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Discussion Starter · #1 ·
Hi,
I must say that years ago I did a lot of MPC-Ex. After I could play a range of an octave and a third or so I stopped, as I considered it as: Once you can do it, it is ok.
Then I had the idea to take my alto MPC with me on my Easter Holidays in Slovenia.
I played about 20 minutes every day, scales, intervals (I use Karajan on my Iphone, a very good Ear Training program) and tried to match.
I did decrescendos and crescendos, major and minor chords and so on.
And: I must say that my tone has improved, and I don't have the feeling of having been so long away from my saxes, if you know what I mean. Embouchure and so on :mrgreen:
So: Who does this crazy stuff daily?
Greetings,
Mugger
 

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This might sound like a hiperbole, but I practice about an hour of just mouthpiece exercises before playing my horn. Always. It's so annoying and fellow musicians think you're crazy, but I haven't found anything better to help my tone besides harmonics/overtones.
 

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Discussion Starter · #6 ·
This might sound like a hiperbole, but I practice about an hour of just mouthpiece exercises before playing my horn. Always. It's so annoying and fellow musicians think you're crazy, but I haven't found anything better to help my tone besides harmonics/overtones.
Hi,
Could you specify what exactly you are practicing?
Thanks
 

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Hi,
I must say that years ago I did a lot of MPC-Ex. After I could play a range of an octave and a third or so I stopped, as I considered it as: Once you can do it, it is ok.
Then I had the idea to take my alto MPC with me on my Easter Holidays in Slovenia.
I played about 20 minutes every day, scales, intervals (I use Karajan on my Iphone, a very good Ear Training program) and tried to match.
I did decrescendos and crescendos, major and minor chords and so on.
And: I must say that my tone has improved, and I don't have the feeling of having been so long away from my saxes, if you know what I mean. Embouchure and so on :mrgreen:
So: Who does this crazy stuff daily?
Greetings,
Mugger
I do about 10-15 mins at the beginning of all my practices. In part, it's an easy way to gradually break in new reeds.

I'd love to hear that octave plus a third! Can you do that on a tenor mouthpiece--can you do it without biting?
 

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Discussion Starter · #8 ·
I do about 10-15 mins at the beginning of all my practices. In part, it's an easy way to gradually break in new reeds.

I'd love to hear that octave plus a third! Can you do that on a tenor mouthpiece--can you do it without biting?
Hi,
I think it is harder to improve going down. I cannot go up much more than my students can, whether with a very tight embouchure or not. I think that up there is a very small headroom.
Greetings
 

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My Morgan Jazz 6M (.90) has a range of about an octave and a third. B natural to the G an octave and a third bellow. I can go about a quarter tone to F# and somedays I'll hit the F# dead on. I can get the top Bb without biting, but the B needs the extra pressure. At leas for me.

I have this cool exercise that I do with a Dr. Beat tuning drone. It takes me 19 days to go through. On the first day I practice my mpc tuning with a unison drone, using the whole octave and third (it gets hard on the extremes). The next day using a drone a half step away, etc until the #11th. This helps me understand intervals better and tune them accordingly. It's a great control exercise. Originally I did it on the horn (still do) and later on had the idea of doing it on the mouthpiece. A bit annoying when you get to the crunchy intervals but then you start appreciating them more :)
 

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And honestly, once I get to the F#-G# on the bottom I'm always struggling and it doesn't seem like it's that much beneficial to my playing. I like to include those last notes since they're in the range, but they don't have the fullness and punch that the other mouthpieces notes have.

Does anybody know if larger tip openings lend themselves to a bigger range?
 
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