Saxophone
Woodwind instrument | |
---|---|
Classification | Single-reed |
Hornbostel–Sachs classification | 422.212-71 (Single-reed aerophone with keys) |
Inventor(s) | Adolphe Sax |
Developed | 1840s |
Playing range | |
Most saxophones share the same written range in treble clef of just over two and a half octaves. Most can reach higher notes using altissimo fingerings | |
Related instruments | |
Sizes:
Orchestral saxophones: Specialty saxophones: | |
Musicians | |
See list of saxophonists |
The saxophone (often referred to colloquially as the sax) is a type of
The saxophone is used in a wide range of musical styles including classical music (such as concert bands, chamber music, solo repertoire, and occasionally orchestras), military bands, marching bands, jazz (such as big bands and jazz combos), and contemporary music. The saxophone is also used as a solo and melody instrument or as a member of a horn section in some styles of rock and roll and popular music.
The saxophone was invented by the Belgian instrument maker Adolphe Sax in the early 1840s[3] and was patented on 28 June 1846. Sax invented two groups of seven instruments each—one group contained instruments in C and F, and the other group contained instruments in B♭ and E♭. The B♭ and E♭ instruments soon became dominant, and most saxophones encountered today are from this series. Instruments from the series pitched in C and F never gained a foothold and constituted only a small fraction of instruments made by Sax. High-pitch (also marked "H" or "HP") saxophones tuned sharper than the (concert) A = 440 Hz standard were produced into the early twentieth century for sonic qualities suited for outdoor use, but are not playable to modern tuning and are considered obsolete. Low-pitch (also marked "L" or "LP") saxophones are equivalent in tuning to modern instruments. C soprano and C melody saxophones were produced for the casual market as parlor instruments during the early twentieth century, and saxophones in F were introduced during the late 1920s but never gained acceptance.
The modern saxophone family consists entirely of B♭ and E♭ instruments. The saxophones in widest use are the B♭ soprano, E♭ alto, B♭ tenor, and E♭ baritone. The E♭ sopranino and B♭ bass saxophone are typically used in larger saxophone choir settings, when available.
In the table below, consecutive members of each family are pitched an octave apart.
# | B♭ family | E♭ family |
---|---|---|
1 (highest) | Soprillo (piccolo) | — |
2 | — | Sopranino |
3 | Soprano | — |
4 | — | Alto |
5 | Tenor | — |
6 | — | Baritone |
7 | Bass | — |
8 | — | Contrabass |
9 (lowest) | Subcontrabass | — |
Description
Construction
The pitch of a saxophone is controlled by opening or closing the tone holes along the body of the instrument to change the length of the vibrating air column. The tone holes are closed by leather pads connected to keys—most are operated by the player's fingers, but some are operated using the palm or the side of a finger. There is an octave key, which raises the pitch of the lower notes by one octave. The lowest possible note, with all of the pads closed, is the (written) B♭ below middle C. Modern baritone saxophones are commonly constructed to play a low A, and a small number of altos keyed to low A have also been manufactured. The highest keyed note has traditionally been the F two and a half octaves above the low B♭, but higher-quality instruments now have an extra key for a high F♯, and a high G key can be found on some modern soprano saxophones. Notes above the keyed range are part of the altissimo register of the saxophone and can be produced using advanced embouchure techniques and fingering combinations. Saxophone music is written in treble clef (appropriately transposed for each different type of instrument) and all saxophones use the same key arrangement and fingerings, enabling players to switch between different types of saxophones fairly easily.
Soprano and sopranino saxophones are usually constructed with a straight tube with a flared bell at the end, although some are made in the curved shape of the other saxophones. Alto and larger saxophones have a detachable curved neck and a U-shaped bend (the bow) that directs the tubing upward as it approaches the bell. There are rare examples of alto, tenor, and baritone saxophones with mostly straight bodies.[4] The baritone, bass, and contrabass saxophones accommodate the length of the bore with extra bends in the tube. The fingering system for the saxophone is similar to the systems used for the oboe, the Boehm-system clarinet,[5] and the flute.
