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org/wiki/Saxophone#Members_of_the_saxophone_family

Saxophone

Saxophones of different sizes play in different registers. This is an alto saxophone in E flat.

The saxophone or sax is a conical instrument of the woodwind family, usually made of brass
and played with a single-reed mouthpiece like the clarinet. It was invented by Adolphe Sax in the
1840s. The saxophone is most 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 appropriately called saxophonists.

Contents
• 1 History
• 2 Construction
• 3 Materials
• 4 The mouthpiece
• 5 Reeds
• 6 Members of the saxophone family
o 6.1 Common saxophones
o 6.2 Rare saxophones and novelty sizes
o 6.3 Related instruments
• 7 Writing for the saxophone
• 8 The saxophone in ensembles
• 9 Technique
o 9.1 The embouchure
 o 9.2 Tone effects
o 9.3 Electronic effects
• 10 References
• 11 See also
• 12 External links

History
The saxophone was created in the early 1840s by Adolphe Sax, a Belgian-born instrument-
maker, flautist, and clarinetist working in Paris. It was first officially revealed to the public in the
presentation of the bass saxophone in C at an exhibition in Brussels in 1841, and in the patent of
1846 (which was granted to him on May 17). He drew up plans for 14 different types of
saxophones, but they were not all realized. Sax's amazing ability to offend rival instrument
manufacturers, and unfortunate prejudice towards the man and his instruments led to it not being
used in orchestral groups, and for a long time it was relegated to military bands--this despite his
great friendship with the influential Parisian composer Hector Berlioz.

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 (doing so results in a definitely saxophone-
like sound). Sax worked in his father's workshop for many years, and both clarinets and
ophicleides were manufactured there. 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
1890's, long after the saxophone had been invented. It is likely that Sax's intent was to invent an
entirely new instrument which suited his desires both tonally and technically and possessed a
new level of flexibility. 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.

The development is defined almost entirely in terms of Sax's patent. For the duration of the
patent (1846-1866) no one except the Sax factory could legally manufacture or modify the
instruments. After 1866 many modifications were introduced by a number of manufacturers.
The jazz saxophonist Klaus Doldinger playing the tenor sax.

Construction
The saxophone uses a single reed mouthpiece similar to that of a clarinet, but with a round or
square evacuated inner chamber. The saxophone's body is effectively conical, giving it properties
more similar to the oboe than to the clarinet. However, unlike the oboe, whose tube is a single
cone, most saxophones have a distinctive curve at the bell. Straight soprano and sopranino
saxophones are more common than curved ones, and a very few straight alto and tenor
saxophones have been made, as novelties. Straight baritone and C melody saxophones have
occasionally been made as custom instruments, but were never production items (reference [1],
Jay Easton's custom Vito straight baritone [2] and Bennie Meroff's custom Buescher Straight
Baritone [3]).There is some debate amongst players as to whether the curve affects the tone or
not.

Materials
Nearly all saxophones are made from brass. After completing the instrument, manufacturers
usually apply either a coating of clear or colored lacquer, or plating of silver or gold, over the
bare brass. The lacquer or plating serves to protect the brass from corrosion, to enhance sound
quality, and/or (in the case of colored lacquers) to give the saxophone an interesting visual
appearance. Different lacquers purportedly provide different tone qualities [citation needed] — darker
lacquer is usually associated with deeper timbres, while lighter lacquers such as silver are
associated with brighter, more vibrant ones.

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. Prior to 1960,
some instruments were plated with nickel as a cheaper alternative to silver; prior to 1930, it was
common for instruments to be sold with a bare brass finish (without lacquer or plating). Certain
companies, such as Yanagisawa, manufacture saxophones made from bronze, which is claimed
to produce a warmer sound.

The mouthpiece

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

Mouthpieces come in a wide variety of materials, including rubber, 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 color. (Teal 17) 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 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.

Reeds

Frederick L. Hemke alto and tenor saxophone reeds.

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 mouthpiece and playing style.
Strength is usually measured using a numeric scale that ranges from 1 to 6 (though one rarely
sees a reed at either end of this spectrum). Unfortunately, this scale is far from standardized
between brands; thus a Rico #3 reed is decidedly softer than a Vandoren #3, for example.

