Dear colleagues,
I my little shop have always noticed that many players come with a problem in common: Inconsistency in the high notes of yours saxes. For example, when playing G sharp which also sounded a multiphonic. Or when they play palm-E was the same. On several occasions I have tried to address this sensitive issue as a simple observation or comment, but I suspect that within the broad panel of observers and collaborators who have experienced will be the same as me in my workshop.
 So versatile it can be to resolve such issue is that I put on the table and let me know their experiences as the subject is quite interesting. I want to share experiences. I have solved many problems of this type and some with more success than others and why not say, by chance or by intuition led, evidence, trial and error.
 I know there are reasons inherent in the design, opening and shaped pipes entry, also the performer play modes, Mouthpieces inadequate, inappropriate reeds, etc., ETC.
 The issue is on the table, who knows something, speak or forever a hug
;)>

 Silverio
 from Argentine Patagonian

Well.... this is my opinion about the high notes on a saxophone, most players that have the problem with altissimo register is 'cause they really don't know how to play altissimo, if you are practicing a scale let say C and you only practice 2 octaves and later try to play any note on the next high octave the notes will not play, why???? because you don't have trained for playing high notes, I think that the most important training of a sax player is overtones but the problem it's more complex than practicing only overtones.The problem start with the player bocal and dental alignment with the mp, and the mp have the problem to match the reed, in some way that matches the mouth of the player, the flow of air to play have to be consistent with the pressure in the mouth and the opening of the reed with the mouthpiece. I think that one big problem for a player it's belive that a mouthpiece may sound or play better than other mouthpiece, we are looking all time for facings and mathematics to solve something that depends from a lot of variables, you can't issolate a problem that changes everyday (reed and the player's mouth and air ). And to be honest the problem to not have the ability to play high notes depends from a lot of small problems becoming one big problem. 
Podria asegurar que a mas de alguno no le va a gustar el comentario pero si no tenemos la capacidad de tocar harmonicos en un instrumento es por falta de practica.
Saludos Silverio.

my 2 cents from a player point of view: I agree almost completely with Silverio's thoughts,

that in my opinion stresses the importance of having a properly set mouthpiece, one whose parts are evenly balanced in the right way, thus allowing for all the proper actions needed to get a good tone (which is of course subjective) and play in tune in the whole range (which of course is not subjective....) to start with, before stepping into the altissimo register, without having to fight to compensate the possible mouthpiece faults, which can be quite stressful and finally it's a losing game.

In my opinion a mouthpiece can't make actual what a player is uncapable of making real, but should provide all the resources needed to a correct general playing gesture. All the rest needs to be built through commitment and practice that are extended in time, a fact whose awareness is probably neglected by those players who are constantly looking for another mouthpiece. Hopefully some will get to this simple truth through experience,

greetings from Italy,

Stefano D'Anna


On Dec 7, 2011, at 8:33 AM, daniel24672@... wrote:

> Well.... this is my opinion about the high notes on a saxophone, most players that have the problem with altissimo register is 'cause they really don't know how to play altissimo, if you are practicing a scale let say C and you only practice 2 octaves and later try to play any note on the next high octave the notes will not play, why???? because you don't have trained for playing high notes, I think that the most important training of a sax player is overtones but the problem it's more complex than practicing only overtones.The problem start with the player bocal and dental alignment with the mp, and the mp have the problem to match the reed, in some way that matches the mouth of the player, the flow of air to play have to be consistent with the pressure in the mouth and the opening of the reed with the mouthpiece. I think that one big problem for a player it's belive that a mouthpiece may sound or play better than other mouthpiece, we are looking all time for facings and ma thematics to solve something that depends from a lot of variables, you can't issolate a problem that changes everyday (reed and the player's mouth and air ). And to be honest the problem to not have the ability to play high notes depends from a lot of small problems becoming one big problem. 
> Podria asegurar que a mas de alguno no le va a gustar el comentario pero si no tenemos la capacidad de tocar harmonicos en un instrumento es por falta de practica.
> Saludos Silverio.
> 
> 

