Playing the saxophone Classical sound on tenor

[kevgermany]

Yes, but the sound isn't as 'pure'

 

[David Roach]

What role models would anyone recommend for classical tenor ........Rhys

I also really rate Jose Bañuls of the excellent Ferio Saxophone Quartet. Actually, his playing impressed me more than any other classical tenor player I have seen or heard, truly a 'tenor' player.

 

[David Roach]

You can get a long way towards it with a tight embouchure, but you're right on the border of jumping an octave from being too tight. I'm finding going to a looser embouchure for non-classical is really difficult.
Just tried some harder reeds, helps.

@kevgermany how is the articulation of the lowest register eh? Not great I'm willing to bet.

This is the highway to hell on the tenor in my opinion, having played tenor in quartets and for many years in Symphony Orchestras. One can't expect it to be easy to develop the optimum embouchure and set-up on tenor. My recommendation is to get an S80 D and try Vandoren Blue box 2.5 reeds. This combination will give a good tone, a flexible and not too demanding sound emission and good intonation. The tone of the S80 can be a bit soapy, but with a somewhat more flexible reed as I have suggested, it will be possible to get good results because it does not provoke the player to bite or squash the reed, which is a recipe for disaster on tenor. Also think more about delivering good breath support and just allowing the embouchure to 'hold' the set-up, NOT crush it.

More than anything else though, a good idea of what you actually want to achieve is of paramount importance. Personally I want to try to get as good a 'tenor' sound as I can, dark enough to blend in a classical surrounding, but coupled with the sort of ease of sound emission that I can get on the alto. The mistake most people make is to imagine that this is achievable by copying alto procedure. Wrong. One has to find different ways both in gear, and of course more importantly in technique. Ask ANY good classical tenor player, email Andy Scott for instance. He will tell you that - in comparison to alto - a slightly more open mouthpiece coupled with a slightly softer reed is the way to go on tenor.

 

[David Roach]

Putting money where mouth is, here's me and John Harle from 1986ish.

 

[kevgermany]

Thanks David. Really helpful. You're right about articulation.

The tenor player in Jbtsax's New Century is about where I want to aim for sound wise.

Not sure if I want to make too radical changes now, I've a concert in early May and unless it is an easy switch, it's asking for trouble.

Your suggestion is going to take a lot of adjusting to. I prefer wider tips, have done from the start. I gave the Yani a go, it's a 5, wasn't too bad. Easier than the PPT, but I switched back to PPT and put a stiffer reed on, which helped and sounded better. I had an S80 for alto, but preferred the tone of the Brilhart Personaline I had. I'll get the tenor Brilhart out now, it's a narrowish 4, let's see how it goes on with some blue vandorens, this should be close to what you're suggesting.

 

[David Roach]

@kevgermany be cautious with Vandoren Blues, on the wrong mouthpiece they can squeak like crazy.

I know people who have had big success with Brilharts for classical, particularly on Baritone. My friend Andy Findon has a white Brilhart he has played for yonks, and I think the bari player in Deffayet's Quartet played one too. But on tenor a #4 might be a bit too closed. Suck it and see I guess!

 

[kevgermany]

Suck it

Is that the secret?😉

 

[kevgermany]

Putting money where mouth is, here's me and John Harle from 1986ish.

That really worked well. Never thought of Bolero on tenor and sop. Thanks.

 

[David Roach]

Is that the secret?😉

As long as you don't 'suck at it' 😉

 

[Nick Wyver]

Never thought of Bolero on tenor and sop.

They're in the original orchestration I'm pretty sure.

 

[David Roach]

That really worked well. Never thought of Bolero on tenor and sop. Thanks.

It's Ravel's original scoring, apart from the fact that the Soprano part was originally split between Sopranino and Soprano (nightmare time!). We all do that part solely on Soprano nowadays.

 

[kevgermany]

Update on the Brilhart. Yes it's white. Seems to suit a Rico Orange Box 3. I switched back to the Santoni, the Yani has better keywork, but more jazzy sound. Brilhart is much easier to get the sound I want. And much less work as it's closer to it's tonal palette, not on the limit like the PPT. Thanks David. Guess I'm going to end up with two setups, one for classical and one for the rest. But the PPT works well on the Santoni, so maybe the Yani should go.

 

[Guenne]

This is the classical tenor I like the most, James Houlik, what a beautiful sound:

 

[Tenor Viol]

They're in the original orchestration I'm pretty sure.

You're right - here's the orchestration form teh full score:

 

[nigeld]

Does "Quintette à cordes" mean "full strings (v1, v2, vla, c, b)" or "string quintet"?

 

[ellinas]

The only middle of the road mouthpiece I could imagine I could use for both classical and jazz with different reeds and slightly different embouchoure is my Otto Link STM NY.

 

[David Roach]

This is the classical tenor I like the most, James Houlik, what a beautiful sound.

Strange. Whilst I recognise the immense amount Houlik has done for the classical saxophone, and his undoubted strength and talent, I like neither his tone, which I find too buzzy and hollow and not beautiful at all, nor his vibrato, which I find overdone and old fashioned. But that's my taste. The tenor is a difficult instrument to project through a large string section, which may account for his approach.

 

[Tenor Viol]

Does "Quintette à cordes" mean "full strings (v1, v2, vla, c, b)" or "string quintet"?

I was wondering that too

 

[brianr]

Im with David in regard to James Houlik.

I dont mind the tone so much. hollowness I like, and it has a singing quality to it.

But the vibrato is a total turn off. To me it just sounds so cheesy and dated.
and its there on every note , right from the start of the note and continuing right through the note or phrase.
It just feels so mechanical and formulaic, rather than musical.

I prefer to hear a little vibrato at the end of a note, in moderation.

 

[kevgermany]

I think vibrato is a matter of personal taste as well as contemporary fashion. Perhaps James Houlik is OTT. Probably is, but complete absence? Not sure if that should be the way things are played. I find it more irritating on strings, where some performers seem to make it a key part of their playing style.