One hint I can make about playing altissimo is to make sure your bottom lip is not too close to the tip of the mouthpiece. Place your bottom lip where the reed starts to break away from the mouthpiece. You want the reed to vibrate as freely as possible when playing altissimo. If you place your bottom lip at the correct place, you should be able to play octaves without changing your embouchure between low and high notes. When you develop your embouchure, you will be able to jump octaves up and down very quickly without changing your embouchure. When you can do this, then you are ready to start working on the overtones. Marc does a great job at demonstrating how to play overtones.
I played trumpet for 20 years before I picked up the sax. I was made familiar with the teachings of Claude Gordon by my college trumpet teacher, and caught a masterclass by Claude himself at a New York Brass Conference back in the 80's. For some odd reason it NEVER occured to me to try to adapt Claude's philosophies to the playing of the sax, until I came across your method. I appreciate the insight you have provided!
Just experiment until you can play one or two octaves extra - in tune and with the simplest fingerings possible Then use the added range in all daily scale/arpeggio exercises. Use a tuner all the time and stay away from soft reeds and mouthpieces with small openings - after a while most players discover even higher notes and better fingerings
I've actually found that soft reeds and small tip openings can still produce quite a bit of extended range, albeit with less volume than a soft reed/large tip or hard reed/small tip combo.
I cant thank you enough for creating this video. Ive been searching for a kinda scientific, in depth taclke on why exactly our vocal caveties are important. You explained a lot, gave a variety of examples, and more. I had a question, if you dont mind though. Do you think the structure of someones vocal cavety matters?
That's a great question. I suspect the answer is probably yes, but only to the extent that it affects what subtle adjustments they have to make in order to get the top tones to speak. I had an extremely difficult time learning how to play the saxophone, and even after years of very serious study, I couldn't consistently play the palm keys, let alone anything beyond that. Me and my teachers began to think it had something with my asymmetric jaws. I eventually found that if I moved my lower jaw to the left, to change the shape of the oral cavity and mimic someone with more symmetric anatomy, I started seeing success with the overtone studies, and in a relatively short period of time I was able to play more than four octaves. About a week ago I had both of my jaws surgically repositioned, and I'm very excited to get back to the saxophone in a few months to see what it will be like to play again with a modified oral cavity.
"It wouldn't happen overnight... " 💯 % Tutorial 💯 + % James Carter, an altissimo master, tends to rely more upon the ears, the throat, and the tongue rather than solely upon fingerings, for the most part. Whistle an altissimo fragment and/or passage, James Carter will play it instantly and accurately on demand. How does he manage that, I wonder? Thanks, champion 🏆
No doubt, the fingerings are the least important aspect in all of this. James Carter is amazing. And as to how he can do it so reliably, he's figured out how to, "simple" as that. Anyone can reach reach a level of control with the altissimo where it's a useable part of their range, but it takes patience and persistence.
I'm a bit confused. You talk about increasing the air speed for the higher notes (and thus saying we need to be able to increase this for altissimo notes if I understand correctly?). But other sources claim that altissimo notes work with a lower airspeed. Any thoughts?
@@AlexAces93 intuitively it seems like air speed would have to increase. But it may just feel that way, or the opposite, depending on the person. I think you’d have to actually measure air speed with a sensor in the mouthpiece to settle the matter. To me it feels like air is moving faster through the horn with a double altissimo F than low Bb. Which sources specifically claim lower air speed for altissimo?
@@Marcimusic257 The video 'Saxophone Altissimo: fact vs fiction' by Get Your Sax Together quotes research by a dr. Mark Watkins claiming a lower air speed reading for altissimo notes vs low notes. Jay Metcalf says the same thing in one of his videos, I assume he's quoting the same research. I guess I might be conflating research results with how it feels for the player. Perhaps it is helpful for me to try consciously to get a higher airspeed going when shooting for altissimo notes.
@@AlexAces93 I will have to get a copy of that book and look at the data. If he’s citing scientific literature, then it’s probably true that the air speed doesn’t increase. I wouldn’t try to consciously do anything other than hear the notes before playing them. Do you have a copy of “Top Tones for the Saxophone” and Donald Sinta’s “Voicing”? My book is also available again, I can repost the link soon.
