One of the biggest issues that saxophonists must deal with is the challenge of finding a good reed. We all know what it’s like to buy a box of reeds and come across some reeds that are either too hard, too soft, mis-cut, warped, or chipped. Although there is not a reed manufacturer today who can guarantee a box of five or ten reeds for soprano, alto, tenor, or bari saxophone that all play consistently and evenly throughout the entire range of the horn, Alexander clearly seeks to achieve that goal.

Alexander Reeds, was founded by Tom Alexander after he became tired of the inconsistencies with the reeds currently on the market. Instead of searching for another brand of reed to try out, he decided to manufacturer his own line. Since the early 1990’s, Alexander Reeds has come out with the Superial, DC, Classique, and in 2007 came out with the NY. All models were cut for both saxophone and clarinet. What enticed me to try out this brand of reeds was the overall consistency that I have read about through online forums as well as my conversations with endorsing artists and local players who exclusively use Alexander reeds.

The reeds I am going to be reviewing are the Superial, Superial D.C., and NY for tenor saxophone and the Superial, and Superial D.C. for alto saxophone. With each box of Alexander reeds came  a set of “preparation” instructions to help you maximize the reed’s playing potential. I used this method on some of the reeds that were a bit soft or hard and I noticed after a couple of days that many “so so” reeds gradually became better reeds that I would be happy to play on. (I’ve included Alexander’s preparation method at the end of this article.)

Tenor Reeds

Superial (strength 3)

Tone: I found the Superial reed gave me a brighter tone. I found that from low Bb to C the reed responded very well, but what really caught my ear was when I played from middle C to high F#. In this range, I was able to produce a bright and centered tone in the palm keys which is something I have been struggling with when using other manufacture’s reeds.

Playability: The Superial reed played evenly throughout all registers of the horn. I felt like I could really push this reed and it would not die out. The response was instant when I put on the reed and it seemed to take very little time to break the reed in.

Consistency: Out of the 5 reeds I tried, three of them played great out of the box and on two of them I had to use the recommended preparation method, which seemed to make the reeds more playable.

Lifespan: I have been playing these reeds for over a week and rotating them. I have found no issues thus far in terms of the reeds dying out too soon. After playing over an hour a day and cycling through the Superial reeds, I have found no issues.

Comparison: The Superial Reeds are most similar to the Vandoren Java or the Standard Rico orange box

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Superial D.C. (strength 3, personal favorite)

Tone: When I tried the Superial D.C. reeds I found out that I was able to produce a even and focused sound throughout the entire range of the horn. The sound was darker than the Superial and I found that the bottom range of the horn, down to the low Bb, had a really big and  cutting sound.

Playability: I found the D.C.’s to be just as free-blowing as the Superial, but I liked the edge I was able to get with these reeds. I found these reeds to be very stable throughout the entire range of the horn when practicing my long tones. My high A, B, and C also had a more solid sound that did not seem thin or weak.

Consistency: I found the Superial D.C. to work well with my setup. Four out of the five reeds played great. With one of the reeds, I had to use the preparation method as well as a little sandpaper work to get it playing the way I wanted it to.

Lifespan: I believe due to this reed’s slightly harder tip as well as the relatively generous amount of wood in the heart, the lifespan of these reeds may be a bit more than that of the Superial.

Comparison: The Superial D.C. Reeds are most similar to the Vandoren ZZ, Rico Jazz Select, and Rico Royal

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Alexander NY (strength 2.5)

Tone: According to the company’s website, Michael Brecker worked with Tom Alexander on designing this new cut. The tip was redesigned and is different from the Superial and Superial D.C. The new tip was designed to give the saxophonist a powerful and resonating sound. The intention was to give the saxophonists a little bit more of the tonal “edge” that is generally associated with many of the players in New York. With the NY cut, I was able to really lean into the upper register and get a loud and full sound when I went up to the palm keys.

Playability: The NY was very free blowing like the Superial, and Superial D.C. I found very little resistance when playing throughout the entire range of the horn.

Consistency: With the NY, I actually found these reeds to be a bit harder (even with a 2.5) than the Superial and Superial D.C. Because of this, I decided to use the Alexander preparation method which made three out of the five play very well. On the other two, I used sandpaper to shave them down and make them softer.

Lifespan: I would have to say the lifespan of these reeds would be similar to the Superial D.C.’s.

Comparison: The Alexander NY Reeds are most similar to the Vandoren V16, La Voz, and Hemke.

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Alto Reeds

Superial (strength 3, personal favorite)

Tone: When I played the Superial reed on alto, I found it to give a bright and edgy tone that you would most associate with a lead alto in a big band.

Playability: These reeds were as free-blowing as the ones I tried on tenor.

Consistency: Four out of the five reeds played great, and I ended up shaving off a little bit on the fifth one since it was a bit stiff.

Lifespan: Since I have been rotating these reeds every couple of days, I have had no issues in any reeds getting too soft or just-plain dying out.

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D.C. (strength 3)

Tone: When I played the Superial D.C., I found these reeds to have a darker but somewhat warmer sound compared to the bright and cutting sound of the Superial reeds.

Playability: I found these reeds to be harder than the Superial reeds, but still very playable through the entire range of the horn.

Consistency: I found that I used the recommend preparation method on three out of the five reeds, which made them a bit more free-blowing and easier to play.

Lifespan: These reeds had a similar lifespan to the Superial. I have had no issues thus far and have not seen any issues of reeds dying out or becoming too soft.

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Overall

I would have to say that Alexander offers a line of reeds that many saxophonist will enjoy playing. I found the overall consistency of these reeds to be better than other brands I have tried and believe that the combination of the product and the preparation method Alexander recommends is what sets these reeds apart from other reed manufacturers.

For additional information, that you would like to know please visit http://www.superial.com/home.html

If you have any questions or have played Alexander reeds, please leave a comment to let me know what you think.

As promised, here is the preparation method from the Alexander website:.

“We suggest that you break the reeds in by first soaking them for about 2-4 minutes in lukewarm to warm water, and making sure that the whole vamp, and not just the tip alone, gets wet (a reed that is too dry or only wet at the very tip might tend to squeak). Some players, especially in dry weather, prefer a little more soaking time and a some others like immersing the whole reed in the water. Then again, if you soak it for too long, it may end up becoming waterlogged, so try a balanced approach. And make sure you wet the reed each succeeding time you play thereafter, though you may find that as it gets broken in, less soaking time will be necessary.

