Switching and trying things is always cool. Sometimes it will open your ears up to some other ideas, influences colors and tones. Makes you play different sometimes. But… in the end, no matter how long it takes… I always go back to what I normally use 😂😂😂
I understand what you’re saying about the horn feeling “big.” I’ve been doing a short practice session for about 30 min right before I get to bed. Long tones, really pressing down on the keys, playing softly and really focused. Perhaps you do something like that as well. Anyways, I found when I end up really digging into the horn the next day that the instrument feels a little more comfortable. I feel a little more in command. thanks for all of your content, man.
Great reminder to never let the etude/study books get dusty! Whether it’s Klose, Bozza, Ferling, Bassi, Rascher, Gornston, or even the 1908 reprint of “The World’s Edition Universal Method for Saxophone” by Paul de Ville, there are fantastic gems in the pages to keep under the fingers. It’s difficult to evaluate hard rubber with metal mouthpieces because metal resonates more and increases bone conduction. A thicker bite pad on a metal mouthpiece may help reduce the conduction. It always comes down to what feels right and is comfortable. While the 3rd-4th octave is where the money’s at, the lush lower octave is beautiful on the Link.
I love your tenor sound on that Link. I really believe all my favourite tenor players play them. There is an earthy sound to them that I can't explain but love! Another great video Bob thanks!
Low register is pure gold, and It seems to "sing" a little bit more in the middle/high register than the hard rubber one.. and the articulation seems a little bit more accurate (is it possible..?), seems that the airflow hits the reed instantly, with ease.. IMHO Thanks Bob for all of these, so inspiring.
Thanks for sharing, Bob. I'll revisit this etude today. I'll also work on keeping the fingers moving while coming up for air. That'll be a new one for me.
Thank you so much! I admire so much your playing and I’m trying to get better and better. I started playing the saxophone only three years ago and the first memory of it was to watch one of your videos: you gived me the joy to play more and more every day. Thanks so much for everything (I’m now starting this channel and you are the reason of it): I’ll try to grow more everyday.
I use Klose Etudes for daily training. Now I found "25 daily exercises" edited by MC Allister, where all the alternate fingerings are added to the original book. This opens a new world of smooth legato lines
Bob, as a classical sax player who has more recently gone over to jazz as well, I take pleasure in hearing you talk about the 25 Daily Etudes and the alternative fingerings. These come naturally to me, and I teach them to my students in both genres. They always look surprised to see the numerous markings on my music, sometimes 3 different Bb fingerings in 1 bar! It's all down to context of course, where you're coming from and going to. I also insist on.the use of the chromatic F#...e.g..I could not imagine playing Take 5 without it (alto). I should add that my wife and I thoroughly enjoyed hearing you at Ronnie's not too long ago; the hours of technical work come through clearly.
I practice etudes…. I use the old familiar Ferling book. There are some killer technical super human feats in there for me! But 60 bpm is usually where I start! I love etudes. Not sure why. The easier they seem, the harder they really are. The classical musician in me aims for absolute perfection. (But I rarely get there) Anyway….. thanks for the gear update. I do want to hear what piece you land on. Thanks for the great videos, Bob. Always a pleasure and always something to learn!!
thanks, Becky. Yeah the Ferling is a monster book. I've always returned to the Klosé because each étude sticks (mostly) to a single rhythm, allowing me to focus on precise execution of that sustained rhythm.
The Klose' book is the only etude book I've ever practiced from. My son stole my original book with the orange cover! So, I bought a new one, same book different cover. Anyway, somewhere out there on the interweb is a clip of Charlie Parker doing warm-ups playing exercise #23. If it's good enough for Bird it's good enough for me!
Yes! It’s my mouthpiece exactly. I find it hits the perfect triangle of aspects: A- Response B-flexible sound C-feel (fun). I find unfiled reed is a must to achieve balance of tone. One can always play darker with greater ease than brighter if needed. You still sound like you, I can almost feel the inspiration coming out of horn too, if that makes any sense.
