STOP PLAYING LONG TONES!!

Learn to easily improvise through any chord changes with this FREE masterclass:
►www.davepollack.com/freemaste...
LONG TONES ARE OVERRATED. Long tones are a hot topic in the saxophone and wind instrument communities and something I feel I must talk about. I think that the old way of sitting there on one note until you fall asleep is a poor way to learn the instrument in a real world setting. So many teachers are setting up their students to fail and there are easy ways we can help! Watch and let me know what you think. Did I get it right? Am I way off base? Let me know!!
Exercise examples:
04:38
06:32
08:17
Check out some more videos:
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[@dustinpace8446]

You know I just saw the title and breathed a sigh of relief

[@DavePollack]

Glad to hear that!

[@keithridenhour7033]

I guess alot of this is what might work for whomever. For me the long note on flute really did improve my tone just because it gave me time to adjust my oral cavity and where my air support. So trevor wyes beautiful B for 5 minutes really did improve my flute sound. and harmonics really does improve my sound on sax alot . But I have no argument with doing long arpeggios or scales making sure the tone is in tune at random times. And you are correct that the phrasing is almost as important as the note tone and note choice. Glad you are passionate about teaching. Good vid. K

[@Nolongeractive-to8id]

One thing That helps to develop sound is playing along with players you want to sound like and matching their tone qualities, try it on both fast and slow tunes!

[@DavePollack]

Absolutely! We learn language as babies like that, and we can develop the same way in music!

[@androidboy7]

Agreed. I picked up alto sax after I heard David Sanborn's "Chicago Song" and played along with everything I liked that he made and kept making (showing my age with that line! 🤣). Then I followed along with Gerald Albright, George Howard (bought a soprano just for that), Tom Scott, Spyro Gyro, blah, blah, blah. It also made practicing fun.

[@jarofjam3967]

I love that you focus on putting things in context! It's so much more helpful. I'm a flute player and I can't wait to try adding this stuff to my practice

[@dfirmani]

This makes so much sense to me. As a beginner I kinda argued in my mind why long tones without any context, so I started adjusted to incorporate them in my scales learning… and there you go… thank you! You gave me more ideas on how to approach this.

[@DavePollack]

Glad to hear that!

[@markbrown1]

Thanks Dave! Very helpful ideas and your sound is indeed beautiful.

[@kevinsharpe1335]

Great advice, playing a slow ballad is much more fun and concentrating on each note rather than just blowing through is what I’ll be trying out, thanks Dave

[@TheFrEd1FReD]

Learning much with your videos, thank u

[@MrBbaker57]

Love the way you think/ the long tones to me gives you the power in the emboucher

[@l.j.2917]

This did help a lot! Thanks Dave! I never really knew the specific purpose of long tones or exactly "how" they make you sound better. Will definitly put your advice to practise!

[@DavePollack]

Awesome, good luck!

[@Saxologic]

I totally agree Dave. I didn’t realize I agreed till I heard it in concrete words. You are a master!

[@DavePollack]

Ah, I don't know about that but thank you! Glad it could help in some way.

[@AndySax]

Nearly went down the long tone route, but have been looking looking for music with long tones in and checking me notes as play, so glad I watched this

[@joecoolsax1]

some great and helpful advice i can apply to my practice, thank you Dave 👍😎🎷

[@carlospenamartinez8357]

Top notch video man! Love new perspectives 👌

[@DavePollack]

Thank you!!

[@jesusisthelord7358]

Bro, you have said it all, so true, and articulated.

[@eddie1brazil]

So true !!!! awesome tips ❤️

[@vtxstudios9590]

Great Video Dave !!!

[@DavePollack]

Thanks bro!

[@SandbrycMusic]

Incredibly well put! I had done a lot of these kinds of exercises without even realizing it tbh 🤣

[@keithridenhour7033]

and your right . I always hit the note and then look at the tuner. important to see where you are before you adjust K

[@sabnavis51]

Dave , you have explained so beautifully about the long tones . As you said ultimately its ones own conceptualization originality of developing his own tonal quality. Ultimately it's the quality of sound & its melody to catch the heart of the listener . Your method of analysis & presentation is simply Awesome .

