SlideShare uma empresa Scribd logo
1 de 121
Baixar para ler offline
Wailing Saxes!




   Jon Gudmundson
 Utah State University
Sad Bari




I mean, wailing in a good way!
taking notes




Do not worry overmuch about taking notes

These slides are posted on slideshare
Ellington




Duke Ellington’s big band
basie



Count Basie’s big band
Woody Herman




Woddy Herman’s big band
Thad and Mel




Thad Jones - Mel Lewis Orchestra
Jeru CJB




Gerry Mulligan’s Concert Jazz Band
?
?




What is missing from those pictures?
?




What is missing from those pictures?
UMEA 2012 wailing saxes
Rant warning:



Microphones are overused these days!

End of rant.
?




How did those saxophone sections hang,
unamplified, with all of those much louder
trumpets and trombones?
UMEA 2012 wailing saxes
And it’s even worse now than it was then...
And it’s even worse now than it was then...

   Brass players have ever bigger equipment, so they
   can outblast the saxophones more than ever.
And it’s even worse now than it was then...

   Brass players have ever bigger equipment, so they
   can outblast the saxophones more than ever.

   Big bands routinely play Rock and Latin charts
   that encourage the use of cranked-up electric
   guitars and legions of overzealous percussionists.
And it’s even worse now than it was then...

   Brass players have ever bigger equipment, so they
   can outblast the saxophones more than ever.

   Big bands routinely play Rock and Latin charts
   that encourage the use of cranked-up electric
   guitars and legions of overzealous percussionists.

   Naturally, some band directors decide to mic the
   sax section...
And it’s even worse now than it was then...

   Brass players have ever bigger equipment, so they
   can outblast the saxophones more than ever.

   Big bands routinely play Rock and Latin charts
   that encourage the use of cranked-up electric
   guitars and legions of overzealous percussionists.

   Naturally, some band directors decide to mic the
   sax section...

   ...but many sound engineers are unable to properly
   run sound for a big band.
And it’s even worse now than it was then...

   Brass players have ever bigger equipment, so they
   can outblast the saxophones more than ever.

   Big bands routinely play Rock and Latin charts
   that encourage the use of cranked-up electric
   guitars and legions of overzealous percussionists.

   Naturally, some band directors decide to mic the
   sax section...

   ...but many sound engineers are unable to properly
   run sound for a big band.

   Uh oh-- I feel another rant coming on.
UMEA 2012 wailing saxes
PLEASE consider these points:
PLEASE consider these points:


When you put mics on everyone, you hand
over your band’s balance and blend to some
knob-turning dude who probably does not
listen to jazz for enjoyment.
PLEASE consider these points:


When you put mics on everyone, you hand
over your band’s balance and blend to some
knob-turning dude who probably does not
listen to jazz for enjoyment.

...while you are on stage with your band,
hearing things through monitors, blissfully
unaware of how things sound in the house.
OR
OR



Who should decide how your band
sounds on that Neal Hefti chart?
OR



Who should decide how your band
sounds on that Neal Hefti chart?
OR



Who should decide how your band
sounds on that Neal Hefti chart?
MP
And now,
          for
     something
     completely
      different.




MP
UMEA 2012 wailing saxes
A short conversation with
       Bill Wicker:
A short conversation with
       Bill Wicker:

 ME: “So, what do you think about those
 Harrison ligatures?”
A short conversation with
       Bill Wicker:

 ME: “So, what do you think about those
 Harrison ligatures?”

 Bill: “I like them. But Jon,” he said, pointing
 at me, “ninety percent of it is on THAT side
 of the mouthpiece. Let’s concentrate on that.”
A short conversation with
       Bill Wicker:

 ME: “So, what do you think about those
 Harrison ligatures?”

 Bill: “I like them. But Jon,” he said, pointing
 at me, “ninety percent of it is on THAT side
 of the mouthpiece. Let’s concentrate on that.”

 Me: (inwardly) ‘Ouch! Good point, though.’
So, 90% is the player,
and 10% the equipment.
 Please don’t tell Bill Wicker, but let’s start
 with the 10% side.

 It’ll be quick and dirty, so that we’ll have
 some time to talk about the 90%.

 Please stop me if you’d like some clarification
 about something.
Equipment

Reed
Mouthpiece
Ligature
Horn
Reeds




The reed is where it all starts.
Do not overlook the reed!
It must match the mouthpiece.
reeds




Classical players lean toward harder reeds.

Jazz players lean toward lighter reeds, in
search of more flexibility of pitch, greater
responsiveness, and the ability to use
mouthpieces that are more open.
More reeds




My own favorites for jazz are Vandoren V16 and
Rico Jazz Select.

Both feel very responsive and freeblowing to me

V16’s allegedly have more weight at the tip.

Rico Jazz Select have more dialed-in strengths

Both give you more good reeds per box.
Other brands that jazz players use:
      (in no particular order)
  Rico (in the good old orange box)

  Vandoren ZZ

  Vandoren Java

  Rico Plasticover

  Fred Hemke

  Dave Guardala

  Anything That Works!
clock




Were there enough time, it would be
fabulous to talk about reeds for the whole
clinic, but then we’d never get to the 90%.

I mention reeds here, though, because they
are extremely important, and sometimes
band directors do not address them enough.
Just one more quick thing
            about reeds:




 The listed strengths are not the same from
 brand to brand. :(
The mouthpiece



Tip opening

Chamber/Baffle

Facing length

Material
Tip opening




The bigger the opening, the lighter the reed

And vice versa.

Go larger than the middle point for jazz.
alto mpc chart




Alto mpc chart, with tip openings ranging
from 50 to 120 thousandths of an inch. A C*
is ~67. Go with at least 80 (Meyer 7), if poss.
Chamber/Baffle




A bigger baffle/smaller chamber leads to a
brighter sound.

And vice versa
Facing length:
              short, medium, long
                (From Maker Theo Wanne)

Short: emphasizes highs at the expense of the low
range. Less resistance, responds quickly. Harder to
control, though. [Brilharts, big vintage Selmers)

Medium: Easier to control. More reeds will work
on a medium facing. (Otto Link, Meyer)

Long: allows more of the reed to vibrate more
freely, which is good for low notes and subtones.
Easier to bend notes. Warm sound.
The material.
Hard rubber (Ebonite)

Metal (Brass, Steel, Bronze)

Other (Plastic, Wood, dryer lint, etc.)

Rubber tends to be warmer, and metal
brighter, but the material is surprisingly not
that important compared with tip opening,
chamber/baffle and facing in determining
how a mouthpiece plays and sounds.
The usual suspects:
   Popular Jazz Mouthpieces

Alto: Meyer hard rubber (also Runyon, Jody
Jazz, many others)

Tenor: Otto Link metal (also Berg Larsen,
Jody Jazz, Yanagasawa, many others)

Bari: ______ (also Otto Link, Jody Jazz DV,
Rousseau JDX, Vandoren B, many others)
The ligature
Don’t worry about it.

Not that important.

By the time it IS important to your students,
they’ll be able to pick out their own.

