Question:
Becoming more comfy in the upper range
Does anyone have any suggestions as to how to become more comfortable in the upper range of the instrument and a daily exercise to build the comfort level in this range? I have an idea of what I want to do but nothing really set-in-stone or a routine to go through or to build upon over time. Thanks for any suggestions! I play a YSS-62 with a Selmer D and RJS 3S reeds. Currently I can get up to palm D without too much trouble but anything beyond that and I start biting.

Answer:
Simple rule: Just do it.
Familiarity promotes your personal comfort.
Blow open 5ths, chromatically ascending, both stopped staccato and slurred.
Major scales,Circle of 5ths pattern to the highest note, even if it's a "broken scale"
Arpeggios;again as high as that little soprano will sing; even if not the complete arpeggio in the altimissimo: Major, minor, Major 7th, Dominant 7th, Diminished 7th, ascending chromaticaly.
Chromatic, 3rds, etc.
The more your make all registers of that horn equal to one another, the more you become fluid.
Dave Sumer 8)

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Damn keyboard!
Dave Summers 8)

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Hey thanks. My real problem though is simply not being able to hit anything about Eb without biting. I did some long tones last night and used the most relaxed but firm embouchure possible and more breath support than ever before (my head hurt after a while there was so much pressure inside of me) and still was not able to hold out the E. Will just playing more and more up there, the Eb and near it, eventually allow me to get the E and F and beyond?

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My problem was that my lack of confidence in the upper register caused me to unconsciously back off the air support. The guy I take lessons from got me thinking the opposite. When I move to the upper register, I increase the supporting column of air, and it seems to be helping me.

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I'll tell you something I've told every student, on all wind instruments I ever taught. (This is over 3000 young musicians and still climbing)
"When learning the higher notes, don't cheat. It's better to miss a note right, than to hit it wrong. If you do bite or add pressure, that note may come out, but it will be thin and out of tune. If you do everything with a good embouchure, it takes a little longer, but it will happen.
Dave Summers 8)

Answer:
Getting high on sax
Razzy: The trick is too make sure that your embouchure is tight enough to get the proper pitch without choking off the reed so that it still vibrates. Sometimes, the horn takes a while to break in and sometimes it's your embouchure. Usually a combination of both.
You and I have been working on this for a while now and I'm really saddened that you are fighting it to the extent you are.
Make sure that you are taking in enough mouthpiece. With a RJS #3 reed and a Selmer D you should be able to get up there. It takes a lot of work and I know that you are a hard worker. Play the E3 long tones till you find the sweet spot. You may get air at first, but eventually it will come. Play D3 as a reference point. Because you are not getting the note, the brain says, "Ah, I have to make a major adjustment." Not really.
If all you are getting is air when you hit the Eb/D#, then you are choking off the reed. Experiment and examine how your lower lip rests on your lower teeth.
Once you get it, you'll find out that it doesn't take any more pressure to hit the Eb, E, F than it does the D. There is a sweet spot combined with a real open throat. Once you find it you are in. You may find it and then lose it the next day until you become accustomed to where it is. It also changes slightly from reed to reed and during the life of the reed. You also may discover that it takes less pressure to get these notes out.
Take a new RJS #3 reed and soak it in water for about an hour. Then blow the butt end of the reed to get all of the water out. Wipe it off and see it that helps.
Also ask yourself, at what point do you start to bite. If you are not biting when you play D3 and have a relaxed embouchure, then you are getting real close. If you find that you are biting on D3, then it's more embouchure than anything else.
I'm getting the vibe that you just have to make a little shift, rather than a major adjustment. Try and hook up with someone that plays soprano and have them check out the horn. I believe you have a band director that plays soprano. When he plays up there ask him what it is like. What does he do to get up there. Does he or she have to add a lot more tension or not. The answer should be not. Make sure the band director plays the Selmer D mouthpiece.
Before you actually start to get those high notes above D, there is a tendency to apply to much tension. It's a psychological thing -- high notes in a high range. Nothing could be farther from the truth.
The minute you start to bite take a time out.The Selmer D is not a real open piece. It's more open than a C or C*, but not compared to others. Consequently, you don't need that much tension to get these notes with this piece. Otherwise, you are working against yourself. Actually the same or less tension. Because with the less open Selmer D the less skosh there is way up there.
Don't forget about mouthpiece placement and make sure that the horn is in tune with itself.
I'm still praying. I have a 9:30 a.m Church service this morning and another one at 5:30 p.m. So, I'll do my part in the prayer department.
Peace,
Straightsax.

Answer:
Razzy,
I had the same problem and I will share with you my story....the way I got the upper range to sing, was actually a combination of practice and luck. One day the upper range just popped out - mind you the weeks before that I was struggling, frustrated. This is a bit like how learned to play golf and dive - one day, it just all clicked and all the practice payid off. Of course during the period of struggle I keep doubting my equipment and technique.
Btw, on "bad" days (ie when i get home from work too late) the upper range just dont sing at all...

