I’ve found that music education is often made way too complicated. As a teacher of the saxophone I’ve found that not many students are as well-rounded as they should be. This means that their former teacher(s) emphasized certain things and didn’t adequately address others. That’s never good.

Aaron Santee - 3 Book Jazz Compilation PDF with 13 MP3s

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A teacher’s job should be similar to a doctor’s - they are to evaluate the music as a whole and address everything that needs fixing. As a student learns their instrument, they should be thinking like a good PATIENT would think - trying to be aware of anything out of the norm, such as, maybe hearing some “chirping” while playing and wondering if it’s their reed, their embouchure, their horn, etc.

Being aware of the good and the bad is extremely important for players of any style, age or playing level, and a good teacher will be able to tell the signs of bad habits forming, such as something as obvious as the occasional “chirp” sound being most likely an embouchure issue (most likely an embouchure that is too tight, “pinching”, but there are other possible causes).
A good teacher will be able to diagnose problems and offer suggestions on how to treat them, just like a doctor would deal with a patient. Unfortunately, not all teachers are all that great, and it’s very important for a student (of any level) to keep that in mind, and never just take their teacher’s word for it, but take extra steps to educate yourself and bring your finds to your instructor at your lessons. This will show that you’re serious about learning, and that you’re interested in getting your money’s worth from your lessons!

I’ve written this book to help pass-on my experience as a former student, and as a saxophone teacher of nearly twenty years. Sadly, most instructors and most books put about the same emphasis on every aspect of playing, not explaining what the real foundational elements are or WHY. This is the most important thing that should be taught, and it should be discussed on day one, but chances are, like myself, you were given a book or two, and told to play the etudes, and worked on getting the right fingerings. You probably weren’t told the basic music theory along with it, and sort of feared the word “theory” when you heard it for the first time 3 or 4 years down the road (like me!).
So, we’ll cover everything you need to know about the saxophone, the embouchure, equipment, theory, listening to other players for inspiration, improvisation, and a few tricks you can eventually try on the horn down the road as well. This book is for players of every level, so if you’re an advanced player, you’ll be able to double-check your foundation to see if there are any gaps, and then take-off where we get into more advanced materials such as improvisation, playing altissimo, using alternate fingerings, etc.

I suggest that regardless of your current playing level, just go through this book from cover to cover. For more advanced studies, continue-on to my second book JAZZ SAXOPHONE - Everything JAZZ Sax Players Should Know!, where we dig-into more jazz-specific elements like pattern writing, change playing, more in-depth work in the altissimo register, more jazz-specific equipment discussion, etc. So get ready to start having fun with this amazing instrument! Believe in yourself, carefully practice 5 or 6 days a week, and get great at the saxophone! Then you’ll start having more fun playing and will be making others happy as well!

God bless,

- Aaron

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