Oh man, Leo, we need to get you on to some better comedians! I just listened to Ricky Gervais on the "Smartless" podcast, woke my kids up laughing. (but also, thank for the kind words, you made my afternoon). Happy practicing my friend!
@@drwallysax Well, I was always a big fan of Louis C.K... please don’t ever do anything to get yourself canceled Dr. Wallace! Or at least don’t get caught. You’d be missed by many
Fantastic video! I say this as someone who plays classical from the Allard branch. I loved the description of the Teal vs. Allard students because it reminded me of the quote about academic politics: "the fights are so bitter because the stakes are so low." There are so many great players with so many different approaches. If one model doesn't work for you, there are plenty of others to choose from.
You really should have made this sooner! Embouchure is pretty much the equivalent of pedals to a guitarist! They can alter the sound so drastically which is why the saxophone is such a good instrument. Like, I sometimes make up my own embouchures (for jazz) that end up kinda mixing two extremes. For example, I play more of a classical embouchure for jazz baritone saxophone, but I play with a really bright mouthpiece with a high tip opening. This combination allows me to have a full sound across the whole register. I discovered this because I realized that, as a baritone player, so many had very punchy low notes but not so powerful high notes. Then one day, I discovered Leo P, who seemed to have power high and low; what made him so different, I asked? Well, from transcribing and studying his technique/embouchure, I found he plays with an embouchure similar to a clarinet, combined with a fairly bright and modern Theo Wanne mouthpiece. But anyways, thanks so much for making this. Embouchure is so frickin underrated to sound people NEED to talk about more!
That's absolutely right ! Everyone has a different mouth structure. I think one of the hardest parts of teaching THE embouchure, is that you must teach it differently each time. Good video !
You are the best-in-class instructor. Thanks for all the work that you’re doing. If you’re opening a patreon account any time soon with even more of these lessons available for patrons, please take my money! Seriously, you’re amazing!
That's incredibly kind, thanks Vadim! I'm doing ok, and want to keep all the educational content free for everyone, but really appreciate the sentiment! At some point I'll open up a "Patrons of the Saxophone Academy," but offer some more hand-on instruction and feedback, perhaps. Still thanks my friend!
A double lip embouchure for jazz as used by Stan Getz and used by many black jazz players as discussed in Larry Teal’s jazz tutorial postal course of the 1960s is hardly explained , no tongueing of lower notes necessary with 0 shaped mouth hold !
That's very kind, Chris! I was late to TH-cam, takes a bit of time to find the audience. Regardless, I love our little "pack of strays" as I call them. Glad you're part of the Academy!
One thing I find that helps with voicing and the "How" of tongue position is mouthpiece buzzing starting on an A for Alto saxophones and G for Tenors. I feel if students are able to recreate those pitches and bend them downward , they'll have an easier time voicing the notes of the saxophone. Most beginners I have start on the neck for the same reasons listed above. As always, great information and I appreciate all the work you do.
I am, I am thoroughly impressed with this video! My friend had a question, but after I heard it, I told him to go wait in the car. Thanks again Dr. Wallace!
i started playing sax (Selmer Bundy II) when i was 10, through to 17 years old. Then I entered the work force and put the sax down until a few weeks ago. One thing I could never understand was how to get that saxy sound. Almost 30 years later, I got myself a Yanagisawa AWO10 to get back into it and purchased Judy Jazz Custom Dark and a Vandoren V16 (after much much research). I found this video and another guy. I've finally figured it out! Thanks Dr Wally! Your videos are exactly what I needed to find my happy...
There are no qualified teachers for saxophones in my country. It may come as a surprise to alot but I am the only woman saxophonist I know. Anyways it has been good playing and I an happy with the result of my progress and that's thanks to all the saxophonist that take their time to teach people like us. Thank you again. 😍🎶🎷
Love the instruction. Although I wondered why you answered the way you did Dr. regarding double lip embouchure. I heard Coltrane used it due to teeth problems. I've had to use it when dentures weren't ready. Works great with a little bit of practice. Normally I use Teal embouchure so that foundation made the switch simple. Now with dentures or without, I can toggle and as you say "go practice". Please comment if you see this.
This video helped a lot of music educators out there. Lol. Also, I love this because I came to the sax as a brass player originally. My primary instruments were trombone and euphonium. I picked up a sax almost as a dare in high school so I could play in rock and ska horn sections. I had always loved jazz and loved the sax, but coming at it as a brass player was like learning a foreign language. I had a good grounding in music theory and jazz harmony as a trombonist, but still…different animal to tame. I eventually was a music ed major for two years in college at the University of Oklahoma, changed my mind and changed majors, quit playing trombone, blah blah blah. I’ve recently come back to playing the sax because I enjoyed it so much. And when I did, I wanted to come at it with a classical grounding and with way better technique and tone quality than I had back in the olden days. And of course, a lot of the same principles apply to both good brass sound and good woodwind sound. So, your channel is just fantastic. You’re like the internet’s personal sax professor. Lol.
Thank you so much, sir! I did your steps and I got it! I’m lead alto in my jazz band, and love jazz- so learning the jazz embouchure was a must for me. Thank you, thank you, thank you!
You have an incredible didatic! I'm Brazilian, English is not even my native language and yet, very fun and excelent class. Please continue this amazing work. 😀
This is one of the best embochure explanations I've heard. I learned Larry Teal's technique and I think is preferable but I've been looking into Joe Allard's technique and now I'm in the middle of spaghetti noodles... Confused. Thank you for clarifying. This was awesome.
Thanks for the tutorial! I've got to remember--focus on the shape of my tongue, keep my throat relaxed, and let it change its shape in natural response to my tongue (vowel voicing) and ear.
That's the way my friend! Focus on too many facets and your performance can go to poo! I had a golf lesson once, gave me too many things to think about at once, could barely swing the club! Shaping vowels - Even Dr. Wally can do that! Good luck, happy practicing, and keep me updated Aaron!
@@drwallysax That's just how my first (and only) golf lesson went! Made it on the green with my first swing and then progressively got worse proportionate to the number of tips my instructor gave me. Focusing on vowel sounds: now that's even simpler than tongue shape! Luckily, we have your videos on overtone exercises to refer back to re how to approach this. Time to go practice 😎
Brilliant, no frills, totally to the point info as always! Love it. Love it even more because it affirms what I've taught my students for the last 24 years. ;)
Don't be afraid, Miro! I make up half this stuff as I go along. If I knew someone was watching the whole thing, I probably would have added correct info!
