John Harle: The Saxophone

THE SAXOPHONE
This seminal work by master saxophonist John Harle offers players of all levels the most in-depth approach to
playing the saxophone ever published. In this beautifully presented, two volume-boxed set, Harle reveals his
ground-breaking techniques for encouraging fluent and natural playing – transforming the musical experience
of students and professionals alike.
Every aspect of playing is explored, from resonant tone production, breathing and fluent articulation through to
techniques for building ease and flow in performance. Practical, clear and universally relevant, The Saxophone
discloses John Harle’s secrets to playing with individuality, fluent technique and a powerful musical presence.
“It’s a beast of a book. It will take prime position in my teaching studio forever!
A new perspective – wonderful!”
JOHN HARLE
SNAKE DAVIS
George Michael, Culture Club, Take That, Pet Shop Boys, Motörhead
“The Saxophone is a work of art, combining scientific research with a balanced and
poetic presentation. John gives fantastic advice on learning methods
which can be adapted to any age, level and need - musicians, amateur or
professional will find the answers to all their questions here.
I would like to thank John for his gift to the saxophone world.”
CLAUDE DELANGLE
John Harle is one of the world’s leading saxophonists. He has worked with everyone from Michael Nyman
and Sir Harrison Birtwistle to Elvis Costello and Sir Paul McCartney. He is also an Ivor Novello award-winning
composer and record producer with chart-topping successes over many years. Credited with having created
an original school of saxophone playing, Harle has produced many of the leading players of today and is Visiting
Professor of Saxophone at The Guildhall School, London.

2
NEW
WAYS OF THINKING
The saxophone and you – new ideas and understanding
• The three elements of saxophone playing – what happens inside your body
as you play
• The three elements explained – abdominal support, the embouchure and
resonance
• The three elements working together – the equal importance of all three elements
• The mirror patterns of the saxophone – how the saxophone and your playing
connect
• Mirror mechanics – how the saxophone defines your playing technique
• The aura of reed vibration – making sense of the vibrations of the reed
• The Reed Fan: the key to the saxophone – the patterns of the reed’s vibrations
• The method – moving from generalized to detailed playing.
The three elements of saxophone playing
An audience experiences two things when they see and hear a great saxophonist
perform. Firstly, the saxophonist takes a breath, and secondly, that breath
changes into a musical, resonant sound coming from the player’s instrument.
These are both external
actions of playing. To the audience, the inward breath
is the cause, and the sound exiting the body of the saxophone is the effect. Both
happen outside
of the player’s body.
But between these external actions,
three internal
processes happen.
These are:
1 The engine room This is where raw
breath energy
is made – the inward
breath is propelled upwards from
your lungs to contact the reed.
2 The contact centre Your breath is
transformed
into vibration here –
breath contacts the reed and causes
it to vibrate in your mouth.
3 The Cathedral of Resonance Your
personal sound
is made here – the
vibrations of the reed resonate high
in your throat and simultaneously
in the open spaces of your skull.
• A ground-breaking new
exploration of the cornerstones
of saxophone technique,
introducing revolutionary new
concepts such as the Reed
Fan, the Power Lines and the
Cathedral of Resonance.
• Step-by-step instructions and
simple exercises provide a clear
introduction to these innovative
new principles.
The Reed Fan: 3/4 view – artist’s impression of the length, width and depth
of the reed’s vibrations
38 THE SAXOPHONE: VOLUME 1
• Stunning visualisations present
unique analytical models that
aid understanding of the new
concepts introduced.
• Quick insights offer tips,
technical advice and extra
information.
The vibrations of the reed also mirror the width and
depth of the corresponding position of the note on the
body of the saxophone. The changing angles of the
vibrations reflect the expansion rate (about 7%) of the
conical bore. As you progress through the chapters
you will train your body to mirror the patterns of the
saxophone and reed in each of the three elements of
playing, and so complete the mirror system of your
saxophone, your reed and your body. The Reed Fan is
the key to making an in-tune, powerful and flexible sound
with minimum effort. Approaching musical phrases with
an intuitive precision that reflects the patterns of the Reed
Fan creates confidence and releases your personal sound
and musicianship.
QUICK INSIGHT
The bore of the saxophone is conical and therefore angled. This produces acoustic and
technical patterns throughout the playing system that are also angled, mirroring the
saxophone itself. The angles of the Reed Fan are our first encounter with this wonder of
art and science.
CHAPTER 2: NEW WAYS OF THINKING 45

