13:32:45-04:002022-07-27T17:39:42-04:00Line #3 – Min7b5
<p>Here’s a line based around a Min7b5 sound.</p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CgZ0UBsAXtJ/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>Here’s the PDF of it in 12 keys.</p>
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Richard Pagetag:richpagemusic.com,2005:Post/70167332022-07-17T14:18:06-04:002022-07-17T18:45:25-04:00Festival Season!
<p>I love the rush of festival season! And now it’s over…until next year. </p>
<p>I have missed this over the last two festival seasons.</p>
<p>This year, in Ottawa, from the June 25th to the July 16th, my life gets busy! Performing with many amazing artists, being able to watch so much hard work and talent on stage, as well as soak up the festival atmosphere – I am fulfilled!</p>
<p>I am incredibly fortunate to work with an array of artists, in different styles, on different instruments, with a short turnaround between gigs. </p>
<p>Here’s a breakdown of my festival season – </p>
<ul>
<li>
<a rel="noreferrer noopener" href="https://www.richpagemusic.com/jughandle" target="_blank">Jughandle</a> – my electric jazz group (baritone saxophone/clarinet)</li>
<li>
<a href="https://roddyellias.bandcamp.com/album/not-this-room">Roddy </a><a rel="noreferrer noopener" href="https://roddyellias.bandcamp.com/album/not-this-room" target="_blank">Ellias</a><a href="https://roddyellias.bandcamp.com/album/not-this-room">‘ Free Spirit Ensemble</a> – chamber jazz (bass clarinet/flute)</li>
<li>
<a rel="noreferrer noopener" href="https://jw-jones.com/product/585771" target="_blank">JW Jones Big Band</a> – blues trio with a big band (baritone saxophone)</li>
<li>
<a rel="noreferrer noopener" href="https://theprimeribbigband.bandcamp.com/album/choice-cuts" target="_blank">Prime Rib Big Band</a> – big band that performs original music (baritone saxophone, bass clarinet, composer/arranger)</li>
<li>
<a rel="noreferrer noopener" href="https://www.reneelandryofficial.com" target="_blank">Renée Landry</a> – soul-pop artist (tenor saxophone, baritone saxophone, flute, musical director, arranger)</li>
<li>
<a href="https://www.matthewchaffey.com" target="_blank" rel="noreferrer noopener">Matthew Chaffey</a> – soul music (baritone saxophone)</li>
<li>
<a href="https://slyhighmusic.com" target="_blank" rel="noreferrer noopener">Sly High</a> – a tribute to Sly and the Family Stone (baritone saxophone) Both at Mont Tremblant, and the Ottawa Bluesfest</li>
</ul>
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<p>On top of those featured acts, I continued my “regular” professional life – performing, rehearsals, teaching my (summer-reduced) student load, and recording.</p>
<p>I love the rush of festival season! Musically, it really caters to my personality. The scramble of making sure that I have all of my music in my ears, and under my fingers, keeping my face together on all of my horns, having all of my gear packed (I take over my dining room with gear – time to clean it all up today! Haha! Also, my office is a disaster.), soundchecks, and the hang with musicians that you don’t always get to spend enough time with through the year. </p>
<p>I feel so incredibly focused during this time, and I like to use it as my “New Years” – taking all of this energy, and directing it towards new projects, reviving old ones, and thinking ahead to the next year.</p>
<p>I’m looking forward to see what the next set of festival dates brings! </p>
Richard Pagetag:richpagemusic.com,2005:Post/70124722022-07-11T15:10:59-04:002022-07-11T18:00:16-04:00Line #2 – Lydian
<p>Here’s a Lydian line that starts and ends from the major 7th.</p>
<p></p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/Cf4gykdAPTD/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>Here’s the PDF with the line in 12 keys. </p>
<p></p>
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Richard Pagetag:richpagemusic.com,2005:Post/69978992022-06-20T14:33:21-04:002022-06-20T16:15:11-04:00Dorian Line #1
<p>I had this line stuck in my head all morning, and managed to get it down (before it left my mind. Haha!). Here it is in D minor concert, and the PDF has it in twelve keys.</p>
<p></p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CfCYB_BASyW/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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Richard Pagetag:richpagemusic.com,2005:Post/69173122022-03-08T14:31:51-05:002022-07-27T17:39:42-04:00Transcription: Coleman Hawkins – You’d Be So Nice To Come Home To
<p>I transcribed this solo in 2014, and last week I decided to revisit it, and clean up the notation. This solo comes off of the <a rel="noreferrer noopener" href="https://en.wikipedia.org/wiki/Coleman_Hawkins_Encounters_Ben_Webster" target="_blank">Coleman Hawkins Encounters Ben Webster (1959)</a> recording – a personal favourite of mine. I am in the process of lifting Ben Webster’s, and Oscar Peterson’s solos, and I can’t wait to share them!</p>
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Richard Pagetag:richpagemusic.com,2005:Post/69106382022-03-01T11:53:46-05:002022-03-01T13:45:13-05:00Gig Rig – My Teaching Rig
<p>It’s been amazing to be back teaching in person. I started back at the end of September 2021, and had a break over January, but now I have a large portion of my student load who are taking lessons in person again. In person allows me to be more detailed-oriented, and on top of habits that my students are forming. </p>
<p>After so much time away, it took me a little while to get comfortable with loading my teaching gear. I was always feeling like I was forgetting things, and it made me consider what I was taking to my lessons more than I had when I was in the rhythm of being out of the house four or five days a week. </p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CZc9HDZKwb7/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>I usually bring my alto or tenor saxophones, flute, and clarinet to teach. If I have a student who is specifically studying baritone sax, or bass clarinet, I bring those in lieu of the alto saxophone, or clarinet, but I love carrying the alto sax, flute, and clarinet in my Protec Triple Case – I can almost carry my whole rig in that case!</p>
<p>Outside of my instruments, I bring my MacBook Air for online lessons, pulling up/creating charts, and all of the other administrative tasks that I need to take care of throughout the day. I also have my iPad Pro which is great for pulling up new music for students, and playing backing tracks. It also has all of the teaching tools that I need, like the tuner and metronome. I also use the Apple Pencil – it’s great when I need to make charts on the fly! I also need to bring the adapters for power, and ethernet.</p>
<p>I’m fortunate that I keep most of my printed materials at my studio, so I’m never stuck when a student forgets their books. </p>
<p>There are many non-musical things that I bring to my lessons. Here’s a list of what is important for me to have for a good teaching day.</p>
<ul>
<li>Water Bottle – I use a 40oz water bottle, and I usually fill It up three or four times through a full teaching day.</li>
<li>ChopSaver – I use it constantly. My lips feel great, and don’t crack!</li>
<li>Deodorant – when I have 6-8 hours of teaching it’s important to freshen up every few lessons.</li>
<li>Phone Chargers – I am not an anti-phone teacher. My students make voice memos, and take pictures of our lessons on the dry-erase board. I also have students who are coming from school, and they are walking home alone. I always encourage them to have their phone charged in case the need it. I carry Apple, and Android chargers.</li>
<li>Indoor shoes/spare socks – I haven’t been doing this as much because the weather has been cold here, and not super wet or slushy, but as the snow melts, extra footwear just keeps me comfortable when I don’t need to have wet feet for a day. </li>
</ul>
<p>Are there any items that you bring that make your teaching day better, or more comfortable?</p>
<p> </p>
Richard Pagetag:richpagemusic.com,2005:Post/68823022022-01-28T12:53:33-05:002022-01-28T14:45:09-05:00Branford Marsalis Transcription – Doxy
<p>After years of committing my transcriptions to memory only, I have been starting to write them down. This transcription comes off of the Branford Marsalis Quartet’s recording, Upward Spiral, which features Kurt Elling. I’m a big fan of this recording. The interplay between Branford, and Kurt, is pretty incredible – big ears all around! </p>
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<p>Branford takes two choruses, starting at 2:04, and I love the bluesy-ness, combined with some great double-time at the end.</p>
<p>Enjoy!</p>
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Richard Pagetag:richpagemusic.com,2005:Post/68583092022-01-03T12:25:00-05:002022-05-18T02:23:07-04:00Drum Genius
<p>Drum Genius is an app that I have been using for a few years, and I think that it is one of the best practice tools that is available. Essentially, it is a metronome, but functions with drum loops. </p>
<figure class="wp-block-image size-large"><img src="https://barisaxca.files.wordpress.com/2022/01/drum-genius.png?w=1024" class="size_orig justify_inline border_" alt="" /></figure>
<p>I use this app both in my practicing, and composing. </p>
<p>For my own practice, I like working out ideas with the drums as the only rhythm section instrument – I feel like it allows me to focus on the melodic and rhythmic content of the idea, and not be tied to my harmonic tendencies. I also find that it allows me to dig in to the beginnings of my phrases, and the overall phrase length – where I’m starting, and where I’m ending. </p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/tv/CVlZcmAltm7/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>The app has 500 loops available, ranging from swing, pop, world beats, and odd-metered grooves. Each of these are customisable in tempo, but also pitch, and there is a “Metrogenius” function, that allows me to take a specific rhythm, and adjust it to fit my needs. </p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/CXrhIRyFYRU/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>This applies to my composing as well. It’s been an extremely useful tool to set a groove, and work out a bass line, or develop a melody with a beat that I have in mind. It has also made me think of the way that I write drum parts – I’ve become more specific on what I want to convey to the drummer. </p>
<p>Have you ever used Drum Genius? Or another drum app?</p>
Richard Pagetag:richpagemusic.com,2005:Post/68466902021-12-20T09:00:00-05:002021-12-20T10:45:02-05:00Transcription: Gerry Mulligan – They Say It’s...
