Saxophone

BML Welcomes Michael Kammers

Submitted by BML on Sat, 03/12/2011 - 00:23

Fresh off a 5 week U.S. tour playing saxophone and organ with The Suite Unraveling, BML welcomes Michael Kammers to their roster of teachers.  A versatile musician, (Saxophonist/Pianist, Composer, Bandleader) Michael has been active in the creative music scene in Brooklyn since his arrival 9 years ago as leader of the 13 piece powerhouse The MK Groove Orchestra and as a sideman a wide variety of contexts.  Michael combines a laid back style with a rigorous approach. 

MKGO Big Band Clinic @ Onondaga Community College, 2008


Michael Kammers teaches Saxophone, Piano and Composition at Brooklyn Music Lessons

Learn more about Michael's music and performances at www.mkmkmk.com

Seal a Reed for Maximum Use

Submitted by curtis.macdonald on Mon, 11/08/2010 - 19:43

This post highlights a simple procedure designed to extend longevity of reeds. My first saxophone teacher showed this to me and it is something that I have adopted as good practice for saving time, money and avoid reed headaches. This is one way to gain a little more control over the consistency of sound a reed can produce. Quality of vibration is what sound production is all about. Best of all, it takes only few minutes.

Every reed has microscopic pores that are the veins of the cane from which it came. To see these pores more clearly dip a new reed completely in water and blow on the butt of the reed and see the bubbles formed on the vamp of the reed. In the image below, the vamp is the part of the reed indicated by the arrow. 

Brand new reeds have these pores wide open which means they absorb all kinds of things like moisture, bacteria and other potentially disgusting things like bits of food, flesh, lip gloss, etc.  Acidic beverages like soda, beer, coffee, juice are the absolute worst. Sealing a reed limits the amount of moisture it can absorb, thus making it less susceptible to deterioration. All it takes is the pressure of your thumb on a moist reed on a flat surface, rubbing down firmly from the file of the reed to the tip. The key here is to apply downward pressure while rubbing upwards to the tip. Repeat this several times. Thumbs may get sore in the process.

Finally, you can check how much of a seal you achieved by once again dipping the reed completely in water and then blowing from the butt of the reed, observing how few bubbles are now forming. Keep in mind it’s rare to completely seal all pores entirely. Doing this procedure along with a simple reed rotation i.e. not playing the same reed everyday, might just save the cost of buying boxes upon boxes of reeds unnecessarily, and gain a truer reed vibration.

Curtis Macdonald
Saxophone, Pro Tools, Ableton, Production

John Beaty's Guide to Saxophone Practice - Part 1a

Submitted by john.beaty on Sat, 08/01/2009 - 00:52

The most important tool in getting better on any instrument is a good practice schedule. This multi-part article covers the 4 areas that I find to be most important when practicing saxophone:

1. SOUND PRODUCTION
2. FINGER COORDINATION
3. ARTICULATION
4. STYLISTIC APPROACH

Depending on the time I have available to practice, I split these four areas up over as little as 30 minutes or as much as 12 hours. It is important to note that these exercises can be applied to all levels of saxophone ability!

AREA 1 - SOUND PRODUCTION

Part 1a - Embouchure and Long Tones

Sound is the most important area of saxophone. If you have a good sound and can only play three notes, at least people will still want to hear those three notes. As a basic starter to making a sound on the saxophone it is important to point out that the bottom lip covers the bottom teeth and the reed sits on top of the bottom lip. The upper lip does not cover the upper teeth and the teeth directly touch the top of the mouthpiece. The top of the tongue should be touching your top teeth in the back, while the mouthpiece enters your mouth at an angle. Try to place the air into the top of the mouthpiece, do not blow directly into the mouthpiece. After you have made a few sounds it is time to get used to producing the sound.

Saxophonists often talk about "long tones". It isn't a big secret, you just play one note for an extended period of time. Place your favorite metronome at 60 BPM and start with G. (If you are advanced start with the lowest Bb and go to the high F chromatically). To practice the long tone start playing soft and crescendo (get louder) over 4 beats, for the next 4 beats decrescendo (get softer). That is a total of 8 beats. Then add a beat to each side, meaning 5 beats while you crescendo, and 5 beats while you decrescendo for a total of 10 beats. I recommend going at the very least 8 beats on both sides, 16 all together. If you feel you need and can take more go for it.

Video example of part 1a:

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