Materials
From the earliest days of the saxophone the body and key cups have been made from sheet brass stock, which can be worked into complex shapes. The keywork is manufactured from other types of brass stock. King made saxophones with necks and bells of sterling silver from the 1930s into the early 1960s. Yanagisawa revived this idea in the 1980s and later introduced instruments entirely made of sterling silver.[6] Keilwerth and P. Mauriat have used nickel silver, a copper-nickel-zinc alloy more commonly used for flutes, for the bodies of some saxophone models.[7] For visual and tonal effect, higher copper
Other materials are used for some mechanical parts and keywork. Buttons where the fingers contact the keys are usually made from plastic or
Manufacturers usually apply a finish to the surface of the instrument's body and keywork. The most common finish is a thin coating of clear or colored
Mouthpiece and reed
The saxophone uses a single-reed mouthpiece similar to that of the clarinet. Each size of saxophone (alto, tenor, etc.) uses a different size of reed and mouthpiece.
Most saxophonists use reeds made from Arundo donax cane, but since the middle of the twentieth century some have been made of fiberglass or other composite materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length. Commercial reeds vary in hardness and design, and single-reed players try different reeds to find those that suit their mouthpiece, embouchure, and playing style.
Mouthpiece design has a profound impact on tone.[10] Different mouthpiece design characteristics and features tend to be favored for different styles. Early mouthpieces were designed to produce a "warm" and "round" sound for classical playing. Among classical mouthpieces, those with a concave ("excavated") chamber are truer to Adolphe Sax's original design; these provide a softer or less piercing tone favored by the Raschèr school of classical playing. Saxophonists who follow the French school of classical playing, influenced by Marcel Mule, generally use mouthpieces with smaller chambers for a somewhat "brighter" sound with relatively more upper harmonics. The use of the saxophone in dance orchestras and jazz ensembles from the 1920s onward placed emphasis on dynamic range and projection, leading to innovation in mouthpiece designs. At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments.
Mouthpieces come in a wide variety of materials including
The effect of mouthpiece materials on tone of the saxophone has been the subject of much debate. According to Larry Teal, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone color.[11] There are examples of "dark" sounding metal pieces and "bright" sounding hard rubber pieces. The extra bulk required near the tip with hard rubber affects mouth position and airflow characteristics.
History
Early development and adoption
The saxophone was designed around 1840 by
As an outgrowth of his work improving the bass clarinet, Sax began developing an instrument with the projection of a brass instrument and the agility of a woodwind. He wanted it to overblow at the octave, unlike the clarinet, which rises in pitch by a twelfth when overblown. An instrument that overblows at the octave has identical fingering for both registers.
Sax created an instrument with a single-reed mouthpiece and conical brass body. Having constructed saxophones in several sizes in the early 1840s, Sax applied for, and received, a 15-year patent for the instrument on 28 June 1846.[12] The patent encompassed 14 versions of the fundamental design, split into two categories of seven instruments each, and ranging from sopranino to contrabass. A limited number of instruments in the series pitched in F and C were produced by Sax, but the series pitched in E♭ and B♭ quickly became the standard. All the instruments were given an initial written range from the B below the treble staff to the E♭ one half-step below the third ledger line above staff, giving each saxophone a range of two and a half octaves. Sax's patent expired in 1866.[13] Thereafter, numerous other instrument manufacturers implemented their own improvements to the design and keywork.
Sax's original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the right, was simplistic and made certain legato passages and wide intervals extremely difficult to finger; that system would later evolve with extra keys, linkage mechanisms, and alternate fingerings to make some intervals less difficult.
