Composer Resources Compositional resources to help you compose for saxophone. Comment any questions you may have, and subscribe for more. joshuahyde.com
Yes yes yes -- I heartily agree with your first statement. I know the video on split tones is yet to come, but based on what you do in this one, I take it what you mean by that term is enhancing and bringing out multiple partials simultaneously on a "standard" fingering, whereas multiphonics would refer to sounds created by cross-fingerings, which involve combinations of tones not generated from one fundamental?
Hi Joshua, thank you so much for your great videos! I wonder if you could talk about the relation between embouchure and voicing, and how embouchure plays a role in saxophone playing? Thanks!
Hello, these two things often get a bit confused - sometimes we talk about embouchure because what is happening inside is abstract and impossible to see. In reality the embouchure is just a seal, we do see changes in the embouchure, but they are often just reflections of what is happening inside. As a composer it's best to just leave the embouchure to the musicians!
Yes yes yes -- I heartily agree with your first statement.
I know the video on split tones is yet to come, but based on what you do in this one, I take it what you mean by that term is enhancing and bringing out multiple partials simultaneously on a "standard" fingering, whereas multiphonics would refer to sounds created by cross-fingerings, which involve combinations of tones not generated from one fundamental?
Yes, exactly
finally the saxophone ling ling I've been following for 5 years revealed himself
pleased to meet you :-)
Hi Joshua, thank you so much for your great videos! I wonder if you could talk about the relation between embouchure and voicing, and how embouchure plays a role in saxophone playing? Thanks!
Hello, these two things often get a bit confused - sometimes we talk about embouchure because what is happening inside is abstract and impossible to see.
In reality the embouchure is just a seal, we do see changes in the embouchure, but they are often just reflections of what is happening inside. As a composer it's best to just leave the embouchure to the musicians!