 The Clarinet BBoard
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Author: Amanda S
Date: 2005-12-29 17:43
My dad recently bought an alto off of ebay ( I know, I know...bad idea), and I want to try playing it. My dad can play on the reeds that came with it, but I can't. Could I need a harder reed since I already play the clarinet? I think this is the problem, because the reed seems to close up when I use any significant amount of air. I play on a 3.5 Vandoren on my clarinet. Would that be a good size to get in sax reeds?
Thanks,
Amanda
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Author: GBK
Date: 2005-12-29 17:57
Playing an alto saxophone is NOT like playing a clarinet.
Perhaps, before you start experimenting with reed sizes and mouthpieces, you should do a little reading and work on a proper saxophone embouchure...GBK
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Author: Chris P
Date: 2005-12-29 17:58
You probably will need a harder reed than what came with the sax (which is why it closes up), and probably a better mouthpiece - I'd suggest a Selmer S80 C** or Selmer S90 180.
Try a 2 or 2.5 Vandoren Java.
Also the embouchure on alto sax is much looser and more relaxed than it is on clarinet - and don't tighten up as you go up as you'll go sharp.
(But for the record I do consider myself to be more of a clarinet doubler as I started on alto sax a couple of years or so before starting clarinet)
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2005-12-29 18:02)
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Author: Max S-D
Date: 2005-12-29 18:39
When I started playing sax a couple years ago, I used an open tip mouthpiece with vandoren blue box #3 reeds. I always had intonation troubles and couldn't figrue it out. Then I finally got some lessons and my teacher put me on very soft reeds, which forced me to loosen up and learn to control the embouchure and airstream correctly.
The other big thing that I had to get used to was that the sax has a much harder, brighter and more aggressive tone than the clarinet. I've always liked to listen to sax players, but it took awhile for me to get used to making that sound myself. Now I play sax with a few bands and enjoy it (almost) as much as clarinet.
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Author: Roger Aldridge
Date: 2005-12-29 18:50
Amanda,
It would be helpful to know more about the mouthpiece that came with your saxophone before we rush to judgement. Please tell us the brand and facing number (which should be on the mouthpiece). Otherwise, the comments you've received so far are excellent. I would also encourage you to work with a saxophone teacher before you go too far as to avoid acquiring bad habits on that instrument....given the differences between playing saxophone and clarinet.
Good luck!
Roger
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Author: Hank Lehrer
Date: 2005-12-29 18:54
Hi Amanda,
Welcome to the wonderful world of doublers. Hey, I just bought (some of my pals say I stole it for the price I paid) a sax on eBay (a 1980s Selmer Super 80 alto that had never even been put together). It is superb.
There is nothing wrong with eBay buying and selling. I've been involved in at least a dozen transactions in the past 12 month with no problems.
So, what brand of alto do you have, what kind of mouthpiece came with the instrument, and what brand and # reed were you trying to use? Either post your answer or send me an email as my address is in My Profile.
SYL
HRL
PS I alternate between a Selmer Short Shank E, a Selmer S80 C*, and a Meyer 6M on alto. All play great.
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Author: DavidBlumberg
Date: 2005-12-29 20:11
Ebay is both very good and very, very bad.
It is very, very easy for someone who doesn't know what they are doing to get scammed as there are several scammers for every legit seller - and they will give you bogus side or "2nd chance" offers which only steal your money and give you nothing in return.
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Author: Chris P
Date: 2005-12-29 20:32
If you don't want to spend a fortune on a mouthpiece but want a better one (assuming the one that came with the sax isn't all that brilliant), get a plastic Yamaha 4C or similar - they're excellent at the price.
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Author: SolidRockMan
Date: 2005-12-31 13:26
As mentioned above the embouchure differences are fundamental.
My mental reminder on the fundamental difference between clarinet and sax is 'smile' for the clarinet and make an 'O' shape for the sax.
