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@@richardsteinberg7654 sure thing! I hope it helped

@@richardsteinberg7654 which one was your favorite?

@@reedsong1403 good point. I’ll work on that for the next tutorial!

Depending on where you live… there might be some players or shops around looking to sell a horn. I’m happy to help you connect with someone if I can.

@@jeffsuzda yea that would be great. I live in New York , I’m trying to look for a Bari that is not too expensive and still has good sound quality.

@@fikkyogunlade5997 are you near NYC?

@@jeffsuzda yea

@@fikkyogunlade5997 check out the end of this video for my email. ruclips.net/video/RGgzsoanjbU/видео.htmlfeature=shared I’ll be happy to help (I’m in NYC area)

I posted a full video explaining exactly that. It is linked in the video and on my channel. Feel free to send me an email if the full video doesn’t help answer the question. Info@jeffsuzda.com In a nutshell, more air, more support with your embouchure, and a “higher” tongue shape Here is the video link if you need it ruclips.net/video/RGgzsoanjbU/видео.htmlfeature=shared

I do this exercise on every saxophone I have owned and this exercise cannot break the saxophone because it is your air that changes the pitch, not the octave key. It would be like if you used your feet to stop a bike instead of the brakes… it won’t affect the bike. That being said….. that’s a very unusual thing to happen and I am sorry that your saxes weren’t working properly. And it is impressive that you were able to repair your flutes …. With many small parts, it is not always easy to do.

@@jeffsuzdaYea I’m sure I did something gravely wrong for two saxes to break but they were also kind of old and crusty too. But repairing my flute is surprisingly easy compared to a sax. I could figure out and understand smaller and more easily visible mechanism of my flute, but not the sax lol 😭

Thanks for writing. I use a LaVoz medium hard reed with an Otto Link 9*. I made a video about different mouthpiece and reed combinations a few years back and might make another one if there is interest. What kind of reeds do you use? Are you struggling to play this exercise? If so, maybe try a slightly softer reed (although it is likely your air isn’t fast enough…..)

Absolutely! Always my pleasure to help other saxophone players. Good luck putting into your playing. I made some other videos on the channel with applying the altissimo (like in melodies or pieces like Moanin). Check them out if you have a chance

Glad you are using the Bari in new ways!

Won't that dent the bell?

Thank you for your support. Let me know if there are other topics you are interested in

Thank you for your note @miottinigino1578 . I hope to help as many baritone players as possible and am glad you found this helpful

Thanks @foo0815 for the comment. I generally find that depending on the horn, the octave key makes most altissimo notes more stable, but you are correct that the octave key is not always needed in certain situations on all saxophones! What kind of Bari do you play on?

@@jeffsuzda Yes, of course it's horn dependent. I play a Selmer SA II Bari with high f#. I just wondered that ALL altissimo fingering charts include the octave key without questioning. I just suggest trying to omit the octave key (or switching the vent with LH ring finger) to make the note speak better.

Vandoren Optimum is a great classical mouthpiece for all ranges on the saxophone. I personally play a Selmer C* for classical and have for years when I play classical. Keep in mind…. The mouthpiece alone will only do a little of the work for the altissimo. Most of the work comes from ‘hearing’ the pitch and adjusting your air speed, tongue shape, and embouchure pressure. Some jazz/contemporary mouthpieces have a baffle in them (like a wedge near the opening) to help speed up the air which adds to the ease of playing altissimo, but causes your sound to be much ‘brighter’ in general. I hope this answer helps.

@@jeffsuzda Thank you - this is a great answer

My pleasure. Glad it helped

Hi Dave. Thanks for comment. I play 5 “A”s on the baritone here. The low A (below staff), A in staff, A above staff with octave key, Altissimo A, Double Altissimo A. This is a span on 4 full octaves. Are you a Bari player? I always like connecting with fellow musicians.

