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Sometimes, It’s Not You, It’s the Reed!

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Sometimes it is you, a lot of the time actually.

Don’t get offended! It’s the same way with me or any other sax player.

Any number of things can go wrong when playing saxophone….

But sometimes it’s because of a bad reed, an old reed, or a funky reed!

Saw and answered a question earlier about stuffy notes on saxophone.

She asked about A, Ab, and Bb being stuffy on tenor sax (she mostly plays alto).

Trying a different reed is a good and simple test.

At a saxophone class one time, another sax player’s horn had just gone and been repaired.  The repairman was standing by while he tried it out again.  The issues that had been there before were fixed, but a new one seemed to have emerged…..

Low Bb wasn’t working right.

The saxophone was looked over again and nothing seemed wrong.  He’s a professional mind you.

Then, the sax player tried a different reed and the problem when away instantaneously!

So, sometimes in the end, it’s not you, it is the reed.

Sax Station Reflection on 2010

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Running Sax Station is awesome

I get to talk to musicians around the world, teach saxophone, and learn new things through what I’m doing.

The saxophone players that I talk to are from all levels from professionals to young musicians just starting to retired people getting back into music.

It has made me think about my learning process on saxophone and in music and get back into the mindset of a ‘younger’ musician in many cases.

It also has gotten me to think about how I play and how to explain ideas, which can help others and also really strengthens my own playing.

If something I say or play doesn’t quite make sense, be sure to let me know!  Can’t always read minds.

Teaching the classes on Sax Station has been a ton of fun.

I’m glad to work with all the students who have signed up and I’m sure that I have learned as much as they have from the process.  Feels good to get musicians some help that they need and closer on the path to being where they want to be musically.

The Sax Station Approach

My musical journey has taken me from Monterey to Montreal to Nashville and Sri Lanka.  Some of the ways I teach and think about music are a bit unorthodox, but they work for me and seem to help the Sax Station collective.

I love getting feedback on the classes like what Lance said to me,

“really like these bite sized lesson plans.  Well organized.  I can go back and back to pick up all the diverse elements of playing a sax which remind me how to eat the elephant piecemeal.”

And just writing about music in general has helped me get my thoughts together.

Writing only goes so far though, so I’m recording more and taking more video for the classes and the site.

Being able to create these classes that run for much less than personal lessons and can be taken one step at a time has been fun.

Looking forward to continuing everything with Sax Station

I love what I’m doing on here and look forward to hearing from you. I actually resigned from my job with the physics lab not too long ago to focus more on music and seeing where it will take me.  Now is a great time to take the classes I have set up and get in touch with me since this is what I am focusing on for now.

Let me know what you would like Sax Station to focus on this year!

Improvisation?  Technique?  Tone?

Leave a comment!

Saxophone Technique Lesson from Pablo Picasso

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Picasso had a little technique.

He painted over 14,000 works in his lifetime.

I like what he said about technique, once you have it, technique is no longer an obstacle in your way.

Every movement in your body as you play the saxophone affects the sound.  If you move your fingers a bit too abruptly, if one finger trails another slightly, if you lean forward or back.

Going between middle D and F# smoothly is something that turns out to be rather challenging.  This transition keeps the middle finger on our right hand down and asks that we lift and press two fingers simultaneously – one of them being the fourth finger which proves difficult in controlling independently.

Slowing down the movements and practicing them for some time cleans up the schmutz.

And once you have it cleaned up, it will probably stay cleaner from that moment onward after receiving a little attention.

But you may never have noticed it if you never slowed down and listened carefully…..

What technique issues have you had on saxophone?

Nature Boy on Tenor Sax + A Look at Saxophone Technique

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I like this song, and I know it’s good to record yourself, so I did.  The tune was composed by Eden Ahbez (1947).

As I played it back, I was looking at my fingers and my attacks on the notes.  Ghosted a few of them and used quite a bit of subtone.  That can be fine, as long as it’s intentional.  You want control as you play.

