A Arte de Tocar Saxofone

8/18/2019 A Arte de Tocar Saxofone

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A ARTE DE TOCAR SAXOFONE

Larry Teal

A arte de tocar saxofone - 1


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ÍNDICE

INTRODUÇÃO.....................................................................................................

O INSTRUMENTO...............................................................................................

A FAMÍLIA DO SAX...............................................................................................ESCOLHA DO INSTRUMENTO................................................................................

1 - ESTRUTURA DO INSTRUMENTO............................................................a) O metal........................................................................................................b) A sapatilha...................................................................................................c) Ruídos..........................................................................................................d) O u!cio!ame!to..........................................................................................e) "#ess$o das molas........................................................................................

) Roli%os.......................................................................................................... &) Dob#adi%a das cha'es..................................................................................

( - O TESTE AO TOAR.................................................................................Teste.................................................................................................................

E!to!a%$o........................................................................................................ E*p#ess$o.........................................................................................................o!t#ole do 'olume..........................................................................................O local.............................................................................................................

Ai!a%$o........................................................................................................... I!st#ume!tos usados ou #eo#mados.................................................................O sa* pe#eito...................................................................................................

CUIDADOS COM O INSTRUMENTO.........................................................................

A BOQUILHA.......................................................................................................O MATERIAL........................................................................................................O DESENHO.........................................................................................................

1) A ace...........................................................................................................() Deleto#........................................................................................................+) A ade da po!ta..........................................................................................,) A cma#a......................................................................................................

MISCELÂNEA.......................................................................................................

A PALHETA..........................................................................................................

ESCOLHA DA PALHETA.........................................................................................A CANA DA PALHETA...........................................................................................AJUSTANDO A PALHETA.......................................................................................PALHETA MUITO MOLE (MACIA)...........................................................................PALHETA MUITO RÍGIDA (DURA)..........................................................................

TAE/A DE A0USTE DA "A/ETA................................................................

POSIÇÃO DE TOCAR.........................................................................................

TÉCNICA DE RESPIRAÇÃO.............................................................................

O MECANISMO DA RESPIRAÇÃO...........................................................................DESENVOLVENDO A TÉCNICA DE RESPIRAÇÃO.....................................................EXALAÇÃO..........................................................................................................

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A INALAÇÃO........................................................................................................O CORTE NO SOM................................................................................................R ESUMO..............................................................................................................

QUALIDADE DO SOM.......................................................................................

A NATUREZA DO SOM NOS INSTRUMENTOS DE SOPRO...........................................

O CONCEITO DA SONORIDADE.............................................................................O CORPO COMO PARTE DO INSTRUMENTO............................................................FATORES INFLUENTES NA PRODUÇÃO DO SOM NO SAXOFONE...............................TERMINOLOGIA SONORA.....................................................................................A RELAÇÃO COM A VOZ.......................................................................................O PROBLEMA FÍSICO............................................................................................CONCENTRANDO O SOM......................................................................................COMBINAÇÃO SONORA.......................................................................................R ESUMO..............................................................................................................A SURDINA NO SAX.............................................................................................

O VIBRATO...........................................................................................................A NATUREZA DO BOM VIBRATO............................................................................AS VARIAÇES DO VIBRATO.................................................................................AD!UIRINDO O CONCEITO CORRETO....................................................................TIPOS DE VIBRATO NO SAX..................................................................................PASSOS PRELIMINARES........................................................................................TRANSFER"NCIA DO MOVIMENTO........................................................................EXERCÍCIOS MODELO..........................................................................................DEZ PONTOS IMPORTANTES..................................................................................

ENTONAÇÃO.......................................................................................................ESCUTANDO O TOM CORRETAMENTE....................................................................TENSÃO NA EMBOCADURA..................................................................................POSIÇÃO DO !UEIXO...........................................................................................POSICIONAMENTO DA BO!UILHA.........................................................................BO!UILHA APROPRIADA......................................................................................AJUSTE CORRETO DAS CHAVES............................................................................EFEITOS POR MUDANÇA DE TEMPERATURA..........................................................ESCALA TEMPERADA E NÃO TEMPERADA.............................................................AJUSTE TONAL (AFINAÇÃO) POR DEDILHADO ESPECIAL........................................

DESENVOLVENDO A TÉCNICA.......................................................................R ITMO E TÉCNICA...............................................................................................AUMENTANDO A VELOCIDADE.............................................................................VARIEDADE DE POSIÇÃO NO DEDILHADO.............................................................O DEDILHADO ALTERNATIVO...............................................................................OPÇES DE DEDILHADO......................................................................................R ESUMO..............................................................................................................

ATAQUE E CORTE DO SOM.............................................................................

POSIÇÃO DA LÍNGUA...........................................................................................

O CORTE DO SOM...............................................................................................ESTACATO...........................................................................................................



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SILABAS NO GOLPE DE LÍNGUA............................................................................DESENVOLVENDO A VELOCIDADE........................................................................O DUPLO GOLPE DE LÍNGUA................................................................................

ARTICULAÇÃO...................................................................................................

R ITMO NA ARTICULAÇÃO.....................................................................................

LEGATO...............................................................................................................SINAIS DE ARTICULAÇÃO.....................................................................................ADAPTANDO#SE AO CONJUNTO............................................................................

FRASEADO E INTERPRETAÇÃO....................................................................

NOTAÇÃO MUSICAL.............................................................................................EXPRESSÃO.........................................................................................................AS FERRAMENTAS DO FRASEADO.........................................................................DINÂMICA...........................................................................................................MOVIMENTO E RESPIRAÇÃO................................................................................COLORIDO SONORO.............................................................................................ARTICULAÇÃO.....................................................................................................VIBRATO.............................................................................................................

VERSATILIDADE................................................................................................

