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Saxophone

2007 Schools Wikipedia Selection. Related subjects: Musical Instruments

   The saxophone ( colloquially referred to as sax) is a conical- bored
   instrument of the woodwind family, usually made of brass and played
   with a single-reed mouthpiece like the clarinet. The saxophone is
   commonly associated with popular music, big band music, and jazz, but
   it was originally intended as both an orchestral and military band
   instrument. Saxophone players are called saxophonists.

History

   The saxophone was developed circa 1840 by Adolphe Sax, a Belgian-born
   instrument-maker, flautist, and clarinetist working in Paris. Although
   he had constructed saxophones in several sizes by the early 1840s, he
   did not receive a 15-year patent for the instrument until June 28,
   1846. It was first officially revealed to the public in the
   presentation of the bass saxophone in C at an exhibition in Brussels in
   1841. Sax also gave private showings to Parisian musicians in the early
   1840s. He drew up plans for 14 different types of saxophones, but they
   were not all realized.

   The inspiration for the instrument is unknown, but there is good
   evidence that fitting a clarinet mouthpiece to an ophicleide is the
   most likely origin (Sax built ophicleides among other instruments in
   the late 1830s). Doing so results in an instrument with a definitely
   saxophone-like sound. The Hungarian/Romanian tarogato, which is quite
   similar to a soprano saxophone, has also been speculated to have been
   an inspiration. However, this cannot be so, as the modern tarogato with
   a single-reed mouthpiece was not developed until the 1890s, long after
   the saxophone had been invented.

   Sax's intent, which was plainly stated in his writings, was to invent
   an entirely new instrument which could provide bands and orchestras
   with a bass to the woodwind and brass sections, capable of more refined
   performance than the ophicleide, but with enough power to be used
   outdoors. This would explain why he chose to name the instrument the
   "Sound of Sax." In short, Sax intended to harness the finesse of a
   woodwind with the power of a brass instrument. However, as Sax often
   offended rival instrument manufacturers, the resulting prejudice toward
   the man and his instruments led to the saxophone not being used in
   orchestral groups. For a long time, it was relegated to military bands,
   despite Sax's great friendship with the influential Parisian composer
   Hector Berlioz.

   For the duration of the patent (1846-1866), only the Sax factory could
   legally manufacture or modify the instruments, although this and Sax's
   numerous other patents were routinely breached by his rivals. After the
   patent expired in 1866, many different manufacturers introduced
   competing models, including many different modifications to Sax's
   original design.

Construction

   The jazz saxophonist Klaus Doldinger playing the tenor sax
   The jazz saxophonist Klaus Doldinger playing the tenor sax

   The saxophone's bore is effectively conical, giving it acoustic
   properties more similar to the oboe than to the clarinet. However,
   unlike the oboe, whose tube is a straight-line cone, most saxophones
   have a number of curves. In the smallest sizes ( soprano and
   sopranino), straight instruments are more common than curved ones, but
   larger-sized instruments all appear with the familiar curve in the
   instrument's neck and bow. (A few straight alto and tenor saxophones
   have been made as novelties. A few straight baritone and C melody
   saxophones have occasionally been made as custom instruments, but were
   never mass-produced.) There is some debate amongst players as to
   whether the curve affects the tone or not.

Key system

   Saxophones have a "normal" range of approximately two and a half
   octaves. Any notes above this range are considered to be part of the
   altissimo register. Notes are fingered using a key system of tone
   holes, keys, and pads. A saxophone has 21 to 23 keys, depending on
   whether it has a high F♯, a high G, or a low A key. (Since 1970, the
   high F♯ key has become common among intermediate- and
   professional-level instruments, while the high G key is found on only a
   few modern sopranos.) When pressure is applied to a key it opens or
   closes one or more of the tone holes by lifting or lowering a pad. The
   pads, usually made of leather, cover the tone holes when depressed,
   forming an airtight seal and thereby lengthening or shortening the
   vibrating air column, thus raising or lowering the pitch produced.

Materials

   Nearly all saxophones are made from brass. (They are categorized as
   woodwind instruments, however, not as brass instruments; despite the
   categories' names, an instrument's category is determined not by the
   materials used, but by the method of tone production.)

   Brass is used to make the body of the instrument; the pad cups which
   hold leather pads; the rods that connect the pads to the brass keys,
   and the posts that hold the rods and keys in place. The screw pins that
   connect the rods to the posts, and the springs that cause keys to
   return to their place after being released, are generally made of
   steel, or on inexpensive saxophones, aluminium. Since 1920, nearly all
   saxophones have key touches (smooth decorative pieces placed where the
   fingers will touch the instrument) made of either plastic or mother of
   pearl.

