A lot of cool sax players out there, but what is your favorite one and why? What is the particular thing that makes it special for you? what distinguishes him from others?
One of the most important, even the most important aspect of saxophone playing technique is producing sound. Well, that’s obvious: after all, music is the sequence of sounds, and if some musician can’t produce full, nice, let’s say “high-quality” sound, then it’s not worth practising anything else - both the performer and the listener won’t like any music such musician could ever play. But the good news are: with “right” breathing and embouchure (position of lips and everything that is in and around your mouth) anyone can produce the sound he or she really happy with. So let’s deal with the first part of it in this overview: breathing. I’ve been playing saxophone for 17 years and would like to share the information on the topic I find extremely useful.
Actually there are three breathing methods that we use during our day-to-day life. Those are: clavicular (colar bone), chest (throatic) and diaphragmatic. In order to get a full-supported sound on saxophone we need to combine all three methods, but the accent should be put on the diaphragmatic breathing, as this one is the most efficient for our goal: wind instrument playing.
So, what is diaphragm? I don’t feel like inventing something new here, but just referring to wikipedia article instead: it is ” a sheet of internal skeletal muscle that … separates the thoracic cavity, containing the heart and lungs, from the abdominal cavity and performs an important function in respiration: as the diaphragm contracts, the volume of the thoracic cavity increases and air is drawn into the lungs.”
The idea is simple: the air flows naturally to the place with less resistance. So all we need is: 1) Exhale as much air as we can, thus making our lungs a low resistance area 2) Inhale expanding our chest cavity as much as we can to get more air (for our future use in playing instrument) - that is done by lowering of the diaphragm. When playing saxophone during exhaling we “support” the air column contracting the stomach muscles, meanwhile preventing the diaphragm to get quickly to the initial “upper” position, That enables us to play long musical phrases with steady tone/sound.
Here are some exercises on the topic.
To feel the diaphragmatic breathing
- Ex.1 While lying on the floor (or on the bed or couch if your floor is too dirty:) place an average sized book on your abdomen area. Just breath in a regular way and you will notice the rise of the book when you breath in and the fall of it when you breath out. So the whole breathing process consists of expansion during inhaling and contracting on exhaling
- Ex.2 To feel the diaphragmatic floor extending: bend over, place your hands on the back of the abdomen area and inhale.Then slowly straighten up and try to get the feeling in the abdomen. For more extreme example try panting like you are out of breath while you are bent over.
To practise the diaphragmatic breathing
- Place your hands on the abdomen or on the back of the abdominal area
- Breath in.with your mouth. I visualise it like being a balloon filling with air (under high pressure) by some pump. So the idea is the quick and powerful air flow to your lungs; quick sip of air, kind of “sucking” it through some imaginary straw.
- Breath out with a loud whispered sound, something like “ah”. Try to do that as loud as you can and don’t interrupt the sound. In several days you should be able to reach at least 10-15 seconds of sounding this way.
In this exercise feel the muscles in the abdomen squeezing more and more until you run out of breath. Try to exhale all the air you have, think of it as of squeezing out a sponge. At first squeezing is gentle, but when the sponge runs out of water it becomes more tight. And then - back to step 2. Do it several times, from 10 to 20.
Remember: when inhaling don’t raise your shoulders. Of course they will rise( but just a little !) as the chest cavity expands filling with air, but our goal is diaphragmatic breathing, so focus primarily on the expansion in your abdomen area.
Very thorough study of breathing process and its connection with saxophone player I found in David Liebman’s “Developing A Personal Sound” book, also John O’Neil’s “Jazz Method For Saxophone” contains some useful information on the topic. I’ve mentioned only some pieces of information from the books in this article.
Share more thoughts, breathing exercises in comments. I am eager to know your experience on the topic as well.
I’ve been playing saxophone for many years, but I’m still very bad at repairing it. Has anyone at least replaced some pads on sax or regulated something? Any experience on the topic, any suggestions or advice?
