It's high time those of us who play classical music on saxophone put our talents on display. There's a very active thread in Misc. Saxophone Discussion where people post clips of themselves - it's one of the busiest areas on this board, other than the buy/sell postings.
I'm starting this thread because I'm personally interested in hearing what other participants in this area sound like.
The only thing that I ask of you is this: if you're going to take part here, be prepared to post. I've got no time for armchair critics.
Here's the first movement of the Albinoni Sonata St. Marc on soprano with piano accompaniment.
I posted my first YouTube video last December. It's a multi-track recording of one of the 24 duos from Charles Koechlin. I had been hung up on performing this for a while and I came up with the idea of working on my altissimo on bari. This is the result and I hope you all enjoy!
I posted my first YouTube video last December. It's a multi-track recording of one of the 24 duos from Charles Koechlin. I had been hung up on performing this for a while and I came up with the idea of working on my altissimo on bari. This is the result and I hope you all enjoy!
Here is a brand new music video featuring Thomas A. Giles' adaptation of Meredith Monk's "Hocket" (originally for 2 voices!) I had a great time collaborating with Thomas on this and I hope you all enjoy!
I don't think this has been mentioned here yet. The Mana Quartet has released their debut CD called Vide Supra.
The Mana Quartet's debut release, Vide Supra, features four brand new works dedicated to the ensemble by American composers. Representing the group's highly successful Sight & Sound project, three of the four works (Minchew, Stillabower, Villalta) were composed as aural sketches of paintings by Julie Mehretu, Jackson Pollock, and Salvador Dali. Having extensively toured the project across the United States and abroad, these three well-tested works offer a compact look at Mana's multi-sensory concert experience: engaging audiences with expressive, flexible repertoire that can be paired with projected imagery, dance, film, and interactive media. After nearly 50 performances in recent seasons, Mana has elected to record Stephen Dankner's largescale neo-romantic Quartet as a beautiful contrast to the progressive programming of Sight & Sound.
Here's a performance I did of Gregory Wanamaker's Duo Sonata for Alto Saxophone and Soprano Clarinet at Piccolo Spoleto Festival 2016 in Charleston, SC. This was a part of HELLO, SAXOPHONE! Chamber Music Series performing at Piccolo Spoletto's Spotlight Concert Series:
Music starts at 2'25"
Saxophone: Jonathan Kammer
Clarinet: Philip Lipton
Hi everyone. Just wondering what y'all think of my tone. This is a recording (rough take of beginning and end of Glazunov) that I feel represents how "I" sound, and more or less want to. No EQ or anything, just recorded in a mostly dry room with my iphone. I'm getting my chops back up to complete my performance degree after many years out of the classical saxophone world. Can I get feedback on how you'd describe my tone, the sloppy notes notwithstanding? What "school" I belong to, and which players I most sound like? Maybe I just sound like a generic x school player? In any event I'm proud to have this (unique or not) sound.
To me you sound French style classically trained. (Even pitch and speed vibrato). However your setup doesn't sound French....it's edgier than I would expect. I'm guessing a Selmer horn and a selmer mouthpiece? for a real stretch I'm going to say your sax professor went to a mid west school, maybe studied with Mule?
I kind of like this guessing game...
After all that, bravo indeed, I recently started playing again after almost 10 years and my tone is still pretty good, but I have zero technical skill or tongue/finger coordination (watch out ladies...), I pulled both the Glaz and the Creston out after a week of long tones and scales and can't play either one worth a crap..... heh was refreshing to hear someone that could just jump back to it!
Good luck, where are you studying for your graduate degree?
Thanks very much, Migraine! You really nailed a lot of things in your analysis. My teacher studied with Sinta and was one of his top students, and he's had quite a career--I guess he's more of the "American" school, but has a style and approach to vibrato all his own. I'm classically trained, but not per se in the French style, I'm just a big fan of Mule, Deffayet, and the "old" French school. I do wish my sound was a bit less edgy, more round, more smooth, but not any darker-I still want it to be vibrant, however, this will come with doing more long tones, and maybe trying out new equipment. My setup is a Selmer Series II, LT, Vandoren blue box 3 1/2s. You nailed it! Maybe I'll get that rounder sound I'm looking for while not sacrificing vibrance, with an AL3, 4, or Selmer Concept. I don't want to say exactly where I'm studying, since I wish to remain anonymous, but somewhere good, with someone good! Thanks for your kind words.
I'm going to suggest you try a darker mouthpiece to get more warmth, but -maybe- sacrifice reed strength by a 1/2 to keep the edge you like in your sound. I've never owned one but I hear that medium chamber Caravan's work well with French and French styles (Yani, Yamaha, etc) horns well for classical. More so than the larger chamber as I've read here about intonation problems?
This is a recording of me as a freshman in high school, I didn't have a private lesson teacher and it would be great if someone could tell me tips on how to get better. Thanks!
Responding to the challenge in the thread that questions "why don't more people post recordings " with Lost Conn giving the example (above) of nobody posting since 2018. So OK!!! here's a track that shouldn't challenge most listeners: String and sax for peace.
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