<p>Dream A Little Dream was my introduction to Gerry Mulligan. I remember being struck by his ability to float over the rhythm section, while having a subtle intensity in his sound. This recording became a favourite of mine, and years later, as I dug deeper into the baritone saxophone, I ended up lifting six solos off of the recording (I’m just now getting them down on paper). </p>
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<p>Here’s the melody, and Mulligan’s solo.</p>
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<p>Do have a favourite Gerry Mulligan solo? Or recording?</p>
Richard Pagetag:richpagemusic.com,2005:Post/68393842021-12-13T09:00:00-05:002021-12-13T13:00:06-05:00Gonzalez Reeds
<p>Last week, I received a care package from <a href="https://gonzalezreeds.com/home.html" target="_blank" rel="noreferrer noopener">Gonzalez Reeds</a>. I am extremely fortunate to have been a <a href="https://gonzalezreeds.com/artists/richard-page.html" target="_blank" rel="noreferrer noopener">Gonzalez artist</a> since November 2019. I love playing on these reeds! They give me the sound, feel, and consistency that I need to bring my music to life.</p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/CXPlTNwg6hA/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>The summer before I became a Gonzalez artist, I had been playing the same reeds on my setups for a few years, and I was really happy with them – the sound was what I wanted, the tuning locked in, and the response across the horn felt great. Then festival season hit. Seemingly out of nowhere, the reeds started locking up on the shows, and stop responding the way they had – everything felt too soft. So I went up a strength, and another, and another, until I couldn’t get a harder reed in that cut – still every reed felt too soft. I thought that maybe it was time for a change. </p>
<p>I live in Ottawa, and reed selection is pretty limited, so I reached out to a few different companies, to see if I could get some reeds to try. Gonzalez was really helpful right away. I was able to get some reeds in my hands, and they gave me a chance to test drive different cuts. </p>
<p>At first, I used the Classic reeds across all of my instruments, except for clarinet, which I use(d) the GD cut. I later moved to the Jazz Local 627 cut on tenor, and eventually on baritone saxophone as well (once they came out). One thing that I noticed is that the reeds played harder than I expected, which they warned me of, and after trying several strengths out, I have landed on the reeds that work for me. </p>
<p>Here is what I have used for the last while – </p>
<ul>
<li><a rel="noreferrer noopener" href="https://gonzalezreeds.com/products/baritone-jazz-local-627-en.html" target="_blank">Baritone Saxophone – Jazz Local 627 #3</a></li>
<li><a rel="noreferrer noopener" href="https://gonzalezreeds.com/products/tenor-jazz-local-627.html" target="_blank">Tenor Saxophone – Jazz Local 627 #3</a></li>
<li><a rel="noreferrer noopener" href="https://gonzalezreeds.com/products/alto-classic-en.html" target="_blank">Alto Saxophone – Classic #3</a></li>
<li><a rel="noreferrer noopener" href="https://gonzalezreeds.com/products/soprano-classic.html" target="_blank">Soprano Saxophone – Classic #3</a></li>
<li><a rel="noreferrer noopener" href="https://gonzalezreeds.com/products/bass-clarinet-classic.html" target="_blank">Bass Clarinet – Classic #3</a></li>
<li><a rel="noreferrer noopener" href="https://gonzalezreeds.com/products/bb-clarinet-gd.html" target="_blank">Bb Clarinet – GD #3.5</a></li>
</ul>
<p>I do notice that the reeds tend to swell quite a bit in the first few plays, which may be an Ottawa issue (the temperature and humidity swing hard here), but a few passes over the back of the reed with my ReedGeek fix that, and they play great. </p>
<figure class="wp-block-image size-large"><img src="https://barisaxca.files.wordpress.com/2021/12/1d416ef8-32a9-419d-8037-a80cb51b31d7.jpg?w=1024" class="size_orig justify_inline border_" alt="" /></figure>
<p>One of the other aspects of Gonzalez Reeds that I love, is that the reeds are pesticide free, and they packaging contains no plastic. I wish that other manufacturers would consider this – my reeds always ship well, and I have never pulled a broken reed out of the box. </p>
<figure class="wp-block-image size-large"><img src="https://barisaxca.files.wordpress.com/2021/12/gonzalez.jpg?w=768" class="size_orig justify_inline border_" alt="" /></figure>
<p>Have you ever tried Gonzalez Reeds? Do you prefer a classical or jazz cut reed?</p>
Richard Pagetag:richpagemusic.com,2005:Post/68316172021-12-06T09:00:00-05:002021-12-06T12:01:18-05:00Ronnie Cuber Transcription Goodnight Irene
<p>I stumbled into this recording as I was getting into Ronnie Cuber’s playing. I was looking for any recording that he had been on, because I love the way he solos, but also (and equally) how he anchors a horn section. I discovered Dr. John – Live In Montreux 1995, and Trippin’ Live (where this solo comes from).</p>
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<iframe class="youtube-player" width="750" height="422" src="https://www.youtube.com/embed/sItPRAtNvgI?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe>
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<p>He plays several solos on Trippin’ Live, and I’ll probably get to transcribing those in the near future, but this solo is the one that has stuck in my ears for the last few years. </p>
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<a id="wp-block-file--media-e180720c-3f99-40a2-b26c-458f5c72ed25" href="https://barisaxca.files.wordpress.com/2021/11/ronnie-cuber-goodnight-irene-1.pdf">Ronnie Cuber Transcription – Goodnight Irene</a><a href="https://barisaxca.files.wordpress.com/2021/11/ronnie-cuber-goodnight-irene-1.pdf" class="wp-block-file__button" download aria-describedby="wp-block-file--media-e180720c-3f99-40a2-b26c-458f5c72ed25">Download</a>
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<p>Please feel free to download the transcription! I’d love to hear some versions of it. If you share it on social media, tag me!</p>
<p><a href="https://www.facebook.com/RichPageMusic/" target="_blank" rel="noreferrer noopener">Facebook</a></p>
<p><a href="https://twitter.com/richpagemusic" target="_blank" rel="noreferrer noopener">Twitter</a></p>
<p><a href="https://www.instagram.com/richpagemusic/" target="_blank" rel="noreferrer noopener">Instagram</a></p>
<p>Enjoy!</p>
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Richard Pagetag:richpagemusic.com,2005:Post/68241072021-11-29T09:38:07-05:002021-11-29T09:45:06-05:00Tonal Energy
<p>When I first saw Tonal Energy, I thought that it was a great tuner for my students – the happy face that takes over the screen (and multiplies) worked as a great motivator to keep my students focused on their pitch. I ended up purchasing the app to use in my lessons, and as I started digging deeper into the app, I discovered so many useful tools that I have used with my students, but also for myself in my own practicing. Here are some of the features that I have used regularly.</p>
