Christopher Burnett is a critically acclaimed alto saxophonist, educator, arts industry business leader, and composer who began his professional career with military jazz bands “going pro” directly upon graduating high school at 18 years old. Over the course of his career, Mr. Burnett has performed professionally around the world, recorded noteworthy albums as a leader, taught at the college-level and co-founded a significant independent recording label, Artists Recording Collective. Mr. Burnett is an official Conn-Selmer Artist and Clinician. He officially endorses and plays Selmer (Paris) Saxophones exclusively. He has performed alongside and worked with many wonderful artists. He has shared the stage and studio with great musicians such as Bobby Watson, Will Matthews, Bob Bowman, Marcus Hampton, Ahmed Alaadeen, Greg Carroll, Bill Crain, David Basse, Sumi Tonooka, Erica Lindsay, Dino Massa, Marco Zurzolo, Lutz Herbig, Michael Session, Jeff “Siege” Siegel, Michael Jefry Stevens, Stanton Kessler, Jim Nesbit, Keith Philbrick, Dr. Jerry Coker, Kevin Cerovich, Roger Wilder, Jeff Harshbarger, Bill McKemy, Charles Gatschet, Gerald Dunn, Dennis Winslett, Kerry Strayer, Harold O’Neal, Clarence Smith, Matt Otto, John Kizilarmut, Dr. Craig Treinen, Dr. Arthur White, Dr. Mike Pagan, Dr. David Aaberg, Dr. Louis Neal, and Gerald Spaits among many others.
I want all of my students to have a firm grasp of the fundamentals and practical factors of music performance, along with a basic set of technical skills that will successfully allow them to perform music on their respective instruments in most any ensemble context.
Having the opportunity to reach private students at any given level of their training, I am primarily trying to teach students to play their instruments well by getting the fundamentals ingrained. I want my students to know their scales, know how to count rhythms and be exposed to representative literature on their instruments.
My job is to primarily help a student find their weakness and assist toward making them strong. I also want those students who do leave my studio and go on to further study at another college or conservatory to be able to start doing those college-level studies from their first semester in any professor’s studio.
And, I don’t want any student leaving my studio whom I didn’t diagnose weaknesses and provide a coherent process for them to be corrected. My position is that this entire private instruction process is actually about what is best for the musical growth and development of each individual student.
PRACTICAL FACTORS OF MUSIC REQUIREMENTS
Each member of the laboratory course will master the following Practical Factors of Music in order to be deemed successful in this course:
12 major scales – ascending and descending (two octaves as applicable)
12 melodic minor scales (two octaves as applicable)
12 major triads – ascending and descending (full range of instrument)
12 minor triads – ascending and descending (full range of instrument)
Whole Tone scales (full range of instrument)
Diminished scales (full range of instrument)
Assigned mechanism studies
A properly functioning instrument in a good state of repair condition, and neck strap
An adequate supply of new and serviceable reeds, so as to allow for a rotation of 4 reeds for each mouthpiece set up
A metronome or metronome app
A tuner or a tuner app
A classical mouthpiece such as Selmer C* for classical literature
A jazz mouthpiece such as Vandoren’s V16 series for jazz studies
Trevor Wye’s Practice Books for the Flute: Omnibus Edition Books 1-5 by Trevor Wye (Spiral-bound)
Celebrated Method for Clarinet by Hyacinthe Klose (paperback)
Universal Method for Saxophone (spiral bound)
The Real Book: Sixth Edition by Hal Leonard Corporation – Eb or Bb versions
How to Play BeBop – Volume 1 by David Baker
How to Play BeBop – Volume 2 by David Baker
How to Play BeBop – Volume 3 by David Baker
Blank Manuscript Paper (spiral bound)
A Sharpened Pencil with an Eraser
Also, I recommend that students have a suitable bag to carry study materials in, rather than inside of the instrument case. As you see by the materials that we will study from, that even pockets on your instrument case will also not provide sufficient room.
The Jazz Theory Book by Mark Levine