• Unique anatomical colourcoded
diagrams clarify new
concepts such as the Cathedral
of Resonance in Volume 1.
The Cathedral of Resonance –
soprano saxophone
• Colour-coded throughout to
connect the resonating areas
of the head to the ranges of
the instrument and point of
vibration of the reed.
The Cathedral of Resonance
– alto saxophone
136 THE SAXOPHONE: VOLUME 1
JohnHarle_vol1_2PP.indd 136 07/10/2016 11:21
Root
EXERCISE 3 Blending tongue movements in root and tilt 1
and 2 positions
Perform this exercise with a continuous motion of the root of your tongue,
making the transition between root and tilt 1 and 2 positions smoother, and the
sound more supported.
root of tongue forward
Tilt 1
root of tongue forward
Tilt 2 tongue forward tongue back Tilt 1 tongue back
• Diagrams, music and practice
wheels interlink with the unique
colour-coding.
• Practice wheels help to
develop a structured and
relaxed practice routine.
• Reminders reinforce key
points essential to all exercises.
Root
tongue back
! REMINDERS
• Start notes with the
breath only, no tongue.
• Relax your jaw.
• Alternate between
resting your top
teeth lightly on the
mouthpiece and raising
the top teeth 1mm off
the mouthpiece on
each repetition.
• The top rear of your
tongue should remain
anchored to the midback
top teeth.
• Use a tuner to check
how intonation
improves.
• Memorize the exercise,
and then only use the
practice wheel.
QUICK INSIGHT
Directing your breath
upwards towards the
reed from below will
improve the sound of
the middle and upper
registers and ensure
they are more in tune.
Root Position
Breath above reed
Root of tongue
moves back
Relax your jaw
Tilt 1 Position
Breath below reed
Root of tongue
moves back
Relax your jaw
Avoid biting
Root of tongue back
on descent
Playing Body
Power Start-up
Pulling down along
the line
Lift top teeth 1mm
alternately
Blending
Root to Tilt 2
Position
and back
Tilt 2 Position
Breath just below reed
Root of tongue
moves forward
Relax your jaw
Root Position
Breath above reed
Root of tongue
moves rorward
Relax your jaw
Tilt 1 Position
Breath below reed
Root of tongue
moves forward
Relax your jaw
CHAPTER 5: TILT 71

!
REMINDERS
• Play the exercise at
60 bpm.
• Do not use your tongue
to start the exercise.
• Relax your jaw.
• Alternate between
single- and full doublelip
embouchure with
each repetition.
• Use the practice wheel
to change focus as you
practise.
Register 3 upper power lines Alto
• Referring to the diagram, pull an imaginary elastic line back inwards towards
the point of primary resonance.
• Simultaneously focus on the lowest part of your abdomen pushing outwards,
compressing your lungs with the muscles of your back, ending at the point of
primary resonance.
• The point of primary resonance should feel active, soft and powerful.
• Sense changes in the vibrations at the back of your head and undulation
in your low abdomen in a wave-like movement as you move through the
chromatic note changes.
• Repeat the exercise, ‘placing’ the first note correctly as you become familiar
with the sensations of the power lines in the upper part of register 3.
• Clear instructions and
annotated exercises guide
the player through each
new technique.
Prepare
Power
Start Up
• New techniques and concepts
are accompanied by balanced
explanations, clear analytical
diagrams, annotated exercises
and summarised in practice
wheels.
Repeat,
focusing on
placement
of first note
Alternate
single- and
double-lip
embouchure
Focus on:
Point of Primary
Resonance
Register 3
(High)
Power Lines
Pull in low
back of head
and push out
lowest
abdomen
Focus on:
Undulation in
low abdomen
Focus on:
Vibration
changes in
back of head
EXERCISE 9
h = 96 INCREASE GRADUALLY TO h = 112
TA TU TU TU KU TU KU TU KA TA KU (sim. ...)
58 THE SAXOPHONE: VOLUME 2
• Volume 2 features Daily
Practice Exercises, focussing on
transforming players’ register
changing, legato-staccato,
altissimo fingerings, sonority and
flexibility.
TA KU TU TU KU TA (sim. ...)
3
3
3
3 3 3
3 3
3 3
3
• The exercises are annotated,
colour-coded and specifically
designed to build stamina, speed
and technique in players of all
standards.
3
3
(TA)
INFORMATION
116 THE SAXOPHONE: VOLUME 2

