All Musician: Question & Answers

Here’s a little snippet of me playing around with the original four note shape from the single idea improv section. In this example, I’m basically creating new rules/limits for myself roughly at the top of each chorus. The focus keeps changing depending on what I’m doing with the shape – sometimes I’m thinking more about rhythm and meter groupings, other times transpositioWatch Videon, but the whole time I’m trying to somehow stay connected to the original four note shape. Although this excerpt is two minutes long, I’ll usually do this for a lot longer and keep trying different approaches — pushing myself to see how far I can go moving the shape around without a predetermined plan.

… I'm using a transcription app called Amazing Slow Downer and I'm trying to figure out the bass line during Hank Mobley's solo. I figure if I can get the root motion down first, I can figure out the chords from there. I've used the equalizer to focus on the bass, and I've raised the pitch an octave and slowed the song down so I can hear the bass better. What I'm finding is that when I look at the bass line, I'm not always clear which note is the root of the chord. It seems Paul Chambers doesn't always play the root on the down beat? I could be totally wrong. Here's an example. PC plays these notes in the 23rd bar in various choruses of Mobley's solo.

C D E F

G C D G

G F# F F#

Is G the root? I'm thinking it could be a G7 chord or a Cmaj chord just based on those notes, but the melody in that bar is E, C, and Bb so could the chord actually be a G-7 or C7? That doesn't shed any light for me. How exactly do you go about learning songs?

Answer: Your dilemma is a common one — it's super challenging to get a clear
 idea of root movement when transcribing walking bass lines. All the 
masters, including Paul Chambers, often used tritone substitutions,
 passing chromatic notes and even anticipated arrivals when laying out 
harmony. On top of that, sometimes they are just reacting to what's
 happening around them organically and choosing notes that only have a
 distant relationship to the root movement.



My suggestion is to do the approach I suggest in the section about 
learning songs — check out at least three versions of the same tune. 
I would suggest avoiding modern arrangements as they might have
 re-harmonized the song in ways that don't connect to the original 
anymore.



So for example, check out Nat Adderly, Kenny Barron with Gary Bartz
and Wynton Kelly — there's plenty more too. By listening to multiple versions of the same song, even if they are in different keys, you'll
 start to see clear patterns in how the harmony moves — it's a bit like 
detective work.



The other side of all of this is how advanced your own harmonic
 knowledge is — if you are still in the earlier stages of learning, 
then all of this will be more difficult. That's why I suggest
 everyone learns how to play through songs on the piano — the more you
 can navigate chords on that instrument, the more you will hear them in
 forms.



Finally, with all of that said, if you are still hitting a wall, there 
is no harm looking at a fake book OR talking to a friend that knows
 the song. It won't help you memorize the song and internalize it, but
 if it helps shed light and give you clarity then that's half the 
battle!

This question is a difficult one! I can only answer from my personal point of view, but I think that feeling inspired and creative shouldn't really be the goal — enjoying the process should be the goal. I think getting better at music is 90% work and 10% inspiration. Here's a great quote by composer Aaron Copland: "Someone once asked me... whether I waited for inspiration. My answer was: "Every day!"

His point being that inspiration doesn't come often, but that doesn't mean we should wait for it in the meantime. I have many days where I don't feel inspired or in the mood to work on music, but I still get the horn out. Most of the time, the hardest part is just starting - eventually I enjoy the practicing after a bit of time has passed. It reminds me of having to get into a cold pool - the first moment dipping your toes in is the worst and then you get used to the water.

There is so much we can get better at - time, sound, language, etc. - all you have to do is look at your weaknesses and you'll find plenty of places to start. I've heard stories of folks like the great saxophonist Dewey Redman just playing long tones for 3-4 hours a day - nothing else. Even something as simple as that can be a universe to explore.

Again, just my personal take on it, but I think working on music consistently every day, whether you are in the mood or not, is the best approach. The inspiration and creativity will come and go - ebb and flow - but in the meantime, the better you get, the more music will "give" back to you.

Saxophone: Questions & Answers

You should first try and connect the notes — all slurred -- it’s ok to take breaths of course. It’s important to feel the evolution of your voicing muscles as you go higher, and when you stop between each note it interrupts that learning process.

Once you’ve mastered that, then try stopping between each note — this requires a different approach with voicing and is also good to explore. For example starting from high first overtone palm F from nothing requires a specific preparation vs slurring up to it. It’s good to practice both ways...

This is a complicated subject to talk about — it's something that I experienced firsthand growing up. I started mainly as a classical saxophonist and bassoonist, and when I first entered the Eastman School of Music, it was as a classical major. My transition to jazz was a slow one and during that time I came to realize that there is a big divide between the classical and jazz approach, both in terms of equipment and sound.



