My saxophone teacher has taught me from the beginning that every time you practice, no matter how brief, you come away better than had you not practiced at all. I have found that to be true again and again.
6:56 - I was told once by a music teacher to only play as fast as you are able to play well. There is no sense playing fast if it doesn't sound good. Start slow and work up to playing faster as you improve, like you said.
I invest the first 10 minutes of my practice time on Longtone, Overtone and Altissimo. I always start my practice session with these exercises. It has helped me to improve my tone. I'm still learning, but I'm getting better. As Jay said, they are not myths. I understood the importance through one of Jay's old videos. I have also heard some notable Saxophonists on UA-cam condemn Longtones/Overtones, but I believe Jay more because I practice what he says, and it works for me. Thanks, Jay.
On January 3rd of this year, I started to learn how to play soprano sax at age 61. I heard all these stories about how difficult it was going to be. It's been challenging for sure but, it's also been a blast. I'm really having fun with it. Thinking back, I think that learning to do Judo was more difficult. I'm now a 3rd degree black belt and I'm still learning. Regarding playing fast, I have had many Judo students want to attempt a new technique fast. They usually mess it up. I tell them to focus on learning the technique not the speed. As their body adapts to the technique and they develop muscle memory, their body will kind of speed it up on its own. In most cases, they will perform the technique fast, with skill, and almost not be aware of how quickly they've done it or how easy it was. I think this same principle can apply to learning to play the saxophone.
I only have one thing to say about this. As always, you’re right on the money, Jay. About the hours that takes to “master” the sax, I always tell everybody that it is better to play 30 minutes every day than 3-4 hours every week. That’s very basic for me. Also, a myth that apply only to women is that you need “strength” to play the saxophone. I was approached by a girl that told me she was “shy” to learn the saxophone because she thought there weren’t any good female sax players. I told her about Candy Dulfer, Mindi Abair, Jessy J, Betty Smith, etc and she was blown away (pun not intended). It is incredible how our sexist society excludes women in so many aspects, even to the point where there’s instruments for women and for men 🙄 I hope every day more women approach to the saxophone and learn how good they can be at it. Nowadays I show videos of Grace Kelly (the sax player, not the actress 😂) playing the bari and all doubts are solved.
My favorite Senior High School Band has Baritone Sax players that are young ladies. It’s amazing to see them play as the sax is almost as tall as they are.The sax looks kind of intimidating and heavy to me, but the ladies handle it with ease. What an accomplishment in a marching band. They even participated in the Rose Parade.
@vickybreeze0awesome story, I would think a tuba, sousaphone,and a french horn would need a lot of air to play. I never thought that a sax would need a lot of air, I just thought it would be hard to play. I’m in my 60’s and from watching a lot of videos I’m going to try to learn to play a sax.
Almost 30 years ago a friend of mine was dating a 17 year old sax player - she played the most simple impro solos I ever heard - I wasn’t impressed. Last time I saw her I was watching BBC Glastonbury Festival - there she was playing backing sax really well to a crowd of 150K plus a few million BBC viewers. Guess those simple lines starting developing- every note counted, no bull### !
Hey Jay, nope doesn't matter what age you start this wonderful instrument, I've been playing for the past 2 years and Im 64 and I just do it for me because I love it
Learning to play melodies by ear in your Pentatonic Foundations and Blues Foundations courses I saw Myth number 8 really come true for me. I found working on each of those tunes a little bit, then move on to something else for a week or two, then coming back to them I was able to get them under my fingers very quickly (coming back the second time).
I play brass instruments, but so much of what was said here makes sense when learning any instrument. I'm going to spend more time improving my tone on each of the instruments.
Long tones! I have been playing sax for several years and never practiced long tones. My son, who is a very fine saxophone player, convinced me to start practicing long tones, even if it was for a short time every practice session. I feel like I can already feel and hear the results. More control of my sound, better soft passages and more consistent sound. Now I am a believer.
One of your best videos, Jay, because I agree, so I know you're right! 🤣 I stared at 70, avoided too many scales and patterns and didn't do a lot of long tones. The only advice I'd give to anyone on any instrument is, LISTEN TO THE GREATS! Practice being yourself. Less is more in any music, it's a matter of feeling and sound, not velocity and density.
Great advice, Jay. I had once met Paquito D’Rivera on the set of the film Two Much when I was an extra. He was onstage with Arturo Sandoval and other musicians including the composer of the film’s score. I have read about him in Down Beat magazine for years when I was in high school. He and I talked for a moment and he surprised me when he told me that he was still trying after so many years of performing. On the set as he and Arturo Sandoval played, it sounded great. D’Rivera played with great skill and it seemed effortless as he played. I asked if he had any study guides/ instructional recordings. He said that he did and it was the same as the recordings of Jamey Aebersol. He told me to just listen and follow along with the band. My instructor told me that when he started, he practiced at least 4 hours a day to get the sound and skills he sought. He also played clarinet and played in the NBC orchestra at a young age. Next to him was another musician that would become an acclaimed film composer. That musician was Elmer Bernstein. I have a saxophone question. What is your opinion on the Allora Chicago tenor saxophone.? I guess I cannot afford a P. Mauriat System 76 tenor and am looking at the Allora brand.
Jay is a great musician and a wonderful teacher, with the ability to convey his enormous knowledge to people with so much enthusiasm and logic. He's terrific. I wish he was around 25 years ago with this channel when I took up the saxophone without ever having a lesson or even knowing how to read music😊
My son is an accomplished pianist and guitarist planning to take up the alto sax next. Seeing how he works, I can second the advice to practice with a purpose, improving specific technical or artistic aspects of ones play, instead of just trying to play some jazzy piece of music. It's 'practice' versus 'play'. Do that, and you'll find songs falling much more easily to hand with less frustration.
Great vid again, Jay. Thanks. Had my best practice session for ages earlier on my new tenor. I honestly think it's put me in a better mood this evening!
I came here after seeing a segment of digital horn playing and I pick up a Yamaha WX11. Altho its not the same thing as a real sax, I am hoping to get better with it as any instrument and see what I can get out of it. I did play the real sax on my old Bundy from HS school and haven't played for over 20 years, and just now getting back to it. I'm happy to say that the fingering is all still there and being able to read song sheet and know which key to play is mostly there in the middle C area. I'm sticking to the 30 minute per day minimal. Also learning the keyboard as well. With Covid lockdown and isolation, its been very good to give myself that 30 minute as therapy of going crazy. My eyes is not so focus on getting good, but more on feeling good, and enjoying it, and somehow I think I am getting better at it everyday.
The reason for the Digital version is because it was more affordable and I really wanted a Bari-sax that I got to play in HS but that is way out of my range, now I can play the Yamaha DX fatty bass with it. Im happy!
I am definitely guilty of the myth 9. What helped me is to have a journal and do something new every day. Then go back through the journal and see what you can improve.
At the young age of 77 I have started playing sax again. I retired from playing in 1985 due to business changes and regreted it ever since. At that time I was a relatively successful semi-pro on the London jazz and R&B scene. Re-Starting a few weeks ago with an Odyssey alto which is completely un- played and coupled to that is a Yamaha 5C mouthpiece. The 4C made the basement notes impossible., I was horrified to find that I had forgotten just about all I knew, Including some of the fingering! I am working through the free course and will almost certainly take the premium, but when I watched this video, I realised how much my self opinion was based on wrong assumptions, that I must have had back all those years ago. I was pleased that the erratic way (I thought) that I practice was holding me back. But your 10 myths proved that I was right all along, so now I feel more confident. But I am struggling to stay in the correct octave. I keep blowing the upper octave without the octave key. A problem when I played soprano, at first. But, not on alto or tenor which I prefer, but at the moment don't have a tenor.. I also hear lots of references to overblowing but don't recall ever hearing that mentioned. No doubt as I progress through the course all will become clear. But thank you for your excellent presentations and the style you present which is so refreshing from some of the other "experts" out there. Thank you for not talking down or patronising. By the way I saw your video on practicing in the car. I have had to do that due to an annoying idiot next door. BUt now feel ready to go back to playing into wardrobe which is great mute.