I have an Invisalign/ Clear Correct retainer for straightening my bottom teeth, it also happens to make playing much more comfortable. I just have to commit to always wearing it when I play so as not to have too many variables in my embochure.
Would love to have you! Make sure you sign up on the waitlist - I'll be pulling from there first if we have any openings (I'm keeping the numbers low, so I can keep up with listening and giving feedback): www.thesaxophoneacademy.com/wait-list
I loved this video! I'm a student of Steve Mauk who studied with Teal, and I subscribe to the same embouchure formation for classical saxophone performance. I'm curious to know your thoughts on pushing the bottom lip OUT and using only the bottom lip to control the reed for jazz playing, rather than the lower jaw and teeth. I've found this technique to be both maddeningly difficult to control while still giving way to a pleasing jazz sound on mouthpieces like the Meyer or Brilhart.
Okay, although I wouldn't teach everything the same way, but this one of the best sources I came across about this topic. Clearly you know what you are talking about and have teached it a lot. Also extremely well done video...
@@drwallysax I don't know why I discovered your content just jet. I like the production value and sound. I don't often hear someone speak about vocal positions. I would probably would have mentioned the modern embouchure with the rolled out lip even more and maybe even talked about the existence about double embouchure. Personally I play mostly with a neutral lip position, for classical stuff and clarinet rolled over teeth. I aldo noticed that MPCs tend to like different embouchures. Classical MPCs with short facing like rolled over with an more tilted downwards angle more whereas MPCs with longer facing like a more rolled out lip with a less central pressure point.
Just wanted to clarify: I was originally taught by a classical teacher and the emphasis was always on the bottom lip covering the teeth. I suffered a lot with this as I had the common issue with screeching notes and a painful jaw, as I squeezed too tight to get notes out. I went on to take lessons from a jazz player and he reformed my embouchure to push my bottom lip out. He also corrected my mouthpiece tip opening and Reed strength. I’ve never looked back since then. Just to say that was my biggest takeaway as to the differences between classical and jazz. I’m not saying one is right or wrong, but it’s worth exploring what works best. Regards
Once again a very entertaining video as well as enlightening. You're the kind of teacher that makes learning fun which in turn make learning easier. But, full disclosure, I was taught the Joe Allard method.
this one helped me quite a lot Dr Wally ...apparently my main issue was my top teeth were not stable-ing the embouchure enough ..once I set them lightly (but firmly) on the mouthpiece pad (as you advised).. it was like YOWZER !!!... almost instant control.. of both Bbs and the F above (T) yes.. apparently I was over-reacting to my tendency to bite up high (A) I guess I was actually using a double lip (as Ive been working on a very relaxed lip out embouchure for sub tones).. well now I seem to have found the "happy medium" .. so yeah.. not so much lip out ...as simply relaxed...and stable.. and more focused... thanks again
Hillarious as always. I'm so glad, that i came over your channel. Since i have chosen softer reeds my Embouchure gets much better and i can concentrate a bit more on my hand and body position. I even started with the January Etude but this might take me a few more weeks. But it's so much fun to experinece the constant progress. As it's a lot stuff to take care of, i fully agree with you, that a teacher is necessary. I will take some lessons once the lockdown is over here in Germany. But unitl then i know that i'm in good hands with your course. Thanks again for all the effort.
Great stuff! Love the videos! One thing I was curious about was the syllable section. You (and Nigel) have much more experience than I, however I've found that using an "ee" syllable in my mouth in a classical setting can be beneficial due to the fact that a faster airstream can focus your sound. One thing that helps me remember is the french syllable "eur" (as in monsieur); This is formed by saying "ee" and then closing your lips into an "o" shape. In this way, your airstream is focused, but your lips still form a nice seal around the mouthpiece and the corners do not spread out. What are your thoughts on this?
That is certainly a voicing we will cover in later videos, absolutely tootly! It's a longer discussion (outside the scope of this intro video) but worth having!
Awesome vid! Informative and funny! When I started playing again after 20 years, I was shocked at the amount of mistakes my saxophone teacher nor my sax playing band director never mentioned! For shame... I did learn the primacy of selmers saxes which I had to unlearn as well.
@@drwallysax but my band director was a sax player! I’m sure he did not have time to correct my horrible embouchure. He did have a whole room full of idiots to corral. I look at where my mouth was placed on the mouthpiece back then and it was terrible. Though I must say that he could have tried and I never listened. And my private sax teacher was a musician who also played sax.
This is a great fun channel and it is so funny! Your classical tone or classical embouchure is beautiful without choking the reed. Really love the sound. Your jazz sound/embouchure example is still sounds very classical to me. (Maybe it was the articulation or inflection execution.) There are of course variations in jazz tone...from Jackie Mclean to Lee Konitz or Paul Desmond there are many individual tone colors to explore. Teal/Allard it doesn't really matter...at the end of the day let's make some music. Are there any modern saxophonists you can share from both classical and jazz from both Teal/Allard camps?
Thanks for the kind words! I do have a laid back, heavily Cool School aesthetic. As for players form the different camps - lemme ponder that...Usually it's just the saxophone forum guys that seem to SCREAM about Allard. I don't know who they are, all the pros I know use the classical Teal embouchure, weather they call it that or not!
Dear Nigel, excellent work and hopefully you have time to help Dr Wally with more videos in furete! And remember, when the letters of flame descend upon you, it could always be worse. You could be listening to me play alto! (Banned under the Geneva Convention, you know.) Mentioning which *[raises hand]* Dr Wally, couple of questions (and much overthinking). Does the position of one's chin, broadly speaking, play any major roll in saxophone embouchure (i.e. should it remain in a natural position, be pushed out a bit, pulled in a bit)? Also, while on an overthinking roll, am I supposed to be placing a small amount of pressure on the reed with my jaw as I play, or should the jaw be closed enough to get the bottom lip close to the reed and any pressure is entirely muscle-based from the lips sealing around the mouthpiece? (For context, I've always been told that my sax embouchure needs to be much more relaxed than my clarinet embouchure... only problem is I'm forever unsure how relaxed save for having a more cushiony bottom-lip.)