With a classical setup, I chose gear that gave me a dark and controlled sound. I used a Selmer C* with traditional Vandoren reeds and a thick tooth guard to darken the sound even more. With my jazz setup, I play an Otto Link Reso Chamber with a pretty big baffle, D'addario Jazz Select Reeds and no tooth guard. The sound is much louder and brighter to help cut across a rhythm section. On top of that, the physical approach of playing jazz is so different. The tonguing can be aggressive and hard instead of delicate and even — there doesn't necessarily need to be any vibrato like the classical approach — your intonation can be in tune or out of tune. The feel can be straight, swung or many other things.



Personally, I think it is extremely difficult to have a legitimate classical sound and jazz sound at the same time. This is why eventually I stopped playing classical saxophone — it was just too difficult to keep switching between the different approaches.

Although your setup has an impact, if you feel like you still "sound classical" when you play your jazz setup, that probably has more to do with your overall ability to play jazz. It takes a LONG time to be able to absorb the language, sound and feel of that music. It requires a lot of listening to recordings, hearing the sound you want and then trying to re-produce it on your instrument. At this point, if someone gave me a saxophone with a classical setup, I could still play it with a jazz approach because I know how to pull that sound and feel out of any horn I’m given. The more you work on jazz, the more the “right sound” will come out.


Hope that helps and I wish you the best of luck!

Thanks for the note!  I put my key heights quite high - I don't know what the maximum height is for a Super Balanced Action, but whatever my repair person is comfortable with that he feels won’t interfere with function is where they are set. I've attached a few photos to give you a sense of it. Where I really see results is specifically focusing on the left hand G key/vent - you can really feel the horn "open up" as the height increases - I basically pushed that as far as I could and then matched the other keys as a guide.

In terms of spring tension, I've set them as light as possible before bouncing occurs, so technically it will never be as light as a flute just due to the fact the keys and pads are much larger, but it's definitely in the spirit of that lightness! Lot of different taste with that stuff - Joe Lovano has the exact opposite settings - VERY hard spring tension and he loves it! 

Specifically...

• The positioning of the horn for minimum stress. Naturally, the arms and hands have to lift and hold the soprano. They can't be as free as in the positioning you recommend for tenor and alto. But is there anything you'd advise to minimize stress and strain in how you hold the soprano?

• The relaxed embouchure. I've been applying you're advice about going from ridiculously loose and clownish-sounding just up to the point of resonant sound. It works great on tenor. But on soprano, the intonation is still pretty flat at that point. How relaxed can you really be with a soprano embouchure?

• Overtone and altissimo exercises: Wow, I've found this really challenging--and frustrating. Working with your prescribed exercises, the high-end overtones that I can play pretty readily on tenor are hard and slow in coming on soprano. Is that just one of those inevitable soprano differences? Are there any soprano-specific tips (or limits on the range) that you would recommend when doing these exercises?

Ben’s Answer: Regarding positioning of the soprano… Unfortunately there are not a lot of options with soprano - it's always going to put strain on your right hand and arm and that's just part of the deal unless you play curved. My "solution" is to play with my head sort of pointing towards the ground so that the horn mostly hangs freely without strain on my hands. Obviously the downside is it's not an ideal posture, but my preference was to have my hands relaxed. Here's a general example:  vimeo.com/123312015



Regarding relaxed embouchoure… It's all relative! I make a point of saying you should only play as loose as what gives you a good sound and proper intonation. It's difference for every note and horn. That being said, make sure the mouthpiece is in the right spot on the cork. Having it generally in tune and perhaps a hair sharp will help you relax into the notes.



Regarding overtones and altissimo… That is absolutely the case with soprano. Same rules apply as with previous answer - it's relative to the nature of your horn. In regard to both overtones and altissimo, the challenges start with alto and get more difficult with soprano. I've never really heard a jazz player go above high A on soprano (classical players are different!). Basically, don't feel bad if you can't do a lot of the exercises on soprano that you can do comfortably on tenor - that's normal!

1. Jaw movement – I’m realizing that my default jaw position is slightly extended when playing, which with my current practice routine is resulting in soreness. I'm experimenting with trying to minimize this particularly doing the overtone work etc. I think its effective, but is requiring adjustments elsewhere towards the front of my embouchure. Its making me realize that I need much less mouthpiece in my mouth than I have previously thought. Whats your take on this? I have noticed lots of great players seem to have quite a bit of movement in the jaw

2. Neck puff – I’m intrigued about your thoughts on this also. I don’t suffer from frog neck, neither do you by the looks. But many players with a beautiful sound do. During the overtone with dynamics exercise, I can almost feel something happening there, not in a bad way, and have been experimenting with leaning into it a bit. Thoughts?

Ben’s Answer: Jaw Movement:
 There's always going to be movement - it's an organic physical
 response to expression on the horn, intonation, dynamics, etc.
 However, if you are experiencing soreness that means it's time to look 
at possible culprits...



My jaw is usually either neutral (ie where you would have it if you
 just closed your mouth with no MPC) or set back a little, not forward. 
I've found this puts less strain on those muscles. When I'm playing
 my jaw will move forward and past the neutral spot for musical
 reasons, but the default is as close to what my "bite" naturally does
 without a MPC in my mouth. Hope that makes sense!



