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CafeSaxophone Forum
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Commercial
Also see our article Explaining Copyright
NB: There are main two types of copyright involved with music.
These guidelines may change from time to time as we learn more about the legal implications or new precedents are set.
Please feel free to comment.
I hasten to add that any rules we have in regard to Intellectual property do not mean we necessarily agree with those laws and our job is not to be copyright police. The rules and the action we take are for the legal protection of Cafesaxophone. In some cases there are grey areas, and in those cases although we may initially allow the content, if instructed by a rights holder or their legal representative we would remove the content.
[EDIT 2020] Our main concern is not with being awkward and stopping the fun but with protecting the forum, especially in the light of new EU laws around illegal content (don't get me started on Brexit please)
Times have changed and instead of just take down notices, sites, or rather site owners can just get hit with huge fines.
This mean we may need to be a little stricter.
General
Copyright has a life, and once that is over the work is in the public domain. However this is not completely straightforward as a recording has two copyrights (see above - composition and recording).
e.g. Oh When the Saints (melody & words) may be in the public domain but a recording of it may not be.
Images
The same rules apply to image copyright infringement, but as the internet has so many precedents of uploading or linking to images that may have copyrights, we will be more discretionary when dealing with this, and context will be taken into account.
The context could be based on quantity, relevance, dimensions or anything else at our discretion.
Sheet Music
You can buy digital sheet music from a repuotable only music store, but it is nearly always not legal to sell or give copies away. If people embed or link to published sheet music with the melody line then this is not allowed. If it is their own arrangement of a public domain work, that is OK. .
Generally people who participate in playing to backing tracks should really own their own copies of the real Book or fake books. It kind of goes with the territory of learning to improvise. Then its purely their lookout that what they have is legal or not.
Youtube
Youtube is an exception to some of the guidelines below. You may embed or link to Youtube videos of copyright works, as Youtube seems to have agreements in place that either pay royalties or overlay advertising on behalf of any rights holder.
Links
A link to a file implies a download, so linking directly to a file implies distribution (file sharing)
Do not link directly to files that infringe a copyright. This includes audio, video, printed words & sheet music.
Linking to a page that may contain some copyright infringements is a grey area. If in doubt, don't do it.
Audio & Video
Apart from the Youtube exception above, you are not allowed to link to or upload any audio or video which infringes a copyright, either in the composition or the recording.
Backing Tracks
Raw backings (no recorded lead instrument)
You may link to and distribute your own backing tracks (e.g. generated by BIAB or iRealbook) There is no copyright in a chord sequence but in some cases a backing may contain a significant and recognisable riff which may be copyright.
However you may not link to and distribute backing tracks that are copyright published recordings (such as Aebersold, Hal Leonard, Alfred Mastertracks)
Your recordings on top of backing tracks
Usually the rightsholders of a backing track recording allow non-commercial distribution once you have recorded over it.
Fair Use & Educational
These are very specific legal terms and are often incorrectly used to justify the distribution of copyright material. They do not apply to this forum.
Educational use is restricted to classrooms in an educational establishment such as a school or university. Fair Use applies to a very small extract used to illustrate a point in a news article etc. , although we will usually allow very short extracts of sheet music (1 or 2 bars) to illustrate a point.
See Exceptions to copyright
I have been doing some research and the law is not clear, seems to change and is different in different territories.
From what I can tell your typical meme (ie some photo with a caption plastered all over) is generally OK because it is classed as parody. There was a lot of concern when the new law came out last year, but actually seems like it has been clarified a bit.
BUT what is confusing for people is that this does not cover cartoons that have a copyright, and it doesn't cover protected photographic images that have not been turned into memes. Companies such as Getty images can find, identify and take legal action very easily.
We have noticed instances where people post a cartoon, and assume it's OK because it's all over facebook. This is often not the case, we investigated one such cartoon and found the artists copyright terms which actually granted use on facebook but nowhere else.
Another thing that muddies the waters is that it's possible that it is legal to hotlink to an image (ie just embed it via the URL).]
[EDIT: that is about to change it seems so please do not hot link copyright images.
However this is more complicated. In order to not have mixed content (e.g. from unsecure sites) we have a system called Image and Link proxy which I believe effectively uploads the embed image here. legally, I would not like to say whether this means we are OK or not and so to be on the safe side we must assume it doesn't just count as a link.
