Upper Register Performance Soprano Sax - A Question

A question was posed to me last week and as there are many elements of my reply that might be of interest to others I offer the following on this topic.

Question:

I struggle with getting high notes on my soprano sax. Should I change my reed (strength) ?

Reply:

Changing your reed strength may be helpful but just playing a harder reed (I have to assume this is what you mean) will not necessarily be the answer. The soprano sax should not be more ‘difficult’ than other saxophones but its small size means that it may be more critical. Little things will make big differences. Every aspect of your playing technique is ‘under the microscope’ in ways larger saxes do not require to the same degree. This is why prior experience in alto or tenor sax is usually recommended before adding the soprano to your saxophone armoury.

There are many factors that will affect the response and stability of the saxophone upper register, especially on soprano, so a review of them may be useful:

• The embouchure must still be ‘round and supportive’ but not too tight. Playing a stable concert C on the soprano mouthpiece setup alone is a good target (concert Ab for alto, concert Gb for tenor).
• The correct amount of mouthpiece in the mouth is very important – too much in the mouth and the sound and upper register response will suffer, too little and the tone will be dead and both high and low registers will be compromised.
• The airstream used should feel significantly faster for the soprano and if the high notes are unstable you may need to ‘focus’ the air into a smaller yet still energetic stream in order to provide what the upper range notes require.
• The quantity of air used for different registers will need to be varied – higher, shorter tube notes require less (they are easy to overpower) whereas lower, longer tube notes will require a proportionally greater volume of air to fill the tube and stabilise their response.
• Inside your oral cavity the tongue must have a more exaggerated ‘arch’ position than what you use on the alto, tenor or baritone and this arch is closer to the rear of the mouth. This is a bit like saying the vowel sound ‘Eeeeee’
• Your mouthpiece must be in a good tuning position on the cork. If pulled off too far the low notes will not speak properly and high notes will be very flat in pitch and unresponsive. If the mouthpiece is pushed on too far on you might think all is okay - until you check your tuning – when you are likely to find the high register to be extremely sharp and the instrument very out of tune with itself.
• If your mouthpiece tip opening is moderate or narrow then a medium to medium strong reed (strength 2.5 to 3.5 in most brands) is likely to be required in order to provide stability throughout the instrumental range, right up to high F# or G.
• If your mouthpiece tip opening is on the larger side a somewhat softer reed may provide a better match. Too strong and you will find yourself fighting the low register and having to ‘bite’ too hard to make your basic sound.
• Higher baffle mouthpieces (including many jazz style mouthpieces) will be generally brighter and in fact may facilitate upper register playing but may also demand more relaxation in the embouchure and ‘favouring’ downward for pitch. Moderate or lower baffle mouthpieces are generally more stable for intonation and are likely be more manageable throughout the entire range.

As a guide I would suggest that you are in search of a reed strength that provides enough resistance to meet the demands of your properly focused and well-regulated airstream without excess embouchure pressure required.

Success with higher register notes should follow.

The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

Thoughts on Clarinet Double Lip Embouchure

Reprinted from an article for the Clarinet & Saxophone Soceity Single Reed Doctor

Question:

I have recently overheard friends speaking about using a ‘double lip’ embouchure on the clarinet. What is this and will it help me?

SDR Reply:

The standard clarinet embouchure, used by most players is known as a single lip embouchure, one where tissue of the lower lip tissue is folded over the lower teeth to form a cushion and contact the reed. The upper lip then lies in front of the upper teeth where they contact the mouthpiece and the lip’s role is to wrap around the mouthpiece to keep air from escaping.

The double lip embouchure, as it sounds, uses both lips to wrap over the teeth therefore placing lip tissue entirely around the mouthpiece – no contact from the teeth on the mouthpiece at all.

For some players with either very thin or rather large lips, a double lip approach is simply not a physically practical option. For others it could be considered an option but it does take time and much practice to learn and to grow comfortable with the position of the upper lip between teeth and mouthpiece.

A double lip embouchure places a great responsibility on the power of an air stream to generate sufficient pressure to vibrate the reed – without the benefit of the regular ‘grip’ between upper and lower teeth. Any attempt to ‘squeeze’ the reed shut with jaw pressure is likely to result in pain as the lips, especially the upper lip, will be trapped by the teeth.