You are correct that how much MPC you take into your mouth also has an
 effect. I actually move around a bit depending on what I'm going for,
 but generally I'm not taking a lot of the MPC in - usually 1/3 of the 
bite space - max would be 1/2 but that's pushing it and rare. The
 more MPC you take in, the more your jaw muscles have to work.



Finally, the last thing to consider and watch for would be that you 
are biting down too hard in general - your embouchure should be doing
 a lot of the work of supporting the sound and holding the MPC in
 place.



Frog Neck:
 It's pure coincidence that you happen to like players with frog neck - I'm confident that it has little to no effect on the overall beauty of
 one's sound. It's just a physical thing that some folks have and can 
be genetic too (like with Michael Brecker for example).

The first involves the metronome. When discussing how to increase speed, common refrain among musicians is to use a metronome and gradually increase tempo. One interesting thing I noticed in your Patterns video is that you don’t use a metronome when you revisit patterns and increase speed. I was curious to hear why that is, and what benefits you find come from working on patterns and technique without a metronome.

Ben’s Answer: Fabulous question. My personal focus when I work on patterns is developing transposition skills, language and efficient technique and speed. The moment you add a metronome, you are adding an additional layer of complexity to navigate. It means you potentially can't focus as well on relaxed finger and hand placement as you have the "taskmaster" of the metronome driving you forward. For this reason, I generally don't use the metronome while practicing patterns. That being said, it is not a strict rule, and I think it is perfectly fine to incorporate the metronome if you think it serves a purpose in your development of patterns. On a side note, I certainly use it while practicing etudes and charts that have a goal tempo for example.

Question Two: The second question has to do with the process of increasing speed. In your video you say that increasing facility is a slow process, and that we should only go as fast as we can with good technique. That all makes sense, but I don’t think it’s ever explicitly mentioned how exactly one increases the speed at which they can play with good technique.

Ben’s Answer: You should increase your speed based on your personal criteria of whether you feel your technique is sufficiently "good enough".  This is a hard thing to spell out in concrete terms - in these moments you are your own best teacher and evaluator.  Some simple ways to hold yourself "accountable" would be to use a mirror to watch hand and finger placement.  Are your hands relaxed?  Are your shoulders down?  Are your fingers generally staying glued to the keys?  You can also record yourself and listen to the evenness and fluidity of your playing.  If you deem it good enough, then you start to increase the speed of whatever it is you are practicing.  When I let go or move on from a particular pattern, I always test myself to see how fast I can play it with clean technique - I try and take it right to the edge of my ability. Hope that makes sense!

Question Three: My experience so far has been that I’m able to play patterns with good technique a little bit faster each time I revisit them. Is this your experience and approach as well? If so, is your approach to increasing speed similar to your approach to developing your own sound, in that it’s not something you pursue directly, but comes as a byproduct of the other exercises you do?

Ben’s Answer: The short answer is that everything is interconnected.  When you work on time with a metronome, you are still working on technique.  Even when you work on sound, keeping the hands relaxed and shoulders down when playing long tones, you are working on technique.  So good technique comes from direct focus but is also a byproduct of the other work you do.  The lines between the different elements of your practice are always malleable and porous.

Thanks for the note and great question. The short answer is there will always be a "ceiling" or limit to sound expansion on any horn, with any player and with any setup. There is a "point of no return" in terms of pushing volume where it eventually goes into a tonal space that simply sounds wrong and physically feels bad (i.e. too much back-pressure). A few things to consider and think about along the way...



• Embouchure: It's always a dance between loose and focused - there is no perfect balance. The looser you go, the more air and volume you can push, but the more unstable the pitch and tone will potentially be. If you go tighter, you have more control over the sound, but less room to push air and volume.



• Position on MPC: The higher up you go on the mouthpiece (i.e. take more of it in your mouth), the more air and volume you can push. On the other hand, the sound and pitch will potentially become more out of control and less stable, and you risk hurting your jaw.



• Opening and baffle of MPC: You are always going to have more potential to push air/volume through a larger opening and/or a piece with a larger chamber. You will get more "cut" (i.e. brightness which will be perceived as louder) out of a piece that has a higher baffle. Again it's a dance between all of these elements. 



• Reeds: If you go too light you will run into the reed potentially collapsing under too much air pressure. If you go too hard, then you will run into the reed being too resistant or running out of air too quickly to expand the sound.

We are just looking to push out the boundaries a little further in terms of what we can physically do and what our setup is capable of. It's ok to push past the "limit" just to see what is possible with your equipment, but eventually you have to dial it back to a space where the sound is healthy and you feel physically ok!

Composition: Questions & Answers

“No Thank You Mr. West” from Simple Song:

Listen on: Spotify I Apple Music

“No Thank You Mr. West” from You Can Have Your Moment:

Listen on: Spotify