It varies--sometimes an individual note will come up in the context of a piece, say the G in the Creston Sonata Mvt. III, and I'll show the student a couple of fingerings, making no big deal about it. Most often, though, I lay the groundwork through overtone studies. When they can reliably hit high (palm) D and F from the low Bb fingering without biting or altering the embouchure, then they're ready to deal with some fingerings. Rousseau's book is particularly good, as it has many fingering options for each note, and provides a number of useful exercise for connecting registers.phYx said:drakesaxprof - When you add a note at a time with your students, do you treat them as regular notes, nothing special? Do you get them to go through the whole harmonic thing before adding a new note? Or just straight into it?
harmonizerNJ said:Our covers band does some Billy Joel tunes, such as "Big Shot" and "Scenes from an Italian Restaurant". Both of these have sax parts that I consider to be "written" (as opposed to improvised) and which require altissimo if played as they were recorded on the tenor sax.
hgiles said:Seems to be more common in rock than in bebop and traditional jazz. But being musical is more important than theatrics.