The potential benefits of a double lip approach are:

·        A rounder, warmer sound may be developed as all tendencies to compress reed and mouthpiece are unlearned

·        The necessity for much greater awareness of air stream support leading to better control

·        An increased awareness of all elements of tone production

·        Greater subtlety in control as lips are simply more sensitive than teeth

·        A strengthening of upper lip muscles as they are engaged in a new ‘drawn down and in’ position

·        A genuine rethink of what it means to ‘properly blow’ your instrument

Possible downsides include:

• Pain and the risk of damage to upper lip tissue whilst learning the embouchure position
• Fatigue of the facial muscles while adapting to a new approach
• Loss of upper note accuracy and response due to the loss of familiar pressure from the lower lip
• A potential need to move to softer strength reeds
• A feeling is instability in holding the instrument still while playing

You can see from the above that there can be numerous benefits, principally in the area of tone production and flexibility but there are many possible risks to consider and for many the double lip approach is not a viable option. (NB - I would never recommend it for use on the saxophone due to the different holding angle of all saxes, even including soprano.)

My own opinion is that giving double lip approach a try, if for nothing else as a spur to develop a better awareness of REALLY GOOD AIR SUPPORT, is worth the time invested experimenting for all those who can manage the drawn down position of the lip.

After a period of time spent experimenting and benefiting from the improved breathing and blowing skills acquired I would recommend, for the vast majority of players, a return to a single lip embouchure combined with the use of a mouthpiece cushion and the application of all the positive elements experienced:

• Better initial breathing awareness
• MUCH greater support from abdominal muscles while blowing
• A more relaxed ‘grip’ from the jaw muscles
• Increased involvement from the upper lip in the surrounding and support of the embouchure on the top of the mouthpiece

All the above can only improve a players normal sound and ability to control their instrument so what is there to lose?

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

Recommended Clarinet 'Care Kit'

The Clarinet Care Kit

I was obliged to make some recommendations when a new beginner pupil has come to me with a clarinet and no additional accessories. The instrument had sticky pads and dirty keys. The following were my recommendations for a ‘care kit’ for years to come...

Thoughts - 

I have never felt the need to bombard a novice player with a bewildering and costly list of ‘extras’ or special equipment as they begin their study. A well made instrument, quality mouthpiece, appropriate reeds and the development of good habits and practice discipline rate much higher in my priorities. However, some items are sensible to purchase and introduced from the outset so that an instrument can be well cared for, serve better and its value maintained.

To address the sticky pads I would recommend cleaning paper. Cleaning paper is paper that has a finely ribbed texture and which has no sticky gum line like one would find with cigarette paper. It is used to absorb excess moisture when smaller tone holes have become blocked through a build up of water or as a first level treatment for the onset of the ‘tacky’ sound of a sticky pad. Cleaning paper can be used when pad surfaces are wet but the sheets are very thin and are likely to disintegrate if used under too great a pressure. Yamaha make a good product.

If the sticky pad problem persists move on to powder paper. The application of powder paper has been around for years as a treatment to reduce the surface adhesion of pads to tone holes on woodwind instrument, i.e. the familiar ‘tacky’ sound on the lifting of a pad that is caused by a build up of saliva or moisture on the surface from playing or even just during transport when keys are held shut for a long period. The powder residue on the paper creates a new barrier between the pad surface and the tone hole rim. Best applied when the pad surface is dry. Once again, Yamaha make a fine product.

For individual ‘problem pads’ I would recommend the BG Pad Dryers. These are a washable, micro fibre fabric product that provides an alternative to cigarette paper or cleaning paper to use for removal of moisture from tone holes. Simply insert between pad surface and tone hole and allow the moisture to be soaked up into the Pad Dryer. They are very absorbent and one Pad Dryer is intended to last for years of regular use.

To avoid moisture build up in the first place an absolute must is a good cleaning swab. Many types are available, good and bad, but my preference runs to the Dryer Swab which I helped design. I believe that this is simply the best clarinet swab on the market for both absorption and easy of use. Designed with an asymmetrical shape that makes pulling through the clarinet far easier and the brushed cotton fabric used is both highly absorbent and durable. The addition of a ‘pull back’ strap is a bonus ‘belt and braces’ extra to lend confidence when using the swab. High quality alternatives from BG and Yamaha are also available, each with different features. All of these are preferred to basic cotton or felt versions on the market.

Every clarinettist should use some type of cork grease to aid in the assembly of their instrument and to preserve the cork itself. Most brands are acceptable but some stand out for being either longer lasting or more effective. Rico and D’Addario greases are good, Elm bark grease from Doctor Slick products is a very ‘clean’ product and Selmer Tuning Slide and Cork Grease is deservedly recommended.