After the soaking is operation is done, place the reed you want to prepare on glass or a similar flat surface and massage it (starting from the back of the vamp slope) with your finger or fingers several strokes forward towards the tip, in order to help close off the fiber ends and stabilize the cane.

Then comes the break-in secret, which is certainly no original idea of mine, but a time tested practice for reed longevity:
Break in the reeds you prepare by only playing them at no louder than mp-m and for the first day only a few minutes and maybe 5-10 minutes the second day.

By breaking them in at mezzo or softer and for not too long in the first couple of days, the reeds should last longer and be more stable for full bore playing later. Playing them all out in fortissimo from the first 2 days might overstress the tips.
The exception to the break in is: If the new reed you try feels a good bit too hard, you can skip the break in period and just play in normally from the first day.

A tendency of these reeds is to harden a little after a few days of playing, so you may find a slightly softer reed that will end up being perfect in a few days after break in. If you find a reed that is too hard even if you skip the break in.”

This post is part of a special column titled “Ask a Saxophone Repairman” with answers supplied by our resident repair whiz, Matt Stohrer of Stohrer Music.

Disclaimer: Saxophone repair is a complicated business, depending not only on the skill of the repairer but on the reality of the situation at hand. The advice given here is given without your horn in my hands, so take everything I say with a grain of salt, and take it upon yourself to get more opinions and form your own conclusions. This column is not a substitute for finding a great saxophone repairman and building a relationship- instead it should be viewed as a resource to be used so that you can know more about your horn and become a smarter consumer and a better saxophonist.

Hey everyone! Its been a little while since I wrote on here, but I’ve been busy moving to a new house and welcoming our first child into the world. Now I’ve got my head screwed on (mostly) straight again and back here on Best. Saxophone. Website. Ever. Keep your questions coming!

Hello,
My name is Ashley and I play alto saxophone in my high school marching and concert band. My horn needs to be re-lacquered and i have no idea where to get that done. I live in North Alabama and if you could recommend a business or repairman i can contact that might do that i’d really appreciate it. Thanks!

Ashley,

Do not relacquer your horn. It is an abrasive process and causes more problems than it fixes (which is none other than appearance).

(Quick breakdown of why relacquering is bad- see below for help on finding a saxophone repairman in your area)

Relacquering involves buffing, and buffing is an abrasive process.  During buffing, metal is removed from bearing surfaces- the ends of hinge tubes, posts, toneholes… and you end up with slop in your mechanism and unlevel toneholes. And it’s not like they purposefully try to buff these places – look at this video of how it is done! It is an extremely imprecise abrasive operation on a precision instrument. Clearly the skill of the individual doing the work can make it less bad and refitting the keys and leveling the toneholes can fix much of the damage. If the relacquering is done by a chemical strip and then hand-polished, that will make matters better as well.

But in reality, the way most relacquers were done (because not many people do it anymore – it used to be a matter of course during overhauls back in the day) was fast and furious, usually by the lowest man on the totem pole in the shop because the job itself is dirty, dangerous, and all-around sucks to do. Now not many folks do it, and even less folks do it well.

(back to how to find a repairman)

I do not have a specific recommendation, but here is a saxophone forum where you can find them – this particular link is the “evaluations” subforum. It is helpful to do a search inside this subforum for your area and see if anyone else is talking about it. Note that this is a public forum, so make sure you take everything said there with a grain of salt (you’ll notice a lot of the content is guys yelling at each other about stuff they don’t know much about, but there is also some really great info and advice there if you dig through.. kind of like real life). Also there is a dealer directory by state on the same forum here.

Another good way to find a good repairman in your area is call the local college saxophone instructors and ask where they go for repairs. If there is a consensus, then its a good bet.

Good evening Matt,

I have 2 quick questions if you don’t mind please…

The first, is there an easy repair for an Otto Link ligature? The facing that rests against the reed has come loose on my soprano mouthpiece.

Secondly, do you know anything about tenor saxes designed or created by Dick Rumore? Our bassist works in a local music store and wants me to check one out they have for sale but I personally haven’t heard about the line of horns and all I could find was that they’re based in Tampa obviously from the bari saxophonist Rumore. I’ve tried looking for some sort of reviews to no avail. I’d like to get some idea of the quality of horn it is in terms of intermediate or professional level as well as durability in the long haul especially where having repairs and all are concerned, and lastly the look of the horn being pleasing to the eye.

I presently play a Beuscher 400 US made from the 60′s and would love to upgrade to a more professional horn at some point reasonably priced. However, I’m not at the point of getting a Keilwerth yet…lol! But if I can get a good quality horn for the money, even if it’s a good used one, it would be nice. Just curious on the specs about this one before even taking the time to play it and see how it feels and sounds.

Thanks for your time and consideration of these two questions are greatly appreciated. I just found this site tonight looking for reviews about the Rumore tenor horn.

No quick fix! You can take it to a repairman and they might be able to work with it, but its most likely going to involve soldering and/or metalworking a bit.

As far as the Rumore horn, I have not heard of it before. But unless its a vintage stencil instrument, it is going to be a new East Asian import (the kind I wrote about here) and will not be what I would consider a professional sax. In fact, your 400 is a great horn – up until 1960-ish, they are professional horns. Even the later ones are very nice and you would need to either buy a vintage pro horn or a brand new top-end horn to beat it. And really you might not ever need to if you just base your opinion on the sound rather than what the 2nd chair sax player says (you are first chair… right?? :-)).

Check out this list here to figure out which kind you have. All of them are great horns when in good shape (Have you considered a pro overhaul? It can make a big difference!), and even the later ones are really great horns though they don’t get much respect. I made a video about a 1959 Buescher 400 a little while ago, watch it here. Good luck and if you are still puzzled, send me some photos and I can help you out.

Hi Matt,

I’m Austin, a high school student. I recently stumbled upon your website (which is very nice, by the way), and your repairman page.

So if you could spare a little time to give me a little advice, I would really appreciate it.

The cork on my Alto Sax neck is peeling off, where the mouthpiece goes. The bottom side of the cork tube has patches where the cork is completely gone and is showing the metal. Currently, I am using folded paper to cover up the empty patches, but I noticed that my playing quality has decreased because of it.