<p><strong><span style="text-decoration:underline;">Tuner</span></strong></p>
<p>Being able to adjust the sensitivity of the tuner is a great feature – from “Wide”, which is 5% acceptable on both sharp and flat, to “Ultra-Fine” which is within 1% acceptable, I can bring this tuner to my less experienced students, and give them an attainable goal. As they progress, I can tighten the tolerances, and they can adjust accordingly. </p>
<p>The transposition function is really clear, and easy to adjust. This is also great for my students who aren’t comfortable with transposing yet, they can find their instrument, and immediately get the transposed pitch on the display. </p>
<p>Other information that is useful is the Hz, which allows my students to see how far they need to adjust to bring the pitch into tune. Also, the meter at the top of the screen (coupled with a timer), which shows the percentage of notes that were in tune, almost in tune, and out of tune. I do wish that they froze when a student was done, because sometimes it disappears before we can really see what was going on. </p>
<figure class="wp-block-image size-large"><img src="https://barisaxca.files.wordpress.com/2021/11/img_0187-1.jpg?w=779" class="size_orig justify_inline border_" alt="" /></figure>
<p><strong><span style="text-decoration:underline;">Sound</span></strong></p>
<p>I love practicing with drones! As an improvisor, I find the process of working through ideas against a constant drone allow me to focus solely on creating melodies. Being able to add any intervals to the drone has been a useful tool, even to the point of building chords to experiment over. For teaching, the sound wheel is great for matching pitch – reinforcing my students’ tuning. I also love the fact that the drone can be played on any instrument, and while I am partial to bassoon, bass clarinet, and tuba to improvise over, when matching pitches with students, it’s great for them to match against their instruments. </p>
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<p><strong><span style="text-decoration:underline;">Analysis</span></strong></p>
<p>This is the screen that I use the most – in particular, the Waveform/Pitch, and the Harmonic functions. </p>
<p>The Waveform/Pitch analysis is so helpful when dealing with articulation. The visual cue for my students to see their pitch while articulating (the red/orange/green line), how much the time/space the articuation is taking (same line), and their overall volume (blue background behind the line). I have found this function of the app extremely effective when a student has developed a “scoop” in their articulation – having them focus on keeping the line within the acceptable range of tuning, when playing something that they are comfortable with, has solved this issue quickly (when the app is outside of the lesson). </p>
<figure class="wp-block-image size-large"><img src="https://barisaxca.files.wordpress.com/2021/11/img_0188.jpg?w=779" class="size_orig justify_inline border_" alt="" /></figure>
<p><strong><span style="text-decoration:underline;">Harmonic</span> </strong></p>
<p>Being able to see how all of the harmonics ring in a player’s sound has been really useful when explaining how air and sound intensity are related. My students are able to visualize the differences in a dark sound, bright sound, what happens when they drive their sound and gain upper partials, or pull back their sound and make it compact. It’s interesting to see how they get more detailed in their approach to sound when there is a clear indicator of what is happening.</p>
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<p><strong><span style="text-decoration:underline;">Metronome</span></strong></p>
<p>The metronome has all of the functions that want in a metronome – different options for time signature, accented beats, subdivision, tap tempo, different sounds, but the Metronome Assistant is a great trainer where you can customize how the metronome changes while you play. The Metronome Assistant allows for tempo change, to random beat or bar silencing, and a time limit. All of these functions help my students work on their time in a number of creative ways.</p>
<figure class="wp-block-image size-large"><img src="https://barisaxca.files.wordpress.com/2021/11/img_0182.png?w=768" class="size_orig justify_inline border_" alt="" /></figure>
<p>I really like how the metronome is displayed on every screen in the top right, and the tuner is available on every screen except for the metronome screen. It really reinforces the need to play in time, and in tune with my students when I’m not in the room with them. </p>
<p>Have you used Tonal Energy? What are your experiences? Are there other tuning apps that you like? </p>
Richard Pagetag:richpagemusic.com,2005:Post/68214122021-11-25T15:41:10-05:002021-11-25T15:46:23-05:00What’s In My Case – Baritone Saxophone
<p>I posted a video on my social media accounts about what gear lives in my baritone saxophone case. I received several requests to write it out, so here’s a breakdown of it. </p>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/tv/CWl6H6cFyyf/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<ul>
<li>Yamaha YBS-62S </li>
<li>Theo Wanne Durga 3 #8*</li>
<li>Gonzalez Jazz Local 627 #3 Reeds (in a D’Addario Reed Case)</li>
<li>Just Joe’s Saxophone Gel Strap</li>
<li>Key Leaves</li>
<li>Yamaha Monster Swab</li>
<li>WoodwindDesigns Carbon Fibre Stand</li>
<li>Bam HighTech Case</li>
</ul>
<p>What gear are you playing? If you have any questions about my setup, let me know!</p>
Richard Pagetag:richpagemusic.com,2005:Post/68127062021-11-16T15:25:26-05:002021-11-17T12:39:38-05:00My iPad/App Setup
<p>I’ve been using my iPad on most of my gigs and recordings since 2015. It always made sense to me – all of my sets were on it (in order or quickly moved), I couldn’t lose my music, I always had copies of music for my students, and I wasn’t carrying around music. Over time, I found myself finding apps for my own practicing, or apps that could help my students outside of their lessons. </p>
<p>Here’s my present setup – </p>
<ul>
<li>Apple iPad Pro 12.9″ (2nd Generation)</li>
<li>Apple Pencil</li>
<li>ForScore</li>
<li>PED Bluetooth Foot Pedal</li>
<li>Notion</li>
<li>Dorico</li>
<li>iReal Pro</li>
<li>Drum Genius</li>
<li>Amazing Slow Downer</li>
<li>GarageBand, Voice Memo</li>
<li>iRig Keys Mini</li>
<li>AKAI MPD218</li>
<li>Dropbox, Google Drive</li>
<li>Social Media (Instagram, Facebook, Twitter, LinkedIn, TikTok, YouTube)</li>
<li>Bandcamp, Apple Music</li>
</ul>
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<p>I’ll be writing about the apps that I use regularly over several posts – how they make my life easier, and features I like/wish they had. </p>
<p>What apps do you use? Or apps that I should check out? Let me know!</p>
Richard Pagetag:richpagemusic.com,2005:Post/68127072020-12-02T14:10:43-05:002021-11-17T12:39:38-05:00Baritone Sax Shopping!
