Larry Teal the Art of Playing Saxophone Page 37

Single-reed woodwind instrument

Saxophone

An alto saxophone
Woodwind instrument
Classification	Current of air, woodwind, aerophone
Hornbostel–Sachs nomenclature	422.212-71 (Unmarried-reed aerophone with keys)
Inventor(south)	Adolphe Sax
Developed	28 June 1846[i]
Playing range
Related instruments
Military band family unit: 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

The saxophone is a type of single-reed woodwind instrument with a conical trunk, unremarkably fabricated of brass. As with all single-reed instruments, sound is produced when a reed on a mouthpiece vibrates to produce a sound wave inside the musical instrument'south torso. The pitch is controlled by opening and closing holes in the torso to modify the effective length of the tube.^[2] The holes are closed by leather pads attached to keys operated by the actor. Saxophones are made in various sizes and are almost e'er treated as transposing instruments. Saxophone players are called saxophonists.^[3]

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), war machine 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 every bit a fellow member of a horn section in some styles of rock and coil and pop music.

The saxophone was invented by the Belgian musical instrument maker Adolphe Sax in the early 1840s^[iv] and was patented on 28 June 1846. Sax invented two groups of 7 instruments each—one grouping contained instruments in C and F, and the other group contained instruments in B ♭ and E ♭ . The B ♭ and E ♭ instruments shortly became ascendant and most saxophones encountered today are from this serial. Instruments from the serial pitched in C and F never gained a foothold and constituted merely a small percentage of instruments made by Sax. High Pitch (as well 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, only are not playable to modern tuning and are considered obsolete. Low Pitch (also marked "50" or "LP") saxophones are equivalent in tuning to modernistic instruments. C soprano and C melody saxophones were produced for the casual market equally parlor instruments during the early on twentieth century, and saxophones in F were introduced during the late 1920s but never gained credence. The modern saxophone family consists entirely of B ♭ and Eastward ♭ instruments. The saxophones in widest use are the B ♭ soprano, E ♭ alto, B ♭ tenor, and East ♭ baritone. The E ♭ sopranino and B ♭ bass saxophone are typically used in larger saxophone choir settings, when available.

#	Saxophone	Central	Sounds an octave lower than	Sounds an octave higher than
1	Sopranissimo	B ♭	##	Soprano
2	Sopranino	Due east ♭	##	Alto
three	Soprano	B ♭	Sopranissimo	Tenor
4	Alto	East ♭	Sopranino	Baritone
five	Tenor	B ♭	Soprano	Bass
6	Baritone	E ♭	Alto	Contrabass
vii	Bass	B ♭	Tenor	Subcontrabass
eight	Contrabass	Due east ♭	Baritone	##
nine	Subcontrabass	B ♭	Bass	##

Clarification [edit]

Construction [edit]

The pitch of a saxophone is controlled past opening or closing the toneholes forth the body of the musical instrument to change the length of the vibrating air column. The toneholes are closed past leather pads connected to keys—about are operated by the player's fingers but some are operated using the palm or the side of a finger. There is an octave primal which raises the pitch of the lower notes by one octave. The lowest notation, with all of the pads closed, is the (written) B ♭ below center C. Modern baritone saxophones are commonly synthetic to play a low A, and a small-scale number of altos keyed to depression A have also been manufactured. The highest keyed note has traditionally been the F ii and a half octaves in a higher place the low B ♭ but higher-quality instruments now accept an extra key for a high F ♯ , and a high G key can be plant on some modern soprano saxophones. Notes to a higher place the keyed range are part of the altissimo annals of the saxophone, and can exist produced using advanced embouchure techniques and fingering combinations. Saxophone music is written in treble clef (appropriately transposed for each different type of musical instrument) and all saxophones use the same key organization and fingerings, enabling players to switch between different types of saxophones fairly hands.

Soprano and sopranino saxophones are ordinarily synthetic with a straight tube with a flared bell at the stop 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 curve (the bow) that directs the tubing up as information technology approaches the bell. There are rare examples of alto, tenor, and baritone saxophones with mostly straight bodies.^[5] The baritone, bass, and contrabass saxophones arrange 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 arrangement clarinet,^[vi] and the flute.

Materials [edit]

From the primeval days of the saxophone the trunk and fundamental cups accept been made from sail brass stock, which tin can be worked into circuitous shapes. The keywork is manufactured from other types of brass stock. King fabricated saxophones with necks and bells of sterling silver from the 1930s into the early on 1960s. Yanagisawa revived this thought in the 1980s and later introduced instruments entirely made of sterling silver.^[7] Keilwerth and P. Mauriat have used nickel silver, a copper-nickel-zinc blend more commonly used for flutes, for the bodies of some saxophone models.^[eight] For visual and tonal effect, higher copper variants of brass are sometimes substituted for the more common "yellow brass" and "cartridge brass." Yanagisawa made its 902 and 992 serial saxophones with the high copper alloy phosphor bronze to accomplish a darker, more "vintage" tone than the brass 901 and 991 models.^[9]

Other materials are used for some mechanical parts and keywork. Buttons where the fingers contact the keys are usually made from plastic or female parent of pearl. Rods, spiral pins, and springs are normally fabricated of blued or stainless steel. Mechanical buffers of felt, cork, leather, and various constructed materials are used to minimize mechanical noise from fundamental movement and to optimize the action of the keywork. Nickel silver is sometimes used for hinges for its advantages of mechanical durability, although the nearly common textile for such applications has remained brass.

