In order to focus the air and get a beautiful projection of sound, we can practice directing the air toward a dot on the hand. Gradually increase the distance of the air bridge by slowly stretching out the hand while maintaining air contact with the dot. The other hand can be placed on your abdomen to feel the abdominal musculature work to support the targeted air. Move the other hand around the waist 360 degrees to explore air support.

In order to find our most natural and effective mouth position, these five steps can be useful both for beginners and professional musicians.
(1) Feel the contact between the lower lip and the fibers of the bamboo reed.
(2) Roll the reed attached to the mouthpiece slowly in and out so that you can alternate the lip folded and unfolded. Let this movement become less and less so that you find the balanced mode where the lower lip gets enough generous support of the teeth.
(3) Position the upper teeth in contact with the mouthpiece topside.
(4) Draw air through the saxophone as a milkshake. A newborn baby’s first sucking reflex = perfect lip placement. This step also helps prevent  air leaks from the corners of the mouth.
(5) Blow your tone and you have now secured a well positioned embouchure!
To find the saxophone´s neutral intonation we  can tune like a string instrument, i.e. on a well-greased cork sliding up to pitch from below while playing a lefthand fingered note in the lower octave. Adjust the mouthpiece by pushing it further onto the neck, raising the pitch, until you’ve reached the exact pitch for that note.
Put a reference mark in ink on the cork. Then you know the instrument’s basic pitch without changing your mouth position.
Being able to play a beautiful staccato and being able to start the tone with precision requires a stable air pressure while the tongue acts as a valve that determines exactly when the tone starts. We can first practice this without an instrument in order to feel the full pressure while the tongue works like a bicycle valve. When we manage to get a crystal clear approach that is completely neutral, like a square brick, we can build on our articulation ability.
By being free to choose how much or little mouthpiece that is optimal for every musical situation, we can increase our dynamic and tonal range. It can be advantageously practiced crescendo – diminuendo. Start pianissimo with top teeth at the end of the mouthpiece, which then slowly slides into the mouth as far as it feels good and we have a beautiful fortissimo. Then slide back while we do a steady diminuendo until the tone is almost imperceptible. If you dare to do the exercise in full, it will end with a cliffhanger when the top teeth are just coming off the mouthpiece. It requires a hard and smooth mouthpiece plate without pits that your teeth can get stuck in. Allow the head to stay still so it is only the saxophone that moves.
Vibrato is an intuitive means of expression that can enhance the musical experience. The vibrato mechanics can advantageously be practiced in quintuplets or septuplets. Pay attention to the amplitude and timbre so it still feels like the original tone.
To strengthen our relationship with our instrument, it is useful to practice everything in all keys and in all octaves. Feel free to create your own technical exercises by choosing, for example, four tones played rhythmically and accurately with a metronome at least 10 times. Double the tempo when you accurately master the slow pace. Transpose by half tones up and down until you have played in all the possible transpositions. Then take a real break – You deserved it!
When we play, we can with different vowels in the mouth affect the timbre and pitch. Aah (pronounced like car) is neutral. Ee raises the pitch and create more harmonics. Oh & All (like ball) lowers the pitch and creates a rounder sound.
By keeping a fixed mouth position, play the upper octave without octave key and wait until the lower octave comes by itself, we find a breakingpoint “sweet spot” where we have the exact same mouth position and can play all the notes and intervals legato without changing anything. We then create the ideal conditions for playing all conceivable intervals legato and with the same tone quality.
To achieve the beauty of safely playing notes above the traditional range requires careful preparation. It is about crystal clear imagination, hearing the tone you want before you play it, and by practicing the natural overtone series. Sigurd Rascher’s Top Tones for the Saxophone is a good guide for this adventure.
Bamboo thrives in a humidity of 55% – 65%. Keep them on a glass plate in an airy humidor or cigar box and moisturize regularly. Wipe the mouthpiece with a clean cotton handkerchief + chopstick after the day’s play. Grease the mouthpiece and the inside of the mouthpiece with grease from the outside of the nose. This forms a water repellent film, which prevents condensation and saliva noise. The top of the reed benefits from being greased with nosefat in a unidirectional movement downhill. This will close the pores of the reed and life expectancy increases. The pores on the underside of the reed can also be closed by moving the reed in the longitudinal direction on a  glass plate, one-way, only with the thick side first, thus, no back and forth movements. Think of a cat who would prefer to be stroked along the fur!
The body is our primary instrument. Holding the instrument while maintaining the natural curvature of the hands and steady small finger movements are prerequisites for getting a good technique and legato. Pain from the body is a signal that we need to try a new playing position or other instruments.
Physical exercise, body awareness, meditation and relaxed symmetry are often valuable ingredients in our quest to become better musicians.GOOD LUCK !!!
Copyright Anders Paulsson Music Production 2010

