Canadian Musician July / August 2019 | Page 29

WOODWINDS Jazz saxophonist, composer, and educator Jim Brenan is an Associate Professor at Mount Royal University in Calgary, AB. His dynamic performances have garnered acclaim from worldwide audi- ences. In 2014, his album January won a Western Canadian Music Award. His latest work, The Jim Brenan 11 Featuring Chris Andrew, was released in February 2018. By Jim Brenan Advancing Your Technique Part 2 – Cell Practicing W hat’s a practice routine without running some scales? I know – everyone loves to sit in a little room and play their scales over and over again… Unfortunately, they are a vital part of every musician’s background and time must be spent perfecting them. Once I’m warmed up, I like to remind my- self of the parent scales: major, melodic minor, harmonic minor, and harmonic major. By play- ing scales in a challenging pattern, I am forcing myself to focus on the task of playing the scale well, but also working through the complex permutations I am learning. When learning a new pattern, I like to break the exercise down into three- to five-note groupings, often playing the “cell” back and forth to become comfortable with both the technical movement and the sound of each section. Each “cell” is then added to the previous one to build a longer section until the whole passage can be played flawlessly. We all know how good it feels to play a chal- lenging technical passage well over and over again, but after a while, it no longer adds to your growth; it just feels good to play something well, and that’s not our primary focus here. It’s important to change the pattern once you have mastered it. Once you play the scale, a good first pattern to focus on is thirds, like in Ex. 1. While working through: • Focus on small cells • Add cells together • Play forwards and backwards repeatedly until very comfortable. This type of cell practicing can be applied to any type of technical/flexibility work on the instrument. This will come in handy when you start diving into rhythm changes in all 12 keys, but we’ll have to save that for another time. Thirds pattern 1. focus on small cells 2. add cells together        cell #1   cell #2         cell #3               cell #4                              3 5  7  cell #5 9 cell #6  11 cell #7             complete exercise 15                                                                                          13 play forwards and backards- repeat until very comfortable                                           18 CANADIAN MUSICIAN 29