Daniel: very meaty your comment, but the issue I tried to start does not refer to the notes "alltisimi." No. The subject is referred to the normal range of the saxophone, from G (where it is still open on the first record eighth in the body of the instrument) to the notes F sharp in the palm (where it works the second record of the neck octave ) in most of the saxes. I am not referring to the extraordinary friend Steve Goodson saxophones, which already have solved such problems multiphonics.
 good luck
 Silverio


________________________________
De: "daniel24672@..." <daniel24672@yahoo.com>
Para: MouthpieceWork@yahoogroups.com 
Enviado: miércoles, 7 de diciembre de 2011 4:33
Asunto: [MouthpieceWork] Re: INCONSISTENCIES in the high notes


  
Well.... this is my opinion about the high notes on a saxophone, most players that have the problem with altissimo register is 'cause they really don't know how to play altissimo, if you are practicing a scale let say C and you only practice 2 octaves and later try to play any note on the next high octave the notes will not play, why???? because you don't have trained for playing high notes, I think that the most important training of a sax player is overtones but the problem it's more complex than practicing only overtones.The problem start with the player bocal and dental alignment with the mp, and the mp have the problem to match the reed, in some way that matches the mouth of the player, the flow of air to play have to be consistent with the pressure in the mouth and the opening of the reed with the mouthpiece. I think that one big problem for a player it's belive that a mouthpiece may sound or play better than other mouthpiece, we are looking all
 time for facings and mathematics to solve something that depends from a lot of variables, you can't issolate a problem that changes everyday (reed and the player's mouth and air ). And to be honest the problem to not have the ability to play high notes depends from a lot of small problems becoming one big problem. 
Podria asegurar que a mas de alguno no le va a gustar el comentario pero si no tenemos la capacidad de tocar harmonicos en un instrumento es por falta de practica.
Saludos Silverio.

Dear Stefano, i say you the same that other friend; very meaty your comment, but the issue I tried to start does not refer to the notes "alltisimi." No. The subject is referred to the normal range of the saxophone, from G (where it is still open on the first record eighth in the body of the instrument) to the notes F sharp in the palm (where it works the second record of the neck octave ) in most of the saxes. I am not referring to the extraordinary friend Steve Goodson saxophones, which already have solved such problems multiphonics.
 good luck
 Silverio


________________________________
De: "daniel24672@..." <daniel24672@...>
Para: MouthpieceWork@yahoogroups.com 
Enviado: miércoles, 7 de diciembre de 2011 4:33
Asunto: [MouthpieceWork] Re: INCONSISTENCIES in the high notes


  
Well.... this is my opinion about the high notes on a saxophone, most players that have the problem with altissimo register is 'cause they really don't know how to play altissimo, if you are practicing a scale let say C and you only practice 2 octaves and later try to play any note on the next high octave the notes will not play, why???? because you don't have trained for playing high notes, I think that the most important training of a sax player is overtones but the problem it's more complex than practicing only overtones.The problem start with the player bocal and dental alignment with the mp, and the mp have the problem to match the reed, in some way that matches the mouth of the player, the flow of air to play have to be consistent with the pressure in the mouth and the opening of the reed with the mouthpiece. I think that one big problem for a player it's belive that a mouthpiece may sound or play better than other mouthpiece, we are looking all
 time for facings and mathematics to solve something that depends from a lot of variables, you can't issolate a problem that changes everyday (reed and the player's mouth and air ). And to be honest the problem to not have the ability to play high notes depends from a lot of small problems becoming one big problem. 
Podria asegurar que a mas de alguno no le va a gustar el comentario pero si no tenemos la capacidad de tocar harmonicos en un instrumento es por falta de practica.
Saludos Silverio.

In order to play the altissimos, the player MUST configure the oral 
tract to reinforce one of the partials being sounded. This is absolutely
 essential to playing altissimos, since the tube will at that point does
 not have the impedance peaks to force the reed to vibrate at the 
desired frequency. And the damping of the reed must also be adjusted 
with the embouchure, and the attack needs to be finessed. 

