Saxophone An alto saxophone in E♭ Classification Wind, woodwind Aerophone Hornbostel–Sachs classification 422.212-71 ( Single-reeded aerophone with keys) Inventor(s) Adolphe Sax Developed 28th June 1846[1] Playing range Related instruments Military band family: Sopranino saxophone Soprano saxophone Alto saxophone Tenor saxophone Baritone saxophone Bass saxophone Contrabass saxophone Subcontrabass saxophone Orchestral family: C soprano saxophone Mezzo-soprano saxophone C melody saxophone Other saxophones: Sopranissimo saxophone (Soprillo) Tubax Musicians List of saxophonists Adolphe Sax, the inventor of the saxophone The saxophone[2] (also referred to as the sax) is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet.[2] The saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840.[2][3] Sax wanted to create a group or series of instruments that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass— that would fill the vacant middle ground between the two sections. He patented the saxophone on June 24, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for military bands, has proved extremely popular and most saxophones encountered today are from this series. Instruments from the so-called orchestral series, pitched in C and F, never gained a foothold, and the B♭ and E♭ instruments have now replaced the C and F instruments in classical music. The saxophone has proved very popular in military band music, and is commonly used in jazz and classical music. There is substantial repertoire of concert music in the classical idiom for the members of the saxophone family. Saxophone players are called saxophonists.[2] History The saxophone was developed in 1846, by Adolphe Sax, a Belgian instrument maker, flautist, and clarinetist working in Paris.[2] While still working at his fathers instrument shop in Brussels, 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 overblew at the octave, would have identical fingering for both registers. Prior to his work on the saxophone, Sax had made several improvements to the bass clarinet by improving its keywork and acoustics and extending its lower range. Sax was also a maker of the then- popular ophicleide, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with these two instruments allowed him to develop the skills and technologies needed to make the first saxophones. Adolphe Sax created an instrument with a single reed mouthpiece like a clarinet, conical brass body like an ophicleide, and the acoustic properties of both the French horn and the clarinet. Having constructed saxophones in several sizes in the early 1840s, Sax applied for, and received, a 15- year patent for the instrument on June 28, 1846.[4] The patent encompassed 14 versions of the fundamental design, split into two categories of seven instruments each, and ranging from sopranino to contrabass. Although the instruments transposed at either F or C have been considered orchestral, there is no evidence that Sax intended this. As only 3 percent of Saxs surviving production were pitched in F and C, and as contemporary composers used the E♭ alto and B♭ bass saxophone freely in orchestral music, it is almost certain that Sax experimented to find the most suitable keys for these instruments, settling upon instruments alternating between E♭ and B♭ rather than those pitched in F or C, for reasons of tone and economy (the saxophones were the most expensive wind instruments of their day). The C soprano saxophone was the only instrument to sound at concert pitch. All the instruments were given an initial written range from the B below the treble staff to the F, one space above the three ledger lines above staff, giving each saxophone a range of two and a half octaves. Saxs patent expired in 1866;[5] thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. The first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification. This extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Saxs original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the right, was very simplistic and made playing some legato passages and wide intervals extremely difficult to finger, so numerous developers added extra keys and alternate fingerings to make chromatic playing less difficult. While the early saxophone had two separate octave vents to assist in the playing of the upper registers just as modern instruments do, players of Saxs original design had to operate these via two separate octave keys operated by the left thumb. A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. One of the most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris, who completely redeveloped the mechanics of the system to allow a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by lowering the right middle finger. This enables a chromatic scale to be played over two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit.[6] However, this keywork never gained much popularity, and is no longer in use. The saxophone family The primary (military band) saxophone family alternates instruments in B♭ and E♭. The other (orchestral) family patented by Sax, alternating instruments in C and F, has always been marginal, although some manufacturers tried to popularise the soprano in C (or C soprano saxophone), the alto in F (or mezzo-soprano saxophone), and the tenor in C (or C melody saxophone) early in the twentieth century. The C melody enjoyed some success in the late 1920s and early 1930s as a parlor instrument. One company has recently revived production of the C soprano and C melody.[7] Instruments in F are rare. # Saxophon e Ke y One octave higher One octave lower 1 Sopranissi mo B♭ ## Soprano 2 Sopranino E♭ ## Alto 3 Soprano B♭ Sopranissimo Tenor 4 Alto E♭ Sopranino Baritone 5 Tenor B♭ Soprano Bass 6 Baritone E♭ Alto Contrabass 7 Bass B♭ Tenor Subcontrabass 8 Contrabass E♭ Baritone ## 9 Subcontrab ass B♭ Bass ## Description The saxophone consists of an approximately conical tube of thin brass, sometimes plated with silver, gold, or nickel, flared at the tip to form a bell. At intervals along the tube are between 20 and 23 tone holes of varying size, including two very small speaker holes to assist the playing of the upper register. These holes are covered by keys (also known as pad cups), containing soft leather pads, which are closed to produce an airtight seal. At rest some of the holes stand open and others are closed. The keys are controlled by buttons pressed by the fingers, while the right thumb sits under a thumb rest to help keep the saxophone balanced. The fingering for the saxophone is a combination of that of the oboe with the Boehm system, and is very similar to the flute or the upper register of the clarinet. Instruments that play to low A have a left thumb key for that note. The simplest design of saxophone is a straight conical tube, and the sopranino and soprano saxophones are usually of this straight design. However, as the lower-pitched instruments would be unacceptably long if straight, for ergonomic reasons, the larger instruments usually incorporate a U-bend at, or slightly above, the third-lowest tone hole. As this would cause the bell of the instrument to point almost directly upward, the end of the instrument is either beveled or tilted slightly forward. This U- shape has become an iconic feature of the saxophone family, to the extent that soprano and even sopranino saxes are sometimes made in the curved style, even though not strictly necessary. By contrast, tenors and even baritones have occasionally been made in the straight style.[8][9] Most commonly, however, the alto and tenor saxophones incorporate a curved crook above the highest tone hole but below the top speaker hole, tilting the mouthpiece through 90 degrees. The baritone, bass and contrabass extend the length of the bore by triple-folding is section. (video) A man practices the saxophone in Yoyogi park. Materials Most saxophones, both past and present, are made from brass. Despite this, they are categorized as woodwind instruments rather than brass, as the sound waves are produced by an oscillating wood reed, not the players lips against a mouthpiece as in a brass instrument, and because different pitches are produced by breath wind passing opening and closing keys. The screw pins that connect the rods to the posts, as well as the needle and leaf springs that cause the keys to return to their rest position after being released, are generally made of blued or stainless steel. Since 1920, most saxophones have key touches (smooth decorative pieces placed where the fingers touch the instrument) made from either plastic or mother of pearl. Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, VibratoSax . There is also the wooden Sawat saxophone created in Thailand on a small scale. A few companies, such as Yanagisawa[10] and Bauhaus Walstein , have made some saxophone models from phosphor bronze because of its slightly different tonal qualities.[11] For example, although their designs are identical apart from the metal used, the bronze Yanagisawa A992[12] saxophones are said to sound darker than the brass versions. Yanagisawa and other manufacturers, starting with the King Super 20 around 1950, have made saxophone necks, bells, or entire instruments from sterling silver.[13] Keilwerth and P. Mauriat have made saxes with a nickel silver body like that of a flute.[14][15] The effect of material on sound is controversial among sax players, and little solid research has been published. After completing the instrument, the manufacturers usually apply a thin coating of clear or colored acrylic lacquer, or silver plate, over the bare brass. The lacquer or plating serves to protect the brass from oxidation, and maintains its shiny appearance. Several different types and colors of surface finish have been used over the years.[16] It is also possible to plate the instrument with nickel or gold, and a number of gold-plated saxophones have been produced.[16] Plating saxophones with gold is an expensive process because gold does not adhere directly to brass. As a result, the brass is first plated with silver, then gold. Some argue that the type of lacquer or plating, or absence thereof, may enhance an instruments tone quality. The possible effects of different finishes on tone is a hotly debated topic, not least because other variables may affect an instruments tone colors e.g. mouthpiece design and physical characteristics of the player. In any case, what constitutes a pleasing tone is a matter of personal preference.