My fingers lifted up a bit farther than I wanted in a few cases.  Especially my top finger on the left hand and my left pinky…..

I think I’m getting better with keeping them down, but that’s something I noticed so I’ll spend some more time working on it.

Happy Holidays!

Sexy Sax Man!

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Sergio Flores on alto sax, the music of George Michael!

Man….. that’s awesome.

“You’re not above the law”

“He is above the law though…. look at him, he’s playing to a baby right now”

Dude’s got a legitimately good sound.

And looks like a Selmer Mark VI he’s playing, except at the very end.

Saxophone Harmonics + Two More (Less Common) Bb Saxophone Finger Positions

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Rick pointed out two more options for Bb on saxophone, they’re a bit less common, but can be used when it makes sense in context.  And one of them actually brings up the idea of saxophone harmonics….

The first is using the low Bb fingering with the octave key.  You can actually use the low Bb fingering to play many more notes than just the low Bb.  The first note up is the Bb an octave higher, then comes F, then Bb, then D, etc….. keeps going up the ‘harmonic series’.  What you’re doing is using your throat to create different standing waves of air within the tube of the saxophone.  The Bb up an octave comes out easier using the octave key (but it’s not completely necessary).

saxophone fingering Bb

The notes on a saxophone start off from the vibration of the reed and then a wave pattern is set up in the body of the saxophone.  The keys change the length and escape options for the air.  The wave pattern is not limited to the saxophone though!

You are connected to the saxophone so your throat, lungs, etc are part of the system that creates the sound and shape the waves of air.

_______________________

Another Bb fingering that is a little less in tune uses the middle finger in the right hand that’s used for F#.  It’s useful if you’re doing something like passing from Bb to F#.
saxophone fingering Bb

Saxophone for Beginners – Three Bb’s

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There are three fingerings for Bb on saxophone.  Depending on the situation (key signature, notes before and after) a particular fingering may be easier in that context.  What happens is that a certain Bb fingering lets you move less and be less likely to have a messy connection.

It’s good to have the ability to play all of them.  Relying on only one will limit your saxophone technique.

“Side Bb”
 “Bb with ‘bis’ key”
 “Bb with F fingering”

Thanks to Bret Pimentel for his fingering software.

Lessons Learned from Looking at a Used Saxophone For Sale

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I was driving along Lighthouse Ave….

And in the corner of my eye!

A saxophone in the window!  An alto saxophone.

Didn’t have time at that moment to check out, but made a mental note to come back.

So I stopped by.  The sax was in the window of a Goodwill store, set up as an auction.  Not necessarily the best place to get a saxophone, but I was curious.

Figured I would try it out, so I brought my own mouthpiece and gear to put on the horn.

It was an old Conn alto with engraving on the bell.  Looked like it wasn’t too worn down at first glance.

But there were some issues…..

First problem I noticed was that the brace around the keys on the bell was bent so that the low Bb, B keys were stuck down.  I bent it back to the right position so those keys could move.

After that, I was thinking that I could try out the range of the horn, figured the low notes might have some issues.

However, I could only get out a few notes on the top of the horn, C, B, etc and then there were more issues.

At that point I put down the sax.  Figured the repairs and effort might not be worth it.  The auction price was up to $80 or so at that point, not sure if the bidders had actually tried out the sax!

A little while back I got an old Buescher alto sax that had a pretty nice sound, paid a little bit to get it fixed up, but it started off in better shape than this Conn alto.

Not sure what kind of life the Conn had been through….

But I knew pretty quickly that it was best to move on.