Wondering which mouthpiece/reed combination are you, guys using? For which style of music and with what kind of sax?
It is not discussed too often, but in fact each note fingered on the horn has an “optimal” spot (for lower lip) on the reed. It’s worth covering the edge of the reed with your lower lip for lower notes, whilst uncovering the read is done for higher notes - this allows more of the higher overtones to come out. That is accomplished by lower lip forward and backward movement (not up and down, which results in “biting”): less of the lip’s fleshier area and lip rolling away from the edge of the reed for higher tones (let’s say beginning with higher B - above the staff) and more of the fleshier area and rolling in the direction of the edge of the reed in case of lower tones. You can read more about the lip movement and embouchure in Chapter 6 of David Liebman’s “Developing a personal saxophone sound”
What do you think about this suggestions and what is your experience? I am eager to know how the stuff with lower lip works for you.
Embouchure is one of the main things affecting the quality and timbre of our sax sound. It includes lips,teeth,jaw tongue as well as almost all the muscles contained in our mouth and face. Embouchure affects both the air stream (finally) coming to your mouth and the characteristics of reed’s vibration. If one has some embouchure faults, it immediately results in unsteady, week and muffled sound and lack of control. Who wants to listen to and to produce that kind of sound ? I bet no one does. So here are a few words about embouchure appropriate for sax playing,
In other words, saxophonists’ embouchure is basically just “how do we hold the mouthpiece in our mouth”. Here is a simple algorithm:
- Place the top front teeth on the mouthpiece making sure they are centralized. You can figure the distance between the tip of the mouthpiece and your teeth only by trial and error, as it varies from player to player. Perhaps a good point to start with is about 10 millimeters and then to “find your own place” on the mouthpiece you are comfortable with.
- Slightly turn in the lower lip as if you are saying the syllable “v”.
- I prefer to obtain the right position of my tongue and lips by imagining that I am pronouncing ö (german o umlaut), as it combines approved and advised by saxophone pedagogues “o” position of lips with “ee” (like in english word “eat”) position of tongue, which makes the air stream (and, consequently, the sound) more focused.
- Finger the middle C or B note and blow your horn pronouncing “four” (according to Sonny Rollins) or “vo” (according to Eugene Rousseau) or “vö” (according to me)
But the main thing to keep in mind is that the embouchure should be “natural”. That means firm but relaxed, feeling maybe like putting a popsicle in your mouth; and let’s remember to avoid putting pressure on the reed with your bottom lip.
Playing long tones every day in the beginning of your sax practise session is an indispensable exercise for both our embouchure and breathing.
Most of the sounds played by saxophonists start and end with tonguing, so I want to share with you some exercises which helped me (and, I hope, will help you) to achieve good tonguing technique. Feel free to add your exercises and suggestions as well.
- Ex.1 Sing the “doo” syllable (pitch is not of importance for the exercise, but don’t change it during the process) repeating it but not interrupting, think of it as singing one long note. But don’t move your lips or jaw. Imagining that you are a ventriloquist really helps to get the right feeling. Notice that your tongue moves straight up and down. That is exactly the way notes are to be tongued on sax
- Ex.2 Blow some note from the middle range of your horn for 3-5 seconds and then move your tongue up and touch the edge of the read still maintaining air pressure. Then pull the mouthpiece quickly out of your mouth. You should get a rush of air that quickly “escapes” your mouth cavity. If the air stream is weak, then you didn’t manage to keep the pressure behind your tongue. Practise this exercise till you succeed in it, as keeping the pressure even when you don’t play a sound is of much importance for right tonguing
- Ex.3 Blow again some note from the middle range for 3-5 seconds and then move the tongue up to the read touching it (remember touching somewhere near the edge but not the middle part or the end of the reed) and then immediately down. Keep the speed of tonguing (it’s worth starting from “note tonguing” every 4 seconds). Strive for continuous sound, tonguing should not affect the quality of it.