Is it at all possible to repair the cork or replace it? If not, how much would a whole low to medium quality Alto Sax neck cost roughly?

Thanks in advance,
Austin

Austin, yes this is a totally normal repair and super easy. Its called replacing your neck cork. It usually costs $15-$25 to get it done, and usually while you wait, about 20 minutes or so, most of which is watching contact cement dry.  If you are feeling adventurous and would like to learn to do a common repair that will come up again and again in your saxophonic life, google “how to replace saxophone neck cork”- there are dozens of pages and even a few videos.  Watch/read a few of them to find one that makes sense to you- not all of them are equal in value.

This guest post is from saxophone and multi-reed player, composer, recording artist, and educator Sam Sadigursky of SamSadigursky.com

As both a saxophone player and educator, one of the most bothersome things that I regularly see are instruments in poor working condition and regulation. Oftentimes, students, and even some fairly advanced players, consider buying fancy, name-brand equipment a prime pursuit at the expense of having their instrument checked and maintained regularly by an experienced saxophone technician. In my experience, so many of the frustrations that I’ve encountered with what I thought were mouthpieces and reeds (the two easiest things to switch around), and even with my playing technique, were traced to problems with my instrument’s physical condition.

Work Smarter, Not Harder

As a student, I remember foolishly thinking that  letting my instruments go out of regulation for extended periods of time was actually good for my playing. It was as though making me work harder for a period of time made me a stronger player, like a baseball player swinging the bat with a heavy doughnut on it before coming to the plate. “If I can get those low notes to sound with all these leaks, imagine how good I’m gonna sound once I have them fixed…”

As I’ve learned, often quite painfully over the years, masterful playing should be easy, always, I’ve realized how much harm I was doing in those periods of compensating for leaks in my instrument and such. The minute you start to adjust for those things that aren’t necessary, you throw things out of whack, and immediately begin serving the instrument rather than the music. Remember, the instrument is there for you and your musical vision and expression – you’re not there to serve it!

Pad Heights, Leak Lights, and Timing

So many common pitch problems can also be attributed to poor regulation, especially pad heights, which are so crucial to the way a horn plays. For example, one of the most common complaints is that the high D, Eb, E, and F, played by the left-hand palm keys, are often sharp. Yes, there are things that most good players do to work on their intonation in this region, but carefully setting the pad heights there (which is actually something that is quite easy to do yourself) is a perfect example of how good regulation can liberate you as a player.

And it really shouldn’t get to the point where you can’t play certain notes on the horn. Small leaks anywhere on the horn can cause you to lose that “buttery” and even tone you’re looking for, and remember that any leak in the horn effects everything below it, not just one particular note that the pad is associated with. Also, one thing that a leak light can’t detect is key timings, which are also incredibly crucial in order for the horn to play move smoothly throughout all intervals on the horn.

Remember, besides the pads, which need consistent maintenance with standard wear and tear, there are hundreds of working parts on an instrument. Much like a car, even if you take exquisite care of your horn there will still be issues that need attention every so often.

Don’t Make Your Repair Person a Pinch-Hitter

Seeing your technician shouldn’t just be a first line of defense when you feel that things are starting to go sour for you. I recommend to everybody that they find the best person in their area or reach to service their horns, and before you consider putting $5K into that fancy saxophone that you’re dreaming of, make sure the one you have is in good working condition. You’ll be amazed at the difference in will make. And, if you do put that $5K into that beautiful vintage or new horn, make sure to also put some money into getting it checked out properly so that you know you’re getting everything you should from the horn. It’s some of the best money and time you’ll ever spend.

If you do have that horn of your dreams, make it a regular habit to see your technician. In my experience, most of them are happy to do a quick check-up on your horn, which should only take a few minutes or so. From my experience, it’s quite rare that there’s nothing to be done. As you become more accustomed to playing a well-maintained instrument, you’ll fine that even a few minor tweaks will go a long way. The best repairmen that I’ve found over the years are also happy to show you what they’re doing, so that you know what to look for when things are going wrong, and quite possibly even learn how to fix them yourself. I can promise you, I’ve never left a visit to the repairman without a renewed sense of excitement to play my instrument.

Conclusion

Find the best repairman in your area, one who understands the instrument and has a keen sense of what it needs, and develop a good relationship with them. See them preventatively, not just when it’s a day before the school concert or next gig and you need to beg them to fix that spring on your octave key. They are capable of doing more for your saxophone playing than you’ll ever imagine.

There are more and more musical instrument manufacturers who have decided to produce their own line of saxophones manufactured exclusively to their specs, from student to professional levels. In the last couple of years, many new lines of saxophones have come over to the United States from Taiwan, China, and Vietnam.

Initially, many of these saxophones were regarded as inferior due to their poor construction, utilizing mostly inexpensive parts which were assembled without regard to consistent quality controls. Today, a great number of these shortcomings are still prevalent in many saxophones produced in China, Taiwan, and Vietnam. But, there are some horn manufacturers whose horns are built in the Far East who really understand how to build a quality saxophone, and are achieving  quality craftsmanship using well-made parts.

R.S. Berkley is one of the musical instrument companies who truly listen to their artists as well as their customers’ suggestions and critiques. Since R.S. Berkley was founded in 2002, they have been constantly improving their saxophones to meet every player’s need, from student to professional.

I am going to be reviewing the R.S. Berkley “Virtuoso” tenor saxophone with the un-lacquered finish. Since testing a couple of their tenor saxophones briefly at the NAMM Show, listening to endorsing artists such as Don Braden, Sharel Cassity, and Tim Ries, and reading more and more reviews on the Virtuoso saxophones, I knew I needed to have another chance to play-test these horns and see how they compared to the competition.

I recently got in contact with the president of R.S. Berkley, Les Silver, and he was nice enough to send me one of their un-lacquered virtuoso saxophones to compare it to my current setup (a Selmer Mark VI tenor). I am going to be reviewing this saxophone on its appearance, build quality, tone and response, action, intonation, and price.

Appearance

The un-lacquered Virtuoso saxophone has a genuine un-lacquered look, much resembling a horn from the 50’s or 60’s. What really made this particular model stand out was the extensive “flower” engraving that was done on the bell, the body, and even the neck. It reminded me very much of the extensive engraving that was done to the Selmer Super Balanced action line of saxophones.