Ha! This is a GREAT book. My teacher 'way back in about '72 had me get #3 up to mm=208 (as16th notes). Took me a lotta work. I had to tear it down to 80 three times-I got uneven at about mm= 160. And even with 16 year old synapses, some days I could only get to about 192. Now? Yikes. Still after it. Another great video, Mr. Reynolds!
HI BOB. I went to Berklee with you in the 90s. I also play out of the Klose book to this day, only I have a good number of them I do in 12 keys as well. Also highly recommend ALL of the Marcel Mule books, the French school of saxophone playing cannot go ignored.
Hi Bob. I have always found that the standard Otto Link lig is the main issue. It’s actually dreadful. Try anything else that fits and it makes the Link a totally different animal. Wimslow ligs work great if you can get hold of one, but honestly anything that holds the reed is an improvement! Best wishes.
My first tenor mouthpiece was a 8* Metal Link STM 30 years ago. I liked it but, I could not push it to the volume I wanted so, I sold it 😢 I still dream of THAT sound. I have a Florida RR metal that I like but, I don't love it. I am considering buying the Otto Link NY metal and chasing THAT sound that is still in my head. THAT sound was the first time I heard Dexter Gordon live. I still hear it.
Try the Selmer metal lig on the Link. It’s the best by far. The stock ones are a little sloppy and inconsistent by comparison, and it’ll help altissimo.
Hey, suddenly you join the « good old tenor clan », thinking of Benny Golson or Stanley Turrentine, with their amazing tone in the low range. I’m a long time Link STM fan, certainly not by accident. Currently playing a Vandoren metal V16, one of the very consistant reincarnations of good old Links.
Great video; really appreciate your ideas in this one. Klose is near and dear to so many of us!! Side note: George is really looking well… so tall now 🌿
Mr. Reynolds! At 18:28, what are you playing? I was practicing when ur video poped up and I decided to watch. Seriously one of my favorite tenor sounds and players. I'm only 16 and have a long way to go but you are such an inspiration!! I'd love to know if it's just ideas that pop out or a transcription. Let me know!!
You should definitely look into having that 7* opened, that looks like an older edition of the links, which are generally better and more highly regarded
Great sound on your metal mouthpiece! I think this mouthpiece fits better to your playing than your previous mouthpieces. Other great players came back to their Otto Link‘s they played before (Dexter Gordon, Coltrane …..). I bought a new Super D (8) from Retro Revival and it feels and sounds great. Very consistent, perfect quality. Better than me old refaced Otto Link STM 8*! Thank‘s a lot for your content and playing 😊😊 +Abo Cooky
Great video Bob and thanks for the Klose notes. Unrelated - I have been envious of your studio ever since you built it. Might be a silly question, but how did you select the colors of the room?
Interesting Bob... I've never used a link. Used Dukoff D9 then after it wore out gotten a Claude lakey 9* ( cheap price lolI? Then to rovner deep V 11... Then to a DGSuperking .very bright but at the time it was fun . Trying a jody jazz 10( volume not and altisomo terrible. Using a saxscape live model now( 115.) Having goid experience with it on rigotti #4. But im curious to try an open link...in your opinion should i.?
Nice video man. I still say you try getting that Link refaced before saying it’s not the one. What’s to lose? Well, $150-200 or whatever, but you know what I mean! And try a Selmer lig (that classic silver 3 band 2 screw M404) or a Rovner Versa with it before writing it off. I dunno, I just think there’s some indefinable alchemy magic between a VI and a STM. Totally prejudice comment there coming from the 8* Florida OL mk VI guy, but hey, it worked for Trane, Wayne, Brecker, Grossman, Dexter, Hank, etc, why not you?? 😊
I do have the Selmer E ligatures that fit it. Currently in the “I just wanna play it exactly as it comes” phase but you were right, there’s definitely something about this combo.
hi Bob great video as always! I wonder what you think of other books out there, do you have a video on that? For instance, I have the 'patterns for jazz' book by Jerry Coker et al. which is a recommended book from what I've seen in the internet, I wonder what you think about this book? For me, I found that what little extra time I have for practicing aside from playing big band charts, I better spend on transcribing (based on your recommendations and others)..