<p>I bought my <a href="https://ca.yamaha.com/en/products/musical_instruments/winds/saxophones/ybs-62/index.html" target="_blank" rel="noreferrer noopener">Yamaha YBS62S</a> a few years ago, and I haven’t really shopped for another bari sax – I haven’t had any reason to shop, I’m happy with my horn…</p>
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<p>Tim from <a rel="noreferrer noopener" href="https://embrunmusic.com" target="_blank">Embrun Music</a> dropped me a message about checking out a <a href="http://www.pmauriatmusic.com/us/products/item/5-baritone/35-pmb-302" target="_blank" rel="noreferrer noopener">P. Mauriat low Bb bari</a> that he had in stock, and I had to go check it out. I haven’t played a lot of modern baris, and I hadn’t played a low Bb horn since my Mark VI and Conns. </p>
<p>The Mauriat surprised me with how well it played. I’ve tried some tenors and altos, and they weren’t really my thing, but this bari was fun! And I didn’t feel like I missed the A from my 62S. It was light, but felt solid – definitely a horn that I would consider taking to a jazz gig. Here’s a quick clip of the horn.</p>
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<div style="padding: 19% 0;"></div> <div style="display:block; height:50px; margin:0 auto 12px; width:50px;"><svg width="50px" height="50px" viewbox="0 0 60 60" version="1.1" xmlns="https://www.w3.org/2000/svg" xmlns:xlink="https://www.w3.org/1999/xlink"><g stroke="none" stroke-width="1" fill="none" fill-rule="evenodd"><g transform="translate(-511.000000, -20.000000)" fill="#000000"><g><path d="M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631"></path></g></g></g></svg></div>
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</div></a><p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/CH6DrpHgVY6/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by Richard Page (@richpagemusic)</a></p>
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<p>After I checked out the Mauriat, Tim offered to let me try his <a href="http://www.yanagisawasax.co.jp/en/saxophones/view/464" target="_blank" rel="noreferrer noopener">Yanagisawa BW02</a>. </p>
<p>This baritone saxophone was frightening! I loved the way it played! It spoke so evenly, and I particularly found the response impressively quick in the low end. That low A popped out so easily. I found the keywork to be more comfortable than the Mauriat (possibly because it felt more like my own horn). I have never had a Yanagisawa bari in my hands, so this was a real treat. I could definitely take this horn to any gig, and I left seriously considering a Yanagisawa baritone sax. This horn was amazing, and I’d love to check out some of their other baritones as well. </p>
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<div style="padding: 19% 0;"></div> <div style="display:block; height:50px; margin:0 auto 12px; width:50px;"><svg width="50px" height="50px" viewbox="0 0 60 60" version="1.1" xmlns="https://www.w3.org/2000/svg" xmlns:xlink="https://www.w3.org/1999/xlink"><g stroke="none" stroke-width="1" fill="none" fill-rule="evenodd"><g transform="translate(-511.000000, -20.000000)" fill="#000000"><g><path d="M556.869,30.41 C554.814,30.41 553.148,32.076 553.148,34.131 C553.148,36.186 554.814,37.852 556.869,37.852 C558.924,37.852 560.59,36.186 560.59,34.131 C560.59,32.076 558.924,30.41 556.869,30.41 M541,60.657 C535.114,60.657 530.342,55.887 530.342,50 C530.342,44.114 535.114,39.342 541,39.342 C546.887,39.342 551.658,44.114 551.658,50 C551.658,55.887 546.887,60.657 541,60.657 M541,33.886 C532.1,33.886 524.886,41.1 524.886,50 C524.886,58.899 532.1,66.113 541,66.113 C549.9,66.113 557.115,58.899 557.115,50 C557.115,41.1 549.9,33.886 541,33.886 M565.378,62.101 C565.244,65.022 564.756,66.606 564.346,67.663 C563.803,69.06 563.154,70.057 562.106,71.106 C561.058,72.155 560.06,72.803 558.662,73.347 C557.607,73.757 556.021,74.244 553.102,74.378 C549.944,74.521 548.997,74.552 541,74.552 C533.003,74.552 532.056,74.521 528.898,74.378 C525.979,74.244 524.393,73.757 523.338,73.347 C521.94,72.803 520.942,72.155 519.894,71.106 C518.846,70.057 518.197,69.06 517.654,67.663 C517.244,66.606 516.755,65.022 516.623,62.101 C516.479,58.943 516.448,57.996 516.448,50 C516.448,42.003 516.479,41.056 516.623,37.899 C516.755,34.978 517.244,33.391 517.654,32.338 C518.197,30.938 518.846,29.942 519.894,28.894 C520.942,27.846 521.94,27.196 523.338,26.654 C524.393,26.244 525.979,25.756 528.898,25.623 C532.057,25.479 533.004,25.448 541,25.448 C548.997,25.448 549.943,25.479 553.102,25.623 C556.021,25.756 557.607,26.244 558.662,26.654 C560.06,27.196 561.058,27.846 562.106,28.894 C563.154,29.942 563.803,30.938 564.346,32.338 C564.756,33.391 565.244,34.978 565.378,37.899 C565.522,41.056 565.552,42.003 565.552,50 C565.552,57.996 565.522,58.943 565.378,62.101 M570.82,37.631 C570.674,34.438 570.167,32.258 569.425,30.349 C568.659,28.377 567.633,26.702 565.965,25.035 C564.297,23.368 562.623,22.342 560.652,21.575 C558.743,20.834 556.562,20.326 553.369,20.18 C550.169,20.033 549.148,20 541,20 C532.853,20 531.831,20.033 528.631,20.18 C525.438,20.326 523.257,20.834 521.349,21.575 C519.376,22.342 517.703,23.368 516.035,25.035 C514.368,26.702 513.342,28.377 512.574,30.349 C511.834,32.258 511.326,34.438 511.181,37.631 C511.035,40.831 511,41.851 511,50 C511,58.147 511.035,59.17 511.181,62.369 C511.326,65.562 511.834,67.743 512.574,69.651 C513.342,71.625 514.368,73.296 516.035,74.965 C517.703,76.634 519.376,77.658 521.349,78.425 C523.257,79.167 525.438,79.673 528.631,79.82 C531.831,79.965 532.853,80.001 541,80.001 C549.148,80.001 550.169,79.965 553.369,79.82 C556.562,79.673 558.743,79.167 560.652,78.425 C562.623,77.658 564.297,76.634 565.965,74.965 C567.633,73.296 568.659,71.625 569.425,69.651 C570.167,67.743 570.674,65.562 570.82,62.369 C570.966,59.17 571,58.147 571,50 C571,41.851 570.966,40.831 570.82,37.631"></path></g></g></g></svg></div>
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<p>While I knew that I wasn’t buying anything that day, I am always excited to check out horns. It’s hard in Ottawa to find several baritone saxophones to try in the same room, so this was a lot of fun. </p>
<p>What horn are you playing now? Would you trade it? Have you ever stumbled across a bari sax that blew you away, even if you weren’t shopping for one?</p>
Richard Pagetag:richpagemusic.com,2005:Post/68127082020-11-09T12:14:04-05:002021-11-17T12:39:38-05:00Double Lip Embouchure
<p>Just over six years ago, I had an accident on a gig – I broke two of my teeth on my metal Otto Link. Even though I had the teeth fixed, I couldn’t handle the vibration of the mouthpiece against them. I tried dental wax, double and triple mouthpiece patches, and finally thought about switching my embouchure (temporarily) to a double lip. I would use it until my teeth were less sensitive, and then I would switch back to single lip.</p>
<p>I started doing my research, and discovered Tom Ridenour’s videos on how to learn to play double lip embouchure.</p>
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<p>I was biting more than I realized! At first, my endurance was terrible – after about ten minutes I’d have no face left. This was going to be a huge shift in the way I played. Over a few weeks, I worked my endurance (relaxed my jaw pressure) up to an hour with no pain. I also realized that if I went to setups that were less resistant, I would have more endurance (who would’ve thought?!?!). </p>
<p>I had Ted Klum make me a set of mouthpieces that were equivalent to a C* and paired them with a 2M or 2H D’Addario Select Jazz – a little extreme, but it got me through this period in my playing. Over the last few years, I went to harder reeds and more open mouthpieces, but I am more aware of the feel of the setup than I was previous to the switch.</p>
<p>The more I played with this embouchure, the more I saw the benefits from using it, and have used it full-time since trying it. I play more in tune, the registers are more even (especially up high), and I feel like I can pull more colours out of my sound. Also, when playing instruments across the woodwind family, double lip works very similarly across the different mouthpieces, so physically it’s comfortable to switch. </p>