So what this means in practice is that probably I should think a bit more, rewrite the rules and guidelines. In the past we have had some threads that were dedicated to cartoons, jokes, memes etc.
My gut feeling is we should avoid such threads because sooner or later something with a copyright will get uploaded, but if you find a meme particularly appropriate in a one-off post then that should be OK. Images and cartoons are often OK if you are sure they don't infringe a copyright. It's not always easy to know but Google images does have a filter you can use to show only those images.
Meanwhile, if we are in doubt we may remove things that we consider could be a problem - please don't feel offended or upset if we do that, it just means we are being cautious because it is us who will be in trouble and are responsible. OTOH please don't post anything with obvious copyright notice or watermark as that is an obvious and direct infringement that you should have been aware of and it would be viewed as intentional breaking of our rules (and the law!)
Meanwhile I will try to find out about the hotlinking/proxy issue - many sites don't mind the hotlinking as it can be helpful. The main issue is going to be stuff like Getty images etc.
And before anyone says "fair use" that is not an automatic right, it is often only useable as a defence, that may or may not stand up in court.
NB: There are main two types of copyright involved with music.
- Copyright in the composition (usually this means melody and lyrics). This belongs to the composer and exists in a recording or sheet music.
- Copyright in a record work. This belongs to the producer of the track and exists in any audio format, physical or digital including videos with embedded audio.
These guidelines may change from time to time as we learn more about the legal implications or new precedents are set.
Please feel free to comment.
I hasten to add that any rules we have in regard to Intellectual property do not mean we necessarily agree with those laws and our job is not to be copyright police. The rules and the action we take are for the legal protection of Cafesaxophone. In some cases there are grey areas, and in those cases although we may initially allow the content, if instructed by a rights holder or their legal representative we would remove the content.
[EDIT 2020] Our main concern is not with being awkward and stopping the fun but with protecting the forum, especially in the light of new EU laws around illegal content (don't get me started on Brexit please)
Times have changed and instead of just take down notices, sites, or rather site owners can just get hit with huge fines.
This mean we may need to be a little stricter.
General
Copyright has a life, and once that is over the work is in the public domain. However this is not completely straightforward as a recording has two copyrights (see above - composition and recording).
e.g. Oh When the Saints (melody & words) may be in the public domain but a recording of it may not be.
Images
The same rules apply to image copyright infringement, but as the internet has so many precedents of uploading or linking to images that may have copyrights, we will be more discretionary when dealing with this, and context will be taken into account.
The context could be based on quantity, relevance, dimensions or anything else at our discretion.
Sheet Music
You can buy digital sheet music from a repuotable only music store, but it is nearly always not legal to sell or give copies away. If people embed or link to published sheet music with the melody line then this is not allowed. If it is their own arrangement of a public domain work, that is OK. .
Generally people who participate in playing to backing tracks should really own their own copies of the real Book or fake books. It kind of goes with the territory of learning to improvise. Then its purely their lookout that what they have is legal or not.
Youtube
Youtube is an exception to some of the guidelines below. You may embed or link to Youtube videos of copyright works, as Youtube seems to have agreements in place that either pay royalties or overlay advertising on behalf of any rights holder.
Links
A link to a file implies a download, so linking directly to a file implies distribution (file sharing)
Do not link directly to files that infringe a copyright. This includes audio, video, printed words & sheet music.
Linking to a page that may contain some copyright infringements is a grey area. If in doubt, don't do it.
Audio & Video
Apart from the Youtube exception above, you are not allowed to link to or upload any audio or video which infringes a copyright, either in the composition or the recording.
Backing Tracks
Raw backings (no recorded lead instrument)
You may link to and distribute your own backing tracks (e.g. generated by BIAB or iRealbook) There is no copyright in a chord sequence but in some cases a backing may contain a significant and recognisable riff which may be copyright.
However you may not link to and distribute backing tracks that are copyright published recordings (such as Aebersold, Hal Leonard, Alfred Mastertracks)
Your recordings on top of backing tracks
Usually the rightsholders of a backing track recording allow non-commercial distribution once you have recorded over it.
Fair Use & Educational
These are very specific legal terms and are often incorrectly used to justify the distribution of copyright material. They do not apply to this forum.
