Saxophone Embouchure

How to form an efficient saxophone embouchure, in one simple step!
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Thank you so much for watching! I hope I can share some helpful hints that will benefit your playing, and help you reach your goals!

[@jardov1234]

Some useful info here, thanks

[@justforgame179]

I play alto and the pitch i get is E, the highest i can go is G and i feel that the embouchure start to tense (in the wrong way), what’s the problem ? Also i’m a quarter tone flat on the whole register, even a little more above octave A, and I can’t play above palm D. I cannot play above the second overtones on the low key. I’m sure the equipments is not the problem. It’s been some months that i’m trying to improve but can’t seem to find any solutions, what do you think about it ?
Btw i’m playing a modern soloist E facing with a rigotti 3

[@Marcimusic257]

Do you mean the G above the staff? fingered LH 123 with the octave key?
Embouchure tension (the bad kind), could be due to insufficient breath support, or playing on too hard of a reed. If the reed isn't vibrating easily, you'll need to apply excessive pressure just to get the sound started.
How far are you pushing the mouthpiece into the cork? It will likely need be at least halfway in, possibly more. Push the mouthpiece in as far as necessary to get the B in the staff in tune, and then see how the other notes tune.
Try play on a softer reed, maybe even a 2. As long as the reed is vibrating, it's fine. Don't worry about the strength. The softer reed is going to respond much more easily to your airstream. You'll be able to play with a much gentler feel, and use the air more efficiently. Think of it like this; with a hard reed, you might lose a significant amount of your wind power right away, just to get the vibration going, while the softer reed allows the air to be immediately transformed into sound, leaving you with more air to use as "breath support".
A soft reed can help you (force you?) to play with a relaxed and flexible embouchure. At first you could lose some range and tonal stability, but it's going to allow much more control over the bottom and middle of the range, including the overtones. From there you can build back up to higher notes, or gradually increase the reed strength once you get the feel for efficiently moving air through the horn.
The overtones just take time and practice to discover the feel of doing them. And they can get trickier as you get higher. Something that worked for me was to learn the first and second overtones for all of the fingerings (not just of the lowest notes, but as high as you can go) before attempting the third and higher overtones. There is a demonstration of this in the voicing video.
ruclips.net/video/IazlqzahGTw/видео.html