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Classification, purchase and maintenance of clarinet!
There are many varieties of clarinets, which are classified into three categories: treble, midrange and bass, due to different tuning and range. Each category is divided into a total of 11 kinds. They have their own characteristics. The middle and bass clarinets are curved and the rest are straight tubular.
Talking about the "breath" when blowing the saxophone
Everyoneknowsthatblowingsaxophoneisinseparable.Thecontrolofthebreathdirectlydeterminesthelevelofyoursaxophone,whichiscalledthe"tone".Hereareafewthingstosay: 1.Breathingthebassortreblearea Manybeginners,includingthosewhohavebeenpracticingforawhile,oftenhavelow-pitchedsounds,andhigh-pitchedsoundsarepronetounderfilledsounds(sometimessimilarto"screams").Thisisthetypicalcontrolproblem. Sinceeveryonedidn'thaveateacheratthebeginning,theyallfeltliketheywereblowing.Therefore,whenblowingthesaxophone'shighandlowsounds,themouth-typecontrolmethodof"whistling"isadopted,thatis,"thehigherthesound,thetighterthemouth,themorethegasispromoted."Infact,thelevelofoursaxophone'ssoundhasbeendeterminedbythebutton,andallwehavetodoisto"sendabreath"tothesaxophone,causingthereedtovibrate.Themorethisairissent,themorecompletethereedvibrationwillbe,andthemorethesoundwillbe. Inordertoachievethis,inthehigh-pitchedsound,youmustrelaxyourlipstocontrolthestrengthofthemouthpiece,openourthroatandpushthebreathasmuchaspossible.Whenthebassisblown,themouthisalsorelaxed.Itisalsoopeningourthroat,lettingthebreathslowlyandtothesaxophone,andlettingthereedvibrateinthelowfrequencyarea.Atthistime,ifyourmouthistootight,orthebreathistootight,itwillaffectthereed'svibrationinthelowfrequencyarea,butwillchangeitsvibrationfrequencysothatthebasscan'tbeblownout. Gas"promoting":referstothefastbreath Gas"slow":referstotheslowgassupply Whetheritis"promoting"or"slowing",youmustensurethatyouhaveenoughbreathwhenyouplaythesaxophone.Therefore,whenweareblowinghighnotes,thebreathis“promotingandfooting”.Whenblowingthelow-pitchedarea,thebreathis“slowandfull”.Whenourbeginnerscan'tcontrolthesetwomouthstylesandbreaths,theywillmakethehighnotesnotblowout,andthesoundsthatarenotcomingoutwillbe“dry,hairy,”andthebasswillbeeasilyblown. 2.Stabilityofbreath Breathstabilitytrainingisanextremelyimportantsubject.Thisdetermineswhetheryoucanrelyonyourowncontrolofthemouthandbreathtoblowamorestablesaxophonesound.Thiskindoftrainingisaprocessthatmustbeexperiencedinlearningsaxophone.Becauseonlysuchalargenumberofexercisescanmakeyourbreathhavesufficientstability,otherwisethesoundthatisblownoutwillbe"floating." Thestabilitytrainingofbreathisdeterminedbyseveralfactors: a)uniformbreath(invariantbreathstrength) b)liptypefixing c)hearingsensitivity Thesethreeitemsareindispensable.Especiallyforlistening,thesoundweblowoutdependsentirelyonourearstomakejudgmentsandfeedbackbacktothebraintodirectourbreathcontrol"finetuning."Thisexercisecanbeachievednotonlybyblowinglongsounds,butalsobyblowinganyEtude.Itdependsontheaccumulationoftimeandexperience.Withtheincreaseinthetimeofblowing,thecontrolinthisareawillgetbetterandbetter.
Talking about saxophone's oral muscle exercises and methods!
