General introduction to the saxophone, its history and the different variations of the instrument, with a focus on the tenor sax.

Analysis of the parts of the saxophone and the importance of the mouthpiece, reed and ligature in producing an effective sound.

The air column as the basis of all sound: diaphragmatic breathing and control of emission.

The mouthpiece as a point of contact between musician and instrument: naturalness, mobility and relaxation are fundamental.

The attack of the note: control and richness of timbre.

Chiver bending exercises to train the mouthpiece-diaphragm relationship and improve sound flexibility.

Continuation of the bending with the sax mounted: precision and control in the descending transposition of the notes.

Introduction to subtone for playing at minimum volume, working on emission and retracted jaw.

Harmonics help to explore the oral cavity and “awaken” the instrument.

Vowels as an exercise to modulate the timbre through internal movements of the mouth.

Long notes as an exercise in listening and timbre control, exploring every nuance of sound.

Intervals serve to connect two sounds in a coherent way, developing melodic sensitivity.

Resonance is the physical and acoustic effect of a sound rich in harmonics: training it means playing in depth.

Scales are not just exercises but musical material: articulation, dynamics and tonal quality must coexist.

Making scales sound means turning them into music, improvising on them and understanding every color of them.

The cycle of fifths as an exercise in transposing and developing technical fluency in all keys.

Approaching a harmonic progression requires deep listening: the ear guides improvisation and must be trained constantly. Simple patterns can help to understand the structure and to get in tune with the more complex harmonic changes.

Inner singing is the most valuable resource for an improviser. Playing what you can sing and singing what you play creates a bridge between musical thought and instrument, making each phrase authentic and coherent.

The II-VI is the fundamental cadence of jazz. Understanding its harmonic and melodic functioning allows you to construct meaningful phrases, exploit the tensions of the fifth degree and learn to transpose into all keys.

The union between rhythm and melody through the use of simple but effective riffs, even in the most complex structures.

The blues as a form is a simple but meaningful cyclical structure, which includes internal microforms and infinite harmonic variations. It is a very powerful teaching tool for working on rhythm, phrasing and management of changes.

Blues as a feeling is language, culture, emotional expression. The so-called “blue notes” do not follow tempered rules but evoke a deep sound world, rich in contrasts and colors to be internalized and used melodically.

In bebop, chromaticisms are not only melodic elements but real rhythmic instruments. Phrasing is codified in dense and fast lines, where each note has a precise temporal placement. Studying slowly reveals its internal logic.

Approaching a standard means knowing its melody and harmony thoroughly, to improvise with awareness.

Improvising alone is an exercise in musical independence: restoring form, rhythm and harmony without accompaniment.

Transcribing means listening deeply, stealing ideas and slowly transforming them into your own language.

The repertoire is the cultural basis of the jazz musician: blues, standards and originals as a vehicle for inspiration and dialogue.

Being a leader is maintaining a musical focus, knowing how to lead a group and constantly nourishing your creativity.