Paulsson & MYO @ Berliner Philharmonie

Sunday June 29, 8pm, Concert at the Berliner Philharmonie:

Celebrating 20 years of Freedom in South Africa:
Sunday June 29, 8pm, Concert at the Berliner Philharmonie:

(a MIAGI commissioned composition within the frame of a partner driven cooperation project funded by the Embassy of Sweden in Pretoria through Sida and based on songs from South Africa’’s Freedom Struggle)

Berliner Philharmonie, 29 Juni
Wisby Strand, 2 Juli
Rikssalen Kungliga Slottet, Stockholm 4 Juli
Krapperup Musikhall, 9 Juli
Laiszhalle, Hamburg, 11 Juli
Ludwigsburger Schlossfestspiele, 15 Juli
Concertgebouw, Amsterdam, 17 Juli


The music is inspired by and partially built on Freedom Songs.
This music often proved to be stronger than weapons during the struggle against apartheid,
as illustrated in the film AMANDLA! A revolution in four part harmony.
The first movement is built on the South African freedom
classic Shosholoza, that Nelson Mandela said inspired him
with courage to work in spite of great difficulties.
It is juxtaposed and integrated with jazzriffs and Celebration music.

The second mouvement RECONCILIATION is partially based on the chorale of the Freedom Song “Thina Sizwe”
that mourns the loss of land to the the immigrants.
Music from the new arrivals is integrated into the music,
symbolizing that together we can coexist peacefully.

MAKEBA REFLECTIONS is inspired by a cappella
Folksongs and riffs fused into a contrast of smooth sailing and big band power.

KUDU BLUES is developing an original Wangani tribal theme that is often played by Kudu horns.
The bluesy quality of the riff developed into a 7 bar blues in odd meters 8, 6 and 7/4.
The imagined answers of the bush animals develop into a cacaphony of riffs culminating in a jazzy super sax chorus.

AMAQHAWE =Heroes, is dedicated to all those men and women who dedicated their lives,
and sometimes even sacrificed their lives in order to establish and uphold
a peaceful and multiethnic democracy – a Rainbow Nation.
Their exemplary achievement is and remains an inspiration to the whole world.
Musically the composition is based on traditional South African rhythms combined with Nordic harmonies
and struggling middle section that resolves into the soulful
Joy that is an inspirational trademark of South African Culture.

Worldwide release: DANJUGAN SANCTUARY with Frank Ådahl

Worldwide digital release of the song DANJUGAN SANCTUARY
with soul singer Frank Ådahl
in support of Philippine Reef and Rainforest

Anders Paulsson – Danjugan Sanctuary

Available on 24/7, 7 Digital, Basepoint, Amazon, eMusic, Gramo,
InProdicon, iTunes, Nokia, Rhapsody / Napster, SecuryCast, Spotify, WiMP…/MZSt…/wa/viewCollaboration…

The song DANJUGAN SANCTUARY is composed and dedicated
to Philippine Reef & Rainforest Conservation
and the Danjugan Environmental Education Program.
The lyricist Gerry Grey conceived the song as a
prayer for Humans to live in harmony with Nature
on our beautiful island home in the Universe.

Hear my prayer for Danjugan;

Help me heal this wounded earth!

Let this be our quiet refuge,

our reefs and forest of Life,

Home to a sacred sea

shoals of angels rest.

On its sky flies a lonely king

Guarding paradise…

…..with a cry every sunrise!

Let this rouse Your soul with a quest

not for a man to lose this island,

but for humans and nature to be one. 

Awareness – Empowerment – Stewardship
by harnessing the Synergi of Music & Science

Thank You for everything, Alice Babs !

