Classical Sax Mouthpiece for Jazz
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- Опубліковано 13 тра 2023
- Let's settle a debate with this video. Can we use a classical sax mouthpiece to play Jazz??
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We are fortunate to have you on UA-cam. No joke, you are the real deal. Your education, professional experience, and teaching skills are top notch. Thank you so much for your fantastic videos.
I appreciate this video a lot. My wisest band instructor told me first - jazz is about feel, articulation and phrasing, not about the mouthpiece. I have been fortunate to own and play some of the most expensive mouthpieces out there for Alto and Tenor, including models oriented to Jazz, Pop / Contemporary, R&B, Rock and Funk... as well as Classical mouthpieces. I'm middle-aged now and don't have time to mess around changing my setup all the time, so I find myself grabbing my Selmer S-80 C* / C** on both horns! I like the dark sound and the intonation is locked in. For a lot of advancing students, simply switching to a Jazz cut reed on their existing mouthpiece will do a lot and you don't need to automatically go buy a Meyer for Alto or a Link for Tenor - just because. Thanks!
What a lovely rendition of Debussy's Clair de Lune. Love the noodling. Great advice, as always!
I have an old hard rubber Yanagisawa tenor mp. I’ve played classical, jazz, rock, worship, funk…. So glad I found that mouthpiece. It does it all.
I play tenor sax with a modern Soloist E mouthpiece. I use it for classical and jazz (if I play jazz a D'addario Select Jazz reed will work very well).
I also have a D'addario Jazz select D9M mouthpiece that I use if I need it in very loud situations. But in reality I almost always play Soloist.
I used a Selmer D Soloist for EVERYTHING years ago. Just different reed selection for the gig.
On alto and tenor, I can get a decent jazz tone by just slightly adjusting the embouchure. The other way around, jazz mouthpiece in a classical setting, is harder to pull off convincingly. Interestingly, it's reversed for soprano and bari, I can get away with a metalite for classical but my dedicated classical setups can't quite cut it.
Beautiful sound, brother
Thanks
great video!!
In the USAF Bands, for classical, I played an old Otto Link slant signature Tone Edge, with a narrow tip opening, it was a 5 on alto, (not a 5*)
Good video! Basically students need to change the mouthpiece and change their approach when going between styles. I find getting students to change the approach is the biggest challenge.
Best saxophone content on UA-cam
😁
Hello! I like the sound of the classical tenor sax mouthpiece in jazz. It is so tasty. Like a human voice
“You can eat spaghetti with a hammer… if ya want to…”
That’s a good one!
In my high school jazz band I used a classical mouthpiece because my sound overpowered our Alto 1 😅
I also like Vintage Reborn series a lot! I want a new alto and the BRUTE option Cannonball has is mind-blowing )
I had this question too. I do have a classical mouthpiece and I played jazz on it, and it still sounds good to jazz when I play it. But I would get a better sound if I used am actual jazz mouthpiece.
For classical saxophone, just use any hard rubber Otto Link with a narrow tip, for alto, use a 5 or 5* tip opening, for tenor use a 5*, 6, or 6*.
Do you have the sheet music for Clair de Lune ?
THIS is how a tenor saxophone should sound IMO.
Sirvalorsax
Thanks for the advice about how to develop the sound but I don't get anything about this:
1) Is your mouthpiece soloist tenor E for classical?. but, Soloist is consider an hybrid mouthpiece (it's facing)
2) and opening E(2.20mm) is a HUGE opening ,it's like a 5 jazz opening , can you do the same with a soloist C*? &or maybe a S90) I think that soloist mouthpiece is more for jazz. The smallest S90 tenor sax mouthpiece for classical is 1.60mm opening and facing 24mm. Can you do the same exercise with that small opening and large facing ?
3 ) your sound is like a smooth jazz, almost classical with the huge opening and large facing.
I am trying to understand al this
I am **NOT** Sirvalorsax, and you didn't ask for my advice. But maybe I can give some insight.
