DEVELOPING A JAZZ SAXOPHONE SECTION

SCSBOA Winter Conference 2009, Cole Conservatory of Music

Seating order of the saxophone section

The normal seating arrangement of a big band sax section, as viewed from the front:

1^st Tenor          2^nd Alto          1^st Alto          2^nd Tenor      Baritone

-Generally, writers and publishers supply parts for this instrumentation.  While you can add more players, that does tend to upset the balance that the composer/arranger intended. 

-Avoid doubling the lead alto chair.  You need a solid, stable center of pitch and style there.  Two or more players is not a good way to make a bigger sound on that chair.  To avoid pitch, style, and rhythmic conflicts, you would need to have two or more really great players there.  If you have those, you will be better served by putting one on lead and the other(s) on 2^nd alto. 

-If you have students who are playing the flute or clarinet parts because your saxophone players don’t double, set them on one side or the other of the section, i.e. to the right of the 1^st Tenor or left of the Baritone. 

What Each Player Does, And What Kind Of Player Should Be Sitting There

1^st Alto:  Leads the section.  The person needs to be a strong player, with excellent intonation, and a strong sound that can keep up with the lead Trombone and lead Trumpet players.  Something I hear a lot is a lead player with “chops” who has a weak sound.  Improvisation skills will often be required on this chair.  1^st Alto often doubles on Soprano Saxophone.  If your 1^st player does not there will be charts that you will not be able to play. 

2^nd Alto:  Actually, one of the most difficult positions in a big band.  If this player cannot match the style, time, and intonation of the 1^st Alto, you will have problems.  Many times section intonation issues can be traced to problems between these two players.  A great 2^nd player will shelve their ego and “mimic” the style and phrasing of the lead player perfectly. 

1^st Tenor:  Often considered the “jazz” chair in the section, so improvisation skills will be required.  This player needs to have enough confidence to stand up and perform when soloing, and then be able to sit down and follow the lead player in section work.  1^st Tenor also is written in duets or trios with a trumpet or other saxophones. 

2^nd Tenor:  Some of the wackiest, hardest parts end up on this chair.  A special skill that is important here is the ability to play softly, on the lower register of the horn.  If you want to entertain yourself and the band sometime, ask this player to play an excerpt from a great saxophone soli.  You will be amazed and the acrobatics that end up on this chair!! 

Baritone:  This is a multi-role player’s job.  The Baritone plays with the saxophones, the trombones, and on its own.  A mistake that is often made by teachers is to put their 5^th best player on this part.  Ideally, put your best baritone player here.   Many arrangers write the same part for the bari as they do for the Lead Alto, with the other chord tones distributed through the rest of the section.  So your bari player needs to be a “low lead alto” kind of player.  Players who are hesitant or who tend to drag will cause problems here. 

Blend, Pitch, and Tonal Concept

-The saxophone is often compared to the human voice in terms of its expressiveness and ability to be both a solo and choral voice.  This is what you should strive for in your section-the lead is often the melodic voice, with the rest of the section harmonized below it. A common problem is an inner voice player that plays louder than the lead player, especially 2^nd tenor players that can’t play the lower notes softly and easily.  If your lead player has a weak sound, the other players will have to play softly and weakly too in order for the balance to work, which will compromise the entire group.  What usually happens is the other players bury the lead alto.  Again, that chair must have a big sound!!

-Ideally, the 2^nd Alto, 1^st & 2^nd Tenor players will be able to play as loud as the lead, but then will back off to allow the melodic line to be the dominant voice.  If you have a weak player on one of the inner chairs, you may end up with a “hole” in the blend. 

-Take time to work out tuning between intervals.  Often, I hear sections (indeed, entire bands) tuning on an ‘A’ or ‘Bb’.  Don’t stop there:  have the players tune on a chord. Have the baritone play the root, 2^nd Tenor on a 5^th, 1st Tenor on a 3^rd, 2^nd alto on a root, Lead Alto on a 7^th, as one example.  Point out things like the 3^rd needing to be somewhat flat, 5^th a little high, and so on.  Another great way to get them to really listen-play open 5ths.  Switch the players around-if they were playing the 3^rd, now they play the 5^th.  Does the tuning sound as good?  What do they need to do to fix it if not?

