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More about Spirit Soup: The Queensbury CurseFree up 232 KB on the hard drive for setting up Spirit Soup: The Queensbury Curse v1.0; take into account that it can be also found under the names of Spirit Soup The Queensbury Curse and Spirit Soup - The Queensbury Curse. The Games category, the Puzzle section, to which Spirit Soup: The Queensbury Curse belongs to. Spirit soup: the queensbury curse free download. It should be noted that the setup files Launch.exe and Launcher.exe are the most downloadable among users. Download the free trial version of this game by Twilight Games, and if you want to access the entire content, buy the full edition at $6.99.
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Uploaded on Aug 2, 2018
One of my favorite op's. Definitely had to make this one
Pages | 4 |
Duration | 01:28 |
Measures | 50 |
Key signature | 6 flats |
Parts | 3 |
Part names | Alto Saxophone, Tenor Saxophone, Trombone |
Privacy | Everyone can see this score |
License | None (All rights reserved) |
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About Tenor Saxophones
The sound of the tenor saxophone drifts through the air, bringing a sense of peace to those listening. As you manipulate the instrument, you feel the passion behind the music flow from your soul and through your body. A musician is only as good as the tool in his or her hands, so having a tenor saxophone that is in good condition and finely tuned makes all the difference. When you shop among the reliable sellers on eBay, you can find a Yamaha tenor saxophone as well as a variety of other solid brands. New and used versions are available, giving you the choice of quality and value that you desire. From a vintage tenor saxophone to a Marine or King, you will find the piece that resonates with you to create a perfect symbiotic relationship ideal for producing excellent music. Get your new or used sax today, and bring the joy of music to the world for all to hear.
I meet a lot of good saxophone players who are still struggling with reeds after many years of playing.
After experimenting with dozens of varieties of reeds, I have come to the conclusion that you really can FIX your reed problems forever and just move past this whole area of struggle by doing only a few simple things. Follow these basic troubleshooting steps and let me know if your problems are solved.
- Find the correct strength of reed. You would be surprised how many players are fighting against their reeds. If your reed is slightly too hard, your tone will be airy, and your embouchure will have to be too tight to play comfortably in order to get a good sound. If you can find a way to buy single reeds or at least by packs of three of each strength, you will more quickly zero in on the correct strength. Reed strengths are complicated. Be sure to google reed strength chart saxophone to see how your reeds compare to other brands. For example, according to some charts, an Alexander 2 is the same as a Java 3, or a Vandoren blue box 2.5.
- Consider Rigotti Gold reeds. The advantage of Rigotti is that they ‘micro-sort’ their reeds into finer gradations of strength. If you find your ideal microstrength, then you get a box of reeds that is MUCH more uniform in strength, and GUESS WHAT? They ALL play well!! This ‘micro-strength’ idea can be confusing to folks at first, but it’s actually pretty simple. Reeds get sorted into different strengths at the factory simply by weight. The machine cuts all the cane, and then sorts it by weight. Reeds in a certain range of weights go into a box and get labeled strength 3. So your box of ‘3’ Vandoren reeds is actually a range of strengths of reed that fell within certain tolerances of weight after they were cut. What Rigotti does that is unique is to sort that box of ‘3’ reeds again into light, medium and strong. This gives you a much narrower range of variation in strength from reed to reed. They still have half sizes also, so the next strength after 3 Strong is 3.5 light, then 3.5 medium, then 3.5 strong, 4 light and so on. Rigotti also has the best cane in the world. All the premium reed brands that I know of are actually rebranded Rigotti reeds, but WITHOUT the micro-sorting. Why would you want that? As a special benefit for folks with this struggle, I sometimes sell Rigotti reeds as single reeds, so email me at [email protected] if you want to buy a range of strengths of Rigotti reeds to try out. I don’t list them on the website because it is a pain selling single reeds and shipping them. By the way to tell what microstrengths Rigotti reeds are, look at the printing of the world ‘GOLD’ on the reed. Dark O in GOLD is light strength, no fill is medium, dark D is strong. Strange but true!