Early in the development of the saxophone the upper keyed range was extended to E, then F above the staff; 1880s era sheet music for saxophone was written for the range of low B to F. In 1887 the
In the 1840s and 1850s, Sax's invention gained use in small classical ensembles (both all-saxophone and mixed), as a solo instrument, and in French and British military bands. Saxophone method books were published and saxophone instruction was offered at conservatories in France, Switzerland, Belgium, Spain, and Italy. By 1856 the French
After an early period of interest and support from classical music communities in Europe, their interest in the instrument waned in the late nineteenth century. Saxophone teaching at the Paris Conservatory was suspended from 1870 to 1900 and classical saxophone repertoire stagnated during that period.
Lefebre's later promotional efforts were extremely significant in broadening adoption of the saxophone. Starting towards the end of the 1880s he consulted with the brass instrument manufacturer
Early twentieth-century growth and development
While the saxophone remained marginal and regarded mainly as a novelty instrument in the classical music world, many new musical niches were established for it during the early decades of the twentieth century. Its early use in
The use of the saxophone for more dynamic and more technically demanding styles of playing added incentive for improvements in keywork and acoustic design. Early saxophones had two separate
French saxophonist and educator Jean-Marie Londeix greatly expanded the saxophone repertoire and available techniques in the second half of the 20th century, commissioning a great deal of new saxophone works with extended techniques, including those by Denisov, Lauba, Rossé, and Rolin.[20]
Modern saxophone emerges
The modern layout of the saxophone emerged during the 1930s and 1940s, first with right-side bell keys introduced by C. G. Conn on baritones, then by King on altos and tenors. The mechanics of the left hand table were revolutionized by Selmer with their Balanced Action instruments in 1936, capitalizing on the right-side bell key layout. In 1948 Selmer introduced their Super Action saxophones with offset left and right hand stack keys. Thirty to forty years later this final Selmer layout was nearly universal on all saxophone models.
The high F♯ key was also first introduced as an option on the Balanced Action model, although it took several decades for it to gain acceptance because of perceived deleterious effects on intonation in its early implementations.[21]
Marcel Mule established study of the saxophone as a classical instrument at the Conservatoire de Paris from the 1940s. Larry Teal did the same in the United States at the University of Michigan a decade later. A number of other American institutions have since become recognized homes for the study of classical saxophone. They include Northwestern University, Indiana University, and the Eastman School of Music.[22]
Usage
In military bands
The saxophone first gained popularity in military bands. Although the instrument was initially ignored in Germany, French and Belgian military bands were quick to include it in their ensembles. Most French and Belgian military bands incorporate at least a quartet of saxophones, comprising an E♭ baritone, B♭ tenor, E♭ alto and B♭ soprano. These four instruments have proven the most popular of all Sax's creations with the E♭ contrabass and B♭ bass usually considered impractically large and E♭ sopranino insufficiently powerful. British military bands tend to include at minimum two saxophonists on alto and tenor.[citation needed]
In classical music
The saxophone was introduced into the concert band, which usually calls for an E♭ alto saxophone, a B♭ tenor saxophone, and an E♭ baritone saxophone. A concert band may include two altos, one tenor, and one baritone. A B♭ soprano saxophone is also sometimes used, and is played by the first alto saxophonist. A bass saxophone in B♭ is used in some concert band music (especially music by Percy Grainger).[23]
Saxophones are used in chamber music, such as saxophone quartets and other chamber combinations of instruments. The classical saxophone quartet consists of a B♭ soprano saxophone, E♭ alto saxophone, B♭ tenor saxophone, and E♭ baritone saxophone (SATB). On occasion, the soprano is replaced with a second alto sax (AATB); a few professional saxophone quartets have featured non-standard instrumentation, such as James Fei's Alto Quartet[24] (four altos).