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Author: Kel
Date: 2005-12-31 13:51
"The Art of Saxophone Playing" by Larry Teal will give you much of the information your need.
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Author: DavidBlumberg
Date: 2005-12-31 14:11
If you don't want to spend a fortune on a mouthpiece, then don't get a $500 one.
Spend $80-100 and get a Selmer C* if you want a quality hard rubber mouthpiece.
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Author: BassClarinetGirl
Date: 2005-12-31 14:51
Yes, sax embouchure is much different than clarinet. More loose, like an O shape.
Also, remember that it is easier for some people to go back and forth between different instruments than others as well- for example, last year I would play tenor before school in Jazz, then play both Bass and Eb in concert band. But I have a friend (bass and Bb player) who, if she plays one first, literally cannot play the other immediately after. Especially since you are new to the instrument, it might be hard for you to go back and forth right away.
As everyone said, find the right mouthpiece and reed combo for you! I personally play tenor the best on a really beat up old Woodwind Co. brand mouthpiece (the thing litterally has a tooth GROOVE from many previous players). I litterally could not get a decent noise out of the Eugene Rosseau that was supposed to be a much better mp. The one I tried was WAY too closed for my taste. I make a good sound with mine, and it has pretty good intonation, goes nicely from ff to pp. I don't know much about alto reeds, but I play on a 2.5 or 3.0 Hemke reed on my tenor sax. When I asked a sax player what he thought about stronger reeds, when I was trying to make the Rosseau mp work with 3.5s, he said I might as well go to the lumber yard and get a 2x4....
And about ebay... can be sucessful when you know who you are buying from. I bought my clarinet off ebay, but it was from a very reputable dealer called Wichita Band Instrument Co. They were great to work with.
When I play sax, I tend to forget everything I've learned about playing clarinet, and definately don't compare the sax to it. They are two completely different things. My suggestions/comments are just my experiences of 5 years doubling on the tenor sax from middle school though high school. There are more experienced doublers that have already gave you a wealth of info, but hopefully you can pick up something from my $0.02. Good luck with this alto, and above all, have fun with it!
BCG
Post Edited (2005-12-31 15:04)
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Author: Arnoldstang
Date: 2005-12-31 17:04
Test for sax reed.....play a long tone and try to close the sound off with your embouchure. Look for a reed you can't shut down. Work on the first octave initially. Then try playing octaves. Experiment with the amount of mouthpiece in your mouth to facilitate octaves. Mouthpiece placement on the cork is also crucial here. There is a wider tuning range on saxophone. Most of this tuning range is useless as deviating too far from A 44O just plays havoc with the scale. Work on concert A. Try to play the lower and upper octave in tune.(with a meter) Find where this works for you and then mark the cork. I use Hemke 2 1/2. For my mouthpiece a number 2 would close up on me and most 3's are unwieldy. Regarding difference in sax and clarinet embouchure I suggest just relaxing the cheeks....Practice low register and let things evolve. Listen to some recordings to get the tone in your head. Relax and immitate.
Freelance woodwind performer
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Author: Don Berger
Date: 2005-12-31 17:50
Amanda - While I generally agree with what has been said above both re: saxes and mps, please tell us what your sax is, so we might be able to suggest a compatible mp. My experience with altos dating back into the 50-60's, Mark 6 Selmer and Model 100 Leblanc [pro horns], I had best results [tuning-wise and intonation] using mps of that era, since more-modern mps often have differing dimensions. A source of such info is the Yahoogroup, "Mouthpiecework" where experts exchange hard-to-find opinions/experience. There are also a number of sax "sites" [Sax on the Web etc] for more advice. Don
Thanx, Mark, Don
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Author: ElBlufer
Date: 2005-12-31 18:09
Although I did not start this thread, I would like to say that this thread has helped me understand what I will need to do in upcoming days. I am a clarinetist who is going to learn how to play tenor sax starting as soon as the FedEX guy brings me my mouthpiece. I have approx. five days to learn tenor with a Rico Royal Grofonite C-5 moutpiece on a school-owned YTS-23 tenor sax with vandoren ZZ size 3 reeds. Does anyone have any tips (beyond what you have given) on how to learn sax fast? I have only touched a sax one or two times in that past, and those experiences were with altos.
