1. successful habits for STUDENT saxophonists
nerf ball not needed!
successful habits for STUDENT saxophonists

2. clinic session objectives:
1. ADDRESS MYTHS OF CONCERNING SAXOPHONE SOLUTIONS TO PLAYING ISSUES.
2. IDENTIFY “LOOK FOR” & “LISTEN FOR” POTENTIAL FUNDAMENTAL ISSUES IN SAXOPHONE STUDENTS’ DAILY HABITS.
3. PROVIDE POTENTIAL SUGGESTIONS / SOLUTIONS TO HELP STUDENTS DEVELOP BETTER HABITS & BETTER SOUNDS IN YOUR BAND CLASS.

3. HOW DO YOU MAKE A LAWNMOWER SOUND LIKE A SAXOPHONE?
VIBRATO

4. WHAT HAPPENS WHEN I TELL PEOPLE I PLAY SAXOPHONE:
“WOW, CAN YOU PLAY CARELESS WHISPER ?”
“YOU MUST LIKE THAT GUY, KENNY G ?”

5. MYTHS BASED ON EXTREME PROBLEMS AND EXTREME SOLUTIONS

6. MYTH #1: NERF BALL IN BELL
1. “MY SAXOPHONES OVERBALANCE THE WHOLE BAND . . .”
2. “IT FORCES MY SAXOPHONES TO SOUND MORE LIKE FRENCH HORNS . . .”
3. “IT HELPS MY SAXOPHONES SOUND LESS ABRASIVE “

7. why saxophones can overbalance the band OR SOUND ABRASIVE:
1. EXCESS NUMBER OF PLAYERS IN ENSEMBLE.
2. OVER-BLOWING DUE TO UNDER DEVELOPED CONTROL OF THE INSTRUMENT.
3. LACK OF PROPER AIR SUPPORT & EMBOUCHURE.
4. POOR MOUTHPIECE / REED SELECTION.

8. why saxophones MAY NOT BLEND WELL WITH INSTRUMENTS LIKE FRENCH HORNS:
1. LACK SKILL OR WILLINGNESS TO LISTEN & MATCH TO OTHER TIMBERS WITHIN THE ENSEMBLE.
2. LACK OF CHARACTERISTIC TONE DUE TO POOR AIR SUPPORT & EMBOUCHURE.
3. POOR MOUTHPIECE / REED SELECTION.

9. MYTH #2: tenor sax reeds on alto
1. “IT HELPS THE ALTO PLAYERS SOUND LESS THIN . . .”
2. “IT GIVES ALTOS A DARKER SOUND . . .”
3. “IT RESPONDS BETTER IN THE UPPER REGISTER . . .“

10. WHY SOME ALTO PLAYERS SOUND THIN, BRIGHT AND STRUGGLE WITH RESPONSE IN UPPER REGISTER:
1.NEED OF MORE MOUTHPIECE IN THE MOUTH.
2. BITING UP ON REED.
3. LACK OF PROPER AIR SUPPORT & EMBOUCHURE.
4. POOR MOUTHPIECE / REED SELECTION.
5. NECKSTRAP IS UNPROPERLY ADJUSTED.

11. ALTO REED
DIFFERENCE
TENOR REED
7mm length
1.1mm
8.1mm length
3.8mm vamp
.45mm
4.25mm vamp
1.6mm wide
.1mm
1.7mm wide
3.75mm window
.25mm
3.9mm window

14. Suggestions & Solutions:X
EQUIPMENT CONSIDERATIONS X
EMBOUCHURE CONSIDERATIONS X
ARTICULATION CONSIDERATIONS
RED FLAGS: “LOOK-FORS”, “LISTEN- FORS” & FIXES X

15. considerations with saxophone equipment

16. MOUTHPIECE CONSIDERATIONS:X
AVOID STOCK MOUTHPIECES
CONSIDER HAVING YOUR SECTION ON SIMILAR MOUTHPIECES X
AVOID KIDS USING JAZZ MOUTHPIECES IN CONCERT BAND SETTING X X
METAL MOUTHPIECES DO NOT EQUAL LOUDER
A JAZZ MOUTHPIECE DOES NOT NEED TO BE METAL X