- Flatten your reed: Once you have your correct strength of reed figured out, you need to make sure your reed stays flaton your mouthpiece once it gets wet. The way to do this is simple. Lightly soak your new reeds, and then SCRAPE the reed on the back opposite the cut until it is flat. Below, please checkout a great video from Matt Stohrer showing you how and why to do this.
- Check your ligature: Make sure that your ligature holds the reed flat on your mouthpiece. Having a good ligature can really improve your experience of playing, because it keeps your reed from swelling (see step three above). It also frees the reed to vibrate, so it should be made of a material that does not dampen vibration (I’m not a fan of vinyl or fabric ligatures except for classical sax.) I sell these ligatures, and they get extremely good reviews from customers, but really any sturdy ligature that fits well should be ok. If you have a metal tenor mouthpiece, you might really consider the ligatures that I sell, as they are the best I have found for getting a really good, firm seal on those pieces.
- Check your mouthpiece: The mouthpiece is the most important piece of saxophone gear there is. If you are still having problems, then your mouthpiece might not have a flat table or might have a bad facing. This is very common. Most mass-produced modern mouthpieces are very uneven in quality. A minority of them come with a flat table and good facing, and unfortunately most of them don’t. In order to check your facing, you need a set of automotive or other feeler gauges and a flat surface. Drop the feeler gauges of different thicknesses into the gap between the flat surface and your mouthpiece’s facing, and see if it is even on both rails. If it is even, then your facing is more likely to be ok. Doesn’t mean it’s good, but it’s at least the same on both sides. Checking for a flat table is not so easy, but if your reed won’t seal on the mouthpiece doing the ‘pop test’ then you probably want to try some other mouthpieces.
- If you have no idea what mouthpiece to try, send me an email at [email protected] or read around in the mouthpiece section of this website. Simple answer: Ted Klum’s mouthpieces are just about the best facings available on the market today. Many of them are surprisingly affordable for how good the mouthpieces are. I can get any of Ted’s mouthpieces for you, or you can buy directly from his website. There are some other good options as well, but as far as I’m concerned, on new pieces it’s Ted Klum’s facings, and then everything else out there.
OK that’s it for this article. Did this guide help you to get your equipment problems out of the way and get back to playing? Am I wrong about something? Did I forget something important? Let me know in the comments!
You know the saying, “you can never be too thin or have too big a saxophone sound…” Tales of vesperia wiki yuri.
Ok, well maybe that’s not really a saying, and maybe there is such a thing as being too thin (hey, I live in L.A., I know these things).
But seriously, just about every single set of eyeballs reading this article is attached to the body of a saxophonist eager to supersize their tone. Of course, we all want to sound pretty, but that prettiness needs to have some hefty (yet precisely controlled!) sonic mass behind it. Aside from having an attractive tonal color, a great saxophone sound should effortlessly fill up a room without the need for the saxophonist to be popping a vein in her neck, blasting the horn with hurricane-force air blasts.
We all aspire to be that saxophone stylist whose tone is flush with the entire harmonic spectrum, low lows to high highs, the frequencies delicately balanced to form a sublimely enrapturing sonic ambrosia.
Yeah – that…but with BALLS!
With all of that said, here is, as advertised, my list of 8 things you can do, today, that will leave you walking out of the practice room able to boast of a sound bigger and stronger than you had when you walked in.
1. Overtones
For those of you new to the concept, overtones are basically alternate fingerings for notes that generate a louder and more resonant, albeit harsher, sound on the horn (newbies can get themselves up to speed with this article). But once you start moving up through the range of the horn, some of these overtones become quite difficult to play consistently. Truly mastering the overtone series forces you to develop control of the muscles in the mouth and larynx that allow you to enlarge and focus your sound in a MAJOR way.
