For the past seven years, I have only been studying Classical music mainly on Alto. I recently completed my rounds of College auditions, where I auditioned with the Glazunov Saxophone Concerto if that gives you an idea of my playing ability. I decided to do a 180 and study jazz at the College of Charleston with Robert Lewis. I am pleased with my classical sound but, even though I am looser when I play jazz, it just not sound good, I feel as if I am approaching the mouthpiece as I would my s90 (I have a Phil Tone Le Son 6 tip opening which is modeled after a Meyer for jazz). Transcribing has helped me a lot, but my embouchure for both Classical and Jazz is virtually the same. What differences are there, and how can I approach them from where I am coming from?
Coming From Classical to Jazz Embouchure
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Keilwerth saxes (S/A/T), Selmer clarinets (S/B), Altus Azumi flute
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A nice thing about playing jazz is that, unlike in classical, there's no single "correct" approach to embouchure or sound.
That said, if you want to get a traditional jazz sound, the biggest changes that you may want to make are to (1) roll your lip out and (2) loosen your embouchure.
More than that though, you'll want to spend lots of time listening to and playing along with alto players on jazz recordings. Most of the jazz "sound" really comes from the articulation, inflections, and subtle details of tone manipulation that you'll only learn through immersion and emulation.
Finally, if you plan to keep playing classical saxophone on alto (and you plan to alter your embouchure for jazz), then I agree with hakukani that it might be better to choose a different voice. Otherwise, you'll probably find it difficult to maintain two different styles of embouchure on the same instrument.
That said, if you want to get a traditional jazz sound, the biggest changes that you may want to make are to (1) roll your lip out and (2) loosen your embouchure.
More than that though, you'll want to spend lots of time listening to and playing along with alto players on jazz recordings. Most of the jazz "sound" really comes from the articulation, inflections, and subtle details of tone manipulation that you'll only learn through immersion and emulation.
Finally, if you plan to keep playing classical saxophone on alto (and you plan to alter your embouchure for jazz), then I agree with hakukani that it might be better to choose a different voice. Otherwise, you'll probably find it difficult to maintain two different styles of embouchure on the same instrument.
Keilwerth saxes (S/A/T), Selmer clarinets (S/B), Altus Azumi flute
Joined
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3,676 Posts
I was skeptical, but this essay is very good. I think it would make a perfect starting point for the OP.
Thanks for the article, I found it very helpful.
I have mostly just played Alto, it actually may be worthwhile to get a tenor. Approaching it as a new instrument for a new style.
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