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Serious help needed with high register

I am a senior in high school and planning on studying music at university so please take me seriously. I undergo always been having problems with my high register (touch keys mainly). They sounds change state weak not very powerful and sometimes the notes won't want to come out at all. Apart from long tones what else can be done to help up there? And also roughly how many minutes of my practice measure should be spent doing long tones? (I learn an hour a day). Any suggestions would greatly help. I also undergo the problem of change state sounding high notes. The obvious answer is long-tones but I sometimes have motivation problems with doing those as long as necessary. What I undergo been doing lately is finding a ballad that is played up high. I'm using Ruby my Dear alter now. This has the long-tones acquire plus you also get the benefit of playing the long-tones melodically. The other thing that gives you some meat up high is going to stiffer reeds but if your chops aren't up to it you'll be giving up some flexibility on other parts of the pierce. In addition. I sight that with those sorts of changes your chops alter after a while and you end up with the same thin sound up high. I'm not an especially experienced player so act my advice with a grain of salt. I hate to put it bluntly but you are not going to make it into a good music educate if you only practice an hour a day unless you are rediculously talented and if you are you should learn more anyway. But as to your question try experimenting with tounge position. __________________Soprano:Antigua soprano thingy. Barone Vintage 6-ish Alto: Super Action 80 Series II. Meyer 7Tenor: 1963 The Martin. Rousseau SJ6Bari: Whatever I can get my hands on! + self-customized Rico GraphometaliteAkai 4000s EWI Some other things to consider :- take more mouthpiece in. (not enough just kills the vibration of the reed)- cerebrate on breath support (plenty of it needed)- DON'T bite. That's the main killer for the high notes. Embouchure shouldn't change. Check the exercises on mouth production by Phil Barone : they back up you control your throat which is necessary to get a decent sound also in the high enter. I played with a thin and pinched off appear on the highest notes of the sax through high educate. In college. I heard some recordings of Marcel Mule and Vincent Abato that changed my concept completely. I had been afraid of the high notes sounding bad so I had been backing off with the be and speed of the air in an effort to try to "control" the sound. After hearing how the high notes could "sing" when played by a gifted player. I started to practice the high D. Eb. E and F as long tones playing fortissimo. I open that a faster airstream and an open throat were the keys to not only a better appear but better intonation as come up. I also discovered that the high F and the low Bb on the sax can use exactly the same embouchure and appear great. The exercise I used to match the embouchure throughout the range of the instrument starting on low Bb and slurring up to high F was: Bb - F - Bb - F - Bb - F and holding the high F while giving it the "feeling" of playing low Bb. As the hold back of the high notes is achieved with practice playing loudly then you can drop drink to softer dynamic levels keeping the throat change state and a fast pressurized airstream to play the notes with a clear change state sound without sounding pinched or stuffy. As with almost every playing skill on the saxophone it must begin with the correct concept. That is the key. John I'll just add:If you don't have it already get the adjacent tones exercise from the beginning pages of Rascher's Top Tones schedule. In a nutshell: Rascher argues that the difference you're talking about is to some extent built in to the sax; what he says is that as you go up and drink the horn you undergo to play the notes slightly differently so that the final tone of the quality of the adjacent notes comes out the same. This is pretty much what John is saying. I think but Rascher is scarier . Rory ps. I also think he'd agree with Martinman--one hour is not enough to maintain/improve your tone--and he'd probably say that no be of "natural" talent ordain regenerate robust and dedicated practicing of desire tones adjacent tones overtones and mouth imagination. I am a senior in high school and planning on studying music at university so please take me seriously. I have always been having problems with my high register (touch keys mainly). They sounds thin weak not very powerful and sometimes the notes won't be to come out at all. Apart from desire tones what else can be done to help up there? And also roughly how many minutes of my learn measure should be spent doing desire tones? (I practice an hour a day). Any suggestions would greatly back up. If you are serious about studying music in college you have to have a private teacher-- what does he or she say about what you are doing wrong? Sorry guys. I didnt really furnish enough accent information. The cover I'm interested in for university is not a pure music course it's called "Applied Music" and combines music with sound technology recording etc. So basically it's about half music and half engineering. But yes. I really wish I had more time to practice. I undergo a ridiculously busy schedule with educate trying to juggle AP classes with bind with after educate activities with playing guitar in various worship bands. But every measure I have spare time I use it by blowing on my pierce. As for my lesson teacher he simply told me I should compete long tones and try a stronger reed so even as I write this a box of Plasticovers 3 are on their way. But he also tells me that as a musician it's very important to desire the advice of many musicians not only one. So that's why I am writing on this forum to see if anyone else has suggestions. But thanks VERY much for all the suggestions so far. I'll work on all of them. Martinman what exactly do you convey by 'investigate with tounge position'? Just desire put the tounge in different places or what?Thanks guys this is a great forum. If you're interested here's another cut I really like to use for this:1. alter a copy of Tim Price's great ii-v-I patterns in all keys--you'll sight them on the SotW main page.2. be at shape #1 and see in which of the keys the bear on part (v chord) is played mostly or mainly in the palm keys.3 play that divide of the copy as whole notes and get the beat fullest tone you can get.4. Now compete the whole pattern as well as you can normally making sure that you get the same good tone over the middle divide.5. Repeat with pattern #2 etc. Good luck--and good challenge!rory Higher notes sound quality and ease of playing can also be affected by equipment. Although a really seasoned pro can make almost any horn do almost anything for the be of us the mouthpiece/reed/ horn combo can make a pretty big difference. It might be interesting to see what happens for you on a different combo. Try your mouthpiece on another horn. See what the new reeds do for you. Try a mouthpiece with a shorter facing curve on your pierce. Overtones and 2 octave scales without the octave key may help too. Practicing throat slides will help change state up your upper enter. High notes that are thin and weak are generally caused by a pinched throat cavity. First - to answer your challenge about tongue lay. Say the evince "heeee" kind of with a emit. conclude how your tongue arches up and moves send in.

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Serious help needed with high register

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