Other things to look for when you’re trying a used saxophone:

  • Dents- a small dent on the body isn’t great, but isn’t the end of the world if the price is right.  If the neck was damaged, it will cause some major problems.  Sometimes you’ll see signs of previous damage too…
  • Signs of drastic repair- minor issues can be fixed, but heavy damage probably will not be undone.
  • Sound- do you like how you sound on it?  How does it compare to the horn you’re playing now?
  • Feel- older saxophones were built differently.  New saxophones are built differently depending on the brand.  How does the saxophone fit you?  How do your pinkies feel on it?  Are your hands/fingers stretching in any strange ways when playing?
  • Intonation- this will not be perfect on any saxophone, but struggling to play notes in tune will not be a good beginning to the saxophone you’re buying
  • Where are you buying it from?  Would you be able to return it?  Do you trust them?
  • What’s the brand?  Does it have a reputation?
  • Bring a musician friend to listen, your perspective isn’t all that objective as you play.

Update on FREE "Saxophone Improvisation" Class

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The class is open and live at

http://mastery.saxstation.com

You can get four free sax improvisation lessons there.

You’re about to win a free copy of my brand new guide Saxophone Improvisation!

Sometimes getting started with improvisation can be tough.  But playing an awesome solo means expressing yourself, bringing out the music, pride in what you did, connecting with the crowd, and it gives you confidence with your music.


Here’s the deal…

This is the official kickoff contest of my Saxophone Improvisation and I wanted to make sure I did something really cool.

When you win access to the Saxophone Improvisation, you get a step by step system for getting started on sax improvisation and progressing with your solos.  You’ll get down to the root of improvisation and when you’re done, you’ll have the ability to groove over any tune like a master.

You’ll also get access to private pages where you can post your goals, your hurdles & your questions and I personally will help you out and keep you accountable.  This isn’t just a book that you read.

I’ve personally learned from master musicians and followed this system to sit in and improvise with musicians around the country and world- even on a secondary instrument which I hadn’t played seriously in years.

Check out the first pieces for free and then make your decision:

http://mastery.saxstation.com

I appreciate your help in spreading the word about the class.

Here’s How You Win:

One person this month (December 2010) will gain free access to the entire Saxophone Improvisation system along with all updates.

First Step:

The first step is to register for the contest by leaving a comment below answering the following two questions:

1. Why should you be chosen to be a part of the Saxophone Improvisation by Sax Station class?

2. Why do you want to learn saxophone improv skills?

When you answer these questions remember that you are getting personal access.  Saxophone lessons cost $60 plus and help you with a few issues each lesson.  This class last for four weeks with lessons delivered by email and set up on the site including audio and video.

Second Step:

The second step is get some points. The three people with the most points at the end of the contest will win free access to the Saxophone Improvisation by Sax Station. (Everyone else is still a winner – you’ll have to enter the contest to find out why!)

Here’s How You Get Points:

  • 25 Points = Share this contest on Facebook and include a link to this page (maximum 2 times/day) (Link at bottom of post)
  • 25 Points = “Tweet” (using twitter.com) about this contest and include a link to this page (maximum 2 times/day) (Link at bottom of post)
  • 35 Points = “Like” the Facebook page http://facebook.com/saxstation
  • 25 Points = “Like” this page by clicking ‘like’ at the top
  • 10 Points = Respond to something posted on http://facebook.com/saxstation (10 points for each approved response)
  • 25 Points = Digg this post (Link at bottom of post)
  • 75 Points = Post a video of yourself playing to the Sax Station Facebook Page
  • 100 Points = If you have a blog related to saxophone or music, write a blog post about this contest with a link to this page
  • 200 Points =  Leave a useful comment on any post or page on SaxStation.com (all comments must be approved)
  • 250 Points = Leave a comment below this post to officially “register” for this contest
  • 300 Points = Fill out the Saxophone Improvisation Survey
  • 500 Points = Write an original article or a personal story about saxophone improvisation for me to post on this site (original & at least 500 words)

Contest Rules:

All participants are required to tally up their own points. Points must be submitted (emailed) to jammin (at) saxstation.com with proof of claimed points.  You get points if you’re already on the facebook page or have already filled out the improvisation survey.  (Previous comments and other activities do not count for the contest).