   Other materials have been tried with varying degrees of success, as
   with the 1950s plastic saxophones made by the Grafton company and the
   rare wooden saxophones. A few companies, such as Yanagisawa, have made
   some saxophone models from bronze, which is claimed to produce a warmer
   sound. Some manufacturers have made saxophone necks or entire
   instruments out of sterling silver.

   Nickel silver also has been used; some manufacturers, including Selmer,
   Yanagisawa, P.Mauriat, Keilwerth, and BG, have made instruments of
   nickel silver. Some say these instruments have a brighter or more
   powerful sound.

Surface finish

   After completing the instrument, manufacturers apply a thin coating (of
   clear or colored acrylic lacquer, or silver plating) over the bare
   brass. The lacquer or plating serves to protect the brass from
   corrosion, and gives the instrument a very pleasing appearance. Several
   different types and colors of surface finish have been used over the
   years.
     * Prior to 1930, instruments were typically available with three
       types of finishes:
          + bare brass (without lacquer or plating),
          + silver plating, or
          + gold plating. (Since gold will not adhere to bare brass, gold
            plating requires that the instrument first be plated with
            silver; the gold plating is then applied on top of the
            silver.)
     * Some 1920s instruments were made with a silver plated body, and
       bell and/or keys that were gold-plated.
     * Between 1940 and 1960, some instruments were plated with nickel as
       a cheaper (and non-tarnishing) alternative to silver.
     * Between 1970 and 1990, some King brand instruments were made with
       lacquered body and silver-plated neck and bell.

   Clear or gold-colored acrylic lacquer is the most common finish used
   for saxophones today. Lacquer can also be other colors; sometimes a
   black or brightly colored lacquer is used for visual effect. Most
   manufacturers will accept special orders regarding plating and colour
   of lacquer, allowing a player to obtain a uniquely colored instrument.

   It is possible that the type of lacquer or plating may enhance an
   instrument's tone quality; the possible effects of different finishes
   on tone is a hotly debated topic. Many say that lacquer or plating has
   no effect on the sound, while some research shows that there are
   differences. Silver or gold plating is thought by some to impart a
   "darker" timbre (less high partials) to an instrument; some say that
   darker colored lacquer might have a similar effect.

   A bare brass instrument will naturally tarnish, turning a dark brown
   and/or green colour. The tarnishing of the brass affects only the
   appearance; tarnish has no effect on the saxophone's playability. If
   the owner desires to change the instrument's finish, the instrument can
   be disassembled and chemically stripped of its lacquer or plating, then
   "relacquered" or replated with the same or different material. Opinions
   vary on whether this process harms the instrument or affects its tone.

Mouthpiece

   Two mouthpieces for tenor saxophone; the one on the left is for
   classical music; the one on the right is for jazz.
   Two mouthpieces for tenor saxophone; the one on the left is for
   classical music; the one on the right is for jazz.

   The saxophone uses a single reed mouthpiece similar to that of the
   clarinet, but the saxophone mouthpiece has a wider inner chamber and
   lacks the cork-covered tenon of a clarinet mouthpiece. Mouthpieces come
   in a wide variety of materials, including vulcanized rubber (sometimes
   called rod rubber or ebonite), plastic, and metal. Less common
   materials that have been used include wood, glass, crystal, and even
   bone. Metal mouthpieces are believed by some to have a distinctive
   sound, often described as 'brighter' than the more common rubber. Some
   players believe that plastic mouthpieces do not produce a good tone.
   Other saxophonists maintain that the material has little, if any,
   effect on the sound, and that the physical dimensions give a mouthpiece
   its tone colour. Mouthpieces with a concave ("excavated") chamber are
   more true to Adolphe Sax's original design; these provide a softer or
   less piercing tone, and are favored by some saxophonists, including
   students of Sigurd Raschèr, for classical playing.

   Jazz and popular music saxophonists often play on high-baffled
   mouthpieces. These are configured so the baffle, or "ceiling," of the
   mouthpiece is closer to the reed. This produces a brighter sound which
   more easily "cuts through" a big band or amplified instruments. While
   high baffles (and the resulting tone) are commonly associated with
   metal mouthpieces, any mouthpiece may have a high baffle. Mouthpieces
   with larger tip openings provide pitch flexibility, allowing the player
   to "bend" notes, an effect commonly used in jazz and rock music.
   Classical players usually opt for a mouthpiece with a smaller tip
   opening and a lower baffle; this combination provides a darker sound
   and more stable pitch. Most classical players play on rubber
   mouthpieces with a round or square inner chamber.

Reed

   Alto and tenor sax reeds (Frederick L. Hemke brand).
   Alto and tenor sax reeds ( Frederick L. Hemke brand).

