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Thanks.

Have fun!

Thanks for watching

Will do. Thanks for listening.

Glad this helped and hope the pain has stopped. A strong and consistent embouchure is essential!

Thanks. I often come back to the different combinations to review and really like recording to listen to things back myself.

Thanks, hope you found it useful.

I have playback coming through headphones only in this video/recording. I do play this live though so it's a case of having a clever sound engineer and mic/speaker placement. There is also no doubt some clever tech in the Boss pedal itself to help reduce bleeding sounds from speaker. The more you loop the harder it gets to avoid the bleed but it is a loop so the fact it's duplicated means it's nothing additional. Additional musicians on different instruments not being looped do cause issues sometimes. Thanks again for listening and your very valid question. Chris

I have the playback coming through headphones only so no loop goes through the mic. Thanks for listening.

I actually can't do it with a straw but can with a saxophone so I reckon you can't be far off getting it. I find the hardest thing is the point at which you start the air stream again after taking the breath through your nose. Mastering that bit is key! Keep the air pressure and embouchure strong. Hope you get it soon.

@@chrisjollymusic thanks Ill pracice that!

Metronome - slow and steady. The more you work with a metronome and become more aware of timing the better you'll get.

There shouldn't be any pain when setting your embouchure. Try to work on the strength of the sides of your embouchure with a strong 'ooo' shape. Top teeth should be resting with as little pressure as possible. You could also try a mouthpiece patch that may make it a little more comfortable.

Hope this has helped you further. It's good to know that it isn't just me that struggles with that bit as well!

The book is Les Sons Multiples aux Saxophones by Daniel Kientzy. I have always managed to find what I need in here and most of the fingerings work very well. Were they don't work exactly it gives you a good place to start. Thanks for the comment.

thanks again for the fsst reply ... If ever you have a chance, please make one video about doubled tongue on saxophone

Thanks for your comment. Regarding your question on a small glissando, the technique on a saxophone would be a controlled bend to take the pitch of a note to another. Together with that and a manipulation of the voicing and fingers you can potentially glissando between a few pitches seamlessly although some questions to the performer in mind would be needed. This technique is actually easier to control using the higher notes so using it on a note above an A or B (saxophone pitch) above the stave is easier than the lower notes. Hope that makes sense and is helpful. Let me know if any other questions. Chris

Thanks!

Maybe some of the exercises I mention on this my "breathing in" video will help? th-cam.com/video/c2aqcgl7Gv4/w-d-xo.html Thanks for watching

Hi Carolyn. It's fantastic to hear of your musical journey and that the material I am putting up on TH-cam is helping you. It is a case of little and often when it comes to developing an embouchure and particularly with the soprano which needs a far smaller embouchure due to the size of the mouthpiece. Keep up the hard work. Chris

@@chrisjollymusic Thank you so much Chris. Have a lovely day!

I may have been a little behind the beat there 🤫 Does just show how important it is to spot these things and work on them. Metronomes can be a source of real frustration but it's only ever the player that can be blamed or old batteries, in this instance it was all me. Hope you found the content useful. Chris

Thank you, Michael. Your support is very much appreciated and I'm glad you're finding the content useful. Chris.

Thanks. I must admit I do like the control I have with the Reserve mouthpiece.

Hi Ong Teng Kee. I have used the terms "jazz" and "classical" as they are generally used when it comes to describing a sound. I totally agree with you that there are many "jazz" players who play with a soft, mellow tone that could be described as a classical sound. This video is also more of a personal take on the sound that I want to create and how I go about it. The main question for those watching is what sound do "you" want to make and how are you going to find and use the mouthpiece(s) available to get that sound. Your comment has certainly made me think more about the use of the terms "jazz" and "classical", thank you. Chris.

@@chrisjollymusic Dr.Wally Wallace tries to play cool jazz like Lee Konitz.

Says a lot about that era of jazz and the popular sound of the time.

Hi Robbie. That's so great that you've found this useful. I've been questioning the instruction of the forward movement recently so I'm glad someone else has felt the same. Keep up the regular work and it'll be 19 out of 20 in no time I'm sure. Best of luck with it. Chris.

You and me both, Paul. Always good to remind ourselves to get back to the stuff that's going to have a big impact on our playing. Thanks for watching! Chris

Hi Dave. So glad you're finding this stuff useful. Keep up the hard work yourself. Chris

Thanks Luanne, glad you found this useful and yes Jerome is a fantastic player. As you're a jazz player some great cross over stuff to check out is by Philippe Geiss, another from the French classical saxophone world but he creates great jazz influenced contemporary sound worlds with some musically placed extended techniques. All the best.

@@chrisjollymusic Thank you for the suggestion of Philippe Geiss. I will definitely check out his playing!

This is a very interesting question and one I feel I need to think a little more deeply on, possibly another TH-cam video to express my thoughts on the process of moving actions into the subconscious. We of course breathe subconsciously to stay alive but we must breathe with more purpose when playing a wind (or brass) instrument. My initial thoughts on this wont come as a surprise or be groundbreaking in that repetition and the reinforcement of good habit is the best thing to work on. Initially the action must be conscious and have purpose but eventually the action becomes second nature and "the way you do things", just like driving a car or brushing your teeth. Thank you for your question and hope this response is useful.

You're very welcome. I hope they're useful and you see improvements.

Great variation on the exercise! Hope it helps. Of course nothing can replicate actually getting the instrument in your mouth but sometimes we need an alternative. All the best and thanks for watching. Chris

Hi Rosalind. I have never thought of whistling and the benefits to the embouchure but I can see the link as lip shape needed to whistle is sure to use the same muscles. As for stamina there is unfortunately no shortcut, it's a case of little and often to strengthen the embouchure muscles and also get used to the physical (and mental) strain it can put on your body. One important thing to think about is posture, this can have a direct impact on how tired you get and also ensure you don't injure your back or neck. Investing in a good quality sling and having it adjusted to the correct height is also essential. Hope this helps, any more questions please do get in touch. Chris.

@@chrisjollymusic Thank-you :-)

Thanks for the comment. At the time of this recording my set up was a SYOS mouthpiece with Java Red box reeds (2.5). I'm now playing on D'Addario Select Jazz mouthpiece with Select Jazz 3M reeds and I have felt far more comfortable since.

Was this Syos mouthpiece a signature one?

@@patam-patam it was a signature Chad LB 8* bought in late 2019

Thank you!

Try to curl your tongue so you have a slight indentation in the middle. The same action as clicking your tongue, that sound is created by creating suction at the roof of your mouth. Slap tongue is similar but the suction is on the reed. I speak in the video about the forward and downward action of the tongue, I feel that increases the suction to create a cleaner and more pronounced slap. Hope this helps and you manage to find it.

Glad you found it useful, Mark.

Thanks for the comment, glad it was useful.

Thanks Eddie, glad it was helpful!

Thank you, Saxjet. More videos to come I am sure.

@@chrisjollymusic ❤️❤️❤️❤️❤️

Thank you, Rick.

Thanks 👍

Thank you. Loop stations open up so many new sound worlds - you should definitely get one!

Thank you, Hannah

You're very welcome. Hope you found it useful.

Thank you Ricardo. Hope it was useful.

Cheers 👍

Thank you for your comments. Using a loop pedal is certainly a great way to experiment with sounds. Hoping to upload more of these videos as I start writing a new sax piece.