Love your content Please read the book the war of art by Pressfield, what your describing w/r to doing other things instead of practicing is called resistance. It’s a great short read
Do you ever use the long Bb? So right hand F when playing B… I have a classical student that plays this fingering all the time and drives me crazy as it’s one that I’ve barely played in my education.
What about the Staccato Markings, Bob? Still want to “cut the tongue out“…? 😉 In my opinion it is still (also) a great exercise to execute those staccato markings, because that way you‘re practicing to use your tongue and articulation accurately at the same time… 🤷♂️
The Lacour and Bozza etudes have kicked my butt the most. There are some obscure transpositions of modes/scales which forced me to get more comfortable with fingerings that feel more awkward at first and addressing the weakest parts of my technique.
Do you practice etudes? Have you got this book? Download the PDF (with my markups) from this video: bobreynoldsmusic.com/klose8
Thank you Bob
Yep I got it
Switching and trying things is always cool. Sometimes it will open your ears up to some other ideas, influences colors and tones. Makes you play different sometimes. But… in the end, no matter how long it takes… I always go back to what I normally use 😂😂😂
I understand what you’re saying about the horn feeling “big.” I’ve been doing a short practice session for about 30 min right before I get to bed. Long tones, really pressing down on the keys, playing softly and really focused. Perhaps you do something like that as well. Anyways, I found when I end up really digging into the horn the next day that the instrument feels a little more comfortable. I feel a little more in command. thanks for all of your content, man.
Great reminder to never let the etude/study books get dusty! Whether it’s Klose, Bozza, Ferling, Bassi, Rascher, Gornston, or even the 1908 reprint of “The World’s Edition Universal Method for Saxophone” by Paul de Ville, there are fantastic gems in the pages to keep under the fingers.
It’s difficult to evaluate hard rubber with metal mouthpieces because metal resonates more and increases bone conduction. A thicker bite pad on a metal mouthpiece may help reduce the conduction. It always comes down to what feels right and is comfortable. While the 3rd-4th octave is where the money’s at, the lush lower octave is beautiful on the Link.
Thanks, Doug. You just perfectly articulated (no pun intended) what I've been experiencing: "metal resonates more and increases bone conduction"
I love your tenor sound on that Link. I really believe all my favourite tenor players play them. There is an earthy sound to them that I can't explain but love! Another great video Bob thanks!
Low register is pure gold, and It seems to "sing" a little bit more in the middle/high register than the hard rubber one.. and the articulation seems a little bit more accurate (is it possible..?), seems that the airflow hits the reed instantly, with ease.. IMHO
Thanks Bob for all of these, so inspiring.
Great video Bob. The fact that you still use your Klosé book is encouraging. I still have all my books, though I’m not in them nearly enough.
Thanks for sharing, Bob. I'll revisit this etude today. I'll also work on keeping the fingers moving while coming up for air. That'll be a new one for me.
Practical sage advice advice we all need. Thank You Bob.
Thank you so much! I admire so much your playing and I’m trying to get better and better. I started playing the saxophone only three years ago and the first memory of it was to watch one of your videos: you gived me the joy to play more and more every day. Thanks so much for everything (I’m now starting this channel and you are the reason of it): I’ll try to grow more everyday.
I use Klose Etudes for daily training. Now I found "25 daily exercises" edited by MC Allister, where all the alternate fingerings are added to the original book. This opens a new world of smooth legato lines
Hi Bob, your videos practicing really help me to focus properlly. Really appretiate!!!
I have been using my dad’s copy of this. Original markings from 1st printing. An etude book that stands the test of time.
Bob, as a classical sax player who has more recently gone over to jazz as well, I take pleasure in hearing you talk about the 25 Daily Etudes and the alternative fingerings. These come naturally to me, and I teach them to my students in both genres. They always look surprised to see the numerous markings on my music, sometimes 3 different Bb fingerings in 1 bar! It's all down to context of course, where you're coming from and going to.
