No description available.

No description available.

Specific movements within the pelvic floor, abdomen, diaphragm, ribs, and spine are show to be associated with either inspiration or expiration when playing the alto saxophone. These movements support tone production during the performance of large intervallic leaps and altissimo register notes. During expiratory breath, specific vocal-tract formations and movements are show to be adaptive with either the higher and lower registers. Anatomical areas studied include the glottis, larynx, pharynx, velum and soft palate, tongue arch, and tongue proximity to the reed. Flouroscopy and endoscopic research by Watkins, Pattnoede, and Jordheim challenge common pedagogical advice for palm-key and altissimo register notes such as using a high tongue arch, fast air and the "ee" vowel. Literature by historical and even current pedagogues do not clarify their use of the terms "larynx" or "throat." In the context of their writing those terms could ambiguously mean oropharynx, laryngopharynx, glottis, neck muscles or vertical position of larynx. Mental tension, fear, and negative inner dialogue are shown to cause reflexive and tension-based movement. These issues negatively impact the formation and direction of adaptive vocal-tract movements for large ascending intervallic leaps and altissimo-register note production. Repeated failure by a student can provoke negative self-talk as well as maladaptive emotions and beliefs about the musical challenge, potentially creating a longstanding narrative that leads to less than positive expectations for saxophone technique. Knowledge and use of adaptive vocal-tract and breathing movements can erode negative dialogue by providing evidence that it is not true. The student may begin to use positive self-talk, creating better inner dialogue and beliefs. Over time, confidence from body and mind awareness supports the formation of positive expectations. The tenets of mindfulness and inclusive awareness put forward by authors such as Dunkel, Caplan, Hall, Leaf, and Westney were shown to be complementary to the body and vocal-tract movements needed for the musical challenges discussed. Practical exercises are given to help the student increase body and mind awareness. Intentionally gaining awareness of and mindfully practicing adaptive body mapping and vocal-tract movements can support the effective production of, and lead to a healthy mindset for achieving successful performances of large intervallic leaps and altissimo-register tones.