Educational use is restricted to classrooms in an educational establishment such as a school or university. Fair Use applies to a very small extract used to illustrate a point in a news article etc. , although we will usually allow very short extracts of sheet music (1 or 2 bars) to illustrate a point.
See Exceptions to copyright
Part 2 - more guidelines and update re: memes
I have been doing some research and the law is not clear, seems to change and is different in different territories.
From what I can tell your typical meme (ie some photo with a caption plastered all over) is generally OK because it is classed as parody. There was a lot of concern when the new law came out last year, but actually seems like it has been clarified a bit.
BUT what is confusing for people is that this does not cover cartoons that have a copyright, and it doesn't cover protected photographic images that have not been turned into memes. Companies such as Getty images can find, identify and take legal action very easily.
We have noticed instances where people post a cartoon, and assume it's OK because it's all over facebook. This is often not the case, we investigated one such cartoon and found the artists copyright terms which actually granted use on facebook but nowhere else.
[EDIT: that is about to change it seems so please do not hot link copyright images.
However this is more complicated. In order to not have mixed content (e.g. from unsecure sites) we have a system called Image and Link proxy which I believe effectively uploads the embed image here. legally, I would not like to say whether this means we are OK or not and so to be on the safe side we must assume it doesn't just count as a link.
So what this means in practice is that probably I should think a bit more, rewrite the rules and guidelines. In the past we have had some threads that were dedicated to cartoons, jokes, memes etc.
My gut feeling is we should avoid such threads because sooner or later something with a copyright will get uploaded, but if you find a meme particularly appropriate in a one-off post then that should be OK. Images and cartoons are often OK if you are sure they don't infringe a copyright. It's not always easy to know but Google images does have a filter you can use to show only those images.
Meanwhile, if we are in doubt we may remove things that we consider could be a problem - please don't feel offended or upset if we do that, it just means we are being cautious because it is us who will be in trouble and are responsible. OTOH please don't post anything with obvious copyright notice or watermark as that is an obvious and direct infringement that you should have been aware of and it would be viewed as intentional breaking of our rules (and the law!)
Meanwhile I will try to find out about the hotlinking/proxy issue - many sites don't mind the hotlinking as it can be helpful. The main issue is going to be stuff like Getty images etc.
And before anyone says "fair use" that is not an automatic right, it is often only useable as a defence, that may or may not stand up in court.
142 Replies
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14153 views
I bought this tenor saxophone a little over a year ago from my professor. I just recently picked it back up for a gig with friends. Out of curiosity, I wanted to do a little research into the sax to see if it was any good since I haven't played it much. I had never heard of this brand until my professor told me about it.
The brand is E.K. Blessing. However, I can not find a model number on it, at least not one that matches any of Blessing's model numbers. There are two numbers on the bottom back of the sax. I am attaching pictures.
I was hoping you all could work your magic on this one for me. Since I have so far found nothing. I have posted this on a few Sax subreddits, but they aren't doing me any good. I figured a saxophone-focused forum could help a bit more.
The brand is E.K. Blessing. However, I can not find a model number on it, at least not one that matches any of Blessing's model numbers. There are two numbers on the bottom back of the sax. I am attaching pictures.
I was hoping you all could work your magic on this one for me. Since I have so far found nothing. I have posted this on a few Sax subreddits, but they aren't doing me any good. I figured a saxophone-focused forum could help a bit more.
11 Replies
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256 views
Tech/maintenance Just a general question to sax maintainers and repairers
Hi, and many thanks to any members who respond!
My question is whether I should give my Tenor Sax a complete overhaul (very probably!) and if so, whether I should look for a sax repairer who has specific knowledge, skills and reputation of overhauling 'vintage saxophones'.
TBH, I've asked questions on this topic to 'Google AI' and I've got some valuable responses. For example, the difference between 'regular sax maintenance' and 'complete overhauls'. Down to which local 'repairers' would be best qualified to overhaul my specific sax and the questions that I should ask them beforehand! All based on my specific Tenor sax model and year. Another 'Google AI' conclusion was that - on average - periodic 'minor sax maintenance' should be done every 1-2 years. And a 'major overhaul' might be needed every 5-10 years. My sax has had neither in 20 years!
So what I would like from experienced. informed and human sax repairers are their opinions on the answers that I got from Google AI based on the 'background 'below.