I find that I can play altissimos with just about any mpc, but each one requires a different adjustment and of course a different reed strength. That being said, some mpcs are easier for me than others in the high range.


--- On Wed, 2011/12/7, Stefano D'Anna <mf2098@...> wrote:















 
 



  


    
      
      
      my 2 cents from a player point of view: I agree almost completely with Silverio's thoughts,
that in my opinion stresses the importance of having a properly set mouthpiece, one whose parts are evenly balanced in the right way, thus allowing for all the proper actions needed to get a good tone (which is of course subjective) and play in tune in the whole range (which of course is not subjective....) to start with, before stepping into the altissimo register, without having to fight to compensate the possible mouthpiece faults, which can be quite stressful and finally it's a losing game.
In my opinion a mouthpiece can't make actual what a player is uncapable of making real, but should provide all the resources needed to a correct general playing gesture. All the rest needs to be built through commitment and practice that are extended in time, a fact whose awareness is probably neglected by those players who are constantly looking for another mouthpiece. Hopefully some will get to this simple truth through experience,
greetings from Italy,
Stefano D'Anna

On Dec 7, 2011, at 8:33 AM, daniel24672@... wrote:





 



    Well.... this is my opinion about the high notes on a saxophone, most players that have the problem with altissimo register is 'cause they really don't know how to play altissimo, if you are practicing a scale let say C and you only practice 2 octaves and later try to play any note on the next high octave the notes will not play, why???? because you don't have trained for playing high notes, I think that the most important training of a sax player is overtones but the problem it's more complex than practicing only overtones.The problem start with the player bocal and dental alignment with the mp, and the mp have the problem to match the reed, in some way that matches the mouth of the player, the flow of air to play have to be consistent with the pressure in the mouth and the opening of the reed with the mouthpiece. I think that one big problem for a player it's belive that a mouthpiece may sound or play better than other mouthpiece, we are looking
 all time for facings and ma
thematics to solve something that depends from a lot of variables, you can't issolate a problem that changes everyday (reed and the player's mouth and air ). And to be honest the problem to not have the ability to play high notes depends from a lot of small problems becoming one big problem. 

Podria asegurar que a mas de alguno no le va a gustar el comentario pero si no tenemos la capacidad de tocar harmonicos en un instrumento es por falta de practica.

Saludos Silverio.





    
     

    










    
     

    
    


 



  

