I recently have a repaired a tenor sax. When it was 100% OK the low notes did not come out very well. Everything was checked on leaking: the tenon, the lower pads. Then I found that when I change the angle of the mouthpiece in my mouth by holding the tenor besides me in stead of in front of me, the low notes did com out well.Just moving my lower lip forward or my chin up did also work.
 Later I discovered that the neck was bent down. Bending it back would solve the problem.
 

 So I thought that tells me also something about the relation between table angle, low notes and too relaxed players like me ;-). 
 When I position my lower lip more forward, the lower notes will play better because I give the reed more room to vibrate. So if that is true the angle of the table is relevant. A mouthpiece with a low table angle like the the metal ones would cause you to limit the room of the reed to vibrate.
 

 Does this make any sense?
 

 

 

 

Can't you just take more mouthpiece in your mouth to resolve this issue?  It might feel too big in the mouth depending on the beak angle but this can be altered.  The Duckbill mouthpieces and the streamline models used this low angle for the beak.  

Sent from my iPhone

There are many possibilities here.  If you look at David Sanborn you see him creating a steep angle of entry to the mouth.  For him this creates the sound, feel and resistance he wants.  I don't think he would achieve the same results with just taking more mouthpiece in his mouth.  So now I'm backtracking with my view.  Not only does David Sanborn get better low note response he gets a different tonal quality throughout the entire range of the instrument. 

Sent from my iPhone

This html message parsed with html2text ---------------------------David Sanborn suffered from polio for about 8 years from the age of 3. His
seemingly unique embouchure position came from practicing while lying down.
His physician prescribed a wind instrument to strengthen his chest muscles.
\\--- MouthpieceWork@yahoogroups.com wrote: From: "john price
john_w_price33@hotmail.com [MouthpieceWork]"  To:
"MouthpieceWork@yahoogroups.com"  Subject: [MouthpieceWork] Re: Is table angle
relevant? Date: Tue, 6 Sep 2016 09:42:03 +0000 There are many possibilities
here. If you look at David Sanborn you see him creating a steep angle of entry
to the mouth. For him this creates the sound, feel and resistance he wants. I
don't think he would achieve the same results with just taking more mouthpiece
in his mouth. So now I'm backtracking with my view. Not only does David
Sanborn get better low note response he gets a different tonal quality
throughout the entire range of the instrument. Sent from my iPhone * * *
Netscape. Just the Net You Need.

When your neck is bent down the air path becomes oval instead of round. It messes up the instrument tremendously. Getting the neck straight should solve your problem. 

Bill Hausmann

If you have to mic a saxophone, the rest of the band is TOO LOUD!

 Sent from my iPhone

> On Sep 6, 2016, at 12:58 AM, johangjonker@... [MouthpieceWork] <MouthpieceWork@yahoogroups.com> wrote:
> 
> 
> 
> I recently have a repaired a tenor sax. When it was 100% OK the low notes did not come out very well. Everything was checked on leaking: the tenon, the lower pads. Then I found that when I change the angle of the mouthpiece in my mouth by holding the tenor besides me in stead of in front of me, the low notes did com out well.Just moving my lower lip forward or my chin up did also work.
> 
> Later I discovered that the neck was bent down. Bending it back would solve the problem.
> 
> 
> 
> So I thought that tells me also something about the relation between table angle, low notes and too relaxed players like me ;-). 
> 
> When I position my lower lip more forward, the lower notes will play better because I give the reed more room to vibrate. So if that is true the angle of the table is relevant. A mouthpiece with a low table angle like the the metal ones would cause you to limit the room of the reed to vibrate.
> 
> 
> 
> Does this make any sense?
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 

As you said, you get the same results when you move your lower lip forward.  So table angle or mouthpiece angle in your embouchure is just another way to achieve taking in more reed or mouthpiece.  I prefer to just open my mouth a little bit.  If that feels too large in the embouchure, then Duckbilling can be a solution.