Background
I bought my 1961 'Buffet Crampon Super Dynaction' Tenor Sax about 20 years ago. At that time, it had been thoroughly 'checked out' and played easily in comparison to other 'vintage saxes' that I tried out. In the 20 years since, I've had a few minor 'playing problems' quickly inspected and fixed' by my local 'clarinet/sax' lady. Usually free of charge. But in these 20 years, my sax has never had 'periodic maintenance' or 'overhauls'
Lately (for the past 6 months or more), I've been really struggling to play my sax. With certain notes (G/G# in the higher octave) 'squeaking'. In my local sax lady's opinion (within 5 minutes) she said that the 2 octave keys worked fine mechanically. So that any 'squeaks' were probably due to my 'embouchure'. Which hasn't changed in many years.
A new Tenor Sax player recently joined my Big Band. He had sax that looked to me 'unusual'. I asked him what it what it was and said it was a John Packer JP042 Bb Tenor. He explained that it was a 'temporary sax' while he was getting his Yamaha 'restored'. He added that he wasn't yet sure which one he'd stick with. With his permission I briefly tried out his sax with my mpc and reed. TBH the 'playability' of his (new) sax with mine was a huge difference between day (his) and night (mine)!
Yes I fully realize that the 'ergonomics' of saxes has moved on significantly between 1961 and the first mention of the John Packer JP042 on the cafe in 2011.
I 'Googled (AI)' my problem and it's advice (with recommendations) was to have my Tenor Sax refurbished (overhauled) by someone who has the 'credibility' of restoring 'vintage' (1961) saxes.
My question is whether I should give my Tenor Sax a complete overhaul (very probably!) and if so, whether I should look for a sax repairer who has specific knowledge, skills and reputation of overhauling 'vintage saxophones'.
TBH, I've asked questions on this topic to 'Google AI' and I've got some valuable responses. For example, the difference between 'regular sax maintenance' and 'complete overhauls'. Down to which local 'repairers' would be best qualified to overhaul my specific sax and the questions that I should ask them beforehand! All based on my specific Tenor sax model and year. Another 'Google AI' conclusion was that - on average - periodic 'minor sax maintenance' should be done every 1-2 years. And a 'major overhaul' might be needed every 5-10 years. My sax has had neither in 20 years!
So what I would like from experienced. informed and human sax repairers are their opinions on the answers that I got from Google AI based on the 'background 'below.
Background
I bought my 1961 'Buffet Crampon Super Dynaction' Tenor Sax about 20 years ago. At that time, it had been thoroughly 'checked out' and played easily in comparison to other 'vintage saxes' that I tried out. In the 20 years since, I've had a few minor 'playing problems' quickly inspected and fixed' by my local 'clarinet/sax' lady. Usually free of charge. But in these 20 years, my sax has never had 'periodic maintenance' or 'overhauls'
Lately (for the past 6 months or more), I've been really struggling to play my sax. With certain notes (G/G# in the higher octave) 'squeaking'. In my local sax lady's opinion (within 5 minutes) she said that the 2 octave keys worked fine mechanically. So that any 'squeaks' were probably due to my 'embouchure'. Which hasn't changed in many years.
A new Tenor Sax player recently joined my Big Band. He had sax that looked to me 'unusual'. I asked him what it what it was and said it was a John Packer JP042 Bb Tenor. He explained that it was a 'temporary sax' while he was getting his Yamaha 'restored'. He added that he wasn't yet sure which one he'd stick with. With his permission I briefly tried out his sax with my mpc and reed. TBH the 'playability' of his (new) sax with mine was a huge difference between day (his) and night (mine)!
Yes I fully realize that the 'ergonomics' of saxes has moved on significantly between 1961 and the first mention of the John Packer JP042 on the cafe in 2011.
I 'Googled (AI)' my problem and it's advice (with recommendations) was to have my Tenor Sax refurbished (overhauled) by someone who has the 'credibility' of restoring 'vintage' (1961) saxes.
35 Replies
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572 views
Tech/maintenance Abalone key pearls
Needed to order from Amazon so I added a set of these to see what they're like: Bnineteenteam Key Buttons for Alto Sax, 9pcs Sax Abalone Shell Key Buttons Saxophone Key Button for soprano, alto and tenor saxophones : Amazon.co.uk: Books
Not expecting much. Most of the "real shell" pearls I've looked at seem to be covered in acrylic which means they're no different than a plastic key surely?