[@kevsaxman]

Thanks Dave, I started having lessons with Greg Fishman about 6 months ago and I’m learning so much, but recently I’ve been concerned about my tone and lack of breath support so we discussed this very issues on my lesson last Sunday, basically Greg told me to do what you have just spoke about, in stead of doing long tones play a ballad very slowly so you’re moving about the notes and having large gaps between keeping that tone and breath support going, play arpeggios slow and steady controlling each note so as to sound as good on the higher notes as the lower ones, listen to players I love and try to play even just one note to start with as close to that player as possible. For stamina play a longish phrase at say 80bpm once it’s sounding good play it at 70bpm, then down to 60 and so on, increasing the time and length of notes making the need of good support and tone over a range of notes. Great video as always and nice confirmation of what I’m being taught!

[@michaelabramovich-saxmusic8979]

Dave, personally I agree with every sentence you are saying and showing. Smart, practical, professional as a player and a teacher by nature. Thanks!

[@DavePollack]

I really appreciate that!

[@insertname7032]

Man ! I love your work !

[@DavePollack]

Thank you so much! I really appreciate that.

[@AndresLilloSax]

Nice video, thanks for the video, I know that a lot of people will learn through this. I practice long tones for endurance and no more than 10 minutes per day. But I like the way you see it too. Regards From Chile!

[@DavePollack]

Thank you so much! Glad you liked it.

[@benjaminmiller5649]

This is now my favorite video of yours

[@dannyboylan2342]

Well said Dave. Enjoyed the video.

[@DavePollack]

Thanks!

[@sleepy-beagle]

Thankyou. Good thoughts about developing tone.

[@wyattwahlgren8883]

I find this to be really interesting. I am not a saxophone player, but my euphonium tutor always wanted me to warm up with Arnold Jacob's flow studies. Not only is it a way to work on intonation, but it's also a way to work on smoothness between notes. Being able to go through a scale and have good sound. I highly recommend it. Arnold Jacobs was a tubist, but this can be and has been adapted for every brass instrument. I think it could (and probably has been at some point) adapted for woodwind instruments too.

[@jasonandrews9058]

Thanks Dave. This is Brilliant. I thought long tones helped also, as they say to, " warm up" the Saxophone. You are absolutly on point with this. I do long tones because that was the first thing I was taught. This knowledge could not have come at a better time. Thank you.

[@DavePollack]

Glad it helped!!

[@jameshoward2768]

Hey Dave I just wanted to thank you for this video! I’m a saxophone player in college and I’ve been playing for a while and all my life the answer to the never ending question “how to I get a good sound?” Is just “long tones” I don’t think you were out of pocket at all and I think you stressing that it’s about the overall sound contextually is the way it should always be taught and listening is huge too! Great video and your are a tremendous player and Inspiration to me and many! Have a great day

[@DavePollack]

Wow, thanks so much for that! I really appreciate it. I try to find solutions for problems I see, and when people ask why they can't play a certain melody in tune or with a controlled sound, people just spew out "JUST PLAY LONG TONES" without any context to the situation. That just confuses people! Especially when they actually sit there and play notes for 30 seconds at a time, then wonder why they STILL can't play the melody to Body and Soul in tune.

[@sequoyahcisneros8719]

Great video Dave, I have been noticing more and more discrepancies in my sound recently when playing large intervals (specifically higher range to low), this is helpful, and gives me a good reason to just refuse to do long tones. Lolz when my range from E to Palm F sounds like Getz but all my low notes bark out like Rollins P.S. I wish I didn't sound like Stan, I shot for Lester and went past him lol end me XD P.S.S.(?) It might not help that my low B pad has a hole in it

[@charleswalter3075]

I like the concept. It makes good logical sense. We want all the technique to work in the context of moving around, not just long tones. I wonder whether it applies to working on overtones and altissimo. They say long tones are a must for that, but probably the hardest part of that is the moving around and nailing those notes on demand.