   Like clarinets, saxophones use a single reed. Saxophone reeds are wider
   than clarinet reeds. Each size of saxophone (alto, tenor, etc.) uses a
   different size of reed. Reeds are commercially available in a vast
   array of brands, styles, and strength. Each player experiments with
   reeds of different strength (hardnesses) to find which strength suits
   his or her mouthpiece and playing style. Strength is usually measured
   using a numeric scale that ranges from 1 (soft) to 5 (hard).
   Unfortunately, the scale is far from standardized between brands; for
   example, a Rico #3 reed is decidedly softer than a Vandoren #3.
   Beginners usually start on a #2 or #2.5 reed, and move up to a #3 as
   they gain ability and more muscle control. Advanced players typically
   use #2.5 to #4, depending on their choice of mouthpiece and individual
   preference. In general, players who use a mouthpiece with a wider tip
   opening will tend to use softer reeds, and those who choose a
   mouthpiece with a narrower tip opening will tend to use harder reeds.

Members of the saxophone family

   Ten members of the saxophone family. From largest to smallest:
   contrabass, bass, baritone, tenor, C melody, alto, F mezzo-soprano,
   soprano, C soprano, and sopranino.
   Ten members of the saxophone family. From largest to smallest:
   contrabass, bass, baritone, tenor, C melody, alto, F mezzo-soprano,
   soprano, C soprano, and sopranino.

   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.

Common saxophones

   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.

Rare saxophones and novelty sizes

   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, was
   developed in the late 20th century by California instrument maker Jim
   Schmidt; this instrument has a larger bore and a new fingering system
   so it does not resemble the C melody instrument except for its key and
   register.

   Also in the early 20th century, the C soprano (pitched a whole step
   above the B♭ soprano) was marketed to those who wished to perform oboe
   parts in military band, vaudeville arrangements, or church hymnals. C
   sopranos are easy to confuse with regular (B♭) sopranos, since they are
   only approximately 2 centimeters shorter in size. None have been
   produced since the late 1920s. The mezzo soprano in F (produced by the
   American firm Conn during the period 1928-1929) is extremely rare; most
   remaining examples are in the possession of serious instrument
   collectors. Adolphe Sax made a few F baritone prototypes, but no
   serious F baritones were manufactured. E♭ baritone saxes made to high
   pitch (A = 456) exist, and are sometimes mistaken for an F baritone on
   first sight, as the high pitch model will be noticeably smaller than a
   low pitch one. There are no known specimens of the bass saxophone in C,
   the first saxophone constructed and exhibited by Sax in the early
   1840s. The only known F alto made by Sax known to exist is owned by
   retired Canadian classical saxophonist Paul Brodie, and was found in
   France. Lastly, despite Ravel's scoring for a sopranino saxophone in F
   in Bolero, no specimen is known to exist or to have been built by Sax
   or any other maker.

   There is a rare prototype slide tenor saxophone, but there were not
   many made. One known company that produced a slide soprano saxophone
   was Reiffel & Husted, Chicago, ca. 1922 (catalog NMM 5385).

   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.

Related instruments

   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). Since a
   straight-bore tenor is approximately five feet long, the cumbersome
   size of such a design hinders both playing the horn (particularly when
   seated) and carrying it. King Saxellos, made by the H. N. White Company
   in the 1920s, now command prices up to US$4,000. A number of companies,
   including Rampone & Cazzani and L.A. Sax, are marketing straight-bore,
   tipped-bell soprano saxophones as saxellos (or "saxello sopranos").

   Two of these variants were championed by jazz musician Rahsaan Roland
   Kirk, who called his straight Buescher alto a stritch and his modified
   saxello a manzello; the latter featured a larger-than-usual bell and
   modified key work. Among some saxophonists, Kirk's terms have taken a
   life of their own in that it is believed that these were "special" or
   "new" saxophones that might still be available. Though rare, the
   Buescher straight alto was a production item instrument while the
   manzello was indeed a saxello with a custom made bell.

   The tubax, developed in 1999 by the German instrument maker Benedikt
   Eppelsheim, 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"

   Although not true saxophones, inexpensive keyless folk versions of the
   saxophone made of bamboo were developed in the 20th century by
   instrument makers in Hawaii, Jamaica, Thailand, Indonesia, and
   Argentina. The Hawaiian instrument, called a xaphoon, was invented
   during the 1970s and is also marketed as a "bamboo sax," although its
   cylindrical bore more closely resembles that of a clarinet. Jamaica's
   best known exponent of a similar type of homemade bamboo "saxophone"
   was the mento musician and instrument maker Sugar Belly (William
   Walker). In the Minahasa region of the Indonesian island of Sulawesi,
   there exist entire bands made up of bamboo "saxophones" and "brass"
   instruments of various sizes. These instruments are clever imitations
   of European instruments, made using local materials. Very similar
   instruments are produced in Thailand. In Argentina, Ángel Sampedro del
   Río and Mariana García have produced bamboo saxophones of various sizes
   since 1985, the larger of which have bamboo keys to allow for the
   playing of lower notes.