Anyway... for a fiver it's worth a go. Let you know what they're like once they arrive.
Not expecting much. Most of the "real shell" pearls I've looked at seem to be covered in acrylic which means they're no different than a plastic key surely?
Anyway... for a fiver it's worth a go. Let you know what they're like once they arrive.
54 Replies
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6641 views
Saxophones Saxophones, rarely discussed
Everybody knows the nice horns that get talked about all the time (Selmer, Martin, Yamaha, etc). Then there are the good instruments less talked about but I would say still fairly well known (a Yamaha Vito stencil for example).
How about a topic for those worthy saxophones (I'll leave the definition of worthy alone for now) that are rarely discussed?
Yesterday I 'discovered' the F.E. Olds Super:
Obviously beauty is in the eye of the beholder but I have to say that is a very cool looking alto! With an interesting story as well, that you can find if you dig a bit here or at the other forum.
So, what other models might fit the topic?
How about a topic for those worthy saxophones (I'll leave the definition of worthy alone for now) that are rarely discussed?
Yesterday I 'discovered' the F.E. Olds Super:
Obviously beauty is in the eye of the beholder but I have to say that is a very cool looking alto! With an interesting story as well, that you can find if you dig a bit here or at the other forum.
So, what other models might fit the topic?
78 Replies
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1443 views
Saxophones C Melody Saxophones
I've been interested in C Melody saxes, for a while.
Apparently, they were quite common in the 1920s-30s, and the general concensus seems to be that the designs got better as time went on. Earlier models were often made in High Pitch (a tuning system that predates using A=440Hz), and should be avoided, unless you want to accompany a Highland bagpipe player.
From what little research I've done, it seems Conn made some of the better sounding ones, and their later models were improvements over the earlier ones. The ones with a "straight" neck, similar to an alto, are supposed to be good. Personally, I don't really like the S shaped neck on a tenor.
Anyway, here's one I've asked about recently. I've posted a couple of these pictures in Ads's review discussion thread of the Sakkusu C Melody sax, but here's all I have.
This is a 1924/1925 Conn C Melody, currently for sale at the Trevor Jones shop in Bristol. It's in low pitch, has had a partial repad, and is ready to play.
Bristol is a bit far for me to visit so I asked if they could send me photos, particularly of the hand positions, because the ergonomics are a bit different on these old saxes, and C melody saxes in particular.
Ermm... there seems to be a 2 file upload limit. Hopefully, that's per post
The thumb rest is apparently soldered on, so can't be adjusted easily, but the position looks good for reaching the right side trill keys (Bb/C/high E). This seems to be an issue on the Sakkusu / Thoman C Melody (see https://cafesaxophone.com/threads/sakkusu-c-melody-saxophone-review.13705/Ads's Sakkusu C Melody review[/URL])
The "L" stamped below the serial number indicates it's built for "Low" pitch - i.e. designed for modern A=440Hz tuning. I've read different accounts of what was meant by High Pitch (and maybe there was more than one definition), but the consensus seems to be it was at least A=450Hz, or A=453Hz - kind of between semitones, in modern tuning, and too far out to compensate for by positioning the mouthpiece differently etc.
It's important to check for that when buying any brass or woodwind instrument from that period. I think military bands kept it going for a while longer, in Britain. Scottish bagpipe and Irish/Scottish Bb flute players tend to still use it, as I understand it. It's certainly the normal tuning for 5 or 6 key Bb flutes.
Apparently, they were quite common in the 1920s-30s, and the general concensus seems to be that the designs got better as time went on. Earlier models were often made in High Pitch (a tuning system that predates using A=440Hz), and should be avoided, unless you want to accompany a Highland bagpipe player.
From what little research I've done, it seems Conn made some of the better sounding ones, and their later models were improvements over the earlier ones. The ones with a "straight" neck, similar to an alto, are supposed to be good. Personally, I don't really like the S shaped neck on a tenor.
Anyway, here's one I've asked about recently. I've posted a couple of these pictures in Ads's review discussion thread of the Sakkusu C Melody sax, but here's all I have.
This is a 1924/1925 Conn C Melody, currently for sale at the Trevor Jones shop in Bristol. It's in low pitch, has had a partial repad, and is ready to play.
Bristol is a bit far for me to visit so I asked if they could send me photos, particularly of the hand positions, because the ergonomics are a bit different on these old saxes, and C melody saxes in particular.