Its definitely true that playing everyday, has a huge positive impact. Once I started playing everyday consistently (even when I just have 15m) I noticed a big benefit to my mental health and overall mood. Music is Medicine!
Watching Better Sax videos makes me want to go out and buy a sax, and I’m not musically inclined at all. Now if I can figure out which sax to get. Too many choices lol. Leaning toward a Selmer SAS 711 though.
when i first learned to play, i was in 4th grade... that was 15 years ago now, and I'm almost 25. The bundy also sax i used to play - which belongs to my uncle and was returned to him all those years ago - was graciously gifted to me again. Even back then, I would often teach myself to play songs by ear (my favorites, usually things like the pink panther or indiana jones theme songs). I hated reading sheet music, despite it being such a simple concept, and i still heavily incline towards reading by ear. I can feel the music calling me to play, and i definitely understand the feeling of being the "eternal student" (as a visual artist also, i can attest to never truly feeling like you've reached our "goals", aka "lofty concepts of what perfection is"). other than that, technique can always be improved. I had something strange happen to me, while practicing. I played a near perfect improv for nearly 4 or 5 seconds, and then it was gone in a flash. I haven't been able to recreate that same technique/headspace, but it just felt "right". It's that natural flow i want to find. Sometimes i can hear it in other sax players/music when they achieve that "flow". There's definitely something funky and awesome happening with so many being called to follow their long-lost or newly-discovered passions, maybe one day we will cross paths and jam together without ever knowing. I love having found such a wholesome and supportive community through fellow sax players. yall are awesome. Could you suggest, or make, a video about another perspective on reading sheet music? I find you often frame things in a way that helps the concept "click"!
Thanks Jay. Pretty consistent practice here. Worked advanced studies into sessions. Comment couple weeks ago from old band mates. Joe...your sax has improved immensely. Didn't see (hear) it myself because gradual, but trying to personally acknowledge the improvement as personal encouragement. Thanks again. Grateful found you.
consistent practice provides benefits that are harder to see sometimes since it's so gradual. Makes sense that people that haven't heard you in a while would notice though. It's like if you lost 5 pounds over the course of 2 months. You may not notice it, but someone who hadn't seen you in that time probably would.
An informative video. I enjoy all of them! I've been following your advice and getting results! Taking baby steps on difficult pieces and slowly building up my speed has worked. My routine is sight reading something challenging, then scales, and patterns, then work on standards. If I have little time, I'll get in about 15 - 30 minutes of arpeggios to keep the chops active. Since on lockdown, and I have time, I enjoy practicing for a couple of hours a day on each horn (tenor, alto, and flute). The process is the reward and my musical journey continues. Thank you.
I recently picked up the alto sax (a YAS-280) and I was already improvising before I learned where each note was. Indeed, one note is enough for it. I quickly learned a blues scale and just had fun with it. I should still go back to the basics though and get a good embouchure and blowing technique before going for other things!
Another thing I like to do is check my posture and make sure I'm standing up straight, I'm a freshman in highschool as of right now were a milatary band so we have to move fast and poppy and stand up straight look at the horizon and hold our instruments straight in front of us, I like to put my feet right next to each other and stand up straight and do all these things that we do during marching in summer band, it really helps me. (edit) It helps me to exercise before praticing and roll my head around and do jumping jacks.
Ahhh I miss my saxophone so much! I was using a Kohlert 460 Student Tenor (link at the bottom) from my school, but now that we're moving away, I wasn't able to keep it, and had to say goodbye. I honestly don't know how I'm going to survive the rest of my summer holidays without practising! I named him 'Sir Tony Tuna Tim The Tenor Saxophone', after migrating from an alto saxophone. He played absolutely beautifully, and I loved every second of practise, every minute of every concert, and every single note that I was able to play. Here's some history: As of today, I have been playing for 2 years. 1.5 years ago, I played an alto saxophone, which I loved to bits as well. Though, after realising she (her name was Suzanna, and she's fine now) had a huge problem with the octave key, I had to switch to another alto saxophone, which was named Sammy (someone else named him that). While Suzanna was in for repairs, I had lots of fun learning concert pieces on Sammy, some of which are: Klezmer Clarinets by Timothy Loest, Cardiff Castle by Mark Williams, The Tempest by Robert W. Smith, and Coldwater Creek by Robert Sheldon. These pieces were the first I learned to play, and when looking at the scores of the music I play now and the scores of the aforementioned next to each other, I must say I am proud of my progress. Then, one fateful day, our band director gathered all the saxophone players, and asked which one wanted to try playing the tenor saxophone which was, until then, stowed away in the back room. Having always wanted to try it, I jumped up and down and begged for her to let me transition to it, and she did. I was overjoyed, and after getting a reed from an upperclassman (2.5), I was finally able to play! But then, the unthinkable happened, on the very first time I played it, the high f# key and the rod connected to it fell off. It just… fell off? Now, you might be thinking 'Well why didn't you just play a different tenor sax?', you see, the problem here is that neither I, nor the school had another one. I was only warming up, and it just suddenly popped off. It's true, the saxophone was dropped multiple times by the people playing it before me, and they did have to get the aforementioned soldered on once before, but no one expected it to fall off while being played. Here's when things start to get tricky. We had to send him off to repairs in a different city, and while he was being repaired, I was forced to learn the newest concert music with Sammy (which wasn't all bad, because I can now play 2 parts). One month later, nothing. Sir Toby Tuna Tim was still off to repairs. Two months later, still nothing. Then, finally, three months later on my birthday, the saxophone was brought in, but the issue was, that it was put into the wrong room. We only discovered that it was put into the room next to the band room 3 days later. After so many weeks, seeing him, and being able to hold him in my arms brought tears of joy to my eyes (the less dramatic version of this is that I just threw myself on the floor next to it and sobbed for a good 20 minutes straight). I was able to learn both parts of the music for our upcoming concert, which was really cool, since I was able to help the other alto players with their parts. I played in the concert with Tony Tuna Tim, and was the only tenor player, which kind of felt awesome. The concert was a big success, and everything seemed to be going well again! Well, no. Enter CEESA season. Me, being the music addicted person I am decided to enroll myself in the CEESA band, which is essentially an advanced band that would be going to Moscow for a competition. Now you might be thinking something along the lines of 'well, what's the problem with CEESA band?', there is no problem with CEESA band in itself, but it did mean practising more and playing way more often. This, in itself is also not a problem, but what do you need to change every so often to be able to play? Right, your reed. This is where the problem was. I had not changed my reed in over 5 months of playing, so naturally, it was absolutely dead. Our band director didn't have tenor reeds, so I had to figure out how to find some on my own. Like any normal person, I went to our local music store, and lo and behold, they didn't have any reeds, even though they carried tenor saxophones. After that defeat, we went to 3 more music stores, but to no avail. Now our only option was to order them online, so we tried that, but my father being my father ordered the cheapest box he could find, and, well, you can probably imagine how that turned out. Never ever buy 'Soundman' reeds, they are terrible. One month passes, and we finally order good, brandname reeds (Vandoren). Well the problem here is that they didn't arrive for