Saxophone Forum


by speedy_1424
(23 posts)
7 years ago

Tone and Embouchure

I played the saxophone for abo

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  1. by Tranesyadaddy
    (279 posts)

    7 years ago

    Re: Tone and Embouchure

    I dig. I use an embouchure like that because I like the darker, more complex tone it gives me. It also makes me play flat, so I've spent alot of time learning to control my tuning with my throat. you can do it on a meyer 6m, that's what I now use on alto.

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    1. by knorter
      (205 posts)

      7 years ago

      Re: Tone and Embouchure

      Most of the players I encounter today (myself included) tend to use the type of embouchere you are describing. I try to tell young students to say "Ooo" rhymes with dew. That gives your lower lip a cushion that will help the reed vibrate. It also engages the muscles around your mouth. The embouchere control should come from your muscles and jaw not from your lower lip being rock hard by tucking it over your bottom teeth. As you get better at this try rolling your bottom lip out even further. That helps the darker tone like Tranesyadaddy was talking about. Kristy

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      1. by JBTSAX
        (364 posts)

        7 years ago

        Re: Tone and Embouchure

        That is an interesting response Kristy. When you play is any portion of your lower lip pushed back on top of the teeth or is all of the lower lip entirely in front of the teeth? Also do you play any legit or classical music with this type of embouchure or just jazz. Thanks. John

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        1. by jamterry
          (573 posts)

          7 years ago

          Re: Tone and Embouchure

          Hi Speedy, When i was a child my teacher tied a hankerchief around my chin just below my lower lip. This was cure my curling of the lower lip. He tied it tight to the point of pain. Nowadays kids want to wake up and be able to play. I also think that playing clarinet is good for your embouchere. I like the the embouchere Reginald Gel used too, but it is a double curl. Benny Goodman took lessons from Reginald Gel, to overcome his fear of the crack, which is the transition from low to high notes. The main thing you have to do is practice relentlessly. If you want to be good , you have to develope those crack note jumps from the bottom of the horn to the top in one leap. I think the 6MM is a little tinny for your experience. Alto doesn't need brilliance. I use am old Selmer classic metal that Fred Hemke hipped me to and a couple Meyer 5's. I think that you need a teacher at least for a few weeks to watch your embouchure, Good luck with that Speedy :) terry

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        2. by jamterry
          (573 posts)

          7 years ago

          Re: Tone and Embouchure

          Hi Speedy, When i was a child my teacher tied a hankerchief around my chin just below my lower lip. This was cure my curling of the lower lip. He tied it tight to the point of pain. Nowadays kids want to wake up and be able to play. I also think that playing clarinet is good for your embouchere. I like the the embouchere Reginald Gel used too, but it is a double curl. Benny Goodman took lessons from Reginald Gel, to overcome his fear of the crack, which is the transition from low to high notes. The main thing you have to do is practice relentlessly. If you want to be good , you have to develope those crack note jumps from the bottom of the horn to the top in one leap. I think the 6MM is a little tinny for your experience. Alto doesn't need brilliance. I use am old Selmer classic metal that Fred Hemke hipped me to and a couple Meyer 5's. I think that you need a teacher at least for a few weeks to watch your embouchure, Good luck with that Speedy :) terry

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        3. by jamterry
          (573 posts)

          7 years ago

          Re: Tone and Embouchure

          Hey speedy i meant Reginald Kell not Gel. i'm so old now that i am suffering from dementia. Good luck with your tone and embouchere :) Terry

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      2. by speedy_1424
        (23 posts)

        7 years ago

        Re: Tone and Embouchure

        Hey guys, thanks for all the help! I got some advice recently to go back to the lip in embouchure, but tweak it a little bit. I was using too much lip and was way too loose (which i didn't think was possible). I'm really starting to enjoy the sound that i'm developing. Thank you for all the advice!

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        1. by knorter
          (205 posts)

          7 years ago

          Re: Tone and Embouchure

          JBT--yes. You do have just the smallest portion of lower lip covering your bottom teeth so the lower teeth don't touch the reed. I roll the lip in a bit more for legit out more for jazz. In addition taking more mouthpiece into the mouth for legit helps access the heart of the reed for a more pure sound. To accomplish this I usually pull up the neck strap a little higher than when playing jazz. Kristy

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          1. by jamterry
            (573 posts)

            7 years ago

            Re: Tone and Embouchure

            I used to save my money to get high amd often times used a coat hanger for a neck strap. You have to hold that horn up and play at the same time. Alto is light but tenor is a handful after a few songs. I wouldn't trade those days foe the world.Kristy i will open a new e-mail account. I'll catch up to you Terry

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            1. by speedy_1424
              (23 posts)

              7 years ago

              Re: Tone and Embouchure

              Haha! What!? That is so random, lol!

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            2. by azurealto
              (79 posts)

              7 years ago

              Re: Tone and Embouchure

              i play without my lower lip curled in or out.

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            3. by Tranesyadaddy
              (279 posts)

              7 years ago

              Re: Tone and Embouchure

              I thought that's what he meant. but yeah my bottom lip pretty much just goes where it is.

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            4. by chalazon
              (547 posts)

              6 years ago

              Re: Tone and Embouchure

              check out Dave Liebman's book "Developing A Personal Saxophone Sound". It pretty much says it all.

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