Ermm... there seems to be a 2 file upload limit. Hopefully, that's per post
The thumb rest is apparently soldered on, so can't be adjusted easily, but the position looks good for reaching the right side trill keys (Bb/C/high E). This seems to be an issue on the Sakkusu / Thoman C Melody (see https://cafesaxophone.com/threads/sakkusu-c-melody-saxophone-review.13705/Ads's Sakkusu C Melody review[/URL])
The "L" stamped below the serial number indicates it's built for "Low" pitch - i.e. designed for modern A=440Hz tuning. I've read different accounts of what was meant by High Pitch (and maybe there was more than one definition), but the consensus seems to be it was at least A=450Hz, or A=453Hz - kind of between semitones, in modern tuning, and too far out to compensate for by positioning the mouthpiece differently etc.
It's important to check for that when buying any brass or woodwind instrument from that period. I think military bands kept it going for a while longer, in Britain. Scottish bagpipe and Irish/Scottish Bb flute players tend to still use it, as I understand it. It's certainly the normal tuning for 5 or 6 key Bb flutes.
669 Replies
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74215 views
Recipes What's Cookin'?
This is the one for pictures of food. Time for Superbowl chili!
I make it every year for the game, whether I watch it or not. In a pot I actually won... at a chili contest.
Now how 'bout a bowl of red:
I make it every year for the game, whether I watch it or not. In a pot I actually won... at a chili contest.
Now how 'bout a bowl of red:
141 Replies
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7664 views
Beginner recording body and soul
not the best recording, played the head a bit messily, the reason the video is black is because i had my phone lying on the desk with the camera pointing down into the desk
been trying to work on my sound to get it to be large and warm
any tips or constructive feedback would be appreciated
2 Replies
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100 views
Introduction hello
hey, ive been playing saxophone for roughly 13 years since i was 10 but got more serious in highschool specifically i play jazz and blues on tenor and soprano saxophone
joined this forum mainly to ask questions about technique
im looking to develop a warm and thick sound without sounding muffled or thin on the high notes, i really dislike when high notes sound thin on saxophone.
some saxophonists i enjoy listening to are king curtis, stanely turrnetine, johnny griffin, sal nistico, branford marsalis, lester young, james carter, eddie lockjaw davis, lee konitz, and charlie parker, but i listen to all sorts of musicians
joined this forum mainly to ask questions about technique
im looking to develop a warm and thick sound without sounding muffled or thin on the high notes, i really dislike when high notes sound thin on saxophone.
some saxophonists i enjoy listening to are king curtis, stanely turrnetine, johnny griffin, sal nistico, branford marsalis, lester young, james carter, eddie lockjaw davis, lee konitz, and charlie parker, but i listen to all sorts of musicians
12 Replies
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178 views
Introduction Another newcomer
Hello all – I'm new here, but old in general. I played bass clarinet, alto clarinet, and flute in the past, but that ended when I finished high school, long ago. (AD 1975.) Played guitar and bass guitar in the meantime, picked up a flute a few years ago, and bought my first saxophone, an alto, last year.
Got another sax a few months ago, and against all advice, this one is a C Melody. If playing a C Melody isn’t bad enough, both my saxophones are Chinese made. I have no career ambitions. I’m retired and play only in my living room, mostly with backing tracks from YouTube. Joining here to learn what I can.
Got another sax a few months ago, and against all advice, this one is a C Melody. If playing a C Melody isn’t bad enough, both my saxophones are Chinese made. I have no career ambitions. I’m retired and play only in my living room, mostly with backing tracks from YouTube. Joining here to learn what I can.
9 Replies
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109 views
Sheet Music What Does This Musical Notation Mark Represent ?
Here is a nice recording by Canadian Brass (quintet) of an arrangement of St Louis Blues, done for them by Luther Henderson. It has the score on screen and it seems to be aimed at "classical" musicians, in that the swing is written out (dotted eighth note and sixteenth note) and there are way more articulation markings than jazz musicians would usually see.
One mark in particular appears a few times and I am not sure what it is called or what it means. It is a sort of up and down zig zag between two notes of the same pitch, for instance in the first full bar of the trumpet 2 part.
