WIND INSTRUMENTS
Educator Series
Chris Ferrell
Chris Ferrell is currently the Associate Director of Bands at
L.D. Bell High School in Hurst, Texas. He also serves on the
staff of the acclaimed Texas Wind Symphony. His bands and
organizations have presented clinics and concerts for the
Ohio Music Educators Association and throughout the North
Texas area including the Meyerson Symphony Center in
Dallas. Mr. Ferrell also serves as saxophone instructor at the
University of Texas at Arlington Summer Music Camp. He
received his B.M. degree from Miami University in Oxford,
Ohio and did additional study at the Oberlin Conservatory,
the University of Cincinnati College-Conservatory of Music
and the University of North Texas. He has studied saxophone
with Paul Cohen and clarinet and saxophone with Michele
Gingras. Mr. Ferrell has also served as woodwind instructor
at Miami University and throughout the state of Ohio.
Mr. Ferrell is named in Who's Who of America's Teachers
and serves as a strong proponent of fundamental teaching.
His students have earned positions in regional, area and all-
state band and orchestra organizations in Ohio and Texas.
His bands and ensembles have been recognized for outstand-
ing quality, earning first-place and first-division honors in
numerous competitions and festivals. As a woodwind artist
Mr. Ferrell performs clinics and concerts throughout the
Dallas/Fort Worth area.
Chris Ferrell is a Yamaha Performing Artist and Clinician
and plays the Yamaha YSS-62, YAS-62, YAS-875, YTS-62,
and YBS-62 saxophones, Custom SE Clarinets and the
WX5 Wind Controller.
CHRIS FERRELL 1
The Secret to Sound:
Saxophone Tone Production
By Chris Ferrell
The saxophone is a wonderfully flexible instrument capable of expressing many different moods
through sound. From classical and recital music to jazz and everything in between, we have many
ideas of the “perfect” sound. This creates an interesting dilemma. What are we after? Where do we
start? How do we get what we want?
The most important part of saxophone playing is producing a characteristic sound. From here we can
begin to tailor and modify the tone to fit a particular style of music. In teaching beginning players,
this is how we can ensure success.
The combination of embouchure, mouthpiece placement, reed condition, instrument position and
airstream all contribute to the saxophone sound. Although the ideas mentioned here are not revolu-
tionary, we must be reminded that this is the most formative stage in becoming a saxophonist.
The reed, mouthpiece and ligature must be assembled correctly for a good beginning. First start by
soaking the reed for 2-3 minutes in water, making sure all surfaces of the reed are moist. The reed must
be placed so that the tip of the reed is in line with the tip of the mouthpiece. Tighten the ligature firm-
ly. Once the mouthpiece assembly is complete, show the student where the curve of the mouthpiece
separates from the reed. An easy way to do this is to take an index card or piece of heavy paper and
place it between the mouthpiece and reed until it stops. This will give the student a visual idea where
the lower teeth and lip should be placed. Drawing a line with a pen on the reed at this intersection
will be helpful as well.
In starting the embouchure, using as many visual analogies as possible to get our ideas across will
help eliminate many of the bad habits that occur. I use the term “flex” instead of embouchure to help
the students associate it with the action. Have the student say “oooohhh.” This will push the corners
of the mouth forward and create a “funnel” shape for the air column. Thinking of whistling may also
be helpful to produce the “drawstring” or circular shape. Have the student flatten their chin against
the lower jaw in a downward motion. The lower lip should just slightly cover the bottom teeth. Place
the mouthpiece in the flex past the line drawn on the reed and anchor the top teeth on top of the
mouthpiece. A bit of experimenting with the amount of reed and mouthpiece will be helpful. In a class
situation it may be wise to use a combination of mouthpiece and saxophone neck to reduce the vol-
ume when playing. Otherwise it is recommended that you start with the mouthpiece alone.
The mouthpiece and reed should produce A=880Hz. If the pitch is too low, firming up the flex or
increasing the speed of the air column should help. If the sound is uncontrolled, use less mouthpiece,
if it is muffled, try more mouthpiece. The volume should be fairly high, so that when the saxophone
is added, there is a resonant tone produced. The flex should remain constant throughout the entire
register. Students must not adjust the flex at all.
 Chris Ferrell

Many times the flex is too tight. You can check this by having the student
play a second-space A or third-line B. Have the student close his or her eyes
and touch the octave key. The upper octave should sound easily and return
to the original note as soon as the octave key is released. If the upper note
does not sound, the flex is too loose. If it does not return to the original note,
the flex is too tight. Once the entire saxophone is assembled, the tone should
be smooth and even throughout the registers of the instrument.

The tongue position should be low in the mouth with only the tip of the
tongue contacting the tip of the reed. Using some variation of a “d” syllable
will prove to be most effective. Tell the student to “touch” the airstream with-
out stopping it. Voicing for upper register notes can be addressed once prop-
er articulation is established. This can be difficult at first, but attention here
will head off many technique issues down the road.

The instrument itself should be in good working order. A poor instrument can
frustrate even the best player. The instrument should be checked for leaks as
well as proper pad height and should respond easily in all registers. Checking
the octave key assembly on the neck is a good idea. The key is often bent
through improper handling and often needs attention. Good general mainte-
nance and frequent check ups will assure a good playing experience.

Once the basics of tone are firmly established, one can experiment to achieve
the sound qualities of any style of music. Making a habit of the basics will
allow our students to experience the wonderful world of saxophone playing
for years to come!

Yamaha Corporation of America • Band & Orchestral Division

3445 East Paris Ave., SE • P.O. Box 899 • Grand Rapids, MI 49518-0899
www.yamaha.com/band
CHRIS FERRELL 2