The ideal ligature will hold the reed firmly,
flat to the table, providing a good seal, yet
allow the reed to vibrate as freely as
possible.
ligatures




Many designs have been tried.
Horns
So many. We live in a Golden Age!
 Selmer (Paris)

 Yamaha

 Yanagisawa

 Keilwerth

 P. Mauriat

 Cannonball

 Many more: Conn, Martin, Buffet, Jupiter, Eastman,
 L.A. Sax, etc. A LOT are made in Taiwan.
New vs. Used



My own personal tale of woe.
Question: If you can spend $180,000
 on a house, what’s a better deal?




  One of these? (granite counter tops!)
this old house




Or, maybe this $80,000 fixer-
upper needing $100,000 to bring
it back to its former glory?
Conn 10M               Jupiter 889SG
Remember the old saying: “Marry in haste,
repent at leisure.”

A nice old Conn 10M all fixed up might be a
better way to go than a shiny new instant-
gratification Jupiter.
The Holy Grail $50-at-a-yard-sale
  Selmer Mk VI is pretty rare.
Here are three reputable sites for used horns:




  saxalley.com
  usahorn.com
  wichitaband.com
UMEA 2012 wailing saxes
In the interests of time, let
        me just say:
In the interests of time, let
        me just say:
  Make sure the horns are in good repair.
In the interests of time, let
        me just say:
  Make sure the horns are in good repair.

  No leaks.
In the interests of time, let
        me just say:
  Make sure the horns are in good repair.

  No leaks.

  Here’s an easy-to-make leak light made from
  stuff at Home Depot (or Lowe’s).
In the interests of time, let
        me just say:
  Make sure the horns are in good repair.

  No leaks.

  Here’s an easy-to-make leak light made from
  stuff at Home Depot (or Lowe’s).

  Made from a short section of counter lights.
In the interests of time, let
        me just say:
  Make sure the horns are in good repair.

  No leaks.

  Here’s an easy-to-make leak light made from
  stuff at Home Depot (or Lowe’s).

  Made from a short section of counter lights.

  If a student sounds bad or is not producing
  enough sound, it might just be because she
  or he is fighting a leaky horn.
The 90%

Head
Heart
Hands
Head.




Student must know what a good
sound is, and how to get one.
Heart




Student must internalize this knowledge
(know it by heart, achieved by repetition),
which leads to...
Hands




...Student gains the muscle memory
so that the skills become natural.
UMEA 2012 wailing saxes
Conception
Students need good models
Conception
        Students need good models
They won’t get much from pop radio, movies or TV.
Conception
        Students need good models
They won’t get much from pop radio, movies or TV.

Play recordings of great players in the band room
(before/after school? lunchtime?). Engage students.
Blindfold test.
Conception
        Students need good models
They won’t get much from pop radio, movies or TV.

Play recordings of great players in the band room
(before/after school? lunchtime?). Engage students.
Blindfold test.

Soprano: Branford Marsalis, Dave Liebman, Wayne Shorter,
John Coltrane...
Conception
        Students need good models
They won’t get much from pop radio, movies or TV.

Play recordings of great players in the band room
(before/after school? lunchtime?). Engage students.
Blindfold test.

Soprano: Branford Marsalis, Dave Liebman, Wayne Shorter,
John Coltrane...

Alto: Johnny Hodges, Charlie Parker, Cannonball Adderley,
Lee Konitz, Phil Woods, Kenny Garrett...
Conception
        Students need good models
They won’t get much from pop radio, movies or TV.

Play recordings of great players in the band room
(before/after school? lunchtime?). Engage students.
Blindfold test.

Soprano: Branford Marsalis, Dave Liebman, Wayne Shorter,
John Coltrane...

Alto: Johnny Hodges, Charlie Parker, Cannonball Adderley,
Lee Konitz, Phil Woods, Kenny Garrett...

Tenor: Coleman Hawkins, Lester Young, Dexter Gordon,
Stan Getz, Hank Mobley, Sonny Rollins, John Coltrane, King
Curtis, Michael Brecker, Joshua Redman...
Conception
        Students need good models
They won’t get much from pop radio, movies or TV.

Play recordings of great players in the band room
(before/after school? lunchtime?). Engage students.
Blindfold test.

Soprano: Branford Marsalis, Dave Liebman, Wayne Shorter,
John Coltrane...

Alto: Johnny Hodges, Charlie Parker, Cannonball Adderley,
Lee Konitz, Phil Woods, Kenny Garrett...

Tenor: Coleman Hawkins, Lester Young, Dexter Gordon,
Stan Getz, Hank Mobley, Sonny Rollins, John Coltrane, King
Curtis, Michael Brecker, Joshua Redman...

Bari: Harry Carney, Gerry Mulligan, Ronnie Cuber, etc.
And good sax sections, with great
         lead players...
 Duke Ellington with Johnny Hodges

 Count Basie with Earle Warren (Old
 Testament), and Marshall Royal (New
 Testament)

 Thad Jones/Mel Lewis with Jerry Dodgion

 Village Vanguard Orchestra with Dick Oatts

 Phil Woods (Oliver Nelson, Monk at Town
 Hall)
While developing a conception of
  what a good jazz saxophone sound
is, students will work on HOW to get
   one. Some areas to cover include:

   Air

   Oral cavity

   Embouchure

   Articulation
Air.

I usually don’t address this unless there is a problem.

Most of your students have been breathing for years,
and thinking about it can mess a person up.

It may well need addressing, however, if...
Possible warning signs that there are
     air issues needing attention:

   Weak, unsupported sound

   Poor intonation (esp. flatness)

   Taking too many breaths, breaking up phrases (cut
   your bari player some slack here).

   Seeing shoulders overly going up upon inhalation.

   Too many mental errors (missed notes,
   articulations, road map misreadings, etc.).
A few points about
       breathing:


Breathe through mouth and nose together, if
possible (allows you to tank up more quickly,
and it’s quieter).
Breathe all the way down to the
      bottom (your belly)




Like filling a vessel with water.

The water goes down to the bottom, and
then rises from there.
YES                         NO
So, a deep breath should cause more of a
beer belly look than a Mighty Mouse look.
If you wish to delve deeply into
breathing, check out this book.




Science of Breath
If not, here’s a simple and effective
         breathing exercise:

  Set metronome to 60

  Breathe in for four counts

  Leave air in for four (no glottal stop)

  exhale for four

  leave air out for four

  Repeat
As students get better at this:
Increase from four to six counts

Then try eight

Don’t do too much of this-- someone could
pass out!

If a student feels light-headed, s/he should
stop immediately and sit down.

This can be practiced while walking between
classes (e.g. four steps in, four steps hold,
four steps exhale, four steps leave out)
This simple yogi breathing exercise
 gets students to exert some control over their
breathing, gets them accustomed to being able to
 play longer and longer phrases, and helps with:

    Support

    Pitch

    Phrasing

    Tone

    And, even helps to avoid mental errors.
Oral Cavity.

Now, HERE’S a variable!

And it’s another big reason (along with the
inconsistency of reeds) why there is no one-
size-fits-all answer for saxophonists in terms
of mouthpieces and horns. Everyone’s mouth
is different.

So, what’s going on in the mouth?
There’s not enough time now to go
    into depth, but know this:



 You can’t move your teeth.

 You can’t move your palate.

 You can’t move your uvula (I don’t think).