@@jeffsuzda Yes, among other instruments: ruclips.net/video/nF-kukfOV6Q/видео.html

I am so glad this helped you Junior! I will try to post a few more videos soon about some other concepts that people have emailed me about

Thanks for writing! I was trying to share something new with the music community and am glad that you have never seen it before. I think that this is most effective in a funk style… but composers looking for a different sound and/or musicians trying to add something new to their playing might benefit as well.

Its gonna be fun to play in jazz solos thats why

It just takes practice. If you want to learn, I suggest that you put your mind to it and give it a try… you might be surprised. Feel free to email me (in description) if you want a fingering chart. Good luck and believe in yourself! It will take time but anything worth doing takes hard work to learn

@@jeffsuzda Thank you. I am emailing now. Your post is 11 years old and I wasn't sure your email would still be right :)

No its FOUR octaves!! He starts on the low A of the baritone and goes on. You probably thought its only three because his altissimo sounds so full and natural

@@mambojazz1 moron

I generally don’t comment on conversations but I always appreciate interaction with viewers. I suppose you are both right. I view it as 4 octaves (low a to middle a is octave 1, middle a to octave a is octave 2, octave a to altissimo a is octave 3, altissimo a to double altissimo a is octave 4)…. BUT I see how you might view it as three octaves if you are counting the number of octaves above the lowest note. Either way, I hope the video inspired you both to learn some altissimo. If I can help make a video with new content, feel free to let me know

@@mambojazz1 no

@@q12aw50 YES its four octaves there is no debate to be had about the meaning of the word "octave"🤣🤣! There are plenty of music education sources on google. I hope this helps😁

Thanks man! I just posted some new content with the Link on my shorts channel

Great question Russel. If I understand correctly, you are asking about WHY these exercises help? It is not important to reach the whole range I play, but it is important to have the ability to MOVE YOUR TONGUE/THROAT to shape the notes. This skill is critical to altissimo, so being able to do it more easily, and with greater range, will help with altissimo. Altissimo fingerings are of little use to most beginners because they do not have a proper understanding of how to produce the notes. Does this help answer the question?

@@jeffsuzda Of course it helps me! Thank you Jeff. I will say the exercise help me a lot through my range but i felt frustrated to not know what mistakes i was doing to not get those note’s coming out. Do you think is just because of the short time that i’ve start this exercise or i’m doing something wrong? That was part of my question too, but still thank you for the comment, i feel inspired to be like you in a future.

@@maverick974-c7b the time spent is surely an issue. Like anything worth doing, it will take time to understand an apply. Additionally, the muscles needed will require rest. I do NOT recommend practicing altissimo more than 5-7 minutes per day in the beginning. While it will take longer to achieve the end result, you won’t damage your throat, embouchure, or overall playing. I highly recommend working towards the middle of your practice session after you have warmed up a little. I look forward to hearing about your progress. Feel free to share any videos of your playing

@@jeffsuzda i’m so sorry for don’t be in touch with you Jeff, i feel so grateful that i have spoken to you about this topic, it really helps me a lot your feedback. I will follow your tips. I had another question related to other topic, i will like not to bother you any more but i don’t have a clear thinking of how to fix it. Do you know certainly why a Choppy and “slapped” sound is make it while playing? I had a lot of trouble with that and i didn’t find any solution to fix it.

@@maverick974-c7b your tongue is too “flat” against the reed so instead of touching the tip of the reed, you are touching too much of it. I recommend putting the tip of your tongue at the back of your bottom teeth where it meets your gums… so about 1.5” from the tip of your tongue touches the reed tip. It seems like your tongue is “hitting” the reed in a percussive way instead of “contacting” the reed. Think about tonguing as stopping the reed from vibrating by contacting, not attacking the reed. What you are currently doing is a cool effect when used properly but will slow your playing down quite a bit. Does this make sense?

I prefer the Otto Link but play the Soloist from time to time as well.