The only dependence of the mouth is the support and durability of the facial tissue, so doing some exercises to develop muscles will be very useful and beneficial. If you practice for a few minutes every day and stick to it for a few months, you will increase the muscle strength of this area, and you can make a mouth shape in the correct posture without restriction. 1. The corner of the mouth. whistle. Note that the corner of the mouth will move toward the center. At this point, do the maximum smile and pull the corner of the mouth as much as possible. The practitioner should feel the tension in the corner of the mouth at this time. Converting whistling and smiling poses is initially slow, but it is regular and rhythmic. After about 50 times, the muscles in this part may feel tired, indicating that the strength of the part is weak and this exercise is required. Repeat this process 3 times a day, and you will soon feel the muscles become powerful. In order to continue to develop and maintain muscle elasticity, the saxophone type can be practiced from time to time in this way. (Note; do not need a real whistle, the important thing is the posture of the lips.) 2, chin muscles. (1) The lower lip is tightly attached to the upper lip. The lip line should be straight and the lower lip should not protrude, but it should be applied with the greatest strength. The player will notice the ridge of the chin - this is the normal situation at the time of practice. Setting a mirror in front of the exercise will help to observe the posture. Hold this practice position for 10 seconds and repeat 25 times. (2) Maintain the above position and hang down the jaw when the lips are still tight. Saxophone type, at this time the mouth is about half an inch open, but continue to maintain the same relationship between the jaw and the lower lip. Place the index finger on the lower lip and press down firmly. The lower lip should hold the pressure down the finger and support yourself without the help of a squat. If you can feel the lower teeth under the lips, it means that the chin muscles have not been properly supported. The exercise of the chin muscle should also be adhered to daily. Only after correct understanding and mastering it can it save a lot of time in the development of the mouth. Position with mouthpiece: Due to the size of each mouth, the thickness of the lips, the length and uniformity of the teeth, and the different types of heads, the number of mouthpieces varies. It is the principle and purpose of finding the best trigger point and making a good sound. First, test blows from the front end of the mouthpiece, and gradually test it a little bit later; then, test blows from the back end of the mouthpiece, and gradually test a little bit earlier, through this method, repeated intentions and Comparing your own sounds, you can find that the saxophone has both full, round, and bright metal sounds. It is the best vibration point to fix the position of the mouthpiece.
Mouth change tone video tutorial Can also blow high notes without pressing the overtone button
For example, the first situation: when your mouth shape is set according to the basic requirements, the muscles of the mouth are relaxed, the jaws are relaxed, the inside of the mouth is opened, and the breath is given to the feet, then the sound is more natural and comfortable, but if When the mouth shape is constant, the amount of breathing will decrease, and the sound will become smaller and weaker. Similarly, when the amount of breath is constant, the tension of the muscles of the mouth will change the tone. The tighter the muscles of the mouth, the more the sound will be, the sharper it is. . Sometimes when your mouth's tension reaches a certain level, even if you don't press the high button, the sound will reach the pitch of the high range. This is due to the strong force of the mouth muscles and the mouthpiece, which shortens the amplitude of the reed and the mouthpiece and reduces the speed of the vibration. So that the audio becomes higher to change the pitch, and the distance between the mouth and the reed can also affect the tone. Under normal circumstances, the less the part of the reed is contained in the mouth, the sound is relatively small and lacks resonance, and is included in the mouth. There are many parts, and the sound is thicker and brighter. This situation is relative to the situation where the breath is certain. When the lips touch the reeds to change the tone, we all know that the playing instrument is the force of our mouth is very small, its influence on the tone is negligible, its main role is to seal the gas, prevent leakage . The lower lip is different, and its change can directly affect the tone. For example, when your lower lip is in contact with the reed, the vibration of the reed is limited and cannot be fully vibrated due to the increased contact area between the lip and the reed. The sound becomes dull and dull, but there are many people who like it, especially in popular and jazz. When the area of ​​the lip contact is small, the support point of the reed is relatively hard. In such a case, the reeds vibrate sufficiently, and the vibrating portion is also enlarged, so that the generated timbre is brighter and the influence is larger. The above is the effect of changes in mouth shape and breathing on the tone in a straight long sound. In addition, there are some other techniques in the saxophone performance. These techniques have a lot to do with the changes in breathing and mouth shape, for example, the sound requires an instantaneous change, such as fff.
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