To complement the Virtuoso’s top quality appearance was the case it came in. This sturdy hard square case has an accessory pouch for music as well as two straps on the back to convert it into a backpack. Inside the case is a place for your mouthpiece, neck, and a nice large accessory box so you can fix a neck strap, tuner, additional mouthpieces, reeds, cork grease, etc.

Build Quality

The Virtuoso line of saxophones was based on the 85XXX-digit Mark VI saxophone because that is the serial number vicinity that Michael Brecker recommended to Les as a basis for the saxophone. I began playing the Virtuoso saxophone and would switch every so often to my Mark VI to get a better feel of each horn’s similarities and differences.

Unlike many saxophones manufactured overseas, the build quality seemed very stable. When I got the horn, I did notice some sticky pads and had to make one or two adjustments to the lower stack (most likely due to shipping). I could tell that this saxophone had been play-tested to check for any major leaks as well as any manufacturing issues because there were no major issues I could see with the construction. This surprised me because many saxophones made in this area of the world are built with softer metals which have a tendency to bend and could greatly affect the life of the horn as well as the playability.

Tone & Response

I found the overall tone of the Virtuoso to be very neutral. I also found the horn to be free blowing in the upper stack of the horn (especially the altissimo) as well as the lower part of the horn going all the way to the low Bb. I found some resistance in some areas when I initially played the horn, but over the past couple of days have actually come to like the resistance of certain notes because it allows me to push and bend the notes to my preference.

The horn responded immediately and did not take much air to produce a robust sound. I would say the un-lacquered finish makes this horn resonate just as much as my Mark VI and allows me to tailor my sound to the type of music I am playing.

Action

The Virtuoso tenor that Les sent me did not come with a high F#, which was great because my Mark VI does not have a high F#. The action on the horn resembles that of the Mark VI in terms of the layout. What I found to be different was the pearls were more concave and were thicker than my Mark VI, the E and F palm keys were moved more outward in relation to the D palm key, the low Eb and C key were a bit further away from the side keys, and the Eb spring was stiffer than my Mark VI. Although there were some differences in terms of the action, the Virtuoso felt more or less similar to my Mark VI and it did not take me long to get used to the layout of the horn.

Intonation

One of the most surprising features on this horn was its intonation. I found the intonation on this saxophone to be very good throughout the entire horn. I had to put very little effort to get the overtones in tune, whereas I would have to put in a bit more effort with regards to intonation when playing my Mark VI. I found that I had to adjust my embouchure on some notes on the Virtuoso compared to my Mark VI because I was so used to adjusting my jaw to get some of the overtones on my Mark VI in tune. Keeping the Virtuoso in tune required minimal effort. The only note that I had difficulty keeping in tune initially was the high F#, but once I used an alternative fingering, I lined up perfectly with the tuner.

Price

The Virtuoso saxophone is an overall great saxophone at an affordable price. I have seen these saxophones generally listed for sale at approximately $2,500 for the tenors and the altos for about $2,250. They are priced in the same range as many professional level saxophones from overseas, but more than any other saxophone I’ve tried in this price range, this horn incorporates many of the same features and overall sound quality that players have paid $5,000 to $10,000 for.

Overall

After playing on the Virtuoso saxophone and comparing it to a Mark VI tenor saxophone for the past week, I can gladly say that I would recommend these saxophones to advanced students as well as professional players. Although many horn companies have tried over the years to recreate the Selmer Mark VI saxophone and have not succeeded, R.S. Berkley has designed a line of tenor saxophones that embodies many of the same characteristics of the Mark VI (especially the keywork), but also takes advantage of the latest improvements in saxophone design and manufacturing to meet more and more saxophonists’ needs.

I can’t wait to get my hands on one of the altos (maybe even the gold-plated one!) and compare it to a Selmer Super Balanced Action alto or a Yamaha Custom.

Hear the Difference for Yourself

On my Selmer Mark VI

On the RS Berkeley Virtuoso

For more information, visit the R.S. Berkley site at http://www.rsberkeley.com

Which horn sounds best to you?

If anyone has any questions or comments, feel free to contact me, and I hope this review helps any saxophonists on the market for a new saxophone or anyone looking for another great horn to add to their collection.

This guest post is from saxophone and multi-reed player, composer, recording artist, and educator Sam Sadigursky of SamSadigursky.com

Whether you ever plan to improvise or not, to develop as a musician you have to be comfortable playing in all 12 major and minor keys. I know we’ve all heard this before, but this not only means that you need to conquer them technically on the instrument, but I tell students that each key has to to eventually exist as a miniature “sound world” that you can recognize, enter and play inside and be just as relaxed and at ease as if you never left the key of C. You can’t think that by knowing a scale that you know a key – you need to feel that key and hear every interval within it, know its modes and related chords and untangle its knots in every part of your instrument.

Nowhere to Hide

And… it’s not enough to be fluid in 10 keys and hope that your unfamiliarity in F# and Db is never exposed. At some point they will be, and by not working them out you’re holding yourself back as a musician in a major way (pardon the pun). Think of it this way: it’s not that any keys are actually harder than the others, it’s more a question of familiarity.

We don’t play as well in concert E major because we might not see it very often, but go play a rock or blues gig and you’ll encounter plenty of it. You need to do everything you can to become familiar with every key, and there’s no easy way to do this. However, there is an approach described below that I like to use myself and with students that I think is very effective and creative-minded that hopefully won’t lead you to some of the usual boredom or frustration that most of us associate with learning our keys.

Pick a Key and Stick with It

Rather than mind-numbingly work out scales and endless intervals and patterns in every key (as most books lay out), I often will pick one key, major or minor, and make that the key of the day, or maybe even the key of the week if you’re just starting out. I’ll play the scales and patterns that I know it that key, possibly even make up some new ones, and then just improvise in that key, playing whatever comes to mind. So much of the great improvising that we hear is based on simple, diatonic melody, whether it’s Lester Young, John Coltrane, Ornette Coleman, or Joe Lovano, that there’s a lot to be gained by doing this. Perhaps in the process you’ll uncover a new pattern or even think of a melody for a new song.

If you’re feeling really ambitious, maybe you want to work out a blues or rhythm changes in that key, or work on a simple ii-V-I progression. Whatever you do, just stick with that one key, to the point where it’s so deeply embedded in your consciousness that you can’t escape it even if you try. When you think you’ve run out of ideas, just keep going – this is often the point where things will start to get really interesting!