[@Rileycrabtree]

Something I've noticed with discussions by experienced musicians about how to practice is that all of them emphasize the importance of growing beyond individual elements of performance alone and out of context. However, I've also noticed that lots of beginner students tend to have trouble with wanting to experience mastery, or at least some success, in a short timeframe. Asking them to incorporate too many musical elements at the same time too soon can be overwhelming, especially for a student without a clear concept of what they want to sound like, what they want to be able to play, or any strong intrinsic motivation. I think there is a place for atomic exercises like traditional long tones with beginners. I also think there is a place for celebrating the success they will achieve with these exercises, so long as that success is used as a launching point toward adding complexity and transferring skills to performance or performance-like contexts.

[@carlpowell0]

Interesting. Cheers. For some reason i thought this was going to be about composition and is why i clicked. Stayed for quality info.

[@DavePollack]

I appreciate that!

[@Saxologic]

Hey Dave, a while back you told me to let you know if I needed help with mic/audio. Is there a way we can talk about that? I have no idea how to get any of my mics to sound good nor where to start in terms of audio settings.

[@DavePollack]

Not sure why my comment hasn't been showing up, but absolutely we can talk - send me an email! It's in the description on all my videos.

[@latinkeys1]

i agree with this.. Unless two things.. You're a beginner OR you're getting used to a different horn.. I upgraded from a Yamaha YTS-23 to a Conn 10M and they are totally different horns, I had to do long tones and get used to the airflow, it was very different.. For maybe a month, now I'm good..

[@ry9nbloom]

Kind of what I’m going through right now, i had a YTS-62 and now i just got a mark vi and it feels like i need to completely rethink how i use my air!

[@joeblankenship377]

I do play long tones when I practice, but with more focus spent on the notes where I have issues. And I also play lines and stop on random notes and check my intonation while actually playing something. I'm not against the whole concept of long tones, but it makes more sense to change it up a bit so you can get more benefits from it.

[@missingmylink]

Check Moyse Sonorite for flute as a study for tone. If you check it out and think it is “long tone” exercise you need to check it out again. Works great for saxophone. Moyse also has a great technique book on scales and arpeggios.

[@gac9704]

I agree....good advices

[@lovablebigman2343]

Guess a bit of both is great, especially when you first start and making an actual sound is difficult first. Totally agree though, making excercises practical is much more enjoyable to practice.

[@petew260]

You know I am not playing as long as you and I do practice a lot and I can play a lot of songs but learning something new always makes me start over play like I never picked up a sax before. I am learning the 2,5,1, chord progression and when I come down from the high G to the A if I don't fix my breathing I hear a sound that I don't like so right there if I don't fix it I am not happy so I did fix the problem and can now move smoothly but it is funny just like you said from high to low or from low to high. I have heard it takes a long time for a player to develop his own sound so your also right. I suffered through your long boring video it was almost like watching water boil. HA HA got ya. I always learn something from your video's and no it is not boring always educational. Thanks Pete

[@user-so6ys5zw3p]

Thank you so much for the good video As you practice the scale, you've come across amazingly good tone. I have a question, Dave. Triad patterns are so helpful. I practiced that way. But your triad pattern is too short in other keys. Especially G triad is ... Are there other exercises? And! I'm practicing sensitively these days, but I tremble a lot at high notes. Is it because there is a lot of energy in the lips? Anyway, thank you for always good video Your tone is so beautiful (sometimes it feels like Dick Oatts) I need to practice in detail like the content in the video ^^

[@jamescronin1486]

Right on! You have a beautiful tone whether you are playing slow or fast. One thing I notice about you when I watch you play is that your jaw and lips are locked in one position. You obviously have immense breath support and you don't have to make up for anything by puffing your cheeks or moving your lips. You also have the pitches in your head because you don't have to dramatically change your embouchure to correct the intonation.