These are GREAT questions - and waaaaay too complex for me to answer here. Short answer: relaxed is better, but firm enough to control and keep at pitch. There's just no substitute for working with a teacher and getting immediate feedback!
@@drwallysax Absolutely! There's always something good to practice and you cover a variety of aspects of playing that greatly interests me. Just working on Bebop appreciation. Lol. Again, great stuff! Thanks!!!
How does Sir Nigel avoid eating hair while playing saxophone?????? How how how??? Another awesome video, Dr. Wallace!! 🤣🤣🤣 No shortage of laughter involved. If only pedagogy was this fun.
All the saxophone teachers I had used cigarette rolling paper to protect their lower teeth. Just fold it 2 or 3 times and place it on top of the teeth. Works really well.
Good Coffee Monday to you Dr. Wally, This was a very informative video in many ways. Great for teachers who don't play sax and have to explain the embouchure setup to students. As for myself, I 've been playing for decades and your are the first person to really explain how to form a decent embouchure with some clarity. I am still struggling to acquire a good embouchure where my bottom lip does not get tired after an hour or so of playing? Thanks for the tip and I will pass it on.
Hey Lester! If I haven't been practicing regularly, my bottom lip can get tired after an hour as well! It ay not be a problem? After a few months, if it persists, then maybe we should try some experiment?
I like using Teal exercises while driving or TV. Especially if I can't get on the horn for any reason. He has you press lips together without cutting into the lip w lower teeth. Hold for ten. Repeat 10 times. There are several things he recommends that help maintain embouchure if you're practicing or not. Larry Teal , The Art of Saxophone Playing.
@@drwallysax Hi Doctor-yes i have managed to really address the holes in my playing and get into learning all the tunes on alto that I normally play on tenor. plus transposing from concert written music to alto. I have that nailed on tenor-since i was 16-I am 75 nowLOL. Have found great backing tracks, for example, a really good bass player in Italy-MrSunnybass-check him out-great lines a lot of stuff in every key, and best of all-no piano. On a clear day, you can hear forever ( Joe Henderson quote) Ok , Doctor, that was a little long, but you asked!
Double lip embouchure works best for me for the moment. What are the downsides longterm? Will it prevent me from playing at louder volumes? Is there literally a risk of blowing the horn out of my mouth?
I used to use double lip, it's very comfortable. But I find that I couldn't reach to next level of the ideal tone that I wanted. so , Single lip embouchure is still the best if you want to improve greatly.
When I started out, I played with my top lip under my teeth. Did that for about a year and a half til I started private lessons and my teacher fixed it. It feels weird to do it now, but I still feel like I could get used to playing that way. I know they say Coltrane did it, so once I get as good as Coltrane, it's bye bye teeth on the mouthpiece.
I hear ya. I think there's some superstition and folklore in the saxophone community. We often attribute the wrong thing to a legendary player's sound. Coletrane's face and dental structure are completely different than yours, mine, or anyone else's. I think we need to find what gives us a comfortable, stable, and usable embouchure, then study their musical lines.
Thanks, Tom! There's a moment when you're putting on a fake mustache, glance at the Doctorate on your wall and think....."what am I doing with my life....."
Hi before diving to jazz or any other styles of music ,is it a better idea to play classical saxophone tunes with a classical style embochure?I am thinking of that way for some instict feelings:)what do you think ?thank you
I love your videos, Dr. Wally. Even at 53 I'm still learning. I thought the question about double-lip embouchure deserved an answer. Can it be legitimate? If not, why is it sub-optimal? I've used different materials as a lower teeth guard, but I don't anymore as my playing has improved. If your lip hurts, you're biting. If your mouth hurts, you're not practicing enough.
It's really not a "legitimate" embouchure in the eyes of the teachers and pros I know - lack of stability, focus, voicing changes - I find it very problematic. As for the teeth guard, TONS of pros use them, myself included. I learned it from my teacher who learned it from Dr. Eugene Rousseau. I assure you, we're not "biting." It's a simple matter of sharp bottom teeth rubbing on a very soft lip for 3-5 hours a day.
@@drwallysax I agree, overall it's much easier to keep a relaxed embouchure over a longer playing session with a teeth guard. Might be different for proponents of the "lip out" embouchure but them teeth are digging in if you play for a long time no matter how relatively relaxed your lower lip is.
We used to fold cigarette paper and put over our bottom teeth, or coffee filters 😂 The people in the store was looking quite questioning when five 13-year olds came to buy cigarette paper though 🤔
Thank you Prof Wally for describing Classical vs Jazz embouchure but you forgot to describe the Paul Desmond vs The Rest embouchure. Could you please? Much appreciated!
I’ve never spoken to Desmond about his embouchure. I could make educated guesses based on video and inferences from his clarinet study, but they’d still be guesses.
@@drwallysax true, but with your skill and experience you could easily try it and get a sense of the set up and embouchure without wasting much time hi hi Actually I can't hear the difference between classical and jazz on my own horn atm but I have a hunch why ;)
I’ve been playing for 7 years with what I’m pretty sure is a terrible embouchure the whole time... I’m sure I’ll have a blast in my first semester of jazz studies next year! 😅
Superb advice on embouchure. Brilliant presentation and so interesting. At the age of 64 I am learning so much from these great videos. One question: I notice on my mouthpiece my toothmarks seem to move over about a quarter of an inch - does this imply that the mouthpiece position in my mouth is changing too much or is it normal to see that? I think I tend to take less mouthpiece when playing softly but I know that one of your mantras is consistency of embouchure...
That's a bit more motion than I would like to see, Bill. But, without hearing you play I'd hate to say! I like the Protec mouthpiece patches - thick and soft - keeps things stable. Happy practicing my friend!
hey juri! I only move my jaw for vibrato (keep it relaxed for all registers - motion you see in videos is for be-bop inflection - later video). As for lip-out, I really don't like it. BUT, there are some famous players who's albums I love that do/did that. I find the lip-in is absolutely necessary for classical playing - and a majority of my students do at least some classical study. EXCELLENT questions.