The trick is to keep working towards matching the size of the sound of the normally-fingered notes to that of the overtone-fingered notes. Of course, that will be like a dog chasing its tail, since the bigger your normally-fingered sound is, the bigger your overtone sound will be, so your normally-fingered notes will never match the volume and resonance of the overtone fingerings. But there’s a ton of growth available in the chase.
You can find some great overtone exercises with sheet music and audio examples here.
2. Practicing on the Mouthpiece Alone
As much as it may torment those sharing a home with you (not to mention your neighbors three blocks away) playing on the mouthpiece while it’s detached from your horn is another killer workout for your chops, and really, for your sound-producing capabilities in general. It’s basically another way of exercising the same muscles that you exercise when you practice your overtones, since you don’t have the convenience of those pearly keys to control which note you’re actually shooting for.
Try playing some scales or arpeggios on the mouthpiece, but don’t cheat and use your lower jaw to change pitch. Instead, use what Joe Allard refers to as your “inner embouchure” to make these notes happen, and you’ll find that your powers of tonal production have been officially supersized!
More details on this hideously-sounding-yet-massively-beneficial practice can be found here. Want some more mouthpiece-only exercises as taught by Joe Allard, himself? Then hop on over here.
3. Roll the Lower Lip Out
There are two basic schools of embouchure. One, espoused by many classical players and teachers (most notably, Larry Teal) involves playing with the bottom lip tucked into the mouth The other approach involves playing with the bottom lip rolled out – or ideally, laying naturally under the reed, positioned the same way it would be if you were simply speaking. This method is most popular with jazz players, although it was taught by sax teaching legend, Joe Allard, who taught both jazz and classical saxophonists.
In my experience, the lip out method produces a noticeably bigger sound.
A good rule of thumb is to make contact with the reed using the fleshiest part of your lower lip. This way, the reed can vibrate as much as possible while you use the least amount of pressure necessary to hold the mouthpiece in place.
If you’re used to playing with the lip rolled in, playing with the lip out will take some getting used to, as the sound will be harder to control at first. But hang in there, it will definitely be worth the temporary awkwardness.
More on this topic here.
4. Practice Your Long Tones (duh!)
I don’t really need to go into too much detail on this one. In fact, you’re probably all sick of hearing teachers telling you to do these, but long tones are crucial for tonal control. To get the most out of these, practice fading in from silence all the way up to fortissimo and then back down to silence. For bonus points, practice doing this breathing only out of your nose, as this will really work your embouchure muscles as you go through your long tones without a break.
Tenor Sax Players
Still dreading the boredom of long tone practice? Here are some approaches to long tone practice that will make playing them a heck of a lot more fun.
5. Play Using the ‘EEE’ Sound
Coming back to our man Joe Allard again – here is a method he taught which is counter to what many of us have been taught. Most of us have been instructed to blow through the horn keeping in mind the “AAH” sound. But as I explain in this article, the “AAH” sound causes you to lift the tongue, which blocks off the passage of air from the throat and out of the mouth.
The “EEE” sound, on the other hand, forces your tongue down towards the bottom of your mouth, leaving a much larger passage for the air to travel through, thus making your sound that much heftier.
6. Avoid Tension While Breathing
For this tip, I’m going to be lazy and simply rip off a few paragraphs from my instructional program, Bulletproof Saxophone Playing (sorry for the somewhat shameless plug, but bear with me, this is good stuff).
Here is a great snippet on the topic of breathing, as shared by one of the program’s teachers, Alexander Technique master, Bill Plake.
If you watch the people who breathe beautifully, what you’ll notice is what they don’t do. You won’t see them tighten their heads down on their spine and throwing their heads back. You won’t see them tighten across their shoulders, you won’t see them holding across their chest trying to force their stomachs out. What you will see is you see the whole torso expanding in all dimensions.
