What strength and on what mpc?
Good to know (about Fibracells) - my plan of attack is two-prong - advance on Legeres - simply because there is nothing else that plays so easily on mpcs that I have. Then hold the ground with move to similar strength canes. Today I was finally able to control #2 Vandoren on 4C. 3 and 6* are beyond my imagination - when I tried Vandoren 2.5 I could not control it - notes end abruptly - everything is way to "breathy".3, on a Berg 105/2, which is theoretically a 7*...except it isn't, no way, it's very similar to my teacher's 6*.
The Fibracell's seem quite inconsistent. I have another 3 that is quite a lot harder than this 3, and a 2.5 that is way way softer.
I downloaded a backing track, which says it's in F,D,G,E. So, I started in (Concert F...tenor G). I played it, then after a while, the woman stops singing, and the man starts...so I guess that's the first key change ...so I started playing in E from then and it seemed to fit....work in progress, I don't know where they change next...maybe when they both start singing...
Oh yeah, it's my Fibracil reed, it's a bit harsh at times, but good to practice with as I don't have to wet it before/during.
Had a go pretty soon after starting, a bit more recently while teacher away. Finding the software "Transcribe" helped a lot, can just highlight a single riff and repeat it.Speaking about transcribing, when did you start doing it ? ...
What: some easy jazz standards & rock / pop balads
Why: to get something to play on my aerophone and then play the same (chords) on piano, doing some harmonic analysis and checking how melody and harmony fit together and to fiddle with an alternative notation
How: i am transcribing from standard to my own version of number notation. I won’t lie, I hate the idea that sax is a “transposing instrument“. Long story short: Coming from guitar, it makes no sense to call guitar and ukulele „transposing“ and then play the same written chord/tab on both and call it a day. It would work great until you wanted to play them together. And still, at least one of them would be in the concert pitch.
Anyway, I‘m trying to see if numbered notation is a good fit for sax. Basically it captures just relationship between tones and the octaves. Simple, effective. And even though I‘m new to sax I can transpose on the fly from say (concert) C to D to Eb with minor mistakes.
I also write along chord progressions in relative terms so I can then fiddle on piano. Interestingly, I can read numbered melody easier as harmony. I guess because for melody I‘m thinking of solfa (movable do and do based minor), which doesn’t work for chords.