Can changing the oral cavity have an effect on tone?

[jbtsax]

There was a fascinating discussion on SOTW on this topic recently. Unfortunately being an "expatriate" I could not participate, hence I am starting a "similar" topic here. I am familiar with Dr. Pillinger's clarinet study, but there is more information available that pertains directly to the saxophone. My interest is in how the "resonance" of the oral cavity can effect the timbre and pitch of the sound produced on a saxophone.

Here are two studies that address this topic directly:

Measurement of Vocal Tract Influence During Saxophone Performance

Vocal tract effects on the timbre of the saxophone

For those whose eyes gloss over while trying to read such scientific studies can do what I do and read the abstract or introduction and then the results or conclusion to get the general idea of the study.

 

[Colin the Bear]

Most definitely.

 

[jimmylh]

I don't understand the "upstream" and "downstream" reference. What does that mean? Is upstream the wind pipe and down stream in the mouth where the reed is? I've suspected for awhile that my oral and throat physiology is the reason for my crappy sounding mid-range.

 

[jbtsax]

"Downstream" is everything from the tip of the mouthpiece downward into the saxophone. "Upstream" is everything in front of the tip of the mouthpiece, the player's oral cavity, trachea, etc.

 

[Jazzaferri]

The size of one's oral cavity and how one shapes it significantly affect the tone and response of the reed/mpce combo.

It is the area that most intermediate players can use the most work in. The most neglected part of the practice regime seems to be long tones and overtones. I know, I know.....I go on about this too much

 

[Alice]

Very interesting read, thank you

 

[MandyH]

I haven't read your links....but I have always been told to imagine I'm an opera singer - if I want a depp note, I need to "think big" as far as my oral cavity is concerned...think that I am about to sing some huge, deep note, and adjust my jaw and mouth accordingly.
And the opposite for a small, high note...

So IMHO...yes...

 

[Jazzaferri]

if you google Joe Allard you can read lots about shaping cavity and sound. By arching the tongue and curling the edges one can have a fast airstream that once you learn how to direct it gives great tone, pitch and volume control.

 

[jbtsax]

I like to think that this topic ties in with the "overtone matching" exercise where one play a low C, and voices the note to sound a C2. Then alternating the low C fingering and the middle C fingering, one tries to voice the middle C with the regular fingering to sound as rich and full as the 2nd harmonic of low C.

My belief is that there is more than just the air speed and embouchure involved in bringing out that overtone and trying to make the regular C have more of that sound. My thinking is that when the resonance of the oral cavity matches that of C2 the 2nd overtone of low C is sounded. Then when the regularly fingered C2 is also played with that same oral cavity resonance it has a better sound.

The same can be said of the 3rd and 4th overtones above low C and the oral cavity shape and size it takes to produce those pitches. This is my theory anyway.