ADAPTAÇÃO AOS V$RIOS SAXOFONES.................................................................SAX E CLARINETA................................................................................................SAX E FLAUTA.....................................................................................................SAX E OBOÉ........................................................................................................FAGOTE..............................................................................................................ESCOLHA DOS INSTRUMENTOS.............................................................................

COMPARAÇÃO DAS INFORMAÇES TÉCNICAS.......................................................REISTRO AUDÍSSIMO.................................................................................

LITERATURA SELECIONADA.........................................................................

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INTRODUÇÃO

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O INSTRUMENTO

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TESSITURA

Escolha do instrumento

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1 - ESTRUTURA DO INSTRUMENTO

a) O metal

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b) A sapatilha

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c) Ruídos

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d) O fucioameto

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f) Roli$os

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%) Dob"adi$a das cha&es

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' - O TESTE AO TO(AR

Teste

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Etoa$#o

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Ep"ess#o

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Ist"umetos usados ou "efo"mados

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O sa pe"feito

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A BOQUILHA

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Larry Teal - 14


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T/&% &% ;36&% /+4+- %+2 6-1&% &1% 3% ,&*, /+*,2 7-2&. E6&% 1/+- %+2 6&4&/&% 7- >@3& -2*& + %&90 *3*7& +- >@3&;3+*,+ 7- 7*%,Q*7&. A 6&4&@+- 2+@36&2 < -12,&*,+ *9 %-+*,+ 1+6&, ;3+ ;36& %3& < 3- +'7+6+*,+ -+ 1&2& 126+2&89 /+ @+2-+%0-&% ,&-


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') Defleto"

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&' 12/3 3- %- +%7320 -2,0 +- ;3+ &6,& 1,*7&. E6+ 72&2+%%,*7& *& +',2+-/&/+ /& 1&6+,& + < /32 /+ %+ ,7&2.

*) A %"ade da pota

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+) A c,ma"a

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A +%76& /+ 3-& ;36& /+&6 < /576 + 6+*, 127+%%. A -+62 -&*+2& /+ 7-+8&2 < 7- & ;36& - 7&-*. M/+2&89 + 7&3,+6& %9 *+7+%%>2&% 1&2& 47 *9 2+&+2 +%,+7&-*. M&3% >,% + 7*/7*&-+*,% 2+%36,&*,+% /+ 127+/-+*,%

*722+,%0 1/+- 6+4&2 3- 6*@ + 73%,% ,+-1 1&2& %+2+- 722@/%.I-&@*+ 3-& 1+%%& ;3+ *% 12-+2% +%,>@% /+ &12+*/&@+- 7-12&3-& ;36& /+ &7+ &+2,& + 6*@&. O *7 +, /+6+ ,2&2 &% *,&% &@3/&%< -2/+*/ + 1&2& ,2&2 &% *,&% @2&4+% ,+- ;3+ &&'&2 ;3+'7*%/+2&4+6-+*,+. A%%- %% %+ ,2*& 3- >, ;3+ %+ 6+4& &*% 1&2&722@20 &,< -+%- %+ +6+ -3/3 1&2& 3- ,1 -&% -/+2&/ /+ ;36&.E%,& %,3&89 *9 < *7-3- + 3- 12+%%2 +'1+2+*,+ 7*2-&2> %,.A6@3 121+*% & -&3% >,%0 -&% &6@3*% /+6+%

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\ \ \

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12+7%& 3%&2 %+-12+ & -+%-& &7+.



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\ \ \

L+-2+#%+ 3-& ;36& &2> -3, 12 47 -&% +6& *97-1+*%&2> 7- 3-& +-7&/32& 12+ 3 *%37+*,+ %312,+ /+ &2.

A PALHETA

A 12*71&6 3*89 /& 1&6+,& < 7- 4>6436& /+ &2 ;3+ &2+ + +7&*& ;36& 7- 4&2&/& 2&1/+. O 5*/7+ /+ 4+67/&/+ 3 2+;*7&/+%,& 1+2&89 7*,26& & +*,*&89 / %- + < @4+2*&/ 1+6 ,1 + 2-&/& 763*& /+ &2 /& 1+%%& 1%, +- 42&89. U-& 7Q-&2& /+ &2 6&2@& 2>42&2 -+*% ;3+ 3-& 7Q-&2& -&% +%,2+,&0 4%, ;3+ 72& 3- 1+% -&2 *&

1&6+,&. U-& 12+%%9 7*%,&*,+ /& 763*& /+ &2 %2+ & 1&6+,& %+ 7*4+2,+*3-& %6436& ;3+ +-,+ 136%% /+ &2 /+*,2 / *%,23-+*, + ,&- +7&/& & 1&6+,& &1&2+*,& +%,&2 %+- -4-+*, 1&2& & 4%9 *& -+,&/+ /+ 3- 776 7-16+,. I%, /+'& & ;36& 7-3-& 4+67/&/+ 2+6&,4&-+*,+ &6,& + &67&*8& & 1%89 /+ ->'-

Larry Teal - 18


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/+%67&-+*, *3-& %'- /+%67&-+*, < &12'-&/&-+*,+ ^ /+ 3- 776. A+',2+-/&/+ /& 1&6+,& &@2& 2+,2*& 1&2& & ;36& *3-& %%,7 ;3+ ,+- 3%6-,&/. O 4&62 /& 1&6+,& /+ 16>%,7 < %3& /32&6/&/+0 -&% +6& *9 ,+-

& ;3&6/&/+ %*2& *+- & 6+'6/&/+ /& 1&6+,& /+ 7&*&. E'1+2-+*,%7*,5*3% 1/+- 3- /& 12/32 3- -&,+2&6 ;3+ ,+*& &% ;3&6/&/+%-3%7&% /& 1&6+,& /+ 7&*&. E%,+ &, 1/+2> %+2 3- +4+*, %,27 1&2&,/% *%,23-+*,% /+ 1&6+,& %-16+% + /316&. A,< ;3+ %% *9 &7*,+8&*% ,+-% ;3+ *% 7*,+*,&2 +- ,2&,&2 &%%3*, /& 1&6+,& /& -+62 -&*+2& 1%%54+6.