View: https://youtu.be/UyFuzD_SO-w?si=8Cytft0e2Pcvt0h8
It looks a bit like a "turn" but isn't played that way. It seems to be played as a slight scoop up to the second note. I have seen that type of thing in jazz scores marked with a "U" mark between the two notes or a "scoop" line up to the second note.
Rhys
One mark in particular appears a few times and I am not sure what it is called or what it means. It is a sort of up and down zig zag between two notes of the same pitch, for instance in the first full bar of the trumpet 2 part.
It looks a bit like a "turn" but isn't played that way. It seems to be played as a slight scoop up to the second note. I have seen that type of thing in jazz scores marked with a "U" mark between the two notes or a "scoop" line up to the second note.
Rhys
20 Replies
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273 views
Dear Forum Members,
I’m very glad to host my first SOTM here in the café. I choose „The Chicken“ from Pee Wee Ellis. I’m shure, most of you know the song from Jaco Pastorius, but there are several other recordings out there.
View: https://www.youtube.com/watch?v=TgntkGc5iBo&list=RDTgntkGc5iBo&start_radio=1
Here are lead sheets in C, Bb and Eb (one document) and some backing tracks (many more on youtube).
Dropbox
For soloing and scale decisions, I found this guitar video helpful, but I personaly think blues most of the time and try to play groovy and in time instead of overthinking the notes too much.
Hoping for many funky contributions!
All the best
Dirk
View: https://www.youtube.com/watch?v=wQZbsadHm2A&t=17s
I’m very glad to host my first SOTM here in the café. I choose „The Chicken“ from Pee Wee Ellis. I’m shure, most of you know the song from Jaco Pastorius, but there are several other recordings out there.
Here are lead sheets in C, Bb and Eb (one document) and some backing tracks (many more on youtube).
Dropbox
For soloing and scale decisions, I found this guitar video helpful, but I personaly think blues most of the time and try to play groovy and in time instead of overthinking the notes too much.
Hoping for many funky contributions!
All the best
Dirk
7 Replies
·
277 views
Cafe Moderator
Commercial
I have a page on TTS which compares synthetic with cane:
tamingthesaxophone.com
I thought it would be interesting to start a thread where people post their soundclips comparing. You can say which is which or ask us to guess...
We compare synthetic Reeds with Cane. Sound better? last longer?
Comparing synthetic reeds with cane reeds. Do they make the saxophone sound the same, worse or better: Listen to the audio - you decide.
tamingthesaxophone.com
I thought it would be interesting to start a thread where people post their soundclips comparing. You can say which is which or ask us to guess...
0 Replies
·
55 views
Saxophones Carrying a tenor on a (motor)bike?
I'm thinking of acquiring a secondhand Suzuki Van Van and learning to ride over the summer, the idea being that it will be fun, and more economical than my 4x4 for going to work and other short journeys, when the weather is reasonable. But on quite a few of those journeys I am accompanied by my tenor.
Anyone carry one on a bike, and got any advice please?
Anyone carry one on a bike, and got any advice please?
768 Replies
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84351 views
Tone or Sound embrochure position with recessed jaw
my jaw is slightly recessed, not too bad but it is not even with my upper lip
i can still get an alright sound but should i be purposefully putting my lower lip foward in order to compensate for this?
i find forcing the lower lip further foward does make the reed feel like its more free, and easier to get altissimo notes. but long term it feels a bit uncomfortable and unnatural so i find myself subconsciously putting my lower lip further back over time
i can still get an alright sound but should i be purposefully putting my lower lip foward in order to compensate for this?
i find forcing the lower lip further foward does make the reed feel like its more free, and easier to get altissimo notes. but long term it feels a bit uncomfortable and unnatural so i find myself subconsciously putting my lower lip further back over time
4 Replies
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109 views
Saxophones Selmer Supreme alto (quick look)
Had a client bring two Selmer altos in yesterday - a Ref.54 for a service and a brand new solid silver Supreme.
First time I've had my hands on one.
It only came in for a quick tweak - so no time to run up a proper review, but I did notice a couple of things.
First up - the client brought it in because there was a problem when moving from low B to low Bb; a break in the transition.
This turned out to be a badly adjusted link between the low B and the low C#. In fact it wasn't really adjusted at all - so that when his finger rolled down onto the Bb touchpiece and just caught the C# touchpiece on the way, the C# would open about 3mm. That's plenty enough to knock out the low B.