There is a repertoire of classical compositions and arrangements for the SATB instrumentation dating back to the nineteenth century, particularly by French composers who knew Sax. However, the largest body of chamber works for saxophone are from the modern era of classical saxophone initiated by Marcel Mule in 1928. Sigurd Raschèr followed as a soloist in orchestral works, starting in 1931, and also figured prominently in development of modern classical saxophone repertoire. The Mule quartet is often considered the prototype for quartets due to the level of virtuosity demonstrated by its members and its central role in the development of modern quartet repertoire. However, organized quartets existed before Mule's ensemble, the prime example being the quartet headed by Edward A. Lefebre (1834–1911), which was a subset of Patrick Gilmore's 22nd Regiment band between 1873 and 1893.[18]
In the 20th and 21st centuries, the saxophone found increased popularity in symphony orchestras. The instrument has also been used in opera and choral music. Musical theatre scores also can include parts for saxophone, sometimes doubling another woodwind or brass instrument.
Selected works of the repertoire
- Fantasie sur un thème original (1860)—Jules Demersseman
- Rapsodie pour orchestre et saxophone [Rhapsody for orchestra and saxophone] (1901)—Claude Debussy
- Légende, symphonic suite for chromatic harp, alto saxophone and strings (1903)–André Caplet[25]
- Choral varié, Op.55 (1903)—Vincent d'Indy
- Impressions d'automne, Elegy for alto saxophone, oboe, 2 clarinets, basson, harp, organ and 2 cellos (1905)–André Caplet[25]
- Légende, Op.66 (1918)—Florent Schmitt
- Saxophone Concerto (1934)—Lars-Erik Larsson
- Concerto in E♭ major for alto saxophone and orchestra (1934)
—Alexander Glazunov - Concertino da camera (1935)—Jacques Ibert
- Aria pour saxophone alto (1936)—Eugène Bozza
- Sonata for alto saxophone and piano (1937)—Bernhard Heiden
- Scaramouche for alto saxophone and piano (1937)—Darius Milhaud
- Ballade for Alto Saxophone (1938)—Henri Tomasi
- Sonata for alto saxophone and piano, Op. 19 (1939)—Paul Creston
- Sonata for alto saxophone and piano (1943)—Paul Hindemith
- Concerto for alto saxophone and orchestra, Op. 26 (1944)—Paul Creston
- Concerto for alto saxophone and orchestra (1948)—Ingolf Dahl
- Fantasia for saxophone, three horns, and strings (1948)—Heitor Villa-Lobos
- Concerto for alto saxophone and orchestra (1949)—Henri Tomasi
- Tableaux de Provence (1955)—Paule Maurice
- Prélude, cadence et finale (1956)—Alfred Desenclos
- Saxophone Concerto (1958)—Erland von Koch
- Concerto for alto saxophone and orchestra (1959)—Pierre Max Dubois
- Élégie et rondeau pour saxophone alto et orchestre (1961)—Karel Husa
- Sonata for alto saxophone (1970)—Edison Denisov
- Sonata for alto saxophone and piano, Op. 29 (1970)—Robert Muczynski
- Fantasia on Auld Lang Syne for 16 saxophones (1976)—Ernest Tomlinson
- Panic for alto saxophone, jazz drum kit, winds and percussion (1995)—Harrison Birtwistle
- Concerto for Saxophone Quartet (1995)—Philip Glass[26][27]
- Because It Has a Song (2010) - James Barger
- Concerto for Alto Saxophone and Orchestra (2013)—John Adams
Selected saxophone quartets
- Premier Quatuor [Quartet No. 1], Op. 53 (1857) — Jean-Baptiste Singelée
- Quartette [Quartet] (1879) — Caryl Florio
- Saxophone Quartet in B♭, Op.109 (1932) — Alexander Glazunov
- Introduction et variations sur une ronde populaire (1934) — Gabriel Pierné
