Whisk these together to form a slurry, pulling in a little flour from the sides of the bowl. Make a well in the center of the flour and add in eggs, egg yolk, and oil.Whisk together 4 cups of the flour, sugar, and salt in a large bowl.Combine yeast and a pinch of sugar in small bowl with the water and stir until you see a frothy layer across the top.I note that the New Century Saxophone Quartet is an all-Cannonball classical ensemble. But you obviously can play any horn that meets your expectations regarding suitability for the genre. The reason that classical players tend to prefer the Yamaha Custom EX, Selmer II/III/Supreme, and Yany Elite models is that these saxophones are designed to provide these features, rather than emphasizing, for example, screaming projection. 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. EDIT: I have gathered that the looks of the saxophone doesn’t really matter.