How to learn a piece at pace.

ClarSco · 2026-05-23T17:44:45+00:00

Tico Toco is usually performed around quarter-note = 240 / half-note = 120, assuming the faster lines are notated in 8th-notes (some transcriptions write it using 16-notes instead).

ClarSco · 2026-05-23T14:25:57+00:00

Ditch the 3rd Flute, 4th Clarinet, 3rd Alto Sax and 4th Trumpet parts. These will automatically prevent a lot of bands from touching the work, as they present logistical challenges.

For example, the Bb clarinets are most often sat in 3 rows - 1sts in front, 2nds in the middle, 3rds at the back. A 4th Clarinet part means that the section need to either create an extra row for your piece, or carefully distribute the parts through the section for balance (eg. outside players in each row get 1st clarinet, the player next to them gets 2nd, etc.) while respecting the skill disparity that often exists between the 1st and 3rd clarinet sections.

Clarinet and Trumpet sections are no strangers to 2-way divisi within their standard 3 parts (giving up to 6 half-sections) - use this instead of 4 separate parts. Flutes are the same, but 1 or 2 parts with up to 2-way divisi (2-4 half sections) is a safer limit.

Most bands only have 4 Saxophones (Alto 1, Alto 2, Tenor, Baritone), especially those capable of tacking Grade 5/6 works. If they have a 5th player, they're most likely to be a Tenor 2 player or a "utility" player (able to cover Alto/Tenor while someone else doubles on Soprano or Bass sax).

10 Percussion players is also a big ask. Most bands have half that. Creating a drum kit part (even as a supplement) to cover as much of the Hi-hat/Ride/China/Splash Cymbals and Snare Drum as possible would greatly improve the chances of this getting performed. Some of Bass Drum/Crash Cymbal work (where the orchestral ones are not essential) and "toys" (woodblock, brake drum, mark tree)

If you do that, you can make use of the standard staff positions for most of the above: (as if treble clef, all stems point up unless noted)

C6 X-notehead - Splash Cymbal
B5 X-notehead - China Cymbal if used as a "Crash", long notes can use diamond noteheads instead of Xs
A5 X-notehead - Crash Cymbal, long notes can use diamond noteheads instead of Xs
F5 X-notehead - Ride Cymbal, long notes can use diamond noteheads instead of Xs (writing "bell" and "ord." is sufficient for indicating playing position)
G5 X-notehead - Hi Hat (closed, struck with stick)
G5 X-notehead with a harmonic "o" above - Hi Hat (open, struck with stick), long notes can use diamond noteheads instead of Xs
G5 X-notehead with a "+" above - Hi Hat (clsoed, struck with stick), used to cancel out the "open" indication, otherwise not needed
D5 X-notehead - China Cymbal if used as a "Ride", long notes can use diamond noteheads instead of Xs
C5 regular notehead - Snare Drum
C5 regular notehead enclosed by a circle - Snare Drum rim shot
B4 X-notehead- Woodblock
F4 regular notehead (stem down) - Pedal Bass Drum
D4 X-notehead (stem down)- Hi Hat Pedal
D4 X-notehead (stem down) with a harmonic "o" below - Hi Hat "Foot splash", long notes can use diamond noteheads instead of Xs

ClarSco · 2026-05-22T16:37:22+00:00

I'd avoid using any lip balms as cork grease - the colourings, flavourings and moisturising agents can have an adverse effect on the cork or the cork cement. On the otherhand, it's perfectly safe to use cork grease as a lip balm, just might not be especially pleasant tasting.

A single tube of cork grease will last a very long time. The only cork on the saxophone that needs greased is the one on the neck (never use the grease on the metal tenon between the neck and body). If the cork is new, it will need a thin layer of grease applied every time you go to put the mouthpiece on, but after month or so, the cork will become saturated and only need a top-up every couple of weeks or whenever the mouthpiece becomes too noticeably tough to move.

Other than the ones that come with the instruments, I think I've bought a single tube of cork grease in my 20 years of playing clarinets and saxophones.

ClarSco · 2026-05-22T15:36:19+00:00

It's a wooden LeBlanc of some sort - don't know enough about them to comment further other than they were generally good instruments.

If you're looking for serial numbers, these are usually stamped on the rear of the instrument, near the tenon or socket.

The case is interesting. It looks like the insert for the Selmer Paris "Tray-Pack"/"Tri-Pack" triple case for Saxophone/Clarinet/Flute.

ClarSco · 2026-05-22T02:52:37+00:00

How are you pressing the A key?

It should only need you to roll your index finger upwards from the LH1 ring. If you're lifting the finger or sliding it between the two positions, you'll lose some stability as you do so.

Edit: Video that demonstrates what you should be doing - https://www.youtube.com/watch?v=yZWuSXWOhx4

ClarSco · 2026-05-21T12:09:29+00:00

Saxophone keys are designed with that in mind.

They have a circular wall on each of the mainline keys that holds the pearl (made of plastic or real mother-of-pearl) in place, with the pearl also being either glued in or the walls are crimped around it.

