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TMEA 2012

TMEA 2012. Making Your Sax Section Sound Great by Dr. Michael N. Jacobson Professor of Saxophone Baylor University. Student Participants. Ricardo Chavez, soprano Adam Carrillo, alto Jake Barr, tenor Michael Culbertson, baritone Chelsea Sentell, bass. Tone Production

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TMEA 2012

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  1. TMEA 2012 Making Your Sax Section Sound Great by Dr. Michael N. Jacobson Professor of Saxophone Baylor University

  2. Student Participants • Ricardo Chavez, soprano • Adam Carrillo, alto • Jake Barr, tenor • Michael Culbertson, baritone • Chelsea Sentell, bass

  3. Tone Production • Section Playing, Blend & Balance

  4. Tone Production • Eliminating Tension • Lower Jaw • Throat (vocal chords) • Equilibrium of Embouchure & Air • Equipment (reeds – mouthpieces – ligatures)

  5. Buzzing the Mouthpiece • Tongue Position (Voicing)

  6. Buzzing the Mouthpiece • Pitch = Jaw Pressure Embouchure Support Voicing (oral cavity / tongue position) Reed Strength

  7. Buzzing the Mouthpiece • Bending Pitch = Jaw, Embouchure, Throat, Voicing • Enhances flexibility, pitch control, embouchure control & relaxation.

  8. Mouthpiece Voicing • Tongue Position  Whistling • Relationship to: • Low Register Response • Pitch / Portamento / Pitch Bends • Tonal Control / Consistency • Getting settled on different horn (alto  tenor or alto  bari)

  9. Buzzing the Mouthpiece • Pitch References for SATB Saxophones

  10. Saxophone Embouchure • Shape: round or oval • Corners: in & towards mouthpiece • Lower Jaw: down, away from reed • Chin: relaxed, not flat or pointed • Upper & Lower Teeth Alignment

  11. GOOD: • Corners in towards mouthpiece • Lower jaw down and chin relaxed • Upper & Lower teeth aligned NOT: • Corners • Flat chin NOT: • Corners • Upper lip • Teeth / jaw

  12. Equipment • Mouthpieces • Reeds • Ligatures

  13. Mouthpieces • Brands: • Selmer: S-80 C* or D S-90 180-200 • Vandoren: Optimum 3 or 4 • Rousseau: R3 or R4 NC 3 or NC 4 (0riginal) (New Classic)

  14. Reeds • Strength: 34 for IntAdv Players • Brands: • French Cut Vandoren & V12, Rico Reserve & Royal • Regular Cut Vandoren Java & ZZ Jazz, La Voz, Rico regular

  15. Reeds • Storage: flat surface with grooves • Synthetic  Legere Regular – run ½ size hard (compared to Vandoren) Studio Cut – true to size (compared to Vandoren)

  16. Reeds • Placement and Adjustment (seal) • Lower Placement = less resistance • Higher Placement = more resistance • Take care that reed tip stays in contact with and seals to the tip rail of the mouthpiece

  17. Normal Lower Higher

  18. Ligatures • Full Coverage = Darker Tone • Minimal Coverage = Brighter Tone • Brands: Louis  standard/Benade  Rovner (Minimal <--------------------------> Full)

  19. Section Playing • Pitch – Blend – Balance • Tune to unison / octaves & 5ths • Tune to – and from – the bottom • Frame inner voice(s) with Top & Bottom • Use of Vibrato • Soloistic passages • Section passages • When doubling other instruments that are using vibrato

  20. Section Playing • Examples from Grainger: • Lincolnshire Posy 2. Horkstow Grange 6. The Lost Lady Found • Irish Tune from County Derry

  21. Section Playing • Lincolnshire Posy 2. Horkstow Grange • Melody in top voice Full harmony distributed among voices Frame inner voices with Melody & Bass Use vibrato depending on other ensemble doublings

  22. Section Playing • Lincolnshire Posy 6. The Lost Lady Found • Tutti voices Unisons and octaves Equal balance among voices No vibrato

  23. Section Playing • Irish Tune from County Derry • Melody in inner voices Full harmony distributed among voices Enhance Melody and diminish other voices Vibrato options: Use on Melody and not other voices Use as a section with a similar approach among voices Don’t use due to doublings with other instruments

  24. *** Quartet35 *** Saxophone Quartet Playing in the Showcase @ 4:00

  25. THE ENDThank Youfor your Attendance FEBRUARY 2012 michael_jacobson@baylor.edu www.baylor.edu/Saxophones

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