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I've had a Selmer VI soprano keyed up to F# for over twenty years. It took a lot of work to get up there and be comfortable using it on a job. Last year I got a Selmer Metal Classic size G mouthpiece and the difference was amazing (I had been using the stock mouthpiece). It no longer took any work to blow the full keyed range of the horn and I easily got up to A3 on the first try. If you've got the chops to handle it, go for a more open mouthpiece; either the Metal Classic or Selmer Super Session.

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Something that might be useful is to have someone else work the keys for you (by reaching around your back).
The idea is that since you don't know what notes you'll be playing, you can't shoot yourself in the foot by psyching yourself out and overcompensating, biting, holding back air, etc...

Answer:
Hey Straightsax, thanks for the info. Not my band director, but my private teacher plays soprano in the New Jersey Saxophone Quartet. When I start playing soprano more in my highschool quartet next year, I will take it to him. I play virtually the same equipment he does, except maybe reeds, I'm not sure what he uses. But he recommended this stuff to me and it's working pretty well. E is coming easier now, working on F ;) I play a Yamaha 675 if I didn't already mention that.
Just to fill you in: I've been working on improving my embouchure on the other horns for a long time now. After about a year of diligent practice, I'm finally starting to get it. I find that after like 2 weeks of rigorous practice, I take one rest day for the muscles to rest and everything falls into place and I can go longer thereafter. I understand the correct embouchure and with use of a mirror, mental tricks (like checking to feel the tension in the corners rather than in the center or the jaw, visualizing "pushing" the air from the diaphragm, opening the throat by voicing an O or AH opera singer voice, etc), I have made much progress.
Soprano, though, is a whole new level from alto, my main horn. Frank Mazzeo (my teacher) also related to me how difficult it was to become accustomed to the horn and still keep his alto chops in order. It's a tough journey but I think I am making progress.
After listening to many classical/jazz soprano players such as my teacher,
Jean-Yves Fourmeau with his quartet, and Branford Marsalis, I have gained a much greater concept of tone and sound quality. And checking my soprano against others, I have come to the conclusion that as before with the altos, I seem to prefer and be more fluent with the Yamaha instruments than any other. Perhaps down the line I'll purchase an 875 or whatever their "custom" equivalent is.
thanks for all the help! It's doing its job and I am getting up in the top range more frequently now.

Answer:
Problems with response in the soprano's palm key range is NOT unusual.
Mouthpieces with a very dark tone inhibit high note response, as do classical cut reeds. Try another mouthpiece and reed combo.
Someone posted above about not biting to achieve the high notes... I must echo that 110%.
OK, you were told in school, keep an open throat, and oral cavity, as if having a tennis ball in your mouth, etc. Well, that works for a nice, big, dark tone, but will NOT help you get the high notes.
The high notes on the soprano, from about high C (C3) on up, are played the same way as the altissimo notes on the alto sax. The tongue is arched up in the mouth, as if saying "ehh" or "eee", and is raised further as you play higher. This is the trick to the high notes, not biting.
BTW, my range on snprano, any day of the week, is to high Bb4, and 90% of the time I can play a B4 and C4.

Answer:
Razzy, here's a free $50 dollar lesson from Paul C. at no charge right here on SOTW. Check out Paul C's post above. It doesn't get any better than this.
Paul, thanks for checking in. It's always great to hear from you. Now all the bases are covered.
Thanks.
Straightsax.

Answer:
I must offer a dissenting opinion to Paul C's comments. The 'eee' position puts the tongue in the way of the airstream and is counterproductive. I don't doubt Paul's range but this not the best way to get it. It's more efficient to say "eh" and keep the tongue flat and out of the way. See Victor Morosco's web site and books and videos by Joe Allard (the main source.) Dave Liebman's material may also be of some help. The other key is to get sufficient pressure from the jaw and not bear down with the top teeth. Maintain the air, let the reed vibrate fully and learn to control it.

Answer:
My 2c worth: don't use a really close mouthpiece and don't use really hard reeds. When I was new to soprano, I found moving from a Selmer C* to an E suddenly made the high notes speak and I got a lot more control and dynamic range. I also find reeds like LaVoz medium, Rico JS 3Sor Vandoren V16 2.5 work just fine, right up into altissimo. You shouldn't need to bite, you need to let the reed speak, but it does need a firm air support. Mouthpieces from Runyon and Jody Jazz do speak especially well for me on soprano, but now with a couple of years' experience, I find I can use pretty much what I want and still cover the full range of the instrument without difficulty.

Answer:
My few cents. Use a close mpc and hard reeds. When I started on the soprano, I bought a used Meyer 7 and Vandoren S35, both fairly open. My intonation was dreadful, the low notes squawked and and I couldn't play very high. I then took lessons with an advanced player and was advised to use the stock Yamaha mpc with #4 Vandoren reeds (this was when the half strengths were not being made.) The problems went away!
I've since gone to a somewhat more open setup with softer reeds but am staying below .060.