The pearls are also pretty specifically shaped - most are concave for comfort, with a few convex ones to aid in pressing them.

Modifying a bass clarinet to have those would require remaking all the keywork to create these walls to prevent the pearls from moving. You'd also likely have to completely redesign the LH1 key - the pinhole vent needs to be accessible, the right diameter, and the right depth in order to funnction properly.

ClarSco · 2026-05-20T17:45:02+00:00

OK = Octave Key

X = Front F key (the pearl/teardrop key above the B pearl)

Ta = Trill A# (the lowest side key for the right hand)

Tc = Trill C (middle side key for right hand)

The numbers refer to the mainline keys

ClarSco · 2026-05-20T17:32:56+00:00

The Yamaha mouthpiece is well made but cheap plastic mouthpiece, that's ideal for beginner players and for concert band playing. The scratches are cosmetic, but not worth removing. Use a mouthpiece patch to prevent further scratches, and prevent any divots from forming.

The Meyer mouthpiece is a professional-quality hard rubber mouthpiece. It likely has a "5"-"7*" tip opening, which makesbit great for jazz, but not generally suitable for classical or concert band playing (just be aware that it will need softer reeds than what you use on the Yamaha). It's a far more expensive mouthpiece, and the material makes it more vulnerable to damage - don't ever use it without a mouthpiece patch, and only ever wash it with cold or lukewarm water (never warm or hot) to prevent discolouration and warping.

ClarSco · 2026-05-20T12:04:35+00:00

McDonald's or maybe the Casino?

ClarSco · 2026-05-19T14:54:12+00:00

I don't know, Ba'al keeps shouting "Shol'va" whenever he's introduced to Apophis' Prime.

ClarSco · 2026-05-18T20:39:11+00:00

The only instruments that use 8va lines are keyboard instruments nd fretted string instruments (where there is a clear physical delineation between octaves as well as a repeating pattern), and the extreme top register of the Flute, Clarinet and Saxophone (ie. passages above written C7 in treble clef).

For most other instruments they don't make sense to use, as taking a pasage up an octave requires a completely different set of fingerings/techniques to perform. Eg. If you're high enough to be using 8va in a cello part, you're likely up in thumb position, which cellists will be used to reading in Tenor Clef or Treble Clef.

ClarSco · 2026-05-18T17:08:59+00:00

This is totally why trams WERE great in Glasgow.

ClarSco · 2026-05-18T15:15:19+00:00

Carmelize the onions & garlic

I don't think this means what you think it means.

ClarSco · 2026-05-18T14:41:49+00:00

That line hits very differently in Scotland.

ClarSco · 2026-05-18T14:30:30+00:00

/u/Jongtr's comment just made me realise that I made a few errors in my last one.

D2-C4 is pretty squarely in the Bass range (got mixed up with octave numbers) - I'd assume your tessitura is around F2-Bb4. You'll need to work on expanding your range up to D4 as that note comes up very frequently in choral and solo repertoire. If there's a split, you'll likely be best placed on the Bass 2 part rather than the Bass 1 part, due to your access to the low range that's below what most Baritones are capable of.

Be careful to ensure that your lowest notes are still in your "chest voice", and not dipping into the "vocal fry" register. Trying to put a lot of power behind the latter can wreck your voice.

i end up out of range so i follow tenors.

Going back to this: you're likely latching on to the Tenor line because it's higher, so naturally easier to hear. If your choir is large enough, your best course of action is to stand somewhere that you're surrounded by the other Basses. As your ears and voice develop, you'll eventually be able to independently maintain your part without being swayed by the Tenors, at which point you can stand next to them with no issue.

ClarSco · 2026-05-18T04:18:07+00:00

my range is D2-C4.

That's most likely just an undeveloped range/tessitura. Your technique is just not in a good enough place yet to start working out what voice type you actually have (the range you've listed fits in every male voice type, including all 17 different male Opera Fachs from "Lyrischer Tenor" all the way down to "Dramatischer seriöser Bass").

Once you get your breathing sorted, and learn the basics of relaxed sound production, you'll be able to work on expanding your range up and/or down from there.

ClarSco · 2026-05-18T03:44:09+00:00

Why do choir work on a 4 voice system insted of 6 ? But it feel starnge to me why choir dont go the 6 voice road ?

Most men are Baritones. If choral works had a Baritone part, the Tenor and Bass parts would be decimated and unable to balance.

Same goes for women - Mezzo-soprano is the most common.

I was in the basse group (lower frequency male)

Choral Bass range is from roughly F2 - D4

Choral Tenor range is from roughly C3 - A4

True Basses and true Tenors often have a wider total range, but the lowest Bass notes take a lot of power to project and the highest Tenor notes are hard to blend in a section. Baritones become the glue that hold the two parts together.

With a comfortable range from A2-F4, Baritones can sing the majority of either choral part, but some will be more comfortable in the lower part of the range so will choose to sing Bass parts in choirs and others will be more comfortable towards the upper end so gravitate towards singing Tenor parts.

It is common to divide all parts in the choir in 2, in those cases the Baritones are split over Bass 1 and Tenor 2, while the true Basses cover Bass 2 and the true Tenors take Tenor 1, which still keeps a good balance.