Some players make their own reeds from "blanks", but as this is time-consuming and usually
requires expensive equipment, most do not. Most players, however, adjust reeds by shaving or
sanding. Methods for 'breaking in' reeds, caring for reeds, and adjusting reeds are a controversial
topic among players, and opinions about how long reeds remain playable differ greatly among
players. Most players agree that reeds are somewhat inconsistent and require maintenance.
Because saliva comes in contact with reeds, they should be rinsed right after playing in order to
stifle germs and to prevent the saliva from deteriorating the reed's fibers. Advanced students and
professional saxophonists spend years perfecting their methods of reed selection, storage, and
adjustment.

Most reeds are made from cane; however, synthetic reeds, made from various substances, are
available, and are used by a small number of saxophonists. Many players consider them to have
poor sound, or say they would consider them for use only in a context, such as a marching band,
where tone quality is relatively unimportant. On the other hand, synthetic reeds are generally
more durable than their natural counterparts, do not need to be moistened prior to playing, and
can be more consistent in quality. Recent developments in synthetic reed technology has
produced reeds made from synthetic polymer compounds [4], which are gaining increased
acceptance among some players, especially for use when the instrument is played intermittently
(during which time a natural reed might become dry).

Members of the saxophone family

Jay C. Easton with ten members of the saxophone family. From largest to smallest: contrabass,
bass, baritone, tenor, C melody, alto, F mezzo-soprano, soprano, C soprano, 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-flat and B-flat. 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 the band family, only the soprano, alto, tenor and baritone are in common use (these form the
typical saxophone sections of both military and big bands). The bass saxophone is occasionally
used in band music (especially music by Percy Grainger).

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, the tenor is the
predominant saxophone used by soloists, followed by the alto. The soprano has regained a
degree of popularity over recent decades in jazz/pop/rock contexts, beginning first 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 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 used except in 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 1930's 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-flat soprano)
was marketed to those who wished to perform oboe parts in military band and vaudeville
arrangements. C sopranos are easy to confuse with regular (B-flat) sopranos, since they are only
approximately 2 centimeters shorter in size. None has been produced since the late 1920's. 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.
The baritone in F is among the rarest sizes of saxophone; such instruments are extremely rare
nowadays, and often resemble an ophicleide. It is uncertain whether any specimens of the bass
saxophone in C (the first saxophone constructed and exhibited by Sax in the early 1840s) remain.

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, similar to a straight soprano but with
a slightly curved neck and tipped bell; the straight alto; and the straight tenor (currently made
only 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 alto a stritch and his modified saxello a manzello; this unique instrument featured a
larger-than-usual bell and modified keywork.

The Tubax, developed in 1999 by the German instrument maker Benedikt Eppelsheim[5], plays
the same range, and with the same fingering, as the E-flat 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 a B-flat subcontrabass Tubax, 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-flat 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 between 1928 and
1930. The instrument had a key range from low A to high G.

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,
Argentina, Thailand, and Indonesia. The Hawaiian instrument, called a xaphoon, 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.

Writing for the saxophone

Music for all sizes of saxophone is written on the treble clef. The standard written range extends
from a B-flat below the staff to an F or F# three ledger lines above the staff. Higher notes --
those in the altissimo range (ranging from high F# or above) -- can also be played using
advanced techniques. Sax himself had mastered these techniques; he demonstrated the
instrument as having a range of over three octaves.

Virtually all saxophones are transposing instruments: Sopranino, alto and baritone saxophones
are in the key of E-flat, and soprano, tenor and bass saxophones are in the key of B-flat. Because
all instruments use the same fingerings for a given written note, it is easy for a player to switch
between different saxophones. When a saxophonist plays a C on the staff on an E-flat alto, the
note sounds as E-flat a sixth below the written note. A C played on a B-flat tenor, however,
sounds as B-flat a ninth below. The E-flat baritone is an octave below the alto, and the B-flat
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 Eb, they can play concert pitch music written in bass
clef by imagining it to be treble clef and adding three sharps to the key signature. On the
baritone, this allows the playing of bassoon and bass parts at sounding pitch. This is a useful
skill, especially if baritone sax parts are not available.

