Saxophone Tips & Tricks

Posture

Saxophone posture

Saxophone posture can vary depending on the musician.  Like other instrumentalists, saxophone players should sit up straight with their feet flat on the floor, but they can choose how to hold the instrument while they're playing it.  Younger players can learn to hold the saxophone so it's outside their legs.  (This is how most of our saxophone section plays.)  I'm assuming this is because they aren't big enough to hold the instrument between their legs.  I play with the saxophone rested between my legs on the chair - I'm just tall enough for it to work out.  It means I don't have to have the weight of the saxophone on my neck, which is nice.  I'm not sure if this is encouraged for elementary school students; that's something to figure out in April.

Saxophone embouchure

Embouchure
The saxophone mouthpiece was based on the bass clarinet's, so the embouchure is similar.  The mouthpiece goes straight into the mouth, unlike clarinet mouthpieces which are at an angle.  The bottom lip can be curled under slightly, and the top teeth should apply some pressure.  The chin is flat and pointed.  The higher notes require tighter embouchure and control so they will speak and be in tune.  The mouth and throat need to be open in order to play the lower notes, as if a golf ball is in your throat.  Dropping your jaw helps open up the embouchure.

Tuning

Saxophone mouthpiece

To me, the saxophone is notorious for being out of tune.  Fortunately, it can be easier to fix than on other instruments.  The mouthpiece of a saxophone is very different than other woodwind mouthpieces.  A clarinet or a flute is played with the mouthpiece pushed in all the way; there is no cork showing.  There is a definite "starting point" for tuning.  There isn't a clear "starting point" for saxophone.  The mouthpiece is placed on a piece of cork (it can safely rest on about 2 inches of it), so there's a lot of wiggle room.  You remember where to put the mouthpiece once you have some experience.  In the meantime, it's a good idea to tune before you play to ensure the mouthpiece is in the right place.  (My rented saxophone also has a red line drawn where the mouthpiece should be placed.)

Dynamics

Clarinet mouthpiece

Saxophones are also known for being able to overpower other instruments.  (I remember the saxophonists had to put socks in their bells to muffle the sound.)  They have to be able to fit in with all types of ensembles, so dynamic control is very important.  Some ranges (ie. the higher notes) are easier to play quietly than others (the lower notes), so you have to adjust your air support accordingly.  The lower notes require more support if they're going to be played quietly.

Flute Attempts 1 and 2

So I got a flute last week, and my first lesson with Mrs. Harvison was last Thursday.  I learned many tips for embouchure and air; for example, I had to keep the mindset of blowing through a straw (a small, compressed stream of air) in order to make a sound.  It took a lot of fiddling, but I managed to play four notes that day: the Bb, C, E, and Eb in the top half of the staff.  The F was almost there.  (My friend from orchestra made a suggestion: blow so the air goes over the bottom of your chin.  It helped, plus I proved her wrong when she bet I wouldn't be able to produce a sound on the first day.  HA.)

Just now I practiced again and got a bit better at not making myself dizzy and lightheaded.  The tone isn't as airy if I stand up and watch my embouchure in the mirror.  Weird, but it works.  I managed to record "Hot Cross Buns" (which I'm getting tired of playing - are there any other simple songs to learn?)

I have to get used to tonguing, just like I did with the trumpet.  There isn't a mouthpiece in my mouth, so I have to experiment with where to put my tongue so I don't completely cut off the air flow.  The pitch sometimes jumps up an octave when I tongue, too.

To summarize, things to improve this week: stamina and tone.

And I need to record the saxophone chromatic scale, too.

Saxophone in band

I played the saxophone in band twice last week.  Having very similar fingerings was very convenient since I could play the music without thinking too much about it.  Whatever differences there were, I had gotten used to them.  The biggest thing I realized is how out-of-tune our saxophones really are.  Really.  Okay, my intonation wasn't perfect (you have to play an instrument for a long time in order to figure out how to adjust each individual note), and I already knew saxophones are prone to being out of tune because of the way the mouthpiece is set up, but the pitch beats were even more audible when I was among them.  I also can't hear anything the woodwinds are playing, which is something I'm not used to.  The saxophone is definitely not a graceful instrument, but it's still interesting.  Other than the intonation, it went really well.  I might bring the saxophone to a pep band game or two so I can get video footage of myself playing.  I'm glad I rented a sax from Bethel.  It's more in tune, and the lower notes are easier to get out.

Flute history

When people think of a flute, they imagine the familiar flute seen in an orchestra.  This is known as the Western concert flute, a "transverse" or "side-blown" flute which is held horizontally.  (There are many kinds of flutes around the world.)  Direct relations of this modern flute have existed since the 11th or 12th century and became popular in the 16th century.  The modern flute was developed by Theobald Boehm in 1847.  This flute boasted tonal power, agility, secure intonation, and new fingerings.  (Boehm developed the Boehm key system, which later influenced other instruments such as clarinet and saxophone.)  It's most important feature was its ring keys, which allow two holes to be covered at once using only one key.

My flute (a piccolo is about half the size)

Flutes are normally made from nickel-silver or sterling silver, allowing for a flexible, projectable tone.  However, many players mix other materials such as wood and gold.  Wood allows for richer, stronger lower notes; and gold creates a mellow sound.