@@drwallysax I also started off playing classical with lip-in. But when I got into jazz - I couldnt find out why I cant make the sound I hear in my head. Then I met some good players who opened up the lip-out and why it is necessary for jazz(the whole Dave Liebman thing). And since I dont do classical any more - I switched permanently. I think neither is better than the other, they just have different applications.
@@elrondsch I hear what your're saying. and if that's your aesthetic, it makes sense. The Liebman sound just never connected with me. My heart lives in the 1950s "cool school." But you're right, neither is "right" just different.
Hello Dr. Wally Wallace, ive had problems with my buck teeth, i dont know what to do if my teeth are big its hard not to have at least some pressure on the mouthpiece, can you help me?
I was a bit disappointed that you didn't address the difference in tightness of each embouchure or the "mouthpiece pitch" produced when playing the different styles. What are your thoughts on this topic.
Hi John, I don't really deal with mouthpiece pitch any longer. (certainly don't teach it). It was a tool I used for years, but prefer my results focusing on full tube Bb and overtones. The "o" syllable on the classical mouthpiece is generally lower than the "E" syllable - so, often the classical mouthpiece is pushed a bit further on the neck - that's all I'm really concerned with.
You’re the only guy out there that that literally makes me laugh out loud every time. That includes comedians
Oh man, Leo, we need to get you on to some better comedians! I just listened to Ricky Gervais on the "Smartless" podcast, woke my kids up laughing. (but also, thank for the kind words, you made my afternoon). Happy practicing my friend!
@@drwallysax Well, I was always a big fan of Louis C.K... please don’t ever do anything to get yourself canceled Dr. Wallace! Or at least don’t get caught. You’d be missed by many
@@drwallysax So true. Ricky Gervais at the Golden Globes is gold. As well as Noah's Ark.
@@drwallysax why do hi notes go sharp
You're a blessing to the saxophone community! Some of the most educational and fun sax content out there!
Awwww, thanks Diego! Happy practicing and hope you have a great week my friend!
"Some kids just have ... strange-looking faces"
bwahahahaha, I ded.
I mean...they do.
I felt like he was looking directly at me through the screen when he said that.
Fantastic video! I say this as someone who plays classical from the Allard branch. I loved the description of the Teal vs. Allard students because it reminded me of the quote about academic politics: "the fights are so bitter because the stakes are so low." There are so many great players with so many different approaches. If one model doesn't work for you, there are plenty of others to choose from.
Beautifully put, Patrick! People work so hard to ruin a perfectly good hobby!
First class sax content as always Dr W. Glad to see that your subscriber numbers are climbing - as they certainly should!
Thanks Richard! higher numbers or not, I love our little "pack of strays." I've met some unbelievably cool people through this channel!
You really should have made this sooner! Embouchure is pretty much the equivalent of pedals to a guitarist! They can alter the sound so drastically which is why the saxophone is such a good instrument. Like, I sometimes make up my own embouchures (for jazz) that end up kinda mixing two extremes. For example, I play more of a classical embouchure for jazz baritone saxophone, but I play with a really bright mouthpiece with a high tip opening. This combination allows me to have a full sound across the whole register. I discovered this because I realized that, as a baritone player, so many had very punchy low notes but not so powerful high notes. Then one day, I discovered Leo P, who seemed to have power high and low; what made him so different, I asked? Well, from transcribing and studying his technique/embouchure, I found he plays with an embouchure similar to a clarinet, combined with a fairly bright and modern Theo Wanne mouthpiece. But anyways, thanks so much for making this. Embouchure is so frickin underrated to sound people NEED to talk about more!
I’m very disappointed that your teacher, Nigel St Clair, didn’t teach you to use flavoreeds
He did! I"m current using a Bovril flavor on alto and Mint Jelly on tenor.
Flavor reeds and synthetic are bad
Not all synthetic reeds are bad like legere reeds for example. They are great
Ha! I didn't know those things existed til Saxologic did a video on them.
Pls sir what is your phone number
Fantastic teaching Dr. Wally. Loved the story about the fight between the two sax players that "ended with an asthma attack."
Thanks Michael - have a happy Wednesday and happy practicing!
That's absolutely right ! Everyone has a different mouth structure. I think one of the hardest parts of teaching THE embouchure, is that you must teach it differently each time. Good video !
Totally agree, Pedro - and thanks my friend!
You are the best-in-class instructor. Thanks for all the work that you’re doing. If you’re opening a patreon account any time soon with even more of these lessons available for patrons, please take my money! Seriously, you’re amazing!
That's incredibly kind, thanks Vadim! I'm doing ok, and want to keep all the educational content free for everyone, but really appreciate the sentiment! At some point I'll open up a "Patrons of the Saxophone Academy," but offer some more hand-on instruction and feedback, perhaps. Still thanks my friend!
Nigel seems like a very trustworthy gent, if I do say so myself
A tippy top cotnnesiour of saxophonic finery.
A double lip embouchure for jazz as used by Stan Getz and used by many black jazz players as discussed in Larry Teal’s jazz tutorial postal course of the 1960s is hardly explained , no tongueing of lower notes necessary with 0 shaped mouth hold !
Why he doesn't have more subs is beyond me - very informative and highly entertaining...best sax channel on TH-cam.
That's very kind, Chris! I was late to TH-cam, takes a bit of time to find the audience. Regardless, I love our little "pack of strays" as I call them. Glad you're part of the Academy!
Thanks Wally. You crack me up AND really impress me with your knowledge, delivery, skills as a teacher and player. 👍🏼
Dude....you are a great teacher, straight forward, no bull. I appreciate you.
One thing I find that helps with voicing and the "How" of tongue position is mouthpiece buzzing starting on an A for Alto saxophones and G for Tenors. I feel if students are able to recreate those pitches and bend them downward , they'll have an easier time voicing the notes of the saxophone. Most beginners I have start on the neck for the same reasons listed above. As always, great information and I appreciate all the work you do.
That's a great exercise. Thanks for your perspective, William - hope you have a great weekend!
I am, I am thoroughly impressed with this video! My friend had a question, but after I heard it, I told him to go wait in the car.
Thanks again Dr. Wallace!
Ha! thanks Martin, make sure you crack a window for your misguided friend.
@@drwallysax 🤣👍
I predict I am going to be thoroughly impressed by this video............
