Documentos de Académico
Documentos de Profesional
Documentos de Cultura
Saxofo Método
Saxofo Método
ANTONIO
JUREZ
BAYN
EJERCICIOS DE PROGRESIN
CROMTICA PARA EL
PERFECCIONAMIENTO DE LA
DIGITACIN, EN TODOS LOS
REGISTROS DEL SAXOFN
EXERCISES FOR CHROMATIC
PROGRESSION IMPROVEMENT
OF FINGERING IN ALL
SAXOPHONE LOGS
CONTENIDO
CONTENTS
Pgina
Page
Dedicatoria
Dedication
Authors note
Rules to consider
10
PRIMERA PARTE
10
FIRST PART
11
11
Registro Grave
17
Lower Register
17
Registro Agudo
22
Upper Register
22
SECOND PART
SEGUNDA PARTE
60 Estudios de progresin cromtica,
con diferentes articulaciones y frmulas.
30
30
A m querida esposa
e hijos
To my beloved wife
and children
Antonio Jurez Bayn born in Villaverde de Arriba. Len (Spain). He studied music at the Conservatorio Provincial de Msica de Len (Len Provincial
Music Conservatory) under Fructuoso Adn Martnez,
from whom he began to learn the saxophone.
For several years he played in the Len Military
Band, continuing his saxophone studies under the
eminent clarinet and saxophone teacher Flix Mozo
Nez, the professor of clarinet studies at the Conservatorio Superior de msica de Maracaibo
(Maracaibo Music Conservatory).
In Barcelona he studied under the prestigious
saxophone and clarinet teacher, Marcelino Bayer
Gasp, at the Conservatorio Superior de Msica del
Liceo (the Academys Music Conservatory) and the
Conservatorio Superior Municipal de Msica de
Barcelona (Barcelona Municipal Music Conservatory).
He studied general aesthetics, the history of
Spanish music and harmony with the teacher at this
conservatory, the specialist in counterpoint and
harmony, Jos Garca Gago.
When he arrived in Barcelona he joined the Armed
Police Force Music Band as solo saxophonist, and
after completing his higher education he graduated
from the Real Conservatorio Superior de Msica de
Madrid (Royal Music Conservatory in Madrid).
He directed the Armed Police Force Music Band
in Barcelona for some time and then, several years
later, he directed the Bada del Valls Symphonic
Band, in the province of Barcelona.
He has also directed and played with other musical ensembles and formed part of the Epsilon
saxophone quartet. He is currently working as a
saxophone teacher.
Barcelona, 3 May 2009.
-5-
classical saxophone movement in Spain, Adolfo Ventas, Pedro Iturralde, who brought jazz to this country
and an indisputable master of the harmonics
technique, and Manuel Mijan, saxophone professor
at the Madrid Conservatory and one of the pioneers
and scholars of the classical saxophone. Francisco
Martnez, a prestigious soloist and co-founder of the
European Saxophone University in 1989. The Cuban
saxophonist Miguel Villafruela also deserves a
mention, among many others, for his renowned
prestige as a soloist.
It is also a significant fact that the increasing
prestige of the saxophone has been aided, not only
by these prestigious saxophonists, but also by
renowned instrument-makers, who have been making
technical improvements to the instrument (although
not enough), which have helped and continue to help
musicians to play certain passages and exercises
more easily and with greater precision and brilliance,
whilst also increasing and improving the instruments
tuning.
Bayer Gasp, iniciador de la escuela clsica del saxofn en Espaa, Adolfo Ventas, Pedro Iturralde, iniciador del jazz en nuestro pas y un maestro indiscutible
en la tcnica de los armnicos, Manuel Mijn, catedrtico de saxofn en el C.S.M. de Madrid y uno de
los pioneros y estudiosos del saxofn clsico. Francisco Martnez, prestigioso solista y cofundador en
1989 de la Universidad Europea del Saxofn. Merece tambin ser citado, entre otros muchos, por su
reconocido prestigio como solista el cubano Miguel
Villafruela.
Por otra parte, es de significar que al pujante prestigio del saxofn han contribuido, no solo estos prestigiosos saxofonistas, sino tambin reconocidos
fabricantes de instrumentos, que han venido
introduciendo mejoras tcnicas en el instrumento
(aunque no las suficientes), que han facilitado y
facilitan al instrumentista la ejecucin de ciertos
pasajes y ejercicios con mayor facilidad, precisin y
brillantez, logrndose al mismo tiempo una mayor y
mejor afinacin.
Autors note
Rules to consider
-9-
Platillo cerrado
Platillo abierto
Pad closed
Pad open
Llave cerrada
Llave abierta
Closed key
Open key
- 10 -
Change of register
b b n b
b b n b n
# # n # ..
VI
VIII
b b n b n b .
.
# ..
&C
# # # #
#
XI
VIII
VIB
# # #
# .. #
&C
#
VIB
VIII
# n # n #
& C #
&C
b b ..
VIII
simile sempre
&C
VIB
# # n # ..
VIII
& C # # n #
F
VIII
- 11 -
# n # .. #
VIII
VI
VIII
# b # n b .. # .
12
& 8 # # #
VIII
II
XII
VIII
VIB
III
n b b n # # # n # n # n n # .. .
b
& 12
8 b n
XII
II
VIB
VIII
VIII
VIB
VIII
13
b
. b
b
.
b n b n # # n # n b # n b .. .
& 12
8 #
12
VI
# #
#
#
C
&
VIB
11
XI
b b
.. b
# # # # #
C
&
X
10
XI
VIII
& C # #
XI
VIII
# n # ..
& C # #
III
XII
VIII
II
III
- 12 -
VIII
b # b n . .
.
& 12
8 # # #
14
VIB