Monday, November 1st, 2010 4:16 PM
Sax Master Class
This class handles issues that relate to all aspects of sound production: embouchure, tongue position, overtones, and equipment. From over 25 years of teaching, Bob has developed some essential and basic concepts, while at the same time considering individual skill levels. Some of these techniques are drawn from the late legendary teacher Joe Allard, who taught many of the most masterful saxophonists of our time including Mike Brecker, Bob Mintzer, Bob Berg to name just a few.
* Sound: It is Bob's contention that sound is everything. Brilliant technique means very little if it does not sound beautiful to the listener. Essential to improvement is for one to develop their own sound concept and perspective to compare to the masters. This constant focus in itself will put one on the right path. Understanding all the components that go into having a great tone are achieved over many years in this vigilant search for a personal sound. Here are some of his main topics related to the study of sound.
* Mythology: Bad habits are commonly developed on the sax. Misconceptions are passed down both from teachers and from player to player. The individuality of players and their physical differences also make it difficult to recognize incorrect embouchure and internal function inside the mouth and throat. The pursuit of individual style and tone and the fact that there is no standardized sound (one of the beautiful aspects of the saxophone), adds even more difficulty to the teaching process and the ability to identify problems. In his classes, he demonstrates in an interactive way how to test, recognize, and correct bad habits.
* The Set Up (Mouthpieces, Reeds, Ligature, Etc.): Bad habits are frequently caused by using the wrong set up. Misconceptions abound in this area and sometimes even pride and irrational attachment to one's equipment can hold back progress. Part of his class is devoted to understanding the importance of finding an efficient and balanced set up. Bad habits are too often caused by playing poor set ups. Understanding the dynamics between the mouthpiece, reed, ligature, and horn are very important. In his class he has students try and compare some of his personal set ups. They can experience the differences in response and timbre of sound first hand. Many times this alone can be a revelation and improvement can be immediate and dramatic. Once a balanced and efficient set up is found, the student can have more fun playing rather than fighting the instrument. An obvious but frequently overlooked concept.
* Harmonics & Overtones: Once again, this topic was taught and stressed by Joe Allard. The process of overtone production is multi-functional. Bob demonstrates how these exercises teach the tongue where to position itself inside the mouth. The correct arched tongue position enables the air to be funneled into the horn in a efficient and controlled way. The positive results are numerous and essential. This technique allows the tongue to tune the instrument rather than the usual tightening of the embouchure to bring the pitch up. Tight embouchure creates that pinched, nasal quality often heard in developing students. If the player can learn to loosen up and use the air stream it will dramatically help the sound because the reed will be free to vibrate as it needs to. The tongue has to learn where to be in the varying registers of the instrument. Once this is realized, skipping around the horn with facile technique is accomplished with little movement of the embouchure. Control of the air using the tongue is really essential to playing correctly and efficiently.
* Altissimo: High harmonics are not produced by biting or pinching. The air stream created by the arched tongue is essential in playing in the Altissimo register. Most players do some of this without realizing what is involved. Directing the air stream with the tongue combined with using the correct fingerings will lock-in the harmonics and stabilize the pitch.
* Sound: It is Bob's contention that sound is everything. Brilliant technique means very little if it does not sound beautiful to the listener. Essential to improvement is for one to develop their own sound concept and perspective to compare to the masters. This constant focus in itself will put one on the right path. Understanding all the components that go into having a great tone are achieved over many years in this vigilant search for a personal sound. Here are some of his main topics related to the study of sound.
* Mythology: Bad habits are commonly developed on the sax. Misconceptions are passed down both from teachers and from player to player. The individuality of players and their physical differences also make it difficult to recognize incorrect embouchure and internal function inside the mouth and throat. The pursuit of individual style and tone and the fact that there is no standardized sound (one of the beautiful aspects of the saxophone), adds even more difficulty to the teaching process and the ability to identify problems. In his classes, he demonstrates in an interactive way how to test, recognize, and correct bad habits.
* The Set Up (Mouthpieces, Reeds, Ligature, Etc.): Bad habits are frequently caused by using the wrong set up. Misconceptions abound in this area and sometimes even pride and irrational attachment to one's equipment can hold back progress. Part of his class is devoted to understanding the importance of finding an efficient and balanced set up. Bad habits are too often caused by playing poor set ups. Understanding the dynamics between the mouthpiece, reed, ligature, and horn are very important. In his class he has students try and compare some of his personal set ups. They can experience the differences in response and timbre of sound first hand. Many times this alone can be a revelation and improvement can be immediate and dramatic. Once a balanced and efficient set up is found, the student can have more fun playing rather than fighting the instrument. An obvious but frequently overlooked concept.
* Harmonics & Overtones: Once again, this topic was taught and stressed by Joe Allard. The process of overtone production is multi-functional. Bob demonstrates how these exercises teach the tongue where to position itself inside the mouth. The correct arched tongue position enables the air to be funneled into the horn in a efficient and controlled way. The positive results are numerous and essential. This technique allows the tongue to tune the instrument rather than the usual tightening of the embouchure to bring the pitch up. Tight embouchure creates that pinched, nasal quality often heard in developing students. If the player can learn to loosen up and use the air stream it will dramatically help the sound because the reed will be free to vibrate as it needs to. The tongue has to learn where to be in the varying registers of the instrument. Once this is realized, skipping around the horn with facile technique is accomplished with little movement of the embouchure. Control of the air using the tongue is really essential to playing correctly and efficiently.
* Altissimo: High harmonics are not produced by biting or pinching. The air stream created by the arched tongue is essential in playing in the Altissimo register. Most players do some of this without realizing what is involved. Directing the air stream with the tongue combined with using the correct fingerings will lock-in the harmonics and stabilize the pitch.