| Archive for Forum of the Saxes A saxophone forum discussing everything sax-related |
| alto-girl |
Some questions...I'm not sure what topic this should go into, but anyways...I've got three things to ask about... 1. Growls - how can I do/improve growls? Tips? Can you please describe what they are? 2. Sub-tones - same as above. 3. Altissimo register - I kind of know a bit about this, but I would like to know more...please help me! How do I play these notes? Thanks...please help me! |
| CMelodyMan |
Growling: I learned to growl by just singing a different note then the one that you're playing into the horn while you're playing. Keep in mind that it takes years to develop a good growl. I'm still trying to develop my growl.
Subtones: You simply learn to direct the air pressure down on top of the mouthpiece instead of the conventional method of blowing into the mouthpiece directly. It is as simple as that. Altissimo: Listen to some saxophonists play in high registers to build a tonal palette in your imagination (if you can't hear it, you can't play it). http://www.wfg.woodwind.org/sax_index.html should help you, as well as many other sites. Hope this helps, David |
| JPSaxMan |
Growling: I gargle like I'm gargling mouthwash. Much easier than trying to hum a different note up, but it's not as easy to control and when it's up high past high D, forget it 
Subtones: ... I think ya better stick with CMel on that one
Altissimo: It's not a trick, it takes time and work. It helps if you have an 'ooo' embouchure or at least a half-assed one, not a clarinet embouchure. I converted to the 'ooo' and my altissimo is full bore now. I once and a while will deliberately go back to the old embouchure just to see if I can get altissimo out and I can't...so that's part of your job too 
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| reisio |
Growling...if I remember correctly, a simple way to get into it is to finger one note, but sing (while you're blowing) the note that's a 3rd above that note.
It's pretty simple after a try or two. |
| John Laughter |
alto-girl, the term subtone is often used while playing with soft tone on slow songs and is a technique used mainly in the lower register.
If you are familar with Plas Johnson's tenor solo on “The Pink Panther” theme you will hear this tone in the beginning when he plays the low notes. Stan Getz was also noted for his beautiful subtone approach on tunes such as “Girl From Ipenema” and “Here’s That Rainy Day.” Others include “Danny Boy” by Sil Austin, Pete Christleib’s tenor solo in “Unforgettable” by Natalie Cole and Boots’ “Shadow of Your Smile.” Paul Desmond also had what I would refer to as a fuller subtone approach on alto. Fine player and classic tone. Another outstanding tenor who was a master of this technique was Eddie “Lockjaw” Davis. I am not sure when this technique was developed but it was very popular in the big band era and remained popular in the 50s and 60s, especially on the slow Top 40 hits. And you will still hear it today in many forms of sax music. To put it in basic terms, I like to refer to it as opposite of a “marching band” sax sound in the lower register when the player produces a loud honking tone. The subtone is a softer/warmer/whisper type tone. Some players also play with a mixture of tone and air for a special effect. The subtone can be used in all registers of the horn and in up tempo music as well but is generally associated with slower tunes. A few ideas to get started; 1. Assuming that all of the pads are leak proof, play a low G. 2. Bring the lower lip back over the bottom teeth so that more upper skin below the lip line area is pressing gently against the reed. Depending on the width of your lip, you may have more, or less, of the skin below the lip line against the reed. If you have a wide lower lip, this can work to your benefit. If you have a thin lower lip, more meat on the reed from the area below the lip line may be needed. 3. Take a little more m/p into the mouth and relax the jaw more than you would normally do in your standard embouchure setting. However, some teachers totally disagree about “relaxing the jaw.” It works for some us but perhaps not for others so keep an open mind. 4. Play the G. Relax and do not blow hard. Play a soft, yet full tone. Keep adjusting the lower lip until you are getting a little mix of air around the corners of the mouth with the tone. Not a lot of air (which is optional) but just enough to make the lower jaw ands corners of the mouth relax. If you can’t get a little air around the corners, no problem. It works for some and not others and is not vital to play the subtone. In place of that, you will probably get some air in your tone which is fine since many players get a mix of air and sound to make it sweet. The idea is to counteract the embouchure that calls for the “tight smile/flat lips” approach used by trumpet players to get the buzz. 5. Play G to F and hold the note long. Keep adjusting and think “whisper.” 6. Now G to F to E and so on. 7. When you get to low D and C, the note may crack and jump an octave. This tells you that you need more lip over the teeth and to relax the jaw. Some players will “lift” the horn slightly on low D and below to take the pressure off the lower jaw. It can help but not absolutely vital. 8. Repeat this over and over. G to F to E to D to low C holding and maintaining a soft whisper tone. 9. Once you began to get good control of it, you can adjust the volume, corners of the mouth, amount of lip in the mouth, amount of air/tone mix, etc. to develop your own subtone technique. This is, by no means, the only way to approach the subtone but maybe it will help you get started. It is a technique that is well worth learning. If you need more info about a CD that covers the subject please send an email to JSAXL@aol.com http://www.halleonard.com/item_de...oduct&keywords=john+laughter+ |