In my previous article, I discussed the importance of timber to the listener’s experience, as well as some of the possible variations in sound quality and the importance of listening music, live as well as recorded, to investigate this. Now, what can we do to develop our own sounds to imbue these qualities which we find attractive? The most basic answer is “long tones;” the essential building block to developing your sound.

Establishing Your Sound

For beginners to professionals alike, the goal is to create a dynamically even, steady sound rich with overtones (color and fullness), which you can sustain for at least 2-3 measures (quarter note = 63 on your metronome). A good place to start this endeavor is within the mid-range of your instrument. For flutes and saxophones this would be “B” in the first octave; for clarinets “E” in the lower register is a good starting place. Take a deep breath (don’t close your throat at the top of the inhale), set your embouchure/aperture, place the tip of the tongue to the tip of the reed (placed at the point where the gums and top front teeth meet, for flutes), and release the air (tongue). Take your time, focus on your sound and don’t let your mind wander; which may be easier said than done. Repeat this process until you feel you are achieving the best quality tone that you can (some days might be better than others, so be kind to yourself). Now it’s time to match this timber through the rest of your instrument.

Developing the Low Register

Play the tone that you’ve been working on for 2 measures and slur down a half-step and hold that tone for as long as you can, comfortably (ie. B-Bb). Repeat. Continue in this manner to the bottom of your instrument (Bb-A; repeat. A-Ab; repeat. etc). Try to keep your timber constant as best you can through your low register. For notation of this exercise, click “Example 1.”

This exercise and many others can be found in “Practice Book for the Flute: Volume 1 – Tone,” by Trevor Wye. Although written for the flute, the exercises translate very well to the saxophone; furthermore, Mr. Wye’s comments on tone production and practice are applicable to all wind instruments.

Developing the Upper Register

This chromatic approach is then applied to the upper register. Starting on an F in the middle octave, ascend to the top of your instrument; matching the timber as best you can. Be aware that as we get into the upper range of our instruments, our natural tendencies are to tense, strain and overcompensate to get our note in tune or even speak. This is an error and the opposite is necessary for a full sound and good intonation in the upper register. Your embouchure should be set similarly to producing a note in the low register (a good reason to develop that register first) and emphasis should be placed on air support and shaping of you air column (This concept will be addressed in my next article).

A fantastic book full of tone building exercises is Sigurd Rascher‘s “Top-Tones for the Saxophone”. written as a manual for the altisimo register of the saxophone, Rascher presents the essential concept of “Tone Imagination” and offers many exercises for developing this. Again, these concepts are applicable to all wind instruments.

The key ingredient to sound on a woodwind instrument is Air; which I will address in my next post. Practice diligently and tune in next week !