[@natekite7532]

I can't watch the video right now but I'm already cheering bc I'm pretty sure long tones were originally designed as a punishment for bad players

[@jcpolancoesq]

LOL. I think the same thing all the time.

[@NotlebsEra]

😂😂😂😂

[@tomasrosaly]

😂

[@xbird532]

I started learning sax only recently (in the past few weeks), but I’ve played euphonium for about six years and trombone and trumpet for a few months now. Brass players get a lot more from long tones than woodwinds. It’s a great way to develop embouchure strength to reach high notes, especially since a big issue with high notes is when they’re held out. They can come out for a short period, but when holding them out they are unsteady and not really there. On sax, embouchure strength has been a nonexistent problem for me, and using long tones to develop it would be pointless. They’re just a much better exercise for brass players.

[@SEGEFFECT]

If people have time they can try long tones.you are right 👍I am not expert but I know what is learning something fast

[@gerardbarrett8369]

I like your strategy.

[@DavePollack]

Thanks!

[@keithridenhour7033]

I spend a whole more time on overtones than regular notes. So it is getting around the horn. and I agree its easy to lose your sound once you start thinking about tech. K

[@Coderedpirate]

Do you do these exercise every time before you practice as your warm up routine? I want to restructure my warm up routine because I agree with what you say in the video. From what I got from the video, I’d do Interval exercises w/ tuner (do you have any other exercises for intervals or do you always use random intervals in music?) Arpeggiated inversions w/ met Scales up and down for as long as possible w/ met for stamina

[@DavePollack]

I don’t do any type of warm-up routine...I just pick up the horn and play. But I did used to do these exercises as part of practicing, not every practice session though. As far as intervals you can use any you want! I would use elements of whatever songs you’re working on to keep it in context.

[@MakAttackMusic]

In my college years, I was told about this concept...if you want to develope your own sound, listen to people you enjoy and incorporate from what you listen too. It's great to hear this and that somebody is getting that message out there. I've been told as well (after I have heard a lick from somebody and sat down to learn it) that you sound like this guy or you sound like that guy! Well...coincidentally, I was just working on some stuff from this guy and that guy but then eventually that becomes ME! Great stuff brotha! Keep up the excellent work! You still need to get together with Sexy Sax Man! HAHA!

[@DavePollack]

Thanks so much! Maybe we'll get to collaborate one day - if you or anyone knows him...let me know!!

[@MakAttackMusic]

@@DavePollack Here is his site. Looks like there is some forward motion going on as the site is being worked on! :) thesexysaxman.com

[@1jostaclo]

I've been learning sax late in life. I started 10 years ago at age 60. I catch flak online with my quote "Life's too short for long tones".

[@rk702]

I agree, intonation, stamina and sound quality should be worked on in context. Great advise!

[@DavePollack]

Thanks!

[@mahteef]

Good advise is all I can say. There's so many other factors that contribute to good sax playing and if you don't study it all then what are you doing?

[@leowright8016]

I like your take on long tone 🎶🎶🎷😎👍🏾

[@DavePollack]

Thanks! I appreciate that.

[@adamstein7302]

hey, great video on a great topic. would you agree that most of, if not all of one’s unique sound comes from inflection and voicing, and that if you take away someone attacking and ending a long note and just take the actual sound and put it up against someone else’s, it will sound extremely similar? forgive me if this was addressed in the video

[@DavePollack]

That's actually a GREAT point. Once you take away vibrato, dynamic level, attack, etc. you just hear the stock "tone." The only really differences are going to be BRIGHT and dark. Airy or "focused" with all tone. 100% agree with you.

[@seanhurlburtmusic3061]

Agree entirely. I never understood why people preach long tones in isolation. CONTEXT. You could buff any long tone exercise by playing with a drone, and then extending with the scales/arpeggios you suggested. Also, most people playing ONE note don't keep it in tune for the whole note. Again, I would always default to a drone instead of using a tuner or just holding one note for 30 seconds. Great vid, Dave. I've always dug your stuff, so sorry as I go through your vids and spam with comments haha

[@jeromeking6001]

Man, I was wondering the same thing, because that's what I want to do. Do it in CONTEXT. Thank you!

