@@charlesrsmith7 I'll check them all you can be sure of it. Just the idea of playing slightly flat opened my sound in a way i never thought it would!!!🙏🙏🙏 Thank you so very much Sir
Thanks for this Ray - very useful and clear. The Phil Woods track you mention at 18:55 from Live At The Showboat (all-time classic album!) is How's Your Mama.
@GRiM2.0 To each his own. I can get into his screeching tone, it's the smooth jazz commercial style he played that I didn't like so much. But I do appreciate when he sits down to play standards and what not.
Professor, that's a phenomenal video, so full of information! Are your books mostly directed to teachers? I'm still learning the basics of improvisation, but I feel my tone sounds "boring" partly because I'm missing effects like this - a book with information like this would greatly help.
Thank you! The language in the books is directed toward teachers, but it is easy to pull the content out for students. It would all be very understandable and helpful for you. The saxophone book has a lot of help for tone and intonation, etc. You need to check out the video for chapter 23 for a lot more effects that can add soul to your playing!
This guy is the real deal. He mentions a book he "just" published. Anyone know the name of the book? Anyone know his name? The name of the college or university he's giving this talk to? When this was shot?
Uh oh! My apologies. I just realized that I posted my comment on your channel, not realizing that you are also the prof in this video! Please excuse my ignorance. I want to thank you sooo very much for posting this video of yourself giving a real connection to the era. Your real-life, professional descriptions and playing examples of each of the mysterious sax sounds that those of us who have always adored big band but only ever learned classical techniques always wanted to learn how to do! Last night, for the first time ever, I successfully used what you call the "n" tongue, what kids these days are calling "dooden" tongueing. It gave me hope that an old classical player like me might just be able to get a handle on some of these jazz techniques after a lifetime of feeling like a total jazz failure, always sounding like a classical player trying to play jazz. Your demonstrations in this video are priceless. I will be paying close attention to your bends and scoops again and again. These skills have alluded me all these years. They were never presented in a way that made any sense to me -- until this video! I can't thank you enough. I hope I can find your book somewhere online. Would you be willing to put a link in the info section under this video for the handout you gave the education students? Thanks again. All the very best to you, Prof. Smith.
Sorry, I didn't see your questions before. I am Ray Smith, saxophone professor at Brigham Young University. The name of the book is The Real Jazz Pedagogy Book available on Amazon. Thanks for watching! Ray
@@jaykay1053 I am so glad this is helpful! I have a new book coming out soon --"The Science and Art of Saxophone Teaching"--and I have a whole new chapter on a ton of jazz effects. Some of it is repeat of the video you watched, but a lot of other techniques as well. There will be a whole new set of videos coming to this channel in the couple of months. These jazz effects are a matter of special techniques, not a matter of being born with it...!
The upper teeth are on the mouthpiece and not too far in. If you put too much mouthpiece in the mouth, it will be difficult to do these things. Too little mouthpiece=lots of control and no sound or power. Too much mouthpiece =no control, but lots of sound or power (maybe even blatty or honkey). So you want to get just the right amount of mouthpiece where you have maximum control and maximum power at the same moment.
@@garymelhaff9327 there is definitely no standardized term. Most people in my circles would call it half tonguing or the N tongue. If your circle wants to call it muted tonguing, so be it. But don’t expect that to be standardized!
![How Do I Sound Good On Saxophone? [avoid these 3 awful mistakes]](http://i.ytimg.com/vi/fcnPznz8jKQ/mqdefault.jpg)
Respected sir it's really beautiful information 🙏
Thank you so much
Much respect to this gentleman. Lots of great information taught in a great way.
Glad it was helpful!
Excellent no bs all gold
Exactly right. I generally tune up and lip everything down (at least when playing jazz)
Good god, I learnt so much here! Lots of techniques that are helping to demystify the art of the jazz saxophone. 👍👍👍👍.
That was a awesome and it is very nice a to play low notes to high notes ,never new that the lips and mouth moving the sax
That tone is beautiful. Very informative.
Thanks for your kind words. Keep watching the videos.
Thank you, Ray. Very appreciative for the video, sir.
Very helpful!
Wow! You got a pretty hard reed over there XD! Great video, great content!!
Thank you!
such a great video, so full of content! I'll save it as a little bible to return to, for my studies. thank you sir!
Thank you, Emanuele! Thanks for joining us. Check out the Chapter 23 video which goes even a little further.
Sir you are amazing!¡!¡ Thank you so much for sharing
Thanks so much! I’m glad the videos are helpful. Check out the new one today on the soprano saxophone!
@@charlesrsmith7 I'll check them all you can be sure of it. Just the idea of playing slightly flat opened my sound in a way i never thought it would!!!🙏🙏🙏 Thank you so very much Sir
Fantastic. Thank you for this.
