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Home Alt Forums Daily Practice Routine #1 Does any other sad person do this (get a life, or get out more often)

  • This topic has 12 replies, 7 voices, and was last updated 6 years ago by Anonymous.
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      Since march 2015, a year and two months after i started learning the sax, i have record of every exercise i practiced each day for the last three years.


        Johnny, what would be the key signature of “Take Five”? In my B flat music books the key signature is A flat. In my JF lists of songs no key signature is listed but JF’s note tones and the A flat note tones are the same. E.g. G# for A flat, A# for B flat etc. Johnny’s rendition of “Take Five” with all the sharps is easier to play than the A flat rendition with all the flats, although the note tones are the same in both renditions. The A flat score ends in F. So F minor. JF’s score ends in F so F minor comes to mind. Maybe I should join sxpoet and get out more often


          Hi William, I bought the Paul Desmond Collection Book with 17 transcriptions.

          For the Alto sax, it is in Eb with 3 flats. Which agrees with your Ab key version of 4 flats for the Bb Tenor,
          and which makes the C version in F# (Ooohhh, six sharps!) – I’m glad I play Alto!

          BTW – F minor is the relative minor of Ab Major.

          According to Genesis – “You have to get in, to get ooouuuttt!” I presume that’s ‘in to the music’ – LOL

          “And the lamb lies down on Broa – o – ord – way!”


            sorry guys, Take Five was one of the first songs I did on this site and I was still doing stupid things lioke not putting in a key signature once in a while!
            It’s in Eb minor concert so F minor on tenor. so ya, same key sig as Ab major cause F is Ab’s relative minor.
            for alto it’s in C minor which is same key sig as Eb major. this is same key as original Desmond record.


              Genesis Lyrics
              “The Carpet Crawlers”

              There is lambswool under my naked feet.
              The wool is soft and warm,
              -gives off some kind of heat.
              A salamander scurries into flame to be destroyed.
              Imaginary creatures are trapped in birth on celluloid.
              The fleas cling to the golden fleece,
              Hoping they’ll find peace.
              Each thought and gesture are caught in celluloid.
              There’s no hiding in my memory.
              There’s no room to void.

              The crawlers cover the floor in the red ochre corridor.
              For my second sight of people, they’ve more lifeblood than before.
              They’re moving in time to a heavy wooden door,
              Where the needle’s eye is winking, closing in on the poor.

              The carpet crawlers heed their callers:
              “We’ve got to get in to get out
              We’ve got to get in to get out
              We’ve got to get in, to get out.”

              There’s only one direction in the faces that I see;
              It’s upward to the ceiling, where the chambers said to be.
              Like the forest fight for sunlight, that takes root in every tree.
              They are pulled up by the magnet, believing that they’re free.

              The carpet crawlers heed their callers:
              “We’ve got to get in to get out
              We’ve got to get in to get out
              We’ve got to get in, to get out.”

              Mild mannered supermen are held in kryptonite,
              And the wise and foolish virgins giggle with their bodies glowing bright.
              Through a door a harvest feast is lit by candlelight;
              It’s the bottom of a staircase that spirals out of sight.

              The carpet crawlers heed their callers:
              “We’ve got to get in to get out
              We’ve got to get in to get out
              We’ve got to get in, to get out.”

              The porcelain mannikin with shattered skin fears attack.
              And the eager pack lift up their pitchers- they carry all they lack.
              The liquid has congealed, which has seeped out through the crack,
              And the tickler takes his stickleback.

              The carpet crawlers heed their callers:
              “We’ve got to get in to get out
              We’ve got to get in to get out
              We’ve got to get in, to get out.”

              Yeah! So … to get a life, study Genesis!!!


                The reason for logging ever practice piece every day, is so the next day, i can pick up from where i left off the previous day, in terms of knowing what backing track speed i was upto, problem bars to brush up on, new things i’d found out – like having to play alternative keys to get the right speed, bits of theory, shortcuts etc… method in madness.

                However i now use the following Ap on my ipad

                Anytune Pro+ Review

                it’s great for playing backing tracks, because the next day, it recalls the playback speed for every track from the previous day, also you can set any part of the track to loop on problem areas …..

                in out, in out, shake it all do the hokey kokey…

                Carl Robinson

                  My daily routine is as follows—beginner level.
                  Assemble Saxophone and check all keys working properly while Reed is soaking. Fit MP and Reed, ensuring Reed is correctly positioned (finniky buggers these Reeds are)–check for intonation and tuning.
                  1—start practising scales and arpeggios using different start notes and long tones–I usually spend about an hour on this.
                  2—Octave work—-I practise hitting Octaves–as I noticed there can be a “rough” transition between one to another, I like smooth and fluid not jerky and jumpy!
                  3–Practise improvising using chord progressions on backing tracks.
                  4–play songs I already know–but try them in different keys, it’s amazing how the same song can sound so different.
                  5–Just “Noodle” around on the Saxophone–When messing around you find some gems, combinations of notes you would never try normally sometimes reveal themselves.

                  Things I need to work on.
                  Enjoy your playing


                    Hats off to you Carl!

                    I stopped doing all that stuff last December.

                    Now i cut to the chase and get straight down to practicing songs with backing tracks, gives me more time ‘to get a life, get out more often’. lol

                    keep on trucking….

                    brother cavefish

                      whats with all this sad stuff, how does one even play when their sad, ———–i really dont need an answer, i am just saying

                      Carl Robinson

                        At my level learning those scales etc is the bread & butter of my future technique, I try to make my practises enjoyable and if it becomes too much hard work I stop and chill for a while.

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