Work Smarter – Not Harder

This might be difficult to do at first if you are accustomed to working out small things in all twelve keys, but stick with it and see what it does for you. The great pianist Bill Evans was once asked what he practices in an interview, and he answered, “I practice the minimum“.  In just four words he really lays it out for all of us: work on the minimum amount of material so that you can reap the maximum benefit. This approach can be a great first step for you.

Choosing a new saxophone mouthpiece is no easy task. Since there are now so many mouthpieces on the market, it’s more difficult than ever for saxophone players to figure out which one will offer them the sound and comfort they have been looking for.

When you do decide it’s time to look for a new mouthpiece, here are a few suggestions that I think every player should consider before buying.

1. Form a clear “audio picture” of what it is you’d like to sound like

Many of us blow through our horns and settle on the sound that comes naturally. Of course, we work to make improvements, but in the end we let our intuitive physical makeup (ie: embouchure, oral cavity, throat, body shape, etc) determine the general direction of our sound. However, it might be that the sound that we feel best expresses us is different than what comes out automatically. In other words, you don’t want to be a Wayne Shorter trapped in Stan Getz’s body, so to speak. Get clear on what you want your tone to sound like so that when you play, you’ll be intuitively guided towards your ideal sound.

More on this topic here. 

2. Evaluate your setup

Before you consider even looking for a new mouthpiece, evaluate what you are currently playing on. Try out some different reeds and even go to a music store to check out some horns. If neither different reeds nor horns make it significantly easier for you to sound the way you want to sound, then it means that the mouthpiece is the weak link in the chain. Getting to the bottom of this will save you time, money, and narrow down your search. For those of you with private teachers and/or band directors, I would definitely consult with them as well for additional insights.

3. Take your idols’ setups with a grain of salt

There are so many different factors that determine the way we sound on the saxophone. There’s the formation of our embouchure. Then there’s the shape of the inner mouth. And then there’s our overall body structure. Not to mention our overall tonal concept as mentioned in step 1. In other words, just about every single aspect of our physical and mental makeup affects the way we sound. Taking that into consideration, gear plays a smaller role than you might think. In fact, the combination of your idols’ equipment with your particular physical and mental makeup can possibly result in you sounding more different than you would were you choosing gear based on tips 1 and 2 in this article.

All it takes is to give a listen to Charlie Parker on the Jazz at Massey Hall album. There he is, playing on a plastic saxophone, and still sounding like the Bird we all know and love.

Give Dexter Gordon a Selmer Bundy, and trust me, he’ll still sound like Dexter. If you want to sound like one of your idols, learn to match their phrasing and articulation, and you’ll find yourself naturally arriving at their tonal characteristics as well.

4. Take advantage of most retailers’ trial period

As many of you know, it can be quite difficult to decide within the span of a few minutes, or even an hour, whether or not a particular mouthpiece is going to be what’s best for you. There is often an adjustment period where you have to get used to the effect of the new piece on the way you naturally blow through the horn. Taking on a new  mouthpiece is a fairly big decision, so it’s important not to rush it and risk ending up with something that’s less than ideal for you.

If none of the music stores near you carry a particular mouthpiece that you’re interested in, look for some of the large online music retailers to find out if they have a mouthpiece trial period. You’ll probably have to give them a credit card number, but the point is that you can take advantage of the ability to try before you buy.

5. Bring a sax-savvy friend when mouthpiece shopping

Having a friend who can tag along and listen to you as you switch between your current mouthpiece to a new mouthpiece can really help you get some insights on what impact the potential piece is having on your sound. While trying out the mouthpieces, I would recommend not telling your friend which mouthpiece you are playing on so there is no bias. Make sure you conduct this blindfold test by playing the same tune or musical phrase on each of the mouthpieces. This way you can be confident that you’re comparing apples to apples.

6. Try out two identical versions of the same mouthpiece

Mouthpiece manufacturing is not an exact science. You may find that two mouthpieces of the same brand and same tip opening play differently and you might prefer one over the other. So make sure to try as many copies of the same piece as possible.

7. Revaluate your setup.

Before making the crucial decision of whether or not to buy, I would recommend going back and forth between your current setup and the new prospective setup to figure out if there is a major difference between the two. Spot checking your notes with a tuner, playing overtones, and playing scales up and down the horn to check for evenness can serve as helpful criteria in making this decision. I would only recommend making a purchase if you feel that the new mouthpiece noticeably improves your sound and feels more comfortable than your current setup. If the difference between the two mouthpieces is minimal, then I would recommend staying with your current setup and continuing to work on those areas you feel you are struggling with.

Summary

Many of these suggestions I have learned from my teacher as well as my own experiences mouthpiece hunting. Hopefully these tips will help you as well.

I have also included a link to an article written by Matt Stohrer. He is an incredibly talented saxophone repairman and is knowledgeable about everything related to the saxophone. This article is an in-depth look at mouthpieces as well as tips to consider when purchasing one.
http://stohrermusic.com/?p=1267

I’d love to get your feedback as well as your own tips to add to this list, so by all means, fire away!

Is that once-burning desire to burn on the horn starting to flicker? Are the hours you used to devote to practicing now in jeopardy of being traded in for hours in front of a TV set and a bag of Ruffles? Or maybe you’re still practicing your tush off, but progressing at a snail’s pace due to a serious lack in the enthusiasm department. Although practicing takes discipline, without passion, or at least a strong interest in the art of making music, it’s going to be difficult to improve, or even keep your skills at their current level.

So if you find yourself a bit burnt out, fear not! Below is a list of things you can do which will almost certainly get you back on that horn with a vengeance.

1. Dig into the treasure trove that is Youtube.

I defy you to produce the name of a single great saxophonist whose music cannot be found on this bottomless ocean of free video content. And I’m not only talking about performances, but also instructional videos and clinics from the likes of David Sanborn and Seamus Blake. From Sonny Criss to Sonny Rollins and Coleman Hawkins to David Binney, you’ll have a hard time not wanting to jump on the horn after a solid session surfing “The ‘Tube. ”

2. Pick up a good bio.

Reading about the life and music a sax legend can help you see the sometimes-blurry relationship between their “real life” and their music, giving their music a whole new dimension. And in seeing how their life affected their music, maybe you can find ways to incorporate your own life experience into your musical expression.

