I’ve always done subtones exactly as you described intuitively, but it’s nice to have the confirmation cause I always felt like I was not supposed to be changing my embouchure, but that’s the only way I could do it lol
Good description of the methods for achieving subtones, Scott. My favorite tenor player who excelled at this was Zoot Sims-- for example Willow Weep for Me.
I have been intensely interested in being able to produce the subtone and despite adhering as precisely as possible to the instructional information so generously made available by super proficient exponents like yourself all that has happened is that I am able to play whisper soft. This sound has been described as the typical Classical Subtone. There is absolutely no trace of the slightest air or breath sound which is an essential component of the Jazz Subtone. I do think it would be totally appropriate if you were to provide as much information related to reed mouthpiece combinations as would render the understanding of the dynamics and mechanics of the subtone more easily understood and applicable. Most important and indeed the very purpose of this comment is to seek an explanation of just how the air or breath sound so essential to the Jazz Subtone just how is this essential component produced. Playing soft and low is just that.Subtoning is quite something else which seems to have defied any elucidation or even a pretense at such.Thank you so very much for hour video.
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
I’ve always done subtones exactly as you described intuitively, but it’s nice to have the confirmation cause I always felt like I was not supposed to be changing my embouchure, but that’s the only way I could do it lol
Good description of the methods for achieving subtones, Scott. My favorite tenor player who excelled at this was Zoot Sims-- for example Willow Weep for Me.
Nice! Got to check that out! Glad you enjoyed this tutorial!
I have been intensely interested in being able to produce the subtone and despite adhering as precisely as possible to the instructional information so generously made available by super proficient exponents like yourself all that has happened is that I am able to play whisper soft. This sound has been described as the typical Classical Subtone. There is absolutely no trace of the slightest air or breath sound which is an essential component of the Jazz Subtone. I do think it would be totally appropriate if you were to provide as much information related to reed mouthpiece combinations
as would render the understanding of the dynamics and mechanics of the subtone more easily understood and applicable. Most important and indeed the very purpose of this comment is to seek an explanation of just how the air or breath sound so essential to the Jazz Subtone just how is this essential component produced. Playing soft and low is just that.Subtoning is quite something else which seems to have defied any elucidation or even a pretense at such.Thank you so very much for hour video.