Hi, can you tell me more about the research group you mentioned? Who are they? Is their research documented somewhere? I would be very interested in their studies. I am struggeling with the idea, that vocal cords act like strings, meanig vibrate an influence the air stream by doing so. They are more like lips that produce a frequency by rapidly opening and closing, not by vibrating, according to the research of cvt (complete vocal technique), a group of professional singers, who observed and catalogued very precisely the functions of the vocal tract. When the vocal cords are not producing sound, they rest. The research of cvt contradicts what for instance Dave Liebman states in his book "Develope your personal Saxophone sound". The idea of voicing may be helpful for imagining an sound/pitch before playing it, but I think it has nothing to do with what the voice and the vocal cords really do when we are playing the saxophone in what ever register. Which in my humble opinion is staying out of the way of the air flow.
Yes, here is the group's page about the experiment; newt.phys.unsw.edu.au/jw/SaxTract.html That's a good point, "voicing:" may be a misnomer for whatever is happening anatomically. In any case, efficient use of the air stream really is the key factor.
I must have had at least 20 videos on altissimo. But I am none the wiser. I am still stuck on a wobbly altissimo A. I think, on theory, you have got it right because I discovered that if I expected a particular note, but hit the wrong key, the note won't came out. I think a player through much practice, has subconsciously adjust to the note without think about it. I have recently relearning the clarinet again. To my surprise, I could do altissimo on a clarinet without much efforts, and did it purely on varying air pressure. Perhaps it is because the clarinet requires more intense air pressure on a smaller opening as opposed to a sax.
I think the altissimo on clarinet may speak easier due to the instrument's natural overtone series as well. What mouthpiece are you playing on sax, with what reed?
@@Marcimusic257 Thank you for the reply. I play a tenor mostly, a Yamaha YTS62. I still have the original standard 4C mouth piece which I believe is a "student" version. I use a 2,5 reed. What really bothers me is I found it is much easier to get the altissimo if I get the note before it. So I suspect it must have much to do with all of the factors you mentioned. Because it is easier to play the lower altissimo note, I must have gotten everything right on the lower note before I hit the higher one, hence the next one up was achievable. Also, I found I could play altissimo quite easily on a soprano. But the one I have has a built-in G# key.
@@WalkOverHotCoal The 4C is good basic mouthpiece. Anything by Yamaha is great quality. You could try a harder reed with a small tip opening mouthpiece like that, it might offer some more tonal stability. Definitely, it's easier to reach a high note moving up from underneath it. I think this is because you already have the air moving, whereas when we try to start a high note by itself, there is a tendency to restrict the air stream. This seems largely psychological to me, because we tend to associate playing in the upper register with some fear and uncertainty. Just keep at it, you'll get it soon enough!
@@Marcimusic257 Thank you very much for the advice. Much appreciated. I did consider a 3.5 reed, but had chickened out for fearing it would be too hard to blow. Perhaps I should bite the bullet and did that.
@@WalkOverHotCoal Give it a try with a 3 using the same brand of reeds you have now. You may be surprised. Vandoren sells reed sampler packs, so you can try a new strength before buying a full box. www.amazon.com/Vandoren-SAXMIXT3-Tenor-Saxophone-Card/dp/B01CU0ZF6Q/ref=sr_1_2?dchild=1&keywords=vandoren+tenor+sax+reed+mix&qid=1615815994&s=musical-instruments&sr=1-2 www.amazon.com/Vandoren-SRMIXT3-Tenor-Jazz-Strength/dp/B00DDXJNR2/ref=sr_1_1?dchild=1&keywords=vandoren+tenor+sax+reed+mix&qid=1615816048&s=musical-instruments&sr=1-1 Check out the video on reeds if you haven't already. Don't worry if you're not paying on a high number reed. It just has to be hard enough for your purposes. th-cam.com/video/Lo6AFSNsyNo/w-d-xo.html
This video is honestly a gem. i also tried downloading the ebooks, but there's an issue where i can't click on anything once i open the links in the description. is there a way to fix that?
Your links direct users to a "Create Funnels " link and don't allow me to access the content unless I click on the link, which I have no use for. Bummer!
I have a major problem with this on the saxophone and clarinet, as I've been playing by biting on the clarinet for a very long time now. Having recently been practicing with a more relaxed embouchure has improved my tone on the saxophone but I can barely play any high notes. I recently found out that when I play just the mouthpiece I am about a fourth lower than the tone that should be produced but I'm starting to think I might need to go to the doctors to get my vocal tract fixed lol.