All submissions must be received by the end December 31, 2010 . I will then verify the points and determine the winner.

What to Do Now:

Enter a comment below answering the above two questions to officially register for the contest. Be sure to use your real name and valid email address or you will not be eligible to win.

Then go spread the word! Tell other people about the contest and keep track of your points and links to verify your points.

By the time you’ve finished reading this message, some people have already started working on it, so get moving!

– Neal Battaglia

P.S. Remember to leave a comment below to officially register & get an immediate 250 points.

P.P.S. Everyone’s a winner… Trust me on this one.

Link to this page:

http://SaxStation.com/contest-your-chance-to-get-saxophone-improvisation

How Saxophone Players Can Make the Most of a Jam Session

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Another legit evening at the coffeehouse jam.

Pat’s band is still playing great music!  And I learned a few things from the experience.

My friend Christopher unfortunately couldn’t make it because he was sick.

However, Veronica, who had been in a couple of music classes I took was there.  Talked with her for a minute after I arrived.

And she killed it on trombone.  A couple musicians were talking about how the feeling she played with and how she listened was right on.  Technique is something that anybody can accomplish with some time in the woodshed, listening and getting the feeling right takes musical awareness and the right attitude.

I sat and enjoyed the first two sets, saw my friend John who plays in the salsa band, talked with him and the piano player for a minute during a break.  Heard a few music stories.

Those two had played music with each other a long time back.  Seemed like a lot of the people in the band and audience were connected.  Cool vibe to the crowd, seemed like everyone enjoyed themselves.

The song I played was Red Clay.  Not the melody, the piano player picked up a six string electric bass and led the melody as Pat, who was mostly playing soprano sax, took over on the keyboard.  And the bass player kept playing upright bass, so we had some double bass action going on.

Pat motioned for me to come over to the keyboard right before the song and asked if I knew Red Clay, said I didn’t know it too well but had heard it, she gave me the key of the song (a little nicer than Michael) and told me to come up and solo during the song.

I went up, and just playing with that band was a lot of fun, they really listen and play with you and make the soloist stand out.  Truthfully, I was a little nervous since I love the song Red Clay, but by no means had mastered it.  So part of my energy went into concentrating on what I was doing and a little less on listening. 

Really knowing the music, really knowing the technique of the saxophone, etc all help free you from worrying about things other than just playing the music.

My solo went pretty well, I was having fun playing with the group and the audience seemed to like it.  Definitely came back home and started working on learning Red Clay though!

They played a few other songs that are solid tunes that I want to master, maybe learn some ideas from the melodies in all the keys.  Including Footprints, All Blues, and Happy People.

Pat described her group as playing gospel jazz or soul jazz.  So some jazz ‘standards’ but not completely.

One thing that Veronica, Pat, John Wineglass and some others would do was setting up an idea and grooving with it.

If you play a cool idea once in a solo, it probably sounds good and it might work well with the song.

But if you repeat it, the rhythm section and the audience will be familiar with that idea.  The rhythm section may jump on board and really get into the idea with you.  The other horns or strings may echo what you play with a counter line.  If you play the idea three or four times, you really can get into it and you set up a groove with the idea.

You can play the exact same idea several times. If the chords change behind it or if anyone else changes what they’re playing, the combination of your idea and the band will be a new combination.

Or you can play the rhythm of the idea repeated and change the notes.

Or you can set up a groove with the other dimensions of music.  Your call.

If it’s a solid musical idea, you can develop it and run with it.

Developing one great idea with some repetition will almost definitely sound better than playing one great idea quickly and moving on to several other rapid fire crappy ideas.

Think about melodies, they have motifs that repeat.  They draw the audience in, even non-musicians can hum along.

Maceo Parker puts on a great show, he will often groove on a single idea.

Just something I thought about when I was there.  Any thoughts on the matter?