- Andante et Scherzo for saxophone quartet (1938) — Eugène Bozza
- Variations Saxophoniques (1939) – Fernande Decruck
- Quatuor pour Saxophones [Quartet for Saxophones], Op. 102 (1939)
— Florent Schmitt - Quatuor pour Saxophones [Quartet for Saxophones] (1956)
— Pierre Max Dubois - Quatuor [Quartet] (1962) — Alfred Desenclos
- Suite for Saxophone Quartet (1979) — Paul Creston
- Just for Show (1985) — Lennie Niehaus
- Pollywog's Lake Talk (1986) — Barry Ulman
- XAS (1987) — Iannis Xenakis
- Back Burner (1989) — Frank Ticheli
- Recitation Book (2006) — David Maslanka
- Strange Humors (2008) — John Mackey (composer)
- Black (2012) — Marc Mellits
- Polar Vortex (2014) — Chris Evan Hass
- In Memoriam (2015) — Joel Love
- Volcanic Ash (2017) — Chris Evan Hass
- Altera (2017) — Max Gray
- Impressions (2020) — Randy Stagich
Selected chamber-music pieces with saxophone
- Nonet (1923) – Heitor Villa-Lobos
- Chôros No. 7 (1924) – Heitor Villa-Lobos
- Chôros No. 3 (1925) – Heitor Villa-Lobos
- Quartet for clarinet, tenor saxophone, violin, and piano, Op. 22 (1930)
– Anton Webern - The Flowering Peach, Op. 125, for clarinet, saxophone, percussion (timpani, tam-tam, vibraphone, glockenspiel), harp and celesta (1954)
– Alan Hovhaness - Prometheus for flute, oboe, cor anglais, clarinet, saxophone, and bassoon (1967) – Brian Ferneyhough
- Erwachen, Nr. 92 (2007) – Karlheinz Stockhausen
Selected orchestral pieces with saxophones
- L'Arlésienne (1872) – Georges Bizet
- Sylvia (1876) – Léo Delibes
- Symphonia Domestica (1904) – Richard Strauss
- The Wooden Prince (1917) – Béla Bartók
- Pictures at an Exhibition (1922 Ravel version)
– Modest Mussorgsky/Maurice Ravel - Boléro (1928) – Maurice Ravel
- La création du monde (1923) – Darius Milhaud
- Symphony No. 4 (1924) – Charles Ives
- Rhapsody in Blue (1924) – George Gershwin
- Chôros No. 8 (1925) – Heitor Villa-Lobos
- Háry János (1926) – Zoltán Kodály
- Chôros No. 10 (1926) – Heitor Villa-Lobos
- Piano Concerto (1926) – Aaron Copland
- An American in Paris (1928) – George Gershwin
- Symphony No. 1 (1928) – Aaron Copland
- Der Wein (1929) – Alban Berg
- The Golden Age (1930) – Dmitri Shostakovich
- Belshazzar's Feast (1931) – William Walton
- Job: A Masque for Dancing (1931) – Ralph Vaughan Williams
- Suite No. 1 (1931) – Dmitri Shostakovich
- Uirapuru (1934) – Heitor Villa-Lobos
- Lieutenant Kijé (1934) – Sergei Prokofiev
- Violin Concerto (1935) – Alban Berg
- Suite No. 2(1938) – Dmitri Shostakovich
- Romeo and Juliet (1938) – Sergei Prokofiev
- Alexander Nevsky (1938) – Sergei Prokofiev
- Symphonic Dances (1940) – Sergei Rachmaninoff
- Sinfonia da Requiem (1940) – Benjamin Britten
- Chôros No. 11 (1928–41) – Heitor Villa-Lobos
- Chôros No. 6 (1925–42) – Heitor Villa-Lobos
- Chôros No. 12 (1925–45) – Heitor Villa-Lobos
- Symphony No. 6 (1947) – Ralph Vaughan Williams
- On the Waterfront (1954) – Leonard Bernstein
- Symphony No. 9 (1957) – Ralph Vaughan Williams
- Suite for Variety Orchestra(post-1956) – Dmitri Shostakovich
- The Prince of the Pagodas (1957) – Benjamin Britten
- Gruppen (1955–57) – Karlheinz Stockhausen
- Carré (1959–60) – Karlheinz Stockhausen
- Déclarations d'orage for reciter, soprano, baritone, three improvising instruments (alto saxophone, tuba, synthesizer), large orchestra and tape (1988–89) – Henri Pousseur
- City Noir (2009) – John Adams
Selected operas and musicals with saxophones
- Le Roi de Lahore (1877) Jules Massenet
- Hérodiade (1881) – Jules Massenet
