Thanks!

Muito obrigado amigo. Vou continuar produzir mais conteúdo logo. Tenho planos pra fazer muitas coiasas com musica Brasileira, que eu adoro! Como meu instrumento principal agora é o violão, to estudando as obras de Villa-Lobos; É uma das músicas mais bonitas já escritas. De onde é você no sul? Viajei pra Santa Maria muitas vezes.

@@Marcimusic257 Santa Maria é uma ótima cidade. Sou de Rio Grande. Uma cidade com uma das praias livres mais extensa do mundo. Villa-Lobos um grande mestre brasileiro. Atualmente é pouco conhecido aqui. Grande abraço!

That's a great question. I suspect the answer is probably yes, but only to the extent that it affects what subtle adjustments they have to make in order to get the top tones to speak. I had an extremely difficult time learning how to play the saxophone, and even after years of very serious study, I couldn't consistently play the palm keys, let alone anything beyond that. Me and my teachers began to think it had something with my asymmetric jaws. I eventually found that if I moved my lower jaw to the left, to change the shape of the oral cavity and mimic someone with more symmetric anatomy, I started seeing success with the overtone studies, and in a relatively short period of time I was able to play more than four octaves. About a week ago I had both of my jaws surgically repositioned, and I'm very excited to get back to the saxophone in a few months to see what it will be like to play again with a modified oral cavity.

Thank you!

Thank you!

Probably yes, this was one of the first videos I did, before I learned how to split the audio.

Thank you for the recognition!

As long as there is no mechanical issue, like a leak, any saxophone and mouthpiece/reed setup should be able to be played as high as the player wants to take it, Sigurd Rascher demonstrated four octaves on an original Adolphe Sax instrument. If you're a beginner, spend a lot of time on long tones, from low Bb to top F.

I will re-release these with better audio quality in the future!

I've actually found that soft reeds and small tip openings can still produce quite a bit of extended range, albeit with less volume than a soft reed/large tip or hard reed/small tip combo.

Thank you for your interest! It has been a while since I made one, but I want to get back asap. If you check the most recent comment on the "Saxophone Voicing" video, there is some more info on where I've been, and why things slowed down over the past two years. But I'm really glad you've been you've been enjoying the content. Once I bring the channel back to life I will likely take it in a new direction, but if there's anything specific you'd like to see, let me know and I'll work on it!

I'm glad to hear you're on the upswing. Congratulations! Will the new direction be saxophonic in nature? @@Marcimusic257

@@timtully8015 It will definitely incorporate saxophone in some way. I've been playing a lot of guitar and bass lately, so that will play a key part in my future work.

Whatever it is, I'm sure you'll kill it.Best of luck!@@Marcimusic257

Thank you for your concern, but that isn't facial nerve palsy, it is a skeletal asymmetry. I stopped making videos because I've been preparing to have that corrected through double jaw surgery. I was on track to complete that procedure at the end of the year, but over the summer I learned that I had a very large vestibular schwannoma, which was just removed 9 days ago. A left facial nerve palsy was actually a real risk with that procedure, but fortunately, my surgeons were some of the best in the world, and they were able to preserve all my functions. So in a few months I'll be able to continue the correction of my jaws, and eventually get back to playing the saxophone!

The straight line indicates that the fingering should not change. So if the straight line is next to a low Bb, keep that fingering, while changing the pitch through the overtone series.

Alright, thanks!

Ha, good one! No mouthpiece will magically grant a controlled high register.

@@Marcimusic257 I said halfway.

@@ronaldpalmore570 Maybe if you already have a good grasp of the overtones series. Otherwise I'd say 1% there.

@@Marcimusic257 c'mon man, at least gimme 2.

@@ronaldpalmore570 I'll make it 5!

The one that I wrote will be available again shortly, I'll keep you posted.

Right! It's a fun setup to play around with. I've also found that it can be easier get familiar with the overtone series, because they seem to respond more easily.

Yes! Climbing up to it chromatically was how I got them initially. And before you attempt the third overtone on low B, learn to play the 1st overtone of middle B, and the 2nd overtone of low E. If you can do that, then the 3rd overtone will be much easier!

@@Marcimusic257 Ah nice tip. So play middle b an octave up. Thanks!

@@MrDavidFitzgerald exactly, using middle B without the octave key.

No doubt, the fingerings are the least important aspect in all of this. James Carter is amazing. And as to how he can do it so reliably, he's figured out how to, "simple" as that. Anyone can reach reach a level of control with the altissimo where it's a useable part of their range, but it takes patience and persistence.

