Main article: Reed (instrument) Reed The saxophone was originally patented as two families, each consisting of seven instruments. The "orchestral" family consisted of instruments in the keys of C and F, and the "military band" family in E♭ and B♭. Each family consisted of
sopranino,
soprano,
alto,
tenor,
baritone,
bass and
contrabass, although some of these were never made; Sax also planned--but never made--a
subcontrabass (Bourdon) saxophone.
Members of the saxophone family In music written since 1930, only the
soprano in B♭,
alto in E♭,
tenor in B♭ and
baritone in E♭ are in common use - these form the typical saxophone sections of
concert bands, military bands, and big-band jazz ensembles. The bass saxophone (in B♭) is occasionally used in band music (especially music by
Percy Grainger) and big band orchestrations (especially music performed by the
Stan Kenton "
Mellophonium Orchestra").
The vast majority of band and big-band music calls only for E♭ alto, B♭ tenor, and E♭ baritone instruments. A typical saxophone section in a concert band might consist of four to six altos, one to three tenors, and one or two baritones. A typical saxophone section in a jazz band consists of two altos, two tenors, and a baritone. Occasionally a band or jazz ensemble will perform a piece that calls for soprano saxophone - in this case it is common practice for one of the players from the alto section to switch to soprano for that piece.
Most saxophone players begin learning on the alto, branching out to tenor, soprano or baritone after gaining competency. The alto saxophone is the most popular among classical composers and performers; most classical saxophonists focus primarily on the alto. In jazz, alto and tenor are predominantly used by soloists. Many jazz saxophonists also play soprano on occasion, but nearly all of them use it only as an auxiliary instrument.
The soprano has regained a degree of popularity over recent decades in jazz/pop/rock contexts, beginning with the work of
jazz saxophonist
John Coltrane in the
1960s. The soprano is often thought of as more difficult to play, or to keep in tune, than the more common alto, tenor and baritone saxophones. A few bass, sopranino, and contrabass saxophones are still manufactured; these are mainly for collectors or novelty use, and are rarely heard - they are mostly relegated to large saxophone ensembles.
Common saxophones Of the orchestral family, only the tenor in C, soprano in C, and
mezzo-soprano in F (similar to the modern alto) ever gained popularity. The tenor in C, generally known as the
C melody saxophone, became very popular among amateurs in the
1920s and early
1930s, because its players could read music in concert pitch (such as that written for piano, voice, or violin) without the need to transpose. Although the instrument was popularized by players such as
Rudy Wiedoeft and
Frankie Trumbauer, it did not secure a permanent place in either jazz or classical music. The C-Melody was manufactured well into the
1930s long after its initial popularity had waned, although it became a special order item in the catalogs of some makers. The instrument is now a commonly encountered attic or garage sale relic, though since the
1980s a few contemporary saxophonists have begun to utilize the instrument once again. A similarly sized instrument, the contralto saxophone,
Construction difficulties mean that only recently has a true sopranissimo saxophone been produced. Nicknamed the
Soprillo, this piccolo-sized saxophone is an octave above the soprano, and its diminutive size necessitates an octave key on the mouthpiece.
Rare saxophones and novelty sizes A number of saxophone-related instruments have appeared since Sax's original work, most enjoying no significant success. These include the
saxello, straight B♭ soprano, but with a slightly curved neck and tipped bell; the straight alto; and the straight B♭ tenor (currently not in production; until recently, made only by a Taiwanese firm and imported to the United States by the L.A. Sax Company plays the same range, and with the same fingering, as the E♭ contrabass saxophone; its bore, however, is narrower than that of a contrabass saxophone, making for a more compact instrument with a "reedier" tone (akin to the double-reed contrabass
sarrusophone). It can be played with the smaller (and more commonly available) baritone saxophone mouthpiece and reeds. Eppelsheim has also produced subcontrabass tubaxes in C and B♭, the latter being the lowest saxophone ever made.
Another unusual variant of the saxophone was the
Conn-O-Sax, a straight-bore instrument in F (one step above the E♭ alto) with a slightly curved neck and spherical bell. The instrument, which combined a saxophone bore and keys with a bell shaped similar to that of a
heckelphone, was intended to imitate the timbre of the
English horn and was produced only in 1929 and 1930. The instrument had a key range from low A to high G. Fewer than 100 Conn-O-Saxes are in existence, and they are eagerly sought by collectors.
Among the most recent developments is the
aulochrome, a double soprano saxophone invented by Belgian instrument maker
François Louis in
2001.
Bamboo "saxophones" Music for all sizes of saxophone is notated using
treble clef. The standard written range extends from a B♭ below the staff to an F or F♯ three ledger lines above the staff. There are a few models of soprano saxophone that have a key for high G, and several models of baritone saxophone have an extended bore and key to produce low A. Notes above F are considered part of the "altissimo range" of any sax, and can be produced using advanced embouchure techniques and fingering combinations. Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three
octaves up to a (written) high B4.