[@DavePollack]

100%!

[@SEGEFFECT]

I think you are right.overtones are for people who are not familiar to an instrument or music .playing bye ear is the key for me.sheet music is not the way the music has to be at the beginning

[@BigParadox]

Playing long notes can also be very boring! :) I prefer, if possible, to have fun when I practice.

[@sapodrasky]

Impossible!

[@Coderedpirate]

When your doing your stamina exercise going up and down a scale, how long do you do it for? Do you do it once, twice, or do you do it for 10 minutes or 20 minutes? I wasn’t sure how much time I should be spending on it, but it definitely is one of the things I need to work on.

[@DavePollack]

Depends on where you at currently - maybe spend 5-10 minutes on it. You don't need to spend a large chunk of time on it. As long as you have a goal in mind and are working towards it, you will improve!

[@Iamthatmelody]

Hey.. thanks for explaining all this.. please help me before i got crazy... i was again working on my tone this evening (playing 1 year alto sax now) My alto sax tone like soprano. I don't know when it will be strong. How long it takes to get normal tone of sax? Cheers

[@DavePollack]

What do you mean it sounds like a soprano? Like it's a very thin and not big full sound? I would say make sure you're playing the correct size reed (not too soft, I'd go for a 2.5 or 3 if I were you) and play with a relaxed embouchure. Think of the syllable "aww" while playing.

[@Iamthatmelody]

@@DavePollack Thanks. I'll go for bigger size reed to try. Yeah my sound is tiny specially on high notes, I don't like it. And so far i watch myself can't improve it

[@KarlBonner1982]

Sounds like the real problem is that long-tone exercises, far too often, don't cover enough bases to be truly useful. You need to practice them in different formats if you want to improve different skills. Dynamic long tones, intervals, octaves, chromatic, and overtones. Hard and smooth attacks. Pitch bending. It doesn't have to be boring!

[@Ilaysax]

Dave what do you think about doing long tones but going from ppp to fff and then back? I feel like they really help me have a better sound

[@DavePollack]

Hey if they work for you, go for it! In that instance I'd do them with a metronome focusing on hitting specific dynamic levels at specific beats in a measure(s). Also have a tuner on hand, so you can see your tendencies as you get louder or softer. I like it!

[@Ilaysax]

@@DavePollack thanks !

[@patzicari3604]

AMEN... Agree with you...long tones are NOT the cure-all... Beginning Steps to Band is NOT the Holy Grail of practice books...

[@_Matt8]

Dave Ive been playing for only 3 years and Im going into sophomore year in HS. What Im currently practicing is improvising and sight reading. What would you suggest I practice, for some information of my “skill level” Im as my director says Im like 2 years above the typical person playing for 3 years. I mainly play jazz. Im also wondering how important all these fancy pentatonic, blues scales, etc is too me. I see it a lot on videos of improvising and I just don’t understand most of it. Thanks in advance for the info.

[@DavePollack]

I would try to be as well-rounded as possible - work on etudes (I like the Lennie Niehaus Jazz Conception series), all of your scales/modes/chords, as well as continue to read as many tunes as possible. Not only jazz standards, but anything you can get your hands on - the more experience you have playing all different kinds of music with differing styles, keys, etc. the more you will be equipped going forward. Also, along with actual tunes and melodies, make sure you continue to develop YOUR OWN sound! Listen to everything and everyone and listen critically - what do you like about their playing? What don't you like? Study the things you like, and try to incorporate them into your own playing. Hope this helps! Let me know if you have other questions - I'd love to help!

[@_Matt8]

Dave Pollack Thanks for the information! I bought a book of standards and Im going to learn those! Also Im glad you gave me the info on listening to other people because I have already been doing that.