another good 4 months because buying something online and having it shipped to you is basically impossible in Turkey. I was *not* going to continue using an absolutely dead 2.5 reed, so I looked through the cabinets in the other music room, and to my relief, I found a box of green Vandoren 4.0 reeds. Me being me, I was so happy to finally have a new reed, and didn't realise that it being literally four steps up (in thickness) might be a problem. Once I had soaked my reed and put it on my mouthpiece, I tried to play, but nothing came out. All you could hear was a faint wheezing sound. I was barely able to play with the others in band practise, because I was out of breath so incredibly quickly. A plus point is, that when I *did* make a sound, it was a really pretty one! A couple of weeks later, I was finally able to play halfway decent with my size four reed, but it was still an extra challenge added. You see, the music was also a *huge* step up. The pieces we played before were about a level 1-2, but these new compositions were levels 3-4. The pieces were: At Peace by Matt Conaway, When Summer Takes Flight by Robert W. Smith, Machine Age by Chris Bernotas, A Night in Budapest by David Bobrowitz, Rampage! by Todd Stalker, Quintus by Larry Clark, Dark Adventure by Ralph Ford, and Foundry by John Mackey. When Summer Takes Flight has a joyful saxophone solo (tenor and alto), which is incredibly fun to play. Machine Age is simply incredible, it is out of the ordinary and unique, in addition, it is also very fun to play. A Night in Budapest was with Foundry the most difficult piece to learn, because of its more complicated rhythms (at least more complicated than I am used to) and notes. There were many accidentals, the time signatures changed every few bars, and the bpm changed very often, too. This piece was a huge challenge, because of its quick tempo and staccatos, which were 10x harder to play because of my reed. Still a very beautiful piece, though. Rampage! had me playing the same melody as the trombones, which was *very fun* , because for once, I wasn't actually the only one with my part! The repetitive melody was very aggressive, and therefore never got boring. In addition, this was a very quick piece, with lower notes than I was accustomed to, and with a reed that I could barely get a sound out of, this was also very difficult for me to learn. Quintus is a very fun piece, it wasn't quite as challenging as some of the others here, but it was a nice break. I am still learning how to play Foundry, and for now, it is the piece that I will focus on. It features a similar aggression to Rampage!, but also has very quick and melodic aspects to it, much like those in A Night in Budapest, making it *very* difficult for me. These compositions (except the last two) were the ones we were expected to learn, to be able to travel, and don't ask me how, but I did it. I was able to confidently play through all of them with a size 4 reed. I ended up not being able to travel, because I wasn't allowed, making all of my hard work go down the drain. We (not-advanced band) were given some new (and easier) pieces for our next concert, which we never got around to learning or playing, because of covid-19. The pieces were: While I Watch The Yellow Wheat by Larry Daehn, The Avengers by Alan Silvestri and Robert Longfield, and Afterburn by Randall D. Standridge. When I was not working on concert music, I was working on completing the first 2 Essential Elements books. Then, finally, the box of Vandoren 3.5 reeds arrived, and I buried my old 4 reed in the backyard. I held a funeral via online conference with our band and band director, and played on the 3.5 reed. It was a beautiful ceremony to honor the dying/dead, and welcome the new. A few weeks after that, I was forced to bring Sir Tony Tuna Tim back to the school, to never see him again. Of course, like any responsible instrument owner would, I left a 2 page long note on how the next owner should behave, a todo list for the next owner, unwritten band rules, how to keep up our legacy, tenor saxophone dos and don'ts, and finally, Sir Tony Tuna Tim's full name. I miss him to bits, but I know the next owner will treat him well. If not, our band director promised me to give Tony Tuna Tim to another, more invested band member. Ok, if you've made it this far, thank you for reading all of this. Now here comes my actual question, how can I practise without an instrument? Here's a link to the saxophone referenced here: www.musiciansfriend.com/woodwinds/kohlert-model-460-student-tenor-saxophone
Hello Jay! I enjoyed watching this video. So many people are hung up on playing really fast and you helped me to see that playing slower is just as good sometimes.
I loved the video Jay, I also like the new look without the 🧔. Myth #2 clearly a myth. I didn’t know what a saxophone was until I was 22 years old, as I grew up humbly. Myth # 6. The marshal arts gurus have a saying about technique when they are teaching it. It goes, “slow=smooth, smooth=Fast.” Great video teach.
My experience is: You learn what you do/practice. If you practice with concentration, a good feeling, awareness... you save that in your memory. If you practice with less of these or similar qualities, you save that approach to the instrument and music. So, every moment of good company with your instrument is precious. If you're not able to be present while practicing, better save the time for something else around music.
Good ideas. I found that playing along with classic recordings tuned my ear and improved my improvisation. I enrolled in a jazz band class to get in more playing time in dry years to keep my chops up. I felt proud that a player next to me was shy of improvising, but never again after I soloed on 'The Shadow of Your Smile;' then she blew up a storm. I always blew some after work to feel better. Feeling the music. That should be mentioned; one plays best that way. Feeling the style of any song and going there helps too.
One more wise Video, thanks for that! Once again it gives me interresting stuff to think about... Myth 2: I'm 46 and started about 2 months ago. My first Instrument... But I feel young, really!! ;) Serious: If You think You're too old, You certainly ARE too old. If You don't try something new, You'll never learn something new - that's a fact, no matter how old You are. Maybe my chance to ever become a good musican has passed a few decades ago. But that doesn't stop me from having fun practicing my Instrument! I'm not a musican now (not even a bad one) that's my first step to take - and then see how far my journey goes. I don't aim being another Charlie, John or Stan. I will do my jounrey as a Silvio, because that's who I am. ;) "Mind is like a parachute: it doesn't work if it's not open" -- Frank Zappa. Myth 7: especially beginners should not overuse the (not developed) Emboucher - muscles! Teacher says: Better practice shorter time but every day than getting totally exhausted once or twice a week. I usually practice about an hour each day, always start with long tone exercises. If I begin to bite before the hour is passed, I stop. If I still play after 75 minutes, I put a stronger reed in (usually play with 1,5 - then I change to 2 or even 2.5) and end my session with long tones again.
Hat's off to you sir! Many thanks and BEST regards for sharing MOST valuable information ,your rich experiences and providing free download courses.... NDG.....India
Agree about practicing slow and then going full speed. I wasted so much time doing the increase 5 bpm at a time thing. Only thing that happens is you tense up trying to play too fast.
This is good stuff, another tip for improv is to mimic the melody of the song your improvising over, then you can expand your ideas. You can also try to play other melodies you’ve heard from different songs.
Always worth getting some tips from a pro player ,rather than struggle in ignorance. Having fun with sound experiments will keep you playing more than chasing some music school grade.
Jay,love your instruction vidios,happy with progress in spite of an amputated,finger (left ring finger G), arthritis emphazema & a few ailments not mentioned,Proud to be under your instruction.would love to exibit my progress & share with doubts of there abilities.Thanks For all .... STUB.
Myth #7, yes this is something I've adapted as of late. Before if I couldn't get in my 1.5 hour practice session for that day I would just skip practicing. Now if I have at least 1/2 hour to spare, I will pick up my horn and work on one thing for the duration. Thanks Jay for solidifying that for me.
Regarding myth Nr2 Charlie Parker startet at ~15 What most people lack is not the efforts to get good but the right environment to grow in. Nowadays jazz is way less popular and there are less oppotunities to play with other people and get helpful feedback.