To clean around keywork a traditional shaving brush is the best quick answer to removal of dust and link from between keywork mechanisms on any clarinet (or other woodwind). Simply use the brush to lightly and quickly dislodge particles that otherwise might ‘gum up’ mechanisms or compromise the seating of the pads themselves. Regular use will not only keep an instrument looking better but playing better as well.

I like to see all players using mouthpiece patches to protect their mouthpiece and aid the formation of good habits for teeth placement. For most purposes I would recommend ‘thick’ patches, as they tend to be more durable and provide a greater cushion for the teeth. Thinner patches serve well to reduce mouthpiece wear and are almost unnoticeable to the player. Yamaha, BG and Kolbl are leading brands.

To protect reeds from damaged and warping once they begin to be used some type of reed storage device, other than that supplied by the reed manufacturer, should be used. Whether to hold 1, 2, 4, 6 or 8 reeds or more, something that will protect the reed tip, allow for air circulation during storage will help reeds to serve better and last longer. Many brands are available and some of these are small enough to store easily inside a case and some that also feature a humidity control.

Finally a silver polish cloth, used to wipe over keywork after playing to remove fingerprints reduce oxidation tarnish is a good practice. Denis Wick and others offer good, generous cloths for the purpose.

These products represent my suggestions for a best practice maintenance ‘kit’. As a player progresses and becomes more discriminating the enhancements to be found from experimentation with equipment including the upgrade of instruments, experiencing different mouthpiece options, learning about varieties of reeds and the effects of different ligature designs, barrels, bells, etc. are all waiting to be discovered – but after a good foundation in playing has been laid.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

Developing Better Hand Position for Efficient Playing

Developing Better Hand Position for Efficient Playing

A recent enquiry set my mind off thinking of the many times I have tried to either help myself, my pupils or colleagues to improve one aspect or other of their hand position and finger motion - the goal usually being to reduce strain on the hand, thumb, wrist or fingers or to increase playing speed in a technically challenging passage. Over many years of observation, and benefiting from welcome guidance of numerous fine teachers, several strategies have 'won out' and remain part of my repertoire to this day. I would like to share some thoughts and suggestions.

• Relaxation is vital

We all have different hand and finger shapes and finding the most relaxed, comfortable position for operation of the keys or valves is vital. Every instrument has its own requirements that need to be studied and acknowledged. If you take time to observe fine performers whom you respect you are likely to see good habits manifested. Look at yourself and your posture / fingering in the mirror while playing. How do you compare with those whose technique you admire?

Bad habits often start by not paying attention to what for each of us is most natural and relaxed. Even with the best of intentions forcing a finger to stretch or move a certain way that is not comfortable rarely leads to efficient or sustainable technique. Remember, though it may seem obvious, it is a good idea to try to adapt to the requirements of your instrument and not expect it to adapt to you.

• Repetition with a purpose

Practising a passage over and over again without examining what your fingers are actually doing can become very frustrating and even cause damage to the delicate tissues, muscles and tendons of the hand or arm. Practice slowly in a controlled manner in order to learn new habits or reinforce better finger function. Better finger coordination, relaxation and accuracy should be the goal.

Allow speed to be the end result of a careful and considered, slow study of exactly how your fingers are required to move in order to perform the passage. Speed should never be the first consideration. 

Remember: 'Do not run before you can walk.'

• Understanding the issue

If one considers the requirements of the many and varied actions required to change notes, perform trills and execute leaps on wind instruments over a sustained period of time there is a huge range of motions and co-ordinations to be executed, with micro-second precision and often involving quite complex and 'unnatural' (in most any other context) motions. 

Think about the following for example:

Am I attempting to close a key or depress a valve? In which case the note that I wish to create has a tube length which will only be fully realised at the finish of the action. 

Am I opening a key or releasing a valve? In this case the note I have been on will begin to be 'lost' the instant I move from its closed position and the new tube length / note will begin as soon as the motion starts but not fully achieved until the action of the release is completed.

Am I opening some keys / valves while closing others (or visa versa)? Which tube lengths will begin to sound or stop sounding first? How must the action of my fingers therefore compensate for the requirements of this action on my instrument?

Are some of my fingers 'weaker' than others? Do I have to be more aware of these fingers in order to perform a passage smoothly? Do some fingers seem to 'charge ahead' and would they perhaps benefit from being 'held back' in order to balance with the rest? Learning how to 'weight' a note or set of notes is a very valuable skill and one frequently called upon to even out playing both physically and musically.