This html message parsed with html2text ---------------------------The configuration for the larynx or oral tract is a learned habit by
practicing the overtone series or bugle call tones based on the low notes of
the saxophone. This leads to good response and better intonation on the
altissimo notes as opposed to just biting the reed and blowing. \\---
kymarto123@ybb.ne.jp wrote: From: kymarto123@ybb.ne.jp To:
MouthpieceWork@yahoogroups.com Subject: Re: [MouthpieceWork] Re:
INCONSISTENCIES in the high notes Date: Thu, 8 Dec 2011 01:57:00 +0900 (JST)
In order to play the altissimos, the player MUST configure the oral tract to
reinforce one of the partials being sounded. This is absolutely essential to
playing altissimos, since the tube will at that point does not have the
impedance peaks to force the reed to vibrate at the desired frequency. And the
damping of the reed must also be adjusted with the embouchure, and the attack
needs to be finessed. I find that I can play altissimos with just about any
mpc, but each one requires a different adjustment and of course a different
reed strength. That being said, some mpcs are easier for me than others in the
high range. \\--- On **Wed, 2011/12/7, Stefano D'Anna _< mf2098@tiscali.it>_**
wrote: > > my 2 cents from a player point of view: I agree almost completely
with > Silverio's thoughts, > that in my opinion stresses the importance of
having a properly set > mouthpiece, one whose parts are evenly balanced in the
right way, thus > allowing for all the proper actions needed to get a good
tone (which is of > course subjective) and play in tune in the whole range
(which of course is > not subjective....) to start with, before stepping into
the altissimo > register, without having to fight to compensate the possible
mouthpiece > faults, which can be quite stressful and finally it's a losing
game. > In my opinion a mouthpiece can't make actual what a player is
uncapable of > making real, but should provide all the resources needed to a
correct > general playing gesture. All the rest needs to be built through
commitment > and practice that are extended in time, a fact whose awareness is
probably > neglected by those players who are constantly looking for another >
mouthpiece. Hopefully some will get to this simple truth through experience, >
greetings from Italy, > Stefano D'Anna > > On Dec 7, 2011, at 8:33 AM,
daniel24672@yahoo.com wrote: > > >> Well.... this is my opinion about the high
notes on a saxophone, most players that have the problem with altissimo
register is 'cause they really don't know how to play altissimo, if you are
practicing a scale let say C and you only practice 2 octaves and later try to
play any note on the next high octave the notes will not play, why???? because
you don't have trained for playing high notes, I think that the most important
training of a sax player is overtones but the problem it's more complex than
practicing only overtones.The problem start with the player bocal and dental
alignment with the mp, and the mp have the problem to match the reed, in some
way that matches the mouth of the player, the flow of air to play have to be
consistent with the pressure in the mouth and the opening of the reed with the
mouthpiece. I think that one big problem for a player it's belive that a
mouthpiece may sound or play better than other mouthpiece, we are looking all
time for facings and ma thematics to solve something that depends from a lot
of variables, you can't issolate a problem that changes everyday (reed and the
player's mouth and air ). And to be honest the problem to not have the ability
to play high notes depends from a lot of small problems becoming one big
problem. > Podria asegurar que a mas de alguno no le va a gustar el comentario
pero si > no tenemos la capacidad de tocar harmonicos en un instrumento es por
falta > de practica. > Saludos Silverio. > > > > > \--- * * * Netscape. Just
the Net You Need.

Dear Kymarto, I think that I could not explain or Google's automatic translator works poorly. The towering alttisimi or not the subject matter that I have proposed here. Try to be clearer and more explicit next time.
 regards
 Silverio


________________________________
De: "kymarto123@..." <kymarto123@...>
Para: MouthpieceWork@yahoogroups.com 
Enviado: miércoles, 7 de diciembre de 2011 13:57
Asunto: Re: [MouthpieceWork] Re: INCONSISTENCIES in the high notes


  
In order to play the altissimos, the player MUST configure the oral tract to reinforce one of the partials being sounded. This is absolutely essential to playing altissimos, since the tube will at that point does not have the impedance peaks to force the reed to vibrate at the desired frequency. And the damping of the reed must also be adjusted with the embouchure, and the attack needs to be finessed. 

I find that I can play altissimos with just about any mpc, but each one requires a different adjustment and of course a different reed strength. That being said, some mpcs are easier for me than others in the high range.


--- On Wed, 2011/12/7, Stefano D'Anna <mf2098@...> wrote:


>
>  
>my 2 cents from a player point of view: I agree almost completely with Silverio's thoughts,
>
>
>that in my opinion stresses the importance of having a properly set mouthpiece, one whose parts are evenly balanced in the right way, thus allowing for all the proper actions needed to get a good tone (which is of course subjective) and play in tune in the whole range (which of course is not subjective....) to start with, before stepping into the altissimo register, without having to fight to compensate the possible mouthpiece faults, which can be quite stressful and finally it's a losing game.
>
>
>In my opinion a mouthpiece can't make actual what a player is uncapable of making real, but should provide all the resources needed to a correct general playing gesture. All the rest needs to be built through commitment and practice that are extended in time, a fact whose awareness is probably neglected by those players who are constantly looking for another mouthpiece. Hopefully some will get to this simple truth through experience,
>
>
>greetings from Italy,
>
>
>Stefano D'Anna
>
>
>
>
>On Dec 7, 2011, at 8:33 AM, daniel24672@... wrote:
>
>  
>>Well.... this is my opinion about the high notes on a saxophone, most players that have the problem with altissimo register is 'cause they really don't know how to play altissimo, if you are practicing a scale let say C and you only practice 2 octaves and later try to play any note on the next high octave the notes will not play, why???? because you don't have trained for playing high notes, I think that the most important training of a sax player is overtones but the problem it's more complex than practicing only overtones.The problem start with the player bocal and dental alignment with the mp, and the mp have the problem to match the reed, in some way that matches the mouth of the player, the flow of air to play have to be consistent with the pressure in the mouth and the opening of the reed with the mouthpiece. I think that one big problem for a player it's belive that a mouthpiece may sound or play better than other mouthpiece, we are looking all
 time for facings and ma thematics to solve something that depends from a lot of variables, you can't issolate a problem that changes everyday (reed and the player's mouth and air ). And to be honest the problem to not have the ability to play high notes depends from a lot of small problems becoming one big problem. 
>>Podria asegurar que a mas de alguno no le va a gustar el comentario pero si no tenemos la capacidad de tocar harmonicos en un instrumento es por falta de practica.
>>Saludos Silverio.
>>
>>
> 

Sorry please, 
I think that I could not explain or Google's automatic translator works poorly. The towering alttisimi or not the subject matter that I have proposed here. Try to be clearer and more explicit next time.
 regards
 Silverio


________________________________
De: "gregwier@..." <gregwier@...>
Para: MouthpieceWork@yahoogroups.com 
Enviado: miércoles, 7 de diciembre de 2011 14:00
Asunto: Re: [MouthpieceWork] Re: INCONSISTENCIES in the high notes


  

The configuration for the larynx or oral tract is a learned habit by practicing the overtone series or bugle call tones based on the low notes of the saxophone.  This leads to good response and better intonation on the altissimo notes as opposed to just biting the reed and blowing.
--- kymarto123@... wrote:

From: kymarto123@...
To: MouthpieceWork@yahoogroups.com
Subject: Re: [MouthpieceWork] Re: INCONSISTENCIES in the high notes
Date: Thu, 8 Dec 2011 01:57:00 +0900 (JST)

  
In order to play the altissimos, the player MUST configure the oral tract to reinforce one of the partials being sounded. This is absolutely essential to playing altissimos, since the tube will at that point does not have the impedance peaks to force the reed to vibrate at the desired frequency. And the damping of the reed must also be adjusted with the embouchure, and the attack needs to be finessed. 

I find that I can play altissimos with just about any mpc, but each one requires a different adjustment and of course a different reed strength. That being said, some mpcs are easier for me than others in the high range.


--- On Wed, 2011/12/7, Stefano D'Anna <mf2098@...> wrote:


>
>  
>my 2 cents from a player point of view: I agree almost completely with Silverio's thoughts,
>
>
>that in my opinion stresses the importance of having a properly set mouthpiece, one whose parts are evenly balanced in the right way, thus allowing for all the proper actions needed to get a good tone (which is of course subjective) and play in tune in the whole range (which of course is not subjective....) to start with, before stepping into the altissimo register, without having to fight to compensate the possible mouthpiece faults, which can be quite stressful and finally it's a losing game.
>
>
>In my opinion a mouthpiece can't make actual what a player is uncapable of making real, but should provide all the resources needed to a correct general playing gesture. All the rest needs to be built through commitment and practice that are extended in time, a fact whose awareness is probably neglected by those players who are constantly looking for another mouthpiece. Hopefully some will get to this simple truth through experience,
>
>
>greetings from Italy,
>
>
>Stefano D'Anna
>
>
>
>
>On Dec 7, 2011, at 8:33 AM, daniel24672@... wrote:
>
>  
>>Well.... this is my opinion about the high notes on a saxophone, most players that have the problem with altissimo register is 'cause they really don't know how to play altissimo, if you are practicing a scale let say C and you only practice 2 octaves and later try to play any note on the next high octave the notes will not play, why???? because you don't have trained for playing high notes, I think that the most important training of a sax player is overtones but the problem it's more complex than practicing only overtones.The problem start with the player bocal and dental alignment with the mp, and the mp have the problem to match the reed, in some way that matches the mouth of the player, the flow of air to play have to be consistent with the pressure in the mouth and the opening of the reed with the mouthpiece. I think that one big problem for a player it's belive that a mouthpiece may sound or play better than other mouthpiece, we are looking all
 time for facings and ma thematics to solve something that depends from a lot of variables, you can't issolate a problem that changes everyday (reed and the player's mouth and air ). And to be honest the problem to not have the ability to play high notes depends from a lot of small problems becoming one big problem. 
>>Podria asegurar que a mas de alguno no le va a gustar el comentario pero si no tenemos la capacidad de tocar harmonicos en un instrumento es por falta de practica.
>>Saludos Silverio.
>>
>>
> 
 