I thank you for the information I'm sure you'll give,
My Setup:
R13 Clarinet (Ridenour Lyrique as my backup/marching instrument)
Walter Grabner K11 mouthpiece
Rico Reserve 3.5's
Bonade ligature
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Author: Chris P
Date: 2005-12-31 18:22
You will need plenty of breath support on tenor, especially if you're playing low E downwards quietly as these low notes notes will 'bubble' if not properly controlled or supported.
Play with an even embouchure pressure across the range and don't tighten up as you go high.
Learn to master playing quietly as well, there are many tenor players that can't, and you don't want to be thought of as yet another sax player that plays too loud all the time.
Take the snobby remarks from other musicians with a pinch of salt - most of them haven't a clue about saxes.
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Author: ElBlufer
Date: 2005-12-31 18:29
Thank you for your advice, I will be sure to keep a loose embouchure, and I know that the breath support wont be a problem. I'll make sure to practice from pp to ff.
My Setup:
R13 Clarinet (Ridenour Lyrique as my backup/marching instrument)
Walter Grabner K11 mouthpiece
Rico Reserve 3.5's
Bonade ligature
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Author: Gandalfe
Date: 2005-12-31 18:32
You might want to check out the Sax On The Web forum (a simple search will give you the link) "beginner forum" where you can pick from hundreds of posts from new players about problems they have had like:
low notes won't sound
high notes won't sound
horn squeaks
horn doesn't play
There are also good articles for beginners on the home page of the SOTW forum, http://www.jdhite.com/study/Saxophone/intro.htm, and http://www.jazz-o-matic.com/ to name a few.
I'd also recommend that you sit with your instructor/band director or another sax player so that you can eliminate the most common errors that beginners make.
Good luck to you.
Jim and Suzy
Pacifica Big Band
Seattle, Washington
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Author: Chris P
Date: 2005-12-31 18:55
Also, I think ZZ 3s will be a bit hard, try using a 2 or 2.5 - if the reeds are too hard your low notes won't speak easy at low volume levels, but too soft and the top notes will be too thin.
You want to achieve equal amounts of control over the enitre range.
If you're going from high E-F, use the front F key for both (it's the overlapping key above LH finger 1 with the domed button, in a similar position to the throat A key on clarinet) - so high E is Fxx|ooo and high F is Fxo|ooo, all with the octave key (and F# is Fxo| Side Bb ooo as the YTS 23 doesn't have a high F# key - the side Bb is the lowest of the three RH side keys. Otherwise high F# is Fxo|o high F# o - the high F# key being under your RH middle finger).
Also, if going from D over the break to C#, play D (8ve xxx|xxx) and just lift LH fingers 1 and 2 for C# (8ve oox|xxx) - but in the lower register going from open C# (all fingers off) to D (8ve xxx|xxx) is made easy by just playing open C# and using either the LH side D key or Eb key, whichever gives the better tuning for the D, and it saves going across the break and smooths things out, otherwise it can sound lumpy (kinda like how A-B across the break on clarinet can sound).
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2005-12-31 19:04)
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Author: Amanda S
Date: 2006-01-01 00:08
I think the sax is a "Sky"...whatever that is. My dad likes cheap, and you get what you pay for. The mp is the one that came with it. I've done a little research, and this seems to be a pretty obscure brand.
Amanda
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Author: ElBlufer
Date: 2006-01-01 01:46
Ok, I recieved my moutpiece and was able to tune the sax; however, I cannot get the low notes out. Any suggestions?
