Saxophone embouchure is the position of the facial muscles and shaping of the lips to the mouthpiece when playing a saxophone.
Playing technique for the saxophone is subjective based upon the intended style (classical, jazz, rock, funk, etc.) and the player's idealized sound. The design of the saxophone allows for a wide variety of different sounds, and the "ideal" saxophone sound and keys to its production are subjects of debate. However, there is a basic underlying structure to most techniques.
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In the typical embouchure, the mouthpiece is generally not taken more than halfway into the player's mouth. The lower lip is supported by the lower teeth, and makes contact with the reed. The playing-position is stabilized with firm, light pressure from the upper teeth resting on the mouthpiece (sometimes padded with a thin strip of rubber known as a "bite-pad" or "mouthpiece-patch"). The upper lip closes to create an air-tight seal. The "double embouchure" in which the upper lip is curled over the upper teeth is not commonly used in modern times, however each player may eventually develop his/her own variation of the basic embouchure style in order to accommodate their own physical structure.
Three things are imperative to a full and quick-speaking sound: appropriate air pressure which is aided by diaphragm support, correct lip/reed contact allowing the reed to vibrate optimally, and perhaps most importantly a high tongue position within the mouth. This provides focus to the player's air stream and thus to his/her sound. The player's diaphragm acts as a bellow, supplying a constant stream of air through the instrument.
Saxophone vibrato is much like a vocal or string vibrato, except the pitch variations are made using the jaw instead of the player's fingers or breathing organs. The jaw motions required for vibrato can be simulated by saying the syllables "wah-wah-wah" or "tai-yai-yai." The method which is easiest and brings the best vibrato depends on the player. While most will say vibrato is not vital to saxophone performance (i.e. it is less important than a well-developed tone), many argue it as being integral to the distinct saxophone timbre. Classical vibrato can vary between players (soft and subtle, or wide and abrasive). Many classical players look to violinists as the models for their sound. It has been suggested that this follows the example of Marcel Mule of the Paris Conservatory, one of the early proponents of classical saxophone playing. Sigurd Rascher, an important German saxophone player, was known for the quicker style of vibrato which was opposite to Marcel Mule's. Jazz vibrato varies even more amongst players. Fast and wide vibrato is used by Swing music players, while some modern jazz saxophonists use almost no vibrato except in slow ballads. Typically, less vibrato is used at faster tempos.
Players just starting out with vibrato will usually start out slow with exaggerated jaw movements. As they progress, the vibrato becomes quicker until the desired speed is reached. A vibrato can also be produced by controlling the air stream with the tongue, or by diaphragm control. Techniques alternative to jaw vibrato can be used to achieve a beautiful tone quality, but can also diverge noticeably from tone quality produced by classical jaw vibrato.
A number of effects can be used to create different or interesting sounds.
The use of electronic effects with the saxophone began with innovations such as the Varitone system, which Selmer introduced in 1965. The Varitone included a small microphone mounted on the saxophone neck, a set of controls attached to the saxophone's body, and an amplifier and loudspeaker mounted inside a cabinet. The Varitone's effects included echo, tremolo, tone control, and an octave divider. Two notable Varitone players were Eddie Harris and Sonny Stitt. Similar products included the Hammond Condor.
In addition to playing the Varitone, Eddie Harris experimented with looping techniques on his 1968 album Silver Cycles.
David Sanborn and Traffic member Chris Wood employed effects such as wah-wah and delay on various recordings during the 1970s.
In more recent years, the term "saxophonics" has been used to describe the use of these techniques by saxophonists such as Skerik, who has used a wide variety of effects that are often associated with the electric guitar, and Jeff Coffin, who has made notable use of an envelope follower.
A player's "tonal concept" is the sound that they wish to create.
The actual tone produced is influenced by several factors:
The saxophone embouchure involves:
An important principle for any woodwind embouchure is that the lip supports the reed. Saxophone players generally adopt either the single-lip or double-lip embouchure, then adapt it to their chosen instrument.
The single-lip embouchure, used by most saxophonists, involves placing the upper teeth directly on the mouthpiece, curving the lower lip over the lower teeth. This is preferred for beginners since it is easier to control.
The double-lip embouchure, used by very few saxophonists, involves curving the upper lip under the upper teeth, so that the lip comes between the upper teeth and the slope of the mouthpiece; and curving the lower lip over the top of the lower teeth, so that it comes between the lower teeth and the reed.
The "curved out double-lip no teeth embouchure", known by an even smaller number of saxophone players, involves taking the bottom lip and curving it out so that only a small part touches the teeth; resting just your lip on the top curved out, but with no teeth touching the mouthpiece; and putting your lips as far onto the mouthpiece as the reed and mouthpiece are still separated.
Beginners are taught to use the top teeth on the mouthpiece, lower lip curled under as this embouchure is easier to learn on and control.
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