It’s a three dimensional movement – as we breathe in, our torso gets longer, it gets wider, and it gets thicker from front to back. The whole torso, not just the tummy, everything; let the entire torso move.
One person who had extraordinarily good breathing was Michael Brecker. If you watch videos of him playing, you’ll notice that when he takes that in breath you don’t see him bearing down on himself, you don’t see him losing his stature. You see him maintaining his stature and the same thing when the air is coming out, you don’t see him launching down into his gut to push the air out. You see him maintaining his stature.
Another saxophonist with masterful breathing was Charlie Parker. In fact, watch Charlie Parker in general if you want to see someone who leaves himself alone when playing the saxophone.
7. Practice Proper Articulation
Most of us think that mastering articulation equals having superb control of the way individual notes begin. But solid articulation has the added benefit of bolstering your sound in a major way.
For example, if you’re tightening your jaw every time your tongue attacks a note, that means you’re cutting off precious air. To make matters worse, many of us have a habit of moving our throats when we articulate, which cuts off the air as well.
To delve deeper into what I’m talking about, check out this article here.
8. Forget About Finding Better Gear
It’s funny since I’m not really a saxophone gear head (as anyone who’s emailed me asking about a specific brand of vintage horn or mouthpiece can tell you), but even I love trying out new gear to hear how it affects my sound. If you listen to me trying out a bunch of horns and mouthpieces at NAMM 2013 in this video, you’ll see that while there are differences from horn to horn and mouthpiece to mouthpiece, those differences are not totally radical.
At the end of the day, you’re going to sound like you. Maybe you with a slightly brighter or darker or softer or louder or whatever sound, but to the average listener, you’re almost certainly going to sound like the same sax player.
The point of having the right saxophone gear is to help get you to the inevitable sound of YOU as effortlessly as possible.
So let’s all just agree now, there’s no substitute for putting in the time necessary to get that big and beautiful sound, regardless of which horn or mouthpiece you’re playing on. No magical horn, mouthpiece, or reed is going to swoop in and transform a frog into a prince.
What’s important is that you have in your “mind’s ear” the precise sound that you’d like to produce, and learn to shape your sound until you reach your sonic target.
You can read more on this hot topic here.
Off You Go!
So now that you know what to do, you have no excuses. Well, you probably do have some excuses, but I accept them with great hesitation!
But seriously, if you’re tired of hearing your sound dwarfed by the guy or girl sitting next to you in the section, then pick up the tools I’ve shared here, and if you have used any or all of these tools, leave a comment below and tell us about it!
Until next time…
Woodwind instrument | |
---|---|
Classification | |
Hornbostel–Sachs classification | 422.212-71 (Single-reededaerophone with keys) |
Inventor(s) | Adolphe Sax |
Developed | 28 June 1846[1] |
Playing range | |
In B♭: sounds an octave and a full step lower than written. Sounding: | |
Related instruments | |
Military band family: Orchestral family: Other saxophones:
| |
Musicians | |
More articles |
The tenor saxophone is a medium-sized member of the saxophone family, a group of instruments invented by Adolphe Sax in the 1840s. The tenor and the alto are the two most commonly used saxophones. The tenor is pitched in the key of B♭ (while the Alto is pitched in the key of E♭), and written as a transposing instrument in the treble clef, sounding an octave and a major second lower than the written pitch. Modern tenor saxophones which have a high F♯ key have a range from A♭2 to E5 (concert) and are therefore pitched one octave below the soprano saxophone. People who play the tenor saxophone are known as 'tenor saxophonists', 'tenor sax players', or 'saxophonists'.
The tenor saxophone uses a larger mouthpiece, reed and ligature than the alto and soprano saxophones. Visually, it is easily distinguished by the curve in its neck, or its crook, near the mouthpiece. The alto saxophone lacks this and its neck goes straight to the mouthpiece. The tenor saxophone is most recognized for its ability to blend well with the soprano, alto and baritone saxophones, with its 'husky' yet 'bright' tone.