My Setup:
R13 Clarinet (Ridenour Lyrique as my backup/marching instrument)
Walter Grabner K11 mouthpiece
Rico Reserve 3.5's
Bonade ligature
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Author: Kel
Date: 2006-01-01 15:11
1. Have the sax checked for leaks.
2. Practice. You'll need good air support from your diaphragm.
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Author: BobD
Date: 2006-01-01 15:23
" I know, I know...bad idea),"
Oh, oh, the sky is falling.....
Bob Draznik
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Author: Chris P
Date: 2006-01-01 15:25
3. Try using a softer reed or a mouthpiece with a closer tip opening - a Yamaha 4C or Selmer C* or C** for instance.
What mouthpiece did you get (the one delivered by Fed Ex)?
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Author: ElBlufer
Date: 2006-01-01 16:47
Chris P wrote:
> 3. Try using a softer reed or a mouthpiece with a closer tip
> opening - a Yamaha 4C or Selmer C* or C** for instance.
>
> What mouthpiece did you get (the one delivered by Fed Ex)?
Rico Royal Graftonite 5C
My Setup:
R13 Clarinet (Ridenour Lyrique as my backup/marching instrument)
Walter Grabner K11 mouthpiece
Rico Reserve 3.5's
Bonade ligature
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Author: GBK
Date: 2006-01-01 17:02
ElBlufer wrote:
> What mouthpiece did you get (the one delivered by Fed Ex)?
> Rico Royal Graftonite 5C
The Rico Royal Graftonite mouthpieces have to be the ABSOLUTE WORST mouthpieces ever offered for sale, anytime, anywhere, any century.
When first marketed in 1986, they were given out by the thousands - free to band directors, most of whom immediately threw them in the trash.
(I had thought I got rid of all of mine - but just noticed I still have 4 new ones on the shelf in my studio. I truly hope they are not multiplying.)
They were Made from Graftonite™ - a graphite/rubber compound.
They should have left the graphite in the pencils.
Thick rails, thick tip, very resistant blowing, badly designed facings (the A7 had a tip opening of 1.40 and a facing length of 20mm), raised reed table, thin sound - nothing good whatsoever about them, except that they were (sadly) indestructable.
Toss it in the landfill where it belongs.
I think that the the half-life of lead is 22 years...GBK
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Author: Chris P
Date: 2006-01-01 17:15
Oh right - I thought that was the one that was with the sax.
Not the best choice of mouthpiece, but try using different strength reeds - the strength of reed you use on clarinet won't mean you have to use that strength on sax as well, but for control over low notes, don't use too hard a reed - low notes are hard enough on tenor anyway if you're not used to playing one.
Is the sax in good condition?
Put the sax together without the mouthpiece and have the end of the crook by your ear, then play a descending scale just by closing the keys lightly, and each time you close the keys there should be a nice resonant thud with sustain with each one.
If it's just a thud with no sustain, the pads could be leaking at some point, or not closing properly. The bell keys are linked to the G# so playing low C#, B and Bb means the G# key is free to rise, but held closed by the bar that connects from the RH keys - and if the adjustment is out the low notes won't work. If it's over adjusted you'll have difficulty with notes below F#.
And make sure you're not accidentally touching any side keys as well, and check there's some clearance between the crook key and the lever from the body - if there's none then the crook key will be held open, but this is easy to sort out by gently bending the crook key to get the clearance right - about 1mm.
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Author: ElBlufer
Date: 2006-01-01 21:31
Thanks for the advice Chris P....I wish I would have known this before I bought the moutpiece. I will no longer listen to wwbw reviews...well, I cant get new reeds or anything of the sort, as I am a minor who cannot drive and is limited on cash. The sax is in poor condition with a loose neck that has a worn down cork. I will try the keys next time that I can look at the sax. Thank you for all of the advice.
My Setup:
R13 Clarinet (Ridenour Lyrique as my backup/marching instrument)
Walter Grabner K11 mouthpiece
Rico Reserve 3.5's
Bonade ligature
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Author: Terry Stibal
Date: 2006-01-01 21:55
1) Get the neck cork replaced toute suite. There's nothing more frustrating that not being able to properly tune a horn because an expendable item has not been replaced.