 You CAN move your jaw and,

 You CAN move your tongue.
Here’s an exercise that I have many
         of my students do:




  Sometimes simple is good.

  Initially, the goal is to see how many seconds the
  player can hold the note.

  When the student is comfortable making 30 s. or
  more, the focus shifts to TONE, bearing in mind
  Maximum Resonance (we’ll get there in a minute), and
  our friend Muscle Memory.
So, the student takes a good breath, and plays
the long note, holding it as steady as possible,
     and thinking about the tone, thinking:
  “Am I providing strong foundation of breath
  support from my bread basket?”

  “What is IN the tone of this note I’m playing?
  That is, besides the principal part (the B), what
  else is in there? Is it all good? What should I
  make less of, more of?”

  “What would happen if I brought my tongue up/
  down?”

  “What if I subtly tried different vowels out, like
  ‘Haw’ or ‘Hee,’ for example?”
Why does a trumpet sound different
        than a didjeridu?




    Trumpet                Didjeridu
  This from Dr. Bill Roberts’ work at MTSU
  (http://frank.mtsu.edu/~wroberts/didj.html)
If you find this stuff fascinating, check out:
http://www.phy.mtu.edu/~suits/sax_sounds/
                 index.html




              (shot of alto sax Fourier Spectrum)
 There you’ll find waveforms of the same saxophonist playing the
 same note on the same equipment, but differently each time.

 It’s kind of neat to see, visually, how many different tones a player
 can get via voicing.
UMEA 2012 wailing saxes
When the student decides that s/he is playing
the nicest B ever, with a great tone (thanks to a
developing conception), and a feeling of maximum
                   resonance:


   “Hey, this is a really good sounding B!”
When the student decides that s/he is playing
the nicest B ever, with a great tone (thanks to a
developing conception), and a feeling of maximum
                   resonance:


   “Hey, this is a really good sounding B!”

   “Hmmm... so THIS is how it feels (muscle
   memory reinforcement) to play a B that
   sounds absolutely fabulous.”
When the student decides that s/he is playing
the nicest B ever, with a great tone (thanks to a
developing conception), and a feeling of maximum
                   resonance:


   “Hey, this is a really good sounding B!”

   “Hmmm... so THIS is how it feels (muscle
   memory reinforcement) to play a B that
   sounds absolutely fabulous.”

   “I ought to record myself and/or ask for a
   second opinion about how good this B really
   sounds.”
Embouchure



Remember the mouthpiece diagram? That
reed needs to be free to vibrate.
Embouchure




Teeth rest on top of mouthpiece.

Lower lip is folded over bottom teeth.

There is a spectrum (Allard) from barely
taking any mpc in, to taking in a whole lot,
wich gives us a range from a small, wimpy
sound to a big, honking out-of-control sound.
Liebman




If you take too little mpc in, you aren’t allowing
enough reed to vibrate, and that’s where the
sound comes from.

If you take in too much, you lose control, your
tone becomes harsh, and it’s harder to get low
notes without honking.

Dave Liebman has a really nice embouchure here.
Groundhog Day
Groundhog Day




Students come in all kinds, but it seems that most
don’t take enough mpc in. So what happens?
Groundhog Day




Students come in all kinds, but it seems that most
don’t take enough mpc in. So what happens?

You tell a kid to take in more mpc, the tone
improves, the sound gets bigger, and everything’s
wonderful. THEN...
Groundhog Day




Students come in all kinds, but it seems that most
don’t take enough mpc in. So what happens?

You tell a kid to take in more mpc, the tone
improves, the sound gets bigger, and everything’s
wonderful. THEN...

The next day everything’s right back to the way it
was before!
UMEA 2012 wailing saxes
There are reasons for this:
Muscle memory. The new position feels weird to
the player, so s/he naturally gravitates back to
the old position.
There are reasons for this:
Muscle memory. The new position feels weird to
the player, so s/he naturally gravitates back to
the old position.

The student does not like the feeling of less
control from taking more mpc in, so
unconsciously moves back to the old position.
There are reasons for this:
Muscle memory. The new position feels weird to
the player, so s/he naturally gravitates back to
the old position.

The student does not like the feeling of less
control from taking more mpc in, so
unconsciously moves back to the old position.

If it’s an older mpc, there may be bite marks in
the top, and the player’s teeth naturally settle
in at the indentations.
There are reasons for this:
Muscle memory. The new position feels weird to
the player, so s/he naturally gravitates back to
the old position.

The student does not like the feeling of less
control from taking more mpc in, so
unconsciously moves back to the old position.

If it’s an older mpc, there may be bite marks in
the top, and the player’s teeth naturally settle
in at the indentations.

The student is trying to make you insane.
There’s a fix for this.
Once the ideal spot is found, mark the spot
where the front teeth should rest on the
mpc with a small piece of masking tape.

The student just slides up to the point
where the front teeth rest against the edge
of the tape.

It will feel weird for a while, but after a
week or two the new position will start to
feel normal.
Centered Sound vs. Spread Sound



 A centered sound comes through nice and
 clear to a person at the back of the
 performance hall.

 A spread sound is loud up close, but
 dissipates before hitting the back of the hall.
UMEA 2012 wailing saxes
Okay, but how can a player know
  whether his or her sound is
           centered?


 When somebody at the back of the hall tells
 them it is (“Gee thanks, Person at The Back
 of The Hall!”)
Okay, but how can a player know
  whether his or her sound is
           centered?


 When somebody at the back of the hall tells
 them it is (“Gee thanks, Person at The Back
 of The Hall!”)

 When the horn achieves maximum resonance
 (this would be a good time to remind your
 students of muscle memory).
Articulation
A saxophone section will sound Vastly Better
if they articulate together.

We are low on time, so let me just direct
you to jongudmundson.com

If you click the Education link there, you will
find an article that Yours Truly wrote about
this topic that was published in Teaching
Music back in December of 2006.
JzArtics Figs 1-3




Briefly...
And furthermore...




                 Jz Artics Figs 4-7
Jon Gudmundson
Any questions?

If we run out of time and you still have questions,
please come up and ask when you spot me at the
Conference. I’m here all weekend. Try the veal.
UMEA 2012 wailing saxes

Mais conteúdo relacionado

Destaque

CE502-1003111-Produsage
CE502-1003111-ProdusageCE502-1003111-Produsage
CE502-1003111-ProdusageLannon364
 
2013 2014 ikasturteko guraso batzarra
2013 2014 ikasturteko guraso batzarra2013 2014 ikasturteko guraso batzarra
2013 2014 ikasturteko guraso batzarraMarisol Atxurra
 
Why You Should Care About Kanban
Why You Should Care About KanbanWhy You Should Care About Kanban
Why You Should Care About KanbanJP Patil
 
Creating a slide cast
Creating a slide castCreating a slide cast
Creating a slide castLannon364
 

Destaque (10)

Eslovaquia Iraia
Eslovaquia IraiaEslovaquia Iraia
Eslovaquia Iraia
 
CE502-1003111-Produsage
CE502-1003111-ProdusageCE502-1003111-Produsage
CE502-1003111-Produsage
 