-The best sections have a “sound”.  This comes from the players all having a similar tonal concept.  If, for example, the 2^nd alto plays softer than the lead and 1^st tenor, but with a brighter sound, you have a problem.  An overly dark section (using the same mouthpiece setups as they would for a concert band) will get buried by the brass section in a big band.   

-Great saxophone sections to listen to: 

Duke Ellington, especially later recordings such as “The Great Paris Concerts”

Thad Jones/Mel Lewis Big Band, of which a growing number of examples are available on YouTube

Count Basie and his orchestra;  if you own one recording, make sure you have “Atomic Basie”. 

Modern bands: Maria Schneider, John Fedchock Big Band, Bob Mintzer Big Band, The Big Phat Band

Equipment: Horns, Mouthpieces, Ligatures, and Reeds

-Find the best saxophone/woodwind technician in your town, and court that person shamelessly.  When first meeting a new student I always play their saxophone.  Often it is VERY badly out of adjustment, and leaking terribly.  Getting the instrument working at its best is critical. 

-When a student wants to upgrade a horn, find a saxophone pro in your area and have them go with the student and parents to pick one out.  DO NOT buy a horn because of the name or without the assistance of teacher or another pro or semi pro player.  Every maker has produced stunning examples, but each instrument is a little different.  Just one example:  some players are naturally bright, and some dark, and there are brighter and darker Selmer Mark VI’s, Yamaha 62’s, Cannonballs, etc.  Pairing a naturally dark player with a dark horn might be perfect for classical playing, but not jazz.  Paying a teacher or pro to help pick out a great horn that matches the player, or reaches a good compromise for a variety of styles, can save a lot of aggravation for you later. 

-If your saxophones are doublers, make sure they have a good stand for the saxophone and for the doubles.  Hamilton, K&M and several others all make excellent combination stands that will hold a saxophone and one or more doubles.  This is a good idea whether the student is a doubler or not, as it prevents things like laying the horn down (key damage, other people not seeing it and stepping on it, etc). 

-Mouthpieces and reeds are critical, very personal pieces of gear for you students.  Most likely the stock mouthpieces that come with a new or rental horn (yes, even the very, very best saxophones) will not cut it in a big band.  If a given student is already producing a big, strong sound with no major pitch problems, the best thing you can do is send the student to a mouthpiece refacer, who will clean up the little imperfections in the mouthpiece and make it even better. 

-For students who are just moving up to jazz and are looking for a mouthpiece to use, here are some common recommendations, listed from a close facing to a more open facing (more on this in a moment):

Altos:  Vandoren A35, A45, A55; Meyer 5, 6, or 7 with a medium chamber; Beechler (hard rubber) 5, 6, or 7

Tenors: Vandoren V16 (rubber) T7, T8; V16 metal T55 or T75; Otto Link hard rubber or metal 7, 8 or 7*or 8*; Berg Larsen hard rubber or metal 100/0, 110/0

Baritone:  Vandoren B75, B95; Otto Link rubber or metal, 6, 7, or 8; RPC hard rubber, 110, Berg Larsen hard rubber 105/2 or 110/2

This is not a comprehensive list.  The main point is to find something that works well for the player!!

WHAT DO THE NUMBERS MEAN???

As I’ve listed the mouthpieces above, the smaller number corresponds to a smaller tip opening, the distance between the reed and the curved opening on the mouthpiece.  The bigger this distance, the softer reed you will need to make the mouthpiece play, and so as the openings get smaller, you’ll need a harder reed.  A harder reed usually means a darker, more controlled sound, and therefore a “small” or “closed” mouthpiece (small opening) is a good choice for a beginning player, since they require less control.  The price a lot of band directors pay is allowing their students to play on radically open mouthpiece.  These are often purchased because they get a “huge” sound, but it comes at the price of control and intonation.  Another issue with very open mouthpieces is lack of response in the low registers. 