That exercises I found in John O’Neil’s book long time ago and I felt I benefited from practising them even though I had been already playing saxophone for many years.
When actually playing some music, remember thinking of tonguing like separating long tone into parts (but not making separate sounds, so not splitting in any case) rather than ending every note and beginning another one. The air pressure should be constant and the sound stops immediately when you put your tongue on the read but it continues again immediately when you put it off.
As a warm-up I practise finishing notes both with tongue or without it (maybe adding a small vibrato on the end of the tone for jazz music).
I’ve described the basics of tonguing, but, of course, “in real life” sometimes you need to tongue something stronger and not only “touching the very tip of the read”. In fact different areas of tongue when touching different areas of reed (not only the tip) provide wide range of articulations. See Chapter 5 of “Developing A Personal Saxophone Sound” by David Liebman.
Saxophone (no matter what type we are talking about: alto,tenor, soprano, bari or some less used ones) is so-called “transposing instrument”. It means that you are “in a different key” than “concert pitch” instruments, such as piano, guitar, (double) bass, etc. If you are not familiar with the “transposing instruments” thing, I suggest that you read the first section of the wiki article before continuing with this review, it is pretty well explained there:
So, to get the pitch you need when writing some sax part, you need to transpose it up (from concert pitch):
- For soprano sax: a major 2nd
- For alto sax: a major 6th
- For tenor sax: a major 9th (1 octave + major 2nd)
- For bari sax: a major 13th (1 octave + major 6th)
As you can see the difference between soprano and tenor is one octave (as well as the difference between alto and bari).
Soprano and tenor saxes are called "Bb instruments", it means that for the “C” note in these instruments’ part the actual sounding pitch will be “Bb”.
Alto and bari saxes are called “Eb instruments”; so if you write the “C” note in some part for this instruments, you will actually get the sound of “Eb” concert pitch once it is played.
All this stuff seems to be quite complicated for someone that has never dealt with transposing instruments before, but using MuseScore notation software you can quickly make parts for saxophones even if you do not know all this transposing instruments theory (though this knowledge is vital for composers). There is a quick video tutorial on the topic, I'll post a link in the end of this post.
One more thing to remember: once you have written some sheet music for saxophone, check the range - the saxophone part (make sure that it is not shown in concert pitch, so unpress the “concert pitch” button in MuseScore editor while viewing the part) should have pitches only inside this range (from small octave “Bb” to 3rd octave “F”) :
The only exception is bari sax - it has the additional low “A” note, which, by the way, sounds pretty cool. Good arrangers, like Gordon Goodwin, often use this feature of bari saxophones. Of course, there are also altissimo pitches, but that is a separate topic for conversation.
If you wish, you can check the whole sax family at:
This table from wikipedia is really “true to the fact”. Sopranino and sopranissimo saxes sound “higher” than concert pitch instruments: I mean that the first-octave “C” notated in sheet music for these instruments will actually sound as 1st-octave Eb and Bb respectively. All other saxes sound “lower than written”, just remember this rule. However, the most used saxes have been already mentioned before, so other ones are pretty rare,I should say.
And one more thing to be aware of when writing a piece for sax ensemble: saxophones and saxophonists are not perfect, and an arranger, especially writing for an amateur/student sax ensemble, or even for big band, should try not to overuse (I write the pitches that occur in sax part, not in concert pitch, of course) notes higher than 3rd octave C# (high notes tend to sound out-of-tune-high) and lower than 1st octave D (on some medium quality saxophones it’s hard to play those pitches, especially if saxophone is not in a perfect condition).
Don’t hesitate to add some thoughts and more tips on the topic in comments.
You can easily transpose any standard found here using MuseScore notation software:
1) Download the score
2) Check out the links on "how to transpose":
a) If you need to actually transpose:
https://musescore.org/en/handbook/transposition#by-key - our handook
https://musescore.org/en/node/11708 - short howto video
b) If you need not to transpose, but just to make a part for transposing instrument (i.e. saxophone, clarinet, etc.):
3) That's it!)