I also insist on.the use of the chromatic F#...e.g..I could not imagine playing Take 5 without it (alto).
I should add that my wife and I thoroughly enjoyed hearing you at Ronnie's not too long ago; the hours of technical work come through clearly.
thank you, Richard. And yes, this is so true: "It's all down to context of course, where you're coming from and going to."
I practice etudes…. I use the old familiar Ferling book. There are some killer technical super human feats in there for me! But 60 bpm is usually where I start! I love etudes. Not sure why. The easier they seem, the harder they really are. The classical musician in me aims for absolute perfection. (But I rarely get there) Anyway….. thanks for the gear update. I do want to hear what piece you land on. Thanks for the great videos, Bob. Always a pleasure and always something to learn!!
thanks, Becky. Yeah the Ferling is a monster book. I've always returned to the Klosé because each étude sticks (mostly) to a single rhythm, allowing me to focus on precise execution of that sustained rhythm.
The Klose' book is the only etude book I've ever practiced from. My son stole my original book with the orange cover! So, I bought a new one, same book different cover. Anyway, somewhere out there on the interweb is a clip of Charlie Parker doing warm-ups playing exercise #23. If it's good enough for Bird it's good enough for me!
Yes! It’s my mouthpiece exactly. I find it hits the perfect triangle of aspects: A- Response B-flexible sound C-feel (fun).
I find unfiled reed is a must to achieve balance of tone. One can always play darker with greater ease than brighter if needed.
You still sound like you, I can almost feel the inspiration coming out of horn too, if that makes any sense.
Ha! This is a GREAT book. My teacher 'way back in about '72 had me get #3 up to mm=208 (as16th notes). Took me a lotta work. I had to tear it down to 80 three times-I got uneven at about mm= 160.
And even with 16 year old synapses, some days I could only get to about 192. Now? Yikes. Still after it. Another great video, Mr. Reynolds!
HI BOB. I went to Berklee with you in the 90s. I also play out of the Klose book to this day, only I have a good number of them I do in 12 keys as well. Also highly recommend ALL of the Marcel Mule books, the French school of saxophone playing cannot go ignored.
Im diggin your new sound. Got a liveliness to it. Keep on keepin on💯🎷
Hi Bob. I have always found that the standard Otto Link lig is the main issue. It’s actually dreadful. Try anything else that fits and it makes the Link a totally different animal. Wimslow ligs work great if you can get hold of one, but honestly anything that holds the reed is an improvement! Best wishes.
My first tenor mouthpiece was a 8* Metal Link STM 30 years ago.
I liked it but, I could not push it to the volume I wanted so, I sold it 😢
I still dream of THAT sound.
I have a Florida RR metal that I like but, I don't love it.
I am considering buying the Otto Link NY metal and chasing THAT sound that is still in my head.
THAT sound was the first time I heard Dexter Gordon live.
I still hear it.
Try the Selmer metal lig on the Link. It’s the best by far. The stock ones are a little sloppy and inconsistent by comparison, and it’ll help altissimo.
Deus te abençoe mestre.
I've probably said it before but the Retro Revival pieces are amazing playing copies of the vintage links!
Thank you
Hey, suddenly you join the « good old tenor clan », thinking of Benny Golson or Stanley Turrentine, with their amazing tone in the low range. I’m a long time Link STM fan, certainly not by accident. Currently playing a Vandoren metal V16, one of the very consistant reincarnations of good old Links.
Thank you Bob.
Try the retro revival mpcs, they're a beauty!
Great video; really appreciate your ideas in this one. Klose is near and dear to so many of us!! Side note: George is really looking well… so tall now 🌿
George! Yessir, I'm pretty proud of my caretaking. ;)
Try to get the sax to,feel like a flute!
Try the Jody Jazz DV metal mouthpieces, they have a number of models. You might find one that works high and low.