<p>In my teaching, I love using it as a tool for students. I encourage all of my students to try it to see how it changes how they play. I find with saxophone students who’s upper register thins out because they are biting, it makes them aware (the same discoveries that I had), and for clarinet students it came make them more aware of their tongue during high register articulation, and become more conscious of their tuning from low C downwards. </p>
<p>I’ve also been surprised at how many young students play in a double lip naturally (and how many band teachers try and change it). I have found that when students are playing in their most comfortable position, they also tend to develop more quickly. Being a double lip player (and teacher) helps them eliminate the initial tuning and stability issues that are associated with playing double lip. </p>
<p>Do you play double lip? If you haven’t, have you ever tried double lip?</p>
Richard Pagetag:richpagemusic.com,2005:Post/68127092020-11-02T10:07:41-05:002021-11-17T12:39:38-05:00The Time Two Legends Tried To Pass Me A Solo…And I Rookied Out
<p>Don’t worry, it all works out a few choruses later. </p>
<p>In 2018, I was finally getting comfortable on the baritone saxophone as my primary instrument. I had sold all of my other gear, I had been playing in both large and small ensembles in a variety of settings, and I was getting booked for some of the shows coming through the <a href="https://ottawajazzfestival.com">Ottawa Jazz Festival</a>.</p>
<p>I was called to be in the horn section for <a href="https://jerrygranelli.com">Jerry Granelli’s</a> festival show, alongside <a href="https://petrcancura.com">Petr Cancura</a> and <a href="https://www.edlistermusic.com">Ed Lister</a>. Jerry was touring the festival circuit with <a href="https://www.robbenford.com">Robben Ford</a>, <a href="https://www.boblanzetti.com">Bob Lanzetti</a>, and J. Anthony Granelli, and they would be playing selections off of Jerry’s recording, <a href="https://jerrygranelli.com/projects/dance-hall/">Dance Hall</a>.</p>
<figure class="wp-block-image size-large"><img src="https://barisaxca.files.wordpress.com/2020/11/granelli-gig.jpg?w=960" class="size_orig justify_inline border_" alt="" /><figcaption>Credit – Jerry Granelli (from Facebook)</figcaption></figure>
<p>Needless to say, I jumped at the chance to play with these master musicians (and really great hangs, too). Soundcheck went great, we talked through the charts, did a little playing, and then we grabbed some food.</p>
<p>I can’t remember if the quartet without horns played a tune or two before the horn section, but I believe that they did. </p>
<p>I distinctly remember being in awe of the sound that Jerry was getting from the drums. I’m not sure that I’d ever seen someone play with so much conviction…and that shuffle felt to good…and the comping with the soloist…and…and…and…I was lost in his playing. </p>
<p>Then, during the tune, Caledonia, Robben Ford turned around and passed me a solo, but I didn’t hear him, I was in my happy place – surrounded by a rhythm section who’s groove took me somewhere else. Then Jerry tried to get my attention, and Petr started playing a tenor solo. </p>
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<p>A few choruses later, I ended up getting my pass over the blues and ended up playing a few others that night, and it turned out to be a great gig with some amazing musicians, playing really fun music. </p>
<p>It also became the night that I learned to always pay attention, no matter who is playing. </p>
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</div></a> <p style=" margin:8px 0 0 0; padding:0 4px;"> <a href="https://www.instagram.com/p/BkjpRA8nzP9/?utm_source=ig_embed&utm_campaign=loading" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">Had a blast performing with at @ottawajazz tonight with Jerry Granelli, Robben Ford, Bob Lanzetti, J Anthony Granelli, Petr Cancura and Ed Lister! #music #jazz #ottawa #ottawajazz #dancehall #hornsection #aphotoaday #ilovemyjob</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/richpagemusic/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Richard Page</a> (@richpagemusic) on <time style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;" datetime="2018-06-28T05:40:26+00:00">Jun 27, 2018 at 10:40pm PDT</time></p>
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<p>Have you ever played with any musicians who left you in awe during the gig?</p>
Richard Pagetag:richpagemusic.com,2005:Post/68127102020-10-26T10:51:00-04:002021-11-17T12:39:38-05:00Gear Review – Ted Klum London 8*
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<p>In May, I dropped my <a href="https://www.sebastianknox.com" target="_blank" rel="noreferrer noopener">Sebastian Knox</a> mouthpiece. As soon as it hit the floor in my office, I knew the tip had broken. I had played that mouthpiece for a couple of years in every situation, and although I had checked a few other mouthpieces out, it was my main mouthpiece. I had to figure out what my next mouthpiece would be.</p>
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<div style="margin-left: auto;"> <div style=" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"></div> <div style=" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"></div> <div style=" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"></div>
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</div></a> <p style=" margin:8px 0 0 0; padding:0 4px;"> <a href="https://www.instagram.com/p/CAI5O55nbAd/?utm_source=ig_embed&utm_campaign=loading" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">A few days ago, I dropped my main mouthpiece for the last two years – even when I was trying other pieces I would always come back to it. #barisax #sax #mouthpiece #sebastianknoxwoodwinds #tears</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/richpagemusic/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Richard Page</a> (@richpagemusic) on <time style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;" datetime="2020-05-13T18:59:30+00:00">May 13, 2020 at 11:59am PDT</time></p>
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<p>For a few weeks, I played on a few different mouthpieces, including an Otto Link that Sebastian had opened up for me, an Otto Link Super Tone Master, and Vandoren V16 B7. There were elements of each piece that I liked, but none of them were quite right. </p>
<p>Finally, I decided that I needed a bit of guidance and called Jack Finucane at the <a rel="noreferrer noopener" href="https://www.bostonsaxshop.com" target="_blank">Boston Sax Shop</a>. He told me that he was getting a good response from bari players who were testing out <a href="https://www.tedklum.com/new-london-model-hr-baritone/" target="_blank" rel="noreferrer noopener">Ted Klum’s London Model</a>. After talking for a bit, I decided on an 8*. I normally don’t buy gear without trying, but Jack reassured me that if it didn’t work, that we’d “figure something out.”</p>
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</div></a> <p style=" margin:8px 0 0 0; padding:0 4px;"> <a href="https://www.instagram.com/p/CGYOkAUAmRa/?utm_source=ig_embed&utm_campaign=loading" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">Siblings! #tedklummouthpieces #altosax #tenorsax #barisax #sax #saxophone #power #edgy #handmade #set #music #sound #musician #woodwind #saxplayer #musicianlife #musiciansofinstagram</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/richpagemusic/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Richard Page</a> (@richpagemusic) on <time style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;" datetime="2020-10-15T21:02:51+00:00">Oct 15, 2020 at 2:02pm PDT</time></p>
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<figcaption>I have since filled out my London Model collection.</figcaption></figure>
<p>The sound of this piece is what first caught me. It’s huge. I can drive it as hard as I need it and I still don’t feel like I’ve hit the end of the sound. That’s a characteristic that I like in a mouthpiece – I love it when I feel like I can give as much air as I want and the sound keeps developing. It also handles at low volumes. I have played mouthpieces in the past that I love playing at medium and top volumes, but when I wanted to pull the volume back, the mouthpiece seemed to give up on me. The London Model allows me to manipulate my sound at all levels just the way I like. </p>
