Interview with Dr. Kenneth Tse (+ Full Equipment List)

Introduction

Website: https://www.kenneth-tse.com/

Widely recognized as one of the leading classical saxophonists in the world, Kenneth Tse is certainly one of the instrument’s outstanding proponents on any saxophone aficionado’s short list. He burst on the scene in 1996 as the winner of the prestigious New York Artists International Award, which resulted in an acclaimed debut recital at Carnegie Hall and being hailed “a young virtuoso” by the New York Times. The Alex Award from the National Alliance for Excellence led to another Carnegie Hall performance. And these are but two of the multitude of awards that Tse has garnered in less than a decade and a half. 

Since then he has been a frequent soloist in five continents.  He has also been a guest clinician at conferences hosted by the California Band Directors’ Association, Iowa Bandmaster’s Association, and the Midwest International Band and Orchestra Clinics. Prestigious universities and conservatories worldwide, such as Sydney Conservatory, Moscow Conservatory and Paris Conservatory have invited him to give master classes.  He was recently a judge, representing the USA, at the 6th Adolphe Sax International Competition in Dinant, Belgium.

Tse has been an active recording artist since his first CD for Crystal Records at age 23. His discography now includes a total of twenty-three CDs—presenting a wide variety of saxophone repertoire, most of it new, some with assisting artists—on Crystal records, RIAX records, Enharmonic records, Arizona University Recordings and MSR Classics.  As an advocate for new music, Tse has had over thirty works dedicated to him by notable American composers as well as international composers.

Tse has recorded and premiered many of these concertos, sonatas, solo works and chamber pieces. His arrangements for the saxophone are published by Reed Music, Australia, and his articles have been featured in the Saxophone Journal, The Instrumentalist, Fanfare Magazine, Saxophone Symposium, Iowa Bandmaster Association Journal, Japan’s Piper and The Sax Magainzes, and Yamaha Education Series.  Tse has also founded the Hong Kong International Saxophone Symposium which connects saxophonists from Asia and Oceania with world-class saxophone performers and teachers in a week-long event.

Tse is currently Professor of Saxophone at the University of Iowa in the United States. Tse’s students have garnered high recognition through teaching positions, competitions and recordings as well as concert appearances throughout the world.  He is the first saxophonist to have been elected to the presidency in both North American Saxophone Alliance and the International Saxophone Committee concurrently. For more media clips and information, please visit: www.kenneth-tse.com

Interview

What is one saxophone-related lesson you learnt early on that stuck with you throughout your career?

Through my own observations in the beginning as a self-taught player, I learned that the saxophone was truly a unique instrument in its capability to produce a vast number of tone colors. This awareness continued throughout my later studies. I quickly realized that I must learn to highlight those qualities of the instrument and not to restrict them, which took a lot of control that could only come from diligent practice.  Without this awareness, it would have been easy to let the sounds get out of control very quickly. 

What advice would you give to a saxophonist graduating from college?

Obviously, there is so much to be said. Honestly, much of what needs to be said (or learned) must be said BEFORE one graduates, early in the educational process. Often, it is too late if a student hasn’t started developing their career during their degree. Most simply I would say early on, “Become your degree! Whatever you plan to do, become it!” You really have to give all of yourself during this time. If I were to choose one thing to say to graduates, it would be to always remember why they play the saxophone. The profession alone is, in and of itself, very challenging. You will be disappointed and discouraged at many points. It is so important to try to remember the happy days when you first picked up the instrument and how much joy it gave you to play it. Sometimes that was the only thing that helped me through my own difficulties. In fact, many of my students know that I keep a photo on my desk at work which was taken during my first years of saxophone study in middle school. It was the most exciting time for me, of exploring and researching all I could with the materials I had at hand. I always remind myself of the moment I picked up that old horn (the smell and the sound) and played! Pure joy!

What is one saxophone product you wish there was on the market that hasn’t been made?

In my opinion, there are too many out there already! We are limited by the acoustic design of each saxophone. There is only so much one can change; when you change one thing, something else is affected. So, I always work to improve my own technique and control, so that hopefully I can play my instrument with ease and fluidity regardless of what I use. I rarely spend time thinking about what I wish I had.

Which is the best saxophone or mouthpiece you have tried that wasn’t for sale?

I currently use Yamaha saxophones and Eugene Rousseau mouthpieces and I am very happy with them! I don’t regularly try any others – but my own aren’t for sale!

Which saxophonist (living or dead) would you have loved to have dinner with?

Perhaps Marcel Mule – almost every master teacher today studied with him at some point, and he was the beginning of modern saxophone pedagogy. He died early in my own education, and I never had the opportunity to meet him. It would be interesting to hear his thoughts on saxophone at this point. Also Dr. Eugene Rousseau – he is getting older now and will be 90 in August. While we’ve had dinner many times, I would consider myself lucky to have dinner with him any time.

Best live performance memory

Perhaps my first performance in New York City, at the Carnegie Hall.  The debut was a result of winning one of the many sponsored competitions out there.  I vividly remember the sight and sound of New York and all the excitement both before and after the performance!   It was truly a memorable experience.  And I was fortunate to have a  New York Times reporter in the midst who was reporting saxophone events in the city at that time.

Funniest gig experience

I am not sure if one would consider this experience funny.  One time during a concerto performance, after a long cadenza, both the conductor and I cued in the end section, but the ensemble did not come in!  So, I had to think fast and restart the last phrase of the cadenza and fortunately, this time the ensemble knew what to do!

Saxophone Setup

Soprano

Yamaha YSS-875EXHG (gold-plated neck)

Mouthpiece: Selmer Concept

Ligature: Charles Bay

Reed: Vandoren blue box 3.5 or 4 and Légère 3.5/4

Alto

Saxophone: Yamaha YAS-875EXIIG

Mouthpiece (Brand, Model, Tip Opening, any refacing): Eugene Rousseau ER50 Classic

Ligature (Brand, Model): Charles Bay

Reed (Brand, size, filed/unfiled): Vandoren blue box 3.5

Tenor

Saxophone:Tenor Madness Custom

Mouthpiece (Brand, Model, Tip Opening, any refacing): Eugene Rousseau NC4

Ligature (Brand, Model): Charles Bay

Reed (Brand, size, filed/unfiled): Vanodren blue box 3.5

Baritone

Saxophone: Yamaha YBS-82 (C1 gold-plated neck)

Mouthpiece (Brand, Model, Tip Opening, any refacing): Eugene Rousseau NC5

Ligature (Brand, Model): Charles Bay

Reed (Brand, size, filed/unfiled): Légère 3/3.5 or Vandoren blue box 3.25/3.5

Saxophone Case
I have a collection of cases but currently using Wiseman carbon-fiber double case for alto and soprano, Bam tenor saxophone case, and Wiseman carbon-fiber baritone case.

Neck Strap
Breath-taking for soprano, alto, and tenor.  Vandoren harness for baritone.

Any Miscellaneous sax products you use
I use rose gold-plated LefreQue plates for my soprano but none for the others.  As mentioned earlier, I am not really an accessory person.  Sometimes, if I happen to come across something that makes me “feel” better when I play, sure!  Otherwise,  I don’t really seek them out.  I have everything I need inside my mouth and my head!