In the mid-twentieth century, some players resisted learning how to play in the altissimo register; many articles written during this period referred to the use of altissimo notes as a stunt, "faking," or employing "false fingerings." The altissimo register, like any other woodwind instrument, employs the third and subsequent harmonics to extend the instrument's range. On the saxophone, however, the mastery of these harmonics takes more effort than on other woodwinds. There was a historical belief that the saxophone's range ends at high F and that Adolphe Sax had stopped promoting the extended range only due to its perceived difficulty.
Nearly all saxophones are
transposing instruments:
Sopranino,
alto,
baritone, and
contrabass saxophones are pitched in the key of E♭, and
soprano,
tenor and
bass saxophones are in the key of B♭. Because all instruments use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes. When a saxophonist reads and fingers a written C on the staff on an E♭
alto, the note sounds as E♭ a major sixth below the written pitch. A C played on a B♭
tenor, however, sounds as B♭ a major ninth below. The E♭
baritone is an octave below the
alto, and the B♭
soprano is an octave above the
tenor. The following discussion refers entirely to the notes as written, and therefore applies equally to all members of the saxophone family.
Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in
bass clef by reading it as if it were treble clef and adding three sharps to the key signature. This process, referred to as
clef substitution, makes it possible for the
baritone saxophone (or any other saxophone in the key of E♭) to play from parts written for
bassoon,
tuba,
trombone or
string bass. This can be useful if a band or orchestra lacks one of those instruments.
Most baritone saxophones produced since 1980 have an extra key that allows the player to play a
low A (concert C), but earlier baritones and other sizes of saxophone do not (except for some basses and a few rare altos made by
The Selmer Company). Composers who call for a low A when writing for baritone saxophone should be aware that many players will not be able to play the note for lack of the necessary key.
Early on, most composers stayed away from composing for the saxophone due to their misunderstanding of the instrument. However, around the turn of the twentieth century, some people (many from the
United States) began to commission compositions for the instrument. One prominent commissioner was
Elise Hall, a wealthy New England socialite who took up playing the saxophone to aid in her battles with
asthma (at the behest of her husband, a doctor). Though she did commission many pieces, the works didn't originally feature the saxophone very well (probably because she decided to demonstrate herself the saxophone's ability - her skills were less than admirable by most accounts). Subsequent versions, however, have been arranged to better feature the saxophone, such as the "Rhapsodie" by
Claude Debussy.
Writing for the saxophone Arguably, the most famous Saxophone solo in the concert repertoire may be The Old Castle from the orchestral work
Pictures at an Exhibition by
Modest Mussorgsky. Originally written for piano, an orchestral arrangement was realized by
Maurice Ravel in 1922.
Pictures at an Exhibition - The Old Castle The Australian composer
Percy Grainger championed the Saxophone during his career, using different saxophones in his many compositions and arrangements.
Classical music for the saxophone became more common during the course of the twentieth century. Many present-day composers have written for the instrument. For example,
American composer
Philip Glass wrote a Concerto for Saxophone Quartet and Orchestra in the
1990s. Percy Grainger also went on to write the
Lincolnshire Posy which included a variety of solos specifically made for the soprano saxophone. This class of saxophone was according to
Percy Grainger his favorite of all instruments because of its beautiful singing voice that most closely resembled that of a human voice. Today
Lincolnshire Posy is considered to be one of the best literatures ever written for Wind Ensemble.
Percy Grainger Besides functioning as a solo instrument, the saxophone is also an effective ensemble instrument, particularly when several members of the saxophone family are played in combination. Although only occasionally called for in
orchestral music, saxophone sections (usually encompassing the alto, tenor, and baritone instruments, but sometimes also the soprano and/or bass) are an important part of the jazz
big band, as well as military, concert, and marching bands.
Ensembles made up exclusively of saxophones are also popular, with the most common being the
saxophone quartet.
Use in ensembles The saxophone quartet is usually made up of one
soprano, one
alto, one
tenor, and one
baritone. This instrumentation is often referred to as "SATB." The second most common quartet instrumentation (found most often at the middle school level) is two altos, a tenor, and a baritone (referred to as "AATB"). A few professional saxophone quartets feature non-standard instrumentation, such as
James Fei's Alto Quartet
Amstel, and
Rova Saxophone Quartets are among the best known groups. Historically, the quartets led by
Marcel Mule and
Daniel Deffayet, saxophone professors at the
Conservatoire de Paris, were started in 1928 and 1953, respectively, and were highly regarded. The Mule quartet is often considered to be the prototype for all future quartets due the level of virtuosity demonstrated by its members and its central role in the development of the quartet repertoire. Organized quartets did indeed exist prior to Mule's ensemble, the prime example being the quartet headed by Eduard Lefebre (1834-1911), former soloist with the Sousa band, in the United States circa 1904-1911. Other ensembles most likely existed at this time as part of the saxophone sections of the many touring "business" bands that existed in the late 19th and early 20th centuries.