Hi Jay, I’m relatively new to your channel so to start, I’d like to thank you for doing all of this. I’ll try to keep this short, but........I’m 72 and have been playing flute since 1960, and saxophone since I was 16. Aside from all of that, I had been limited to flute for about 8 yrs due some dental issues. When I accidentally found that I was able to actually play sax again, I pulled my horns out of the closet and after struggling with them all (Monique soprano, a Mexican Conn alto, and a Buescher Super 400 tenor.), I turned them all over to my horn tech buddy Steve Sandberg here in Minneapolis. He did some undeniably magical mojo on them and rendered them supremely playable, particularly the Buescher. I have been borrowing that horn from an uncommonly generous guy since ‘87 after my Mark VII was stolen from my car during a massive rainstorm in L.A. I am sending my friend his Buescher back as soon as I take ownership of a USA Selmer 1244 (he conditionally agreed to let me return his horn AFTER I send him a photo of me and the horn (the 1244) that I found to replace the Buescher. That is the other reason I am writing: Have you had any experience or encounters with the 1244, either repairing or playing-wise? I’ve already done the deal ($540) and will be taking delivery by Jan. 8th or 9th, and am anxiously anticipating getting my hands on it. I expect to have to turn it over to “Magic Steve”, at least for an evaluation. If you have time in your busy schedule, I’d sure appreciate your impressions of that horn. The other thanks that I wanted to convey, are for the “fogging a mirror” imagery for improving my tone production, the Reed Geek, Boston Sax Shop reeds, and for having such an awesome, valuable channel. Thank you Jay, very much for all that you do, and I’ll be seeing you on the “inter-webs”!
@@bettersax Hi Jay, I don’t know if this is welcome or not as a follow-up to my query about the USA Selmer 1244 tenor - given that I am no expert - but I just wanted to pass some info on to any beginning players who might be looking for a horn. This is, as advertised a beginner/intermediate instrument, and while capable of producing a nice, clear professional tone ( given the right setup), ergonomically, for me, it is a nightmare🤢! A combination of a weirdly off axis slant of the bell of about 30 x 35 degrees aimed to the left, and a strap ring placement awkwardly close to the right hand palm keys, it seemed dedicated to the mission of creating painful neck and upper back problems eventually. The good news is that you won’t have to wait too long before those problems manifest themselves. smh. Given a choice, I always prefer standing while playing, and that is nearly impossible. I forgot to mention earlier that while the left pinky spatula keys are mostly ok, when necessary to use those keys AND the right hand palm keys for altissimo fingerings for example creates fairly awkward wrist positions. Needless to say, I am returning this instrument asap. Sorry to run-on, but my search continues.......Thanks Jay, I hope this is helpful to someone.
Btw, these tips are spot on for many things I life....especially #9. Way to go Jay! I keep coming back to your Videos, u remind me of my middle school Band teacher, he was a cool dude!
After fifty years in the music business I have found that most sax players fall into one of two groups, Those who play to bring joy to their audience, and those who play to impress other sax players. Other sax players aren’t going out to clubs or buying your music, they are practicing!
Myth # 11; you have to move your jaw forward and back to play the different registers equally well. It's really easy to slur any long interval, up or down if you understand how your tongue alters air velocity and how throat resonance works. This is sometimes known as voicing.
I completely agree with myth number 6 being false, and also agree that it is better to learn something solidly and slowly in order to build up accuracy and precision. When you hear something being performed at rapid speed, understand that every one of those players has mastered everything at a much slower tempo in order to get it right. You can also tell when someone is uncomfortable with playing something at fast speeds, as they will either miss some parts and/or trip over themselves, which can throw off their timing. I'm guilty of doing this on many occasions, because it is so tempting to want to impress your audience. If you ever need vindication, look at bluegrass musicians! Each one of them will tell you that precision is more important than speed, and bluegrass is a lot like jazz, in its range of technicality - outside of its comical imagery.
On Myth 5: I generally try to hold back playing too fast and too many notes because I know that listening to that sort of thing exhausts me and I can only listen to someone like Chab LB for twenty minutes then I have to take a break.
Hi Mr. BetterSax, my name is Alex and I’ve been an athlete my whole life. I’ve never played a lick of an instrument, but I want to start playing the saxophone. It seems like a simple, yet complex instrument with many different ways to play it. I am 23 and have enough money to buy a nice sax, but I don’t know which one to start with. I don’t wanna buy a cheap one and feel the need to upgrade in half a year or so. What would you suggest be do? Which sax would you suggest as the best beginner/intermediate with the best sound and also good looks. THANK YOU!!!
Different teachers explaining a concept can do wonders. After years of not understanding something, I heard a native Spanish speaker trying to explain something in English and BAMN - epiphany! The same words told me over and over was not getting through. Then someone with poorer English explains it in different words and voila.
The problem with playing fast (on any instrument) is the risk of leaning against the bump-stops of one's physical limits. Relying on those limits at speed usually results in playing at lower tempos that's uneven and inaccurate.
Bearded Jay: Jazz Saxophonist.
Clean shaven Jay: school district approved private lesson teacher
And Designer Stubble?
Oh no
Derek Akien Don Johnson Jay
LOL YES
There's a lot of truth here and most applies to more instruments than just saxophone.
definitely
I practice long tones on the drums all day
@@Bigfoot0510
Lucky neighbours 🥁 LoL.
@@Bigfoot0510 That was a good one! Haha!
yes yes yes!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
My saxophone teacher has taught me from the beginning that every time you practice, no matter how brief, you come away better than had you not practiced at all. I have found that to be true again and again.
A great point! 30 minutes of practice even if to take a break from the rest of the world is very worthwhile and a good thing to do for your wellbeing.
David, soooo true. It is like a meditation for me. I feel refreshed and my mind works clearer after practice. ☺️
6:56 - I was told once by a music teacher to only play as fast as you are able to play well. There is no sense playing fast if it doesn't sound good. Start slow and work up to playing faster as you improve, like you said.
I invest the first 10 minutes of my practice time on Longtone, Overtone and Altissimo. I always start my practice session with these exercises. It has helped me to improve my tone. I'm still learning, but I'm getting better. As Jay said, they are not myths. I understood the importance through one of Jay's old videos. I have also heard some notable Saxophonists on UA-cam condemn Longtones/Overtones, but I believe Jay more because I practice what he says, and it works for me. Thanks, Jay.
I find long tones improve my breathing and endurance. Also my sound and intonation. Loud to soft and back, vibrato.
On January 3rd of this year, I started to learn how to play soprano sax at age 61. I heard all these stories about how difficult it was going to be. It's been challenging for sure but, it's also been a blast. I'm really having fun with it. Thinking back, I think that learning to do Judo was more difficult. I'm now a 3rd degree black belt and I'm still learning. Regarding playing fast, I have had many Judo students want to attempt a new technique fast. They usually mess it up. I tell them to focus on learning the technique not the speed. As their body adapts to the technique and they develop muscle memory, their body will kind of speed it up on its own. In most cases, they will perform the technique fast, with skill, and almost not be aware of how quickly they've done it or how easy it was. I think this same principle can apply to learning to play the saxophone.
I only have one thing to say about this. As always, you’re right on the money, Jay. About the hours that takes to “master” the sax, I always tell everybody that it is better to play 30 minutes every day than 3-4 hours every week. That’s very basic for me.
Also, a myth that apply only to women is that you need “strength” to play the saxophone. I was approached by a girl that told me she was “shy” to learn the saxophone because she thought there weren’t any good female sax players. I told her about Candy Dulfer, Mindi Abair, Jessy J, Betty Smith, etc and she was blown away (pun not intended).
It is incredible how our sexist society excludes women in so many aspects, even to the point where there’s instruments for women and for men 🙄
I hope every day more women approach to the saxophone and learn how good they can be at it.
Nowadays I show videos of Grace Kelly (the sax player, not the actress 😂) playing the bari and all doubts are solved.
I have two friends that play saxophone that are girls.
Plenty of 'gutsy' females out there. Surprising! Yep. Can't tell the difference.
My favorite Senior High School Band has Baritone Sax players that are young ladies. It’s amazing to see them play as the sax is almost as tall as they are.The sax looks kind of intimidating and heavy to me, but the ladies handle it with ease. What an accomplishment in a marching band. They even participated in the Rose Parade.