Here are some links to arrangements grouped by topics in alphabetical order (thanks to Mr.Sax-O-Beat).
Arctic Monkeys https://musescore.com/user/1488461/sets/3961316
Christmas Scores https://musescore.com/user/1488461/sets/3961291
Fall Out Boy https://musescore.com/user/1488461/sets/3954016
Marching Band Arrangements https://musescore.com/user/1488461/sets/4802554
Panic! At The Disco https://musescore.com/user/1488461/sets/3961221
My Chemical Romance https://musescore.com/user/1488461/sets/3953461
Rock (classic rock) Scores https://musescore.com/user/1488461/sets/3961331
Composed Works by Mr. Sax-O-Beat (https://musescore.com/user/1488461/sets/3961351)
Post your arrangements in the group, paste the link and description in comments here, and we will add your score and/or topic to this post, so it would be easy for all interested users to find it
Does anyone know if you can automatically transpose the key of an entire part using the Musescore software? If so I can't figure it out, and really don't want to transpose by hand. I'm trying to arrange a piece for a sax quartet.
My new album "Rag Tales" is out now. You can find it on Spotify, ITunes, Apple Music, and Google Play among others. I got started right here on Musescore when I was invited to the ragtime players group. Please check it out. I think you will enjoy it. Thank you friends. Just search for " CJ Brandt" or "Rag Tales". Thanks again
I'm in eigth grade and I have learned control of the lower register and I am trying to learn altissimo notes. I made the all state band and the highest band at my high school.
I was requested a brass quartet arrangement for a Stardew Valley song (the arrangement is here : https://musescore.com/user/5174461/scores/3443856). However, I know close to nothing about theses instruments. I asked the "requester" (is that a word ?) for some feedback but it's been something like a month so I'm not sure I'm gonna get any... I'd still like to finish this arrangement properly so here I am seeking feedback :)
I've already been searching the web for advices but I'm not sure theses replace real experience with the instrument.
Some of my worries / concerns :
Some things may be weird, unplayable, and so on. The song is very rhythmic focused, so I think it's important every player can play his/her part very accurately, or the whole thing will
feel unstable - which is why it's not a good thing if some part are weird to play (some percussions would remove this concern, but it wouldn't be a brass quartet arrangement then)
More precisely :
- if there's not enough time to breath
- if a part isn't in the good range for the instrument (too high / too low / makes thing too difficult)
- if a part is just too quick to be played accurately
- if a part is too tiring for the player
- if a part is assigned to the wrong instrument (another instrument would play the part more easily)
In particular :
- measure 5-9 : not sure whether tuba or trombone has the easiest time for this part. It seems to be more in tuba's range but can definitely be played a bit higher if needed.
- measure 10-17 : same as above for tuba/trombone (for both parts). Also I removed a lot of stuff from the bass line (played by trombone) in order to make it more playable, but maybe that's not enough or is not necessary
- measure 18+ for trumpet : is that even remotely playable for trumpets ? Is it too tiring on the long run ? (i.e. I should switch the trumpets often, or even shorten the whole thing because it repeats a lot in the original song)
- measures 26-33 for tuba : is that too quick ?
Thanks a lot !
Has anyone else noticed the sheet music is really lacking in the Tenor section for single instrument pieces?
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Ciao a tutti cerco un brano trascritto da voi per brass con le parti più belle della IV Sinfonia cajkovskij,
qualcuno puo aiutarmi?
anche se non è scritto per brass
Join the "Movie Arrangement" group open to anyone willing to join. I'm sure you will find a lot of movie arrangements that interest you there and much more to come.
Yeah, which one of them all is your favourite?
I am looking for some music for my young band to play at concerts and competitions.
I need 3 Cornet/Trumpet parts, 1 Euphonium part, 2 Baritone parts, 3/4 Trombone parts, 1 Tuba part and 2 Horn parts. I do not mind if their is not all the parts since i can do them myself. I just need inspiration.