2013 2014 ikasturteko guraso batzarra
2013 2014 ikasturteko guraso batzarra2013 2014 ikasturteko guraso batzarra
2013 2014 ikasturteko guraso batzarra
 
LApp
LAppLApp
LApp
 
Array dalam bahasa c
Array dalam bahasa cArray dalam bahasa c
Array dalam bahasa c
 
Italia Aner
Italia AnerItalia Aner
Italia Aner
 
Inguru 1.unit.2.zatia
Inguru 1.unit.2.zatiaInguru 1.unit.2.zatia
Inguru 1.unit.2.zatia
 
Why You Should Care About Kanban
Why You Should Care About KanbanWhy You Should Care About Kanban
Why You Should Care About Kanban
 
Creating a slide cast
Creating a slide castCreating a slide cast
Creating a slide cast
 
Euskera 1.go unitatea
Euskera 1.go unitateaEuskera 1.go unitatea
Euskera 1.go unitatea
 

Semelhante a UMEA 2012 wailing saxes

Sounding board repairing treatise
Sounding board repairing treatiseSounding board repairing treatise
Sounding board repairing treatisevincemrykalo
 
Rocket piano beginners v1.2
Rocket piano beginners v1.2Rocket piano beginners v1.2
Rocket piano beginners v1.2Jenny Pham
 
Which guitar should I start playing ....
Which guitar should I start playing ....Which guitar should I start playing ....
Which guitar should I start playing ....Music International
 
Jamorama piano book 1 - web
Jamorama piano   book 1 - webJamorama piano   book 1 - web
Jamorama piano book 1 - webSaulo Gomes
 
Physics Of The Acoustic Guitar
Physics Of The Acoustic GuitarPhysics Of The Acoustic Guitar
Physics Of The Acoustic GuitarMary Gregory
 
Instruments Of The Orch
Instruments Of The OrchInstruments Of The Orch
Instruments Of The Orchwilkikar
 
My Goal To Play A Trombone Essay
My Goal To Play A Trombone EssayMy Goal To Play A Trombone Essay
My Goal To Play A Trombone EssayJulie Jensen
 
Calorimetry Of Brass Lab Report
Calorimetry Of Brass Lab ReportCalorimetry Of Brass Lab Report
Calorimetry Of Brass Lab ReportJackie Ramirez
 
Music andphysics
Music andphysicsMusic andphysics
Music andphysicsEva King
 
How to make your electric guitar play great
How to make your electric guitar play greatHow to make your electric guitar play great
How to make your electric guitar play greatSaulo Gomes
 
Which music instrument should you take up?
Which music instrument should you take up?Which music instrument should you take up?
Which music instrument should you take up?Music International
 
Statement Of Purpose To Attend A University
Statement Of Purpose To Attend A UniversityStatement Of Purpose To Attend A University
Statement Of Purpose To Attend A UniversityKimberly Patterson
 
Classical guitar-method-one-2014
Classical guitar-method-one-2014Classical guitar-method-one-2014
Classical guitar-method-one-2014Evaldo Correa
 
David l drummingp3
David l drummingp3David l drummingp3
David l drummingp3Ms Wilson
 
PRO Guide BG France Clarinet
PRO Guide BG France ClarinetPRO Guide BG France Clarinet
PRO Guide BG France ClarinetBgfrance
 
Families of musical instruments
Families of musical instrumentsFamilies of musical instruments
Families of musical instrumentsAmanda Waszczuk
 

Semelhante a UMEA 2012 wailing saxes (20)

Sounding board repairing treatise
Sounding board repairing treatiseSounding board repairing treatise
Sounding board repairing treatise
 
Rocket piano beginners v1.2
Rocket piano beginners v1.2Rocket piano beginners v1.2
Rocket piano beginners v1.2
 
Beginner
BeginnerBeginner
Beginner
 
Laquisha Research Paper
Laquisha Research PaperLaquisha Research Paper
Laquisha Research Paper
 
Which guitar should I start playing ....
Which guitar should I start playing ....Which guitar should I start playing ....
Which guitar should I start playing ....
 
Jamorama piano book 1 - web
Jamorama piano   book 1 - webJamorama piano   book 1 - web
Jamorama piano book 1 - web
 
Physics Of The Acoustic Guitar
Physics Of The Acoustic GuitarPhysics Of The Acoustic Guitar
Physics Of The Acoustic Guitar
 
Instruments Of The Orch
Instruments Of The OrchInstruments Of The Orch
Instruments Of The Orch
 
My Goal To Play A Trombone Essay
My Goal To Play A Trombone EssayMy Goal To Play A Trombone Essay
My Goal To Play A Trombone Essay
 
Calorimetry Of Brass Lab Report
Calorimetry Of Brass Lab ReportCalorimetry Of Brass Lab Report
Calorimetry Of Brass Lab Report
 
Music andphysics
Music andphysicsMusic andphysics
Music andphysics
 
Funny Band Jokes
Funny Band JokesFunny Band Jokes
Funny Band Jokes
 
How to make your electric guitar play great
How to make your electric guitar play greatHow to make your electric guitar play great
How to make your electric guitar play great
 
Rock
RockRock
Rock
 
Which music instrument should you take up?
Which music instrument should you take up?Which music instrument should you take up?
Which music instrument should you take up?
 
Statement Of Purpose To Attend A University
Statement Of Purpose To Attend A UniversityStatement Of Purpose To Attend A University
Statement Of Purpose To Attend A University
 
Classical guitar-method-one-2014
Classical guitar-method-one-2014Classical guitar-method-one-2014
Classical guitar-method-one-2014
 
David l drummingp3
David l drummingp3David l drummingp3
David l drummingp3
 
PRO Guide BG France Clarinet
PRO Guide BG France ClarinetPRO Guide BG France Clarinet
PRO Guide BG France Clarinet
 
Families of musical instruments
Families of musical instrumentsFamilies of musical instruments
Families of musical instruments
 

Último

2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx
2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx
2024.03.23 What do successful readers do - Sandy Millin for PARK.pptxSandy Millin
 
NOTES OF DRUGS ACTING ON NERVOUS SYSTEM .pdf
NOTES OF DRUGS ACTING ON NERVOUS SYSTEM .pdfNOTES OF DRUGS ACTING ON NERVOUS SYSTEM .pdf
NOTES OF DRUGS ACTING ON NERVOUS SYSTEM .pdfSumit Tiwari
 
How to Add a New Field in Existing Kanban View in Odoo 17
How to Add a New Field in Existing Kanban View in Odoo 17How to Add a New Field in Existing Kanban View in Odoo 17
How to Add a New Field in Existing Kanban View in Odoo 17Celine George
 
3.21.24 The Origins of Black Power.pptx
3.21.24  The Origins of Black Power.pptx3.21.24  The Origins of Black Power.pptx
3.21.24 The Origins of Black Power.pptxmary850239
 
Patient Counselling. Definition of patient counseling; steps involved in pati...
Patient Counselling. Definition of patient counseling; steps involved in pati...Patient Counselling. Definition of patient counseling; steps involved in pati...
Patient Counselling. Definition of patient counseling; steps involved in pati...raviapr7
 