[@stangetz534]

Hi Dave. I have the opposite problem. When I play the head it sounds dead and lifeless on recordings and then when I improvise the sound comes alive. Strange right?

[@DavePollack]

Not too strange- I think you need to put more of yourself into the melody. Try to really make it your own and sing it out- that should help to liven up your sound and even it out with your improvising.

[@abagthisbig2894]

And as I said, please recommend your students to ensure they know what their sound is like. They can record it or stand against a hard wall or use a sound deflector on their bell. They may be pleasantly surprised.

[@RandyResnick]

Golden.

[@albertoguerrero3659]

I think the advice is good . I do think however that starting with long tones first as a foundation is important. Once the student has that then you can do what you say. Building one thing at a time and the results will be better and faster.

[@DavePollack]

I'm just going off of what I've seen with many students - they were BEHIND others who had worked on things in conjunction with one another. If you have other evidence and you teach it that way, it's all good! I'm just addressing problems I see all the time.

[@albertoguerrero3659]

Dave Pollack I really liked your advice. It makes a lot of sense. Really good insight. I have to really validate you for it. Let me try what I was trying to communicate. If a student is new and has a weak embouchure and sound then it would be best to build the long tones first . This would strengthen the embouchure and sound . Once the student has acceptable sound then I would absolutely do what you said to do: teaching within context . My only thing is to concentrate on one thing at a time so the student has a win. The feeling of having accomplished that one thing well. That’s all. Thank you for replying.

[@erind9535]

Flute player here, but youtube thought I would enjoy your video (which I did). I think a big issue with long tones is that people just play the note and don't do anything with it. So, long tones just become a mindless exercise. I think long tones are just a small piece of the puzzle in developing a good sound.

[@DavePollack]

Awesome- glad you enjoyed it!

[@nebulos0117]

Does anybody have advice to help me make my embouchure less flat. When I play with just a mouthpiece it is an E or F instead of an A on an Alto

[@DavePollack]

Don’t worry about just the mouthpiece - how flat are you on actual notes?

[@frankzona9867]

Hey Dave I'm a new subscriber and this video caught my interest. As a private teacher, one thing a really preach to my students in "Tone is Everything". I do require Long Tone practice but ask them to play just 4 beats per note chromatically up and down the horn @ 60bpm, with a tuner, once per practice session. It usually takes about 4-5 minutes. To me that's sufficient for new or developing students. I really liked this video. Your approach to tone development gives me great ideas and approaches to tone which i want to pass along to my students. Thanks.

[@DavePollack]

That’s great to hear! You’re giving them context and a specific goal to achieve. That’s how they can grow as musicians! Thanks for the kind words.

[@Jorvaskrr]

Why do I have the feeling that a lot of people will get this the wrong way and use it as an excuse to slack off playing long tones.

[@DavePollack]

Well if they don't watch the video and slack off and sound bad, that's on them!

[@augustasvasiliauskas8544]

You’re right with the idea of intervals, but can’t you practice long tones by just making bigger jumps between the long notes that you’re playing and trying to make the jumps as smooth as possible? For example play a G in the first octave and then jump to a second octave B?

[@DavePollack]

Sure you can do that too! I just used a melody as an example because it's an actual tune people work on and play - stock intervals work as well.

[@AdrianHernandez-dw9vb]

Dave Pollack Definitely check out Robert Young’s video on long tones. His method of long tones incorporates more than just sitting on a note. Vibrato, intervals, and more.

[@augustasvasiliauskas8544]

@@DavePollack Yeah! And also playing an actual melody really slowly doesn't make practicing long notes look that boring :D

[@nukebuster]

Everyone says clarinet fingerings and stuff are more complicated, then when they play large intervals and overtones.... hmmm

[@jevoneprimus8225]

Very interesting take, but as a brass player, long tones on a single note at a time is crucial for me to get my sound production in order at the beginning of the day. I understand that brass and woodwinds are different beasts, but I don't see an issue with starting the playing day with a simple single note long tone exercise. After my warmup (with long tones), the things you talk about are part of my fundamentals practice session as well as my repertoire practice session. So I agree with your take, just not the idea of eliminating long tones completely, as they do (for brass players) set you up physically and sonically for a successful practice/performing day.