If you're not impressed, please send your disappointment to: Nigel St. Cair, Po. box 4426 - Allard St. Ny, ny
Dude, seriously! You have THE BEST teaching style! Clear, concise, and entertaining.
That’s VERY kind, thank you Jose!
Merci doc ❤
Enfin quelqu’un de professionnel,jamais aucun professeur ne m’a expliqué comment bien ajuster le bec en bouche .
Remarquable vidéo !
Hey im here 3 weeks after u uploaded. Classical sax is now cool. Cheers.
Rock on!
i started playing sax (Selmer Bundy II) when i was 10, through to 17 years old. Then I entered the work force and put the sax down until a few weeks ago. One thing I could never understand was how to get that saxy sound. Almost 30 years later, I got myself a Yanagisawa AWO10 to get back into it and purchased Judy Jazz Custom Dark and a Vandoren V16 (after much much research). I found this video and another guy. I've finally figured it out! Thanks Dr Wally! Your videos are exactly what I needed to find my happy...
this might be the most underrated youtube channel. ever. you deserve millions of subscribers
That's kind, Greyno, thanks! I like our lil' Academy!
I'm picking up the soprano sax after about 10 years of previously playing the clarinet.
your the only person who actually makes the topic embouchure that can get technical and boring, interesting and simple. 👍
I couldn't have asked for a nicer compliment. Thanks, Anya!
I didn't expect to laugh out loud watching a vid on sax embouchure... And well structured and helpful as usual. Thanks Wally.
Wait, are you laughing at me? Why are you laughing at me!!!??? (thanks for the kind words, Ged - hope you have a fantastic week my friend).
There are no qualified teachers for saxophones in my country. It may come as a surprise to alot but I am the only woman saxophonist I know. Anyways it has been good playing and I an happy with the result of my progress and that's thanks to all the saxophonist that take their time to teach people like us. Thank you again. 😍🎶🎷
Most welcome! Happy practicing Sakuntala!
We are so lucky that we have this useful video today.
This video connects the dynamics of various parts .
Glad it was helpful!
Very succinctly explained! I’ll be making sure all current and new students watch this space! 🙏🙏🙏
Thank you my friend - hope you have a fantastic week!
Love the instruction. Although I wondered why you answered the way you did Dr. regarding double lip embouchure. I heard Coltrane used it due to teeth problems. I've had to use it when dentures weren't ready. Works great with a little bit of practice. Normally I use Teal embouchure so that foundation made the switch simple. Now with dentures or without, I can toggle and as you say "go practice". Please comment if you see this.
Same, I use double lip because my front teeth can’t or shouldn’t take much pressure
I've been following the course and boy, it has helped me a lot, thanks Dr. Wally for such and incredible source for Saxophone fundamentals!
I'm so glad it's helping - and you are MOST welcome, Miguel!
This video helped a lot of music educators out there. Lol. Also, I love this because I came to the sax as a brass player originally. My primary instruments were trombone and euphonium. I picked up a sax almost as a dare in high school so I could play in rock and ska horn sections. I had always loved jazz and loved the sax, but coming at it as a brass player was like learning a foreign language. I had a good grounding in music theory and jazz harmony as a trombonist, but still…different animal to tame. I eventually was a music ed major for two years in college at the University of Oklahoma, changed my mind and changed majors, quit playing trombone, blah blah blah. I’ve recently come back to playing the sax because I enjoyed it so much. And when I did, I wanted to come at it with a classical grounding and with way better technique and tone quality than I had back in the olden days. And of course, a lot of the same principles apply to both good brass sound and good woodwind sound. So, your channel is just fantastic. You’re like the internet’s personal sax professor. Lol.
Thank you so much, sir! I did your steps and I got it! I’m lead alto in my jazz band, and love jazz- so learning the jazz embouchure was a must for me. Thank you, thank you, thank you!
exceptional combination Dr! Not only do we learn but you make it soooo entertaining that I play the repeat button...and I learn even more!
nikolaos! That's incredibly kind, thank you. I'm glad it was helpful (and you can endure my bad humor)!
You have an incredible didatic! I'm Brazilian, English is not even my native language and yet, very fun and excelent class. Please continue this amazing work. 😀
Greatest teacher on youtube Wally. Keep up the good work. You are so thorough, easy to understand and entertaining.
Thanks, Warpo! I really appreciate that!
This is one of the best embochure explanations I've heard. I learned Larry Teal's technique and I think is preferable but I've been looking into Joe Allard's technique and now I'm in the middle of spaghetti noodles... Confused. Thank you for clarifying. This was awesome.
Thanks Carlos, glad it was helpful!
Thanks for the tutorial! I've got to remember--focus on the shape of my tongue, keep my throat relaxed, and let it change its shape in natural response to my tongue (vowel voicing) and ear.
That's the way my friend! Focus on too many facets and your performance can go to poo! I had a golf lesson once, gave me too many things to think about at once, could barely swing the club! Shaping vowels - Even Dr. Wally can do that!
Good luck, happy practicing, and keep me updated Aaron!
@@drwallysax That's just how my first (and only) golf lesson went! Made it on the green with my first swing and then progressively got worse proportionate to the number of tips my instructor gave me.
Focusing on vowel sounds: now that's even simpler than tongue shape! Luckily, we have your videos on overtone exercises to refer back to re how to approach this.
Time to go practice 😎
Brilliant, no frills, totally to the point info as always! Love it. Love it even more because it affirms what I've taught my students for the last 24 years. ;)
Awww, thanks Kerry! Teal for the win!
Beautiful Classic Alto Tone. This is how the Alto Sax should sound like.
One of those videos I'd watch until the end. I literally am afraid of missing a micro-information 👍
Don't be afraid, Miro! I make up half this stuff as I go along. If I knew someone was watching the whole thing, I probably would have added correct info!
Excellent video Dr.! Very informative as always, wrapped with the correct dosage of humor!
Thanks Georgios! But humor, THIS IS SERIOUS STUFF!
I have an Invisalign/ Clear Correct retainer for straightening my bottom teeth, it also happens to make playing much more comfortable. I just have to commit to always wearing it when I play so as not to have too many variables in my embochure.
Hilarious and fun teacher. In September I’ll be more flexible and will subscribe to your school Dr. I can’t wait.