<p>The mouthpiece is incredibly reed friendly. Here’s a list of reeds that I have used on it.</p>
<ul>
<li>Gonzalez Local 627 #3 **</li>
<li>Boston Sax Shop #3.5</li>
<li>Légère Signature #2.5 or #2.75</li>
<li>D’Addario Royal #5</li>
<li>D’Addario Select Jazz 4M</li>
<li>Marca American Vintage #3.5</li>
<li>Hemke #4</li>
<li>LaVoz Hard</li>
</ul>
<p>All of these reeds work beautifully for me and give me different sounds. In addition to these reeds giving me the sounds that I want, they also tune really well – something that has become increasingly more important the longer I spend anchoring big bands and horn sections.</p>
<p>**Disclaimer** I am a Gonzalez artist and endorse the 627 Jazz Reeds.</p>
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<div style="margin-left: auto;"> <div style=" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"></div> <div style=" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"></div> <div style=" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"></div>
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</div></a> <p style=" margin:8px 0 0 0; padding:0 4px;"> <a href="https://www.instagram.com/p/CBYad_slSUS/?utm_source=ig_embed&utm_campaign=loading" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">I cashed in my D’Addario Player’s Circle points and picked up some reeds to make sure that I found the right combination for my new Ted Klum London Bari piece. Reed testing day! I’ve been using the Boston Sax Shop reeds and loving them, but free reeds give me an excuse to order more gear! <img src="https://s0.wp.com/wp-content/mu-plugins/wpcom-smileys/twemoji/2/72x72/1f602.png" class="size_orig justify_inline border_" alt="😂" style="height: 1em; max-height: 1em;" /> #music #sax #barisax #saxophone #reeds #bostonsaxshop #hemke #lavoz #selectjazz #daddariowoodwinds #woodwind #ilovemyjob #musicianlife #saxophonist</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/richpagemusic/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Richard Page</a> (@richpagemusic) on <time style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;" datetime="2020-06-13T16:09:55+00:00">Jun 13, 2020 at 9:09am PDT</time></p>
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</div></a> <p style=" margin:8px 0 0 0; padding:0 4px;"> <a href="https://www.instagram.com/p/CCl-9YKlN7t/?utm_source=ig_embed&utm_campaign=loading" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">Thanks to my friends at @elvy_sound_solutions and @marca_reeds for sending some reeds to check out! #music #barisax #baritonesax #reeds #woodwind #marcareeds #sax #saxophone #jazz</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/richpagemusic/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Richard Page</a> (@richpagemusic) on <time style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;" datetime="2020-07-13T19:10:18+00:00">Jul 13, 2020 at 12:10pm PDT</time></p>
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</div></a> <p style=" margin:8px 0 0 0; padding:0 4px;"> <a href="https://www.instagram.com/p/CDt_os9A0F6/?utm_source=ig_embed&utm_campaign=loading" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">Excited to check out these new bari reeds from Gonzalez! #barisax #baritonesax #sax #saxophone #music #jazz #woodwind #reeds</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/richpagemusic/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Richard Page</a> (@richpagemusic) on <time style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;" datetime="2020-08-10T18:21:32+00:00">Aug 10, 2020 at 11:21am PDT</time></p>
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<p>There have not been many gigs since March, but I have had two with this mouthpiece. The first was an outdoor big band gig with the Prime Rib Big Band and I loved how Ted’s piece allowed me to hear myself through the whole gig. It was also flexible enough to blend with the saxophones, or trombones, and projected well above the band when I played solos. </p>
<p>The second gig was a gig with my quintet, Richard Page’s Night On The Town Band, which will be released next month through GigSpace Live. I play lots of clarinet and bass clarinet in my band, and when I jumped over to the bari, the transition was really smooth. </p>
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</div></a> <p style=" margin:8px 0 0 0; padding:0 4px;"> <a href="https://www.instagram.com/p/CGx5ab9Ap-D/?utm_source=ig_embed&utm_campaign=loading" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">Loving my Ted Klum London mouthpiece! Check out www.barisax.ca tomorrow go hear more about it! #barisax #baritonesax #sax #saxophone #tedklum #london #mouthpiece #gearreview #improvisation #yamaha #gonzalezreeds #myrovner #dequelery #blog #musicblog #musician #musicianlife #musiciansofinstagram</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/richpagemusic/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Richard Page</a> (@richpagemusic) on <time style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;" datetime="2020-10-25T20:24:42+00:00">Oct 25, 2020 at 1:24pm PDT</time></p>
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<p>I can’t wait to get it on gigs (when the gigs return) to see what it will do in live situations regularly, but from this small sample size and every day in my studio, I have no reason to think that it will respond any different than it has. </p>
<p>For me, the beak angle and shape of the mouthpiece is perfect for my playing position. I use a double-lip embouchure and I am picky about the way the beak feels. For the most part, I find hard rubber mouthpieces a little too big, and metal mouthpieces a little small. Having a mouthpiece this comfortable allows me to spend more time on the horn – which is always a great thing!</p>
<p>The only drawback for me (and it’s more of an inconvenience for me, personally) is the ligature fit for the mouthpiece. I have lots of ligatures and my Rovner ligatures (I use the Van Gogh) have no play – it still works, but it’s tightened all the way, Selmer 2-Screw for tenor is a hair too big and slides too low, my “standard” hard rubber tenor sax ligatures don’t quite fit the way I’d like them. I have an alto clarinet, and it’s lig fits perfectly, but there isn’t a lot of choice for that perfect fit. I have a few other ligatures to check out, but I haven’t been out at the music stores as frequently over the last few months. I’ll update this when I find something that I like. </p>
<p>This mouthpiece has given me some more freedom in my playing and I can’t see myself switching to any other mouthpiece in the near future.</p>
<p>Are you playing on your ideal mouthpiece? What is it?</p>
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Richard Pagetag:richpagemusic.com,2005:Post/68127112020-10-19T11:09:52-04:002021-11-17T12:39:38-05:00Three Things I Have Learned From Playing In R’n’B and Soul Bands
<p>My first experiences as a full-time baritone saxophonist were in horn sections. I was really excited to take this challenge on and I did not know that this would shape the next five years (and beyond) of my career. </p>
<p>For me, the concept of playing the bari part was a huge shift. It made me examine how I played rhythmically, how my sounds fit with a section, and how I articulated (and the variations). Also, it made me rethink how I wrote for horn sections and what gear I used. </p>
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<figcaption>Here’s a promo video from my first gig as a baritone saxophonist.</figcaption></figure>
<p><strong>Using The Baritone To Its Fullest Potential</strong></p>
<p>As someone who writes for horn sections, I learned a lot about writing for horn sections from actually sitting on the baritone saxophone book, and how myself (and many other writers) simply didn’t (or don’t) value having a baritone sax in their band. It’s not that they don’t like having a baritone sax close by, but that book may not be utilized to its fullest potential. </p>