16
PERFORMANCE
Transcending the ordinary
Chapter outline
This section touches briefly on some general aspects of performance, analyzes what happens
as we perform, and gives strategies for preparation and performance:
• Performance vision – ideas for creating personal models for your performance
• Performance style – some practical thoughts about our role as instrumental soloists
• Unlocking performance – what happens as we perform?
• The performance system – practical aspects of preparation and performance
• Music as words – pacing your playing to engage your audience
• Practice and performance strategies – how to practise specific pieces for performance
• Adrenalin and performance anxiety – how to cope under pressure.
• Harle offers expert advice
on all aspects of performance:
dealing with fear, nerves and
adrenalin, developing a strong
psychological approach and
setting goalposts for success.
Performance vision
Taking charge
Taking charge of your own playing and performance style is more important
today than it ever has been. As many of the old certainties about careers in
music evaporate, the shifting goalposts of the modern musical world require
today’s successful saxophonists to be focused and flexible. This new musical
landscape provides opportunities for saxophonists with a vision of their own and
an approach to performance that will fulfill your musical and personal goals,
perhaps even more easily than in the past.
The musician as magician
From an audience’s perspective, a first-rate professional saxophonist can perform
miracles. A breath is taken from the air and is transformed immediately into the
warm and generous sound that comes from the player’s instrument. That sound
represents a world of magic to the audience, who have come to a musical event
to be transported into an realm of enchantment and fascination. But how can we
begin the adventure that could lead us to be that player?
Having a vision of what you want to achieve as a performer is essential. Stylistic
and musical choices are individual to you, but the closer you get to your personal
vision of what constitutes a great performance, the more authentic and enjoyable
your experience will be.
Here are two tips to help clarify your personal vision. They are:
• How to perform – the style and sound of your ideal performance
• What to perform – the music or genre that will inspire you to perform at your
best.
Performance vision 1 – how to perform
6
This is very simple advice. Put yourself in the audience’s place. Try this exercise:
• Close your eyes and imagine yourself
in an audience, hearing and seeing
yourself playing in an ideal performance ten years from now.
• This ‘fantasy’ performance deeply moves and impresses you.
• Don’t limit this vision in any way by relating it to your current technical or
performance standard.
• Volume 2 also looks at great
players and their influences and
examines the links between the
saxophone and the voice.
THE FULL REED FAN
Playing in all three registers – for good intonation and centred sound
122 THE SAXOPHONE: VOLUME 2
• Inspiring photography and
images are included throughout.
• These exclusive full-colour
editions come in a beautiful
boxed set; they are produced
to the highest standards and
are designed to open easily on
music stands.

INFORMATION
TITLE:
AUTHOR:
FORMAT:
EXTENT:
John Harle: The Saxophone
John Harle
Cased, 2 Volumes
336 Pages
PRICE: £48.00 / €64.49
ISBN: 0-571-53962-9
EAN13: 978-0-571-53962-8
“John’s scholarly and artful scientific method is marked by formidable research and a
passionate commitment to new and revolutionary techniques that open the door to a
truly symbiotic relationship with your saxophone.”
TOMMY SMITH
Leading Jazz saxophonist/composer and Director of Jazz, Royal Conservatoire of Scotland.
“John is a consummate musician and saxophonist, and all the expertise and experience
gleaned from his forty-plus years as a student of our instrument is encapsulated in this
book. It is a must read for all professional and aspiring musicians LTERIA – I will be learning
from John for years to come.”
BRANFORD MARSALIS
Three-time Grammy award-winning saxophonist and composer.
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