Would love to have you! Make sure you sign up on the waitlist - I'll be pulling from there first if we have any openings (I'm keeping the numbers low, so I can keep up with listening and giving feedback): www.thesaxophoneacademy.com/wait-list
@@drwallysax thanks for the reply. on it...
I loved this video! I'm a student of Steve Mauk who studied with Teal, and I subscribe to the same embouchure formation for classical saxophone performance. I'm curious to know your thoughts on pushing the bottom lip OUT and using only the bottom lip to control the reed for jazz playing, rather than the lower jaw and teeth. I've found this technique to be both maddeningly difficult to control while still giving way to a pleasing jazz sound on mouthpieces like the Meyer or Brilhart.
greatest Embouchuredistintion and overall explanation .Superhelpfull .Thanks from Denmark
Thanks Olaf! I always wanted Danish friend named Olaf. Can we be internet friends? What’s the weather like there this week?
Okay, although I wouldn't teach everything the same way, but this one of the best sources I came across about this topic.
Clearly you know what you are talking about and have teached it a lot.
Also extremely well done video...
Hey, thanks Tobias! There’s a lot of ways to play the saxophone, I appreciate your open mindedness.
@@drwallysax I don't know why I discovered your content just jet.
I like the production value and sound.
I don't often hear someone speak about vocal positions.
I would probably would have mentioned the modern embouchure with the rolled out lip even more and maybe even talked about the existence about double embouchure.
Personally I play mostly with a neutral lip position, for classical stuff and clarinet rolled over teeth.
I aldo noticed that MPCs tend to like different embouchures.
Classical MPCs with short facing like rolled over with an more tilted downwards angle more whereas MPCs with longer facing like a more rolled out lip with a less central pressure point.
Just wanted to clarify: I was originally taught by a classical teacher and the emphasis was always on the bottom lip covering the teeth. I suffered a lot with this as I had the common issue with screeching notes and a painful jaw, as I squeezed too tight to get notes out. I went on to take lessons from a jazz player and he reformed my embouchure to push my bottom lip out. He also corrected my mouthpiece tip opening and Reed strength. I’ve never looked back since then. Just to say that was my biggest takeaway as to the differences between classical and jazz. I’m not saying one is right or wrong, but it’s worth exploring what works best. Regards
Once again a very entertaining video as well as enlightening. You're the kind of teacher that makes learning fun which in turn make learning easier. But, full disclosure, I was taught the Joe Allard method.
Ha! It's a fine method and has it's place. There's more than one way to play the saxophone! (and thanks for the kind words).
The timing of this video could not be better
I'm glad! Wait, you got embouchure issues? I'm sending Nigel over...
this one helped me quite a lot Dr Wally ...apparently my main issue was my top teeth were not stable-ing the embouchure enough ..once I set them lightly (but firmly) on the mouthpiece pad (as you advised).. it was like YOWZER !!!... almost instant control.. of both Bbs and the F above (T) yes.. apparently I was over-reacting to my tendency to bite up high (A) I guess I was actually using a double lip (as Ive been working on a very relaxed lip out embouchure for sub tones).. well now I seem to have found the "happy medium" .. so yeah.. not so much lip out ...as simply relaxed...and stable.. and more focused... thanks again
stable-ing..FFS...!!! stable-izing (this spell check wont allow my spelling.. or grammar? ) .. to be stable .. not moving.. hey... that worked
Ha!!! Glad it's working!
Hillarious as always. I'm so glad, that i came over your channel. Since i have chosen softer reeds my Embouchure gets much better and i can concentrate a bit more on my hand and body position. I even started with the January Etude but this might take me a few more weeks. But it's so much fun to experinece the constant progress. As it's a lot stuff to take care of, i fully agree with you, that a teacher is necessary. I will take some lessons once the lockdown is over here in Germany. But unitl then i know that i'm in good hands with your course. Thanks again for all the effort.
Most welcome (sorry for the slow reply) - your comment was in the spam filter for some reason!! Fixed it. happy practicing!
Lips "O" and tongue "I" (E) gives the German Umlaut Ü.
Great playing Dr. what a great video to watch after work!!!!!
T-Ling!!! Thanks my friend, have a great rest of the weekend!
Great stuff! Love the videos!
One thing I was curious about was the syllable section. You (and Nigel) have much more experience than I, however I've found that using an "ee" syllable in my mouth in a classical setting can be beneficial due to the fact that a faster airstream can focus your sound.
One thing that helps me remember is the french syllable "eur" (as in monsieur); This is formed by saying "ee" and then closing your lips into an "o" shape. In this way, your airstream is focused, but your lips still form a nice seal around the mouthpiece and the corners do not spread out. What are your thoughts on this?
That is certainly a voicing we will cover in later videos, absolutely tootly! It's a longer discussion (outside the scope of this intro video) but worth having!
Great content as always! Also, just love Dr Wally's 'dry martini' sound.
Btw, what's the name of the classical piece played at the beginning?
I hit the subscribe button after watching this video on embouchure. Informative and entertaining. Thank you.
Welcome to the Saxophone Academy, MG! Nigel will send your membership crest and correspondence stock. Have a great rest of the weekend!
Thank you for that, I didn't know there was a difference. But it makes sense.
It's subtle, but a bit different! Happy practicing, Juan!
Awesome vid!
Informative and funny!
When I started playing again after 20 years, I was shocked at the amount of mistakes my saxophone teacher nor my sax playing band director never mentioned! For shame...
I did learn the primacy of selmers saxes which I had to unlearn as well.
Sonho - when I taught band - I RUINED brass players. I can't point fingers! But thanks!
@@drwallysax but my band director was a sax player! I’m sure he did not have time to correct my horrible embouchure. He did have a whole room full of idiots to corral. I look at where my mouth was placed on the mouthpiece back then and it was terrible. Though I must say that he could have tried and I never listened. And my private sax teacher was a musician who also played sax.
Hey Dr you explanation is awesome
Awesome help and content. Got any good videos on classical rep?
Can’t wait for next week! Psyched for it!
Thanks Matt! Hope all is well up north my friend!