> On Sep 6, 2016, at 1:58 AM, johangjonker@zonnet.nl [MouthpieceWork] <MouthpieceWork@yahoogroups.com> wrote:
> 
> I recently have a repaired a tenor sax. When it was 100% OK the low notes did not come out very well. Everything was checked on leaking: the tenon, the lower pads. Then I found that when I change the angle of the mouthpiece in my mouth by holding the tenor besides me in stead of in front of me, the low notes did com out well.Just moving my lower lip forward or my chin up did also work.
> 
> Later I discovered that the neck was bent down. Bending it back would solve the problem.
> 
> 
> 
> So I thought that tells me also something about the relation between table angle, low notes and too relaxed players like me ;-). 
> 
> When I position my lower lip more forward, the lower notes will play better because I give the reed more room to vibrate. So if that is true the angle of the table is relevant. A mouthpiece with a low table angle like the the metal ones would cause you to limit the room of the reed to vibrate.
> 
> 
> 
> Does this make any sense?
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 

On every mouthpiece of any single reed instrument, there is a ‘sweet spot’ for the lower teeth to get the optimum results. Every player should try adjusting often to see if they have it correctly set.

 

From: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com] 
Sent: Tuesday, September 06, 2016 8:07 AM
To: MouthpieceWork@yahoogroups.com
Subject: Re: [MouthpieceWork] Is table angle relevant?

 

  

As you said, you get the same results when you move your lower lip forward.  So table angle or mouthpiece angle in your embouchure is just another way to achieve taking in more reed or mouthpiece.  I prefer to just open my mouth a little bit.  If that feels too large in the embouchure, then Duckbilling can be a solution.


On Sep 6, 2016, at 1:58 AM, johangjonker@... [MouthpieceWork] <MouthpieceWork@yahoogroups.com> wrote:

  

I recently have a repaired a tenor sax. When it was 100% OK the low notes did not come out very well. Everything was checked on leaking: the tenon, the lower pads. Then I found that when I change the angle of the mouthpiece in my mouth by holding the tenor besides me in stead of in front of me, the low notes did com out well.Just moving my lower lip forward or my chin up did also work.

Later I discovered that the neck was bent down. Bending it back would solve the problem.

 

So I thought that tells me also something about the relation between table angle, low notes and too relaxed players like me ;-). 

When I position my lower lip more forward, the lower notes will play better because I give the reed more room to vibrate. So if that is true the angle of the table is relevant. A mouthpiece with a low table angle like the the metal ones would cause you to limit the room of the reed to vibrate.

 

Does this make any sense?

 

 

 

 

 

Not to discount his playing technique, but I'd guess Sanborn's
bright penetrating tonal quality owes great deal due to a high baffle
metal mouthpiece, and his choice of reed, or how he adjusts his reed.
That was a guess. I googled this, and one source says he plays a Dukoff
D7 or D9. Hence. 

Barry Levine 

On 2016-09-06 5:42 am, john price
john_w_price33@... [MouthpieceWork] wrote: 

> There are many
possibilities here. If you look at David Sanborn you see him creating a
steep angle of entry to the mouth. For him this creates the sound, feel
and resistance he wants. I don't think he would achieve the same results
with just taking more mouthpiece in his mouth. So now I'm backtracking
with my view. Not only does David Sanborn get better low note response
he gets a different tonal quality throughout the entire range of the
instrument. 
> 
> Sent from my iPhone 
> 

 

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Before blaming it on the mouthpiece or a bent neck have you considered a leak at the neck tenon? It's very common and just changing the pressure on the mouthpiece up or down can either close the leak or open it.  As you all pointed out finding the sweet spot on the mouthpiece is always critical.
  A bent down neck usually results in stuffy or out of tune notes somewhere on the horn.
  Peter

Thanks for all the reaction. My conclusion is 
 - the sweetspot confirms that the table angle is relevant.
 - that I will check the ovalness of the neck
 - that I will check the tenon once more for leaks
 

 I will post the results ...