Writing for the saxophone

   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." But there is nothing "fake" about the
   altissimo register; like any other woodwind instrument, the player
   simply 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 and
   baritone 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 to play from parts written for bassoon, trombone, tuba 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.

Pictures at an Exhibition - The Old Castle

   Arguably, the most famous Saxophone solo in the so-called 'Classical'
   repertoire has to 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.

Percy Grainger

   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.

Use in ensembles

   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.

Saxophone quartets

   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 (four
   altos) and Hamiet Bluiett's Bluiett Baritone Nation (four baritones).

   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 Adolphe Sax. The Raschèr,
   Amherst, Aurelia, 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.

Larger saxophone ensembles

   There are a few larger all-saxophone ensembles as well. The most
   prominent include the 12-member Raschèr Saxophone Orchestra Lörrach,
   the 9-member London Saxophonic, the 9-member SaxAssault, the 6-member
   The Nuclear Whales Saxophone Orchestra, and Urban Sax, which includes
   as many as 52 saxophonists. Very large groups, featuring over 100
   saxophones, are sometimes organized as a novelty at saxophone
   conventions.

Technique

   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 colour 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.
   The fingerings for a saxophone do not change from one instrument to
   another. Here, notes on a treble staff correspond to fingerings below.
   The fingerings for a saxophone do not change from one instrument to
   another. Here, notes on a treble staff correspond to fingerings below.
   Fingerings typically appear with the left and right hand side-by-side.
   Fingerings typically appear with the left and right hand side-by-side.

Embouchure

   In the typical embouchure, the mouthpiece is generally not taken more
   than halfway into the player's mouth. The lower lip is supported by the
   lower teeth, and makes contact with the reed. The playing-position is
   stabilized with firm, light pressure from the upper teeth resting on
   the mouthpiece (sometimes padded with a thin strip of rubber known as a
   "bite-pad" or "mouthpiece-patch"). The upper lip closes to create an
   air-tight seal. The "double embouchure" in which the upper lip is
   curled over the upper teeth is not commonly used in modern times,
   however each player may eventually develop his/her own variation of the
   basic embouchure style in order to accommodate their own physical
   structure.

   Three things are imperative to a full and quick-speaking sound:
   appropriate air pressure which is aided by diaphragm support, correct
   lip/reed contact allowing the reed to vibrate optimally, and perhaps
   most importantly a high tongue position within the mouth. This provides
   focus to the player's air stream and thus to his/her sound. The
   player's diaphragm acts as a bellow, supplying a constant stream of air
   through the instrument.

Vibrato

   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 colour. 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.

Tone effects

   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, 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.

Electronic 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

   Manufacturers of saxophones include Buffet Crampon, Cannonball, Julius
   Keilwerth, Leblanc (Vito brand), P.Mauriat, Roland (Jupiter brand),
   Selmer, Yamaha, Yanagisawa.

   Of these, Keilwerth, Selmer, Yamaha, and Yanagisawa are sometimes
   called "the big four" as they are considered the most established
   saxophone manufacturers. Some brands and models have dedicated
   followings; perhaps the most legendary model ever produced was Selmer's
   Mark VI, manufactured from 1954 through 1975.

   Past manufacturers no longer producing saxophones include Buescher,
   Conn, Holton, Martin, SML, the H.N. White Company (King brand), and
   York. Although these companies no longer exist or no longer produce
   saxophones, the rights to several of their brand names have been bought
   by modern corporations, so it is not uncommon to see a new "Conn" or
   "King" brand instrument for sale, despite the fact that both factories
   ceased production many years ago.

Stencil imports

   Many inexpensive saxophones are manufactured in China, Taiwan, India,
   Pakistan and Brazil. They are often modeled after Selmer designs, and
   vary greatly in quality, from poor to excellent. These anonymous
   manufacturers supply companies worldwide, who then test the instruments
   and stencil (engrave a brand name on) them before selling them to
   stores. Examples include the Selmer Prelude "TS701" (China), Elkhart
   "SXTD" (Taiwan), Trevor James "The Horn Rev II" (Taiwan) and "Largo
   Australia" (China).

   Retrieved from " http://en.wikipedia.org/wiki/Saxophone"
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