Sax on the Web Forum banner
1 - 12 of 12 Posts

· Distinguished SOTW Member, Forum Contributor 2009
Sax, Flute, Keyboard, Vocal
Joined
·
7,183 Posts
Discussion Starter · #1 ·
A recent friend of mine I met from SOTW had a skype discusssion about voicing work for tone. Fascinating. Trevor wye has some basic exercises where you play a melodic passage with the different colors of oooooh , aaaaahhhh, and eeeeeeeeh and all the in between oral cavity possibilities. Very cool thing to look/work on . K
 

· Distinguished SOTW Member, Forum Contributor 2009
Sax, Flute, Keyboard, Vocal
Joined
·
7,183 Posts
Discussion Starter · #2 ·
i also dug up a Robert Dick set of exercises for tone bending and harmonics. Cool stuff K
 

· Registered
Early 70's Yamaha YTS-21 with a 10MFan Classic 7* 'piece and whatever reed is in the case
Joined
·
128 Posts
This is really interesting stuff to me as a trained vocalist and brass player that has recently picked up tenor sax. I'm here to learn. :coffee:
 

· Distinguished SOTW Member, Forum Contributor 2017
Joined
·
6,659 Posts
I just got back to playing after having my wisdom teeth removed last week. Since I have a relatively small mouth and these were the biggest teeth I had, there's a huge difference in the size of my oral cavity. (Including the rather large holes at the extraction sites). I expected a big difference in sound and an adjustment period. Not so. I can't really tell that there's any difference. My jaw is quickly fatigued, but that's about it. I expect the fatigue might be from making unconscious adjustments with muscles that I didn't use that way before, but it might just be residual pain from getting the teeth pulled... Either way - I still sound like me. I was tracking a piece in the studio before the surgery that I was (and still am) unhappy with. I ran through it a few times last night, and the tone of the new tracks are indistinguishable from the old ones.
 

· Registered
Selmer Balanced Action Tenor Saxophone, Powell Flute
Joined
·
3,825 Posts
Couple of thoughts ... We are talking about Flute and not sax correct? I suspect some think this is sax talk. I'll put some thoughts on voicing for both sax and flute.

1. I find that voicing doesn't have as much to do with physical space (like fader was talking about) as it does with the shape of the syllable we voice. In other words, tongue placement as well as height of the soft palate. I find this true on sax and flute, although with flute you can add the extra space between your top and bottom teeth into the equation. This will affect the syllable a lot whereas it can't affect it on saxophone as much due to the fixed position.

2. Flute voicing is MUCH different as you go into the higher register than saxophone voicing is. Flute voicing gets more open the higher you go. Almost like the opposite of saxophone voicing.

3. A lot of players utilize airstream and embouchure changes to facilitate octave jumps and the changing of registers when playing the flute, but these things can be achieved, much like playing the saxophone, by just voicing and not by changing airstream and embouchure.

Carry on!

Have fun. Play more flute :)
 

· Distinguished SOTW Member, Forum Contributor 2015-
Joined
·
38,857 Posts
This is really interesting stuff to me as a trained vocalist and brass player that has recently picked up tenor sax. I'm here to learn. :coffee:
I trained briefly with opera singer Marjorie Lawrence in the early '70s, and credit much of my tenor sound to what I learned from her. You should have a solid foundation of great tenor (sax) tone.

Now you just need to do the rest of the work!

Enjoy the path.
 

· Registered
MKVI Alto Berg-95/0
Joined
·
923 Posts
For me air speed, angle and size of air stream is what changes everything on flute.
Absolutely!!!
I'll add shape of the air that hits the edge.

Over easy
Scrambled
Hard boiled

Giant Steps
Lush Life
Ornette's tunes

Match the eggs to the music . ;)

A free spirited Opera professor, in '74, said she aims the air to hit the roof of the mouth first.
 

· Distinguished Technician & SOTW Columnist. RIP, Yo
Joined
·
17,082 Posts
For me air speed, angle and size of air stream is what changes everything on flute.
For me air speed, angle and size of air stream is what changes everything on flute.
I totally agree.
Think of sax. There is a solid thing of significant mass - the reed - vibrating inside the mouth, so of course the way the reed vibrates is "coupled to the mouth cavity.
But for a flute, the "reed" is made of air. It is entirely outside the mouth. And the tip of the reed, where most of the vibration occurs, is several mm away from the mouth.
For air-reed oscillation to couple/communicate with the air inside the mouth cavity, the compressions that that air-reed reed produces must oscillate in and out of the tiny, tiny lip orifice, fighting the air-flow between the lips, when the lips are made of a very soft, sound-absorbing lip material.
To me, that is very far fetched, indeed absurd.
Voice box, and bass-family of instruments - a different matter altogether.
 

· Distinguished SOTW Member, Forum Contributor 2009
Sax, Flute, Keyboard, Vocal
Joined
·
7,183 Posts
Discussion Starter · #12 ·
The ideas of generating a better tone using vocalization and feeling where the air pocket in the neck is felt, comes from Emanual Pahud (air felt in the wasabe spot, sinus area) and the teachings of Nicole Esposito. If they dont work for you then do what you do.
 
1 - 12 of 12 Posts
This is an older thread, you may not receive a response, and could be reviving an old thread. Please consider creating a new thread.
Top