And there was this:
This is the Bis Bb/G# adjuster bar. Take a look at that gap between the Bis Bb arm and the adjuster above it. In horn terms it's miles away.
The adjuster is actually set right in terms of its ability to close the Bis Bb - so you can't screw the adjuster in to take up the play. What this means is that the lower stack is set substantially higher than the upper.
I had a quick peek at the toneholes. Selmer are traditionally pretty good at getting the toneholes level, but I was rather disappointed with the low C on this horn:
I compared it with the Ref.54 - which still wasn't perfect but was rather flatter.
So, not a great start for the Supreme. It comes in at an eye-watering price, and for that kind of money I want all the boxes ticked...and then some. So I'd expect the out-of-box setup to be spot on and rather more precision when it comes to the toneholes. Y'know, a bit like a top-end Yani.
And then I had a blow on the Supreme.
I was expecting a 'Woah!' moment - and I got one...but not the one I wanted.
It prompted me to go back and forth between the Supreme and the Ref.54. The Ref is exactly what you'd expect from a Selmer. Nicely balanced, a 'big' sound with that characteristic Selmer mid-range oomph, slightly resistant but nonetheless punchy - with a wide spread of sound.
The Supreme felt very closed in, like it was keeping the sound huddled around itself. And where was the punch and clarity?
It had a sort of Paul Desmond thing going on...that sort of laid back, soft kind of approach. That's fine...if you can turn it on and off at will but it kind of comes stamped into the horn.
That really surprised me because it's dramatically different from the Ref - so-much-so that I had to put a light down the Supreme to see if there was a problem with one of the pads (nothing major...slight leak on the A, which didn't change the tone when corrected).
I can't say it's a conclusive impression because it's just that horn - but even accounting for variations between seemingly identical horns it seems a bit extreme.
I'm hoping the client is going to book the Supreme in for a proper setup once I've serviced the Ref - at which point I can do a proper run-down on it and see what's what.
First time I've had my hands on one.
It only came in for a quick tweak - so no time to run up a proper review, but I did notice a couple of things.
First up - the client brought it in because there was a problem when moving from low B to low Bb; a break in the transition.
This turned out to be a badly adjusted link between the low B and the low C#. In fact it wasn't really adjusted at all - so that when his finger rolled down onto the Bb touchpiece and just caught the C# touchpiece on the way, the C# would open about 3mm. That's plenty enough to knock out the low B.
And there was this:
This is the Bis Bb/G# adjuster bar. Take a look at that gap between the Bis Bb arm and the adjuster above it. In horn terms it's miles away.
The adjuster is actually set right in terms of its ability to close the Bis Bb - so you can't screw the adjuster in to take up the play. What this means is that the lower stack is set substantially higher than the upper.
I had a quick peek at the toneholes. Selmer are traditionally pretty good at getting the toneholes level, but I was rather disappointed with the low C on this horn:
I compared it with the Ref.54 - which still wasn't perfect but was rather flatter.
So, not a great start for the Supreme. It comes in at an eye-watering price, and for that kind of money I want all the boxes ticked...and then some. So I'd expect the out-of-box setup to be spot on and rather more precision when it comes to the toneholes. Y'know, a bit like a top-end Yani.
And then I had a blow on the Supreme.
I was expecting a 'Woah!' moment - and I got one...but not the one I wanted.
It prompted me to go back and forth between the Supreme and the Ref.54. The Ref is exactly what you'd expect from a Selmer. Nicely balanced, a 'big' sound with that characteristic Selmer mid-range oomph, slightly resistant but nonetheless punchy - with a wide spread of sound.
The Supreme felt very closed in, like it was keeping the sound huddled around itself. And where was the punch and clarity?
It had a sort of Paul Desmond thing going on...that sort of laid back, soft kind of approach. That's fine...if you can turn it on and off at will but it kind of comes stamped into the horn.
That really surprised me because it's dramatically different from the Ref - so-much-so that I had to put a light down the Supreme to see if there was a problem with one of the pads (nothing major...slight leak on the A, which didn't change the tone when corrected).
I can't say it's a conclusive impression because it's just that horn - but even accounting for variations between seemingly identical horns it seems a bit extreme.
I'm hoping the client is going to book the Supreme in for a proper setup once I've serviced the Ref - at which point I can do a proper run-down on it and see what's what.
87 Replies
·
2432 views
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