Most late-model baritone saxophones have an extra key that allows the player to play a low A
(concert C), but other members of the family do not (except for a few rare altos made by The
Selmer Company [6]), and composers who write this note for baritone should be aware that it
may not actually be played if the saxophonist uses an older instrument.

The saxophone 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 (comprising the soprano, alto, tenor, and baritone instruments, or, more
rarely, two altos, tenor, and baritone). There is an extensive repertoire of classical compositions
and arrangements for this instrumentation dating back to the nineteenth century, particularly by
French composers. The Raschèr [7], Amherst [8], Aurelia [9] and Rova Saxophone Quartets are
among the most well known groups, and the World Saxophone Quartet is the preeminent jazz
saxophone quartet.

Larger all-saxophone ensembles exist as well. The most prominent professional saxophone
ensembles include the Raschèr Saxophone Orchestra [10], London Saxophonic [11], Nuclear
Whales Saxophone Orchestra [12], and Urban Sax. Very large groups, featuring over 100
saxophones, are sometimes organized as a novelty at saxophone conventions [13].

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 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 heated (and perhaps pointless) 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.
Fingerings typically appear with the left and right hand side-by-side.

The embouchure

In the typical embouchure, the mouthpiece is generally not taken more than half-way into the
player's mouth. The bottom lip is curled over the lower teeth, and the mouthpiece is rested upon
it, held firm with light pressure from the upper teeth resting on the mouthpiece (sometimes
padded with a thin strip of rubber known as a "bite-pad"). The upper lip closes to create an air-
tight seal, and the corners of the mouth are kept firm and pulled up towards the nose as the head
is tilted down to straighten the neck and thus the air-current.

Two things are imperative to a full and quick-speaking sound: diaphragm support and the
position of the throat. The player's diaphragm acts as a bellows, supplying a constant stream of
air to, and through the instrument. The throat should feel open, as when yawning. This openness
should remain constant throughout the register of the saxophone, especially the low register (D
down to Bb [or A if available]). The full range of the instrument should be played without
changing the position of the embouchure.

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 even "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 marching band music but
often found in jazz, blues, rock 'n' roll and other popular genres. Some notable musicians
utilizing this technique are Boots Randolph, Gato Barbieri, Ben Webster, Clarence Clemons and
King Curtis.
• A glissando or sliding technique can also be used. Here the saxophonist bends the note
using the embouchure 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 even in an orchestral score (George Gershwin's "Rhapsody in Blue").
• Multiphonics 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-flat is fingered, a
B-flat one octave above may be sounded by manipulating the air stream. Other overtones that
can be obtained with this fingering include F, Bb, and D. The same air stream techniques used to
produce overtones are also used to produce notes above high F (the "altissimo register").
 Electronic effects

The use of electronic effects with the saxophone dates back to 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 had 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.

References
• Teal, Larry (1963): The Art of Saxophone Playing. Miami:Summy-Birchard. ISBN 0-
87487-057-7

See also
• List of saxophonists
• Soprano saxophone
• Alto saxophone
• C melody saxophone
• Tenor saxophone
• Baritone saxophone
• Bass saxophone
• Tubax
• Aulochrome
• B-flat instrument

External links

Wikimedia Commons has media related to:

Saxophone

• Pete Thomas Sax Site Excellent resources.

• World Saxophone Congress 2006, Ljubljana - Slovenia
• The International Saxophone Home Page
• Sax on the Web Lessons, tips, articles, and discussion
forum.
 • Introduction to Saxophone acoustics
• Saxophone fingering chart
• SaxTalk Saxophone news and articles.
• The Vintage Saxophone Gallery Vintage saxophone
pictures and research.
• alt.music.saxophone/rec.music.makers.saxophone One of
the first Saxophone FAQs on the web
• Time line of saxophone history
• Forum for the Saxophonist
• Sax Music Plus (helpful advice, articles and informative
newsletter on the art of saxophone playing)
• SaxTips Podcast (the first and only Saxophone Workshop
on the Web as a Podcast)
• A world of bamboo(Bamboo saxophones webpage from
Argentina)

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