E%,& 7&*& -&/32& 3,6&/& 7- 1&6+,& 4+- /+ 3-& >2+& 7*+7/&7- =R+@9 V&2?0 & ;3&6 %+ %,3& & 6*@ /& C%,& M+/,+22Q*+&0 & %36/& F2&*8&. P6&*,&8+% *& E%1&*&0 I,>6&0 M2%.R+;3+2#%+ ;3*+ & 4*,+ &*% * %+3 16&*, 1&2& ;3+ %+ ,2*+ -&/32&.P6&*,&% ,2&*%16&*,&/&% /& F2&*8& 1&2& 3,2&% >2+&% *9 ,- & -+%-&;3&6/&/+0 +*,9 -3,% +%28% *+%,& /2+89 ,+- %/ &&*/*&/%. A7&*&0 7- 4*0 ,+- *% + -&3% &*%0 /+1+*/+*/ / 76-& + *9+'%,+ 7+2,+& /+ %3& 3*2-/&/+.

Escolha da palheta

A -&2& /% %&'*%,&% 3%&- 1&6+,&% 7-+27&%. A6@3*% 137%+*7-+*/&- &% %3&% 1212&%0 -&% %, < 1&2,736&2. P&2& &;3+6+%*,+2+%%&/% +- 1%%32 & %3& 1212& +3 2+7-+*/ 642 =O L42 /+B6% 1&2& &3%,&2 1&6+,&% %-16+%?0 12 W&6-+* O11+2-&* (N4& I2;3+KC&1+6 + C&.).

A% 1&6+,&% %9 +-1&7,&/&% +- 1&7,+ /+ 3 3*/&/+%0 *%;3&% & 2+%%,*7& /& 1&6+,& < -&27&/&. U-& 4+ ;3+ %3& 2+%%,*7& </+,+2-*&/& < 12++254+6 7-12>#6&% 12 1&7,+ / ;3+ +'&-*&2 3-& /+7&/& 4+. M3,% 7-+27&*,+% *9 1+2-,+- ;3+ % 4+*% +%,3/&*,+%+'&-*+- &% 1&6+,&%0 &1+*&% /+'&29 ;3+ +6+% 4+&- & 7&'& /+ 7-& &

&'. I%, < 3-& %,3&89 6&%,->4+6. E%,3/&*,+% + 1&% /+4+2&- 1+27++2 ;3+ 3-& 127+*,&@+- /+ 1&6+,&% *9 ,2&&6&-0 / -+%- -/ ;3+0 *



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*7 ,7&- +- -&% ,- 4/& 732,&. A6@3-&% %3@+%,+% 1/+- -+62&2 %3& *7&,4& +- +%76+2 1&6+,&%

# C-12+ %-+*,+ -&27&% 1&/29 7- & V&*/2+*0 L& V0 R M&320V2&,20 S+6-+2 3 C77*+.

# E%76& 3-& - 2+%36,&/% %&,%&,2%.

A cana da palheta

A 7&*& < 7-1%,& /+ 3-& %


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2+6&89 +*,2+ 7-1*+*,+% -&7% + 25@/% (/32%). E%,+ 126+-& /+%@&%,&& 1&6+,& -&% 1/+ %+2 +4,&/ 7- 16-+*,0 ;3+ 2-& 3-& 7&-&/&;3+ 12,+@+ 7*,2& & 3-/&/+ +'7+%%4&. M&%%&@++ +%%& >2+& &,< 7&2 6%& +-&7&0 +%,+ < 3- +'7+6+*,+ - *&/& ;3+ %+ 1%%& &+2 7- & ;3&6/&/+ /& 1&6+,&. P2 %% < 3-&

& ,+2 /+ & 1&6+,&% +- 3% + &+2 3% &6,+2*&/ /+6&%. E'%,+- 4>2&%-&27&% &% * -+27&/ 7- & M&+20 R++/ G3&2/.U-& ;36& /+,+22&/& 1/+ %+2 2+%,&32&/& %+*/ -+2@36&/& *3-&%6389 /+ ` /+ 1+2'/ /+ /2@*0 ;3+ > /%1*54+6 +- ;3&6;3+2 &2->7&. E*,90 /+4+ %+2 +*'&@3&/& 7- >@3& + 1%,& 1&2& %+7&2 &*,+% /+

%+2 3%&/& *4&-+*,+. U-& 6+4+ 2&%1&/& 7- 3-& &7& 2> 2+-4+2 +'7+%% /+ %+/-+*,%0 -&% /+4+ %+2 +, 7- 73/&/ 1&2& 12+4+*2 -3/&*8&% * %+3 +;3652..

A 7&1& /& ;36& /+4+ %+-12+ +%,&2 @3&2/&/& ;3&*/ *9 %+ +%,>,7&*/0 &,< %+2 3%&/& *4&-+*,+. E%,+ >, /+4+ %+2 736,4&/ /+%/+

12-+2 /& /+ +%,3/.

Ajustando a palheta

N9 %+ @&%,& ,+-1 &3%,&*/ 1&6+,&% ;3&*/ & 7&*& *9&-&/32+7+3 &1212&/&-+*,+. O %+@3*,+ ,+%,+ 1/+2& +4,&2 +%28*+%,& ;3+%,9 12+%%*+ /+/ *& &%+ /& 1&6+,&. S+ +6& +2+7+2 2+%%,*7& & 7&*& +%,> 4+6&. S+ +%,> -6+ + 7& 7- -&27&% &*/& +%,>4+2/+. U-& -&27& 76&2& */7& 3-& 7&*& /+ -3, 3%.

