A performer’s embouchure is critical to achieving a desirable sound on the saxophone. This mouthpiece exercise is an excellent method for refining a proper classical alto saxophone embouchure.
This exercise only requires the mouthpiece, reed, and ligature. Ensure that the mouthpiece is not attached to the neck. When blowing into the mouthpiece, the performer should hear a concert A (or F# transposed). It is important to have a tuner available to ensure the performer is playing the appropriate pitch. All images are in concert pitch.
When teaching about air usage, I divide air into two categories: air volume and air pressure. Air volume is the amount of air that goes into the instrument, whereas air pressure is the speed of the air that is going into the instrument. It is crucial for a saxophonist to develop the ability to control each of these separately. This warm-up exercise will allow a saxophonist to bolster their understanding of air usage. Begin the exercise by performing a concert A at fortissimo using only the mouthpiece. Ensure the performer has fast air pressure and strong air volume, otherwise the saxophonist will likely achieve a concert B or Bb. After correctly executing the concert A, the performer should sustain the note until they feel themselves running out of air. Repeat this concert A multiple times, as this will allow the saxophonist to develop muscle memory with their embouchure.
If the saxophonist is struggling in achieving the concert A, there could be multiple factors. Students may have an embouchure that flattens on the sides instead of coming inward. The embouchure should be similar to saying “ooo”, which forms a circular shape that requires the sides of the embouchure to come inward. The bottom lip should still be rolled slightly in to provide cushioning for the reed. The student may also not have enough air pressure or air volume going into the mouthpiece. All these mistakes will cause the saxophonist to overshoot and likely perform a concert B or Bb. If the student is undershooting and performing a concert Ab or G, then the student may be dropping the jaw excessively to compensate for the incorrect air usage. Maintaining the “ooo” shape in the embouchure is critical to achieving the concert A.
After successfully executing the concert A multiple times, begin to add dynamics into the concert A. To successfully sustain a concert A through dynamic changes, the saxophonist must adjust their air pressure and air volume. Since the saxophonist began with performing the concert A at fortissimo, I would recommend the following dynamic exercise first:
Make sure to sustain the pianissimo as opposed to rushing through it. This gives the saxophonist the opportunity to understand how to appropriately use their air to achieve the concert A at a softer dynamic. It is important to perform each exercise multiple times to develop muscle memory, as one successful attempt does not demonstrate mastery of a concept. After performing the aforementioned exercise successfully multiple times, try to perform the following exercise:
Any saxophonist who adds this mouthpiece exercise to their warm-up routine will bolster their understanding of appropriate air usage for classical saxophone. Similar to any aspect of music performance, regular practice is necessary to master this exercise. A saxophonist with a better understanding of air usage will hear improvement in their tone and intonation.