Some bios to check out:

• Ornette Coleman: A Harmolodic Life
• John Coltrane and Black America’s Quest for Freedom: Spirituality and the Music
• Take Five: The Public and Private Lives of Paul Desmond
• Stan Getz: A Life in Jazz
• Dexter Gordon: A Musical Biography (Da Capo Paperback)
• Eric Dolphy: A Musical Biography And Discography
• The Song of the Hawk: The Life and Recordings of Coleman Hawkins (The Michigan American Music Series)
• I Walked With Giants: The Autobiography of Jimmy Heath
• Bright Moments: The Life and Legacy of Rahsaan Roland Kirk
• Lee Konitz: Conversations on the Improviser’s Art (Jazz Perspectives)
• An Unsung Cat: The Life and Music of Warne Marsh (Studies in Jazz)
• Celebrating Bird: The Triumph Of Charlie Parker
• Straight Life: The Story Of Art Pepper
• Open Sky: Sonny Rollins And His World Of Improvisation
• Footprints: The Life and Work of Wayne Shorter
• Someone to Watch Over Me: The Life and Music of Ben Webster (Jazz Perspectives)
• Being Prez: The Life and Music of Lester Young
• Adolphe Sax. 1814-1984. His Life and Legacy (out of print, nearly impossible to find at a reasonable price, but thought I’d mention it just in case)

3. Try out a bunch of sax gear that you don’t necessarily need and possibly can’t afford.

I know that I’ve done a good amount of talking about the fact that shopping for new sax gear is often a cop-out. But let’s face it, trying out new reeds, mouthpieces, or saxes at your favorite music store can be a good time. It can also give you some new perspectives on the possibilities of what you can sound like on the horn. Who knows, you may end up finding something that works better for you than what you have, but that’s not the point. The point is just to do something with your playing that involves fun and exploration.

4. Incorporate some new practice books into your routine

There’s almost no better way to keep yourself on your toes than by playing through music that you would never encounter otherwise. Obviously, there are, like, a zillion saxophone books you could check out, but for a list of some of the classics, take a look over here.

5. Join an online training program.

With all of the fancy new technology, it’s very possible for the enterprising saxophonist to create an online study course which provides an actual program of improvement that you can follow, as opposed to simply buying individual books and doing your best to come up with your own practice routines. These aren’t free, but are well-worth the money, especially if you need some lessons but can’t afford a private teacher.

Some online saxophone training programs to check out:

• Video Sax Lessons with Bob Reynolds
• RandyHunterJazz.com

6. Visit the top saxophone websites

Well, if you’re reading this article, you must already have impeccable taste in saxophone websites. It also means that you see the value of taking advantage of today’s fancy interwebs to grab yourself some free saxophone information and inspiration that would have had you buying heaps of music books in days gone by. I’ve got a pretty good list of sites here, but since putting together that list, I’ve also come across some great sites such as http://BillPlakeMusic.org and http://BretPimentel.com.

7. Join an online forum or Facebook group

Connecting with your fellow saxo-friends and talking shop can be one of the most informative and inspirational things you can do. Here are some places to geek out with like-minded horn players:

• Sax on the Web
• the Facebook “Saxophonists” group
• Cafe Saxophone

8. Check out some live music

This one’s pretty obvious, but I had to mention it anyways. Going to see a show that leaves you flying high is often all you need to regain that inner urge (a little pun for you Joe Henderson fans out there) to hit the shed.

9. Set up a jam session.

And that doesn’t mean a standard rhythm section either. Jamming with just a drummer, a bassist, an accordionist, a pop band, a DJ, or even just another saxophonist can be a ton of fun. It can also expose the areas in which you could stand to improve so that you can have even more fun the next time you rock out with your buddies.

10. Find some new places to practice.

Changing up where you practice can work wonders in igniting some new sparks in your relationship with the sax. You could be like Sonny Rollins and practice under a bridge. Or you could take your hon into the woods and serenade Mother Nature. Perhaps you have a communal room in your apartment complex that sits unused most of the week. Or maybe just move to a different room in your house. You’ll hear your sound in a whole new light and your playing will take on new life that you may have not expected.

Scratching the Surface

Of course, this list could stretch down for miles, but this should at least get you started if you’re running out of steam. And if you’re not running out of steam, this should help you gain even more steam. You know what they say – “the more steam, the better.” Well, not really, but I think you get the point I’m trying to make.

Did I leave out something glaringly obvious? Or maybe not-so-glaringly obvious? Got any ideas or resources you’d like to share?

For jazz saxophonists, transcriptions play a vital role in our musical development. Many of us have bought transcriptions books featuring solos by various players such as Charlie Parker, Cannonball Adderley, Bob Mintzer, Hank Mobley, John Coltrane, and Sonny Rollins to name just a few. Since transcribing is one of the best ways to improve one’s playing, it’s been my experience that the familiar territory of standards is the best bet when it comes to incorporating new ideas into one’s vocabulary.

Many of us musicians have been told about the pros and cons of transcription books by our private teachers or from reading about transcription books online.

The Pros of Transcriptions Books

• Published transcriptions serve as a resource for checking one’s own transcriptions for accuracy.
• They allow a player to analyze certain solos they like and transcribe licks from that solo into all 12 keys.
• These transcriptions will help any saxophonist begin to digest a player’s articulation, phrasing, style, and tone.

The Cons of Transcriptions Books

• Some players might solely rely on transcription books instead of putting the effort into transcribing a solo themselves.
• Not all transcriptions are 100% accurate.

This Book

Renown saxophonist Eli Bennett’s Chris Potter plays Acapella Solo Standards is truly one of the most unique and useful transcription books I have seen in a long time. This book contains some of the most popular jazz standards such as “All the Things You Are”, “I Love You”, “26-2″, “Ladybird”, and more. In addition to the ten standards, Eli has included the audio recording for each tune so that you can play along with Chris.

One of the most important things to keep in mind about this book is that it is not actually a physical, paper book, but instead, it is an e-book. Like virtually all e-books, this one comes in PDF format, so you’ll need the free Adobe Acrobat Reader to view it. Being that it’s in electronic format, you’ll be reading the solos off of a computer screen.

UPDATE: While I originally thought that it was not technically legal to print the book out, Eli just informed me that buyers of the book are indeed free to print out copies for themselves, as he wouldn’t expect anyone to rely only on a computer screen to read it.