Manufacturers normally apply a finish to the surface of the musical instrument's body and keywork. The most common stop is a sparse blanket of clear or colored acrylic lacquer to protect the brass from oxidation and maintain a shiny appearance. Silver or gilded plating are offered as options on some models. Some silver plated saxophones are too lacquered. Plating saxophones with golden is an expensive procedure because an underplating of argent is required for the gold to adhere to.^[ten] Nickel plating has been used on the bodies of early budget model saxophones and is commonly used on keywork when a more durable stop is desired, mostly with pupil model saxophones. Chemical surface treatment of the base of operations metal has come into utilise every bit an alternative to the lacquer and plating finishes in contempo years.

Mouthpiece and reed [edit]

Tenor saxophone mouthpieces, ligatures, reed, and cap

The saxophone uses a single-reed mouthpiece like to that of the clarinet. Each size of saxophone (alto, tenor, etc.) uses a dissimilar size of reed and mouthpiece.

Most saxophonists employ reeds made from Arundo donax cane, but since the middle of the twentieth century some have been made of fiberglass or other blended materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length. Commercial reeds vary in hardness and pattern, and unmarried-reed players try different reeds to find those that suit their mouthpiece, embouchure, and playing style.

Mouthpiece design has a profound touch on tone.^[eleven] 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 more true to Adolphe Sax'southward original blueprint; these provide a softer or less piercing tone favored by the Raschèr schoolhouse of classical playing. Saxophonists who follow the French school of classical playing, influenced past Marcel Mule, generally apply mouthpieces with smaller chambers for a somewhat "brighter" sound with relatively more than upper harmonics. The use of the saxophone in dance orchestras and jazz ensembles from the 1920s onward placed emphasis on dynamic range and project, leading to innovation in mouthpiece designs. At the opposite farthermost from the classical mouthpieces are those with a small sleeping accommodation and a depression clearance above the reed betwixt the tip and the chamber, called loftier baffle. These produce a bright sound with maximum projection, suitable for having a audio stand up out among amplified instruments.

Mouthpieces come in a wide variety of materials, including vulcanized rubber (sometimes chosen hard condom or ebonite), plastic, and metals such as statuary or surgical steel. Less common materials that have been used include wood, drinking glass, crystal, porcelain, and bone. Recently, Delrin has been added to the stock of mouthpiece materials.

The effect of mouthpiece materials on tone of the saxophone has been the subject of much argue. According to Larry Teal, the mouthpiece material has lilliputian, if whatever, outcome on the sound, and the physical dimensions give a mouthpiece its tone colour.^[12] There are examples of "dark" sounding metal pieces and "bright" sounding hard safety pieces. The extra bulk required nearly the tip with hard rubber affects mouth position and airflow characteristics.

History [edit]

Early on development and adoption [edit]

The saxophone was designed around 1840 by Adolphe Sax, a Belgian instrument maker, flautist, and clarinetist.^[four] Born in Dinant and originally based in Brussels, he moved to Paris in 1842 to establish his musical musical instrument business. Earlier working on the saxophone, he 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 ophicleide, a large conical contumely musical instrument in the bass register with keys similar to a woodwind instrument. His experience with these 2 instruments allowed him to develop the skills and technologies needed to make the first saxophones.

As an outgrowth of his work improving the bass clarinet, Sax began developing an instrument with the projection of a contumely instrument and the agility of a woodwind. He wanted it to overblow at the octave, dissimilar 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 on 1840s, Sax applied for, and received, a 15-yr patent for the instrument on 28 June 1846.^[13] The patent encompassed xiv versions of the fundamental design, split into 2 categories of 7 instruments each, and ranging from sopranino to contrabass. A express number of instruments in the series pitched in F and C were produced past Sax, but the series pitched in E ♭ and B ♭ rapidly became the standard. All the instruments were given an initial written range from the B beneath the treble staff to the E ♭ one half-pace below the third ledger line to a higher place staff, giving each saxophone a range of two and a half octaves. Sax'due south patent expired in 1866.^[14] Thereafter, numerous other instrument manufacturers implemented their ain improvements to the pattern and keywork.

Sax'southward original keywork, which was based on the Triebert organisation 3 oboe for the left hand and the Boehm clarinet for the correct, was simplistic and fabricated 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 evolution of the saxophone the upper keyed range was extended to Due east, then F above the staff; 1880s era sheet music for saxophone was written for the range of low B to F. In 1887 the Buffet-Crampon company obtained a patent for extending the bong and adding an extra cardinal to extend the range downwards by 1 semitone to B ♭ .^[15] This extension is standard in modern designs, with the notable exception of baritone saxophones keyed to low A. The upper range to F would remain the standard for nearly a century until a high F ♯ fundamental became common on mod saxophones.