This is a great fun channel and it is so funny! Your classical tone or classical embouchure is beautiful without choking the reed. Really love the sound. Your jazz sound/embouchure example is still sounds very classical to me. (Maybe it was the articulation or inflection execution.) There are of course variations in jazz tone...from Jackie Mclean to Lee Konitz or Paul Desmond there are many individual tone colors to explore. Teal/Allard it doesn't really matter...at the end of the day let's make some music. Are there any modern saxophonists you can share from both classical and jazz from both Teal/Allard camps?
Thanks for the kind words! I do have a laid back, heavily Cool School aesthetic. As for players form the different camps - lemme ponder that...Usually it's just the saxophone forum guys that seem to SCREAM about Allard. I don't know who they are, all the pros I know use the classical Teal embouchure, weather they call it that or not!
You really are SO good. Such helpful advice and wisdom. I really learned a lot. Thank you so much.
Thanks THF! I'm glad it's helpful!
Dear Nigel, excellent work and hopefully you have time to help Dr Wally with more videos in furete! And remember, when the letters of flame descend upon you, it could always be worse. You could be listening to me play alto! (Banned under the Geneva Convention, you know.)
Mentioning which *[raises hand]* Dr Wally, couple of questions (and much overthinking). Does the position of one's chin, broadly speaking, play any major roll in saxophone embouchure (i.e. should it remain in a natural position, be pushed out a bit, pulled in a bit)?
Also, while on an overthinking roll, am I supposed to be placing a small amount of pressure on the reed with my jaw as I play, or should the jaw be closed enough to get the bottom lip close to the reed and any pressure is entirely muscle-based from the lips sealing around the mouthpiece? (For context, I've always been told that my sax embouchure needs to be much more relaxed than my clarinet embouchure... only problem is I'm forever unsure how relaxed save for having a more cushiony bottom-lip.)
These are GREAT questions - and waaaaay too complex for me to answer here. Short answer: relaxed is better, but firm enough to control and keep at pitch. There's just no substitute for working with a teacher and getting immediate feedback!
Great content as usual! I'm so glad that you're making these video lessons!
Hey, thanks Spencer! How’s your journey going? Did you find some things you enjoy practicing?
@@drwallysax Absolutely! There's always something good to practice and you cover a variety of aspects of playing that greatly interests me. Just working on Bebop appreciation. Lol. Again, great stuff! Thanks!!!
Wow another superb informative video ..Paul Desmond had a round , warm and dark tone , was he using a classical embouchure ?
How does Sir Nigel avoid eating hair while playing saxophone?????? How how how???
Another awesome video, Dr. Wallace!! 🤣🤣🤣
No shortage of laughter involved. If only pedagogy was this fun.
Extemporaneous follicle digestion is simply an occupational reality. (thanks, Julian!)
That's a very ornate ligature on the index card shot. Please can you say what it is, Dr Wally? Looking forward to more Nigel St Clair cameos too!
Hey Francis! It's a Charles Bay "Rococo" - not easy to find I'm afraid.
@@drwallysax It's very striking. Thanks.
I love the kuru toga pencils
Great video Dr Wallace I hope all is well.
Thanks my friend - happy practicing!
All the saxophone teachers I had used cigarette rolling paper to protect their lower teeth.
Just fold it 2 or 3 times and place it on top of the teeth.
Works really well.
Good Coffee Monday to you Dr. Wally, This was a very informative video in many ways. Great for teachers who don't play sax and have to explain the embouchure setup to students. As for myself,
I 've been playing for decades and your are the first person to really explain how to form a decent embouchure with some clarity. I am still struggling to acquire a good embouchure where my bottom lip does not get tired after an hour or so of playing? Thanks for the tip and I will pass it on.
Hey Lester! If I haven't been practicing regularly, my bottom lip can get tired after an hour as well! It ay not be a problem? After a few months, if it persists, then maybe we should try some experiment?
Saxophone Academy m
I like using Teal exercises while driving or TV. Especially if I can't get on the horn for any reason. He has you press lips together without cutting into the lip w lower teeth. Hold for ten. Repeat 10 times. There are several things he recommends that help maintain embouchure if you're practicing or not. Larry Teal , The Art of Saxophone Playing.
Great info! Thanks so much Doctor.
Hey, thanks Bob! Hope practice is going well!
@@drwallysax Hi Doctor-yes i have managed to really address the holes in
my playing and get into learning all the tunes on alto that I normally play on tenor. plus transposing from concert written music to alto. I have that nailed on tenor-since i was 16-I am 75 nowLOL. Have found great backing tracks, for example, a really good bass player in Italy-MrSunnybass-check him out-great lines a lot of stuff in every key, and best of all-no piano. On a clear day, you can hear forever ( Joe Henderson quote)
Ok , Doctor, that was a little long, but you asked!
And I love Nigel Sinclair!!!
What a great mentor
😂😂😂
He was a tough mentor, but always had a kind word and magic tone tonic for students in need.
@@drwallysax 😆😂😆
Thanks Dr. Wally!
Most welcome, Rob! happy practicing!
@@drwallysax I would love to practice more, but I have an issue with neighbors.
@@robstevens9590 That's frustrating, sorry Rob!
I wish I saw this video when I first started playing sax! Top content as always, Dr Wally!
P.S. I hope Nigel makes a comeback in the future ;)
Nigel is on his way back to Zurich, but maybe I can get him another plane ticket. In the meantime, you'll get to meet Johnny. Johnny Jazz Pants.
@@drwallysax Haha! Johnny sounds like a lot of fun ;)
Double lip embouchure works best for me for the moment. What are the downsides longterm? Will it prevent me from playing at louder volumes? Is there literally a risk of blowing the horn out of my mouth?
Big downsides- lack of stability and focus. For most people it opens the oral cavity to a point of sub-optimal voicing.
I used to use double lip, it's very comfortable. But I find that I couldn't reach to next level of the ideal tone that I wanted. so , Single lip embouchure is still the best if you want to improve greatly.
Nigels introduction nearly made me choke on my calzone. If I went out this way, it would have been worth it
He lived like he died, enjoying a calzone and TH-cam...
And on a sax related note Im breaking in a new reed with your patented? Break in method!!
When I started out, I played with my top lip under my teeth. Did that for about a year and a half til I started private lessons and my teacher fixed it. It feels weird to do it now, but I still feel like I could get used to playing that way. I know they say Coltrane did it, so once I get as good as Coltrane, it's bye bye teeth on the mouthpiece.