Thanks so much. I have a lot of new videos coming soon related to my new Saxophone Pedagogy Book.
Thanks for this Ray - very useful and clear. The Phil Woods track you mention at 18:55 from Live At The Showboat (all-time classic album!) is How's Your Mama.
Oh, of course! Thank you!
Fabulous david sanborn impersonation 5:29
Thank you!
Alot of people really like David Sanborn. I honestly can't get past his sound, to me it's just grating.
@GRiM2.0 To each his own. I can get into his screeching tone, it's the smooth jazz commercial style he played that I didn't like so much. But I do appreciate when he sits down to play standards and what not.
@@PaddieFunk I'm not into any of it. I've tried, I just honestly cant.
Hello, Ray! What you think about how teaching Garzone? About ppp, and no sound when you blow air? Thank you. Sorry for my english
Vibrato begins at the beginning of the note in blues as well. Just like singers
Yes
Great video thank u
I'm glad is was helpful. I have a lot of new videos coming soon related to my new book "The Science and Art of Saxophone Teaching"
Professor, that's a phenomenal video, so full of information! Are your books mostly directed to teachers? I'm still learning the basics of improvisation, but I feel my tone sounds "boring" partly because I'm missing effects like this - a book with information like this would greatly help.
Thank you! The language in the books is directed toward teachers, but it is easy to pull the content out for students. It would all be very understandable and helpful for you. The saxophone book has a lot of help for tone and intonation, etc. You need to check out the video for chapter 23 for a lot more effects that can add soul to your playing!
Yes, Ray's excellent book is 100% accessible to a student. It's been a huge help for me.
Thank you.. thank you..
Check out Chapter 23 later in this same playlist:Jazz Effects
@@charlesrsmith7 thank you for sharing your talent to us sir.. Godbless..
Hey man, you got a beautiful saxophone, may I know what model it is?
It is the Stone Series of the Cannonball Saxophone! It plays as great as it looks. This is the black nickel version.
@@charlesrsmith7 Great! Thanks, have a nice day
This guy is the real deal. He mentions a book he "just" published. Anyone know the name of the book? Anyone know his name? The name of the college or university he's giving this talk to? When this was shot?
Uh oh! My apologies. I just realized that I posted my comment on your channel, not realizing that you are also the prof in this video! Please excuse my ignorance. I want to thank you sooo very much for posting this video of yourself giving a real connection to the era. Your real-life, professional descriptions and playing examples of each of the mysterious sax sounds that those of us who have always adored big band but only ever learned classical techniques always wanted to learn how to do!
Last night, for the first time ever, I successfully used what you call the "n" tongue, what kids these days are calling "dooden" tongueing. It gave me hope that an old classical player like me might just be able to get a handle on some of these jazz techniques after a lifetime of feeling like a total jazz failure, always sounding like a classical player trying to play jazz.
Your demonstrations in this video are priceless. I will be paying close attention to your bends and scoops again and again. These skills have alluded me all these years. They were never presented in a way that made any sense to me -- until this video! I can't thank you enough.
I hope I can find your book somewhere online. Would you be willing to put a link in the info section under this video for the handout you gave the education students? Thanks again. All the very best to you, Prof. Smith.
Sorry, I didn't see your questions before. I am Ray Smith, saxophone professor at Brigham Young University. The name of the book is The Real Jazz Pedagogy Book available on Amazon. Thanks for watching! Ray
@@jaykay1053 I am so glad this is helpful! I have a new book coming out soon --"The Science and Art of Saxophone Teaching"--and I have a whole new chapter on a ton of jazz effects. Some of it is repeat of the video you watched, but a lot of other techniques as well. There will be a whole new set of videos coming to this channel in the couple of months. These jazz effects are a matter of special techniques, not a matter of being born with it...!
Wow! Thank you! Sorry for my english, i'm from Russia
Sir what about upper teeth position please 🙏
The upper teeth are on the mouthpiece and not too far in. If you put too much mouthpiece in the mouth, it will be difficult to do these things. Too little mouthpiece=lots of control and no sound or power. Too much mouthpiece =no control, but lots of sound or power (maybe even blatty or honkey). So you want to get just the right amount of mouthpiece where you have maximum control and maximum power at the same moment.
👍🎷🎷🎷😉🇨🇿
Interesting alternate names like half tonguing for muted tonguing and never says muted tonguing. Guess there's no standard for naming a technique
@@garymelhaff9327 there is definitely no standardized term. Most people in my circles would call it half tonguing or the N tongue. If your circle wants to call it muted tonguing, so be it. But don’t expect that to be standardized!