Відео

Thanks for watching the video. Here is some of my softer playing, too. ua-cam.com/video/vZL0zI--f7s/v-deo.html

I have been away from my UA-cam studio and have not received a notice of your comment. Sorry, it took so long to reply. Unless you have a very large tip opening on your mouthpiece, such as a 9 with a medium hard reed, you should be able to control the tone to niente (nothing). But, while not difficult, it can be elusive. Notice you tend to push the air. Soft levels require almost no effort. When we use effort, we restrict the reed, even just a little bit. This shows more when we play softer. An excellent way to counter this is to let go of the tone quality when you play softer. This is counterintuitive to what you would expect, but the tone always sounds attractive at soft levels. The issue is getting a response at very soft levels. As you play a decrescendo, try spreading the tone. let the pitch sag. Even puff your cheeks. Relax everything; your air, your throat, your mouth. The sound will stay centered. Hope this helps.

Thank you for your advice. I tried it just before but it was not easy. I willl keep try it.

There is always some work in the abs, but not nearly as much as many players use. When you tense the abs you tense everything in your body. The question to me is how little do you have to work to get the sound you want. In this case, less work produces more agility. Sorry for not replying sooner, I did not get a notice of your coomment.

I don't have the old one on UA-cam, but you can find it here: vimeo.com/manage/videos/808096542. It is similar to the NEW one that I posted here on UA-cam. The title of "Learn Jazz Form Using Two Measures" was accidentally changed to "Synthetic Reeds vs. Cane Reeds."

That is a good point, and I appreciate your comment. I forget my source, but in further reading, no studies have compared cane and synthetic reeds. It would make sense to rotate the reeds since germs and viruses are eliminated with time, but even with that, some bugs last and last. There are other conditions, such as the mouthpiece and ligature, that also need to be taken into account. There are no simple answers. It would have been nice to have the time to fully address this issue in the video, but it was at least worth mentioning.

Hi Rick, Absolutely! Please use these ideas! The more the merrier. Sorry, I didn't see you comment sooner.

I find rhythm is powerfully expressive that helps build phrases and provides material that we can develop. Thanks, for your comment.

I use a BG Yoke Brace. Unfortunately, it is no longer available in the US, but you might be able to purchase one through a European dealer. I am currently working on a video on how to choose a neck strap. As you know, saxophone can be hard on the body. The yoke brace resolved the neck pain I was experiencing. You might also consider a standing sax stand - at least for practicing. Hercules makes a good one. Hope you find the right strap.

@@saxcoach2131 Thanks my friend 🙏🏼

I appreciate your watching.

Welcome!

Thank you. Habits can be elusive.

I am glad that you relate to this video.

Thanks for watching!

That is hilarious.

This is a great question. Many players believe the abdomen needs to tighten to support the tone. I was taught this way myself when I was in school. But, Arnold Jacobs, the late tubist with the Chicago Symphony Orchestra and renowned teacher of breathing and wind playing, said, "The best air support is no air support." It seems contradictory and counterintuitive, but your abdominal muscles engage automatically when the tone begins - similar to humming. You can feel this by putting one hand on your abdomen, take a large breath, exhale, then hum. The abdomen flexes automatically. Do the same by exhaling the air through the mouthpiece, then producing a tone on the saxophone. The abdomen flexes automatically. The vocal folds come together when you make a saxophone tone. Intentionally flexing your abdomen and pushing is unnecessary and adds effort. You will see this effort in how your hands respond to the flexing. I hope this clarifies things.

@@saxcoach2131 thank you for your detailed answer. I will definitely try that because it makes sense. I struggle to relax while I focus on air support.

Thanks! It is always rewarding to hear how players and teachers appreciate the videos and share them.

That is a wonderful comparison and one that not many would think of. I spent quite of few years studying and playing flute. Whistle tones, along with overtones, were a big part of my developing a tone. The closest thing for saxophone tone and whistle tones probably would be ninety (from nothing) breath attacks with any air sound. In the sense releasing the air to allow the reed to fully vibrate is the opposite, but it is also the same, in that it requires letting go of any effort. I played whistle type tones on soprano sax without the mouthpiece. The first movement of “Veiled Resonance” by Elaine Lillios included these. Elaine won a first prize at the Institut international de musique électroacoustique de Bourges for this piece. Here is a link on of our performances: ua-cam.com/video/Uc9O7cpm1Xc/v-deo.html

Thank you! I have been adding videos for the a month... more to come.

Glad this clicked with you.

I play on a Rampone L1 tenor saxophone with a Aizen SO 7* Selmer Short Shank. My ligature is Silverstein Estro with a Silverstein ALTA Jazz 3-1/2 reed.

I am glad that you found the video helpful!

Thanks again, Steve.@@saxcoach2131

Glad it was helpful!

Great question and one that comes up a lot. There are so many different ways to play. My approach with this video is to help make your play easier instead of teaching how you SHOULD play. If you find the video helpful, then the lesson works for you. Keep playing with it and see what you discover.

Thank you for your comment. It is rewarding to know that these videos are helping people learn to play and improve.

I have found that the method is one of the most effective ways to become aware of how to play and avoid pain and injury.

Aloha!

A lot of players associate tone with pushing, which can develop into a strong habit. Here are some articles on my website that might help you: www.saxcoach.org/home/saxophone/breath/

I use a Brace Yoke from BG. Unfortunately, they quit making them. I plan to do a video on things to look for in a neckstrap.

This is a decent advice. Love your videos and teaching vibe. Thanks so much.

I use the BG Brace Yoke strap. Unfortunately, BG recently stopped producing the strap. The other strap that I have used is their regular Yoke. I would like to do a video on neckstraps because of how much they affect our playing and can cause us to use more effort.

Thanks very much - a neckstrap video would be awesome. I recently tried a variety -- Hooki, Marmaduke Feather IV, and Breathtaking straps among them. The Hooki and Marmaduke are the top contenders right now, but it'd be great to hear your thoughts on the subject.@@saxcoach2131