U- 3,2 +'7+6+*,+ - 3-& -&*7& +%732& &,2>% /& &%+ ;3&*/-+2@36&/& *3- 137 /+ >@3&. E%,& -&*7& < -&22- &6&2&*&/&. S+ ,+-3-& 7&-&/& 4+2/+ 3 &-&2+6& + *9 > -&*7&% /+ *+*3-& +%1 &1,& 1&2& %+2 3%&/& + /+4+ %+2 1%,& /+ 6&/ 12 3- &* 3 -&%0 &*,+%/+ %+2 ,+%,&/& /+ *4.



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N9 /+4+-% *% /+%&+2 /+%,&% 1&6+,&%0 1% +6&% 1/+- 42 & %+2 *%%&% &42,&%0 /+1% /+ %+2+- +*4+6+7/&% 7*4+*+*,+-+*,+.

S+ /+1% /+ -6&2 & +',2+-/&/+ /& &%+ /& 1&6+,&0 7- /+%72,&7-&0 47 %12&2 12 7-& 1+;3+*&% 6&% 49 &1&2+7+2. A% 6&% *9/+4+- %+2 *+- 6&2@&%0 *+- 123*/&%0 1% */7&- ;3+ & 1&6+,& < 12%&.

U-& 7%& /+4+ %+2 6+-2&/& 3-& 1&6+,& 6&2@& ,+- 6+,+% (4+&%) /&7&*& -&2+% ;3+ 3-& 1&6+,& -+*2. P2 %% < - +%76+2 3-& 1&6+,&;3+ +2+7+ 2+%%,*7& 1&%%&@+- / &2 *+%%+% 6+,+%0 -&% 7-16+,&-+*,+

1&2& &22>#6. U-& 1+;3+*& +'1+2*7& *+%%+ %+*,/ %+242> /+ &3/&.E%,+% % 3*7*&- 7- 3-& 7&*& (1&6+,&) *4&.

U-& 6%,& -5*-& /% *%,23-+*,% *+7+%%>2% 1&2& &3%,+ /& 1&6+,& / %&' *763

# Um peda%o de ba##a de 'id#o /+ 3-&% 16+@&/&%. A% +',2+-/&/+%/+4+- %+2 6%&% (16/&%) 1&2& %+ +4,&2 72,&2 &% -9%.

# Apa#ado# de palhetas # /+4+ %+2 +%76/ 7- 73/&/. É -&%+7*:-7 7-12&2 ;3+ 2 /%1*54+6. O 2-&, / 72,+ /+4+@3&6&2#%+ +',2+-/&/+ /& ;36&. S+ +'%,2 ;3&6;3+2 %*&6 /+/+%@3&6/&/+0 &1&2&/2 /+4+ %+2 2++,&/. S+2& 3-& & /


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U- ,+%,+ 12+6-*&2 /+ 6+'6/&/+ + +;3652 1/+ %+2 +, 12+%%*&*/ 6+4+-+*,+ 7- 16+@&2 & 1&6+,& + &1&61&*/ & %3&+',2+-/&/+. C+;3+ +;3652 /% /% 6&/% 7- /+/.

Palheta muito mole (macia)

A 12-+2& 7%& & &+2 < &1&2&2 & 1&6+,&0 ,2&*/ 3- 13;3* /+7&/& 4+ + 7+7&*/ &1% 7&/& 72,+. U-+/+8& & 1&6+,& &*,+% /+ 72,>#6& +7+2,;3+#%+ ;3+ +6& +%,> 7+*,2&/& 722+,&-+*,+. A -&2& /% &1&2&/2+%,- 3- /%1%,4 ;3+ %+@32& & 1&6+,&0 -&% +- &6@3*% +6& /+4+ %+2 %+@32&

1+6& -9. S+ < %+@32& 1+6& -9 7+2,;3+#%+ /+ +%,&2 12+%& 2-+-+*,+02+6&,4 & ;3&*, 47 2+@363 *54+6 / 72,+. A 12+%%& *+%%+ 7&% &223*&& 1&6+,& + < -&% >76 ,2&2 3- 137 /& 1&6+,&0 1% &/7*&2 <-1%%54+6. D+4+#%+ ,+2 +- -+*,+ ;3+ 7&/& &1&2&/& +*732,& & 1&6+,&.

H&,3&6-+*,+0 7+27& /+ ] /+ 16+@&/& < 6-,+ /& 1&6+,& %+2 &1&2&/&+7+*,+-+*,+.

D+1% / &1 &% ;3*&% /+4+- %+2 &22+/*/&/&% + & 7324& &3%,&/& ;36&. O 2-&, &1212&/ *+%,& >2+& 2> 1217&2 3- 124>4+6+;3652 1+2+,. S+ & 1&6+,& < /32& %37+*,+0 ;3+ *9 1+2-,+ &1&2&2 *+%%& >2+& < &7*%+6>4+6 %+ @3&6&2 & +',2+-/&/+ (1*,&) /& 1&6+,& &*,+%/+ *7&2 &3%,+ / +;3652.

D+1% /+ 3-& 1&6+,& %+2 3%&/& -3, ,+-1 + 7-+8&2 & 7&2 -/&0 +6& 1/+ %+2 -+62&/& &1&2&*/#%+0 -&% *2-&6-+*,+ & 7&*& 1+2/+

-3, /+ %3& 2+%%,*7& + ;3&6;3+2 &6,+2&89 2> +*732,&2 %3& 4/&. A 7-12&/+ 3-& 1&6+,& /+ 2+%%,*7& &1212&/& 2> +4,&2 & *+7+%%/&/+ /+ 3-&3%,+ 2&/7&6 + +7*-&2> -3, ,+-1.