________________________________
Netscape.  Just the Net You Need.

I understand exactly what you are referring to - note stability, clarity, ease of attack, in the second/upper register of the normal range.  This is a rather complicated issue.  From the second register on, the air column's second mode resonance lies above the instrument's cut-off frequency, so it can not contribute to the sounding regime.  Simply put, the resonant frequency of the mouthpiece and that of the reed must be so arranged that the embouchure pressure which provides the correct playing frequency, also places the reed's own (easily manipulated) resonance in the position where it can take the place of that missing from the air column.  Additionally, the player must be aware and have the sensitivity to be able to make the minute and instantaneous embouchure/vocal tract adjustments that take advantage of the available reed resonance.



--- On Wed, 12/7/11, Silverio <silpopaar@...> wrote:

From: Silverio <silpopaar@....ar>
Subject: Re: [MouthpieceWork] Re: INCONSISTENCIES in the high notes
To: MouthpieceWork@yahoogroups.com
Date: Wednesday, December 7, 2011, 5:45 PM








 



  


    
      
      
      Sorry please, 

I think that I could not explain or Google's automatic translator works poorly. The towering alttisimi or not the subject matter that I have proposed here. Try to be clearer and more explicit next time.

 regards

 Silverio
       De: "gregwier@..." <gregwier@...>
 Para: MouthpieceWork@yahoogroups.com 
 Enviado: miércoles, 7 de diciembre de 2011 14:00
 Asunto: Re: [MouthpieceWork] Re: INCONSISTENCIES in the high notes
  














 



    
      
      
      
The configuration for the larynx or oral tract is a learned habit by practicing the overtone series or bugle call tones based on the low notes of the saxophone.  This leads to good response and better intonation on the altissimo notes as opposed to just biting the reed and blowing.
--- kymarto123@... wrote:

From: kymarto123@ybb.ne.jp
To: MouthpieceWork@yahoogroups.com
Subject: Re: [MouthpieceWork] Re: INCONSISTENCIES in the high notes
Date: Thu, 8 Dec 2011 01:57:00 +0900 (JST)

  







In order to play the altissimos, the player MUST configure the oral tract to reinforce one of the partials being sounded. This is absolutely essential to playing altissimos, since the tube will at that point does not have the impedance peaks to force the reed to vibrate at the desired frequency. And the damping of the reed must also be adjusted with the embouchure, and the attack needs to be finessed. 

I find that I can play altissimos with just about any mpc, but each one requires a different adjustment and of course a different reed strength. That being said, some mpcs are easier for me than others in the high range.


--- On Wed, 2011/12/7, Stefano D'Anna <mf2098@...> wrote:



  

my 2 cents from a player point of view: I agree almost completely with Silverio's thoughts,


that in my opinion stresses the importance of having a properly set mouthpiece, one whose parts are evenly balanced in the right way, thus allowing for all the proper actions needed to get a good tone (which is of course subjective) and play in tune in the whole range (which of course is not subjective....) to start with, before stepping into the altissimo register, without having to fight to compensate the possible mouthpiece faults, which can be quite stressful and finally it's a losing game.