The tenor saxophone is commonly used in classical music (such as concert bands, chamber music and solo repertoire), military bands, marching bands and jazz (such as big bands, jazz combos, etc.). It is occasionally included in pieces written for symphony orchestra; three examples of this are Ravel's Boléro, Prokofiev's suite from Lieutenant Kijé, and Webern's Quartet for violin, clarinet, tenor saxophone and piano. In concert bands, the tenor plays mostly a supporting role, sometimes sharing parts with the euphonium, horn and trombone. In jazz ensembles, the tenor plays a more prominent role as a member of a section that includes the alto and baritone saxes.
Many of the most innovative and influential jazz musicians have been tenor saxophonists. These include Coleman Hawkins, Lester Young, Ben Webster, Dexter Gordon, Wardell Gray, Stan Getz, Sonny Rollins, John Coltrane and Wayne Shorter. The work of younger players such as Michael Brecker and Chris Potter has been an important influence in more recent jazz.[2]
History[edit]
The tenor saxophone is one of a family of fourteeninstruments designed and constructed in 1846 by Adolphe Sax, a Belgian-born instrument maker, flautist and clarinetist. Based on an amalgam of ideas drawn from the clarinet, flute, oboe and ophicleide, the saxophone was intended to form a tonal link between the woodwinds and brass instruments found in military bands, an area that Sax considered sorely lacking. Sax's patent, granted on 28 June 1846, divided the family into two groups of seven instruments, each ranging from alto down to contrabass. One family, pitched alternatively in B♭ and E♭, was designed specifically to integrate with the other instruments then common in military bands. The tenor saxophone, pitched in B♭, is the fourth member of this family.
Description[edit]
- Tenor (left) and soprano saxophones, showing their comparative sizes
The tenor saxophone, like all saxophones, consists of an approximately conical tube of thin brass, a type of metal. The wider end of the tube is flared slightly to form a bell, while the narrower end is connected to a single reed mouthpiece similar to that of the clarinet. At intervals down the bore are placed between 20 and 23 tone holes; these are covered by pads which can be pressed onto the holes to form an airtight seal. There are also two small speaker holes which, when opened, disrupt the lower harmonics of the instrument and cause it to overblow into an upper register. The pads are controlled by pressing a number of keys with the fingers of the left and right hands; the left thumb controls an octave key which opens one or other of the speaker holes. The original design of tenor saxophone had a separate octave key for each speaker hole, in the manner of the bassoon; the mechanism by which the correct speaker hole is selected based on the fingering of the left hand (specifically the left ring finger) was developed soon after Sax's patent expired in 1866.
Although a handful of novelty tenors have been constructed 'straight', like the smaller members of the saxophone family, the unwieldy length of the straight configuration means that almost all tenor saxophones feature a 'U-bend' above the third-lowest tone hole which is characteristic of the saxophone family. The tenor saxophone is also curved at the top, above the highest tone-hole but below the highest speaker hole. While the alto is usually bent only through 80–90° to make the mouthpiece fit more easily in the mouth, the tenor is usually bent a little more in this section, incorporating a slight S-bend.
The mouthpiece of the tenor saxophone is very similar to that of the clarinet, an approximately wedge-shaped tube, open along one face and covered in use by a thin strip of material prepared from the stem of the giant cane (Arundo donax) commonly known as a reed. The reed is shaved to come to an extremely thin point, and is clamped over the mouthpiece by the use of a ligature. When air is blown through the mouthpiece, the reed vibrates and generates the acoustic resonances required to produce a sound from the instrument. The mouthpiece is the area of the saxophone with the greatest flexibility in shape and style, so the timbre of the instrument is primarily determined by the dimensions of its mouthpiece. The design of the mouthpiece and reed play a big role in how a saxophone sounds. Classical mouthpieces generally help produce a warmer and rounder tone, while jazz mouthpieces generally help produce a brighter and edgier tone. Materials used in mouthpiece construction include plastic, ebonite and various metals e.g. bronze, brass and stainless steel.
