|

|
"Buzzing" the Saxophone
Mouthpiece
by
Brian R. Utley, DMA
SFA
Assistant Professor of Music
Saxophone and Theory Instructor |
Watch a short video! |
 |
|
|
We have all, no doubt, heard
brass players practicing diligently, or “buzzing,” on their mouthpieces
away from the horn itself. Similarly, playing on the mouthpiece
alone is an extremely beneficial exercise for saxophonists at all levels.
It not only helps us develop and reinforce proper embouchure formation,
air support, and tongue position, but it can also aid in our quest for
good intonation and even tone color throughout the registers of the horn.
Below I will discuss the basics of mouthpiece playing and offer some exercises.
The first issue that must be addressed is that of the correct pitch to
be produced by playing on the mouthpiece alone. (Please note that
I am presently referring to “classical” mouthpieces; that is, those intended
for solo and/or concert playing, such as the Selmer C*, rather than those
intended for jazz performance.) Since the mouthpieces of the different
saxophones are of different sizes, each has a unique pitch it produces
when played alone:
Soprano saxophone: concert
c3
Alto saxophone: concert a2
Tenor saxophone: concert g2
Baritone saxophone: concert d2
Students will likely be
reluctant to play on the mouthpiece since it does create a rather unpleasant
sound. However, it is important to play loudly and confidently at
first, since loud, sustained long tones can be very telling in regard
to one’s embouchure/air/tongue position set-up. Also, make sure
to play with proper posture and that the hand holding the mouthpiece does
not cover up the end of it.
If you find your student playing above the preferred pitch, then there
are a number of potential reasons for this. Firstly, and most likely,
the embouchure is too tense. More specifically, the lower teeth
and lip are biting into the reed too much. (For further information
on the embouchure, see my article titled “Saxophone
Embouchure Basics,” also available on this web site.) Perhaps
the student may also not be taking enough mouthpiece into the mouth.
Other reasons for a sharp pitch could be attributed to a constricted air
stream or incorrect placement of the tongue in the oral cavity.
The throat should be quite open, with the concept of “warm air” in use;
a sharp pitch might indicate the opposite is being used. The tongue
should be positioned with a downward curve in the mouth; that is, the
back part of the tongue should be relatively high in the mouth, possibly
even touching the molars, and it should curve downward toward the mouthpiece,
so that there is an open area in the oral cavity just behind the mouthpiece.
Thinking of the syllable “err” will place the tongue in the correct position.
Conversely, a student playing below the pitch will likely have some of
the opposite issues. A very loose embouchure, for example, will
lead to this flatness on the mouthpiece. Perhaps the jaw is pulled
too far away from the reed, as when playing “subtone.” (Incidentally,
a loose embouchure such as this is preferred in jazz playing; again, this
article is geared toward classical performance.) A tongue that is
placed too low in the oral cavity or an under supported air stream are
other common reasons for this. See above for correct tongue placement;
to correct the air support issue, the student must realize the concept
of “low” breaths and must engage the diaphragm much more. In other
words, breathing while playing a wind instrument requires more work than
when breathing normally!
Once this basic pitch has been well established, there are a number of
exercises we can practice with the mouthpiece alone. As mentioned
above, when first working on the mouthpiece we must work for loud and
sustained tones. Play the pitch forte or fortissimo
and sustain it for as long as comfortably possible, striving for no fluctuation
of pitch. Since the length of the tube with which we are dealing
is so small, any change in embouchure, tongue position, or air stream,
no matter how minute, will be exaggerated. Thus, we are working
for absolute consistency with all of the above-mentioned aspects of our
playing. If we notice lots of pitch fluctuation with just the mouthpiece,
then we know we are doing it when we put the mouthpiece on the horn itself!
The next exercise will include dynamics. Of course, the saxophone
plays sharp at softer dynamics, and this will be made painfully obvious
on the mouthpiece alone. Begin the pitch at a loud dynamic, but
now decrescendo to as soft as a dynamic possible, and unless some
changes are made, the pitch will rise considerably. In order to
counteract this natural tendency, it is important to open the oral cavity
as we get softer. This can be achieved by opening the throat and
by dropping the tongue slightly in the mouth, as when going from the syllables
“err” to “aah.”¹ A common instruction to lower
the pitch is simply to “drop the jaw;” while this is a quick fix and certainly
works, it also has the side effect of distorting the tone color.
Thus, we must work to keep the jaw stationary and allow the oral cavity
to change shape in order to bring the pitch down. Once this has
been mastered, we can then begin the mouthpiece tone softly and crescendo,
or do any combination of dynamics, as long as the pitch remains constant.
Once we are consistent with the basic pitch at all dynamics, then we can
begin to actually change the pitch and perform many of the same exercises.
Try at first to bring the pitch down a half-step, accomplishing this change
of pitch not by “lipping down,” but by changing the shape of the oral
cavity, or “voicing.” Play this lowered pitch at all dynamics, again,
maintaining a consistent (lowered!) pitch. Bring it down another
half-step, then another, etc. Then play scales, simple tunes, such
as “Mary Had a Little Lamb,” and other similar exercises. Work above
and below the “standard” pitch, though we will obviously be able to move
much farther below than above.
In conclusion, mouthpiece practice will help us to evaluate better how
our students are doing in the areas of embouchure, tongue placement, and
air support. With such a small “tube,” all of these potential pitfalls
are greatly exaggerated, and by fixing the problems on the mouthpiece,
it should lead to more favorable results when the mouthpiece is put on
the horn. By applying the techniques practiced in these exercises
to the saxophone itself, your students should better understand the mechanics
required to play in tune (“voicing” instead of “lipping”) and they should
also be able to produce a considerably more consistent tone throughout
all registers and at all dynamic levels.
This concept
of changing the shape of the oral cavity is called voicing and
becomes extremely important in the production of the altissimo register.
With the technique of voicing, we are moving the tongue into different
positions, and essentially re-directing the air stream as it enters the
horn. These tongue motions are the same as those that allow us to
change pitch when whistling.
If
you would like to be added to the TSMP
Email Mailing List and receive
periodic notifications of new articles and updates to this website,
then please email
TSMP.
The Texas School Music
Project is a source for ideas and information
concerning pedagogical
practices in the music classroom or rehearsal hall. The TSMP is a service provided to
all music specialists by the faculty
of
the Department of Music
at Stephen F. Austin State University.
For questions about this
site contact [email protected].
Copyright © 2002, Department
of Music at Stephen F. Austin State University
|
|