[vini88]

I've been considering changing classical mouthpieces for a while, but I lack a music store anywhere near by to test mouthpieces, so I need a good idea of what to look at online. I've bee playing a Rousseau NC4 for about 8 years now, and prior to that I played a Rousseau 5R. Lately, my jaw has begun to hurt too much during practice sessions. My reeds are D'Addario Reserve 3.5s and Hemke 3.5. The pain is worse when I play on my fat neck on my CB Alto. S80 C* is out of the question, I always blow out my soft palate with it. Any suggestions would be greatly appreciated.

 

[turf3]

Use softer reeds.

 

[wilco87]

And what about your posture? I have a problem called 'gamers neck'. This places extra force on the jaw muscles. In combination with a hard enough reed this could hurt. Check out this link, it may help you.

 

[vini88]

I would use softer reeds, but I have more difficulty playing in the upper register cleanly with anything below 3.5. The Hemkes are about .5 softer than the Reserve, but they tend to chirp too much.

 

[bandmommy]

+1 for using softer reeds.
I use a Rousseau 4R and a Hemke 3 is almost too hard to play comfortably for extended practice sessions.

 

[skeller047]

+1000 to softer reeds. What you describe (the soft palate issue and lack of clarity in the upper register) is a classic sign of too much pressure. I suspect (this is JUST a suspicion!) that you are using the hard reeds as a crutch to get you to push air harder.

What you have to do is learn to provide that level of air support without having something to push against. That is why so many people recommend pushing your abdomen OUT while exhaling; this ensures that you are supporting the air stream from the bottom of your lungs. You control the air with your belly, not the hardness of the reed.

You also need to maintain a firm (not tight) embouchure and a loose jaw, to avoid pinching. Hard reeds also can help people not bite, or rather they resist the bite more strongly. Embouchure firmness comes from lip pressure, not jaw pressure.

I have found it useful at times to practice with SOFTER reeds than normal to really make sure that I am producing the sound with my air and firm (but not tight) embouchure seal. Dropping the jaw to get clarity in the palm notes is a requirement with a soft reed.

 

[134520]

Use softer reeds.

Second. I did the same thing throughout high school, played on a C* with Reserve 3.5's to allow myself easier access to altissimo notes. After suffering from some pretty serious TMJ symptoms I switched to Reserve 3's and it has done wonders for my jaw life.

 

[Dr G]

I've been considering changing classical mouthpieces for a while, but I lack a music store anywhere near by to test mouthpieces, so I need a good idea of what to look at online. I've bee playing a Rousseau NC4 for about 8 years now, and prior to that I played a Rousseau 5R. Lately, my jaw has begun to hurt too much during practice sessions. My reeds are D'Addario Reserve 3.5s and Hemke 3.5. The pain is worse when I play on my fat neck on my CB Alto. S80 C* is out of the question, I always blow out my soft palate with it. Any suggestions would be greatly appreciated.

Your jaw pain is a concern. Are you aware of moving your jaw from its resting position (fore/aft) when you put the mouthpiece in playing position? "Blowing out" the soft palate is a concern also. How does that manifest?

Why are you using such a stiff reed?

If you are encountering yet more resistance on the fat neck, you may be adding leaks to the horn - either at the cork, octave pip, or tenon.

Don't keep playing through the pain.

 

[Nefertiti]

What is involved with "blowing out the soft palate"? I have never heard of that before.........

 

[turf3]

If you have trouble with high notes speaking with a #3 or harder reed, then you need to learn how to voice those notes. This is where overtone practice will pay off.

I don't have any trouble playing more than 3 full octaves on alto with a Selmer C* and #2.5 reeds.

 

[vini88]

Let me explain a little more....this jaw pain is a very recent development (within the last month) and typically occurs while I'm working on Tableaux de Provence (usually the 4th movement). I've been playing sax for 20 years, and I'm working in my masters in performance.

Soft palate issue usually occurs on bari when I push myself too hard in pep band (I love my funky bass lines), but on alto it occurs when I practice too long. My professor and I have worked on this, and it's not an issue, unless it's a C* (no, I dont know why) which is why I refuse to use them.

*I've also changed my vibrato over the last 3 months- I had always used "wa-wa" and now I'm using "ya-ya" which is engaging more of my jaw.

I felt I was over blowing too much on Reserve 3/3+, and 3.5 gives me the best sound/response. I took 8 years off from studying, to be a middle school band director, so much of my gear is from undergrad.

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[turf3]

Well, it still sounds like you've got too much blowing resistance there.

For ME, at any rate, the first step would be going to softer reeds and learning how to get your sound with those.

I call your attention to the fact that several well known saxophonists transitioned from rock hard reeds to softer reeds later in their careers, with no noticeable loss of projection or flexibility across all registers: I know I have read that Coltrane, Parker, and Michael Brecker did this.

Honestly I have trouble understanding how you can be blowing hard enough in a classical context to hurt yourself. The only times I've ever had that issue is in blowing my brains out in a loud rock band. How can you achieve the kind of subtle control you need for classical work when you're blowing so hard it causes pain?

 

[vini88]

Well, it still sounds like you've got too much blowing resistance there.

For ME, at any rate, the first step would be going to softer reeds and learning how to get your sound with those.

I call your attention to the fact that several well known saxophonists transitioned from rock hard reeds to softer reeds later in their careers, with no noticeable loss of projection or flexibility across all registers: I know I have read that Coltrane, Parker, and Michael Brecker did this.

Honestly I have trouble understanding how you can be blowing hard enough in a classical context to hurt yourself. The only times I've ever had that issue is in blowing my brains out in a loud rock band. How can you achieve the kind of subtle control you need for classical work when you're blowing so hard it causes pain?

Right, I know there's a back pressure, so I'm trying softer reeds. Does the baffle or chamber shape of the mouthpiece affect pressure build up as well?

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[turf3]

Right, I know there's a back pressure, so I'm trying softer reeds. Does the baffle or chamber shape of the mouthpiece affect pressure build up as well?

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Yes, but I don't know how it does, or which configurations tend to which behavior.

Pretty much everything I play is a medium chamber with small rollover baffle, so I don't have recent experience with other types. But that general style also seems to be the most adaptable and flexible anyway.

For classical on a Selmer copy alto, I'd recommend a Selmer Soloist (C* or D) since that's what came with every Mark 6. They are excellent mouthpieces (scuttlebutt is that the current reissue is almost identical to the old ones) well made, good tone, and not too expensive. If it was good enough for Marcel Mule it ought to be good enough for the rest of us.

 

[mijderf]

One thing that definitely can affect resistance is the nature of the facing curve. I'm sure the chamber can be part of it, but I recently had a mouthpiece with too much resistance (for me) refaced, with the comment from the refacer that he slightly lengthened and smoothed the facing curve, and now it plays very easily. I could discern no change in tone on the piece after the refacing.

 

[bandmommy]

When was the last time you had your horn serviced?

 

[vini88]

When was the last time you had your horn serviced?

Bought it new in July, wont be able to get it serviced until December/January due to how far I have to take it.

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[bandmommy]

Maybe that 'new' horn is plagued with leaks.

 

[vini88]

Maybe that 'new' horn is plagued with leaks.

Oh I'm sure, Ive been playing it 2-3 hours a day since I got it, but I won't be able to get it in for service until December.

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[bandmommy]

That could be the reason you are suffering so much back pressure.
Don't blame your setup until you are 100% positive that the horn itself isn't the root of the problem. 😉