Embouchure refers to the way the mouth must be formed to play an instrument. Saxophones use a single reed and mouthpiece to produce a sound, much like a clarinet. The reed comes in different strengths (softer or harder), depending on the players skill and tone they wish to produce. Typically, beginning saxophonists will use a softer reed.
To produce a sound on any wind blown instrument, a vibration must occur. In this case it is the reed that vibrates and starts the sound.
The Tonal Concept
A player's tone - their "tonal concept" - is influenced by several factors:
- Player's chest cavity - the constant air stream is pressurized by the diaphragm
- Player's trachea
- Player's throat - the throat should be relaxed and open, as when saying the word "ah"
- Player's oral cavity - the tongue should be in mid-air, as when saying the word "ah"
- Player's embouchure - choose one of the four embrochure styles described in this article
- Saxophone neck strap - this takes the saxophone's weight off the player's lower lip
- Saxophone's mouthpiece and reed - consider the mouthpiece tip opening and reed strength
- Saxophone's body - check for air leaks around the pads of the instrument
Saxophone tone and many tonal problems are analysed in Larry Teal's book. In this article we shall concentrate largely on embouchure.
Embouchure Styles
Four styles of embouchure are possible; we shall describe each of these and comment on them. However, each individual player should experiment a little to adapt the chosen style to their own body.
Mouth Shape
For each of the following embouchure styles, the mouth shape is formed as follows:
- keep the chin in a natural position
- form an "oo" shape with the mouth and lips; bring the corners of the lips together
- keep the bottom lip firm to support the reed
- insert the mouthpiece into the mouth:
- 5/8 inch (15 mm) for baritone sax
- 4/8 inch (12 mm) for tenor sax
- 3/8 inch (9 mm) for alto sax
- 2/8 inch (6 mm) for soprano sax
- keep the tongue in an "ah" position and off the reed tip
TIPS
- Relax Chin: If you have a tendency to tighten or scrunch-up your chin, think of keeping your chin relaxed, so that when you touch the tip of the chin it is hard because you are touching bone and not tensed muscle.
Embouchure 1 ("New Saxophone")
Lower Lip: Do not draw the lower lip over the teeth. Instead, rest the lower lip against the teeth. Rest the reed against the lower lip.
Upper Lip: Do not draw the upper lip over the teeth. Instead, place the upper teeth directly onto the mouthpiece with light pressure.
Notes: A relaxed and natural embouchure. Used by generations of saxophone players.
Embouchure 2 ("Old Saxophone")
Lower Lip: Draw the lower lip over the teeth. Rest the reed against the lower lip.
Upper Lip: Do not draw the upper lip over the teeth. Instead, place the upper teeth directly onto the mouthpiece with light pressure.
Notes: Can fatigue the face and cause lower lip biting. Taught by generations of saxophone teachers.
Embouchure 3 ("Single")
Lower Lip: Do not draw the lower lip over the teeth. Instead, rest the lower lip against the teeth. Rest the reed against the lower lip.
Upper Lip: Draw the upper lip over the teeth. Lower the upper lip onto the mouthpiece with light pressure.
Notes: Can fatigue the face and cause upper lip biting. Not recommended for beginners.
Embouchure 4 ("Double")
Lower Lip: Draw the lower lip over the teeth. Rest the reed against the lower lip.
Upper Lip: Draw the upper lip over the teeth. Lower the upper lip onto the mouthpiece with light pressure.
Notes: Can quickly fatigue the face and cause upper and lower lip biting. Not recommended for beginners.
Blowing
At this point, the player will breathe in through the corners of the mouth (not the nose) and blow out in a forceful manner, using the muscles of the diaphragm to sustain a column of air in the instrument. This will cause the reed to vibrate and a tone will be produced.
The tongue is used to start and stop each note as desired, however this is not considered a part of the embouchure but more a playing technique.
Embouchure Problems
- Biting Lip: your lip should not be sore or bleeding. Stop playing until your lips heal and then try using Embouchure 1.
- Lip Fatigue: if you can no longer sustain your embouchure then you have been playing for too long. "Too long" means about 20 minutes for beginners and about 1 hour for professionals. Take a rest for at least half an hour to allow your face muscles to recover. If this persists then try switching to Embrochure 1.
- Low Notes: difficulty getting low notes is caused by: low air pressure (insufficient diaphragm support), a closed throat (say "ah"), hard reed strength (use a softer reed), overtight ligature (can stifle the reed), too little mouthpiece in the mouth (take more in), neckstrap too loose (tighen it to raise the sax and take pressure off lower lip) or applying too much lower lip pressure on the reed (slightly lower your chin for notes below low E).
- High Notes: difficulty getting high notes is caused by: low air pressure (insufficient diaphragm support), a closed throat (say "ah"), overtight ligature (can cause harmonics), too much mouthpiece in the mouth (take less in) or applying too little lower lip pressure on the reed (slightly raise your chin for notes above high c#).
References
- Teal, Larry, The Art of Saxophone Playing. Miami: Summy-Birchard, 1963. ISBN 0-87487-057-7.
- Davis, Ben, The Saxophone: A Comprehensive Course, The Selmer Company, 1930.
- O'Neill, John, The Jazz Method for Saxophone. Schott & Co. Ltd, London. 1992. ISBN 0-946535-20-5
- Rascher, Sigurd, Top-Tones for the Saxophone. Carl Fischer. 1941.
- Rousseau, Eugene, Saxophone High Tones. Etoile Music. 1978.
- Luckey, Robert, Saxophone Altissimo. Advance Music, 1993.
- Fordham, John, Jazz. Dorling Kindersley, 1993. ISBN 0-7513-0050-0
See also
External links
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