The desired attributes include tight and predictable, rather than "loose," intonation evenness of timbre and response from top to bottom an easily controlled, focused tone and slick ergonomics. While it's true that you can use any sax for any musical purpose you wish, it's also true that classical players gravitate toward the instruments that facilitate classical playing, rather than working against it in some ways. If any onlookers have negative opinions, ignore them. E.g., are you worried that you might not get an orchestra gig if your instrument were deemed too showy? If you have no concerns along these lines, then forget about looks and play whatever horn is most satisfying to you. So, are you playing in an arena in which the mere appearance of your horn might somehow affect your playing opportunities. It's as if these musicians are a little afraid of standing out in a way that might make them seem not "serious."
To tell you the truth, the milieu is visually pretty bland. (Yanagisawa solid silver saxes are a bit of an exception - but again, only if the player can afford it, or gets a free sax via sponsorship.) One rarely sees a black lacquer sax in the classical arena, or any other "interesting" finish choice. Silver necks show up occasionally, but silver-plated horns are mostly restricted to sopranos. Standard gold lacquer is the overwhelming favorite maybe gold-plated instead if the player can afford it. Classical players - or at least the pros and near-pros (i.e., students of the top players) - tend to be conservative regarding instrument appearance. If anyone has any advice or suggestions please let me know before I start looking at a Yamaha for classical playing! LOLĬlick to expand.The looks of a horn should never matter in determining how well it will work in a given genre of music, but the regrettable fact is that they sometimes seem to. I don't know whether to suck it up with my Eastman sax, or just use the Cannonball for everything and give my Eastman up. I have believed that the Cannonball is primarily a jazz horn but after trying my classical setup and it 's actually not that bad but I cant bring myself to accept using an extreme looking jazz horn for classical playing. Or it may be the fact that I dont my play classical setup as much and just not used to it. The problem just may be the mouthpiece and reed setup altogether which is why I am considering to try Vandoren Optimum and Selmer Concept mouthpieces. Both saxes give the dark classical sound I like but I don't know why it's resistant on my Eastman, especially since it got serviced a few months ago. The problem I am facing is that my classical mouthpiece setup is resistant and hard to blow through on my Eastman and is a little better on my Cannonball with the regular neck. For Jazz, I use the JodyJazz SuperJet 6 with BSS 2.5 reeds with bthe Fat Neck on the Cannonball, and I use a Selmer S80 C* with Vandoren V21 3 reeds on my Eastman. I started using the Cannonball for maily jazz and funk and the Eastman for classical playing. After I graduated, I upgraded to a Cannonball Big Bell Stone Series 25th Anniversary Edition Alto which I absolutely love. I have a Eastman 52nd Street Alto Sax that I used through my entire time at college until I graduated last year. Thank you all for the advice and suggestions!īefore I get into this, let me tell you about my equipment. Either that or buy the gear online and return what I don’t like. I will be trying different mouthpiece and reed combinations soon once I find a music store that has what I wanna try in stock. I got it serviced a few months ago at a regular music store and the tech must’ve missed that area so I’m gonna do some research to see where I can find another tech. The cork on the neck is thin so the mouthpiece wiggles around unless I push in all the way, and all the notes from low F down to low Bb become resistant so some of the keys still leak. I tested my jazz setup on my Eastman and that horn is the culprit. 55 No.1 by Frédéric Chopin.EDIT: I have gathered that the looks of the saxophone doesn’t really matter. The song is based on the classical piece Nocturne Op. A slower arrangement plays over part of the flashback of Evil Morty's origin in " Unmortricken". It is featured at the end of the episodes " Close Rick-counters of the Rick Kind," played while Evil Morty destroys his eye-patch transmitter, and " The Ricklantis Mixup" played after Evil Morty is revealed to be the new president of The Citadel.īlonde Redhead later created a remixed version for Rick and Morty called More Coda, which plays during " Rickmurai Jack" when Evil Morty breaks open the Central Finite Curve and escapes into the rest of the multiverse. " For the Damaged Coda" is a song by Blonde Redhead, used as the unofficial theme song for Evil Morty. " Fathers and Daughters (Doo-Doo in My Butt)"