@vickybreeze0awesome story, I would think a tuba, sousaphone,and a french horn would need a lot of air to play. I never thought that a sax would need a lot of air, I just thought it would be hard to play. I’m in my 60’s and from watching a lot of videos I’m going to try to learn to play a sax.
I'm a girl and I just started to learn tenor. I think it's much easier than flute for me so definitely not what people might think!
Another myth I reckon is that we must
all change to harder and harder reeds as we progress.
Almost 30 years ago a friend of mine was dating a 17 year old sax player - she played the most simple impro solos I ever heard - I wasn’t impressed. Last time I saw her I was watching BBC Glastonbury Festival - there she was playing backing sax really well to a crowd of 150K plus a few million BBC viewers. Guess those simple lines starting developing- every note counted, no bull### !
Not everthing has to be or will be impressive. We all got to start somewhere.
Gabriel Mohan . Yep, every note she played meant something - I was just too inexperienced to realise!
Hey Jay, nope doesn't matter what age you start this wonderful instrument, I've been playing for the past 2 years and Im 64 and I just do it for me because I love it
Yep, I started two years ago when I turned 70. I love it!
Thanks 🙏🏾 you guys give me hope , I guess I’ll get me one I’ve always love the saxophone 🎷but I thought I’m a Lil to old 43 to play .
Keep practicing!! You're NEVER too old. Music is for everyone from -1 to 100+. :D
Me too I am 65 and have finally started playing. Just for me
Enjoyed this, Jay! I like the clean shaven look, I’ll send a pocket square to help complete your makeover.
haha, thanks Wally, but I don't think I'll keep up with the shaving. Once every 5 years or so is enough.
No beard! I wasn’t ready for this.
Learning to play melodies by ear in your Pentatonic Foundations and Blues Foundations courses I saw Myth number 8 really come true for me. I found working on each of those tunes a little bit, then move on to something else for a week or two, then coming back to them I was able to get them under my fingers very quickly (coming back the second time).
Great!
I am coming back to the saxophone after 30 years.......I am a little rusty, but your videos are helping......THANKS
You are very right in many of theese things. One thing I will say: never ever forget your ideal sound when working.
I play brass instruments, but so much of what was said here makes sense when learning any instrument. I'm going to spend more time improving my tone on each of the instruments.
I was buy a Sax (Alto) in amazon after see your video, all this information in your chanel is like a pure gold for me, greetings from México City
Pure Gold.
thanks!
Long tones! I have been playing sax for several years and never practiced long tones. My son, who is a very fine saxophone player, convinced me to start practicing long tones, even if it was for a short time every practice session. I feel like I can already feel and hear the results. More control of my sound, better soft passages and more consistent sound. Now I am a believer.
Listening... Applying... Growing.
One of your best videos, Jay, because I agree, so I know you're right! 🤣 I stared at 70, avoided too many scales and patterns and didn't do a lot of long tones. The only advice I'd give to anyone on any instrument is, LISTEN TO THE GREATS! Practice being yourself. Less is more in any music, it's a matter of feeling and sound, not velocity and density.
Great advice, Jay. I had once met Paquito D’Rivera on the set of the film Two Much when I was an extra. He was onstage with Arturo Sandoval and other musicians including the composer of the film’s score. I have read about him in Down Beat magazine for years when I was in high school. He and I talked for a moment and he surprised me when he told me that he was still trying after so many years of performing. On the set as he and Arturo Sandoval played, it sounded great. D’Rivera played with great skill and it seemed effortless as he played. I asked if he had any study guides/ instructional recordings. He said that he did and it was the same as the recordings of Jamey Aebersol. He told me to just listen and follow along with the band.
My instructor told me that when he started, he practiced at least 4 hours a day to get the sound and skills he sought. He also played clarinet and played in the NBC orchestra at a young age. Next to him was another musician that would become an acclaimed film composer. That musician was Elmer Bernstein.
I have a saxophone question. What is your opinion on the Allora Chicago tenor saxophone.? I guess I cannot afford a P. Mauriat System 76 tenor and am looking at the Allora brand.
Jay is a great musician and a wonderful teacher, with the ability to convey his enormous knowledge to people with so much enthusiasm and logic. He's terrific. I wish he was around 25 years ago with this channel when I took up the saxophone without ever having a lesson or even knowing how to read music😊
I don't even know how to read music and I want to play a saxophone
I’m so happy to hear you echoing my own thoughts on teaching the saxophone. I tell my students many of the same things!
My son is an accomplished pianist and guitarist planning to take up the alto sax next. Seeing how he works, I can second the advice to practice with a purpose, improving specific technical or artistic aspects of ones play, instead of just trying to play some jazzy piece of music. It's 'practice' versus 'play'. Do that, and you'll find songs falling much more easily to hand with less frustration.
Great vid again, Jay. Thanks. Had my best practice session for ages earlier on my new tenor. I honestly think it's put me in a better mood this evening!
Great to hear!
@@bettersax It's a Holton 241. Clunky old thing but bloody loud.
I started when i was 13, now im 16 and now i am one of the most known saxophonist in the town
I’m gonna have to agree with #8. I’m still playing the most basic mouthpiece you can buy, and I can hit altissimo with ease.
Me: *seeing myth 8 and getting excited*
Also me: *My excitement is crushed as it is revealed it's not a myth*
sorry
@@bettersax Don't worry bout it, I'd probably have to do them eventually 😂
I came here after seeing a segment of digital horn playing and I pick up a Yamaha WX11. Altho its not the same thing as a real sax, I am hoping to get better with it as any instrument and see what I can get out of it. I did play the real sax on my old Bundy from HS school and haven't played for over 20 years, and just now getting back to it. I'm happy to say that the fingering is all still there and being able to read song sheet and know which key to play is mostly there in the middle C area. I'm sticking to the 30 minute per day minimal. Also learning the keyboard as well. With Covid lockdown and isolation, its been very good to give myself that 30 minute as therapy of going crazy. My eyes is not so focus on getting good, but more on feeling good, and enjoying it, and somehow I think I am getting better at it everyday.
The reason for the Digital version is because it was more affordable and I really wanted a Bari-sax that I got to play in HS but that is way out of my range, now I can play the Yamaha DX fatty bass with it. Im happy!
I am definitely guilty of the myth 9. What helped me is to have a journal and do something new every day. Then go back through the journal and see what you can improve.
At the young age of 77 I have started playing sax again. I retired from playing in 1985 due to business changes and regreted it ever since. At that time I was a relatively successful semi-pro on the London jazz and R&B scene. Re-Starting a few weeks ago with an Odyssey alto which is completely un- played and coupled to that is a Yamaha 5C mouthpiece. The 4C made the basement notes impossible., I was horrified to find that I had forgotten just about all I knew, Including some of the fingering! I am working through the free course and will almost certainly take the premium, but when I watched this video, I realised how much my self opinion was based on wrong assumptions, that I must have had back all those years ago. I was pleased that the erratic way (I thought) that I practice was holding me back. But your 10 myths proved that I was right all along, so now I feel more confident. But I am struggling to stay in the correct octave. I keep blowing the upper octave without the octave key. A problem when I played soprano, at first. But, not on alto or tenor which I prefer, but at the moment don't have a tenor.. I also hear lots of references to overblowing but don't recall ever hearing that mentioned. No doubt as I progress through the course all will become clear. But thank you for your excellent presentations and the style you present which is so refreshing from some of the other "experts" out there. Thank you for not talking down or patronising. By the way I saw your video on practicing in the car. I have had to do that due to an annoying idiot next door. BUt now feel ready to go back to playing into wardrobe which is great mute.
Its definitely true that playing everyday, has a huge positive impact. Once I started playing everyday consistently (even when I just have 15m) I noticed a big benefit to my mental health and overall mood. Music is Medicine!
Eeeexactly!
Literally buying a sax tomorrow. This couldn't have come at a better time!
Good luck.
Buy 2: one for you and one for me. Hugs.
Watching Better Sax videos makes me want to go out and buy a sax, and I’m not musically inclined at all. Now if I can figure out which sax to get. Too many choices lol. Leaning toward a Selmer SAS 711 though.
I sincerely don’t think there is anyone out there who explains learning the saxophone better than you Jay.
That's why his channels name is Greater Saxophone
when i first learned to play, i was in 4th grade... that was 15 years ago now, and I'm almost 25. The bundy also sax i used to play - which belongs to my uncle and was returned to him all those years ago - was graciously gifted to me again. Even back then, I would often teach myself to play songs by ear (my favorites, usually things like the pink panther or indiana jones theme songs). I hated reading sheet music, despite it being such a simple concept, and i still heavily incline towards reading by ear. I can feel the music calling me to play, and i definitely understand the feeling of being the "eternal student" (as a visual artist also, i can attest to never truly feeling like you've reached our "goals", aka "lofty concepts of what perfection is"). other than that, technique can always be improved.
I had something strange happen to me, while practicing. I played a near perfect improv for nearly 4 or 5 seconds, and then it was gone in a flash. I haven't been able to recreate that same technique/headspace, but it just felt "right". It's that natural flow i want to find. Sometimes i can hear it in other sax players/music when they achieve that "flow". There's definitely something funky and awesome happening with so many being called to follow their long-lost or newly-discovered passions, maybe one day we will cross paths and jam together without ever knowing. I love having found such a wholesome and supportive community through fellow sax players. yall are awesome.
Could you suggest, or make, a video about another perspective on reading sheet music? I find you often frame things in a way that helps the concept "click"!
Finally got myself a tenor and about to start the beginner course!
Just got my own and his beginners courses have been really helpful.
Thanks Jay. Pretty consistent practice here. Worked advanced studies into sessions. Comment couple weeks ago from old band mates. Joe...your sax has improved immensely. Didn't see (hear) it myself because gradual, but trying to personally acknowledge the improvement as personal encouragement. Thanks again. Grateful found you.
consistent practice provides benefits that are harder to see sometimes since it's so gradual. Makes sense that people that haven't heard you in a while would notice though. It's like if you lost 5 pounds over the course of 2 months. You may not notice it, but someone who hadn't seen you in that time probably would.
An informative video. I enjoy all of them! I've been following your advice and getting results! Taking baby steps on difficult pieces and slowly building up my speed has worked. My routine is sight reading something challenging, then scales, and patterns, then work on standards. If I have little time, I'll get in about 15 - 30 minutes of arpeggios to keep the chops active. Since on lockdown, and I have time, I enjoy practicing for a couple of hours a day on each horn (tenor, alto, and flute). The process is the reward and my musical journey continues. Thank you.
I recently picked up the alto sax (a YAS-280) and I was already improvising before I learned where each note was. Indeed, one note is enough for it. I quickly learned a blues scale and just had fun with it. I should still go back to the basics though and get a good embouchure and blowing technique before going for other things!
Another thing I like to do is check my posture and make sure I'm standing up straight, I'm a freshman in highschool as of right now were a milatary band so we have to move fast and poppy and stand up straight look at the horizon and hold our instruments straight in front of us, I like to put my feet right next to each other and stand up straight and do all these things that we do during marching in summer band, it really helps me. (edit) It helps me to exercise before praticing and roll my head around and do jumping jacks.
Ahhh I miss my saxophone so much! I was using a Kohlert 460 Student Tenor (link at the bottom) from my school, but now that we're moving away, I wasn't able to keep it, and had to say goodbye. I honestly don't know how I'm going to survive the rest of my summer holidays without practising!
I named him 'Sir Tony Tuna Tim The Tenor Saxophone', after migrating from an alto saxophone. He played absolutely beautifully, and I loved every second of practise, every minute of every concert, and every single note that I was able to play.
Here's some history:
As of today, I have been playing for 2 years.
1.5 years ago, I played an alto saxophone, which I loved to bits as well. Though, after realising she (her name was Suzanna, and she's fine now) had a huge problem with the octave key, I had to switch to another alto saxophone, which was named Sammy (someone else named him that).
While Suzanna was in for repairs, I had lots of fun learning concert pieces on Sammy, some of which are: Klezmer Clarinets by Timothy Loest, Cardiff Castle by Mark Williams, The Tempest by Robert W. Smith, and Coldwater Creek by Robert Sheldon. These pieces were the first I learned to play, and when looking at the scores of the music I play now and the scores of the aforementioned next to each other, I must say I am proud of my progress.
Then, one fateful day, our band director gathered all the saxophone players, and asked which one wanted to try playing the tenor saxophone which was, until then, stowed away in the back room. Having always wanted to try it, I jumped up and down and begged for her to let me transition to it, and she did.
I was overjoyed, and after getting a reed from an upperclassman (2.5), I was finally able to play! But then, the unthinkable happened, on the very first time I played it, the high f# key and the rod connected to it fell off. It just… fell off? Now, you might be thinking 'Well why didn't you just play a different tenor sax?', you see, the problem here is that neither I, nor the school had another one.
I was only warming up, and it just suddenly popped off. It's true, the saxophone was dropped multiple times by the people playing it before me, and they did have to get the aforementioned soldered on once before, but no one expected it to fall off while being played.
Here's when things start to get tricky.
We had to send him off to repairs in a different city, and while he was being repaired, I was forced to learn the newest concert music with Sammy (which wasn't all bad, because I can now play 2 parts).
One month later, nothing. Sir Toby Tuna Tim was still off to repairs.
Two months later, still nothing.
Then, finally, three months later on my birthday, the saxophone was brought in, but the issue was, that it was put into the wrong room.
We only discovered that it was put into the room next to the band room 3 days later.
After so many weeks, seeing him, and being able to hold him in my arms brought tears of joy to my eyes (the less dramatic version of this is that I just threw myself on the floor next to it and sobbed for a good 20 minutes straight).
I was able to learn both parts of the music for our upcoming concert, which was really cool, since I was able to help the other alto players with their parts.
I played in the concert with Tony Tuna Tim, and was the only tenor player, which kind of felt awesome. The concert was a big success, and everything seemed to be going well again!
Well, no. Enter CEESA season.
Me, being the music addicted person I am decided to enroll myself in the CEESA band, which is essentially an advanced band that would be going to Moscow for a competition.
Now you might be thinking something along the lines of 'well, what's the problem with CEESA band?', there is no problem with CEESA band in itself, but it did mean practising more and playing way more often.
This, in itself is also not a problem, but what do you need to change every so often to be able to play? Right, your reed. This is where the problem was. I had not changed my reed in over 5 months of playing, so naturally, it was absolutely dead.
Our band director didn't have tenor reeds, so I had to figure out how to find some on my own. Like any normal person, I went to our local music store, and lo and behold, they didn't have any reeds, even though they carried tenor saxophones.
After that defeat, we went to 3 more music stores, but to no avail. Now our only option was to order them online, so we tried that, but my father being my father ordered the cheapest box he could find, and, well, you can probably imagine how that turned out.
Never ever buy 'Soundman' reeds, they are terrible.
One month passes, and we finally order good, brandname reeds (Vandoren). Well the problem here is that they didn't arrive for another good 4 months because buying something online and having it shipped to you is basically impossible in Turkey.
I was *not* going to continue using an absolutely dead 2.5 reed, so I looked through the cabinets in the other music room, and to my relief, I found a box of green Vandoren 4.0 reeds.
Me being me, I was so happy to finally have a new reed, and didn't realise that it being literally four steps up (in thickness) might be a problem.
Once I had soaked my reed and put it on my mouthpiece, I tried to play, but nothing came out. All you could hear was a faint wheezing sound.
I was barely able to play with the others in band practise, because I was out of breath so incredibly quickly. A plus point is, that when I *did* make a sound, it was a really pretty one!
A couple of weeks later, I was finally able to play halfway decent with my size four reed, but it was still an extra challenge added. You see, the music was also a *huge* step up. The pieces we played before were about a level 1-2, but these new compositions were levels 3-4. The pieces were: At Peace by Matt Conaway, When Summer Takes Flight by Robert W. Smith, Machine Age by Chris Bernotas, A Night in Budapest by David Bobrowitz, Rampage! by Todd Stalker, Quintus by Larry Clark, Dark Adventure by Ralph Ford, and Foundry by John Mackey.
When Summer Takes Flight has a joyful saxophone solo (tenor and alto), which is incredibly fun to play.
Machine Age is simply incredible, it is out of the ordinary and unique, in addition, it is also very fun to play.
A Night in Budapest was with Foundry the most difficult piece to learn, because of its more complicated rhythms (at least more complicated than I am used to) and notes. There were many accidentals, the time signatures changed every few bars, and the bpm changed very often, too. This piece was a huge challenge, because of its quick tempo and staccatos, which were 10x harder to play because of my reed. Still a very beautiful piece, though.
Rampage! had me playing the same melody as the trombones, which was *very fun* , because for once, I wasn't actually the only one with my part! The repetitive melody was very aggressive, and therefore never got boring. In addition, this was a very quick piece, with lower notes than I was accustomed to, and with a reed that I could barely get a sound out of, this was also very difficult for me to learn.
Quintus is a very fun piece, it wasn't quite as challenging as some of the others here, but it was a nice break.
I am still learning how to play Foundry, and for now, it is the piece that I will focus on. It features a similar aggression to Rampage!, but also has very quick and melodic aspects to it, much like those in A Night in Budapest, making it *very* difficult for me.
These compositions (except the last two) were the ones we were expected to learn, to be able to travel, and don't ask me how, but I did it. I was able to confidently play through all of them with a size 4 reed.
I ended up not being able to travel, because I wasn't allowed, making all of my hard work go down the drain.
We (not-advanced band) were given some new (and easier) pieces for our next concert, which we never got around to learning or playing, because of covid-19.
The pieces were: While I Watch The Yellow Wheat by Larry Daehn, The Avengers by Alan Silvestri and Robert Longfield, and Afterburn by Randall D. Standridge.
When I was not working on concert music, I was working on completing the first 2 Essential Elements books.
Then, finally, the box of Vandoren 3.5 reeds arrived, and I buried my old 4 reed in the backyard. I held a funeral via online conference with our band and band director, and played on the 3.5 reed.
It was a beautiful ceremony to honor the dying/dead, and welcome the new.
A few weeks after that, I was forced to bring Sir Tony Tuna Tim back to the school, to never see him again.
Of course, like any responsible instrument owner would, I left a 2 page long note on how the next owner should behave, a todo list for the next owner, unwritten band rules, how to keep up our legacy, tenor saxophone dos and don'ts, and finally, Sir Tony Tuna Tim's full name.
I miss him to bits, but I know the next owner will treat him well. If not, our band director promised me to give Tony Tuna Tim to another, more invested band member.
Ok, if you've made it this far, thank you for reading all of this. Now here comes my actual question, how can I practise without an instrument?
Here's a link to the saxophone referenced here: www.musiciansfriend.com/woodwinds/kohlert-model-460-student-tenor-saxophone
Hello Jay! I enjoyed watching this video. So many people are hung up on playing really fast and you helped me to see that playing slower is just as good sometimes.
I loved the video Jay, I also like the new look without the 🧔. Myth #2 clearly a myth. I didn’t know what a saxophone was until I was 22 years old, as I grew up humbly. Myth # 6. The marshal arts gurus have a saying about technique when they are teaching it. It goes, “slow=smooth, smooth=Fast.” Great video teach.
Thank you Jay! Great information. I just love how you explain things.
Therapist: "Shaved Jay doesn't exist. He can't hurt you."
Shaved Jay:
Last myth apply for all things you want to learn in life. Thank you. Greetings from México!
My experience is: You learn what you do/practice. If you practice with concentration, a good feeling, awareness... you save that in your memory. If you practice with less of these or similar qualities, you save that approach to the instrument and music. So, every moment of good company with your instrument is precious. If you're not able to be present while practicing, better save the time for something else around music.
Good ideas. I found that playing along with classic recordings tuned my ear and improved my improvisation. I enrolled in a jazz band class to get in more playing time in dry years to keep my chops up. I felt proud that a player next to me was shy of improvising, but never again after I soloed on 'The Shadow of Your Smile;' then she blew up a storm. I always blew some after work to feel better. Feeling the music. That should be mentioned; one plays best that way. Feeling the style of any song and going there helps too.
Really get great information from your videos. My teacher encourages me to heed your advise. Thank you.
Great approach to myths. There is usually some true in myths and you covered them well. Thanks
One more wise Video, thanks for that! Once again it gives me interresting stuff to think about...
Myth 2: I'm 46 and started about 2 months ago. My first Instrument... But I feel young, really!! ;)
Serious: If You think You're too old, You certainly ARE too old. If You don't try something new, You'll never learn something new - that's a fact, no matter how old You are. Maybe my chance to ever become a good musican has passed a few decades ago. But that doesn't stop me from having fun practicing my Instrument!
I'm not a musican now (not even a bad one) that's my first step to take - and then see how far my journey goes. I don't aim being another Charlie, John or Stan. I will do my jounrey as a Silvio, because that's who I am. ;)
"Mind is like a parachute: it doesn't work if it's not open" -- Frank Zappa.
Myth 7: especially beginners should not overuse the (not developed) Emboucher - muscles! Teacher says: Better practice shorter time but every day than getting totally exhausted once or twice a week. I usually practice about an hour each day, always start with long tone exercises. If I begin to bite before the hour is passed, I stop. If I still play after 75 minutes, I put a stronger reed in (usually play with 1,5 - then I change to 2 or even 2.5) and end my session with long tones again.
Music keeps you young. Good stress reliever too.
Hat's off to you sir!
Many thanks and BEST regards for sharing MOST valuable information ,your rich experiences and providing free download courses....
NDG.....India
Thank you sir
Agree about practicing slow and then going full speed. I wasted so much time doing the increase 5 bpm at a time thing. Only thing that happens is you tense up trying to play too fast.
#10, appreciate the pluralistic approach. Quite wise, mark of an educated mind is to be able to entertain a thought without accepting it.
This is good stuff, another tip for improv is to mimic the melody of the song your improvising over, then you can expand your ideas. You can also try to play other melodies you’ve heard from different songs.
Always worth getting some tips from a pro player ,rather than struggle in ignorance. Having fun with sound experiments will keep you playing more than chasing some music school grade.
Music, is like photography; it has NO END.
Jay,love your instruction vidios,happy with progress in spite of an amputated,finger (left ring finger G), arthritis emphazema & a few ailments not mentioned,Proud to be under your instruction.would love to exibit my progress & share with doubts of there abilities.Thanks
For all .... STUB.
Myth #7, yes this is something I've adapted as of late. Before if I couldn't get in my 1.5 hour practice session for that day I would just skip practicing. Now if I have at least 1/2 hour to spare, I will pick up my horn and work on one thing for the duration. Thanks Jay for solidifying that for me.
Regarding myth Nr2
Charlie Parker startet at ~15
What most people lack is not the efforts to get good but the right environment to grow in. Nowadays jazz is way less popular and there are less oppotunities to play with other people and get helpful feedback.
Hi Jay, I’m relatively new to your channel so to start, I’d like to thank you for doing all of this. I’ll try to keep this short, but........I’m 72 and have been playing flute since 1960, and saxophone since I was 16. Aside from all of that, I had been limited to flute for about 8 yrs due some dental issues. When I accidentally found that I was able to actually play sax again, I pulled my horns out of the closet and after struggling with them all (Monique soprano, a Mexican Conn alto, and a Buescher Super 400 tenor.), I turned them all over to my horn tech buddy Steve Sandberg here in Minneapolis. He did some undeniably magical mojo on them and rendered them supremely playable, particularly the Buescher. I have been borrowing that horn from an uncommonly generous guy since ‘87 after my Mark VII was stolen from my car during a massive rainstorm in L.A. I am sending my friend his Buescher back as soon as I take ownership of a USA Selmer 1244 (he conditionally agreed to let me return his horn AFTER I send him a photo of me and the horn (the 1244) that I found to replace the Buescher. That is the other reason I am writing: Have you had any experience or encounters with the 1244, either repairing or playing-wise? I’ve already done the deal ($540) and will be taking delivery by Jan. 8th or 9th, and am anxiously anticipating getting my hands on it. I expect to have to turn it over to “Magic Steve”, at least for an evaluation. If you have time in your busy schedule, I’d sure appreciate your impressions of that horn.
The other thanks that I wanted to convey, are for the “fogging a mirror” imagery for improving my tone production, the Reed Geek, Boston Sax Shop reeds, and for having such an awesome, valuable channel. Thank you Jay, very much for all that you do, and I’ll be seeing you on the “inter-webs”!
Thanks for the kind comment. I don't have any particular recollection of that model Selmer. Don't know if I saw many of those come across my bench.
@@bettersax Hi Jay, I don’t know if this is welcome or not as a follow-up to my query about the USA Selmer 1244 tenor - given that I am no expert - but I just wanted to pass some info on to any beginning players who might be looking for a horn. This is, as advertised a beginner/intermediate instrument, and while capable of producing a nice, clear professional tone ( given the right setup), ergonomically, for me, it is a nightmare🤢! A combination of a weirdly off axis slant of the bell of about 30 x 35 degrees aimed to the left, and a strap ring placement awkwardly close to the right hand palm keys, it seemed dedicated to the mission of creating painful neck and upper back problems eventually. The good news is that you won’t have to wait too long before those problems manifest themselves. smh. Given a choice, I always prefer standing while playing, and that is nearly impossible. I forgot to mention earlier that while the left pinky spatula keys are mostly ok, when necessary to use those keys AND the right hand palm keys for altissimo fingerings for example creates fairly awkward wrist positions. Needless to say, I am returning this instrument asap. Sorry to run-on, but my search continues.......Thanks Jay, I hope this is helpful to someone.
Your videos are always very helpful. Thank you.
Holy crap, shaven jay looks so much younger!
Great video! Related a lot to the myth no. 6 like you mentioned in your older videos, really helps a lot!
Nice video Jay.
A lot of truth was spoken in this video.
Lot of love and respect from India ❤️🙏❣️
What a lovely video! Time to go practise. Thanks you for this video. 🙏🏽💓
Btw, these tips are spot on for many things I life....especially #9.
Way to go Jay!
I keep coming back to your Videos, u remind me of my middle school Band teacher, he was a cool dude!
After fifty years in the music business I have found that most sax players fall into one of two groups,
Those who play to bring joy to their audience, and those who play to impress other sax players.
Other sax players aren’t going out to clubs or buying your music, they are practicing!
Myth # 11; you have to move your jaw forward and back to play the different registers equally well. It's really easy to slur any long interval, up or down if you understand how your tongue alters air velocity and how throat resonance works. This is sometimes known as voicing.
Nice information Jay. I really like how you explain things and add a little humour once in a while. Great playing too!
thanks!
This was so awesome to listen to I wish this existed when I was starting out.
Thanks Jay! Great video, clear explanations and great advices!
Dexter Gordon was asked: "Why you play only drunken?"
Dexter answered: "Because i only PRACTICE drunken!"...
A wise man...🤠👍
I heard the same story but told by Zoot Sims
Now the only and most important question is: who could drink more?😄
@@Sarastro010267 Ha ha ha, it's a hard question !!
@@gerardoortizmedrano6373 me too
I completely agree with myth number 6 being false, and also agree that it is better to learn something solidly and slowly in order to build up accuracy and precision. When you hear something being performed at rapid speed, understand that every one of those players has mastered everything at a much slower tempo in order to get it right. You can also tell when someone is uncomfortable with playing something at fast speeds, as they will either miss some parts and/or trip over themselves, which can throw off their timing. I'm guilty of doing this on many occasions, because it is so tempting to want to impress your audience. If you ever need vindication, look at bluegrass musicians! Each one of them will tell you that precision is more important than speed, and bluegrass is a lot like jazz, in its range of technicality - outside of its comical imagery.
Thank you so much! 👍
Thanks Jay! It's been a year after I enrolled in your course and I can't even believe my own progress! 😁
Gives me more knowledge and confidence. Thanks :)
Dude, I totally dig your channel! Great advice and encouragement! Awesome! Thank you!!
Jay, your content is awesome! You should do livestreams!
More soprano saxophones videos please , like what are the best brands.
Yanagisawa is the best soprano for me.
Jay, thanks for such a video, full of precious suggestions !! Thanks again
Love the clean shave!
Very good advices and highly motivating. Thanks Jay
You remember those racy 80s tv scenes and Miami Vice with the Saxophone in it ? That style I play that style really good I feel
Thanks for that lessons it really helps me.
2:27 lights out, literally
Very helpful, as always, thanks Jay!
On Myth 5: I generally try to hold back playing too fast and too many notes because I know that listening to that sort of thing exhausts me and I can only listen to someone like Chab LB for twenty minutes then I have to take a break.
Great video Jay! Sounds like you've checked out Outliers by Malcom Gladwell, it's an awesome book.
I have read that book but wasn't necessarily thinking about it when preparing this video. I do read a lot of books in that genre though.
This video inspired me to play, but I just removed my wisdom teeth :(
Great video as usual young Jay!
I wil look for subscribers for you.. your channel deserves it.
Hi Mr. BetterSax, my name is Alex and I’ve been an athlete my whole life. I’ve never played a lick of an instrument, but I want to start playing the saxophone. It seems like a simple, yet complex instrument with many different ways to play it. I am 23 and have enough money to buy a nice sax, but I don’t know which one to start with. I don’t wanna buy a cheap one and feel the need to upgrade in half a year or so. What would you suggest be do? Which sax would you suggest as the best beginner/intermediate with the best sound and also good looks. THANK YOU!!!
Different teachers explaining a concept can do wonders. After years of not understanding something, I heard a native Spanish speaker trying to explain something in English and BAMN - epiphany! The same words told me over and over was not getting through. Then someone with poorer English explains it in different words and voila.
Myth No. 11: you should spend more time watching youtube sax videos than actually practicing each day. 😉
Ha ha ha, now that's a good one 👍
But he’s so cute!
That’s not a myth
So true
LoL.
I like this already. Thank you.
Some very helpful points, as always. BTW Like the (almost) no beard look
As always, great video Jay.
The problem with playing fast (on any instrument) is the risk of leaning against the bump-stops of one's physical limits. Relying on those limits at speed usually results in playing at lower tempos that's uneven and inaccurate.