3.19.24 Urban Uprisings and the Chicago Freedom Movement.pptx
3.19.24 Urban Uprisings and the Chicago Freedom Movement.pptx3.19.24 Urban Uprisings and the Chicago Freedom Movement.pptx
3.19.24 Urban Uprisings and the Chicago Freedom Movement.pptxmary850239
 
Drug Information Services- DIC and Sources.
Drug Information Services- DIC and Sources.Drug Information Services- DIC and Sources.
Drug Information Services- DIC and Sources.raviapr7
 
Diploma in Nursing Admission Test Question Solution 2023.pdf
Diploma in Nursing Admission Test Question Solution 2023.pdfDiploma in Nursing Admission Test Question Solution 2023.pdf
Diploma in Nursing Admission Test Question Solution 2023.pdfMohonDas
 
Ultra structure and life cycle of Plasmodium.pptx
Ultra structure and life cycle of Plasmodium.pptxUltra structure and life cycle of Plasmodium.pptx
Ultra structure and life cycle of Plasmodium.pptxDr. Asif Anas
 
General views of Histopathology and step
General views of Histopathology and stepGeneral views of Histopathology and step
General views of Histopathology and stepobaje godwin sunday
 
Easter in the USA presentation by Chloe.
Easter in the USA presentation by Chloe.Easter in the USA presentation by Chloe.
Easter in the USA presentation by Chloe.EnglishCEIPdeSigeiro
 
Presentation on the Basics of Writing. Writing a Paragraph
Presentation on the Basics of Writing. Writing a ParagraphPresentation on the Basics of Writing. Writing a Paragraph
Presentation on the Basics of Writing. Writing a ParagraphNetziValdelomar1
 
CapTechU Doctoral Presentation -March 2024 slides.pptx
CapTechU Doctoral Presentation -March 2024 slides.pptxCapTechU Doctoral Presentation -March 2024 slides.pptx
CapTechU Doctoral Presentation -March 2024 slides.pptxCapitolTechU
 
How to Use api.constrains ( ) in Odoo 17
How to Use api.constrains ( ) in Odoo 17How to Use api.constrains ( ) in Odoo 17
How to Use api.constrains ( ) in Odoo 17Celine George
 
How to Filter Blank Lines in Odoo 17 Accounting
How to Filter Blank Lines in Odoo 17 AccountingHow to Filter Blank Lines in Odoo 17 Accounting
How to Filter Blank Lines in Odoo 17 AccountingCeline George
 
How to Show Error_Warning Messages in Odoo 17
How to Show Error_Warning Messages in Odoo 17How to Show Error_Warning Messages in Odoo 17
How to Show Error_Warning Messages in Odoo 17Celine George
 
Patterns of Written Texts Across Disciplines.pptx
Patterns of Written Texts Across Disciplines.pptxPatterns of Written Texts Across Disciplines.pptx
Patterns of Written Texts Across Disciplines.pptxMYDA ANGELICA SUAN
 
How to Solve Singleton Error in the Odoo 17
How to Solve Singleton Error in the  Odoo 17How to Solve Singleton Error in the  Odoo 17
How to Solve Singleton Error in the Odoo 17Celine George
 
CAULIFLOWER BREEDING 1 Parmar pptx
CAULIFLOWER BREEDING 1 Parmar pptxCAULIFLOWER BREEDING 1 Parmar pptx
CAULIFLOWER BREEDING 1 Parmar pptxSaurabhParmar42
 

Último (20)

2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx
2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx
2024.03.23 What do successful readers do - Sandy Millin for PARK.pptx
 
NOTES OF DRUGS ACTING ON NERVOUS SYSTEM .pdf
NOTES OF DRUGS ACTING ON NERVOUS SYSTEM .pdfNOTES OF DRUGS ACTING ON NERVOUS SYSTEM .pdf
NOTES OF DRUGS ACTING ON NERVOUS SYSTEM .pdf
 
How to Add a New Field in Existing Kanban View in Odoo 17
How to Add a New Field in Existing Kanban View in Odoo 17How to Add a New Field in Existing Kanban View in Odoo 17
How to Add a New Field in Existing Kanban View in Odoo 17
 
3.21.24 The Origins of Black Power.pptx
3.21.24  The Origins of Black Power.pptx3.21.24  The Origins of Black Power.pptx
3.21.24 The Origins of Black Power.pptx
 
Patient Counselling. Definition of patient counseling; steps involved in pati...
Patient Counselling. Definition of patient counseling; steps involved in pati...Patient Counselling. Definition of patient counseling; steps involved in pati...
Patient Counselling. Definition of patient counseling; steps involved in pati...
 
3.19.24 Urban Uprisings and the Chicago Freedom Movement.pptx
3.19.24 Urban Uprisings and the Chicago Freedom Movement.pptx3.19.24 Urban Uprisings and the Chicago Freedom Movement.pptx
3.19.24 Urban Uprisings and the Chicago Freedom Movement.pptx
 
Drug Information Services- DIC and Sources.
Drug Information Services- DIC and Sources.Drug Information Services- DIC and Sources.
Drug Information Services- DIC and Sources.
 
Diploma in Nursing Admission Test Question Solution 2023.pdf
Diploma in Nursing Admission Test Question Solution 2023.pdfDiploma in Nursing Admission Test Question Solution 2023.pdf
Diploma in Nursing Admission Test Question Solution 2023.pdf
 
Personal Resilience in Project Management 2 - TV Edit 1a.pdf
Personal Resilience in Project Management 2 - TV Edit 1a.pdfPersonal Resilience in Project Management 2 - TV Edit 1a.pdf
Personal Resilience in Project Management 2 - TV Edit 1a.pdf
 
Ultra structure and life cycle of Plasmodium.pptx
Ultra structure and life cycle of Plasmodium.pptxUltra structure and life cycle of Plasmodium.pptx
Ultra structure and life cycle of Plasmodium.pptx
 
General views of Histopathology and step
General views of Histopathology and stepGeneral views of Histopathology and step
General views of Histopathology and step
 
Easter in the USA presentation by Chloe.
Easter in the USA presentation by Chloe.Easter in the USA presentation by Chloe.
Easter in the USA presentation by Chloe.
 
Presentation on the Basics of Writing. Writing a Paragraph
Presentation on the Basics of Writing. Writing a ParagraphPresentation on the Basics of Writing. Writing a Paragraph
Presentation on the Basics of Writing. Writing a Paragraph
 
CapTechU Doctoral Presentation -March 2024 slides.pptx
CapTechU Doctoral Presentation -March 2024 slides.pptxCapTechU Doctoral Presentation -March 2024 slides.pptx
CapTechU Doctoral Presentation -March 2024 slides.pptx
 
How to Use api.constrains ( ) in Odoo 17
How to Use api.constrains ( ) in Odoo 17How to Use api.constrains ( ) in Odoo 17
How to Use api.constrains ( ) in Odoo 17
 
How to Filter Blank Lines in Odoo 17 Accounting
How to Filter Blank Lines in Odoo 17 AccountingHow to Filter Blank Lines in Odoo 17 Accounting
How to Filter Blank Lines in Odoo 17 Accounting
 
How to Show Error_Warning Messages in Odoo 17
How to Show Error_Warning Messages in Odoo 17How to Show Error_Warning Messages in Odoo 17
How to Show Error_Warning Messages in Odoo 17
 