Mr. Reynolds! At 18:28, what are you playing? I was practicing when ur video poped up and I decided to watch. Seriously one of my favorite tenor sounds and players. I'm only 16 and have a long way to go but you are such an inspiration!! I'd love to know if it's just ideas that pop out or a transcription. Let me know!!
You should definitely look into having that 7* opened, that looks like an older edition of the links, which are generally better and more highly regarded
Sounding great on metal, (and everything else for that matter)
Great sound on your metal mouthpiece! I think this mouthpiece fits better to your playing than your previous mouthpieces. Other great players came back to their Otto Link‘s they played before (Dexter Gordon, Coltrane …..). I bought a new Super D (8) from Retro Revival and it feels and sounds great. Very consistent, perfect quality. Better than me old refaced Otto Link STM 8*! Thank‘s a lot for your content and playing 😊😊 +Abo
Cooky
Great video Bob and thanks for the Klose notes. Unrelated - I have been envious of your studio ever since you built it. Might be a silly question, but how did you select the colors of the room?
Interesting Bob... I've never used a link. Used Dukoff D9 then after it wore out gotten a Claude lakey 9* ( cheap price lolI? Then to rovner deep V 11... Then to a DGSuperking .very bright but at the time it was fun . Trying a jody jazz 10( volume not and altisomo terrible. Using a saxscape live model now( 115.) Having goid experience with it on rigotti #4. But im curious to try an open link...in your opinion should i.?
FYI - You should check out Olegario Diaz's books.
Nice video man. I still say you try getting that Link refaced before saying it’s not the one. What’s to lose? Well, $150-200 or whatever, but you know what I mean!
And try a Selmer lig (that classic silver 3 band 2 screw M404) or a Rovner Versa with it before writing it off.
I dunno, I just think there’s some indefinable alchemy magic between a VI and a STM.
Totally prejudice comment there coming from the 8* Florida OL mk VI guy, but hey, it worked for Trane, Wayne, Brecker, Grossman, Dexter, Hank, etc, why not you?? 😊
I do have the Selmer E ligatures that fit it. Currently in the “I just wanna play it exactly as it comes” phase but you were right, there’s definitely something about this combo.
hi Bob great video as always!
I wonder what you think of other books out there, do you have a video on that? For instance, I have the 'patterns for jazz' book by Jerry Coker et al. which is a recommended book from what I've seen in the internet, I wonder what you think about this book? For me, I found that what little extra time I have for practicing aside from playing big band charts, I better spend on transcribing (based on your recommendations and others)..
Practicing Patterns for Jazz: How I Maximize an Exercise // VLOG #28
th-cam.com/video/fg6-Pd16pJE/w-d-xo.html
Babe wake up, new bob reynolds video dropped 🔥🔥🔥🔥 amazing as always!!
Love ya Bro!
Love your content
Please read the book the war of art by Pressfield, what your describing w/r to doing other things instead of practicing is called resistance. It’s a great short read
lol … The Resistance is real // VLOG #27
th-cam.com/video/R09_ZlBFBGI/w-d-xo.html
@@bobreynolds haha, you know it! ❤️
Do you ever use the long Bb? So right hand F when playing B… I have a classical student that plays this fingering all the time and drives me crazy as it’s one that I’ve barely played in my education.
NY Link is ❤️
I also call them "either or".
What about the Staccato Markings, Bob? Still want to “cut the tongue out“…? 😉
In my opinion it is still (also) a great exercise to execute those staccato markings, because that way you‘re practicing to use your tongue and articulation accurately at the same time… 🤷♂️
The Lacour and Bozza etudes have kicked my butt the most. There are some obscure transpositions of modes/scales which forced me to get more comfortable with fingerings that feel more awkward at first and addressing the weakest parts of my technique.
...'if I do these things... then I will practice, but of course it's BS'...'Practice first' Thanks Bob.
Hello Bob, from France. I noticed that you don’t articulate as it is written on the book...
Correct. See notes in PDF
Please never don't squeal on it for my sake
☺️