[@TedMaciag]

Long tones until you have the sound you want with proper intonation. Then just practice LT with tuner. That will keep one from being bored and the part that is always missed. It's difficult. After you are where you want to be then figure out how to maintain. Then as Rick Beato says; "Go practice what you don't know."

[@petersumner348]

yoooo shoutout adam larson lol

[@TiagoLageira]

I’m a jazz guitar player, what are long tones?

[@DavePollack]

It’s like water torture, but self-inflicted.

[@marcdeckard7064]

I'm in this position, I like the tone of clasical saxophone but I don't like most clasical music. This leaves me with no one to emulate.

[@EvanTateMusic]

Rascher's "Top Tones for Saxophone". Nuff said.

[@johnkotches8320]

You seem like you’re in a hurry to get through this video. Was that so you could play some long tones? ;-) Seriously though, it’s quite thought provoking.

[@DavePollack]

Hahah! I just didn't want it to be 20+ minutes! I can talk...and talk...and talk... so I wanted to get all of the information out as quickly as possible.

[@Sakarron]

3:28 spanish moment

[@yehudalichtenstein574]

You have a point here, certainly. But i still think that for beginners, long tones are the easiest way to practice on sound, embouchure, and intonation. It's the most simple way to guarantee that the mind is focused on these issues, rather then technique or theory. I think what it is that you're really saying, is that everybody must also make the next step as well, when you start to practice your sound over more complex stuff, like intervals, melodies, and even fast lines. So basically it just like all of the other skills: you should start practicing in the most simple way, in order to develop some quality, then you can improve your skills practicing on some more advanced materials.

[@bobblues1158]

Thank You!!!! CONTEXT!

[@DavePollack]

Yup!

[@mudsinkmayor]

Listen to Vincent J. Abato.

[@abagthisbig2894]

Additionally, a “good” tone is subject to fashion and era. Some like to growl in their horn. Some like a shrill tone. Some like a soft tone. Some like a weak tone. Some like a loud tone. Some like vibrato. Some like a straight tone. Some like Earl Bostic. Some hate Earl Bostic. Complaining about a student’s tone may be an easy way to lessen his confidence and sell more teacher time to him. Typically, the fashion has gone toward a sharper tone, which has been accomplished by using a higher baffle mouthpiece. When Coltrane began sounding like a foghorn, a lot of people wanted to sound like a foghorn (and still do). I have never tried to “sound” in a certain manner other than trying out mouthpieces and my tone is just fine. What I wish for is to be able to play more freely, to play large intervals more effortlessly, to be more comfortable with appoggiaturas and so on. The tone is not even a consideration. It’s just like a language: to be more and more comfortable in what you’re trying to say. Thanks for the energy in your videos.

[@ZvikaDror]

Tone is the most important asset a musician has. But try to play short notes on Air on the G string :)

[@DavePollack]

I've played that more times than I'd care to admit on flute, and tone is always #1 for me!

[@9233267]

It's the title of your video I take issue with. But the click bait worked, I watched, specifically because I disagree with you. I don't remember hearing others actually practice long tones at music school; generally people didn't have the focus to do it. So it sure wasn't getting in the way of implementing all these other beautiful practice strategies you're suggesting. Long tones CAN be used in context. You can drone over recordings and feel how and where your note fits into chords and where your intonation sits on recordings and relative to other players, it's great ear training. It's a great access point and a way to cultivate confidence, almost everyone can do it. Use it to learn to identify pitch and intonation, rather than just hope they develop while you do something else. Play long tones with a metronome, tone and time aren't separate concepts. Long tones are very meditative and have centred my practice and become an important part of my ability to cultivate focus and develop a deeper relationship with sound. If you think long tones are boring, ask yourself why. How much more can you hear inside your sound? It gets deep. Why do so many beautiful players value it? You can use all that time to identify all the independent variables that contribute to 'tone', and learn to control them and use them... and also do all the awesome stuff you highlighted in this video.

