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Discussion Starter #1
Hey there,

This is my first post.
Started practising sax seriously again which is really nice.
I have a YTS 61 with a yani mental mouthpiece 8 star mouthpiece, use 3-1/2 rico r reeds.
I have a frustration with going up the horn with intonation with needing to adjust my emboshure to get it in tune. Going up the horn meaning for instance playing a line like f# A B in long tones (regardless of octave). I find when I end up on B i need to consciously think down in my lower jaw and consciously give more air support in order to get it in tune. This seems to be a problem regardless of setup. I would much rather not do this and be consistent throughout the horn.
Does anyone else find this?
Im starting to get paranoid about what it is with my horn or setup or whatever.

any enlightenment would be muchly appreciated.

Crysp
 

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Your reeds are a tad hard for how open your mouthpiece is. You are probably biting, wich is throwing your intonation out of whack. The part about you needing to "down in my lower jaw" is the givaway.
 

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Crysp said:
any enlightenment would be muchly appreciated.

Crysp
Here's some: you will find you get a much more positive and informative response from the many great teachers and players on this forum if you take the time to write your posts in complete and reasonably grammatical sentences.

With respect to intonation, a lot of the discussions I have read on SotW seem to agree with Martinman (a very knowledgeable guy BTW). Biting causes intonation problems, and biting is often caused by a too-difficult set up. While it's not exactly monster-chops territory, your set up is a pretty robust one. To test this, you could try using a substantially softer reed and playing with as relaxed an embouchure as you can. This might help iron out your intonation problems.

Rory

ps. if this doesn't work, do what Kelly Bucheger does: boil your reeds.
pps. the answer is always: Long Tones!
 

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rleitch said:
you will find you get a much more positive and informative response from the many great teachers and players on this forum if you take the time to write your posts in complete and reasonably grammatical sentences.
Rory, you're making the assumption that English is his first language.;)
 

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daigle65 said:
Rory, you're making the assumption that English is his first language.;)
Not at all, what I am indicating, under the rubric of "some enlightenment," is that many of the really knowledgeable folks (which group does not include me, BTW) on SotW really don't like having to make sense of poorly worded, unstructured and otherwise garbled posts, and so they tend not to respond to them as positively and generously as they do to reasonably well edited ones.

Rory

ps. I'm an ESL instructor;)
 

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rleitch said:
With respect to intonation, a lot of the discussions I have read on SotW seem to agree with Martinman (a very knowledgeable guy BTW).

Thanks, man!
 

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Discussion Starter #7
yea

Sorry was a late at night with that post and it made gramatical sence to me then.
Just letting you know I've made a few breakthroughs and it appears not to be about the reed strength but more to do with my technique.
What was key to let everyone else know was Jerry B's 'no emboshure emboshure' meaning you were born with it.
And a few other things, but thanks for the advice Martinman. I'm sure to have more questions, in fact just about to post another:shock:

Crysp
 

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Discussion Starter #8
actually after yesterdays practise session -trying to match my tone to players I liked it became obvious that I did have too harder reed. Might try a #3.

It's funny when you try to match your tone to a ballad or just melodies (the heads rather than the solos) of great players, it reveals so many holes! Has taught me allot. Definatly going to do this allot more from now on rather than just transcribe 8th or 16th note solos. It's all about tone:) .

Has anyone done allot of this?

Crysp
 
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