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borgani soprano out of tune

It doesn't matter what you stick on a sop or even what sop you've got, you still have to play it in tune. Same with any woodwind instrument - but the smaller they are the harder you have to try.
This is exactly what i tried to tell a new member not so very long ago......only to be shot down in flames! so this time around i'm keeping quiet!
 
I find I really have to work hard to keep my Soprano in tune (just a cheapy Gear4music jobby with a Yam4c and rico jazz select 2medium reed), on the plus side I can have great fun bending the notes :thumb:
 
In the interests of good intonation I like to ensure that sopranos stay in their cases.
 
I find playing the sop is good ear training. You really need to pitch the notes in your head before you play them. It's already quite hard for me on the alto. Tenor does more what it says on the tin (or brass or whatever). I probably need a contrabass to really play in tune.
 
Although I have found no documentary evidence to support my theory, I am certain in my own mind that the soprano was invented to allow saxophonists (in the unlikely event that they should wish to do so) to be just as obnoxious as trumpet players.
 
Although I have found no documentary evidence to support my theory, I am certain in my own mind that the soprano was invented to allow saxophonists (in the unlikely event that they should wish to do so) to be just as obnoxious as trumpet players.

Ah. I knew there was a good reason why I played one. :thumb:
 
I'm currently concentrating on soprano and once you start practising the extremes of the range it becomes obvious just how tricky it is. I have worked very hard on a flexible embouchure in order to get flexibility of pitch. This seems to be a double edged sword as I find that although a top F on soprano is a beast to play nicely, if it's reasonably in tune on your instrument (good luck with that), then as soon as I add some bend or vib the note can change easily up a semitone or down half a dozen. If I hadn't done all the work on that flexibility it would be easier to keep the note basically where it is so once you do get into being able to embouchurise the pitch up and down, you also need to develop a fine ear.

And for some reason, those pitches right up there are sometimes harder to hear how in tune they are(n't)
 
I find that although a top F on soprano is a beast to play nicely, if it's reasonably in tune on your instrument (good luck with that), then as soon as I add some bend or vib the note can change easily up a semitone or down half a dozen. If I hadn't done all the work on that flexibility it would be easier to keep the note basically where it is so once you do get into being able to embouchurise the pitch up and down, you also need to develop a fine ear.

And for some reason, those pitches right up there are sometimes harder to hear how in tune they are(n't)

The Gordon Goodwin chart I am working on is peppered with high F's - no wonder the dogs go crazy when I try to get those notes in tune.... maybe it's only meant for dogs to hear? :)

..... and I thought it was just me!
 

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