Palheta muito rígida (dura)

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POSIÇÃO DE USO DO PINO


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Larry Teal - 24

Dedo indicador

direção

Área de raspar

polegar indicador


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Larry Teal - 26


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Larry Teal - /0


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RESPIRAÇÃO EM UM INSTRUMENTO DE SOPRO

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Exalaço



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Larry Teal - /2

.resso do ar

.o"to de equilbrio

Ar residual

uporte uscular

%alaço

%alaço i"icial

urva de presso doar


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;3+ & +*464+-K. & 1&2,+ /+ 7-& / 1+, /+4+ -&*,+2#%+ &6,&K. % -%736% +*464/% *& 2+%12&89 /+4+- %+2 6+'54+% + 2+6&'&/%0

-&% % 7*,26+K. % -2% /+4+- 7&2 -4+%0 *9 6+4&*,+#% *& *&6&89. A 2+%12&89

< 3-& &89 2*,&6 + *9 4+2,7&6K_. 3%+ ,+-1 /%1*54+6 1&2& 12&,7&2 +%,+% +'+2757%K. /+%732& 3,2&% ,'- 1%%54+6 & - /+

+4,&2 +%28%.

QUALIDADE DO SOM

O +6 *3-& &2,+ < -&% >76 /+%722 12 % 1212 / ;3+/+%72+4#6& +0 %, < 3-& 2+&6/&/+ * ,7&*,+ & %- -3%7&6. a+%,+2 /+*+ %- -3%7&6 7- =3- %- /+ 42&8+% 2+@36&2+% ;3+-12+%%*& 34/ 7- 7&2&7,+25%,7&% 1+736&2+%0 +%1+7&6-+*,+ +-2+6&89 & ,- + 12/3 2+6&8+% &2-:*7&%.? E-2& +%,& /+*89%&,%&8& % &%1+7,% 7+*,57% + 6,+2>2%0 +6& -,+ & ;3&6/&/+ / %-;3+ < & 7&2&7,+25%,7& ;3+ -&27& & -&2& /% @2&*/+% -%7%. A- /+&+2 + /+%+*464+2 3-& ,-& %*2/&/+0 3- +%76&2+7-+*, /% &,2+%

5%7% ;3+ *63+*7&- & ;3&6/&/+ %*2& < +%%+*7&6.

Larry Teal - /4


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A nature%a do som nos instrumentos de sopro

U-& 42&89 *& 763*& /+ &2 /+ 3- *%,23-+*, /+ %12 *9 42&%-+*,+ *3- *7 7-12-+*, /+ */&0 -&% /4/+#%+ +- %+@-+*,% /+0 0 0 0 +,7. O %- 12/3/ 1+6& 6*@& 42&89 *7&6 < 7*+7/

7- 3*/&-+*,&6 +0 % /+-&% 12/3/% +- 1+;3+*% %+@-+*,%0 %97&-&/% %2+,*%0 &2-:*7%. A 4&2+/&/+ /+ *,+*%/&/+ /%&2-:*7% 1+2-,+ & /+2+*7&89 /& %*2/&/+ /+ *%,23-+*,%/+2+*,+% + ,&-4+6. O %&' < 7*%,235/ 7- /3&% 7&4+% /+2+@%,20 7- ,2&*%12,+ &3,->,7 + %3& +%7&6& 4& / C & D + / G &A * 2+@%,2 %31+22. E %, *9 < /+&6 + < 2&9 12;3+ &6@3*% *,+24&6%&2-:*7% %9 -&% /57+% ;3+ 3,2%0 / 1*, /+ 4%,& / 7*,26+ /++-7&/32&. N2-&6-+*,+ 3- %&'*%,& &67&*8& 12-+2 + %+@3*/&2-:*7%0 +*;3&*, 3,2 *%,23-+*,%,& /+ %12 7*%+@3+ -3, -&%.


have deoitava


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O% *%,23-+*,% /+ -+,&6 2&2&-+*,+ ,7&- % &2-:*7% /& 3*/&-+*,&604%, ;3+ %+3 2+@%,2 *2-&6 +%,> *& &6,32& /% &2-:*7%.

E'162&8+% *& 7*7& &7%,7& ,+- %/ +,&% 1&2& &*&6%&2 %--3%7&6 + %3&% /+%7+2,&% %9 /+ @2&*/+ 4&62 1&2& *%,23-+*,%,& /+%12. A% 7-16+'/&/+% /% &2-:*7% *% /+2+*,+% *%,23-+*,% ,-

%/ -+//&% + &*,&/&%. C+@3#%+ & 3- &72/0 ;3+ % &2-:*7% /%- 3*/&-+*,&6 %9 12*71&6 &,2 /+,+2-*&*,+ /& 7&2&7,+25%,7& %*2&/+ 7&/& *%,23-+*,. S&'*%,&% *,+2+%%&/% +- 1%%32 3- +%,3/ /%&%1+7,% &7%,7% / *%,23-+*, /+ %12 +*7*,2&2> =H2*%0 C2/&% +H&2-*&?0 3- 642 /+ A2,32 B+*&/ (N+b c2d D36+/&) 3-& *,+4&6%& /+ *2-&8+%0 %+- -3,% ,+2-% ,20 1% +6+ < ;3+ /,& & +%76&/& 1&6+,& + ;36& + +;3652 /+ +-7&/32&0 & - /+ %+ ,+2 &;3&6/&/+ %*2& /+%+&/&. N9 +'%,+0 &,3&6-+*,+ 3- %+*% 7-3- *,7&*,+ & ;3+ %+& 3-& %*2/&/+ /+&6 1&2& %&'. N% 7*+7+-%,+2-% 7- %- /+ &6+0 %- /+ &*/&0 %- %6%,& 1&2& +*3-+2&2 &1+*&% 3- 137. P2 7&3%& /+%%& -36,167/&/+ /+ 3%%0 & %*2/&/+3%&/& * /-5* (7&-1) -3%7&6 / %&' 1/+ *9 %+2 &1212&/ +-3,2&% >2+&%. I%% *9 /+4+ /+%+*72&&2 +%,3/&*,+ %