Patterns of Written Texts Across Disciplines.pptx
Patterns of Written Texts Across Disciplines.pptxPatterns of Written Texts Across Disciplines.pptx
Patterns of Written Texts Across Disciplines.pptx
 
How to Solve Singleton Error in the Odoo 17
How to Solve Singleton Error in the  Odoo 17How to Solve Singleton Error in the  Odoo 17
How to Solve Singleton Error in the Odoo 17
 
CAULIFLOWER BREEDING 1 Parmar pptx
CAULIFLOWER BREEDING 1 Parmar pptxCAULIFLOWER BREEDING 1 Parmar pptx
CAULIFLOWER BREEDING 1 Parmar pptx
 

UMEA 2012 wailing saxes

  • 1. Wailing Saxes! Jon Gudmundson Utah State University
  • 2. Sad Bari I mean, wailing in a good way!
  • 3. taking notes Do not worry overmuch about taking notes These slides are posted on slideshare
  • 7. Thad and Mel Thad Jones - Mel Lewis Orchestra
  • 8. Jeru CJB Gerry Mulligan’s Concert Jazz Band
  • 9. ?
  • 10. ? What is missing from those pictures?
  • 11. ? What is missing from those pictures?
  • 13. Rant warning: Microphones are overused these days! End of rant.
  • 14. ? How did those saxophone sections hang, unamplified, with all of those much louder trumpets and trombones?
  • 16. And it’s even worse now than it was then...
  • 17. And it’s even worse now than it was then... Brass players have ever bigger equipment, so they can outblast the saxophones more than ever.
  • 18. And it’s even worse now than it was then... Brass players have ever bigger equipment, so they can outblast the saxophones more than ever. Big bands routinely play Rock and Latin charts that encourage the use of cranked-up electric guitars and legions of overzealous percussionists.
  • 19. And it’s even worse now than it was then... Brass players have ever bigger equipment, so they can outblast the saxophones more than ever. Big bands routinely play Rock and Latin charts that encourage the use of cranked-up electric guitars and legions of overzealous percussionists. Naturally, some band directors decide to mic the sax section...
  • 20. And it’s even worse now than it was then... Brass players have ever bigger equipment, so they can outblast the saxophones more than ever. Big bands routinely play Rock and Latin charts that encourage the use of cranked-up electric guitars and legions of overzealous percussionists. Naturally, some band directors decide to mic the sax section... ...but many sound engineers are unable to properly run sound for a big band.
  • 21. And it’s even worse now than it was then... Brass players have ever bigger equipment, so they can outblast the saxophones more than ever. Big bands routinely play Rock and Latin charts that encourage the use of cranked-up electric guitars and legions of overzealous percussionists. Naturally, some band directors decide to mic the sax section... ...but many sound engineers are unable to properly run sound for a big band. Uh oh-- I feel another rant coming on.
  • 24. PLEASE consider these points: When you put mics on everyone, you hand over your band’s balance and blend to some knob-turning dude who probably does not listen to jazz for enjoyment.
  • 25. PLEASE consider these points: When you put mics on everyone, you hand over your band’s balance and blend to some knob-turning dude who probably does not listen to jazz for enjoyment. ...while you are on stage with your band, hearing things through monitors, blissfully unaware of how things sound in the house.
  • 26. OR
  • 27. OR Who should decide how your band sounds on that Neal Hefti chart?
  • 28. OR Who should decide how your band sounds on that Neal Hefti chart?
  • 29. OR Who should decide how your band sounds on that Neal Hefti chart?
  • 30. MP
  • 31. And now, for something completely different. MP
  • 33. A short conversation with Bill Wicker:
  • 34. A short conversation with Bill Wicker: ME: “So, what do you think about those Harrison ligatures?”
  • 35. A short conversation with Bill Wicker: ME: “So, what do you think about those Harrison ligatures?” Bill: “I like them. But Jon,” he said, pointing at me, “ninety percent of it is on THAT side of the mouthpiece. Let’s concentrate on that.”
  • 36. A short conversation with Bill Wicker: ME: “So, what do you think about those Harrison ligatures?” Bill: “I like them. But Jon,” he said, pointing at me, “ninety percent of it is on THAT side of the mouthpiece. Let’s concentrate on that.” Me: (inwardly) ‘Ouch! Good point, though.’
  • 37. So, 90% is the player, and 10% the equipment. Please don’t tell Bill Wicker, but let’s start with the 10% side. It’ll be quick and dirty, so that we’ll have some time to talk about the 90%. Please stop me if you’d like some clarification about something.
  • 39. Reeds The reed is where it all starts. Do not overlook the reed! It must match the mouthpiece.
  • 40. reeds Classical players lean toward harder reeds. Jazz players lean toward lighter reeds, in search of more flexibility of pitch, greater responsiveness, and the ability to use mouthpieces that are more open.
  • 41. More reeds My own favorites for jazz are Vandoren V16 and Rico Jazz Select. Both feel very responsive and freeblowing to me V16’s allegedly have more weight at the tip. Rico Jazz Select have more dialed-in strengths Both give you more good reeds per box.
  • 42. Other brands that jazz players use: (in no particular order) Rico (in the good old orange box) Vandoren ZZ Vandoren Java Rico Plasticover Fred Hemke Dave Guardala Anything That Works!
  • 43. clock Were there enough time, it would be fabulous to talk about reeds for the whole clinic, but then we’d never get to the 90%. I mention reeds here, though, because they are extremely important, and sometimes band directors do not address them enough.
  • 44. Just one more quick thing about reeds: The listed strengths are not the same from brand to brand. :(
  • 46. Tip opening The bigger the opening, the lighter the reed And vice versa. Go larger than the middle point for jazz.
  • 47. alto mpc chart Alto mpc chart, with tip openings ranging from 50 to 120 thousandths of an inch. A C* is ~67. Go with at least 80 (Meyer 7), if poss.
  • 48. Chamber/Baffle A bigger baffle/smaller chamber leads to a brighter sound. And vice versa
  • 49. Facing length: short, medium, long (From Maker Theo Wanne) Short: emphasizes highs at the expense of the low range. Less resistance, responds quickly. Harder to control, though. [Brilharts, big vintage Selmers) Medium: Easier to control. More reeds will work on a medium facing. (Otto Link, Meyer) Long: allows more of the reed to vibrate more freely, which is good for low notes and subtones. Easier to bend notes. Warm sound.
  • 50. The material. Hard rubber (Ebonite) Metal (Brass, Steel, Bronze) Other (Plastic, Wood, dryer lint, etc.) Rubber tends to be warmer, and metal brighter, but the material is surprisingly not that important compared with tip opening, chamber/baffle and facing in determining how a mouthpiece plays and sounds.
  • 51. The usual suspects: Popular Jazz Mouthpieces Alto: Meyer hard rubber (also Runyon, Jody Jazz, many others) Tenor: Otto Link metal (also Berg Larsen, Jody Jazz, Yanagasawa, many others) Bari: ______ (also Otto Link, Jody Jazz DV, Rousseau JDX, Vandoren B, many others)
  • 52. The ligature Don’t worry about it. Not that important. By the time it IS important to your students, they’ll be able to pick out their own. The ideal ligature will hold the reed firmly, flat to the table, providing a good seal, yet allow the reed to vibrate as freely as possible.
  • 54. Horns So many. We live in a Golden Age! Selmer (Paris) Yamaha Yanagisawa Keilwerth P. Mauriat Cannonball Many more: Conn, Martin, Buffet, Jupiter, Eastman, L.A. Sax, etc. A LOT are made in Taiwan.
  • 55. New vs. Used My own personal tale of woe.
  • 56. Question: If you can spend $180,000 on a house, what’s a better deal? One of these? (granite counter tops!)
  • 57. this old house Or, maybe this $80,000 fixer- upper needing $100,000 to bring it back to its former glory?
  • 58. Conn 10M Jupiter 889SG Remember the old saying: “Marry in haste, repent at leisure.” A nice old Conn 10M all fixed up might be a better way to go than a shiny new instant- gratification Jupiter.
  • 59. The Holy Grail $50-at-a-yard-sale Selmer Mk VI is pretty rare. Here are three reputable sites for used horns: saxalley.com usahorn.com wichitaband.com
  • 61. In the interests of time, let me just say:
  • 62. In the interests of time, let me just say: Make sure the horns are in good repair.
  • 63. In the interests of time, let me just say: Make sure the horns are in good repair. No leaks.
  • 64. In the interests of time, let me just say: Make sure the horns are in good repair. No leaks. Here’s an easy-to-make leak light made from stuff at Home Depot (or Lowe’s).
  • 65. In the interests of time, let me just say: Make sure the horns are in good repair. No leaks. Here’s an easy-to-make leak light made from stuff at Home Depot (or Lowe’s). Made from a short section of counter lights.
  • 66. In the interests of time, let me just say: Make sure the horns are in good repair. No leaks. Here’s an easy-to-make leak light made from stuff at Home Depot (or Lowe’s). Made from a short section of counter lights. If a student sounds bad or is not producing enough sound, it might just be because she or he is fighting a leaky horn.
  • 68. Head. Student must know what a good sound is, and how to get one.
  • 69. Heart Student must internalize this knowledge (know it by heart, achieved by repetition), which leads to...
  • 70. Hands ...Student gains the muscle memory so that the skills become natural.
  • 73. Conception Students need good models They won’t get much from pop radio, movies or TV.
  • 74. Conception Students need good models They won’t get much from pop radio, movies or TV. Play recordings of great players in the band room (before/after school? lunchtime?). Engage students. Blindfold test.
  • 75. Conception Students need good models They won’t get much from pop radio, movies or TV. Play recordings of great players in the band room (before/after school? lunchtime?). Engage students. Blindfold test. Soprano: Branford Marsalis, Dave Liebman, Wayne Shorter, John Coltrane...
  • 76. Conception Students need good models They won’t get much from pop radio, movies or TV. Play recordings of great players in the band room (before/after school? lunchtime?). Engage students. Blindfold test. Soprano: Branford Marsalis, Dave Liebman, Wayne Shorter, John Coltrane... Alto: Johnny Hodges, Charlie Parker, Cannonball Adderley, Lee Konitz, Phil Woods, Kenny Garrett...
