Equipment

How do you choose an instrument? What attributes should you look for? Which is better, a vintage instrument, or a newer model? Many saxophonists still cling to the legend of the Selmer Mark VI saxophone from a certain period of the 1950’s; to sometime in the 1960’s as the perfect instrument, made from French brass, some say from old WW II shell casings. There is also a school of classical saxophone performance that believes that older Conn saxes similar to those used by Sigurd Rascher represent the pinnacle of saxophone tonal beauty. Saxophonists of all persuasions discuss the attributes of various vintage instruments and mouthpieces endlessly. My first question is this; why all the concern about the sound of the instrument when you’re just going to put on a Dukoff mouthpiece and play in a rock band?

Flutes and clarinets continue to evolve and improve as new models are tried by top symphony players and introduced at music conventions. While there are schools of flute and clarinet performance that focus on older instruments, the majority of players are using instruments manufactured in the last several years by companies such as Powell, Brannen, Buffet, and Yamaha.

There are several companies today that are making excellent instruments, thanks to advances in computer-aided design and manufacturing. Yamaha and Yanigasawa instruments easily rival the best Selmer instruments, often providing a more consistent tone along with a better scale. Ignore the Selmer myth. Use your ears and a tuner. Play several instruments in a variety of situations over several days for other musicians you trust, who don’t listen with their eyes. Record each instrument, playing both classical and jazz styles. ­­­ Don’t be afraid to try new models as they are introduced. Also, talk to instrument repairmen regarding construction quality and reparability. It is bordering on the criminal that the first thing a professional clarinetist does upon receipt of their new Buffet R-13 clarinet is to pay another several hundred dollars to install better quality pads and to refine generally shoddy fit and finish.

Mouthpiece

“I love this mouthpiece! It can’t play in the low register, or quieter than forte, its really sharp up high, but other than that, its great!” I’ve heard that description many times from students about their latest mouthpiece purchase. What a waste of time and money. Start with a good quality, neutral sounding mouthpiece (Hard rubber Meyer, Otto link, Ponzol, Phil Barone) and work to make the best sound you can. For classical playing, the Selmer and Rousseau mouthpieces are excellent. Mouthpieces with highly modified interiors, such as baffles, redefine the physics of the instrument making some notes loud or sharp. Mouthpieces with rails that are very thin can exacerbate reed issues and are prone to squeaks.

Mouthpiece Patches

If your teeth are sensitive use a mouthpiece patch. I prefer the clear plastic patches made by Vandoren because they are a little smaller than other models. Some people say that an overly large patch can deaden mouthpiece vibrations. I’m not sure if this is true, but a patch will certainly dampen the transmission of vibrations through your teeth and at least reduce your perception of higher frequencies. Sometimes I introduce the larger rubber patches to students who have worn a groove into the top of their mouthpiece with their teeth. The patch sometimes can smooth over the indentation, allowing the student to change the amount of mouthpiece taken into the mouth.

Instrument Stands

Buy a sturdy stand for your instrument and use it, or put your horn away at the end of a practice session. The unusual way the saxophone is constructed doesn’t give us a good way to lay it down without it resting on one poor key or another.

Neck strap