In jazz music, saxophones are usually heard as members of a
jazz combo or a
big band, but one professional avant-garde jazz group, the
World Saxophone Quartet, has become known as the preeminent jazz saxophone quartet. The
Rova Saxophone Quartet, based in San Francisco, is noted for its work in the fields of
contemporary classical music and improvised music.
Saxophone quartets There are a few larger all-saxophone ensembles as well. The most prominent include the 12-member
Raschèr Saxophone Orchestra Lörrach,
Larger saxophone ensembles Many believe it is relatively easy to become a competent
saxophonist, especially when transferring from other woodwind instruments, but a considerable amount of practice is usually required to develop a pleasing
tone color and fluent technique.
Playing technique for the saxophone is subjective based upon the intended style (classical, jazz, rock, funk, etc.) and the player's idealized sound. The design of the saxophone allows for a big variety of different sounds, and the "ideal" saxophone sound and keys to its production are subjects of debate. However, there is a basic underlying structure to most techniques.
Technique Main article: Saxophone embouchure Embouchure Saxophone
vibrato is much like a vocal or string vibrato, except the vibrations are made using the jaw instead of the diaphragm or fingers. The jaw motions required for vibrato can be simulated by saying the syllables "wah-wah-wah" or "tai-yai-yai." The method which is easiest and brings the best vibrato depends on the player. While most will say vibrato is not vital to saxophone performance (as its importance is inferior to proper tone quality), many argue it as being integral to the distinct saxophone color. Classical vibrato can vary between players (soft and subtle, or wide and abrasive). Many Classical players look to violinists as a model for their sound. It has been suggested that this follows the example of Marcel Mule of the Paris Conservatory, one of the early proponents of Classical Saxophone playing. Jazz vibrato varies even more amongst its users. Fast and wide vibrato is used by older "swing" style players, while some modern players use almost no vibrato except on slow ballads. Typically, less vibrato is used at faster tempos. Players just starting out with vibrato will usually start out slow with exaggerated jaw movements. As they progress, the vibrato becomes quicker until the desired speed is reached. A vibrato can be produced also by controlling the air stream with the tongue. This is more difficult than the jaw vibrato, but often produces better results.
Vibrato A number of effects can be used to create different or interesting sounds.
Growling is a technique used whereby the saxophonist sings, hums, or growls, using the back of the throat while playing. This causes a
modulation of the sound, and results in a gruffness or coarseness of the sound. It is rarely found in classical or band music, but is often utilized in jazz, blues, rock 'n' roll, and other popular genres. Some notable musicians who utilized this technique are
Earl Bostic,
Boots Randolph,
Gato Barbieri,
Ben Webster,
Clarence Clemons and
King Curtis.
Glissando is a sliding technique where the saxophonist bends the note using
voicing (tongue placement)and at the same time slides up or down to another fingered note. This technique is sometimes heard in big band music (for example,
Benny Goodman's "Sing Sing Sing") and, rarely, in orchestral music, e.g.,
George Gershwin's "
Rhapsody in Blue." A glissando can also be created using the tongue to control the airstream and holding the embouchure immobile.
Multi phonics is the technique of playing more than one note at once. A special fingering combination causes the instrument to vibrate at two different pitches alternately, creating a warbling sound.
The use of
overtones involves fingering one note but altering the air stream to produce another note which is an
overtone of the fingered note. For example, if low B♭ is fingered, a B♭ one octave above may be sounded by manipulating the air stream. Other overtones that can be obtained with this fingering include F, B♭, and D. The same air stream techniques used to produce overtones are also used to produce notes above high F# (the "
altissimo register").
The technique of manipulating the air stream to obtain various effects is commonly known as "voicing." Voicing technique involves varying the position of the tongue and throat, causing the same amount of air to pass through either a more or less confined oral cavity. This causes the air stream to either speed up or slow down, respectively. As well as allowing the saxophonist to play overtones/altissimo with ease, proper voicing also helps the saxophonist develop a clear, even and focused sound throughout the range of the instrument. For a thorough discussion of voicing technique see "Voicing" by
Donald Sinta and Denise Dabney.
Tone effects The use of electronic
effects with the saxophone began with innovations such as the
Varitone system, which Selmer introduced in 1965. The Varitone included a small
microphone mounted on the saxophone neck, a set of controls attached to the saxophone's body, and an
amplifier and
loudspeaker mounted inside a cabinet. The Varitone's effects included echo,
tremolo, tone control, and an
octave divider. Two notable Varitone players were
Eddie Harris and
Sonny Stitt. Similar products included the
Hammond Condor.
In addition to playing the Varitone, Eddie Harris experimented with
looping techniques on his 1968
album Silver Cycles.
David Sanborn and
Traffic member
Chris Wood employed effects such as
wah-wah and
delay on various recordings during the
1970s.
In more recent years, the term "
saxophonics" has been used to describe the use of these techniques by saxophonists such as
Skerik, who has used a wide variety of effects that are often associated with the
electric guitar, and
Jeff Coffin, who has made notable use of an
envelope follower.
Brands List of saxophonists EWI Lyricon Microtuner Saxophone embouchure
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