- Werther (1892) – Jules Massenet
- Turandot (1926) – Giacomo Puccini
- Jonny spielt auf (1927) – Ernst Krenek
- Neues vom Tage (1929) – Paul Hindemith
- Lulu (1937) – Alban Berg
- Billy Budd (1951) – Benjamin Britten
- West Side Story (1957) – Leonard Bernstein
- We Come to the River (1976) – Hans Werner Henze
- Samstag aus Licht (1984) – Karlheinz Stockhausen
- Nixon in China (1987) – John Adams
In jazz and popular music
Coincident with the more widespread availability of saxophones in the US around the turn of the century was the rise of
The rise of the saxophone as a jazz instrument followed its widespread adoption in dance bands during the early 1920s. The
As Chicago style jazz evolved from
Lester Young's approach on tenor saxophone differed from Hawkins', emphasizing more melodic "linear" playing that wove in and out of the chordal structure and longer phrases that differed from those suggested by the tune. He used vibrato less, fitting it to the passage he was playing. His tone was smoother and darker than that of his 1930s contemporaries. Young's playing was a major influence on the modern jazz saxophonists Al Cohn, Stan Getz, Zoot Sims, Dexter Gordon, Wardell Gray, Lee Konitz, Warne Marsh, Charlie Parker, and Art Pepper.[5]
The influence of Lester Young with the Count Basie Orchestra in the late 1930s and the popularity of Hawkins' 1939 recording of "Body and Soul" marked the saxophone as an influence on jazz equal to the trumpet, which had been the defining instrument of jazz since its beginnings in New Orleans. But the greatest influence of the saxophone on jazz was to occur a few years later when alto saxophonist Charlie Parker became an icon of the bebop revolution that influenced generations of jazz musicians. The small-group format of bebop and post-bebop jazz ensembles gained ascendancy in the 1940s as musicians used the harmonic and melodic freedom pioneered by Parker, Dizzy Gillespie, Thelonious Monk, and Bud Powell in extended jazz solos.[citation needed]
During the 1950s, prominent alto players included Sonny Stitt, Cannonball Adderley, Jackie McLean, Lou Donaldson, Sonny Criss and Paul Desmond, while prominent tenor players included Lester Young, Coleman Hawkins, Dexter Gordon, John Coltrane, Sonny Rollins, Stan Getz, Zoot Sims, Lucky Thompson, Eddie "Lockjaw" Davis, and Paul Gonsalves. Serge Chaloff, Gerry Mulligan, Pepper Adams and Leo Parker brought the baritone saxophone to prominence as a solo instrument. Steve Lacy renewed attention to the soprano saxophone in the context of modern jazz and John Coltrane boosted the instrument's popularity during the 1960s. Smooth jazz musician Kenny G also uses the soprano sax as his principal instrument.[31]
Saxophonists such as John Coltrane, Ornette Coleman, Sam Rivers, and Pharoah Sanders defined the forefront of creative exploration with the avant-garde movement of the 1960s. The new realms offered with Modal, harmolodic, and free jazz were explored with every device that saxophonists could conceive of. Sheets of sound, tonal exploration, upper harmonics, and multiphonics were hallmarks of the creative possibilities that saxophones offered. One lasting influence of the avant-garde movement is the exploration of non-Western ethnic sounds on the saxophone, for example, the African-influenced sounds used by Sanders and the Indian-influenced sounds used by Coltrane. The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists Steve Coleman and Greg Osby.