• Tension, present but never in excess

Whilst some degree of  'tension' is required to hold the hand and fingers in the most appropriate 'ready' position in order to operate keys or valves but such tension should be kept to a minimum. When operating keys or valves it is a good idea to distribute the muscle actions required up your forearms engaging these longer muscles rather than relying solely on the fingers or wrist to create movement. This use of the forearm muscles is very natural and this is how our bodies are meant to work but the familiar introduction of excess and unnecessary tension continually circumvents these very natural motions resulting in a 'locked' hand and 'seized-up' or 'tight' fingers. 

Try always to allow the fingers to find their own gently curved positions, ready to engage with key work or valves with a minimum of effort and travel distance and look to the muscles of the forearms to be the source of the action for lifting and closing.

• Acceptance of limits

 If you have observed, considered, practised and as a result, managed to improve your finger technique, you will begin over time to approach your own personal maximum for speed and accuracy. As long as you are able to remain relaxed while you work to develop your most efficient finger technique you can expect that increased speed and accuracy will result. However, not everyone can achieve the same finger speeds or degree of smoothness. We all have our strengths and weaknesses.  

In summary:

Some techniques or passages may take a great deal to time to master but if you are able to acknowledge and accept your limitations while learning (or relearning) the best possible approaches to all aspects of your instrumental finger technique then you are not only more likely to enjoy the physical act of playing but also find it easier to produce more rewarding and satisfying performances.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

High Energy / High Baffle Sax Mouthpieces

High Energy / High Baffle Sax Mouthpieces

A recent question from a pupil revived this subject for me and inspired some further thoughts that I would like to share.

The subject of how a sax player creates a distinctive sound and musical personality is complicated and one of the biggest factors is the mouthpiece and reed 'set-up' they choose. For many players their choice of equipment is an evolution, from whatever was supplied with their starter instrument, to perhaps a mouthpiece recommended by a tutor or colleague, to mouthpieces that they have selected themselves following many comparisons and perhaps finally to one inspired by an influential player whose sound and musical approach seem to represent exactly what one wishes to achieve. It was whilst considering this final stage that my thoughts have recently been engaged.

One of the most attractive qualities associated with contemporary popular sax styles is an 'edgy', vibrant tone, one that is soulful and expressive and that competes, when amplified, with the sounds guitars, keyboards and synthesizers. For example, alto saxophonist David Sanborn established a personal style that was highly influential throughout the 1970's through to the present day and is now widely imitated and admired to this day. He learned how to get the most out of his Dukoff Silverite metal mouthpiece and for many players this set-up became their choice as well. Other brands including Berg Larsen (ebonite and metal), Brilhart 'Level Air' (metal), Beechler (plastic and metal), Claude Lakey (plastic) and Lawton (ebonite and metal) have also been popular (and no doubt other makes as well). The late and greatly missed Michael Brecker had huge influence on tenor saxophone sounds using his Dukoff and later Dave Guardala mouthpieces. Since the late 1980's many other manufactures have also entered the market place manufacturing 'high energy' mouthpieces.

The common factor amongst all of these mouthpieces is the presence of a 'high baffle' the terminology for which can itself cause some confusion. This feature is a reduction of the distance of the gap inside the chamber of a mouthpiece between the flat underside surface of the reed and the mouthpiece baffle itself. The result is a 'squeeze' of the vibrating air column as air passes through the gap. One could almost say that the 'ceiling' of the mouthpiece inside chamber shape has been 'lowered' to achieve this - hence the confusion. The exaggerated 'high' position of the baffle accentuates the higher overtones present in the vibrating column of air, allows for an easier response of the upper altissimo register, can make lower register tones more difficult to attack with subtlety (without playing with a subtone), may alter or accentuate intonation patterns, creates the impression of greater projection and, of course, adds 'edge'.

When many saxophonists first try such mouthpieces they can be shocked by the sounds they make. These may vary from surprisingly attractive, to promising but challenging to control, to positively ugly or sqeaky. What I believe lies behind these reactions and helps to explain the range of responses by players is something that frequently goes unstated and under appreciated:

How one uses and focuses the air stream is critical to success.

• A 'high baffle' mouthpiece must be allowed to 'do its thing' and the musician must learn how not to interfere and allow the set-up to work freely.