  • 77. Conception Students need good models They won’t get much from pop radio, movies or TV. Play recordings of great players in the band room (before/after school? lunchtime?). Engage students. Blindfold test. Soprano: Branford Marsalis, Dave Liebman, Wayne Shorter, John Coltrane... Alto: Johnny Hodges, Charlie Parker, Cannonball Adderley, Lee Konitz, Phil Woods, Kenny Garrett... Tenor: Coleman Hawkins, Lester Young, Dexter Gordon, Stan Getz, Hank Mobley, Sonny Rollins, John Coltrane, King Curtis, Michael Brecker, Joshua Redman...
  • 78. Conception Students need good models They won’t get much from pop radio, movies or TV. Play recordings of great players in the band room (before/after school? lunchtime?). Engage students. Blindfold test. Soprano: Branford Marsalis, Dave Liebman, Wayne Shorter, John Coltrane... Alto: Johnny Hodges, Charlie Parker, Cannonball Adderley, Lee Konitz, Phil Woods, Kenny Garrett... Tenor: Coleman Hawkins, Lester Young, Dexter Gordon, Stan Getz, Hank Mobley, Sonny Rollins, John Coltrane, King Curtis, Michael Brecker, Joshua Redman... Bari: Harry Carney, Gerry Mulligan, Ronnie Cuber, etc.
  • 79. And good sax sections, with great lead players... Duke Ellington with Johnny Hodges Count Basie with Earle Warren (Old Testament), and Marshall Royal (New Testament) Thad Jones/Mel Lewis with Jerry Dodgion Village Vanguard Orchestra with Dick Oatts Phil Woods (Oliver Nelson, Monk at Town Hall)
  • 80. While developing a conception of what a good jazz saxophone sound is, students will work on HOW to get one. Some areas to cover include: Air Oral cavity Embouchure Articulation
  • 81. Air. I usually don’t address this unless there is a problem. Most of your students have been breathing for years, and thinking about it can mess a person up. It may well need addressing, however, if...
  • 82. Possible warning signs that there are air issues needing attention: Weak, unsupported sound Poor intonation (esp. flatness) Taking too many breaths, breaking up phrases (cut your bari player some slack here). Seeing shoulders overly going up upon inhalation. Too many mental errors (missed notes, articulations, road map misreadings, etc.).
  • 83. A few points about breathing: Breathe through mouth and nose together, if possible (allows you to tank up more quickly, and it’s quieter).
  • 84. Breathe all the way down to the bottom (your belly) Like filling a vessel with water. The water goes down to the bottom, and then rises from there.
  • 85. YES NO So, a deep breath should cause more of a beer belly look than a Mighty Mouse look.
  • 86. If you wish to delve deeply into breathing, check out this book. Science of Breath
  • 87. If not, here’s a simple and effective breathing exercise: Set metronome to 60 Breathe in for four counts Leave air in for four (no glottal stop) exhale for four leave air out for four Repeat
  • 88. As students get better at this: Increase from four to six counts Then try eight Don’t do too much of this-- someone could pass out! If a student feels light-headed, s/he should stop immediately and sit down. This can be practiced while walking between classes (e.g. four steps in, four steps hold, four steps exhale, four steps leave out)
  • 89. This simple yogi breathing exercise gets students to exert some control over their breathing, gets them accustomed to being able to play longer and longer phrases, and helps with: Support Pitch Phrasing Tone And, even helps to avoid mental errors.
  • 90. Oral Cavity. Now, HERE’S a variable! And it’s another big reason (along with the inconsistency of reeds) why there is no one- size-fits-all answer for saxophonists in terms of mouthpieces and horns. Everyone’s mouth is different. So, what’s going on in the mouth?
  • 91. There’s not enough time now to go into depth, but know this: You can’t move your teeth. You can’t move your palate. You can’t move your uvula (I don’t think). You CAN move your jaw and, You CAN move your tongue.
  • 92. Here’s an exercise that I have many of my students do: Sometimes simple is good. Initially, the goal is to see how many seconds the player can hold the note. When the student is comfortable making 30 s. or more, the focus shifts to TONE, bearing in mind Maximum Resonance (we’ll get there in a minute), and our friend Muscle Memory.
  • 93. So, the student takes a good breath, and plays the long note, holding it as steady as possible, and thinking about the tone, thinking: “Am I providing strong foundation of breath support from my bread basket?” “What is IN the tone of this note I’m playing? That is, besides the principal part (the B), what else is in there? Is it all good? What should I make less of, more of?” “What would happen if I brought my tongue up/ down?” “What if I subtly tried different vowels out, like ‘Haw’ or ‘Hee,’ for example?”
  • 94. Why does a trumpet sound different than a didjeridu? Trumpet Didjeridu This from Dr. Bill Roberts’ work at MTSU (http://frank.mtsu.edu/~wroberts/didj.html)
  • 95. If you find this stuff fascinating, check out: http://www.phy.mtu.edu/~suits/sax_sounds/ index.html (shot of alto sax Fourier Spectrum) There you’ll find waveforms of the same saxophonist playing the same note on the same equipment, but differently each time. It’s kind of neat to see, visually, how many different tones a player can get via voicing.
  • 97. When the student decides that s/he is playing the nicest B ever, with a great tone (thanks to a developing conception), and a feeling of maximum resonance: “Hey, this is a really good sounding B!”
  • 98. When the student decides that s/he is playing the nicest B ever, with a great tone (thanks to a developing conception), and a feeling of maximum resonance: “Hey, this is a really good sounding B!” “Hmmm... so THIS is how it feels (muscle memory reinforcement) to play a B that sounds absolutely fabulous.”
  • 99. When the student decides that s/he is playing the nicest B ever, with a great tone (thanks to a developing conception), and a feeling of maximum resonance: “Hey, this is a really good sounding B!” “Hmmm... so THIS is how it feels (muscle memory reinforcement) to play a B that sounds absolutely fabulous.” “I ought to record myself and/or ask for a second opinion about how good this B really sounds.”
  • 100. Embouchure Remember the mouthpiece diagram? That reed needs to be free to vibrate.
  • 101. Embouchure Teeth rest on top of mouthpiece. Lower lip is folded over bottom teeth. There is a spectrum (Allard) from barely taking any mpc in, to taking in a whole lot, wich gives us a range from a small, wimpy sound to a big, honking out-of-control sound.
  • 102. Liebman If you take too little mpc in, you aren’t allowing enough reed to vibrate, and that’s where the sound comes from. If you take in too much, you lose control, your tone becomes harsh, and it’s harder to get low notes without honking. Dave Liebman has a really nice embouchure here.
  • 104. Groundhog Day Students come in all kinds, but it seems that most don’t take enough mpc in. So what happens?
  • 105. Groundhog Day Students come in all kinds, but it seems that most don’t take enough mpc in. So what happens? You tell a kid to take in more mpc, the tone improves, the sound gets bigger, and everything’s wonderful. THEN...
  • 106. Groundhog Day Students come in all kinds, but it seems that most don’t take enough mpc in. So what happens? You tell a kid to take in more mpc, the tone improves, the sound gets bigger, and everything’s wonderful. THEN... The next day everything’s right back to the way it was before!
  • 108. There are reasons for this: Muscle memory. The new position feels weird to the player, so s/he naturally gravitates back to the old position.
  • 109. There are reasons for this: Muscle memory. The new position feels weird to the player, so s/he naturally gravitates back to the old position. The student does not like the feeling of less control from taking more mpc in, so unconsciously moves back to the old position.
  • 110. There are reasons for this: Muscle memory. The new position feels weird to the player, so s/he naturally gravitates back to the old position. The student does not like the feeling of less control from taking more mpc in, so unconsciously moves back to the old position. If it’s an older mpc, there may be bite marks in the top, and the player’s teeth naturally settle in at the indentations.
  • 111. There are reasons for this: Muscle memory. The new position feels weird to the player, so s/he naturally gravitates back to the old position. The student does not like the feeling of less control from taking more mpc in, so unconsciously moves back to the old position. If it’s an older mpc, there may be bite marks in the top, and the player’s teeth naturally settle in at the indentations. The student is trying to make you insane.
  • 112. There’s a fix for this. Once the ideal spot is found, mark the spot where the front teeth should rest on the mpc with a small piece of masking tape. The student just slides up to the point where the front teeth rest against the edge of the tape. It will feel weird for a while, but after a week or two the new position will start to feel normal.
  • 113. Centered Sound vs. Spread Sound A centered sound comes through nice and clear to a person at the back of the performance hall. A spread sound is loud up close, but dissipates before hitting the back of the hall.
  • 115. Okay, but how can a player know whether his or her sound is centered? When somebody at the back of the hall tells them it is (“Gee thanks, Person at The Back of The Hall!”)
  • 116. Okay, but how can a player know whether his or her sound is centered? When somebody at the back of the hall tells them it is (“Gee thanks, Person at The Back of The Hall!”) When the horn achieves maximum resonance (this would be a good time to remind your students of muscle memory).
  • 117. Articulation A saxophone section will sound Vastly Better if they articulate together. We are low on time, so let me just direct you to jongudmundson.com If you click the Education link there, you will find an article that Yours Truly wrote about this topic that was published in Teaching Music back in December of 2006.
  • 119. And furthermore... Jz Artics Figs 4-7
  • 120. Jon Gudmundson Any questions? If we run out of time and you still have questions, please come up and ask when you spot me at the Conference. I’m here all weekend. Try the veal.