[17][18] Mouthpiece and reed Main articles: Mouthpiece (woodwind), Reed (instrument), Reed clipper, and ligature (musical instrument) The saxophone uses a single-reed mouthpiece similar to that of the clarinet. Most saxophonists use reeds made from Arundo donax cane, but since the 20th century some have also been made of fiberglass and other composite materials. The saxophone mouthpiece is larger than that of the clarinet, has a wider inner chamber, and lacks the cork-covered tenon of a clarinet mouthpiece because the saxophone neck inserts into the mouthpiece whereas the clarinet mouthpiece piece is inserted into the barrel. The most important difference between a saxophone embouchure and a clarinet embouchure is that the saxophone mouthpiece should enter the mouth at a much lower or flatter angle than the clarinet. The embouchure for clarinet must also be more firm than that for saxophone. The muscles in the lip and jaw develop naturally, the more one plays, and the long tones exercise helps a great deal with this aspect of playing.[19] Mouthpieces come in a wide variety of materials, including vulcanized rubber (sometimes called hard rubber or ebonite), plastic, and metals such as bronze or surgical steel. Less common materials that have been used include wood, glass, crystal, porcelain, and even bone. According to Larry Teal, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour.[20] Mouthpiece design has a profound impact on tone. Mouthpieces designed for classical playing commonly help to produce a warm and round sound, while mouthpieces designed for jazz playing commonly help to produce a more edgy and bright sound. Mouthpieces with a concave (excavated) chamber and little to no baffle are more true to Adolphe Saxs original design; these provide a softer or less piercing tone, and are favored by some saxophonists, including students of Sigurd Raschèr, for classical playing. Saxophonists who follow the French school of classical saxophone playing, influenced by Marcel Mule, generally use mouthpieces with smaller chambers than Rascher style mouthpieces, but they still have little to no baffle. Conversely, mouthpieces with a smaller chamber and a lower clearance above the reed, called high baffle, produce a brighter sound with maximum projection and are favored by many jazz and funk players. Most saxophonists who play both jazz and classical music have different equipment for each style. Like clarinets, saxophones use a single reed. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length, although some soprano saxophonists use clarinet reeds on the soprano saxophone. 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 strengths. Players experiment with reeds of different strength (hardnesses) and material to find which strength and cut suits their mouthpiece, embouchure, tendencies, and playing style. Uses A military band saxophonist holding baritone saxophone Smooth jazz musician playing alto saxophone The saxophone first gained popularity in the niche it was designed for: the military band. Although the instrument was studiously ignored in Germany, French and Belgian military bands took full advantage of the instrument that Sax had designed specifically for military bands. Most French and Belgian military bands incorporate at least a quartet of saxophones comprising at least the E♭ baritone, B♭ tenor, E♭ alto and B♭ soprano. These four instruments have proved the most popular of all of Saxs creations, with the E♭ contrabass and B♭ bass usually considered impractically large and the E♭ sopranino insufficiently powerful. British military bands tend to include at minimum two saxophonists on the alto and tenor. The saxophone was subsequently introduced into both the symphonic band and in big band music, which often calls for the E♭ baritone, B♭ tenor and E♭ alto. The B♭ soprano is also occasionally used, in which case it is normally played by the first alto saxophonist. The bass saxophone in B♭ is called for in concert band music (especially music by Percy Grainger) and big band orchestrations, especially music written for by the Stan Kenton Mellophonium Orchestra. In the 1920s the bass saxophone was used often in classic jazz recordings, since at that time it was easier to record than a tuba or double bass. The B♭ tenor and E♭ alto have since been used in many varieties of jazz, as a front line instrument. The saxophone has been more recently introduced into the symphony orchestra, where it has found increased popularity. In one or other size, the instrument has been found a useful accompaniment to genres as wide-ranging as opera, choral music and chamber pieces. Many musical scores include parts for the saxophone, sometimes doubling another woodwind or brass instrument. In this way, the sax serves as a middle point between other woodwinds and the brass section, helping to blend the two sections. Check and like my page for more, just click on facebook/BaptistGabrielSax
Posted on: Mon, 05 May 2014 15:01:22 +0000
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