I hear ya. I think there's some superstition and folklore in the saxophone community. We often attribute the wrong thing to a legendary player's sound. Coletrane's face and dental structure are completely different than yours, mine, or anyone else's. I think we need to find what gives us a comfortable, stable, and usable embouchure, then study their musical lines.
Wow! Great thumbnail 😆
And another great video! 😁
Thanks, Tom! There's a moment when you're putting on a fake mustache, glance at the Doctorate on your wall and think....."what am I doing with my life....."
Hahahahaha😆😆😆
Hi before diving to jazz or any other styles of music ,is it a better idea to play classical saxophone tunes with a classical style embochure?I am thinking of that way for some instict feelings:)what do you think ?thank you
I love your videos, Dr. Wally. Even at 53 I'm still learning. I thought the question about double-lip embouchure deserved an answer. Can it be legitimate? If not, why is it sub-optimal? I've used different materials as a lower teeth guard, but I don't anymore as my playing has improved. If your lip hurts, you're biting. If your mouth hurts, you're not practicing enough.
It's really not a "legitimate" embouchure in the eyes of the teachers and pros I know - lack of stability, focus, voicing changes - I find it very problematic. As for the teeth guard, TONS of pros use them, myself included. I learned it from my teacher who learned it from Dr. Eugene Rousseau. I assure you, we're not "biting." It's a simple matter of sharp bottom teeth rubbing on a very soft lip for 3-5 hours a day.
@@drwallysax I agree, overall it's much easier to keep a relaxed embouchure over a longer playing session with a teeth guard. Might be different for proponents of the "lip out" embouchure but them teeth are digging in if you play for a long time no matter how relatively relaxed your lower lip is.
We used to fold cigarette paper and put over our bottom teeth, or coffee filters 😂 The people in the store was looking quite questioning when five 13-year olds came to buy cigarette paper though 🤔
hi!! its a wonderful lesson here !! I have subscribed!!!
Thanks very much! I just checked out your playing and enjoy it very much!
@@drwallysax wow I'm flattered ^^ ur so amazing have a nice day !! I will visit soon
Thank you Prof Wally for describing Classical vs Jazz embouchure but you forgot to describe the Paul Desmond vs The Rest embouchure. Could you please? Much appreciated!
I’ve never spoken to Desmond about his embouchure. I could make educated guesses based on video and inferences from his clarinet study, but they’d still be guesses.
@@drwallysax true, but with your skill and experience you could easily try it and get a sense of the set up and embouchure without wasting much time hi hi
Actually I can't hear the difference between classical and jazz on my own horn atm but I have a hunch why ;)
That dig at game of thrones s8 is Gold 😂
Thank gosh I subbed to this guy cuz he makes very good content.
Hey Thanks, Anime Lover, hope you have a great rest of the weekend!
I seem to have this hybrid approach, like I'm saying "eewwwwww!!! I think Nigel would tap my head with a cane.
A tap if you're LUCKY. He's been known to administer sound thrashings to saxophonic vagabonds with plebeian vowel formations.
I’ve been playing for 7 years with what I’m pretty sure is a terrible embouchure the whole time... I’m sure I’ll have a blast in my first semester of jazz studies next year! 😅
Jazz Studies! Where you studying??!
@@drwallysax The Herb Alpert Music School at UCLA next year
@@azuzz6788 No way! Say hi to Jan Berry Baker for me! (she's the sax prof). Very cool!
Don’t worry Doc. Classical Sax was always cool to me, so you are indeed cool
My wife bets to differ....but thanks Ditty!
Nigel, I might have #2 graphite poisoning from drawing too thick of a line on my reed is that possible?
Do you have a video with how to install your Reed and ligature on your mouthpiece?
Superb advice on embouchure. Brilliant presentation and so interesting. At the age of 64 I am learning so much from these great videos. One question: I notice on my mouthpiece my toothmarks seem to move over about a quarter of an inch - does this imply that the mouthpiece position in my mouth is changing too much or is it normal to see that? I think I tend to take less mouthpiece when playing softly but I know that one of your mantras is consistency of embouchure...
That's a bit more motion than I would like to see, Bill. But, without hearing you play I'd hate to say! I like the Protec mouthpiece patches - thick and soft - keeps things stable. Happy practicing my friend!
Great! But seriously- what about double lip embouchure ?
What are your thoughts about the "lower-lip out" and lower jaw movement?
hey juri! I only move my jaw for vibrato (keep it relaxed for all registers - motion you see in videos is for be-bop inflection - later video). As for lip-out, I really don't like it. BUT, there are some famous players who's albums I love that do/did that. I find the lip-in is absolutely necessary for classical playing - and a majority of my students do at least some classical study. EXCELLENT questions.
@@drwallysax I also started off playing classical with lip-in. But when I got into jazz - I couldnt find out why I cant make the sound I hear in my head. Then I met some good players who opened up the lip-out and why it is necessary for jazz(the whole Dave Liebman thing). And since I dont do classical any more - I switched permanently. I think neither is better than the other, they just have different applications.
@@elrondsch I hear what your're saying. and if that's your aesthetic, it makes sense. The Liebman sound just never connected with me. My heart lives in the 1950s "cool school." But you're right, neither is "right" just different.
Hello Dr. Wally Wallace, ive had problems with my buck teeth, i dont know what to do if my teeth are big its hard not to have at least some pressure on the mouthpiece, can you help me?
Great stuff! Time to check my embouchure. Any reason NIgel is wearing the same glasses as you?
All men of great sophistication and meager budget use Warby Parker to secure stylish (yet affordable) eyewear.
I wonder if this video started a war of arguments on Sax On The Web. I could check, but I usually try and stay away from that forum.
I bought elephant repellent from Nigel. It works a treat.
You should try his Saxo-rific Tone Tonic!
I was a bit disappointed that you didn't address the difference in tightness of each embouchure or the "mouthpiece pitch" produced when playing the different styles. What are your thoughts on this topic.
Hi John, I don't really deal with mouthpiece pitch any longer. (certainly don't teach it). It was a tool I used for years, but prefer my results focusing on full tube Bb and overtones. The "o" syllable on the classical mouthpiece is generally lower than the "E" syllable - so, often the classical mouthpiece is pushed a bit further on the neck - that's all I'm really concerned with.