The flatness on the mouthpiece pitch sounds like it could be a case of overcompensating, in the direction of getting a more relaxed embouchure, possibly with the tongue being in the wrong position. Have you tried moving the tongue position to see how it affects pitch? It could also be a case of not enough air. Maybe try blowing a little stronger, possibly coupled with a slightly harder reed to offer some resistance against the more powerful air stream. Just try to get the pitch a little higher each day, and I'm sure you can bring it up to the expected note. For a long time, I thought there was something physically wrong with me, and that I would never be able to play the palm keys, let alone anything beyond them. It turned out that most of my problems were coming from a lack of wind power (i.e. not supplying a free-flowing air stream). Check out the video " How to Blow into a Saxophone" if you haven't already, it contains some information that really helped me to put the focus on the air, so that the embouchure could be as relaxed and flexible as possible. Most importantly keep trying, you'll get it!
Thank you for your concern, but that isn't facial nerve palsy, it is a skeletal asymmetry. I stopped making videos because I've been preparing to have that corrected through double jaw surgery. I was on track to complete that procedure at the end of the year, but over the summer I learned that I had a very large vestibular schwannoma, which was just removed 9 days ago. A left facial nerve palsy was actually a real risk with that procedure, but fortunately, my surgeons were some of the best in the world, and they were able to preserve all my functions. So in a few months I'll be able to continue the correction of my jaws, and eventually get back to playing the saxophone!
One hint I can make about playing altissimo is to make sure your bottom lip is not too close to the tip of the mouthpiece. Place your bottom lip where the reed starts to break away from the mouthpiece. You want the reed to vibrate as freely as possible when playing altissimo. If you place your bottom lip at the correct place, you should be able to play octaves without changing your embouchure between low and high notes. When you develop your embouchure, you will be able to jump octaves up and down very quickly without changing your embouchure. When you can do this, then you are ready to start working on the overtones. Marc does a great job at demonstrating how to play overtones.
7:21 this is straight out of the Senta book and what I use when explaining voicing. So glad you started there!
I played trumpet for 20 years before I picked up the sax. I was made familiar with the teachings of Claude Gordon by my college trumpet teacher, and caught a masterclass by Claude himself at a New York Brass Conference back in the 80's. For some odd reason it NEVER occured to me to try to adapt Claude's philosophies to the playing of the sax, until I came across your method. I appreciate the insight you have provided!
Would you mind sharing salient points please?
Excellent tutorial thanks.
Very interesting video and this is something that I have thought about. Thanks.
You just got a new subscriber. Good to compare this with how Brass trumpet players achieve notes by not changing fingers. Keep blowing man!
This is a great explanation and something I wish I'd known when I started the sax
I'd love to get information on the Australian research that was done if you have it
newt.phys.unsw.edu.au/jw/SaxTract.html
Love your channel, by the way!
Great video. Thanks for posting it!
Respect for tackling the topic! 👊🏻
Huh!! And you shouted me out at the end. Thanks! 🙏🏻
Thank you for the recognition!
Thank you for your new ideas on that topic!
Just experiment until you can play one or two octaves extra - in tune and with the simplest fingerings possible Then use the added range in all daily scale/arpeggio exercises. Use a tuner all the time and stay away from soft reeds and mouthpieces with small openings - after a while most players discover even higher notes and better fingerings
I've actually found that soft reeds and small tip openings can still produce quite a bit of extended range, albeit with less volume than a soft reed/large tip or hard reed/small tip combo.
My right ear loves this video 😍😍 other than that, this was an awesome video!
Thanks! I was still learning how to use audio equipment then, but now both of your ears can enjoy the content on this channel!
What about the tongue?
It plays a very important role, and overtone practice teaches subtle control of the tongue.
I cant thank you enough for creating this video. Ive been searching for a kinda scientific, in depth taclke on why exactly our vocal caveties are important. You explained a lot, gave a variety of examples, and more. I had a question, if you dont mind though. Do you think the structure of someones vocal cavety matters?
That's a great question. I suspect the answer is probably yes, but only to the extent that it affects what subtle adjustments they have to make in order to get the top tones to speak. I had an extremely difficult time learning how to play the saxophone, and even after years of very serious study, I couldn't consistently play the palm keys, let alone anything beyond that. Me and my teachers began to think it had something with my asymmetric jaws. I eventually found that if I moved my lower jaw to the left, to change the shape of the oral cavity and mimic someone with more symmetric anatomy, I started seeing success with the overtone studies, and in a relatively short period of time I was able to play more than four octaves. About a week ago I had both of my jaws surgically repositioned, and I'm very excited to get back to the saxophone in a few months to see what it will be like to play again with a modified oral cavity.
"It wouldn't happen overnight... " 💯 %
Tutorial 💯 + %
James Carter, an altissimo master, tends to rely more upon the ears, the throat, and the tongue rather than solely upon fingerings, for the most part.