METAL vs. HARD RUBBER/PLASTIC

Metal mouthpieces guarantee nothing!!  Some of the most robust tenor sounds among pros are created with hard rubber mouthpieces.  Do not recommend metal mouthpieces just to get a “brighter” or a “jazz”sound.  The player must go and try a number of mouthpieces, preferably with a teacher or pro saxophonist, and find what works for that player.  Often players, especially alto players, who go for a metal setup lose the core of their sound.  Most stores will allow you a trial period, and I would recommend dealing with one that does this. 

In general (very general) a student moving into playing jazz and big band music who has done well in concert band will do best on a more open, hard rubber mouthpiece that plays well with 2 ½ or 3 reeds. 

LIGATURES

Again, a personal choice.  Students should be encouraged to try different brands and types and see what works well.  Some suggestions: Vandoren Optimum ligatures; BG Tradition ligatures, Francois Luis Ligatures, and if you can find them, Harrison or Harrison copy ligatures.  Usually the more of the ligature that contacts the reed, the darker and less responsive the reed will be.  Sometimes the simple ligatures that come with the horns are the best with a mouthpiece. 

REEDS

For some reason the students get the idea that a harder reed means they are improving.  Not so!!  The numbers are similar to the mouthpieces, i.e. the bigger number is harder to play.  If you observe a professional sax section you’ll see a lot of #2 ½ and #3 reeds in use for jazz playing.  Important point:  most classical saxophone setups are CLOSER mouthpieces.  A popular classical setup is the Vandoren AL3, with a lot players liking the Vandoren “Blue Box” #3 or #3 ½ reeds to play with it.  For jazz, those same players will often move up to a mouthpiece like a Vandoren A55 or Meyer 7 with a #2 ½ or #3 reed.  A student will be working VERY hard to get a big sound in a jazz band with a closed setup, such as the AL3, and a hard reed. 

I use Vandoren reeds on all my saxophones and clarinets, and you can go to www.jaymasonmusic.com to check out the setups and strengths. 

Doubles

-Your lead alto player should plan to play soprano saxophone if at all possible.  If this can’t be done, when looking at a chart that calls for soprano sax, check to see if it has an optional alto part to use in place of the soprano…many do. 

-Many writers think of the lead and 2^nd alto as the flute doublers, the tenor players as the clarinet players, and the baritone as the bass clarinet player.   A good idea, if you don’t have saxophone players who double, is to add in flute/clarinet players from elsewhere in your program to play those parts.  If they are a little reluctant, give them a few recordings of some of the finest jazz players to ever walk the planet:

Flute:  Hubert Laws, Jim Walker

Clarinet:  Eddie Daniels, Buddy DeFranco, Paquito DeRivera

All of these players are classically trained, GREAT jazz players on these instruments!

NOT having those parts covered will limit your choices of music!!

-If you like the charts available from bands that are currently working (i.e. the Phat Band) please note:  the writers are creating those parts for the players on those chairs.  Two examples:  my own chair in BPB calls for some pretty serious flute playing, and Charles Pillow from New York is a great tenor player who also sounds amazing on oboe/English Horn, so if the writer wants that instrument, Charles gets the call. 

Resources

For questions regarding saxophone playing:

www.jaymasonmusic.com;  My email address is here;  please feel free to ask any questions you have, and I will be happy to answer them as best I can!!

www.vandojazzusa.com There’s an area on this site where Vandoren Artists can be contacted by email to answer your questions.  There are blogs too…very informative. 

www.saxontheweb.com  A forum that’s been going for years now, with hundreds of topics.  Most likely someone has asked the same question or had the same issue that you are facing, and you can find some help here. 

www.gregfishmanjazzstudios.com  Check out his articles on improvisation.  His two jazz etude books and jazz duet books feature him on alto and tenor, and he sounds great.  These are excellent resources for students who are lacking a teacher, trying to learn what a fine saxophone sound is. 

www.saxquest.com  Similar to SaxontheWeb. 

www.starsteachmusic.com  Lessons available to watch online or on iPod, often for less than $5.00!!  Players like:  Dan Higgins, Bill Liston, Sal Lozano, Bob Sheppard, and many more.