Beginner Beginner soprano using multiple mouthpieces: good or bad idea?

[Miles Green]

Hello,
I've been playing the soprano for 6 months now, on a regular daily basis. I have 2 mouthpieces, one classical (a Rousseau New Classic #3 opening) and one jazzy: a Selmer Super Session F. It's been fun playing a bit of both, I use the classical one for exercises, scales, and classical music, and the prefer the Super Session for pretty much anything else. I play them with different reeds btw, Vandoren blue box #2.5 or #3 for the classic, and Rico Select Jazz 2H for the Super Session.
But is it a good idea to be playing with 2 different mouthpieces at early learning stages? I'm wondering it will speed up or hamper the learning process? Am i more or less likely to develop bad habits regarding embouchure?
Many thanks!
Miles

 

[Nick Wyver]

If you can blow a steady tone on both of them and keep them in tune then I can't see that it's a problem.

 

[Miles Green]

Thank you Nick, that's good to hear!

 

[jbtsax]

Unless you are the exception, a solid foundation in tone production skills including embouchure control does not happen in just 6 months time in my experience. The test is if you can play from low Bb to high F at all dynamic levels with good control and pitch. When you can do that on one mouthpiece, then you are ready to move on to other set ups IMO.

 

[Pete Thomas]

I think the answer is ...it depends.

For some people it may be fine, for others it may not be.

You will learn possibly about being flexible, but some might say you should not do that until you get a good solid embouchure, and what jay says is correct.

Some people adapt better to change than others.

 

[Wade Cornell]

In a similar vein to what jbtsax has said I think you need to concentrate on basics. Starting on soprano instead of a lower pitch instrument has already got you at a disadvantage. Playing in tune is a major issue that's linked to embouchure. If you're switching mouthpieces and using relatively stiff reeds it seems unlikely that you have good control. Long tones without wavering, and the ability to play in tune will tell the story. Fingering is the same for all the saxes, so that's just a mechanical coordination exercise. Embouchure, development of diaphragm and an even air flow, plus control of tone and pitch are difficult on a soprano. It's also likely that you're biting the mouthpiece (a very bad habit) by using relatively stiff reeds. There is a myth that stiffer reeds = an advanced player. The only reason some players need to use stiff reeds is because they are playing in situations where they need a lot of volume, otherwise it's difficult to play softly and with good control. I'm a long-time soprano player and seldom go for more than a #2 reed. Nick Wyver is right in that whatever works is fair, but you'd have to be a major exception to what's normal. Record and post a practice of your playing a tune with lots of long tones and using the whole range of the instrument. That would give us an accurate idea of your stage of development.

 

[s.mundi]

Jumping out of moving car is "bad idea"..
Juggling two different mouth pieces on the same saxophone is similar to having two life partners, two wives, or two husbands ..
I think I'd rather jump out of a moving car..

 

[Nick Wyver]

Jumping out of moving car is "bad idea"..
Juggling two different mouth pieces on the same saxophone is similar to having two life partners, two wives, or two husbands ..
I think I'd rather jump out of a moving car..

I must be a serial bigamist then.

 

[Miles Green]

Thank you all for your replies.
Firstly, no i don't think i am the exception. I wish i had perfect tone, but alas... The reason I'm asking is to get experienced players' opinions, as to whether switching between mouthpieces at a relatively early stage is a good idea, or not.

My tone is quite stable now, and I practice my long tones with a tuner. Wavering has decreased a lot, the tuner seems happy, but they are not perfect. I have started playing long tones at different dynamic levels and that's where i must be careful with tuning and keeping the transition smooth. As Jay said: "at all dynamic levels": that's what I need to work on.

Btw, I did play the tenor for a couple years as a kid, some 30 years ago, and I've done quite a lot of sports, so the lungs are not completely untrained. Actually thaey are much better than they were 30 years ago! The embouchure on the other hand needs to be very tight on the sop. Sometimes i think i should be weight training my lower lip!

The Super Session is significantly easier to play than the Rousseau for me, is it easier to get a stable tone at the extremes of the instument - low Bb and high F# and easier to play at different dynamic levels. The RICO 2H is pretty soft in Vandoren reed terms - like a 2 from the blue box.