I personally use a Selmer Concept on Tenor, obviously for classical, but for Jazz too. Both Ballads, and Dixieland, New Orleans Style Jazz. I prefer the slower stuff, because it really lets the tone shine, but faster stuff is no issue. I have no issue in either projecting or cutting back, and it works great. I have a Metal Selmer Jazz piece, D opening, which has good tone, but is hard to play quietly. I also need to drop my reed strength considerably when I'm playing it. Probably a skill issue, but needless to say, it doesn't come out often.
I will say that, from what I've read, the Concept is actually similar to a D or an E size opening (2.10 mm), but the expressiveness and tone are fantastic. I've used reeds from 2.0 Rico to 4.5 D'Addario Reserve, and they all work wonderfully (though, of course, the 4.5's are a bit of work.) My main reeds for BOTH Classical and Jazz are the Boston Sax Shop 3.5's or 4.0's. Great clarity, good articulation, and easy low notes. Win-win.
Now, for the advice that actually pertains to you: I haven't played much C* on Tenor. I have a friend that absolutely kills it in *any* style on his C*. Insane classical tone, ripping jazz, he does it all. The C* is pretty versatile, I've found. I play it exclusively on Bari. If you're having trouble, remember that new reeds are always much, much cheaper than a new mouthpiece. I still recommend Boston Sax Shop. I hope this helps, and you find the sound you're searching for.
I have never felt like this was a hybrid jazz/classical mouthpiece and I have only ever approached playing it like it is a classical mouthpiece. I think you may be thinking of the Joe Henderson short shank Soloist that everyone associates with jazz because of him but it really is not a jazz mouthpiece at all. All of this can be done on a C* which I use to play in college for classical. I have many videos reviewing mouthpieces where my sound is much different than what's in this video. I hope that can clear things up. Thanks 😊
Lol the fancy spaghetti fork
i like the edge i get from a jazz setup
Imagine that 5 saxophones in the section have a similar edge; playing together, 5 of you would sound horrible: the harmony is not sustainable, it breaks down. But when soloing, with only rhythm behind, the edge is admissable, and it does help enrich the sound of the soloist, give it a bit more expressiveness.
When I'm not playing lead part i use my classical setup
😁
Next do jazz setup for classical
Great suggestion
Dave Sanborn uses an extreme clarinet like embouchure angle for his metal Dukoff mouthpiece.
Sanborn plays at a steep angle because he loves playing high baffle mouthpieces. He is sending a very narrow but speedy airflow down the horn; high baffle mouthpiece is accelerating the flow, something like shallow rapids accelerate river flow. But if you raise the saxophone to play it more horizontally, you let more air in, airflow velocity drops, and the high baffle will choke up, blocking the sound or producing horrible squeaks.
@@zvonimirtosic6171 He plays out the side of his mouth with an extreme angle, because he had polio as a child and could not hold the sax properly.
@@grantkoeller8911 That handicap forced him to choose the setup that can exploit the handicap, and still make music. Similarly, I had a series of pneumonias that nearly destroyed my left lung, but playing woodwinds helped me exercise my other lung to compensate, and stay in better shape.
@@zvonimirtosic6171 So glad woodwinds helped your lungs!
Hi I’ve just started saxophone do you have any socials would love to learn from you 🎷🐉
My UA-cam channel is the only one dedicated to this
I would just go back to a Yamaha 4C or 5C mpc with a harder reed than what I’m using for jazz.
Selmer Soloist: Yes, Joe Henderson, Kenny Garrett.
Oh man now I want spaghetti
Lol
Hey Sirvalorsax, love your content! I just posted a classical tenor recital over on my channel, be cool if you'd checked me out.
Love the topic of this video had me thinking about my setup. I think a classical setup is very doable as they tend to be very stable. but definitely a jazz setup helps in having a sound that can cut a big band. In my opinion, I think James houlik sounds a bit jazzy for classical tenor with a big sound that cuts a full orchestra or concert band.