Some ensembles such as the World Saxophone Quartet use the soprano-alto-tenor-baritone (SATB) format of the classical saxophone quartet for jazz. In the 1990s, World Saxophone Quartet founder Hamiet Bluiett formed the quartet Baritone Nation (four baritones).[32]
The "jump swing" bands of the 1940s gave rise to
Unusual variants
A number of experimental saxophones and saxophone-related instruments have appeared since Sax's original work, most with no lasting impact. During the early 1920s Reiffel & Husted of Chicago produced a slide soprano saxophone.
The most successful of the unusual 1920s designs was the King Saxello, essentially a straight B♭ soprano, but with a slightly curved neck and tipped bell, made by the
Interest in two 1920s variants was revived by jazz musician Rahsaan Roland Kirk, who called his straight Buescher alto a "stritch" and his Saxello a "manzello". The Buescher straight alto was a production instrument while the manzello was in fact a Saxello with a custom-made large bell and modified keywork.[37] More recently, the mezzo-soprano, or a modern variant of it, came into use by jazz musicians Anthony Braxton, James Carter, Vinny Golia, and Joe Lovano.
Some of the 1920s experimental designs, in addition to the Saxello, provide the basis for similar instruments produced during the modern era. Straight altos and tenors have been revived by Keilwerth,[38] L.A. Sax[39] and Sax Dakota USA. A mezzo-soprano in the key of G has been produced by Danish woodwind technician Peter Jessen, most notably played by Joe Lovano. This instrument is more in the timbral quality of Bb soprano saxophone.
The contralto saxophone, similar in size to the orchestral C-melody, was developed in the late 20th century by California instrument maker Jim Schmidt.[40] This instrument has a larger bore and a new fingering system, and does not resemble the orchestral instrument except for its key and register.
Among the 2000s developments is the aulochrome, a double soprano saxophone invented by Belgian instrument maker François Louis in 2001.[42]
Since the 1950s, saxophones with non-metallic bodies have occasionally been in production. Such instruments have failed to gain acceptance over a number of issues including durability, repairability, and deficiencies in key action and tone.
The fingering scheme of the saxophone, which has had only minor changes since the instrument's original invention, has presented inherent acoustic problems related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes. There is also a lack of tactile consistency between key centers, requiring extra effort from the player to adjust modes of muscle memory when moving between key centers. There have been two noteworthy efforts to remedy the acoustic problems and awkward aspects of the original fingering system:
The Leblanc Rationale and System[45] saxophones have key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. They also enable players to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away. Some Leblanc System features were built into the Vito Model 35 saxophones of the 1950s and 1960s. Despite the advantages of that system, acceptance was impaired by the expense and mechanical reliability issues related to the complexity of certain key mechanisms.[46]
The chromatic, or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval regardless of the key, and avoiding the acoustic problems associated with closed keys below the first open tone hole.[47] Several working prototypes have been built and presented at trade shows.[48] Production of this original and expensive saxophone is on an individual order basis.
Related instruments
Inexpensive keyless folk versions of the saxophone made of
In Argentina, Ángel Sampedro del Río and Mariana García have produced bamboo saxophones of various sizes since 1985.[52] Many synthesizer wind controllers are played and fingered like a saxophone, such as the Electronic Wind Instrument (EWI). A double reed instrument known as the rothphone and a brass instrument known as the jazzophone are both shaped similarly to an alto or tenor saxophone.
Image gallery
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A straight-neckedConn C melody saxophone (Conn New Wonder Series 1)[53]with a serial number that dates manufacture to 1922
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Vintagesilver-plated 'Pennsylvania Special' alto saxophone, manufactured by Kohlert & Sons for Selmer[54] in Czechoslovakia, circa 1930
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Conn 6M "Lady Face"[55] brass alto saxophone(dated 1935) in its original case
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1950s Grafton alto made of plastic
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Yamaha YAS-25 alto saxophone. Circa 1990s
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Yanagisawa A9932J alto saxophone: has a solid silver bell and neck with solid phosphor bronze body. The bell, neck and key-cups are extensively engraved. Manufactured in 2008
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Bauhaus Walstein tenor saxophone manufactured in 2008 from phosphor bronze
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The lower portion of amother of pearlkey touches and engraved brass pad cups
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Two mouthpieces for tenor saxophone: the one on the left is ebonite; the one on the right is metal.