124&/ ;3+0 ;3&*/ +'+73,&-% & -+%-& 7%&0 7+2,&-+*,+ %+*%+%,


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1&2& 3,2& 1+%%&. E%,& %,3&89 < /+4/& & ++, %*2 1&2,736&2 1&2&7&/& 1+%%&. U-& %+24&89 *& 4 /+ 3- *%,23-+*,%,& 2+4+6&2> %3&%3,32&% ,+*/*7&% %*2&%. A;3+6+% ;3+ &6&- ,-/&-+*,+ %9 *76*&/% &

12/32 3- %- 1+;3+*0 +*;3&*, 3-& 1+%%& +'&7+2&/& ,+2> 3- %-&+2, + -3, &6,. O 127+%% /+ &12+*/&@+- -3%7&6 /+4+2& %+2

/2@/ 1&2& /+%+*464-+*, *&,32&6 /+ &1,/+%0 /+ ,&6 -/ ;3+ +%,3/&*,+ 7*%@& 3- @2&*/+ /-5* /& /*Q-7& + %*2/&/+. O ,5-//+4+ &12+*/+2 & 642&2#%+ /+ %3& ,-/+ + +',24+2,/ & 2+*&2 + 2+%,2*@2 %3&% ,+*/*7&% *&,32&%.

O corpo como parte do instrumento

O %- ;3+ ,+- 3-& 4+67/&/+ /+ 1 &-+%-& 4+67/&/+ ,&*, 7*,2& 7- & &42 /+ 3-& 722+*,+ /+ &2. I%,

1/+ %+2 &76-+*,+ /+-*%,2&/0 12/3*/ 3- %- 7- &% 72/&% 47&%+*;3&*, +%,4+2 *&6&*/0 1% *7 7&-* 1&2& %- %&2 < 1&2& 7-&7*,2& & 763*& /+ &2. !3&*/ %- * %&' < 12/3/0 & 42&89 %*2&< &,4&/& &,2>% + *& 2+*,+ /& 1&6+,&.

A 7&4/&/+ 2&60 & @&2@&*,& + % 136-+% %9 7*,238+% 4,&% 1&2&& ;3&6/&/+ %*2&. P24+2 & 1&6+,& 7- & 12+%%9 *+7+%%>2& 1&2& &#6&42&2 12127*&2> 3-& ,-& 2+%%*Q*7&. T&-76 %+24&2 ;3+

+*;3&*, +'%,+ -3,& 12+%%9 /+ 3- 6&/0 %-+*,+ 3- +'+ /+ 7&22%/+'&- 1*, /+ %,2389. O -+%- &7*,+7+ 7- %- *3-*%,23-+*, /+ %12 ;3&*/ < +%,24&/ 12 3-& @&2@&*,& +%,2+,&. A-&%0& 12+%%9 /& 763*& /+ &2 + & 42&89 /% 67&% /+ 2+%%*Q*7& %9%37&/&%.

O *2-&6 < & @&2@&*,& &+2,& + 2+6&'&/&0 -&% +%,& 1%89 <&76-+*,+ *63+*7&/& 12 %,3&8+% *7-3*%0 7- *+24%%- ( ;3&6%+ ,+- & +'12+%%9 =%37&/ 7- +-8+% 3 ,+*%9?).

&atores influentes na produço do som no saxofone

U- 2+6&'&-+*, 7-16+, *& +-%%9 / %- < 12-+2 1&%% 1&2&%+ ,7&2 7- & @&2@&*,& &+2,&. E%,& 1%89 &+2,& &7*,+7+ ;3&*/


*reas de vibraço


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%3%%322&-% (-32-32&-%) & 1&6&42& =AH?. A7*,+7+ -+%- 12*3*7&*/#%+ &% 4@&%.

Posições da garganta

O 12-+2 121%, /& 763*& /+ &2 < 12 & 1&6+,& +- 42&89.E%,+ &,0 /+4+#%+ ,+2 +- -+*,+0 < -&% -12,&*,+ / ;3+ 1+2732% / &2 /+*,2 / *%,23-+*,. A 763*& /+ &2 ,+- 137& 28& /+1% ;3+ 1&%%& 1+6&

1&6+,&. I%, 1/+ %+2 /+-*%,2&/ /& %+@3*,+ -&*+2& 1+@3+ 3- 1+/&8/+ 1&1+6 /+ %+/& (3-& 16+@&/&). C6;3+ 1&1+6 * %&'*+ 7-

1+%78 *4+2,/ .%12+ 1+6 6&/ 1%, + 1&1+6 ,+*/+2> & 63,3&20 %&2 1&2& 2&. V+& & @32&

A@2& 76;3+ & ;36& + & 1&6+,& 12 7-& / 1+%78 + 2+1,&+%,+ 127+/-+*, 12/3*/ 3- %-. V7 *,&2> ;3+ 1&1+6 *9 7&2>%3%1+*% + ;3+ < -1%%54+6 %12>#6 1&2& 7-&. A +*+2@& 72&/& 1+6& */&%*2& *9 %-+*,+ %+@32& 1&1+60 -&% -&*, +- +;3652 /+*,2 / %&'. T+*,&2 %12&2 1&2& 2& 0 % 7*%+@32> /&2 -&% +%,&6/&/+ & -+%-.

Larry Teal - /8

3echada aberta


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'erminologia sonora

V%, ;3+ 7+2,% ,+2-% 3%&/% +- 2+6&89 ;3&*,/&/+ %*2& %93- ,&*, 4&@&%0 *7635-% &% %+@3*,+% /+*8+%

• Intensidade # & 28& / %- 12/3/ /+1+*/+ / @2&3 /+ +7*7&7- ;3&6 & 763*& /+ &2 < 3,6&/&. É /2+,&-+*,+ 12127*&6 &463-+ /+ &2.