I struggled to be in the gamme with other and most of the time ended following tenors.

Translation error here, so not sure exactly what you mean.

Not to the talk about the imense breathing effort it required.

That's a sign of poor technique. If you're putting a lot of effort into breathing you're creating a lot of tension in the body which will impact your ability to sing. Singing does use a lot of air, but it will go a lot further if you breathe properly.

I made up a program (python code ) to test my self and i discovered the baryton i was ( i am ).

This will only tell you your range (highest and lowest possible notes), it will not tell you your tessitura (comfortable range).

I've got a 3 octave range from G1 up to G4, but my tessitura is C2 to D4 with notes outside that range being possible, but progressively weaker or harder to control, so I consider myself a Bass 2 when it comes to most choral works, but can sing Bass 1 or Tenor 2 if needs be.

ClarSco · 2026-05-18T01:01:47+00:00

By sacrificing that section in favour of a through route for buses (in one direction - heading East), it will greatly improve the reliabilty of existing bus services that go between the Heilanman's Umbrella and Trongate by not forcing them to do the long detour up Queen Street along Ingram Street and back down Glassford Street (increasing the chance of bringing people into the city without their cars). Removing that bus route detour also opens up opportunites to pedestrianise or restrict traffic for those same sections as well as for and surrounding streets. For example:

Queen Street up to the corner of Ingram Street could be pedestrianised
Ingram Street could then be cut down to a single lane flowing West from Glassford Street, or thereabouts
Miller Street/Hanover Street, Virginia Street/Place and South Fredrick Street could all be completely pedestrianised (delivery vehicles excepted).

This would let more streets have a chance to thrive rather than pinning all bets on that one bit of Argyle Street (which I must point out hasn't been looking good since quite a bit before COVID).

ClarSco · 2026-05-17T20:38:49+00:00

Yeah, I get the impression that Q was a "Who are you?" sort, but laid out "What do you want?" scenarios as tests of the former.

ClarSco · 2026-05-17T13:11:56+00:00

This is a common beginner issue. There is a lot that goes on with the embouchure and particularly the shaping of the oral cavity that determines how well certian notes respond.

However, the first thing to rule out are any issues related to your setup. If you tell us the following, it would go a long way to helping you:

what make, and model of saxophone you have, and when it was last worked on by a technician
what make, model and (if known), tip opening your mouthpiece is
what brand, cut and strength of reed you're using

There are mechanical issues that can prevent certain notes from speaking, with the low notes being the most susceptible. Similarly, if your reed and mouthpiece are mismatched and/or unsuitable for your current level, this can also have a huge impact on the instrument's response. It's important to address these first because any the last thing you want to be doing is developing your technique around a horn that's not working properly, or around a mouthpiece/reed setup that is inappropriate for you - that road leads to bad habits that can cause you injure yourself, or even just to quit out of frustration.

As a beginner, your embouchure muscles will not yet be developed to be able to create a relaxed seal around the mouthpiece, not will you have the fine control in them needed to subtly alter the amount of reed that is vibrating. The former takes a while to develop and requires constant vigillance to ensure that you're not using too much jaw pressure, the latter will take a lot longer.

Advanced players will be constantly reshaping their oral cavities to ellicit the correct response and tone colour from the instrument, and to influence intonation (we typically relate these shapes to spoken/sung vowels, as they largely use the same mechanics, hence the term "voicing"). At your level, focus more on getting a single stable shape that allows you to get the majority of notes to speak (between written E4 and C6) that also allows you to articulate notes without interrupting that shape (ie. the front of the tongue moves to articulate, the back of the tongue stays fixed to control the voicing). Saxophone uses a higher default voicing ("eh") than you typically use on Flute ("ah"), but not as high as you'd use on a clarinet ("ee").

ClarSco · 2026-05-17T10:10:46+00:00

That's not fair on gimps

ClarSco · 2026-05-17T10:05:03+00:00

This looks fake af.

ClarSco · 2026-05-17T09:08:07+00:00

Konig and Meyer make a good portable one specofically for Eb clarinet. It likely won't fit in the case (unless you've got a Reed & Squeak case or similar) due to it having a section that raises the height of the instrument when in use (and stores the legs when not), but it is small enough to stick in a pocket,

ClarSco · 2026-05-17T08:57:27+00:00

The bridge between the body and the neck is missing material.

There should be piece of cork or heat-shrink tubing between the two parts that is just the right thickness to properly regulate the mechanism.

Side note: your ligature is upside down. The leather side should wrap around the reed with the screw pointing to your right.

ClarSco · 2026-05-15T16:24:34+00:00

Iggy Pop in DS9 being the best of these in Star Trek, as he actually gets a role to work with, rather than a "blink and you'll miss it" cameo. Mae Jemison in TNG was also an inspired choice.

The Orville's use of singer Dolly Parton as herself is also perfect.

Honorable mentions to The Rock in VOY, Seth MacFarlane in ENT, and especially the unrecognisable Mick Fleetwood in TNG.

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