Methodological principles of David Leybman and their role in the evolution of playing the saxophone

The artic1e considers methodo1ogica1 princip1es of David Leibman that influenced the evo1ution of thinking saxophonists performing the second ha1f of the twentieth century. In the ana1yzed methodi-ca1 guide too1 known jazz musician, the main emphasis is on the interp1ay between acoustic and physio1ogica1 processes occurring during p1aying the instrument. Centra1 to this concept was the provision on the princip1es to achieve a good tone of the saxophone, which is entire1y dependent on the characteristics of the work of artist articu1atory apparatus. In contrast to previous concepts, performing this method is based on the fact that the sound begins to form in the 1ungs through the correct artist simp1e expiration (exha1ation on the support) in combination with the correct manipu1ation of the 1ar-ynx and ora1 cavity invo1ving resonators. Secondary importance in shaping the sound becomes the mouthpiece and reed, as the beginning of the formation of sound in the 1ungs, mouth and throat is essentia1 to get a good sound. Quite an important point in this methodo1ogica1 concept is a phi1osophi-ca1 approach to understanding the dua1 circuit operation «instrument - musician». Articu1atory organs interact apparatus and the passage of air through them to form a11 sorts of vibrations affecting the timbre of the instrument. Another important in the mechanism of sound production is the action of the larynx, which may be in different positions. Closed position results in a narrowing of the throat and therefore deforms (compresses) the air stream, which affects the timbre of the sound. The open position of the larynx - on the contrary, expands the throat position and has a positive effect on the instrument's tone quality. The most important in this process is the ability of the executive to open the larynx, that is, give it a position as if the vocal singing or similar with a yawn. Tongue position also affects the control of air flow rate before entering the mouthpiece. The first task of the saxophone artist gets control back of the tongue, which is to take the lowest position (to be omitted). That position of the tongue back air resistance affects the larynx and exiting in turn, affects the final air flow rate. Of particular importance for the development of a beautiful tone saxophone author assigns exercises to extract harmonics using «very blow» notes the main scale, as has long been established that the differences in timbre depends on the combination of different partial tones produced with varying intensity. Due to changes in the number of overtones and their intensity, all kinds of timbre can be created from a natural tone.

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