Although it’s not technically legal to do so, my guess is that some of you may print the book out yourselves, or through a local print shop. Due to the copyright notice inside of the book, some printers may not agree to print it. So in future editions, perhaps it would be good for Bennett to include some sort of provision for printing out a single copy of the book. It would also be great to see a paper version of the book for sale at some point, as it would almost certainly be quite successful.

The Nitty Gritty

Although this might seem like a daunting task, much of Potter’s solos can be played if taken apart piece-by-piece. This is made as simple as possible due to the way Eli has laid out the book. Since I have played through all these solos as well as listened to Potter while following the transcriptions, it’s clear that Eli truly invested a great deal of time to give saxophone players a very accurate and detailed transcription on each standard. The notation is very clear and easy to read, which makes the book that much more effective.

Unlike some transcription books which do not include the chords above each measure, Eli includes the chords so players will have the ability to see what Potter is playing over these changes which in turn will help any saxophonist begin to incorporate some of these musical ideas into their own playing.

Finally, the fact that Eli himself is able to play flawlessly through each of these solos from start to finish (see the first video below) is a testament to the practical usefulness of the book. I intend to work through it extensively and incorporate Potter’s brilliant approach into my own playing.

To learn more about and purchase the book for yourself, head over to Eli’s web site. 

Eli playing Chris Potter’s solo on “All The Things You Are”

Eli playing with Chris Potter

This article comes courtesy of guest contributor, Todd Feldman of RS Berkeley Musical Instruments.

Posi-Tone Records recording artist Travis Sullivan has earned a worldwide reputation as an alto saxophonist, pianist, composer, and arranger. He has been hailed by Jazz Times as being “…a gifted alto saxophonist and improviser who has also developed a strong and commanding voice as a composer.”

In 2002, his breakthrough came in the form of Travis Sullivan’s Bjorkestra, an 18-piece big band performing his arrangements of the renowned music of Icelandic pop goddess Bjork, and in 2008 he released Travis Sullivan’s Bjorkestra: Enjoy! on Koch Records. In 1999, he self-released Travis Sullivan’s Project One: As We Speak featured a quartet that included guitarist Rez Abbasi and drummer Ari Honig. In May 2011, Sullivan released his CD New Directions, his third album as a leader and his debut on Posi-Tone Records.

Sullivan has performed in the U.S. at venues such as The Blue Note, Iridium, The Jazz Standard, Joe’s Pub, and the SF Jazz Festival. He has also appeared internationally at The Montreal Jazz Festival, The Jarasum Jazz Festival (South Korea), and as a conductor for the Cologne Contemporary Jazz Orchestra (Germany), the Sicilian Jazz Orchestra (Italy), and the Reykjavik Big Band (Iceland).

His latest album, titled New Directions presents eight of his original modern jazz compositions, as well as Rodgers & Hart’s “Spring is Here,” and his arrangement of the Tears for Fears classic “Everybody Wants to Rule the World.”

The Interview

Travis, you have gained a worldwide reputation as an alto saxophonist, pianist, composer, and arranger. At what point does a musician begin to learn another craft, such as composing and arranging? While composing and arranging, what kind of role does your expertise in playing the saxophone have when producing your compositions and arrangements? 

I think that you can start arranging and composing at any age. Mozart started doing it when he was three or so, so why not? The earlier the better.

I create my compositions and arrangements almost entirely at the piano, and my knowledge of the saxophone is very helpful when arranging for saxes, because I’m comfortable with the ranges and transpositions, as well as being able to better imagine what a line is going to feel and sound like when it’s played. Playing a wind instrument also helps with visualizing dynamics and articulation for brass and woodwinds, and serves as reminder that when writing melodic lines you can’t write a 16 bars of notes without accommodating for the player to take a breath.

At what age did you begin playing the saxophone and how did your education prepare you to become a professional musician? What would you tell a young musician aspiring to become a professional in terms of training, practice and being involved with different bands/orchestras/groups, etc? 

I began playing the saxophone when I was ten. Although I enjoyed playing a musical instrument, I didn’t really think of it as a career option until I was a couple of years into my undergraduate studies in biochemistry at the University of New Hampshire. Up until that point I was taking private lessons with some excellent teachers, and they, along with my parents, helped me cultivate the discipline and passion for music necessary to be a professional, but it wasn’t until I was in college that I started being around a lot people my age that were serious about music and were considering it as a career. Ultimately, my education was ad hoc in a lot of ways until I decided to move to NYC to get my Masters at Manhattan School of Music, and then I was being presented a lot of material in a classroom setting. All that said, I think that there’s only so much you can learn about being a professional musician from the study and practice of music – there’s a whole other layer of experience that can only come from actually doing it, and so many of the important lessons that I’ve learned have come from being in bands, playing gigs, and interacting with my colleagues and friends.

My advice to young musicians aspiring to become a professional is to practice regularly and wisely, and have a teacher/mentor that you respect and can learn about all aspects of what it means to be a musician that goes beyond just the study of the instrument. Also – explore explore explore! Check out as many different styles of music that you can. Play in rock groups, jazz ensembles, big bands, wedding bands, classical orchestras. The sky’s the limit and it’s so important to keep your mind and ears open.

I notice you offer students the ability to study with you on your website, travissullivan.com. In your opinion, what would you say is the most common issues/problems you encounter while teaching saxophone to others? As a student yourself, what was the hardest thing you encountered with the saxophone and how did you overcome the problem? 

Having students develop a solid concept of sound production on the saxophone is something that I’ve found to be the most challenging issue that I’ve encountered as a teacher and in my own studies. This is because there are so many physical factors that are at play in terms of embouchure, the throat, and breathing. This is made even more difficult because most students when they’re just starting out, understandably, don’t really know what they want to sound like on the instrument (or maybe if they even have a choice).

I struggled with this myself until I started studying with Dick Oatts at Manhattan School of Music. He’s an amazing saxophonist and teacher and for the first 4 months or so of working with him all we concentrated on was proper embouchure and sound production. It really required this intensive, focused work to overcome the issue of development of this concept.

As an educator, how do you guide your students in selecting the right instrument? What attributes do you look for in a saxophone and what is the best way to determine whether you’re playing the right brand/instrument? 

