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A Special Sneak Peek!

The Course Curriculum You'll Be Using to "Turbo-Boost" Your Playing

Getting Started
  • Making the Quickest Possible Progress with This Program - Here's a quick overview of how we're going to keep you informed and inspired.
  • Alternate Fingerings - We start your journey into the realm of "Saxophone Speed Demon" by making sure you're familiar with all of your fingering options for moving between notes as elegantly as possible.
  • The Power of Transposition - You're being set up to practice (and improvise!) like the masters, super-charging your ears and fingers at the same time.
  • Lightning-Fast and Crystal-Clean Exercise Sheet Music - There's no need to skip around the video looking for an exercise, we've got 'em all here for Bb and Eb instruments (along with concert key for reference) to read clearly on screen or download as a print-friendly PDF.
Laying the Foundation
  • Introduction + Getting the Most Out of Practicing Technique - This is where we get you set up for maximum results and encourage you to be patient with yourself.
  • The Physiology of Great Saxophone Technique - Eliminate about 50% of your technical challenges right off the bat.
Horizontal and Vertical Approaches To Scales
  • Moving Horizontally Through Major Scales - You're uncovering and overcoming surprising weak spots in what is normally the most standard (and boring!) way we've been taught to practice scales.
  • Moving Vertically Through Major Scales - Jumping around the range of the instrument, you're moving way beyond what people would normally expect to hear from a sax player.
  • Scales in Different Directions - Along with "tricking your fingers" to break you out of your areas of technical limitation, your ear-training and "musical visualisation" skills start expanding in surprising ways.
Expanding Technique and Harmonic Understanding with Modes
  • Modes of Major - Here is where we start putting your newly-supercharged technique into practice by adding to your jazz improv vocabulary.
  • All Modes of Major Starting on the Same Tonic - You're opening your melodic and harmonic concept over cool-sounding chord changes which Adam demonstrates with piano accompaniment.
  • Moving Horizontally and Vertically Through The Modes of Minor Melodic - Here we get into the stuff that sounds "outside" while actually being based on dense but correct harmony (think Trane, Brecker, Joe Henderson, Chris Potter, and other modern masters)
  • Practicing Arpeggios Using "Inners" and "Outers" - Say goodbye to boring arpeggios on auto-pilot, and hello to a hip way to add dexterity by turning arpeggios upside down and inside out.
  • Triad Pairs - Besides pushing your technique by moving vertically around the range of the sax, you're learning "Coltrane-esque" patterns that you can immediately use in your solos.
Diatonic Intervals
  • Diatonic Intervals in Alternating Directions - Tackle these with everything you got, and you'll have laid the foundation for busting out with super-high-energy melodic lines (and if you're ready, flex your "altissimo muscles" too!).
  • Turning Your Technique Practice Into New Melodic Content for Your Solos - Using Adam's approach to ultra-efficient practice, here's where you continue building technical chops while igniting your creativity and moving past your repertoire of "licks".
Working with Chromatics
  • Chromatic Scale - The Horizontal Aspect - Here you're "snaking" through the range of the horn, developing "fancy fingerwork" that makes your playing super-clean, eliminating those amateurish-sounding "blips" between notes.
  • Chromatic Intervals - Your fingerwork gets even fancier here, with patterns that sound awesome in your solos, moving you at breakneck-speed across a bunch of tonal centers.
Putting It All Together
  • A Practical Guide to Practicing the Material - Here's where you're offered just one of many possible ways to work all of this into your practice sessions in a way that keeps you motivated and seeing results.

Your Instructor

Adam Larson
Adam Larson

Adam Larson is a saxophonist, recording artist, composer and educator who began playing saxophone at the age of 11. Described by critic Howard Reich of The Chicago-Tribune as “a player for whom the word ‘prodigious’ was coined”, by Peter Hum of the Ottawa Citizen as “a saxophonist who brings Donny McCaslin and Mark Turner to mind”, and by Nate Chinen of The New York Times as “the sort of jazz musician who gets flagged early on as a promising talent and then hustles to meet every requirement for success”, Larson has garnered numerous awards that distinguish him as one of the most promising artists of his generation. Adam holds BM and MM degrees in Jazz Performance from The Manhattan School of Music, where he graduated with honors as a Master's student as the recipient of the William H. Borden Award for Outstanding Performance in Jazz.

Adam is an endorsed artist for P. Mauriat saxophones and Vandoren reeds, ligatures and mouthpieces.