Tears of gratitude and sorrow as I just learned of our dear friend Alice Babs passing on to the Heavens, where she always belonged.
Remembering so many musical and philosophical highlights performing, recording and conversing with her over the years.
In her later years she often came to my concerts, always eager to improvise a little postlude and always receiving the audience standing ovations.
Remembering our first meeting at Musik at Siljan 1991 when Nils Lindberg introduced us and we improvised an a cappela duet from two church boats with the music resounding over Lake Siljans perfectly still waters and perhaps a thousand people listening on the shores.
She was so encouraging of us younger musicians and her inspired presence transformed many occasions. She always had such a big and generous heart.
Listening to our *Don´t Be Blue* CD with Nils Lindberg, Joakim Milder, Hans Åkesson, Krister Andersson, Peter Gullin, Jan Adefelt and Bengt Stark brings back so many joyful memories.
At the age of 80, Alice Babs still had a great voice. At our concert in the Gothemburg Concert House 2004 she could improvise advanced duets with any musician of the band.
I remember her exquisite artistry with Duke Ellingtons Sacred Concerts that got me hooked on music in my early years.
Rest in Peace

Gratitude to Nelson Mandela

Gratitude to Nelson Mandela who showed the world how we can all coexist peacefully. We love You!
Let us honour him by following his example to the best of our abilities.
My gratitude for this great honour to compose CELEBRATION SUITE
for South Africa Celebrating 20 years of Democracy.
We are going on tour next summer!

MIAGI, Music is a great Investment, South Africa presented New Skool Orchestra at the Musaion, Pretoria 26 September 2013

Tshepo Tsotetsi – alto saxophone & conductor

Anders Paulsson – soprano saxophone & composer


Artist portrait of Anders Paulsson on Austrian National Radio

Listen to Dr. Peter Kislingers Artist portrait of Anders Paulsson on Austrian National Radio.

which was broadcast July 18 at 13.00-14.00

You can listen to it on Austrian National Webradio until Wednesday July 24, 12 noon.

Ö1 bis zwei in 7 Tage Ö1 aufrufen

Ö1 bis zwei

18. Juli 2013

mit Peter Kislinger
Anders Paulsson (Sopransaxophon) musiziert.

Der Musiker, Komponist, “Sopransaxophonkünstler” und Umweltschutzaktivist Anders Paulsson wurde von der britischen Sonntagszeitung “Observer” als “schwedische Antwort auf Branford Marsalis” bezeichnet. Den 1961 Geborenen, der zunächst Klarinette lernte, bewog die Begegnung mit dem Sopransaxophon, Berufsmusiker zu werden. Mittlerweile beschreibt Paulsson, der sich unbezahlt in Taucheinsätzen für bedrohte Korallenriffe einsetzt, das Sopransaxophon, als “ultimatives Blasinstrument” und sieht gar das Ende der “Vorherrschaft des Altsaxophons” gekommen. Es klinge “klassischer” als das Altsaxophon, dessen Timbre es dem Solisten gestatte, “einem Orchester gegenüber mit Eleganz gegenüber zu bestehen”. Seit seinem Debüt 1992 in der New Yorker Carnegie Hall kann Paulsson sowohl im Jazz- als auch im Klassikbereich auf eine internationale Solokarriere zurück blicken, die es ihm gestattet, auch eigene Kompositionen für sein Instrument in Kombination mit Chor, Sopranstimme oder Orgel zu spielen. Die Juni-Ausgabe des britischen CD-Magazins “Gramophone” würdigt Paulssons Interpretation des Saxophonkonzerts des am 20. Mai verstorbenen Anders Eliasson und resümiert: Paulsson ist für das Sopransax ein ebenso überzeugender Repräsentant wie der legendäre John-Edward Kelly für das Altsaxophon.

Sorrow and gratitude for Anders Eliasson, April 3rd 1947 – May 20th 2013

Sorrow and gratitude in my heart as I just learned of Anders Eliassons passing into the next world.
Gratitude for his sublime music that has reached the innermost parts of my being.
I woke up this morning hearing his saxophone concerto playing in my inner ear.
Sorrow because I already miss his honesty and musical devotion.
Gratitude again because he invited me into his musical universe.
Trust that I will continue being a loyal ambassador for his music.
His music will remain a treasure for humanity.


Anders Paulsson

Photo: Sorrow and gratitude in my heart as I just learned of Anders Eliassons passing into the next world. Gratitude for his sublime music that has reached the innermost parts of my being. I woke up this morning hearing his saxophone concerto playing in my inner ear. Sorrow because I already miss his honesty and musical devotion. Gratitude again because he invited me into his musical universe. Trust that I will continue being a loyal ambassador for his music. His music will remain a treasure for humanity.  Sincerely,  Anders Paulsson
Photograph copyright: Tony Lundman
Photo: With Anders Eliasson and Johannes Gustavsson in Kotka after a performance of the Saxophone Concerto with Kymi Sinfonietta October 19, 2011.
With Anders Eliasson and Johannes Gustavsson in Kotka after a performance of the Saxophone Concerto with Kymi Sinfonietta October 19, 2011.