Answer:
this may seem weird. i tell all my students to really practice playing loud. at first the tone will be out of tune and shrill, but maybe not. then, open your throat, and say eeee. now, get the clear pitch in your brain (use a computer or some gadget). finally, wail on the note. using the aforementioned bottom lines, you will get there.
also, practice mozart or something that you can sing and gives you an excuse to PLAY up there. the solution is to play loud and hear the right pitch, your innertubing will compensate. playing loud helps reduce lip pain. practicing loud also helps you learn how to play soft.
steve lacy can't play soprano longer than an hour straight without lip pain. so that might tell some people something about the biology of the soprano saxophone. with time it gets better!
good luck.

Answer:
Getting high (no pun intended)
MM: Maybe the Meyer 7 because it was used might have had a quirk in it. I use a Meyer 7 on a Selmer SAII and don't have intonation problems and have the complete range from Low Bb to F#3. However, I will admit that years back I experienced a gap between D3 and E3 until I learned that extra embouchure tension wasn't the answer. I have also played pieces where it was easier to get the high notes such as a Signature Link 5. It was a real nice piece on a rental and wish I had the $$$ then to buy the piece at the time. Well, such is life.
The other thing that adds to the difficulty of a Selmer C/D and Meyer 7 is that they are both fairly dark pieces and have a low baffle which creates less resistance on the reed at that high a pitch. Hence, a firm embouchure, but not a tight embouchure where one is choking off the reed. Also, the additional tension will make the high notes real thin.
Going to a Vandoren #4 was a smart move, because one has to get the resistance from somewhere, either a more open tip, a lower baffle, a stiffer reed, or more firmness in ones' embouchure. It appears that you have developed more firmness in your embouchure allowing you to use softer reeds. Just for clarification and edification, at the time, how long did it take you to break in that Vandoren #4, before you would actually played the reed? Just curious. Something tells me that you were not playing it out of the box. Ironically, those Vandoren #4, probably allowed you to build up the firmness in your embouchure so now you can control the softer reed. Personally, I like to take about two weeks to break them in slow before they sound real sweet.
Whatever throat technique one uses will not totally compensate for lack of resistance (usually induced by biting or a dying reed) in the mouthpiece setup no matter what the position. Also, throat position will vary depending on the type of setup one uses. So, to a certain extentthere is no wrong answer. I have no doubt that you are all correct in your given situations, and given the equipment you are is using. Depending on how the equipment fits, and is usually how you folk's em. This is why I want Razzy to go see the teacher and use Razzy's equipment and compare apples to apples. Especially, up there in the altissimo.
Singlereed, if you want to disagree with Paul C that's fine. But having been around the block once or twice, you realize that things vary with different pieces and it appears that all Paul was saying was what worked for him on his set-up and horn. Your comments on the Runyon pieces confirm this. Some setups require minor adjustments compare to other setups that require major acrobatics. The other thing I don't know is whether there was any kind of custom work done on Paul's mouthpiece which wouldn't surprise me. I didn't take your comments as an attack on Paul, just what worked for you. B4, that's something eh?
Personally, playing up in the altissimo range is like climbing to the top of the mountain. It's a struggle to get there, but once on top, it has some view. It only gets comfy after the climb.
Razzy: I totally agree with your teacher about going back to alto. I really think it depends on how much one plays soprano. I played soprano for about two years and then tried to pick up an alto. It took me about fifteen minutes to relax enough to get the bells notes and to reinstall the body memory. However, the upper range on alto was a breeze. Also, my alto the keys felt a lot different all of a sudden, with a lot more room to deal with. It was almost a new experience. However, it was easier to go back down the mountain than to climb up it. Having the alto in the closet for two years may not have helped either. All the venues I play these days all want the soprano. Well, guess you have to give them what they want.
I'll be very interested in what Frank has to say when you go see him.
All the best.
Straightsax
PS We speak of altissimo on a soprano, which puts one climbing on the steepest slopes. So, give yourself a break.

Answer:
Straigtsax,
I played (past tense) the Vandoren 4's out of the box. A factor in this is that the Yamaha 4C is quite close, maybe .047.. Also, since Vandoren was not making half strenghts at the time the 4's may have had more variation.
Interestingly, I tried to go back to that setup in order to get a very even pitch and clean staccato for some very legit quartet playing. I couldn't do it; it hurt too much. Lately I've been playing a Yanagisawa rubber 5 (.058?) with a Vandoren 3.
The Yamaha 4C mpc has a smaller chamber than the S80 so it will be easier for beginners to hit the high notes with it. It actually responds well over the range and at about $20 is very affordable if it didn't already come with your Yamaha soprano! So my suggestion is to try the Yamaha 4C with a Vandoren blue box 3.5 reed for starters on soprano. The "CM" mouthpieces which come with the Customs are copies of the S80 so it will probably be more difficult to play up high with these.

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Whether it is a 3 or 4, I personally find that for optimum playing they sound better in about a week. A reed will last me several months, with playing everyday. Vandoren 3 is a good reed. I used to play Java's when I could afford them.
Granted, you can play them, but there is a development there that after about a week, things kind of kick up a notch. You might want to check it out.
I would recommend the Link HR 5. If there is a shop in your area and you see one, bring your horn in and give it a try. They are nice pieces.
Well, it's time to start practicing to serenade the Easter bunny.
All the best,
Straightsax.