The flute family includes the piccolo, alto flute, and bass flute.  The Western concert, or C, flute's compass extends from c' to f''''.  It's close cousin, the piccolo, has a slightly different range but sounds an octave higher.  The alto and bass flute sound a third and a fifth below the C flute, respectively.

The flute's compass

Trumpet chromatic scale (Part 2)

Here's the second chromatic scale on the trumpet.  It's at 50 bpm, and I didn't look at the fingering chart.  Remembering the fingerings was harder when I was descending the scale than ascending.

Second chromatic scale

Trumpet chromatic scale (Part 1)

I'm going to play the chromatic scale on the trumpet twice.  This is the first recording, where I'm looking at the fingering chart and the beat is 50 bpm.  The second recording will be without the fingering chart, and most likely at 40 bpm.  Here's the first recording.

Saxophone progress

Saxophone has gotten a lot easier now that I'm used to the differences in the fingerings.  First, a few notes (ha!) on dynamics.  I’m getting better at having the control to play quietly, but it’s easier on some parts of the range than others. (I don’t know if the saxophone has names for the different sections as the clarinet does. The clarinet is known for how its registers each have a different sound, so maybe that’s why they have different names. That's something to research.) The notes that only use less than half of the saxophone (G to C#) are a lot harder to play quietly. Mrs. Harvison referred to a “change in air pressure” when I try to play quietly, probably especially in this range. When more of the saxophone is used, as in the D to G above the staff, dynamics require as much control as I am comfortable using on the higher registers on the clarinet now. Maybe a little more. The notes above a G above the staff become harder again.

The 20-minute attempt to get the mouthpiece to work (long story.)

I’m also having trouble getting in tune. It could be the instrument, or the fact that I’m not using the mouthpiece made for my particular instrument. It’s a lot more than knowing to lip the pitch up a bit when I’m playing higher - it’s really flat. And being flat (as opposed to being sharp) is really annoying since it’s harder to fix. I’m going to have trouble recording myself if I can’t play in tune! Today I'll be picking up another instrument at Bethel Music Center (Route 7 won't have any until tomorrow) just so I can have a half-decent instrument.  After all, as Allie and Mrs. Harvison say, big student instruments have a bad reputation.  I plan on being a saxophonist in band on Tuesday.  Yay, pep band!

Finally, I got the score for "Down a Country Lane" a few weeks ago and copied all of the parts into a PDF document.  I'll have to cover parts for instruments I'm not playing (ie. play the bassoon part on bass clarinet), so I created a list of instruments I'll have to record more than once.  This will also test my transposing skills.

Trumpet Tips & Tricks

It didn't take me very long to realize how different brass instruments are from woodwind instruments.  The hardest part was adjusting to the embouchure.

Embouchure
I had listened to Mr. Klepacki talking to the brass section over the years, so I wasn't completely oblivious when I started learning brass embouchure.  My first actual "lesson" came from the Standard of Excellence book.  It had a great explanation, and I picked it up really quickly.  To find your mouth, shape the inside of your mouth as if saying "oh."  Then, bring your lips together as if saying "em."  The key is for the corners of your lips to be firm, but the center should be relaxed in order to create the buzz.  Your chin should be flat and pointed.  I discovered that buzzing relies on the firm lips; without them, I'd just blow air through pursed lips.  Mr. Klepacki also recommended offsetting your lips on the mouthpiece (60/40) to make it easier.

Partials
The Standard of Excellence book was written as if a student's first note could either be the C below the staff or the G in the staff.  I first played the C, so I had to work from there.  One of the most important things I learned was, "You have to play low to be able to play high."  The lower partial came fairly easily, but control is essential.  My lower partial was usually flat, so I had to lip it up.  This was done by adjusting my lips or chin.

I started moving up the C major scale once I could play below the staff.  C through E came fairly easily, but it took a while to get to the G.  After that, the new goal was the C in the staff.  The key is to tighten your lips and blow harder.  I couldn't try to estimate how much air I would need, because I would always be wrong.  Have no mercy.  I also found it helpful to put more pressure on the mouthpiece.  This aided in tightening my lips.  I don't know if a trumpet player should actually do this, but it worked for me.

Finally, I wouldn't be capable of my current range (a little under two octaves) without the practice time I put in.  Seriously.  Every little bit helps.  PRACTICE.  There's no excuse not to.  It helps your embouchure's strength and endurance so you can play higher and for a longer period of time.  You'll also have more control over the instrument.  Each note is different; one may be slightly flat for you, but the next will be sharp.  Muscle memory will develop faster with practice!

Posture
I realized the most beneficial posture isn't what I've seen the other trumpet players doing in band.  Most hold their trumpets down so the bell is in the stand.  I've heard how that muffles the sound, but I discovered that it actually makes the instrument harder to hold.  When I began playing, I naturally held the trumpet up.  My neck was straight, and it was a lot easier to exhale.  I tried holding the trumpet the way others do in band, but I couldn't.  My airway was restricted, and my arms were put in an awkward position.  Moral of the story: don't be lazy when holding a trumpet, even when you're just beginning.  It'll pay off in the long run.  As always, if you're not used to sitting up straight, don't give up.  Soon, you'll be sitting up straight without thinking about it.