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Teaching ideas for Platti Sonata no 5 opus 3 in Eb Major & Rumba by Maurice Whitney

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I am preparing a student for his university audition on the Giovanni Platti Sonata no 5 opus 3 in Eb Major for Alto Saxophone. He will also perform the Rumba (Rhumba) by Maurice C. Whitney for Alto Saxophone. (both pieces have piano accompaniment). Does anyone have any suggestions for what type of stylistic features to focus on for each piece? I have the Music Minus One recordings for each of these (Vincent Abato plays the Platti Sonata and Paul Brodie plays the Rumba).
What types of advanced features would you point out that would help my student do well in his audition? (e.g. dynamics, phrasing, articulation, tone, pitch, intonation) Basically, how do I get my student to make the pieces unique to stand out from the crowd?

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Put rhythm and intonation at the top of that priority list. If those two aspects aren't handled, then there's not much else to talk about. In the meantime, there must be a habit of listening to the height of quality of high woodwind playing (Pahud, Mayer, Carbonare, etc).

The Tuning CD, and a tuner/metronome combination should all be used for 100% of the practice time. Extra time should be invested in working out full-range scales, intervals, and arpeggios in the keys represented in the repertoire being prepared, also in adherence to the Tuning CD, tuner, and metronome.

With this type of practice environment, it will be a painful experience for the student to NOT play with exactitude of rhythm and pitch. This is a beautiful thing.
Emmanuel Pahud CDs - "Bach Flute Sonatas", "Brahms Sonatas", "Debussy, Ravel, Prokofiev", and "Flute Panorama" (Franck, Faure).

Albrecht Mayer CDs - "In Search of Mozart", "In Venice", "New Seasons", "Voices of Bach".

Alessandro Carbonare CDs - "Brahms/Mozart Quintets", "Schumann", and "La Clarinette a l'Opera".

Calefax Reed Quintet CDs - "Libro de Glosas", "Rameau - Nouvelles Suites", "Debussy/Ravel"

The above serves in my studio as the course on the platinum standard of classic high woodwind playing, and I am very pleased to find that young saxos (even in a severely education-challenged state such as Alabama) respond very positively to these items. I also assign selected recordings of Delangle, McAllister et al, but focus mostly on my favorites of today's many great flute/oboe/clarinet masters.

If you haven't checked out Arcanes or Quatuor Habanera (two astonishing saxophone quartets in France), then you need to.
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