I’ve got more bari specific stuff on the way. Keep an eye out

I appreciate it Gemini! I posted one recently about MOANIN and another about harmonics. Feel free to check them out

Thanks Steve. I’ve got a few videos in the pipeline this summer so keep an eye out

Glad you dig it Steve!

Yes…. It is Selmer low A Mark VI 106,xxx

Thanks man! I posted some others recently you might like too.

Yes. I totally agree with that fingering as that is actually the fingering I use for my altissimo G (1+3 in LH) in performance…. as I find it easier to ‘pop out’ and is also has better tuning. This video is only just an exercise to start the altissimo process and was never meant to be an actual performance technique. Thanks for sharing your experience and helping others E Noffz

@@enoffz8021 let me know how it turns out!!! … and thanks again for your precision in the first comment as that might help other members who watch the video

@@jeffsuzda The altissimo F, F# and G came out fine with the business card, and then with out the card. I then took it further and fingered Low A with out a card or the octave key and that altissimo G was one of the many notes I could play with harmonics of low A.

@@jeffreysuzda5560 My best fingering for the G is: Octave key, 1st finger LH, 3rd finger LH (pressed halfway). Add the G# key and RH Bb key if you need to raise the pitch and clarify the tone a little.

@@enoffz8021 awesome. Sounds like you are getting it. The true harmonics (as you mention) are going to be a little tricky to use practically but they are great for developing overall technique, fullness of sound, and color uniformity. Please feel free to share any pieces you use bari altissimo on!

I am assuming that it works when you play it WITH the business card… yes? If so, then it is a question of “voicing” the note. You have to play “different” air, lip pressure, and tongue position in order to trick the saxophone into playing the altissimo note you want. I might recommend you sing the altissimo note you are going for and feel what your throat and tongue have to do to achieve that note. Once you feel the difference, try to apply the same shift to your playing. Also, this is not a quick fix, but a bridge to get you to play the notes more consistently. It takes some people months to play them (it took me years to be consistent). Let me know if you have other questions and I will reply back

@@jeffsuzda First I’d like to say how cool it is that all this time later you still come back to help us out here and I took your advice to sing the note today in practice and while it wasn’t truly consistent (not that it would be so quickly) it did appear to help me get the note to stick longer so thank you for your help.

Jim I hope your quest to learn is going well. Please feel free to let me know if it worked or if you need some other pointers. I’m always happy to help

Thanks so much wade!!!!

I appreciate that! Thanks for doing the timestamps

Not a genius but just happy to help others on my journey!

It’s done with hard work and very understanding neighbors !

Kai S... are trying to play octave key G and then altissimo G? ... or Altissimo G to double altissimo G?

Great question. I notice a difference in terms of sound and feel with “color” more than anything else. I will try to put a video together really outlining the differences with a spectral analysis but it is a “feeling”. I use the wooden neck in small solo settings more than with big band. I will put a video together soon showing the differences as a comparison.

Amzing, cant wait for the video! great palying

I’ve got a video on the way showing how to play it. Should be ready soon

@@jeffsuzda oh, thank you! I would appreciate it very much!!

@@eleazargarcia421 it will take me a little bit to edit it all together. Be patient, but I promise it is on the way.

@@jeffsuzda I will. I know it takes time.

Thanks so much!

Send me an email (in description) and I will send a PDF. Thanks for commenting

Hopefully you are playing it now !!!

THANK YOU FOR REMINDING ME!!@@jeffsuzda

Tone Pot the idea is that the sound (pure sine) waves are vibrating through the sheet of metal. The metal reacted by vibrating in various patterns. Where you see the sand is where the metal plate is NOT vibrating. It is essentially a ‘picture’ of the sound. Does that help?

@@jeffsuzda thanks and yes, it helps. I think this also explains what I saw in another RUclips video showing the difference between a just-intonated interval and 12-tet-intonated one on an oscilloscope (I think). Is this a physical version of something you can do on an oscilloscope and see the same "picture?" I hope you make some new videos, Jeff. My first baritone should arrive this week.