In my opinion a mouthpiece can't make actual what a player is uncapable of making real, but should provide all the resources needed to a correct general playing gesture. All the rest needs to be built through commitment and practice that are extended in time, a fact whose awareness is probably neglected by those players who are constantly looking for another mouthpiece. Hopefully some will get to this simple truth through experience,


greetings from Italy,


Stefano D'Anna





On Dec 7, 2011, at 8:33 AM, daniel24672@yahoo.com wrote:


  

Well.... this is my opinion about the high notes on a saxophone, most players that have the problem with altissimo register is 'cause they really don't know how to play altissimo, if you are practicing a scale let say C and you only practice 2 octaves and later try to play any note on the next high octave the notes will not play, why???? because you don't have trained for playing high notes, I think that the most important training of a sax player is overtones but the problem it's more complex than practicing only overtones.The problem start with the player bocal and dental alignment with the mp, and the mp have the problem to match the reed, in some way that matches the mouth of the player, the flow of air to play have to be consistent with the pressure in the mouth and the opening of the reed with the mouthpiece. I think that one big problem for a player it's belive that a mouthpiece may sound or play better than other
 mouthpiece, we are looking all time for facings and ma thematics to solve something that depends from a lot of variables, you can't issolate a problem that changes everyday (reed and the player's mouth and air ). And to be honest the problem to not have the ability to play high notes depends from a lot of small problems becoming one big problem. 
Podria asegurar que a mas de alguno no le va a gustar el comentario pero si no tenemos la capacidad de tocar harmonicos en un instrumento es por falta de practica.
Saludos Silverio.




 
Netscape.  Just the Net You Need.

    
     











    

    
     

    
    






  

Hi MM
've Played well the content of the topic I proposed, driven by the problem that presented itself with this instrument that brought me, an alto saxophonist with the neck shortened just going to know why "sinister" reason /: (<

 I tell them that I could solve it in the following way: As the tip of the neck had been cut and inserted approximately 1 cm into the neck and soldered with silver to work comfortably remove all its parts. Then I restored the tip to its original position, restored all the parts again and took the opportunity to close the record and give pipe 1.5 mms of opening where the pad closes and produced an internal cone to 3 mm at the end of the tube.

 I said the pad, I tried multiphonic undesirable outcome and was gone, the pitch of the sax was balanced and all it sounds better than before.

 Conclusion: And here it fits perfectly your comment. This is for those just beginning and those who have not learned the correct embouchure on a sax. When tuning problems have very high or inconsistent in its saxophone, first check if your mouthpiece, reeds, ligature are in relation to the instrument and examine whether they are doing things right on the mouth and do not leave in the hands reckless arrangement or reform their instruments, because the result will be like the issue I brought to the forum.
 There will be problems of unknown origin, very hard to find raising the cost of the arrangements by the time it takes to test all the variables and find a correct solution.

 Thank you for your interest and fraternal greetings
 Silverio


________________________________
De: MartinMods <lancelotburt@...>
Para: MouthpieceWork@yahoogroups.com 
Enviado: domingo, 11 de diciembre de 2011 3:26
Asunto: Re: [MouthpieceWork] Re: INCONSISTENCIES in the high notes


  
I understand exactly what you are referring to - note stability, clarity, ease of attack, in the second/upper register of the normal range.  This is a rather complicated issue.  From the second register on, the air column's second mode resonance lies above the instrument's cut-off frequency, so it can not contribute to the sounding regime.  Simply put, the resonant frequency of the mouthpiece and that of the reed must be so arranged that the embouchure pressure which provides the correct playing frequency, also places the reed's own (easily manipulated) resonance in the position where it can take the place of that missing from the air column.  Additionally, the player must be aware and have the sensitivity to be able to make the minute and instantaneous embouchure/vocal tract adjustments that take advantage of the available reed resonance.



