[Alan Sizer]

I bought a couple of Saxxas ligs last year – one for my tenor (Yammy YTS-23) and one for my sop (Yanagisawa SC-91). Very happy with them.

Remember though that MP & reed are probably more important than the actual horns, and are as personal as the ligs. You’ll have to find the combo that works for you. I can’t say that I’m quite there yet, but FWIW, on the Tenor I’m using a Selmer S80 C* MP mostly with a Van Doren 2.5 reed. On the sop it’s the original Yani MP and either Rico Hemke or vD reed (2.5 again).

Enjoy the journey!

Al

[Alan Sizer]

Hi bb55chevy, thanks for the suggestion. It’s not something I would have thought of. Substandard reeds can have different responses. Are there any specific symptoms this idea works best for?

Cheers

Al

[Alan Sizer]

Thanks Johnny,
That’s kinda what I thought, and I have been doing it a bit in other pieces already. More practice needed, though!
Cheers

[Alan Sizer]

Thanks Johnny,
Another question. You mention scooping into a note, which I understand to be ‘sliding’ up to the note, but you haven’t really explained how to do it in the videos. Perhaps I missed something on one of your other lessons. Is it about changing embouchure, particularly moving the lower jaw up and down?
Cheers
Al

[Alan Sizer]

Hi Johnny,
I’ve finally forced myself to start working through the Killer Blues book, having bought it when it was released. Great work, by the way!
On the first exercise with the basic blues scale, it is written in C for the horn, but I notice that not all bars use the C-blues scale. It appears to me that bars 1-4 use C, 5&6 use F, 7& 8 use C, 9&10 use G and 11&12 use C. This would be in line with the 12 bar blues chords. Is this correct?
Thus, in essence, the first and second exercises consist of only two licks, but we already have them in three different keys. Just up to us to transpose as required – should be simple enough.
Cheers
Alan

[Alan Sizer]

Hi Clive,

For what it's worth, in my limited experience, leaving the reed on the mouthpiece is not a good idea. I've found that, if you do, the tip tends to warp as it dries out after playing. I's far better to remove it, wipe it to remove surface moisture and store in its holder.

Moistening it before playing is a good idea. Whether you use a glass of water or just pop it in your mouth is up to you.

Of course Johnny or someone else more experienced might have some better advice. I'm all ears!

Cheers

Al

[Alan Sizer]

Hi Jan, I can answer that one for you.

It doesn't matter what key you are using the modes work the same way. i.e. the Ionian mode starts and finishes on the root note, the Dorian on the second, Phrygian on the third etc. So for D, the Ionian is D,E,F#,G,A,B,C#,D; Dorian is E,F#,G,A,B,C#,D,E; Phrygian is F#,G,A,B,C#,D,E,F#.

The modes, in order, are Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian (natural minor) and Locrian. They start on the first, second, third, fourth fifth, sixth & seventh notes respectively of any given scale.

Hope that helps.

Alan

[Alan Sizer]

For some of us, then, it will be a really good long term project. Bring it on!

[Alan Sizer]

Yes please!

[Alan Sizer]

And as I've mentioned in a previuos post, my teach got some Fibracell synthetic reeds for me. i like them. If you get one to try out, make sure you go for one size up from the cane ones you're using (e.g. if you use a 3 cane, get a 3.5 Fibracell).

Unlike other synthetics, they are made with a grain that resembles cane. I don't know if that makes a significant difference.

Cheers

Al

[Author]

Posts