Virtuosen Anders Paulsson träffar rätt i Svenska Konserter för Sopransaxofon!

CD-revyn sätter betyg på Anders Paulsson

Söndag 20 januari 2013

I panelen Boel Adler och Sofia Nyblom som tillsammans med programledaren Johan Korssell diskuterade och betygsatte skivor:

Veckans toppnotering blev sopransaxofonkonserter med solisten Anders Paulsson och musik av Rolf Martinsson, Sven-David Sandström och Anders Eliasson. Phono Suecia PSCD 188.

Svenska konserter för sopransaxofon
Musik av Rolf Martinsson, Sven-David Sandström och Anders Eliasson
Anders Paulsson, sopransaxofon
Norrlandsoperans SO, Norrköpings SO, Helsingborgs SO
fem radioapparater

Boel 5, Sofia 5, Johan 5 – Veckans totalfemma!
CD-revyn sätter betyg på Anders Paulsson

GOLDEN HARMONY world premiere

Footage from the world premiere performance of
– the Rolf Martinsson concerto for soprano saxophone and orchestra dedicated to Anders Paulsson.
September 6, 2012, with NorrlandsOperan Symphony Orchestra conducted by Christoph Altstaedt
and recorded on CD by Phono Suecia.
Co-commissioned by DalaSinfoniettan.

Anders Paulsson: Sopransaxofonkonserter

Publicerad 2012-11-21 10:14

Sopransaxofon i harmoniskt uruppförande

Ett verk med stor skönhet och överraskande effekter bjöds i uruppförande under torsdagens konsert på Norrlandsoperan.


Golden Harmony
Dirigent: Christoph Altstaedt Solist: Anders Paulsson, sopransaxofon
Norrlandsoperans Symfoniorkester

Sopransaxofon är en familjens minsta instrument stämd en oktav över den större tenorsaxofonen. Vid gårdagskvällens välbesökta konsert med Norrlandsoperans symfoniorkester och den tyske dirigenten Christoph Altstaedt på pulten var Anders Paulsson solist. Han är förmodligen den första musikern i världen med en solistkarriär på detta i konsertsammanhang relativt sällsynta instrument.

Han har spelat bland annat med Sankt Petersburg Philharmonic, Sveriges Radios Symfoniorkester och nu specialskrivet för vår egen i ett uruppförande av Rolf Martinssons (f 1956) konsert Golden Harmony.

Att Anders Paulsson också är jazzmusiker märks i de jazziga passager som förekommer i ett verk med stor skönhet och överraskande effekter.

Han spelade solostämman dessutom utan direkt notstöd vilket imponerar. Styckets första del symboliserar verkligen titeln, då undersköna harmonier och nästan naturlyriska passager fångar lyssnaren och den andra delen i ett hastigare tempo, suggestivt och med en enastående färgpalett!

Bengt Hultman

LIVE Video broadcast: Anders Paulsson & Turku Philharmonic

Dear Music Lovers!
If You missed the live broadcast of my performance of
Anders Eliasson Concerto for soprano saxophone & string orchestra,
with the Turku Philharmonic conducted by Ari Rasilainen,
You can still listen to it here:
The Concerto starts at 24:30
and is preceded by Astor Piazzolla Adios Nonino*, Milonga for 3* & Milonga del Angel.
*= arranged by Anders Högstedt.

PS. The concert hall looks empty but was actually half-full with the audience sitting in the back for optimum acoustics.

“The sound of Anders Paulssons soprano saxophone has a universal beauty”

– Turun Sanomat 30.4.2012

Dear Music Lovers,

Friday April 27, at 6pm Swedish time, this Concert with

soprano saxophonist Anders Paulsson and Turku Philharmonic orchestra

conducted by Ari Rasilainen will be broadcast LIVE:

Ari Rasilainen, dirigent
Anders Paulsson
, sopransaxofon

Astor Piazzolla: Adios Nonino
Astor Piazzolla: Milonga for Three
Astor Piazzolla:  Milonga del Angel
Anders Eliasson: Saxofonkonsert
Jean Sibelius: Lemminkäinen, fyra legender

Here is the direct link to the webcasting:

Ari Rasilainen conductor Ari Rasilainen