@@Marcimusic257 Thanks, 🏆

Playing at full volume is to be expected when starting out. "Flowing freely" can be misunderstood as blowing as forcefully as possible. Think of playing loud by using "fast" air, and soft by using "slow air". Imagine you're blowing a cylinder of air into the mouthpiece; the cylinder is the same diameter whether loud or soft, it's just moving into the mouthpiece at a faster or slower rate. Or think of a tube of toothpaste; you can put x amount of toothpaste on the toothbrush by squeezing hard and fast, and you can put the same amount, x, by squeezing soft and slow. Those aren't perfect analogies, but it might help to visualize how the air is moving. A brass teacher I studied with taught me to play "no softer than you can get a sure sound" so as to not constrict the airway. In the beginning, when we have less fine motor control over the instrument, it's going to be louder (and not great for an apartment, unfortunately). If you can manage to find a secluded spot to play outside, and the weather permits where you are, you can experiment more liberally with volume control, and not have to worry about the neighbors. I've often gone to a parking garage or cemetery to practice with less volume constraints. Nobody seemed to mind, and I even picked up a few fans along the way! What size reed and mouthpiece are you playing on?

@@Marcimusic257 Hey thanks for the response! Last practice session I put this idea to the test of constant pressure needing to fill up the entire mouthpiece regardless of volume. I started to think about horsepower as an analogy. Correct me if this is off-track, but playing quiet at a full tone reminded me of a tractor slowly moving forward. It's slower, but it would still be able to plow through any obstacle in its way. The word "Support" is making more sense. My next battle is with reeds and mouthpiece pitch. I'm a jazz guy with the classic hard rubber Meyer 6, but I have no clue what strength would be best for me for a number of reasons. I used to play on a J16 or Java 3, but that was 5 years ago so I don't have any embouchure anymore, so I'm not sure if I should start on a 2.5 and work back up to it, or struggle with a 3 until I adjust. Also, I've always had a biting problem. My mp has teeth divets from highschool! I put work into no biting and playing was fine with decent tone at 3 strength, but I noticed my natural mouthpiece pitch was like a D instead of the accepted A-F# range. Maybe I should have been playing on a 2.5 the whole time? Currently I can't get an A out of my mouthpiece unless my embouchure tightens significantly and I do what feels too extreme with my throat/tongue. I've tried a legere signature plastic 2.5 (too hard, poor response), a vandoren Java 3 (too hard, decent response), and a rico 2.5 (immediate response, reed will close up on me, low/high notes are thin) So given that I used to play a java.3, I am out of playing shape right now, and I've never been able to hit the proper mouthpiece pitch, what size do you suggest I restart with? Or what questions should I ask myself that could help me figure it out?

@@zachyoutube213 that's a great analogy! The reed just has to be soft enough to vibrate, and hard enough to provide resistance. The most important thing is to feel relaxed at all times when you play. I would stick with the 2.5 for now. Don't try to force the pitch up, just let it sit where it's comfortable. It should come up on its own over time as you unconsciously adjust. Watch this video when you get the chance: kzfaq.info/get/bejne/gZNggZqJqrq0ZYE.html

Thank you for your interest! The website is down for the time being, but send me an email (you can find it in the "about" section on the KZfaq channel), and I can give you more information.

I feel you, saxophone can be an expensive, and loud hobby. Especially in the beginning when you're still developing subtle control of the muscles involved in tone production. Finding a secluded place outdoors is the cheapest solution.

@@Marcimusic257 you're right, im having a ton of fun playing, although practicing isn't the easiest on such an amazing instrument😂

Interestingly, "harder" and "softer" reeds are the same thickness. It's actually the density of the fibers within the reed that determines how hard or soft it feels.

It's definitely an essential read for saxophonists!

I don't think so, just try to keep the same fundamentals at work with both setups; flexible and relaxed embouchure, steady or "supported" airstream, etc.

@@Marcimusic257 Thanks for the reply!!

It's definitely easier with a guitar. I've pretty much stopped playing the saxophone for the time being, and guitar is much easier to work on at all hours of the day.

Here in the us I might get shot!😂

I have noticed that with some mouthpieces, and it can cut my lips if they are too dry. I give it a rest, and maybe sometimes a callus forms.

The website is actually down for the time being, but send me an email if you would like more information.

@@Marcimusic257 ah, ok, how I can get your email, I know this seems a dumb question but I don't know how to get it from your KZfaq channel.. thanks in advance :)

@@victorjvalladares No problem, you can find it under the "About" section of the channel.

Thank you! I want to come back and revisit this topic (and exercise) in the near future.

The links are temporarily down, but send me an email and I can get you a copy of the free e-book.

The bari can definitely feel weird in its high register. It just takes some getting used to. Any mouthpiece/ligature will work. The idea that a step baffle mouthpiece will make the high register easier, in the most fundamental sense, is a myth. I think it comes from hearing accomplished saxophonists play high notes, on a mouthpiece that happens to be high baffle, because it works best for their gigging situation. Playing with a reed that vibrates efficiently with the mouthpiece will make more of a difference. Keep doing the overtones and long tones, aiming to keep the embouchure relaxed and flexible, and it will come together in time.

Thank you! Those links are temporarily down, but send me an email and I can get you a copy.