2) Don't get frustrated over the low notes at first. Picking the notes from low D downwards is a difficult task on some saxophones, no matter what shape they are in to begin with.
3) If, after a week of long tones and other basic exercises, you still find you are having trouble with the lower end of the horn, take it by your local repairman for a leak check. The worst problem toneholes on a sax are those large ones at the bell end and crook of the horn.
4) Once you get it all sealed up right, treat the thing like an instrument and not like a kickball. Keep other hands and fingers away from the horn, and watch how you yourself handle it. Any leak anywhere on a horn can act like a perverted octave key, and it only takes a bit of a bump setting one down to cause the damage.
5) Treat learning the saxophone as you have learning the clarinet. This means running scales, intervals, the chromatic series, and all of the same stuff that you have already learned on the clarinet. Sure, it may be boring, but it's the fundament upon which your musical skills are based, and there are a varying set of them on the sax compared to the clarinet. If the Larry Teal book is the one I recall (blue cover, abstract drawing of a sax player on the cover), then that's a very good starting point.
The reason for method books is that they "force" a player to work certain key combinations and jumps, the better to train them as to how to deal with the problems presented by the mechanics of the horn itself. (It's also why some method books from the 19th Century, developed for the non-Boehm clarinet, are not the best way to learn to play a Boehm horn.) Doing the changes on a sax when playing from a clarinet method will have you playing the horn, no doubt about that, but they may not necessarily "work the right skills", if you know what I mean.
6) Get yourself a decent doubling stand that will hold your sax and protect it from "chair damage". It will also serve you well down the road when you find yourself playing sax, clarinet and flute somewhere.
leader of Houston's Sounds Of The South Dance Orchestra
info@sotsdo.com
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Author: Chris P
Date: 2006-01-01 22:24
I don't know how things are financially with your school, but the responsibility of maintainance is really with them - I know school instruments do have to put up with a lot more abuse than privately owned ones, but if your school can have the sax sorted out for you, then all the better - you're not responsible for the condition it's currently in as you've only just started using it, so you or your parents shouldn't have to fork out for repairs (and a mouthpiece, but it's best to have your own) on an instrument that isn't yours.
You can always return the mouthpiece you bought to WWBW and get a better one less the amount you spent on the Rico one (I assume they do returns) - for a good, low price mouthpiece get a Yamaha 4C, but if you plan to go further with tenor sax then invest in a Selmer C* or C** which will last you through your time studying (don't get a metal Otto Link 7* at this stage - save that for much later!).
Don't be put off though, the good thing with Yamaha saxes is they're easy to sort out by a competent repairer - and I do like working on Yamahas myself for that reason, as well as the fact I've played on Yamaha saxes for nearly 20 years - my soon-to-be 16 year old Yamaha bari is still going strong, and only the water key cork and upper octave key pad have been the only things that needed changing in all that time, and that's the instrument I play mostly out of all the others in my collection.
The only thing that went wrong with it in that time was a bit of felt came off the side Bb key arm - and that's hardly anything to worry about.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2006-01-01 22:35)
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Author: ElBlufer
Date: 2006-01-02 05:14
I will see if I can get those features of the sax fixed, however I am off of school for the next week and auditions start almost as soon as we get back. I will not be able to return the moutpiece, as I would have to pay approx. $10 to return it to WWBW. I will, however, talk with my director about getting those items fixed during my audition. I thank you for your advice, as I am sure it will help me in the upcoming week.
My Setup:
R13 Clarinet (Ridenour Lyrique as my backup/marching instrument)
Walter Grabner K11 mouthpiece
Rico Reserve 3.5's
Bonade ligature
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Author: Tom Puwalski
Date: 2006-01-02 14:42
I disagree whole-heartedly that there is a major difference between clarinet and saxophone embouchures. The goal of the clarinet and sax embouchure are the same- maximum vibration of the reed with the ability to control the dampening of the upper harmonics, and to be able to control articulation. The same things that will make a clarinet tone better will make a sax tone better, and the two things that will screw up a clarinet tone will screw up a sax sound even faster. Those two things are: too little mouthpiece in the mouth and to much jaw pressure.
It's been my observation that most clarinetists when switching to a larger reed instrument, like alto, tenor, bari sax and bass clarinet, tend to insert the mouthpiece into the mouth to approximately the same bite feel as the clarinet. A lot of clarinetists don't have enough mouthpiece in their mouths to maximize the sound production, when you get bigger mouthpieces in your mouth that amount gets progressively less. I find it's actually easier on sax to understand this. If you don't have enough mouthpiece in your mouth low notes don't come out and it's very hard not to play seriously sharp. So here are my humble suggestions for how to find that zone.
Clarinetist and sax players sound bad, because they inhibit the reed from vibrating. Most have bought into the mis-conception of embouchure. You cannot get a clarinet reed to vibrate with your embouchure. Only in the presence of pressurize air with the reed move. You can however stop the reed from vibrating with embouchure, by using too much pressure and doing it in the wrong spot.
Follow me on this:
A. Turn the mouthpiece sideways and look at the opening of the reed and mouthpiece curve.
B. Take your thumb and press the reed closed at the tip. Notice the ease at which you can accomplish this
C. Start moving your thumb down the reed applying the same pressure. Notice when you get close to the point where the reed leaves the mouthpiece table, it’s really hard to close the reed off at the tip.
D. If your bottom lip is on the tip side of the fulcrum point, where the reed leaves the mouthpiece, you are stifling the reed’s vibration. Most likely you are using a mouthpiece that’s more open than it needs to be or you are using a reed that’s too hard also.
The vicious circle starts: closing the reed off, playing sharp, getting a harder reed, one that’s not really well balanced, and using even more pressure to get it to work.
When my students find the spot I cut a mouthpiece patch in half and stick the straight part up the mouthpiece beak so they can use it as a teeth cue for getting into the same spot.
Next thing get ridenour's ATG reed system. The last thing anyone playing more than one size reed needs is more unbalanced reeds to take up time that could be used practicing. I have one, it's the best thing I've ever used on reeds. I have 6 types of reeds I use it on Eb, Bb and Bass clarinet, soprano, alto and tenor sax, 5 actually I use spent bass clarinet reeds on my tenor sax. I have recording studio ready reeds on each instrument. Get one watch the DVD, do exactly what he says. You will eliminate reeds as a major factor in you playing.
Tom Puwalski, former soloist with the US Army Field Band, Clarinetist with Lox&Vodka, and Author of "The Clarinetist's Guide to Klezmer"and most recently by the order of the wizard of Oz, for supreme intelligence, a Masters in Clarinet performance
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Author: clarnibass
Date: 2006-01-02 15:31
"You will eliminate reeds as a major factor in you playing."
Some people, including myself, have elimanated reeds as a major factor in their playing without doing any of the things Tom listed. His advice might work for some people.
Good luck.
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Author: Arnoldstang
Date: 2006-01-02 16:02
As stated above perhaps the difference in sax and clarinet embouchure is exaggerated. Most clarinetists shouldn't have too much difficulty switching to soprano sax. I believe it is mostly the fact that alto, tenor and baritone sax are lower in pitch that causes the problem. Rather than trying a different approach to playing these instruments I would suggest playing lots of low register and let your body and ear do the adapting in a uncontrived way. The voicing will come with time. The characteristic inflections will come with listening to recordings and playing with other people.
It is interesting that many tenor saxophonists don't sound right on alto as they voice it like a tenor sax. It is pretty obvious. With that in mind it makes sense that coming from the clarinet will present problems in voicing.
Freelance woodwind performer
Post Edited (2006-01-02 16:08)
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Author: Chris P
Date: 2006-01-02 17:44
I know too many clarinet players that treat the soprano sax like it's a clarinet - and go painfully sharp up top.