Whistle an altissimo fragment and/or passage, James Carter will play it instantly and accurately on demand.
How does he manage that, I wonder?
Thanks, champion 🏆
No doubt, the fingerings are the least important aspect in all of this.
James Carter is amazing. And as to how he can do it so reliably, he's figured out how to, "simple" as that. Anyone can reach reach a level of control with the altissimo where it's a useable part of their range, but it takes patience and persistence.
@@Marcimusic257 Thanks, 🏆
Very lovely
Thank you!
I'm a bit confused. You talk about increasing the air speed for the higher notes (and thus saying we need to be able to increase this for altissimo notes if I understand correctly?). But other sources claim that altissimo notes work with a lower airspeed. Any thoughts?
@@AlexAces93 intuitively it seems like air speed would have to increase. But it may just feel that way, or the opposite, depending on the person. I think you’d have to actually measure air speed with a sensor in the mouthpiece to settle the matter. To me it feels like air is moving faster through the horn with a double altissimo F than low Bb. Which sources specifically claim lower air speed for altissimo?
@@Marcimusic257
The video 'Saxophone Altissimo: fact vs fiction' by Get Your Sax Together quotes research by a dr. Mark Watkins claiming a lower air speed reading for altissimo notes vs low notes. Jay Metcalf says the same thing in one of his videos, I assume he's quoting the same research.
I guess I might be conflating research results with how it feels for the player. Perhaps it is helpful for me to try consciously to get a higher airspeed going when shooting for altissimo notes.
@@AlexAces93 I will have to get a copy of that book and look at the data. If he’s citing scientific literature, then it’s probably true that the air speed doesn’t increase. I wouldn’t try to consciously do anything other than hear the notes before playing them. Do you have a copy of “Top Tones for the Saxophone” and Donald Sinta’s “Voicing”? My book is also available again, I can repost the link soon.
@@Marcimusic257 I have both of those! I will just keep on grinding then. Thanks for your insights.
Where can I get this book?
The one that I wrote will be available again shortly, I'll keep you posted.
way cool....
Hi, can you tell me more about the research group you mentioned? Who are they? Is their research documented somewhere? I would be very interested in their studies. I am struggeling with the idea, that vocal cords act like strings, meanig vibrate an influence the air stream by doing so. They are more like lips that produce a frequency by rapidly opening and closing, not by vibrating, according to the research of cvt (complete vocal technique), a group of professional singers, who observed and catalogued very precisely the functions of the vocal tract. When the vocal cords are not producing sound, they rest. The research of cvt contradicts what for instance Dave Liebman states in his book "Develope your personal Saxophone sound". The idea of voicing may be helpful for imagining an sound/pitch before playing it, but I think it has nothing to do with what the voice and the vocal cords really do when we are playing the saxophone in what ever register. Which in my humble opinion is staying out of the way of the air flow.
Yes, here is the group's page about the experiment;
newt.phys.unsw.edu.au/jw/SaxTract.html
That's a good point, "voicing:" may be a misnomer for whatever is happening anatomically. In any case, efficient use of the air stream really is the key factor.
@@Marcimusic257 Wow, that looks very interesting, thanks for the link! I may find some answers there. All the best, Mat
I must have had at least 20 videos on altissimo. But I am none the wiser. I am still stuck on a wobbly altissimo A. I think, on theory, you have got it right because I discovered that if I expected a particular note, but hit the wrong key, the note won't came out. I think a player through much practice, has subconsciously adjust to the note without think about it. I have recently relearning the clarinet again. To my surprise, I could do altissimo on a clarinet without much efforts, and did it purely on varying air pressure. Perhaps it is because the clarinet requires more intense air pressure on a smaller opening as opposed to a sax.
I think the altissimo on clarinet may speak easier due to the instrument's natural overtone series as well. What mouthpiece are you playing on sax, with what reed?
@@Marcimusic257 Thank you for the reply. I play a tenor mostly, a Yamaha YTS62. I still have the original standard 4C mouth piece which I believe is a "student" version. I use a 2,5 reed. What really bothers me is I found it is much easier to get the altissimo if I get the note before it. So I suspect it must have much to do with all of the factors you mentioned. Because it is easier to play the lower altissimo note, I must have gotten everything right on the lower note before I hit the higher one, hence the next one up was achievable. Also, I found I could play altissimo quite easily on a soprano. But the one I have has a built-in G# key.
