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Grafton + TH & C alto || Naked Lady 10M || TT soprano || Martin Comm III
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30,105 Posts
This has been a much debated topic on SOTW for quite a while.
And here's even more debate:
Practicing on the mouthpiece alone and learning to play tunes and scales helps to develop control of the oral cavity which is essential to playing overtones and altissimo.
I agree
Playing the mouthpiece apart from the saxophone (without changing the oral cavity) is a tool to gauge how tight or "pinched" the embouchure is by what note it produces.
I disagree. It might make sense if all mouthpieces were the same, but they aren't.

I make mouthpieces with different chambers and shank lengths, the pitch varies.
 

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Out of Office
Grafton + TH & C alto || Naked Lady 10M || TT soprano || Martin Comm III
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30,105 Posts
Sidestepping the "argument" that the alto mouthpiece must produce an A concert or the tenor mouthpiece must produce a G concert, can we agree that tightening the embouchure to play a pitch that is significantly above the "natural" pitch of the mouthpiece as determined by the chamber and shank length produces a tight and pinched tone on the instrument?
The more pressure then the higher the pitch will be whether it's the mouthpiece alone or the assembled instrument. However I don't see the relevance as you were discussing blowing a particular pitch.
 

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Out of Office
Grafton + TH & C alto || Naked Lady 10M || TT soprano || Martin Comm III
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30,105 Posts
The discussion appears to have drifted from the topic of which frequency the reed vibrates at to the pitch played on the mouthpiece alone, although they are somewhat related.
I don't understand how they are related although the reed is associated with the mouthpiece so a good opportunity to bring up the topic of mouthpiece alone pitch yet again. Maybe it used to be relevant in the old days? (And I won't try to deny I mention it in my book/site, but I think things have moved on since Santy Runyon, however much respected he is.
 
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