The mouthpiece of the tenor saxophone is proportionally larger than that of the alto, necessitating a similarly larger reed. The increased stiffness of the reed and the greater airflow required to establish resonance in the larger body means the tenor sax requires greater lung power but a looser embouchure than the higher-pitched members of the saxophone family. The tenor sax reed is similar in size to that used in the bass clarinet, so the two can be easily substituted.
Uses[edit]
The tenor saxophone first gained popularity in one of its original intended roles: the military band. Soon after its invention, French and Belgian military bands began to take full advantage of the instrument which Sax had designed specifically for them. Modern military bands typically incorporate a quartet of saxophone players playing the E♭ baritone, tenor, E♭ alto and B♭ soprano. British military bands customarily make use only of the tenor and alto saxes, with two or more musicians on each instrument.
The tenor is used in classical music. It is a standard instrument in concert bands and saxophone quartets. It also has a body of solo repertoire. The tenor is sometimes used as a member of the orchestra in pieces such as Sergei Prokofiev's 'Romeo and Juliet' and 'Lieutenant Kijé Suite' and Maurice Ravel's 'Boléro'. Charles Ives employs a tenor in his Fourth Symphony. Vincent d'Indy wrote for a tenor in his opera Fervaal. Lukas Foss includes a tenor in his Symphony No. 2. The Tenor Saxophone Index, an online repertoire database, was launched in July 2012.
Much of the popularity of saxophones in the United States derives from the large number of military bands that were around at the time of the American Civil War. After the war, former military band instruments found their way into the hands of the general public, where they were often used to play gospel music and jazz. The work of the pioneering bandleader Patrick Gilmore (1829–1892) was highly influential; he was one of the first arrangers to pit brass instruments (trumpet, trombone and cornet) against reeds (clarinet and saxophone) in a manner that has now become the norm for big-band arrangements.
The tenor saxophone became best known to the general public through its frequent use in jazz music. It was the pioneering genius of Coleman Hawkins in the 1930s which lifted the tenor saxophone from its traditional role of adding weight to the ensemble and established it as a highly-effective melody instrument in its own right.
Many innovative jazz musicians from the 1930s onwards have been tenor saxophone players. The strong resonant sound of Hawkins and his followers was in contrast with the lighter approach of Lester Young and his school. During the bebop years the most prominent tenor sounds in jazz were those of the Four Brothers in the Woody Herman orchestra, including Stan Getz who in the 1960s went on to great popular success playing the Brazilian bossa nova sound on tenor saxophone (not forgetting John Coltrane, Dexter Gordon and Sonny Rollins). In recent years, the tenor continues to be very popular with fans of smooth jazz music, being played by artists like Kirk Whalum, Richard Elliot, Steve Cole and Jessy J. Saxophonists Ron Holloway and Karl Denson are two of the major proponents of the tenor on the jam band music scene.
As a result of its prominence in American jazz, the instrument has also featured prominently in other genres, and it has been said that many innovations in American music were pioneered by tenor saxophonists. The tenor is common in rhythm and blues music and has a part to play in rock and roll and more recent rock music as well as African American, Latin American, Afro-Caribbean, and African music.
See also[edit]
- C-melody saxophone – a smaller tenor saxophone in the key of C
References[edit]
- ^'June 28, 1846: Parisian Inventor Patents Saxophone'. Wired.com. Retrieved 14 February 2011.
- ^'JJA Jazz Awards 2014: 2013 JJA Jazz Awards Winners'. JJA Jazz Awards 2014. Retrieved 13 February 2015.
External links[edit]
- Media related to Tenor saxophones at Wikimedia Commons
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Tenor_saxophone&oldid=902883358'