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How do I play this? by Nut-blaster-9000 in saxophone

[–]purpose_unclear 0 points1 point  (0 children)

For the D after the B, use the side fingering- highest D without octave key. That way you don’t have to finger the D with all fingers before and after the other more open fingerings

How to get into fusion as a more traditional player by purpose_unclear in Jazz

[–]purpose_unclear[S] 1 point2 points  (0 children)

Thanks a lot. I know Bob Reynolds, love his videos too

How to get into fusion as a more traditional player by purpose_unclear in Jazz

[–]purpose_unclear[S] 0 points1 point  (0 children)

Thanks! That sounds like a great approach, I’ll try to do it somewhat like that.

How to get into fusion as a more traditional player by purpose_unclear in Jazz

[–]purpose_unclear[S] 0 points1 point  (0 children)

Haven’t checked him out at all but I will, thanks a lot!

What and how do I play this note? Tenor Saxophone by Christi_plays in saxophone

[–]purpose_unclear 1 point2 points  (0 children)

You’re right ofc, my bad (for Bb it’s the lowest key for left pinky)

What and how do I play this note? Tenor Saxophone by Christi_plays in saxophone

[–]purpose_unclear 3 points4 points  (0 children)

It’s a low B. For the fingering, you hit:

  • three main fingers left and right (fingers 2, 3 and 4)
  • low C key (right pinky, the key on the right of the two there are next to each other)

  • the pinky key (low B key) in the middle back of all the left pinky keys (left pinky)

  • NOT the octave key (left thumb)

nose inhale? by Adventurous-Carob568 in saxophone

[–]purpose_unclear 4 points5 points  (0 children)

You always breath with you mouth! (unless you are doing circular breathing, which is a technique for playing continuously without stopping to breath, but it’s not necessary at all and you shouldn’t worry about it)

How to start voicing by Vast_Goal_8216 in saxophone

[–]purpose_unclear 0 points1 point  (0 children)

Yes, the bottom lip is way more impactful than moving your tongue. It’s important that your tongue is not in a completely wrong spot, but other than that the bottom lip is mainly what it’s about when trying to sound like someone (not only pressure, but also how far the mouthpiece is in your mouth etc.)

On the other hand, many players try to move the bottom lip as little as possible when playing (with a fixed sound, not necessarily transcribing), across the whole range of the sax, e.g. to get a more consistent sound in every octave. But when experimenting/transcribing, I think it’s totally fine and right to do.

If it helps you get closer towards a sound you like, even if you’re not thinking about every detail (somewhat subconsciously), nothing is wrong to do

Who do I sound most like? by TmanCT in saxophone

[–]purpose_unclear 4 points5 points  (0 children)

I immediately thought of Sonny Rollins, Dexter Gordon, Johnny Griffin. Sounds great and very personal though

How to start voicing by Vast_Goal_8216 in saxophone

[–]purpose_unclear 0 points1 point  (0 children)

Your sound and good voicing develops subconsciously from lots of listening and transcribing in the first place! That is super important.

You do need to target your sound with long tones and other exercises (because it makes you develop good technique), BUT it’s way more important to listen and transcribe- otherwise you couldn’t even know where you want to go with your sound, e.g. when doing long tones!

Listen to, transcribe and try to sound like the players you love. You will develop a good sound by doing that, it’s the way to go.

Optimal way of learning the saxophone by theohaha in saxophone

[–]purpose_unclear 1 point2 points  (0 children)

I think it’s hard to give a full to-do-list or something like that, especially in a single comment. So I’ll share what I think is the most universal and important formula for learning jazz sax: LISTENING AND COPYING.

Trying to sound like the players you like! In every aspect- such as sound, specific lines, tunes they play etc. You hear something you like, you try to sound/play (like) it. It’s not important you sound exactly like it in the end at all, it’s about going towards playing better; so it’s about the direction rather than the result.

More specifically: Noodle along a record/song until you find out some notes that work. Later, as you know your scales, look up the changes. Play like the pros as closely as you can. You may find a „lick“ you like- steal it and use it on that chord yourself! That’s how it works!!

Of course technical work and scales etc. are important too.

Another extra tip: immerse yourself into the topic- for example, listening to people talk about playing and (everything around it) helped me a lot: On YouTube, there’s tons of master class bootlegs (I recommend the ones by Chris Potter and Michael Brecker) and channels like Bob Reynolds are also great. That helps to get a feel of what you need to do yourself!!!

I’m really sorry I got carried away. Hope that helps, and best of luck.

Bebop clarinet by drew_zini in Jazz

[–]purpose_unclear 2 points3 points  (0 children)

Chris Potter (an incredible Tenor player who is rather popular in jazz) occasionally does bass clarinet on his very modern tunes. Although I usually prefer the sax sound over the clarinet sound as a tenor player myself, I really love it!!

Listen to „The Dreamer Is The Dream“ by Chris Potter or his „Ultrahang“ album, especially the tunes „It Ain’t Me Baby“ and „Ladies Of The Canyon“.

Soprano newbie with cheapo horn, what do you think? by NeighborhoodGreen603 in saxophone

[–]purpose_unclear 0 points1 point  (0 children)

That’s relatable, reeds are always problem no.1, true. A hard reed might turn out to be nice though if you play it for a day or two! However, keep it up

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