Doubling

Saxophonists have to play clarinet and flute too!

Doubling is a very important aspect of being a saxophone player — feeling comfortable playing all of the saxes, clarinet, and flute. I also enjoy bass clarinet and alto flute, so that means there are eight instruments to maintain!

There are three things that I think about when balancing all of the doubles:
efficiency with practice time,
playing the instruments daily,
and being aware of slight modifications that are required for each instrument.

Efficiency

Efficiency is important because there simply is not enough time to play a full routine on all of the instruments. I always tell saxophone students that it is most efficient to practice all of the technique on ONE instrument and then transfer the ability to the other instruments in the family.
I like to start my practice sessions with the flute because practicing sound on the flute serves to center the air stream. It is extremely easy to use too much air and the issue is even further magnified on the flute. I always remind students—there is a difference between using cool, fast air and using too much air.
All of the other instruments feel good to me if I center the air on flute first. After warming up for a few minutes on flute I start pulling out saxophones.

Daily Practice

Daily practice is important on doubles for a few reasons:

• reeds play better if used daily

• part of what we are practicing is transitioning between the doubles—for example what slight embouchure changes are necessary to move from baritone sax to tenor

Modifications needed to transition between the instruments

Here are some general tips that would be very helpful for students who are doubling:

• flute—Think about blowing across the embouchure hole instead of into the embouchure hole.

• clarinet—The amount of bottom lip that you roll under might be more bottom lip rolled under than for the saxophone (it is for me).

• soprano sax—Think EQUAL pressure for the embouchure. The soprano embouchure is tricky and a player simply cannot change the embouchure pressure and easily and effectively keep the instrument in tune.

• alto sax—For so many students, this is “home base.” Students that I have had in the past that focused on tenor had to adjust to alto by strengthening the embouchure and focusing more on equal embouchure pressure.

• tenor sax—Students who play a lot of alto saxophone should work on the subtle in the lower register because it is common practice for the lower register to be played in a sub tone rather than full volume.

• bari sax—I have owned six bari saxes and it is my experience that lifting the chin will open up the sound of the instrument. Look at pictures of bari sax legends and most of them have their chins up so the mouthpiece is coming into the mouth at a slight angle. Here is an example—a picture of Pepper Adams with his chin high and the mouthpiece at an angle:

  

• bass clarinet—Play it more like a saxophone than like a clarinet.

This is a big week for me on flute and alto saxophone so that will be the big emphasis for me in practice. I am curious if students find these tips helpful, so let me know!