A frequent further contributing factor to potential disappointment is the use of too much lip pressure on the reed. High baffle mouthpieces are highly efficient. They will create their sound with a minimum of embouchure effort as long as sufficient, energised and well-focussed air is present. In fact they will often play best when matched with a slightly stronger reed as a too-soft reed will not provide sufficient resistance to the powerful air stream in use and is likely to lead to a kazoo like sound and an overall loss of control.

When I watch wonderful players deeply involved in blowing their saxes I often note the impression they can give of 'working hard' as they blow, especially as they strive for upper register notes. In fact I am convinced what is actually happening is an intense concentration on proper focus of their air stream and the removal of lip pressure.

The players are seeking the 'sweet spot':

• Where minimal lip pressure, an ideal positioning of the lower lip on reed for best vibration for the register involved and the employment of a perfectly regulated quantity of air combine to achieve the desired results.

Fine players achieve this complex balancing act so effectively that their listeners do not imagine the effort involved and, those who are themselves sax players, tend to credit their musical heroes and heroines wonderful tones and exciting musicianship to the magic of their mouthpiece - overlooking the skills they have gained through learning how to best use their equipment.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

Tips on Switching Between Clarinet and Saxophone

Tips on Switching Between Clarinet and Saxophone

from The Single Reed Doctor Column, CASS Article December 2016

In response to a question posed by a member of the Clarinet and Saxophone Society of Great Britain I the reply below. I hope it might also be of interest and helpful for Wind Player Advice readers.

Question:

I play both clarinet and saxophone but find it difficult to move between the two. The sax feels very open, requiring a lot of air, while the clarinet feels tight and pressured. I have recently started playing in shows and need to improve my quick changes between the two. Is there anything I could do to my set-up that would make this easier?

My 'Single Reed Doctory' reply:

This is a very good and multifaceted question and one that I am afraid does not have a quick or straight forward answer. Some players never seem to need help with this. They just ‘get it’ and manage to double sax and clarinet seemingly without much effort. Most players need to examine this question in greater detail and the process of examination should prove useful for anyone wishing to play their best.

You will find examples of equipment intended to make switching between clarinet and saxophone easier but in my opinion this route does not help in the long run as it can obscure the issue. It is fair to say that moderate tip openings and standard chamber mouthpieces are likely to make for easier control of both instruments possible - therefore you may wish to avoid extremes - however, leaving equipment aside - a thorough understanding of the requirements for good playing on each instrument is the best way to develop your control and to achieve a rewarding, characteristic tone on both clarinet and saxophone(s).

The clarinet has a cylindrical bore and all saxophones have conical bores. This central difference contributes to not only how each instrument overblows but how it responds. The reason the sax feels so ‘open’, something quite disorienting to many clarinettists, is that the amount of air required to fill the tube is highly variable depending upon the length of tube in use and the register. The clarinet bore, to many saxophonists, feels quite ‘stuffy’ and resistant - or pressured as you suggest. This is largely due to the more consistent taper dimension of the bore (varying significantly only at the bell) and the requirement of a uniformly higher pressure throughout the entire range of the instrument regardless of the fingered length of the tube.

In my teaching I have used the concept of the Two Q’s when trying to explain this and perhaps you might find this helpful.

• The Quality of the air pressure must remain the same for both instruments, at all times and at all dynamics.

• The Quantity of the air used varies depending upon the range, register, dynamics and resistance of the instruments. This is much more obvious on the sax than the clarinet. Understanding and applying these concepts can transform a players experience.

The mouthpiece used must allow a player to be comfortable whilst utilising the best air support they can provide without requiring an excess of embouchure pressure. The appropriate resistance to a well supported air column is not just to be found at the embouchure surrounding the mouthpiece and reed but the airstream is also focused and shaped in the oral cavity via the position of the tongue. In my experience the tongue is uniformly arched higher at the back of the oral cavity on the clarinet and the progressively positioned slightly further forward in the cavity as one moves to saxophones and larger clarinets.

Time spent learning how the ‘flick the switch’ and instantly apply the appropriate blowing techniques to each instrument will mean that a player can more quickly and consistently achieve a more satisfying and convincing performance even when switching in a show environment.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

Which Saxophone Should I Play?

Which Saxophone Should I Play?

The question of which size of saxophone one should play is frequently asked and sometimes the answer is very straight forward depending the size of the player, the budget available, any previous instrumental experience, etc. Often however other factors also enter the frame and perhaps a discussion would be helpful.