Then again I know too many sax players that treat the clarinet as a saxophone - and go dreadfully flat up top - and their solution is having the barrel shortened beyond belief, chopping them down to 61mm or even 58mm from a 66mm barrel which is short to begin with!
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Author: Arnoldstang
Date: 2006-01-02 18:21
Well, I'm not sure. A good clarinet player will hear "painfully sharp" notes and adjust no matter if he's playing soprano sax or a kazoo .
Freelance woodwind performer
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Author: Chris P
Date: 2006-01-02 18:40
I never mentioned anywhere they were good players!
But I'm sure a good player will indeed take the appropriate course of action though - or just leave it to someone that can do the job.
But the worst of the bad bunch will moan a lot and never let the good players do their job - they just do a bad job even if they're sitting right next to those that can and won't let them do it instead.
I had this in a band - the lead alto player was dreadful at both clarinet and flute, the 2nd alto was an excellent clarinet player but a fairly straight alto player. When it came to clarinet playing lead, the lead alto would murder the piece.
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Author: johnsonfromwisconsin
Date: 2006-01-02 23:31
As a saxophone to clarinet doubler, I find that duplicating embochure characteristics from the sax to the clarinet and vice versa will cause the clarinet to sound flat and dull and the saxophone thin and pinched.
Hopefully, realizing this means I'm doing something right. As it stands, my saxophone and clarinet embochures are quite dissimilar, I think.
-JfW
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Author: Tom Puwalski
Date: 2006-01-03 02:35
Not the "same pressure" at the same spot as a clarinet, just the same function. To allow the proper vibration of the reed. No embouchure can do anything other than that. A great embouchure on clarinet is capable of changing pressure and spot depending the particular reed or note or style of music. A great sax embouchure needs to be able to do the same thing.
I will add this Saxophone is complicated by the fact that the point of referance for mouthpieces tends to be facings that guys used in the big bands in the 30s, very open and shorter than they should be, IMHO. Those big open facins were desighned for guys trying to fill up a ball room in a sax section without microphones. Many sax players move to that kind of set up just because their teachers played it. No one I know doest that kind of gig anymore, most play jazz and rock miced. So why complicate matters with the wrong set up. Find something more like the clarinet mouthpiece you're playing. I play a zinner clarinet mouthpiece with a 1.03 opening with a 38 lenth. thats close and longer that say the clasic matson facing. I have soprano and alto mouthpieces (russeau classic) that I have refaced to be slightly longer than manufactured. I have a morgan 7 on tenor that is much to open and short I will be replacing it shortly.
I'm constanly amazed, living and working in DC, I end up working with many fine sax players from the various service jazz bands. It seems they don't have to develop a real sensitive dynamic range, when we had gigs backing up a singer in a "broadway type" orchestra, those big metal Gardella mouthpieces don't serve them well. They play great just not quiet enough for most conductors.
I think the major differance in playing a closer set up with more resistance in the reed or an open set up with a soft reed is the difference between "higher pressure" air and "Higher volume" air. Guys like Paul desmond, Phil woods, Joe Allard all played relitively close set ups with higher pressure air. I'd love to sound like any of those guys.
Tom Puwalski, former soloist with the US Army Field Band, Clarinetist with Lox&Vodka, and Author of "The Clarinetist's Guide to Klezmer"and most recently by the order of the wizard of Oz, for supreme intelligence, a Masters in Clarinet performance
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Author: Chris P
Date: 2006-01-03 06:41
I think anything more than a 7* is asking for trouble.
I like the control I get from my regular tenor mouthpiece - a Lawton 6*BBS - this has the high flat baffle inside (not like the B or BB models which has a smooth, curved inside but still with a high baffle), but any sound can be made from a fat subtone, a full ebonite sound or a very bright and cutting 'rock' sound at all volume levels.
I even use it in orchestras and symphonic concert bands as well.
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