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Consolidating your Practice Routine Material

According to a couple of old posts at the woodwind.org forum...

"The Voxman "Selected Studies for Saxophone" uses a number of the Rose studies and etudes, and puts them in a better range for the saxophone, so no adjustments are needed.

Voxman uses (from the Rose 32) #26, #4, #18, #29, #21, and most interestingly the real #11 (not the simplified #11 in the Rose 32).

There may even be others."


"...Several Rose' items you mentioned are also in certain oboe/sax books as well. Ferling's 48 Famous Studies is one."

I know the Hite Foundation Studies are transcribed from the Baermann Third Division book.

I'm doing a bit of this by playing some of the Klose 25 daily studies on sax, clarinet, and flute, but most of the time I have separate books for each instrument.

If you just play sax you might play out of just one Étude book, but doublers typcically work out of at least one Étude book per instrument, so especially for those with limited time, there's the problem of being spread out too thinly.

So what do you think are the pros and cons of say playing the same Rose etudes on clarinet and sax to consolidate your practice routine? And if you also play oboe then you could play the same material on all 3. Does anyone do this?
Practice routine for me "these days" as a ww doubler:
About 20 years I started basing my fingering technique around my clarinet.
For me, sax/flute fingerings are just easier....(s/f change of octave with roughly the same fingering as opposed to clar's change of register with roughly the same fingering).
The above being said, my sax / flute practicing consists of mostly overtones to center my air, embouchure/aperture, oral cavity. I'll run through my major/chromatic scales (throughout all registers), but that's about it.

My clarinet practice routine is a bit more structured:
- long tones on the mouthpiece
- long tones on the whole instrument
- all major scales (through all registers) plus chromatic (low E through high G)
- I use these books on my clarinet: David Chesky Contemporary Jazz Rock Patterns Vol. 1, Kell Staccato Studies, https://www.amazon.com/Taffanel-Gaubert-17-Daily-Exercises/dp/B007OLPXHI (I purchased the Taffanel book in '('80?) and I thought that paying $15 for a book back then was expensive!

- The Chesky book is really good for cleaning odd intervals (not just major/minor triads)
- The Taffanel book is good for intervals but more-so for cleaning specific scale fingering patterns in different registers (my fav's are pgs: 2 through 9; practicing these exercises in multiple octaves cleans different parts of the instrument/hands)...also the Taffanel book is great for practicing altissimo on sax...
- The Kell is staccato-city

To clarify: I'm 60+ years old and have been playing for a long time. I do not practice reading rhythms as my sight reading chops are pretty good. I'm still trying to improve on my technique.....

I practice about 90 minutes of clarinet a day, 5 days per week, flute: about two hours a week, sax: as gigs approach.

I also play bassoon in a couple of community bands that rehearse weekly as a change of pace.
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