Mea Culpa OK, so, maybe this article is based on an event that, at the time of this writing, happened about 5 months ago (aka NAMM 2024). And maybe we were a bit embarrassed to mention that in the title of this article. However, what you’re about to read most certainly lives up to its [read more…]
Concept! The first and most important thing about developing a sound on the saxophone is a concept. Our sound is our voice and the first thing people hear when they listen to us. We must do the best we can to make it compelling and convincing. Similar to giving a speech, we have to know [read more…]
Regardless of your horn, mouthpiece, or reed, the truth is, to the outside listener, you sound pretty much like...you. It's not that gear doesn't affect your sound at all, but your biggest and richest sound will only come by developing the skills within both your body and mind to sound great on any setup.
So if you're willing to move beyond having your day ruined by a lousy reed, then sax legend David Liebman's course, Ultimate Guide to Saxophone Sound Production is where you're going to want to go next.
Broken down into bite-sized lessons, this streaming video program covers just about every single aspect of saxophone sound production. It represents his entire life's work teaching the techniques and concepts that were handed down to masters such as Michael Brecker, Bob Berg, and Harvey Pittel (among many others), and then refined over the course of decades teaching countless lessons and masterclasses worldwide. Click below to see for yourself why so many professional saxophonists consider David's thorough, methodical, and practical approach the "real deal" for players at any level.
SAXOPHONETONE.COM
The Ultimate Guide to Saxophone Sound Production
I believe that jazz music is one of the most intellectually and artistically demanding paths on which a musician can be. Technical chops and pyrotechnics that have historically been part of jazz improvisation are still an intrinsic part of the music, and the skill set needed to learn an instrument well enough to navigate the [read more…]
Introduction If you’ve ever had any interest in creating arrangements for saxophone quartet, or if you’re simply curious about how those arrangements are created, the read on, as there are few people walking the planet would be as qualified on the subject as the man you’re about to hear from. René Blom is a conservatory-trained [read more…]
Powerful In this article, I share some exercises for solidifying the most important fixtures of my practice routine – sound and flexibility. Exercise #1: Opening Up Your Sound I think of this exercise as a way of working towards a bigger sound by making sure that the flow of air is not constricted as it [read more…]
Introduction You hear it time and time again – the playing level of young musicians entering the scene nowadays is higher than it’s ever been. One of the players who exemplifies this trend and starting to build a name for himself is Aidan McKeon. I had not heard of Aidan until running into some videos [read more…]
During my 45 years of playing the saxophone, 25 of which have included teaching at the university level, I’ve developed a teaching philosophy that boils down to two pretty simple things: Help students develop strong fundamental musical skills (instrumental technique that is relaxed, flowing, and confident; rhythmic/metric integrity; fluency in theory and harmony; broad knowledge [read more…]
Introduction It’s been over five years since I last visited John’s shop and much has changed since then. Besides having a large assortment of modern and vintage saxophones, John has expanded his line of products to carry Ted Klum’s mouthpieces, Ishimori ligature & reeds, and an assortment of vintage mouthpiece, ligatures and some neck-straps. While [read more…]
Introduction For some saxophonists, developing palm key technique is a challenge. These keys, used to finger the notes of the upper register, specifically high D, Eb, E and F, can feel awkward to many performers since to depress these notes, the left-hand palm must be used. In addition, high E and F are notes whose [read more…]
Introduction Although I mainly play tenor saxophone, I still pick up the alto from time to time and like to listen to various alto players such as Kenny Garrett, Baptiste Herbin, Jaleel Shaw, Will Vinson, Immanuel Wilkins, Nick Biello, Braxton Cook, and the list goes on. Today, I was fortunate enough to meet up with saxophonist [read more…]
Tips and Techniques from the pros PLUS free access to the Sax Lessons with the Stars archive - 10 years worth of interviews and exercises featuring the likes of David Liebman, Bob Mintzer, Ben Wendel, Bob Reynolds, and many more!
