Because all technique has been written using the full range of the instrument, there are two separate volumes:
Saxophone - low Bb to high F
Saxophone with High F# Key (low Bb to high F#)
This volume is for saxophones
with a High F# key.
Each section begins on, or is in the tonality of C; no technique begins on low B or Bb.
Dominant Sevenths are the same for Major and Minor tonalities; however, because the key signatures of the Major scales have been used, some Dominant Sevenths (specifically: Db, Eb & Ab) should be “thought of” enharmonically for Minor scales.
Diminished Sevenths occur in Minor keys as a Seventh Chord built on the Seventh Degree of the scale (VII7). Because there are really only three different Diminished Seventh Chords, each with four enharmonic spellings, a better way of learning them is to initially practice the three versions in the Supplementary (page 14), to learn the notes - these have been presented using no key signatures. Then practice each Diminished Seventh using (or thinking) the four different enharmonic spellings; for example, the first one on C as: C-Eb-Gb-Bbb, VII7 of Db Minor (more correctly: B#-D#-F#-A, VII7 of C# Minor); D#-F#-A-C, VII7 of E Minor; F#-A-C-Eb, VII7 of G Minor (the pitches which are written); and A-C-Eb-Gb, VII7 of Bb Minor.
The Augmented Triad occurs in the Harmonic Minor Scale as a triad on the third degree of the scale; because this is a relatively obscure “natural” occurrence, Augmented Triads have been presented using no key signatures and the simplest accidentals. There are really only four different Augmented Triads, each with three enharmonic spellings; so, like the Diminished Seventh Chords, practice the Supplementary (page 15), to learn the notes - then practice each Augmented Triad using (or thinking) the three different enharmonic spellings. Also worth noting is that the Augmented Triad occurs as the only triad in the Whole Tone Scale (two in each scale), also an page 15.
The Blues Scale has been included because it is almost always assumed that every saxophonist knows how to play the blues, or jazz, or rock, etc. - an assumption not made with clarinet, flute, or other woodwinds. The scale used is a 6 note scale: 1, b3, 4, #4/b5, 5, b7. The choice on key signatures has been related to the practical, rather than theoretical: C# (if playing Alto - Concert E; Tenor - Concert B) and G# (Alto - Concert B; Tenor - Concert F#).
Other than the use of the C# key for G# on page 11, all Fingerings are merely suggestions.
Also includes: a Technique Chart (to keep track of your practice)
Book - 9”X12” - 24 pages - $14.95