I always suggest to my students that they get the highest quality instrument that they can afford. I think that the term “professional” saxophone is a little misleading, because since those instruments are generally higher quality, it follows that they’re actually going to be easier to play and to get a good sound on. Of course, budget needs to be a consideration, especially for a parent who is unsure whether or not their child is going to want to take lessons for more than a few months. For more advanced students that are looking to buy a new horn, I tell them to listen for tone and overall feel of the instrument, and to try out a lot of saxophones until they find the right one. Also, it’s very important to bring your teacher, parent or friend along when you’re trying out instruments, because it’s always great to get someone else’s opinion on how you sound.

How difficult is it to find the right set-up and how often should a student change their set-up? How important is it and why would a musician change their set-up to play different genres of music? 

It takes a lot of experimentation to find the right set up, and I think how often a student should change their set up is a personal choice. As a teacher I’ll definitely advise a student to change their set-up if I’m hearing that it is either holding them back sound-wise – and that could either mean it’s too easy for them (the mouthpiece is too closed and/or the reed’s too soft) or too hard for them (the mouthpiece is too open and/or the reed is too hard). With that said, for beginners, I don’t think it’s a good idea to change one’s set-up too often, because at that point the student probably doesn’t have a solid concept of sound production to begin with, and changing the setup may complicate matters of embouchure development. Once a student reaches an intermediate level of study, this may be a better time for experimentation – even if they’re happy with what they already have. There might be something out there that is better for them. Of course, some players get addicted to this sort of experimentation. I’m not one of them personally, but I see the appeal.

You’ve certainly worked on some very successful projects, most notably when your breakthrough came in the form of Travis Sullivan’s Bjorkestra, an 18-piece big band performing your arrangements of the renowned music of Icelandic pop goddess Bjork, As a working musician, how do you decide to take on a project of this magnitude? What made you decide to rearrange the music of Bjork versus others? 

At the beginning of working on this project, I didn’t think that it was going to develop into the huge undertaking that it became. I was listening to a lot of Bjork’s music in the late 90’s/early 00’s and thought that her music was fertile ground for improvisation and large ensemble writing – her melodies, harmonies, and grooves are beautiful, and there are plenty of counter-melodies and sound layers to orchestrate. The bottom line is I loved her music and wanted to explore it deeply.

I also wanted to learn more about writing for big band at the time. When I completed the first arrangement “Hyperballad,” I decided to write another, and sometime during the writing of the second arrangement I had the idea to write an entire “song cycle” for big band and vocals, with Bjork’s music as the core of the work. It happened all very organically, and had nothing to do with making a decision of one artist or another, it was only about the writing and exploration at that point. In fact, I had about four or five arrangements written before I had the idea to name the band The Bjorkestra.

This project has had the type of success creatively and professionally that I still haven’t figured out how to duplicate with my other projects, but am certain that it has something to do with having absolutely zero expectations about the outcome, and being 110% engaged in the process of creation.

At what point should/would a saxophonist begin to incorporate playing other types of saxophones (tenor/baritone/soprano/sopranino)? Why do you think the alto saxophone is the preferred choice for novice players versus something smaller like a soprano? 

Once a saxophonist has developed a basic proficiency and a solid embouchure on their starting instrument, it’s OK to incorporate other types of saxophones. I started on the alto saxophone, and in junior high school I ended up playing baritone saxophone in concert band and absolutely loved it! It can’t hurt for a young student to be exposed to assuming different roles in ensemble settings.

I think that alto saxophone (and sometimes tenor) is the preferred choice over soprano because of embouchure, intonation, and concert band orchestration. Playing in the high register on soprano is really tough for a beginner, as well as developing a solid yet relaxed embouchure. As a consequence, it’s rare that you’ll see soprano sax parts written for student concert bands, which already have a balance issue when you have eight alto saxophonists vs. the generally quieter flutes and clarinet. All in all, the alto saxophone is the path of least resistance for both music educators and the young beginner.

To learn more about Travis, head over to www.TravisSullivan.com.

The Buddhists call the practice of applying calm awareness to one’s activities as “Mindfulness.” And no matter what it is you’re doing, mindfulness will allow you to do it better.

Zen and the Art of Sax

Of course, practicing the saxophone is no exception. In fact, I would venture to guess that over 90% of the mistakes I make while playing are the result of zoning out on something other than the task at hand. So that tells me that if I were to significantly decrease the whole zoning-out thing, then my playing would increase exponentially.

On top of that, as I move away from the autopilot mode where I let my “fingers do the walking,” the music coming out of my horn becomes a truly authentic extension of myself. And whether you’re Dave Koz or John Coltrane, being authentic in your playing is an absolute requirement for greatness.

Easier Said than Done

Unfortunately, we live in an A.D.D. society where things like iPhones, MTV, and airlines with broadband service are turning our attention spans to…umm…wait – what was I talking about…? So it’s important for us to do everything we can to keep us focused on the act of playing our instrument.

Here are some examples of mental devices I use to keep me on track while practicing:

• Play long tones focusing only on the steadiness of my pitch.
• Crescendo and decrescendo through my long tones, focusing only on the steadiness of harmonic color in my sound. In other words, I focus on hearing the same overtones at both pianissimo and fortissimo.
• Practice overtones focusing on keeping the pressure of my jaw and lower lip the same throughout the entire harmonic series and using the other muscles in the throat and embouchure instead.
• When playing anything, focus only on supporting the sound using my diaphragm.
• Play a rapid chromatic scale listening for the percussive sound of the clinking of the keys as I press them down, and the steadiness of 16th-note rhythm as the notes clink by.
• Practice anything, whether it’s long tones, scales, an etude, or whatever while imagining that I’m performing to a full audience at Carnegie Hall. (Trust me, if there was ever a situation where you wouldn’t want to zone out, that would be it).
• Transpose an exercise or tune into the the key that’s most difficult for me, and play it strictly by ear.

And the list goes on, literally ad infinitum. The point here is to zone in on just one thing at a time while practicing. And the same thing applies when playing in a live situation with a group, however in this case I focus fitting myself as beautifully as possible within the totality of the entire “musical picture.”

Taking It to the Next Level

So if all of this talk of mindfulness and musical authenticity is floating your boat, you may want to check out the relatively-recent but classic book and accompanying CD by brilliant jazz pianist Kenny Werner titled Effortless Mastery.

And with that, I leave you with a quote by the master himself…

Do or do not… there is no try

-Yoda