<p>As a bari player, I love playing in the holes against the other horns, hooking up with the bass, and horn riffs, but too often the bari is treated like “just another horn”, where they’re playing unison horn lines instead of providing the foil to the rest of the horn section or band. Another situation that I’ve seen is that the bari part has to cover everything – against the horn section, with the bass and with the horn section with no place to breathe – it’s a big piece of plumbing. </p>
<p>For me, I like to know what job I’m doing – if I’m filling the holes, let me do that to the best of my ability. If I’m a supporting voice in the section, I like that too. If I’m driving a bass line with the bassist, drop me a note in my part so I can really hook up with them. </p>
<p>Personally, I still think that Tower Of Power has figured it best – and even then, when you listen to early recordings, there is far less bari independence than there is once they really developed their sound. When I listen to the horn section writing of T.O.P. it’s very clear what Doc’s job is every time he plays.</p>
<p><strong>My Ears Changed</strong></p>
<p>After figuring out where my new horn sat in the band, I noticed that the way I heard music and what I wanted to hear coming out of my saxophone change. This change in the way I heard the horn led to some physical changes on the horn as well.</p>
<p>Before I played baritone saxophone full time, I never focused that much on my tuning. I could play in tune, but finding where the pitch sat for every note wasn’t at the forefront of my mind – I could always adjust if needed. I knew that I could really undermine the composer or arranger’s intent by not being able to play in tune with a bass, and then with a section. </p>
<p>I also started to realize that I needed to articulate more forcefully, and it wouldn’t disrupt the tone as much as it would on a smaller horn. I noticed that on heavily articulated passages, the start and restart on the larger reed, mouthpiece and horn didn’t get harsh and thin, but rather barked – which was the sound that I needed in these situations.</p>
<p><strong>I Wanted A Modern Horn With A Low A (Low Eh?)</strong></p>
<p>The vintage horn enthusiasts might give me a hard time on this one – “There’s nothing that sounds like my Conn 12M” or “go get a low Bb Mark VI – it plays like a big tenor”. </p>
<p>You’re right. </p>
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<p>Nothing sounds or feels like those horns, I’ve owned three (two Conns and a low Bb Mark VI), but they aren’t always the right tool for the job. </p>
<p>After I bought my Yamaha YBS-62S, I felt comfortable in all situations, but particularly in the studio – playing a horn that had all of the advantages of modern technology put into its design allowed me to be more relaxed and just play the music, use the mouthpieces that I wanted, and don’t forget about dropping that low A when I needed it.</p>
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</div></a> <p style=" margin:8px 0 0 0; padding:0 4px;"> <a href="https://www.instagram.com/p/CExG1xvg_rJ/?utm_source=ig_embed&utm_campaign=loading" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">Great hit with the Prime Rib Big Band! #barisax #baritonesax #sax #saxophone #bigband #saxsection #woodwind #yamahasax #keyleaves #myrovner #tedklummouthpieces #marcareeds #ilovemyjob #musicianlife #saxplayer</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/richpagemusic/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Richard Page</a> (@richpagemusic) on <time style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;" datetime="2020-09-05T19:53:36+00:00">Sep 5, 2020 at 12:53pm PDT</time></p>
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<p>What playing situations that have influenced your concept?</p>
Richard Pagetag:richpagemusic.com,2005:Post/68127122020-10-12T12:15:02-04:002021-11-17T12:39:38-05:00Three Things I Have Learned From Playing Bari Sax In A Big Band
<p>While my first “permanent” baritone saxophone experiences were in R’n’B or Soul horn sections, I feel that being a baritone saxophonist in a big band. When <a rel="noreferrer noopener" href="http://www.edlistermusic.com" target="_blank">Ed Lister</a> formed the <a rel="noreferrer noopener" href="https://theprimeribbigband.bandcamp.com/releases" target="_blank">Prime Rib Big Band</a> in March 2017, I was called for the bari sax (and clarinet, and eventually bass clarinet) chair. </p>
<p>After three years of anchoring the saxophone section, I’ve learned a few things about sitting on the lowest woodwind book. Here are three important lessons that I’ve learned about playing the bari sax in this situation.</p>
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<p><strong>The Bari Sax Chair Is The Best</strong></p>
<p>I love variety! The bari sax chair in a big band has so much variety – sometimes you live in the sax section, other times, the trombone section. You get to hook up with the bass on great baselines, and anchoring the whole band on shout sections is an amazing feeling! Also, the number of times I get to play in the holes between the rest of the band is what I live for on big band gigs. </p>
<p><strong>Typically, There Are Less Solos</strong></p>
<p>I am fortunate to play in the Prime Rib Big Band, where there is lots of room for every player to play solos, but that isn’t always the case in other big bands. Growing up as a tenor player who played solos in big bands, it was an adjustment to sit at the other end of the section and wait for the blues – something I love to blow on! After a few gigs, I started to discover the beauty in and understand the role.</p>
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</div></a> <p style=" margin:8px 0 0 0; padding:0 4px;"> <a href="https://www.instagram.com/p/BZ2sBO9lslh/?utm_source=ig_embed&utm_campaign=loading" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">A clip from Ed Lister's tune, 'The Schmooze' with the Prime Rib Big Band at @irenespub! #music #musicianlife #edlister #jazz #bigband #ottawa #primeribbigband #baritonesaxophone #barisax #baritonesax #sax #baritone #bari #saxophone #vandoren #myvandorencolor #blue #blues #yamaha #ybs62s @vandorenusa @vandorenparis @yamahacanmusic #aphotoaday #theresthebeef</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/richpagemusic/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Richard Page</a> (@richpagemusic) on <time style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;" datetime="2017-10-05T05:24:44+00:00">Oct 4, 2017 at 10:24pm PDT</time></p>
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<p><strong>I Needed To Change My Gear</strong></p>
<p>Playing in a big band demanded more of my sound – fitting in with saxophones, then trombones, and the bass forced me to think about the overall flexibility of my sound and mouthpiece setup. I also went through a couple of horns to figure out what I needed and liked, but that’s a different story. </p>
<p>I found that my setup was too resistant for what I needed. I started by playing a smaller tipped mouthpieces with a hard reed (Otto Link Super Tone Master 6 with a D’Addario Royal 5 or Select Jazz 4H), and didn’t think that I had enough cut. I tried huge mouthpieces – a Lebayle Jazz 8* which measured .138 and a Rico 2 or 2.5. Eventually, I found some mouthpieces in the middle (.115ish with a 3 or 3.5) that gave me the best of all worlds – clean articulation, solid tuning, the volume, and most importantly, the sound I wanted. Finding gear that fit me and my needs allows me to get the most out of my horn every time I sit in a big band.</p>
<p>Do you enjoy sitting in a big band?</p>
<p> If so, what are some of the things that you’ve learned through your experience in large ensembles?</p>
Richard Pagetag:richpagemusic.com,2005:Post/68127132020-10-05T10:32:50-04:002021-11-17T12:39:38-05:00Ronnie Cuber – My Gateway Into Bari Sax Listening
<p>“Do you know that bari song?” </p>
<p>Nearly every baritone saxophonist has been asked that question. The song in question is Ronnie Cuber’s intro to the Mingus Big Band’s version of “Moanin'”.</p>
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<p>It’s an iconic statement in the baritone saxophone solo catalogue. </p>
<p>I’ve even used it to test my kids’ taste in music. Here’s my daughter checking it out.</p>