• Ressonância # @2&3% /+ 3% / %312,+ 2+%12&,2 1+6 -+7&*%- @+2&6(;36& + 1&6+,&). O 1*, +- ;3+ +%,+ -+7&*%- 12/3 & -&%+7+*,+ 2+6&89. C63*& /+ &2 # 42&89 ;3+ < 7*+7/& 7- 1*, /+2+%%*Q*7&. E%,+ 1*, 1+2-,+ & 12+89 / %-0 %+- & *+7+%%/&/+ /+

@2&*/+ 463-+ + 1/+ %+2 /+*,7&/& 1+6& ;3&6/&/+ %*2&. O &1 *&763*& /+ &2 + & +-7&/32& %9 &,2+% 4,&% * 7*,26+ / @2&3 /+2+%%*Q*7&.

• Centro sonoro # ,+2- 3%&/ 1&2& %+ 2++22 & 7+*,2 /& %*2/&/+. É3- *@2+/+*,+ /+ 2+%%*Q*7& + 7*,23 1&2& & +%,&6/&/+ /&+*,*&89 + %6/+ / %-.

• Edge # & -12,Q*7& *& 1+*+,2&89 * %-0 & ;3&6 12/3 12+89 -&%*,2/3 3- 3*/ *& ;3&6/&/+ %*2&. U-& 7+2,& ;3&*,/&/+ /+ +/@+ </+%+>4+6 + %3& 121289 4& /+1+*/+2 / 72,


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A -,&89 +%,-36& *& 3%7& /& ;3&6/&/+ %*2&. N+*3-& 1&6&42&/ /7*>2 1/+ ;3&67&2 & 12/389 /+ 3-& -&@*7& %*2/&/+ +0 %+& -&@+- / %- < 2+,/&0 +%,3/&*,+ ,+- ;3+ ,+2 3- +,4 *& %3&-+*,+0 +*7&-*>#6 1&2& & /2+89 7+2,&. É 6@7 %+ 12+%3-2 ;3+ +%,3/&*,+ 4+- < &,2&5/ 1+6& %*2/&/+ / %&'0 %+*9 +6+ *9 ,+2&

/+7// +%,3/>#6. M&% *+%,& &%+0 7*7+, ;3+ %+ ,+- / %- @ /+ /+%+*464-+*, -3,&% -3/&*8&% 29722+20 ;3+ &+,&29 & ;3&6/&/+ %*2&. F&-6&2&2#%+ 7- @2&4&8+% /+@2&*/+% %6%,&%0 /+4+2& %+2 3-& 1&2,+ / ,2+*&-+*, / +%,3/&*,+.

M3, %+ @&*& 34*/ *% %&'*%,&%0 12 %% *9 %+ /+4+72,7&2 3,2% *%,23-+*,%,&%. U- @2&*/+ &2,%,& /+ ;3&6;3+2 *%,23-+*,,+- -3, & +2+7+2 * ,7&*,+ *,+212+,&89 + ;3&6/&/+ %*2& ;3+ 1/+%+2 1&%%&/& 1&2& %&'. U- - +'+-16 < 3-& @2&4&89 1&2& 7+660 /+B&70 12 P&6 C&%&6%. A *,+*%/&/+ %*2& /% -+,&% 3 /&% -&/+2&%*3-& %**& +%73,&/& +- 2>/ + /%7%0 /+4+ %+2 +'&-*&/&

73/&/%&-+*,+. P2*751% /+ ;3&6/&/+ %*2& %9 &%7&-+*,+ % -+%-% 1&2& ,/% % *%,23-+*,% + +%73,&2 -+62 /& -%7& *9 ,+-+;34&6+*,+% 1&2& & &;3%89 /+ 3-& 7*7+,3&89 /+ %*2/&/+.

A relaço com a "o%

O %- / %&' < %+-+6&*,+ 4 3-&*&0 12 %% < -12,&*,++'&-*&2-% % &,2+% /+ 1&2&6+6%- *& +-%%9 / %-0 ,&*, 5%7

7- -+*,&6-+*,+.. 127+/-+*,% 2+%12&,2% %9 %+-+6&*,+%K. & 1&6+,& + &% 72/&% 47&% & 7&*,&2 ,- % -+%-% +,4%K. &-% ,- 3- +%1&8 7:*7 /+ 642+ 2+%%,*7& (+%,& %+ 2++2+ &

32&7 7:*70 %+ 7-1&2&/ & /& 76&2*+,& + & 2& / 1&670 ,9 6*@+ /&2;3+%,2&0 ;3+ % 7&*,2+% *9 7*%+@3+- 342 &7-1&*&-+*,. O %&'A6, ,7& ,9 +- 7- &% 4+% +-**&% ;3+ %3& 12+%+*8& *9 < *,&/&.R&4+60 *& %3& 2;3+%,2&89 /+ =!3&/2% /+ 3-& E'1%89? /+ M3%%2@%d0+%76+3 %&'*+ 1&2& /+%72+4+2 3- ,24&/2 7&*,&*/ /%,Q*7&.

C&*,&2 < -


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T;3+ %-+*,+ & 12-+2& *,& * %&' + 7&*,+ 2+%, /& 2&%+0%+24&*/ & /*Q-7& ;3&*/ 2 7&*,&2. R+1,& &6,+2*&*/ & 4 + *%,23-+*,. I*%%,& +- 7&*,&2 ,- 722+, 7- & 4. P&2+7+ %+2 /5760

-&% 3-& 1&2,+ /% +%,3/% /+ 3- +%,3/&*,+ /+4+2& %+2 46,&/& 1&2& & 1+27+189 -3%7&6 (/ ,-) 7- & 4. A %56&& =& =3 =? <2+7-+*/&/&0 4%, ;3+ -&*,#6&% 7- &3'6 / *%,23-+*,.

