From the very first time we are shown how to put on a reed and we initiate our very first “squeak”, the quest for Good Tone begins. Good Tone is Evolutionary. We are not born
with it. Good Tone is a combination of our own unique physical characteristics, Maturity
of both our physical and Mental Development and The Materials aspects of Tone: Saxophone, Reed, Mouthpiece Ligature, Etc. This Article will address all of the variables that will lead us to a Good Tone.
The Musician: Physical and Mental
Each of us has our own unique physiology that makes up 50% of our Tone.
From the size and shape of our heads to our diaphragm control, each plays a part
In our quest for Good Tone. Our tone will change as we grow. We will not know
Our true tone until we reach maturity. Our tone changes as we practice and perform.
The Head or “Why don’t I sound like my teacher?”
Our head is a resonator. It is made up of both density and cavity. Vocalists know this.
That is one reason we all sing differently. This is also true for Saxophone players.
Have you ever noticed that you sound different when you are stuffed up? That’s
Because you have less cavity area for resonation of sound. Understanding this will
Help us on our quest for our good tone.
Throat and Diaphragm or “Do I have to Practice Long Tones the rest of my Life?”
The Throat and Diaphragm are our volume and control mechanisms for developing that Good tone. They regulate the amount of support or air we push through the mouthpiece. The best way to understanding and developing this support is by way of Long Tones. You know, those dreaded exercises that take you from ppp to fff one whole note scale at a time. Long Tones are absolutely necessary. It’s up to you. Once you know your diaphragm and you are familiar with what it takes to have even volume from the altissimos’ to low B flat, it’s just a matter of occasional exercises or less time dedicated
To them each time you practice. So the answer is NO.
Facial Muscles or “Why does it hurt to smile?”
Your facial muscles need exercise. Just like any other group of muscles in the body, they need a workout daily. I know this firsthand. I took a number of years off. I did not play at all. When I finally got back to playing, I could only play for about 15 minutes at a time. My face hurt and it did hurt to smile. I had to gradually and purposefully exercise by practicing. I would gain more minutes each day until I got back to being able to play
3-4 hours each day with minimal fatigue.
Materials
This section will address Instruments, Mouthpieces, Reeds, Ligatures, Tuners, Recorders and anything else that can be altered. For instance, Switching from a softer to a harder reed or reed placement on the mouthpiece table.
Selecting The Right Saxophone For You
With so many different brands and styles of Saxophones available today, it is important
To understand some key issues in selecting the right saxophone for you. All good
Saxophones have certain things in common. There is no “perfect” saxophone. Each
Saxophone has its’ own characteristics. Some tend to be flat on middle D, some are
Sharp on high A, and some have muddy low C and D and on and on and on. Some have
Different bore (internal diameter) sizes. Some have different key mechanisms. Some have different finishes. Lacquer, non Lacquer, Plated, bare brass, Nickel, Silver, Gold
And on and on and on. Some have different fingerings. Some have extra keys. Some
Have light action and some have heavy action. The most important key to buying a
Saxophone is comfort and intonation. Find a saxophone that fits your hands and is
Fairly even pitched. Bring a tuner with you or have friend help you evaluate the pitch
From octave to octave. Tone can be arbitrary.
This is an excerpt from an upcoming book by Skip Mesquite with overview by Dr. Rod Harris.
