Utah Music Educators Association clinic presented by Jon Gudmundson of Utah State University. The topic concerns getting your big band saxophone section to sound bigger and better.
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.
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.
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.
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
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.
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.
96.
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.”
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!
107.
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.
114.
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.
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.