--- On Wed, 12/7/11, Silverio <silpopaar@...> wrote:


>From: Silverio <silpopaar@...>
>Subject: Re: [MouthpieceWork] Re: INCONSISTENCIES in the high notes
>To: MouthpieceWork@yahoogroups.com
>Date: Wednesday, December 7, 2011, 5:45 PM
>
>
>  
>Sorry please, 
>I think that I could not explain or Google's automatic translator works poorly. The towering alttisimi or not the subject matter that I have proposed here. Try to be clearer and more explicit next time. 
>regards 
>Silverio
>
>
>________________________________
>De: "gregwier@..." <gregwier@...>
>Para: MouthpieceWork@yahoogroups.com 
>Enviado: miércoles, 7 de diciembre de 2011 14:00
>Asunto: Re: [MouthpieceWork] Re: INCONSISTENCIES in the high notes
>
>
>  
>
>The configuration for the larynx or oral tract is a learned habit by practicing the overtone series or bugle call tones based on the low notes of the saxophone.  This leads to good response and better intonation on the altissimo notes as opposed to just biting the reed and blowing.
>--- kymarto123@... wrote:
>
>From: kymarto123@...
>To: MouthpieceWork@yahoogroups.com
>Subject: Re: [MouthpieceWork] Re: INCONSISTENCIES in the high notes
>Date: Thu, 8 Dec 2011 01:57:00 +0900 (JST)
>
>  
>In order to play the altissimos, the player MUST configure the oral tract to reinforce one of the partials being sounded. This is absolutely essential to playing altissimos, since the tube will at that point does not have the impedance peaks to force the reed to vibrate at the desired frequency. And the damping of the reed must also be adjusted with the embouchure, and the attack needs to be finessed. 
>
>I find that I can play altissimos with just about any mpc, but each one requires a different adjustment and of course a different reed strength. That being said, some mpcs are easier for me than others in the high range.
>
>
>--- On Wed, 2011/12/7, Stefano D'Anna <mf2098@...> wrote:
>
>
>>
>>  
>>my 2 cents from a player point of view: I agree almost completely with Silverio's thoughts,
>>
>>
>>that in my opinion stresses the importance of having a properly set mouthpiece, one whose parts are evenly balanced in the right way, thus allowing for all the proper actions needed to get a good tone (which is of course subjective) and play in tune in the whole range (which of course is not subjective....) to start with, before stepping into the altissimo register, without having to fight to compensate the possible mouthpiece faults, which can be quite stressful and finally it's a losing game.
>>
>>
>>In my opinion a mouthpiece can't make actual what a player is uncapable of making real, but should provide all the resources needed to a correct general playing gesture. All the rest needs to be built through commitment and practice that are extended in time, a fact whose awareness is probably neglected by those players who are constantly looking for another mouthpiece. Hopefully some will get to this simple truth through experience,
>>
>>
>>greetings from Italy,
>>
>>
>>Stefano D'Anna
>>
>>
>>
>>
>>On Dec 7, 2011, at 8:33 AM, daniel24672@... wrote:
>>
>>  
>>>Well.... this is my opinion about the high notes on a saxophone, most players that have the problem with altissimo register is 'cause they really don't know how to play altissimo, if you are practicing a scale let say C and you only practice 2 octaves and later try to play any note on the next high octave the notes will not play, why???? because you don't have trained for playing high notes, I think that the most important training of a sax player is overtones but the problem it's more complex than practicing only overtones.The problem start with the player bocal and dental alignment with the mp, and the mp have the problem to match the reed, in some way that matches the mouth of the player, the flow of air to play have to be consistent with the pressure in the mouth and the opening of the reed with the mouthpiece. I think that one big problem for a player it's belive that a mouthpiece may sound or play better than other mouthpiece, we are looking all
 time for facings and ma thematics to solve something that depends from a lot of variables, you can't issolate a problem that changes everyday (reed and the player's mouth and air ). And to be honest the problem to not have the ability to play high notes depends from a lot of small problems becoming one big problem. 
>>>Podria asegurar que a mas de alguno no le va a gustar el comentario pero si no tenemos la capacidad de tocar harmonicos en un instrumento es por falta de practica.
>>>Saludos Silverio.
>>>
>>>
>> 
> 
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