[@dem4xed]

I think what's best, is practising without a tuner. I mean do you have a tuner while playing a concert? The best way to practice, for me, is playing over some jamtracks.

[@DavePollack]

The idea of a tuner is so you know what "in tune" sounds and feels like. Once you know exactly what that is on your instrument, you can replicate it without a tuner there. It's just a tool to train your ears and embouchure.

[@dem4xed]

@@DavePollack Yes for shure, you're probably training your muscle memory more efficient while training with a tuner, but aren't you training your eye then instead of your ear? I think that you excercise your listening abilities better, if you play a melody over a Chord and then try to make it sound right, which is also way more fun 😉.

[@DavePollack]

I'm talking about young musicians - when you're in elementary school "playing melodies over chords" needs to wait until you know what "in tune" feels like. I test students - once they think they know how to play in tune I have them stop on certain notes (like the exercise in the video) and I ask them if they think they're in tune or not. We then go from there - if they're in tune, great. If not, we see what they think "in tune" feels and sounds like and adjust back to the correct pitch.

[@dem4xed]

@@DavePollack I learned the saxophone by myself and what I mentioned in my last comments is what worked best for me, in particular. I never work with kids, so I'm probably expecting to much of other, especially younger beginners. I wouldn't generally say that teaching without a tuner is always the best way, but I won't do the other way around either.

[@abagthisbig2894]

If I want to be able to play long tones, I should practice long tones. If I want to play my music, I should practice the music I want to play. If I don’t hear that I’m out of tune as I play my music, practice won’t help me. My music is in my head, not somebody else’s head. I should practice to be able to play that music. If I worry about my tone instead of making the music in my head come out through the saxophone I don’t think I’ll be very interesting.

[@DavePollack]

To me, you can play the best "music" in the world - without a good sound, it won't sound good.

[@abagthisbig2894]

Dave Pollack, when I have practiced to the degree that I know how to play my music, my sound automatically is optimal. By that time I will already have played thousands of hours. This is because my lips, my tongue, my teeth then are comfortably at ease, my ears comfortably hear what I am playing and my lips, my tongue, my teeth know how to adjust to create sound as comfortably as possible. It’s about letting the reed vibrate. And I will have tried many mouthpieces and reeds and chosen the one(s) that allow the reed to vibrate fully. Additionally, I don’t recommend beginners to start with a beginner’s very tight mouthpiece. A beginner should strive for a normal open mouthpiece right away. Thanks for the energy in your video. Also, please recommend your students to ensure they know what their sound is like. They can record it or stand against a hard wall or use a sound deflector on their bell. They may be pleasantly surprised.

[@Johnwilkinsonofficial]

great thumbnail.

[@DavePollack]

Thanks! KZbin’s algorithm is heavily based on CTR so a good thumbnail/title is essential to getting it recommend and pushed.

[@Catomaster32]

Chords are overrated

[@HB-ve4wi]

Heresy! The Chosen One Himself made it into the Guinness Book of Records for the longest note!

[@jakemf1]

NOPE

[@DavePollack]

Did you watch the video?

[@jakemf1]

@@DavePollack Yes-everything starts with one note can't tune 4 if you don't get the first one in tune. Long tones are a process and many players move between notes when doing long tones-people call this click bait

[@DavePollack]

The reason I made this video is that a lot of people DON'T move between notes when practicing sound, intonation, "long tones," etc. I teach 200+ students per week and some of them have/had other private teachers that had them sit on 1 note forever without a goal in mind. I'm not making up a problem out of thin air here - I'm responding to a very real one I see ALL THE TIME.

[@prancer56426]

lip slurs?

[@hibuddy2768]

Not to be racist or anything, But long tones sssuuuuuuucckkkkkkk

[@dylanr4854]

Hi Buddy 👋