When a potential player is quite young or very small the options are limited. Some teachers, with the best of intentions, will recommend starting on the fully curved soprano sax. I do not agree with this, as the soprano, being so small, is more demanding and far less tolerant of initial learning efforts. I would recommend that a keen young player start either on the recorder (never a bad suggestion for any future woodwind player), the standard Bb clarinet (or C clarinet if necessary) as this is such a common double later in life anyway, or wait until the alto sax can be comfortably held and operated.

IF ONE SIMPLY MUST GET STARTED ON THE SAX STRAIGHT AWAY then I would recommend beginning on a Trevor James Alpha alto sax which is purpose designed with fewer keys for lightness, smaller finger stretches and key work positioned for easy reach by the small beginner. It is ideal for the purpose and introduces the player to the 'proper' Eb alto straight away. The upgrade to a fully keyed alto can happen with ease when growth and experience allows.

Assuming one is not limited by age or size then the full SATB range of the saxophone options could be considered. In a quick summary here are my thoughts:

• The ALTO sax is the MAIN MEMBER OF THE SAX FAMILY with most of the educational and performance literature written with it in mind. The alto features most strongly in the classical solo repertoire with many original works and transcriptions now available, the wind band or in the orchestra as a solo instrument. Its position leading the traditional Big Band and as a jazz solo instrument is well established. Rock and pop, funk and reggae use in horn sections is also common.

•  The TENOR sax is often thought of as THE JAZZ SOLO INSTRUMENT as a result of the many superb artists who have made this instrument their 'voice'. It is too big for most beginners (other than adults) but is easy to either add to the alto sax when ready or to learn on, with some repertoire challenges, when a player is physically big enough to manage the tenor. Deeper and richer in tone quality than the alto, it figures in the same classical ensembles but less frequently and with much less literature written specifically for the tenor. The tenor sax has a huge range and the high altissimo register is easier to exploit than that of the alto or soprano.

• The SOPRANO sax is usually added by an experienced player to augment their established alto or tenor sax playing. It is a REGARDED AS A SOLOISTS INSTRUMENT and as such has a small classical repertoire and a growing use in a wide variety of jazz settings. It is the highest sounding member of the sax quartet (and other sax ensembles) and is usually played by the strongest, most musically knowledgeable player of the group as it is used to carry the melody and lead the ensemble. I personally prefer the double crook soprano as having the option of either a straight or curved top crook to use depending upon your desired holding position seems a very sensible choice. Some players prefer the fully curved instrument and others choose the straight, one-piece body version. I do not attribute a tonal difference to the shapes but the player does hear them differently due to the position relative to the head and ears.

• The BARITONE sax is a very important COLOUR INSTRUMENT providing the foundation of an wind band or sax ensemble offering great power and facility. It has a limited role in classical music but has a much more established role in the jazz band and has some outstanding examples of players who have pushed to instrument to marvellous extremes as a jazz solo instrument. Instruments with a low A (Concert C) bell are now most common but some lovely instruments extending to only low Bb are still available. The baritone is a valuable sax to be familiar with and there are often opportunities to join groups if one can provide this instrument.

•  The remaining members of the modern saxophone family, the SOPRANINO, the BASS, the CONTRABASS, the older C MELODY, and other even less well known instruments are all about COLOUR and specific ENSEMBLE ROLES. These should never be considered 'first choice' saxophones upon which to learn but may prove to be valuable additional instruments to play and own as they are rare and often welcomed in ensembles.

Many sax players end up playing multiple saxophones for the sheer joy of the variety of sounds and musical opportunities that playing and owning these different saxophones make available. Players eventually learn to move freely and with minimal effort between their different saxes and often undergo a change of and musical 'attitude' and 'personality' while they play their different instruments. The usual pairings as I have experienced them are:

• Alto adding Soprano
• Alto adding Tenor
• Tenor adding Soprano
• Alto adding Baritone
• Soprano adding Sopranino
• Baritone adding Bass

The tone quality, sensitivity, projection and playing response of all saxophones can be altered dramatically by the choice of mouthpiece used. To get the most out of any sax it is a good idea to select a mouthpiece suited to your abilities and comfort as well as the requirements of the music you wish to play. Owning a number of mouthpieces for each saxophone is not uncommon and can be a great source of inspiration keeping oneself freshly engaged and fully idiosyncratic in a wide variety of styles on the same instrument. More than anything else it help make all your playing MORE FUN!

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers