Free Top Tones For The Saxophone : Four Octave Range
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Free Top Tones For The Saxophone : Four Octave Range
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I play with the instrument in the front both standing and sitting. While standing, my right wrist is very close to my waist. Neck Strap The neck strap needs to high enough so that when the head is held naturally and normally, the mouthpiece will go straight to the lower lip. The upper teeth should be able to come on to the mouthpiece and still allow the student to look straight ahead.
If the student has to look down, the neck strap is too high forcing the mouthpiece too high; if the student has to look up, then the neck strap is too low. Do not allow the mouthpiece to be at an angle causing either the student to angle the head while playing or creating more pressure on one side of the lip and reed that the other.
Unequal pressure will cause unnecessary calluses on one part of the lip and, because the reed should be symmetrical, cause the reed to squeak or not respond well. This is largely impacted by where the left thumb is angled on the thumb rest and, unfortunately, the design of the instrument.
Some beginner instrument designs are terrible and force the students to have their thumb pointed straight up which causes their palm to collapse, fingers to angle unnaturally, and allow for multiple future problems. Correct hand position must be used regularly from the very beginning—it will absolutely determine the amount of available technique later on—I found this out the hard way… The left hand should be curved so that the palm keys can be played with as little movement as possible.
When playing high D, Eb, E, F, and F , the hands and fingers should remain calm and as close as reasonable to the home keys. This will facilitate excellent technique when approaching the more difficult literature. Again, I found this out the hard way… Air Stream Fast and focused; cold and fast—you should always use a cold air stream approach to the airstream. The airstream should be cold and fast, not warm and heavy.
Tongue position is low in the mouth for middle and low-range notes with tip pointed straight, not down below the lower teeth or gum line.
See a Problem?
It is good to practice with the idea that the air is not going into the mouthpiece but rather through the neck, straight to the music stand. One of the best ways to discover how to breathe correctly is to sit in a chair with knees and feet together, lean forward as far as you can with your arms relaxed hanging down by your side.
Another way, which is not quite as dramatic, is to lie on the floor on your back with your knees bent. Just breathing in and out in a relaxed fashion will show you that the natural way to breathe is in the lower area and not shoulders. Lastly, breathing slowly through the nose allows the air to fill the lower abdomen first.
Tone Round and full; fluid. Different registers on the instrument will have different characteristics and amount of projection, but all notes should be round, full, and be pleasant. The best way to determine what you sound like on your instrument and set up is to play a 2nd line G Hemke facing the wall Cason.
G is the tone of the instrument. Whenever I can, I play facing a wall so that I can better hear what is coming out of my saxophone. Anyone can hear it—including my beginning students. The sound will go from pinched rectangular shaped , fuller more oval , to a full round sound with a clear center picture a doughnut. The tone generally reflects the shape of the embouchure. It is easy and amazing to hear. It is important to use the front portion of the tongue to touch the reed and keep the middle and back portion still.
An easy way to check this is to look at a mirror while playing.
If any area of the throat is moving, then the back of the tongue is moving; this should be stopped. If the player tongues correctly, no movement should be visible in the throat area. The jaw should not move while tonguing. Everything wrong in the mouth will be heard in the mouthpiece alone… Vibrato Vibrato is not an ornament to the sound, but a part of the sound Dr.
Tuning Fifth line F is generally the best note to tune all saxophones concert A. The F falls between the very sharp 4th line D and the flat G. This note can be used to double as a mouthpiece pitch as well. Fifth line F is OK, but G above the staff is less so. Pitch Tendencies Octave keys: there are 2 octave keys on the saxophone activated by one lever located above the left thumb rest. On most saxophones, there are strong peaks and valleys of out-of-tune pitch in short ranges of notes with the corresponding opposite effect in different octaves. A 4th line D can be quite sharp while the lower octave D below the staff can be equally flat.
Notes on the extreme of the instrument bell and palm keys have their own tendencies.
After that, alternate fingerings should be used to correct out of tune notes. The embouchure should never be used to adjust pitch i. Fourth line D which uses the first octave key located at the top of the body is sharp and then the pitch gradually flattens to G above the staff.
The exception would be if the musical passage were too fast to use alternate fingerings easily. I tell my students to use alternate fingerings on all notes a quarter note or longer at moderate tempos. Open C Can be significantly flat. Fourth line D Depending on the instrument, add the low Bb or B key closing keys on the bell.
First ledger line A Can be very sharp as it is the first note that uses the second octave key.
Fourth space E Same problem as 4th line D, but not quite as bad. Can be flat opposite of higher octave ; open the F alternate key or G key to raise the pitch. Low D below the staff and first line E: Can be flat opposite of higher octave ; open the low C key if necessary. Palm keys Palm keys can be sharp.
Top-Tones for the Saxophone
Experiment to find one that works on the particular horn remembering to have a round, full sound without altering the tone. This allows the player the opportunity to focus on lip placement, tongue position, air stream, hand position, and tone. I recommend starting around middle C, play down chromatically to the bottom of the horn, then play middle C and go to the top, and use at least 16 counts for each note.
This will force the player to become aware of how the different registers and notes feel and respond, give time to listen to tone over the whole instrument, and increase breath control as well. Octave slurs As mentioned in tone, the sound should be open and not tight. On a Selmer, the tone should sound like a doughnut without glaze! A way to correct this immediately is to play octave slurs. Slur middle C then high C in an eighth note pattern for 8 counts; proceed to middle B and do the same.
Play chromatically down to low Bb. Scales Play all scales the full range of the horn. Play the arpeggio from low G to high D, to low B, and return to G.