The issue i have with the softer reeds on the classical mouthpiece is that it will simply close up completely if i blow harder, which is why i'm switching between the 2.5 and 3 (when i'm feeling ambitious, and it also sounds better, cleaner). Obviously the Vandoren #3 reed is much harder than the Rico 2H and i will tire much faster. If I'm tired, i keep away from the Vandoren #3 - don't want to bite down!

So I think that's my answer - I should stick to one mouthpiece. That's fine! I should probably be the Super Session F as it is easier, while the Rousseau 3N is a bit like having a strict teacher who loves pointing out all my mistakes.

Thank you all for your help!

 

[Miles Green]

Jumping out of moving car is "bad idea"..
Juggling two different mouth pieces on the same saxophone is similar to having two life partners, two wives, or two husbands ..
I think I'd rather jump out of a moving car..

That's an interesting analogy... Maybe one could consider having a main mouthpiece, and occasionally hooting another one on the side? Because as you put it, I think I'll join you jumping out of the car, rather than having two main mouthpieces!

 

[Pete Thomas]

That's an interesting analogy... Maybe one could consider having a main mouthpiece, and occasionally hooting another one on the side? Because as you put it, I think I'll join you jumping out of the car, rather than having two main mouthpieces!

Good idea.

having the second one and blowing it occasionally may provide you with some understanding of what different mouthpieces effect have, but it's basically good advice to stick with one during the initial throes of learning.

 

[GCinCT]

My tone is quite stable now, and I practice my long tones with a tuner. Wavering has decreased a lot, the tuner seems happy, but they are not perfect. I have started playing long tones at different dynamic levels and that's where i must be careful with tuning and keeping the transition smooth. As Jay said: "at all dynamic levels": that's what I need to work on.

Long tones at different dynamic levels are essential. Kudos for sticking to them. However, you should wean yourself off the tuner. I used to do that too, but a number of experienced players pointed out that I was using my eyes to do a job my ears should be doing. I now play my long tones with a drone. I highly recommend using one or a tone generator and listen for when you are in tune. It will pay huge dividends.

 

[Miles Green]

GCinCT,
I see what you mean with tuning with the eyes. The thing is... I'm pretty bad at hearing when i'm out of tune...
But what is a drone? Surely not the remote mini-helicopter with a camera on it? A quick search on the internet gave me this, lol!

 

[GCinCT]

That’s funny! A drone is a single pitch repeated over and over. You can tune to the pitch.

You could at first, use a pitch along with your tuner to train your ears to hear when you match the pitch. It’s pretty distinctive and you will pick up on it pretty quickly,

 

[s.mundi]

GCinCT,
I see what you mean with tuning with the eyes. The thing is... I'm pretty bad at hearing when i'm out of tune...
But what is a drone? Surely not the remote mini-helicopter with a camera on it? A quick search on the internet gave me this, lol!

When my daughter was a little pop corn fart, she taught me that it's NOT my eyes that need to be in tune....
She said "Daddy, you don't smile when you play the saxophone".
I said "What do you mean Baby? Daddy smiles".
She said "No Daddy. You don't."
"You look like this when you play the saxophone"

She taught me that it's my whole face needs to be in tune...
That's another true story from the RCA archive.

 

[GCinCT]

When my daughter was a little pop corn fart, she taught me that it's NOT my eyes that need to be in tune....
She said "Daddy, you don't smile when you play the saxophone".
I said "What do you mean Baby? Daddy smiles".
She said "No Daddy. You don't."
"You look like this when you play the saxophone"

She taught me that it's my whole face needs to be in tune...
That's another true story from the RCA archive.

Hmm, a very good reason to practice in front of a mirror.

 

[Jeanette]

Hmm, a very good reason to practice in front of a mirror.

Or not!

Jx

 

[Miles Green]

Good morning folks!
Thank you a providing a good laugh with my breakfast coffee!

I think I'm leaning towards the Rousseau being my "learning mouthpiece" with Vanoren #2.5 classic reeds. It's harder to play, but when i do it all right, good steady breath, "O" shaped embouchure in the right place on the mpc, with a supple lower lip, blow air with the stomach, with a wide stream of hot air straight through the center of the mouthpiece, it all comes together very nicely. The Selmer is more forgiving, and I get sloppier.