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Ochres Music "No.5" hand-made professional alto saxophone with 24 carat gold seal on bell.
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Vito 'Model 35' alto saxophone, circa 1960s. An unusual instrument with additional keywork.
See also
Notes
- ^ Cottrell, Stephen (2013). The Saxophone (Yale Musical Instrument Series). Yale Musical Instrument Series.
- ISBN 978-0-19-956081-3.
- ^ ISBN 978-1-56159-263-0. Retrieved 6 April 2019.)
{{cite encyclopedia}}
: CS1 maint: multiple names: authors list (link - ^ "Jay Easton's unusual saxophones". Retrieved 2021-05-16.
- ^ ISBN 978-1-56159-284-5.
- ^ "T9937". Yanagisawa website. Archived from the original on 2007-12-30. Retrieved 2008-01-06.
- ^ "PMST-60NS". Paul Mauriat website. Archived from the original on December 8, 2008. Retrieved 2008-08-22.
- ^ "Yanagisawa Saxophones". Archived from the original on June 16, 2009. Retrieved 2014-05-19.
- ^ "The Horn". JazzBariSax.com.
- ^ Rousseau, Eugene. "Discussions". EugeneRousseau.com. The Art of Choosing a Saxophone Mouthpiece. Archived from the original on 2016-04-05. Retrieved 27 April 2016.
- ISBN 978-0-87487-057-2.
A preference as to material used is up to the individual, and the advantages of each are a matter of controversy. Mouthpieces of various materials with the same dimensions, including the chamber and outside measurements as well as the facing, play very nearly the same.
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References
- ISBN 978-1-56159-239-5.
- Horwood, Wally (1992) [1983]. Adolphe Sax, 1814–1894: His Life and Legacy ((Revised edition) ed.). Herts: Egon Publishers. ISBN 978-0-905858-18-0.
- Howe, Robert (2003). Invention and Development of the Saxophone 1840–55. Journal of the American Musical Instrument Society.
- Ingham, Richard (1998). The Cambridge Companion to the Saxophone. ISBN 978-0-521-59348-9.
- Kool, Jaap (1931). Das Saxophon (in German). Leipzig: J. J. Weber. (translated to English as Gwozdz, Lawrence (1987). The Saxophone. Egon Publishers Ltd.)
- Kotchnitsky, Léon (1985) [1949]. Sax and His Saxophone (Fourth ed.). North American Saxophone Alliance.
- Lindemeyer, Paul (1996). Celebrating the Saxophone. William Morrow & Co. ISBN 978-0-688-13518-8.
- Marzi, Mario (2009). Il Saxofono. The Expression of Music 4 (in Italian). Varese, Italy: Zecchini Editore (Zecchini Publisher). p. 468. ISBN 978-88-87203-86-8.
- Noyes, John Russell (2000). Edward A. Lefebre (1835-1911): Preeminent Saxophonist of the Nineteenth Century (PhD Dissertation) (PDF). New York: Manhattan School of Music. Retrieved 21 April 2019.
- Segell, Michael (2005). The Devil's Horn: The Story of the Saxophone, from Noisy Novelty to King of Cool. Farrar, Straus and Giroux. ISBN 978-0-374-15938-2.
- ISBN 978-2-914266-03-1.
Further reading
- Chadwick, George. "Waner Boys Popularizing Saxophone". The San Bernardino Sun. June 16, 1927.
External links
- Instruments In Depth: The Saxophone An online feature with video demonstrations from Bloomingdale School of Music (June 2009)
- Saxophone Fingering Charts