É -1%%54+6 ,+2#%+ 3-& 1+22-&*7+ &2,5%,7& %-16+%-+*,+ @+2&*/3- %- + -&*136&*/ &% 7&4+% /+ 3- -+7&*%-. T/% > ,+-%+'+73,&/ 3-& -%7& ;3+ +%,&4& 722+,& +- %+3% &%1+7,% , &3%+*,+ < 7- &*/&2 *

+%732 &,2>% /+ &3'6 5%7 3 -+*,&6.

O prolema físico

O 2-&, /& &7+ /& ;36&0 & 2+%%,*7& /% -%736% &7&%0 &+%1+%%32& /% 6>%0 ,1 + 2-&,0 & +%,23,32& /% /+*,+% + &7&1&7/&/+ /% -%736% 2+%12&,2% %9 &6@3*% /% &,2+% ;3+ %9&3%,&/% (&/&1,&/%) */4/3&6-+*,+. O 2+%36,&/ *&6 +%,> *& 7-*&89&1212&/& /+%%+% +6+-+*,%0 < 3-& ;3+%,9 /+ &7+2,% + +22% *,+6@+*,+%.T/&4&0 7+2,% 12*751% *& +-%%9 / %- 12+4&6+7+- + %2+ +6+%/+4+-% %+@32.



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O 3% /& 763*& /+ &2 *& +-%%9 / %-0 ;3+ /%73,/ *7&15,36 &*,+220 < ,2&/7*&6-+*,+ +, 7- *,&% 6*@&%0 &+*/ 3-72+%7+*/0 /-*3*/. É 3- +'7+6+*,+ +%,3/0 -&% &7&& %+*/ 3%&/-1212&-+*,+. D+4+#%+ %+24&2 &% %+@3*,+% 7*%/+2&8+% &*,+% /+ %+,7&2

# & +-7&/32& /+4+ %+2 +- /+%+*464/& + % -%736% /+ &1&/+;3&/% 1&2& %+@32&2 *%,23-+*,0 %+- 12+7%&2 -2/+2K

# & @&2@&*,& /+4+ +%,&2 2+6&'&/&0 &+2,& + %+2 7&1& /+ -&*,+2 +%,& 1%89 1&2& -&*,+2 3*2-+ & ;3&6/&/+ / %-K

# /+4+ %+2 -&*,/& & 1%89 722+,& / ;3+'.

O +%,3/ /+ *,&% 6*@&% < 3- +%,3/ &4&*8&/ + *9 /+4+ %+2 +%;3+7/ &*,+% / +%,&+6+7-+*, (+;3652) /&% 7*/8+% 5%7&% + /7*7+, /+ %*2/&/+. É -+62 +%,3/&2 & %*2/&/+ ,7&*/ 1+8&%

-+6/7&%0 &,< ;3+ +%,3/&*,+ ,+*& %+*% /+ ;3&6/&/+ + ,+-1 1&2&&'&2 %3& +-7&/32&. M+6/&% 7*+7/&% ;3+ *9 ,+*&- *,+24&6%@2&*/+%0 %9 ,-&% 1&2& +%%+ 121%,. O +%,3/&*,+ /+4+ ,7&2 & & *,& /&-+6/& &,< ;3+ +6+ %*,& ;3+ 7*%+@33 %3& -+62 %*2/&/+. E*,9

12%%@& 7- & -+6/& + -&*,+*& & -+%-& +-7&/32& + &1+ & 763*&/+ &2 &1212&/&-+*,+. I%, /+4+ %+2 +, 2+1+,,4&-+*,+ + +- 7&/& 4+&1+2+8&/.

U- %-16+% +'+-16

T7&d4%d

É - &+2 3-& 6%,& /+

# 7*7+, /+ %*2/&/+K# +-7&/32&K# 2+6&'&-+*, /& @&2@&*,&K# 127+%% 2+%12&,2K# 42&,K# +*,*&89.

A 6%,& &7-& *9 +%,> +- 2/+- /+ -12,Q*7&0 4%, ;3+ 3*%/+1+*/+- /% 3,2%. A -+//& ;3+ 47 4& 12%%+@3*/0 ,+*,+ 7--+6/&%0 7- *,+24&6% @2&*/+% + /*Q-7& 4&2&/&0 -&% %-+*,+ *3-*54+6 ;3+ 47 -&*,+*& & 3*2-/&/+ + ;3&6/&/+. S+ > -3/&*8& *&;3&6/&/+ /+ %*2/&/+0 7+;3+ & +-%%9 /& 763*& /+ &2. A -3/&*8& /+

Larry Teal - 42

Repita esta nota várias vees at! conseg"ir s"a #el$orsonoridade e então prossiga #antendo esta %"alidade


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N -+ 1136&2 =S,&2/3%,? /+ H&@ C&2-7&+60 =W%% M+ A@&*?/+ V7,2 H+2+2,0 %9 ,&-


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A -3/&*8& /+ *,+*%/&/+ /+4+2& %-+*,+ +*464+2 3-& &6,+2&89 *&4+67/&/+ /& 763*& /+ &2. !3&6;3+2 -3/&*8& /+ +-7&/32& &+,&2> ,- + & ;3&6/&/+ %*2&. O% %+@3*,+% +'+2757% /+ *,& 6*@& %+24297- 12>,7&

Concentrando o som

M3,% /+ *% > ,4+-% & +'1+2*7& /+ 4+2-% 3-& , 2& /+7. I%, < 7&3%&/ 12 3- &3%,+ *722+, *& 7Q-&2& +- 7&6&2 &

Larry Teal - 44

correto errado


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Cominaço onora

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Ad+uirindo o conceito correto

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Larry Teal - 48

o b5sico atidas doetr7"oo

urva da pulsaço


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A Arte de Tocar Saxofone

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