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</div></a> <p style=" margin:8px 0 0 0; padding:0 4px;"> <a href="https://www.instagram.com/p/CF5tOLqgUT7/?utm_source=ig_embed&utm_campaign=loading" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">Another bari lover in the family! #daughter #family #dancing #singalong #barisax #sax #saxophone #baritonesax #ronniecuber #moanin #mingus #mingusbigband #music #musiciandad #playthatbarisong</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/richpagemusic/?utm_source=ig_embed&utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> Richard Page</a> (@richpagemusic) on <time style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;" datetime="2020-10-04T00:36:16+00:00">Oct 3, 2020 at 5:36pm PDT</time></p>
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<p>Ronnie Cuber was the baritone saxophonist who made me listen deeper and explore different ways to play the bari sax. </p>
<p>I remember digging into his solos on the Mingus Big Band ’93 – <a href="https://www.discogs.com/Mingus-Big-Band-Mingus-Big-Band-93-Nostalgia-In-Times-Square/release/3747573">Nostalgia In Times Square</a>, and just falling in love with how the solos spoke to me – a great mix of blues and bop. It satisfied the frustrated tenor player in me. </p>
<p>I started listening deeper into Ronnie’s discography, and I came across two of his recordings he had done as a leader – Cubism and Ronnie. These reaffirmed my admiration for him as a soloist, but more than that, I loved his playing in a straight-ahead setting, and a Latin jazz setting. He seemed to change gears for each musical situation that he was in, and his playing was really appropriate for the circumstance. </p>
<p>Exploring his credits has been even more interesting, because I have been able to check him out in different situations – horn sections, featured soloist, big bands, quartets, and more. Every time I listened, it drove home the point of being authentic to the style you are working in – a lesson that I have carried forward in my career. </p>
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<p>As my gateway into baritone saxophone listening, Ronnie Cuber has led me to listen to Gary Smulyan, Nick Brignola, more Gerry Mulligan, which then steered me towards Lars Gullin, Serge Chaloff. As my baritone listening has become deeper, I have found my tastes drifting towards John Surman and modern-day players.</p>
<p>Also, for the first time in my life, I was listening backwards. My listening experience as a young player was always rooted in Lester Young, Zoot Sims, Stan Getz and Ben Webster, and while it gave me an amazing foundation on which to build my concept, I was always playing catch up to my peers in their listening. Listening to Ronnie Cuber first, and then working my back towards iconic players from the 1930’s-50’s changed the way I felt time, and my sound concept in a positive way which has allowed me to keep my playing relevant to the work I’m hired for now. </p>
Richard Pagetag:richpagemusic.com,2005:Post/68127142020-09-28T08:44:45-04:002021-11-17T12:39:38-05:00So I Made The Switch…What Next?
<p>I had many moments of doubt in my first year of being a baritone saxophonist. I was really concerned with keeping work, booking new gigs, what people thought of my switch, and most importantly, how I sounded.</p>
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<p>It took me about a year to get comfortable on jazz gigs (which were the majority of my gigs at the time). I was worried about having tunes called that were in my normal repertoire and not knowing them. Every tune felt different than it had before, and some nights that was great, but I wasn’t confident in my approach. I would even bring my tenor to gigs, set it up and not play it all night as a safety blanket. </p>
<p>It finally got to the point where I felt like I had to do something drastic. </p>
<p>I sold all of my other saxophones. I was committed to the big horn. </p>
<p>This move kept me from being distracted in my practicing, and it forced me to think about the baritone saxophone sound that I wanted. </p>
<p>As I had spent my professional life as a tenor saxophonist, I was primarily influenced by tenor players. I don’t believe that this is a bad thing, but my baritone listening wasn’t that deep. I had scratched the surface of Gerry Mulligan’s playing, but that sound wasn’t always appropriate for the settings that I had started to play in. </p>
<p>Then I found Ronnie…</p>
<figure class="wp-block-embed is-type-rich is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe class="youtube-player" width="750" height="422" src="https://www.youtube.com/embed/Jo2tPptduDY?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&start=315&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe>
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<figcaption>ERU-ERA – Fury. The bari solo starts at 5:16</figcaption></figure>
<p>This is a video with ERU-ERA from 2016. I had recently dug into Ronnie Cuber’s playing and his influence is starting to show. </p>
<p>I’ll explain why and how Ronnie Cuber’s playing has been so important to my development in the near future!</p>
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Richard Pagetag:richpagemusic.com,2005:Post/68127152020-09-19T19:58:28-04:002021-11-17T12:39:38-05:00How I Became A Baritone Saxophonist
<p>I remember my first really great experience playing the baritone saxophone. It was in Elora, Ontario on a New Years gig with a jazz trio. I remember saying to the band, “I think that I could play this horn full time.” I had borrowed Mohawk College’s horn over the winter break (I’m not sure why) and just happened to take it to this gig (once again, I’m not sure why I did this).</p>
<p>I had always owned a bari mouthpiece and subbed in bands whenever a baritone player was needed, but I was a tenor player. I was going to follow in the footsteps of the great players – Sonny Rollins, Dexter Gordon, Stan Getz, Ben Webster and all of the other possible influences that I would encounter over the years. This would become a theme in my professional life for years – I would get called to play all of the other saxophones, clarinets, flutes regularly and my tenor would only come out on the gigs that I booked for myself, yet I was stuck on the fact that I was a tenor player.</p>
<p>In 2015, after years of struggling as a tenor player, not booking enough gigs and generally being frustrated in music, I got a call to play in the London Gentleman Record Band’s Tribute to Chaka Khan, which was run by one of my greatest friends and musical conspirators, <a href="https://www.edlistermusic.com">Ed Lister</a>. I ended up on the baritone saxophone book (with my 1969 Conn low Bb bari sax, Otto Link Tone Edge 5* and a Légère Signature #2.75) and it felt great! The show was a success and although I felt (and sounded) pretty green on bari, I felt like I once again had found a soft spot for this beast of a horn.</p>
<p>I started bringing both the tenor and baritone to my gigs, but I noticed a trend in my bookings – I was getting booked more frequently, but I was only getting booked on baritone sax. I was starting to fall in love with the big horn – the sound, the way it moved, it felt right.</p>
<p>At that time, in 2016, I was taking lessons with <a href="https://www.petrcancura.com" target="_blank" rel="noreferrer noopener">Petr Cancura</a> and I approached him about my situation (while showing him my “new” Conn Transitional with a Hawaiian Lady engraved on the bell).</p>
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<p>The exchange went something like this –</p>
<p>Richard – “I’m stuck. I bring my tenor to our lessons, but I’m really only getting hired to play bari and when I’m at home I just practice the bari.”</p>
<p>Petr – “So be a bari player.”</p>
<p>Richard – “I never thought of that…Okay.”</p>
<p>It was that simple.</p>
<p>This isn’t verbatim, but it’s pretty close to what happened that day. Petr also explained to me how great it would be for my playing to have the focus of the bari for a while and how it would improve my tenor playing if I ever chose to come back to it.</p>
<p>A few weeks later, I sold all of my other saxophones (which I would later replace with others – I’ll get into that later) and became a full time baritone saxophonist.</p>
<p>As I get deeper into this blog, I’ll recount experiences, stories, gear choices and how making the switch to the big horn has become my professional identity.</p>
Richard Page