Notas do Editor

  1. \n
  2. \n
  3. \n
  4. \n
  5. \n
  6. \n
  7. \n
  8. \n
  9. \n
  10. \n
  11. \n
  12. \n
  13. \n
  14. \n
  15. \n
  16. \n
  17. \n
  18. \n
  19. \n
  20. \n
  21. \n
  22. \n
  23. \n
  24. \n
  25. \n
  26. \n
  27. \n
  28. \n
  29. \n
  30. \n
  31. \n
  32. \n
  33. \n
  34. \n
  35. \n
  36. \n
  37. \n
  38. \n
  39. \n
  40. \n
  41. \n
  42. \n
  43. \n
  44. \n
  45. \n
  46. \n
  47. \n
  48. \n
  49. \n
  50. \n
  51. \n
  52. \n
  53. \n
  54. \n
  55. \n
  56. \n
  57. \n
  58. \n
  59. \n
  60. \n
  61. \n
  62. \n
  63. \n
  64. \n
  65. \n
  66. \n
  67. \n
  68. \n
  69. \n
  70. \n
  71. \n
  72. \n
  73. \n
  74. \n
  75. \n
  76. \n
  77. \n
  78. \n
  79. \n
  80. \n
  81. \n
  82. \n
  83. \n
  84. \n
  85. \n
  86. \n
  87. \n
  88. \n
  89. \n
  90. \n
  91. \n
  92. \n
  93. \n
  94. \n
  95. \n
  96. \n
  97. \n
  98. \n
  99. \n
  100. \n
  101. \n
  102. \n
  103. \n
  104. \n
  105. \n
  106. \n
  107. \n
  108. \n
  109. \n
  110. \n
  111. \n
  112. \n
  113. \n
  114. \n
  115. \n
  116. \n
  117. \n