17. CONCERT / CLASSICAL MOUTHPIECES:
JAZZ
MOUTHPIECES:
Meyer
Otto Link
Berg Larsson
Yanagasawa
Beechler
Claude Lakey
Peter Ponzol
Vandoren V16, Java, Jumbo Java
Jody Jazz
Selmer S-80 & S-90
Selmer Concept
Selmer Soloist
Selmer Larry Teal
Vandoren A20, AL3, AL5
Caravan
Rascher or Buscher
Rousseau

18. REED CONSIDERATIONS: X X X X X X
START STUDENTS ON BETTER REEDS, AVOID MOVING UP FROM INEXPENSIVE BRANDS X X
CONSIDER HAVING YOUR SECTION ON SIMILAR REEDS
AVOID KIDS USING JAZZ CUT REEDS IN CONCERT BAND SETTING X
CONSIDER GETTING YOUR STUDENTS TO ROTATE REEDS (4-5) X X
BE MORE AWARE OF REED HYGENE X
BE MORE AWARE OF REED PLACEMENT

19. TIP TO TIP
FILED LINE
USE FOR LIGATURE
PLACEMENT

20. CONCERT /CLASSICAL REEDS:
JAZZ
REEDS:
Vandoren: Traditional,
V12, V21
D’Addario Reserve
Hemke
Vandoren: V16, ZZ, Java,
Java Red
D’Addario: Jazz Select
Royal, La Voz

21. Neck strap considerations:
CONSIDER A HARNESS STRAP FOR STUDENTS PLAYING BARI, OR ARE SMALLER X X
CONSIDER PADDED STRAPS, BUT AVOID ELASTIC X
CONSIDER STRAPS THAT HAVE A SAFTEY HOOK
Oleg
ProTec BG
Vandoren

22. EMBOUCHURE considerations:
ADJUST NECK STRAP SO MOUTHPIECE LANDS UP TO TOP TEETH X
TOP TEETH STAY ON TOP OF MOUTHPIECE, & ARE IN LINE WITH BOTTOM TEETH X
RED PART OF BOTTOM LIP SLIGHTLY ROLLED OVER BOTTOM TEETH X X
CORNERS OF MOUTH ARE TUCKED INWARD
(LIKE SAYING “VOO”)
CHIN IS RELAXED, NOT BUNCHED, WITH SLIGHT POINT X
AMOUNT OF MOUTHPIECE DEPENDS ON FULCRUM POINT X

29. ARTICULATION considerations:X
TOP OF TIP OF THE TONGUE X
EDGE OF TIP OF THE REED
TONGUE MOVES UP TO REED, NOT BACK & FORWARD X
TONGUE REED CONTACT SHOULD STAY CONSISTENT BOTTOM TO TOP X X
ONE TASTE BUD - ONE FIBER

30. OTHER AWKWARD TONGUING:X
ANCHOR - TONGUING X
THROAT - TONGUING
TONGUING BOTTOM LIP INSTEAD OF TONGUE X

31. FIXING PROBLEMS: X X X X NECK-STRAP CHECK EMBOUCHURE PRACTICE
MOUTHPIECE CROWING X
REED / TONGUE / EXERCISE

32. “LISTEN-FORS”: X X X X ABILITY OF RESPONSE IN FULL RANGE
TONE / PITCH ABOVE THE STAFF & BELOW THE STAFF X X
TONGUING: THUMPY,HUSKY, PUNCHY
CHANGES IN TONGUING IN DIFFERENT RANGES OR DIFFERENT STYLES: STACCATO VS. LEGATO VS. ACCENTS X

33. Models of playing: Nobuya Sugawa Don Sinta Claude Delangle Marcel Mule
Vincent Abato
Fred Hemke
Eugene Rousseau
Jean-Marie Londeix
Sigurd Rascher
Jean-Yves Fourmeau

34. OTHER THINGS TO CONSIDER:
AVOID RESERVING TENOR & BARI FOR WEAKER PLAYERS X X
PERIODICALLY OBSERVE STUDENTS’ EQUIPMENT
USE TRIOS, QUARTETS & CHOIRS TO PROMOTE A UNIFIED CONCEPT OF SOUND AND ENCOURAGE STUDENTS TO PLAY ON DIFFERENT SAXOPHONES X