@@WalkOverHotCoal The 4C is good basic mouthpiece. Anything by Yamaha is great quality. You could try a harder reed with a small tip opening mouthpiece like that, it might offer some more tonal stability.
Definitely, it's easier to reach a high note moving up from underneath it. I think this is because you already have the air moving, whereas when we try to start a high note by itself, there is a tendency to restrict the air stream. This seems largely psychological to me, because we tend to associate playing in the upper register with some fear and uncertainty.
Just keep at it, you'll get it soon enough!
@@Marcimusic257 Thank you very much for the advice. Much appreciated. I did consider a 3.5 reed, but had chickened out for fearing it would be too hard to blow. Perhaps I should bite the bullet and did that.
@@WalkOverHotCoal Give it a try with a 3 using the same brand of reeds you have now. You may be surprised. Vandoren sells reed sampler packs, so you can try a new strength before buying a full box.
www.amazon.com/Vandoren-SAXMIXT3-Tenor-Saxophone-Card/dp/B01CU0ZF6Q/ref=sr_1_2?dchild=1&keywords=vandoren+tenor+sax+reed+mix&qid=1615815994&s=musical-instruments&sr=1-2
www.amazon.com/Vandoren-SRMIXT3-Tenor-Jazz-Strength/dp/B00DDXJNR2/ref=sr_1_1?dchild=1&keywords=vandoren+tenor+sax+reed+mix&qid=1615816048&s=musical-instruments&sr=1-1
Check out the video on reeds if you haven't already. Don't worry if you're not paying on a high number reed. It just has to be hard enough for your purposes.
th-cam.com/video/Lo6AFSNsyNo/w-d-xo.html
Yeah man
This video is honestly a gem. i also tried downloading the ebooks, but there's an issue where i can't click on anything once i open the links in the description. is there a way to fix that?
Thank you! Those links are temporarily down, but send me an email and I can get you a copy.
Your links direct users to a "Create Funnels " link and don't allow me to access the content unless I click on the link, which I have no use for. Bummer!
The links are temporarily down, but send me an email and I can get you a copy of the free e-book.
I have a major problem with this on the saxophone and clarinet, as I've been playing by biting on the clarinet for a very long time now. Having recently been practicing with a more relaxed embouchure has improved my tone on the saxophone but I can barely play any high notes. I recently found out that when I play just the mouthpiece I am about a fourth lower than the tone that should be produced but I'm starting to think I might need to go to the doctors to get my vocal tract fixed lol.
The flatness on the mouthpiece pitch sounds like it could be a case of overcompensating, in the direction of getting a more relaxed embouchure, possibly with the tongue being in the wrong position. Have you tried moving the tongue position to see how it affects pitch? It could also be a case of not enough air. Maybe try blowing a little stronger, possibly coupled with a slightly harder reed to offer some resistance against the more powerful air stream. Just try to get the pitch a little higher each day, and I'm sure you can bring it up to the expected note.
For a long time, I thought there was something physically wrong with me, and that I would never be able to play the palm keys, let alone anything beyond them. It turned out that most of my problems were coming from a lack of wind power (i.e. not supplying a free-flowing air stream). Check out the video " How to Blow into a Saxophone" if you haven't already, it contains some information that really helped me to put the focus on the air, so that the embouchure could be as relaxed and flexible as possible. Most importantly keep trying, you'll get it!
The Tao that is spoken is not the Tao 🎶🎵🎶👯♀️👯♀️👯♀️
Production needs work - only have sound coming out of right side of headphone...
Probably yes, this was one of the first videos I did, before I learned how to split the audio.
No secret, just buy a beechler. Half way there.
Ha, good one! No mouthpiece will magically grant a controlled high register.
@@Marcimusic257 I said halfway.
@@ronaldpalmore570 Maybe if you already have a good grasp of the overtones series. Otherwise I'd say 1% there.
@@Marcimusic257 c'mon man, at least gimme 2.
@@ronaldpalmore570 I'll make it 5!
Do you know you have left facial nerve palsy? If you don't, go to a hospital and check it out.
Thank you for your concern, but that isn't facial nerve palsy, it is a skeletal asymmetry. I stopped making videos because I've been preparing to have that corrected through double jaw surgery. I was on track to complete that procedure at the end of the year, but over the summer I learned that I had a very large vestibular schwannoma, which was just removed 9 days ago. A left facial nerve palsy was actually a real risk with that procedure, but fortunately, my surgeons were some of the best in the world, and they were able to preserve all my functions. So in a few months I'll be able to continue the correction of my jaws, and eventually get back to playing the saxophone!