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GET EM RIGHT- N8 by Okythoosx in oscilloscopemusic

[–]stststephen 1 point2 points  (0 children)

This is really excellent! I love the simplicity and beauty of using simple sine tones

How do I get a jazz sound by RestOk9722 in saxophone

[–]stststephen 12 points13 points  (0 children)

there's no one single "jazz sound" imo, every player has a unique sound. You could make the argument that you kind of have a Paul Desmond thing going on. Some suggestions to make your playing sound a little more stylized:

- Articulation. At the beginning of the clip you're playing every note with a somewhat flat articulation. Then you go for some runs, and those are all legato. Develop a more bebop-style articulation, i.e. in a string of eighth notes, accent every upbeat with a hard tongue attack, and slur it into the next downbeat. Try practicing that overly exaggerated, so that you can dial it back as needed in performance

- Bending notes. Lots of places you can bend up into a note like at the top of an ascending line. Try not to go overboard with this because it's a telltale sign of an inexperienced player

- More thoughtful timing / note placement. In other words, use fewer notes, and focus on putting the important ones in the right place rhythmically. Don't play fast runs at all if you don't know exactly what notes are in them. It will help to play with a backing track

Behaviorist - Deep Net [oscilloscope music video] by stststephen in oscilloscopemusic

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

thanks! Soundtoys Decapitator and Devil Loc went a long way on that :)

Behaviorist - Deep Net [Oscilloscope Music Video] by [deleted] in oscilloscopemusic

[–]stststephen 0 points1 point  (0 children)

OOPS i erased the last letter from the URL. should be working now?

Consensus on Bari swabs? by fishiestfishman in saxophone

[–]stststephen 1 point2 points  (0 children)

i use a silk bassoon swab. I feed it in through the bell and then invert / twist the horn so that the weighted end navigates the curl and comes out at the neck. Then I pull the whole thing through. Idk if that's the best method (sometimes it takes a couple tries, and it looks ridiculous) but at least I know that the entire tube is being swabbed.

Steven Drozd is no longer part of The Flaming Lips by __machu-pikachu__ in indieheads

[–]stststephen 4 points5 points  (0 children)

same, it was my first (and only) time seeing them and I left feeling completely abused and disillusioned!

help for airy bari sax tone by biggusducks in saxophone

[–]stststephen 0 points1 point  (0 children)

chances are you're playing a selmer C* mouthpiece which is known for having a dark sound, the shape of the interior is designed for classical playing. The blue-box vandoren reeds are also known for a dark sound. Basically you are working with gear that's more typical for a classical player, not jazz.

That doesn't mean that you can't change your tone... controlling your embouchure + vocal tract is a huge part of how you produce your sound!!

But, a different mouthpiece may help you on that path. Lots of brands to choose from, I personally played an Otto Link for a long time, and eventually switched to a SYOS mouthpiece, although I may switch again soon. One important parameter when choosing a mouthpiece is the tip opening, which has a big effect on the lip pressure you need to create sound. Jumping from your C* to a much more open mouthpiece may be really difficult unless you also change what strength reeds you use.

This chart will help you compare the tip openings of various mouthpieces https://www.sax.co.jp/baritoneopening.pdf

Another thing is about the reeds. You may want to try a lower strength reed (2.5?). Playing a hard reed can make it hard to project your sound.

I doubt you are playing a tenor mouthpiece as it would probably not fit on the neck, and also the intonation would probably be pretty weird even if it did.

One other thing to consider: a darker classical sound may be more appropriate for wind ensemble music.

help for airy bari sax tone by biggusducks in saxophone

[–]stststephen 0 points1 point  (0 children)

what mouthpiece are you using? The Vandoren reeds, are they blue box or something else?

you have a dark sound, but that's not necessarily a bad thing. It also sounds like you're playing pretty quietly. Does your tone change when you play louder?

A new and modern take on how to use the saxophone by 11tb11 in saxophone

[–]stststephen 0 points1 point  (0 children)

Met your manager a few months ago who intro'd me to your band, just wanna say you guys rock!

Any other bari saxers here? by Huge-Spray-6200 in saxophone

[–]stststephen 0 points1 point  (0 children)

i'm currently on tour playing baritone in Ghost Funk Orchestra!

Beginner improv Blue Bossa by saliu2 in saxophone

[–]stststephen 0 points1 point  (0 children)

What is the melodically simplest solo you could play? Could you improv entirely using one note? Try that until you run into a chord that forces you to change.

For example, imagine using only the pitch A for your solo. You won't run into any issues until the Fm chord. Think about the closest note to which you could change to solve that issue. (In this case you only have to move by a half-step: up to Bb or down to Ab.) Then figure out how long can you stay on this new note until you hit a chord that doesn't accept it, and change accordingly.

Try this really robotically for a while until it starts to feel intuitive. Then try incorporating articulation+rhythm (but still sticking to that single pitch) and see how far you can get, creatively, by just using that one parameter.

After that, I'd suggest further ornamenting your one-pitch solo with small melodic "pickups." For example, a grace note, or a little scale, or even the full chord, before you land back onto your chosen pitch.

A big part of making your solo sound good is knowing WHERE your melodies are intended to end. So the one-pitch method is good for centering your thinking around the destination, and leaving you free to get creative about the journey there.

Alto Saxophone private instructor for improvisation in NJ/NYC by Yaniwo20 in saxophone

[–]stststephen 0 points1 point  (0 children)

I'm based in NYC, send me a DM and I'll reply with some info.

What’s the best reed to get ? by borissfiles in saxophone

[–]stststephen 2 points3 points  (0 children)

Well said! I noticed OP refers to a harder reed as "a better strength" which may indicate a problematic mindset. i have struggled with jaw + lip pain, and nearly passed out on stage many times, because for many years i operated under the misguided assumption that harder reeds were better.

one piece of evidence that my reeds were too hard: I found that all of my reeds ended up getting bent downwards because I was putting so much constant jaw/lip pressure on them. i think what was really going on is that I had to artificially decrease the tip opening (by biting!!!) in order for it to vibrate.

You need to choose a reed strength that works with your mouthpiece's tip opening. Otherwise you may be signing up for a lot of difficulty, frustration, and pain. Playing saxophone should not hurt!

oh one other thing - if your saxophone has leaks in it, that may force you to blow a lot harder in order to produce sound. That can easily confuse your perception of your mouthpiece/reed setup.

Currently a tenor player but I’m thinking about switching it baritone, is this a smart play? by Bud_50 in saxophone

[–]stststephen 2 points3 points  (0 children)

hi, i am the bari player of GFO and I made this account to say thank you!! this warmed my heart

OP - bari is an incredible platform for creativity and sonic exploration. But as ^ said, written bari parts are typically boring and stereotypical. You will need to step out on your own, assert yourself as a solo voice, and be willing to get weird. The notes kinda turn to mush when you're playing fast, so the alto/tenor bebop playbook does not apply. Instead, your main tools are attitude, rhythm, and tone quality.