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 machine bands. Saxophone method books were published and saxophone instruction was offered at conservatories in France, Switzerland, Belgium, Spain, and Italy. By 1856 the French Garde Republicaine band included eight saxophones, making it the large ensemble that featured the instrument well-nigh prominently. The saxophone was used experimentally in orchestral scores, but never came into widespread utilize as an orchestral instrument. In 1853-54 the orchestra of Louis Antoine Jullien featured a soprano saxophone on a concert tour of the United states of america.^[17]

After an early period of interest and support from classical music communities in Europe, their interest in the musical 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.^[13] Merely information technology was during this same period that the saxophone began to be promoted in the United States, largely through the efforts of Patrick Gilmore, leader of the 22nd Regiment band, and Edward A. Lefebre, a Dutch emigre and saxophonist with family business associations with Sax. Lefebre settled in New York in early on 1872 after he arrived as a clarinetist with a British opera company. Gilmore organized the Globe Peace Jubilee and International Music Festival taking place in Boston that summer. The Garde Republicaine band performed and Lefebre was a clarinetist with the Great Festival Orchestra for that outcome.^[18] In the autumn of 1873 Gilmore was reorganizing the 22nd Regiment band under the influence of the Garde Republicaine band and recruited Lefebre, who had established a reputation in New York every bit a saxophonist over the previous yr. Gilmore'southward ring presently featured a soprano-alto-tenor-baritone saxophone section, which as well performed as a quartet. The Gilmore-Lefebre association lasted until Gilmore'southward expiry in 1892, during which time Lefebre also performed in smaller ensembles of various sizes and instrumentation, and worked with composers to increase lite classical and popular repertoire for saxophone.^[19]

Lefebre'due south later on promotional efforts were extremely pregnant in broadening adoption of the saxophone. Starting towards the end of the 1880s he consulted with the brass instrument manufacturer C.G. Conn to develop and showtime production of improved saxophones to supersede the costly, scantly available, and mechanically unreliable European instruments in the American marketplace. The early 1890s saw regular production of saxophones commence at Conn and its offshoot Buescher Manufacturing Company, which dramatically increased availability of saxophones in the US. Lefebre worked with the music publisher Carl Fischer to distribute his transcriptions, arrangements, and original works for saxophone, and worked with the Conn Conservatory to further saxophone educational activity in the US. Lefebre's associations with Conn and Fischer lasted into the first decade of the twentieth century and Fischer continued to publish new arrangements of Lefebre's works posthumously.^[20]

Early twentieth-century growth and development [edit]

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 utilise in vaudeville and ragtime bands around the turn of the century laid the groundwork for its use in dance orchestras and eventually jazz. As the market for saxophones grew in the U.s., the manufacturing manufacture grew; the Martin Band Instrument Company started producing saxophones between 1905 and 1912, and the Cleveland Band Instrument Company started producing saxophones nether contract to the H. N. White Company in 1916. The saxophone was promoted for the casual marketplace with introduction of the C-soprano and C-melody (between alto and tenor) saxophones to play in key with pianos from the same sheet music. Production of such instruments stopped during the Bully Low. During the 1920s the saxophone came into use as a jazz instrument, fostered by the influences of the Fletcher Henderson Orchestra and the Duke Ellington Orchestra. Starting in the late 1920s and early on 1930s, the modern era of classical saxophone was launched largely through the efforts of Marcel Mule and Sigurd Raschèr, and the classical repertoire for the instrument expanded rapidly.

The use of the saxophone for more dynamic and more technically demanding styles of playing added incentive for improvements in keywork and audio-visual design. Early saxophones had 2 divide octave keys operated by the left thumb to control the 2 octave vents required on alto and larger saxophones. A substantial advance in keywork around the turn of the century was the development of mechanisms by which the left thumb operates the two octave vents with a unmarried octave central. Ergonomic design of keywork evolved apace during the 1920s and 1930s. The front F mechanism supporting alternate fingerings for high E and F, and stack-linked G ♯ key activeness, became standard during the 1920s, followed past improvements to the left hand table key mechanisms decision-making the G ♯ and bell keys. New bore designs during the 1920s and 1930s resulted from the quest for improved intonation, dynamic response, and tonal qualities. The 1920s were besides the era of design experiments such as the Buescher direct altos and tenors, the King Saxello soprano, the C.G. Conn mezzo-soprano saxophone keyed in F, and the Conn-O-Sax saxophone – English horn hybrid.

Modernistic saxophone emerges [edit]

The modern layout of the saxophone emerged during the 1930s and 1940s, commencement with right-side bong keys introduced by C. Grand. Conn on baritones, so by King on altos and tenors. The mechanics of the left hand table were revolutionized past Selmer with their Balanced Activity instruments in 1936, capitalizing on the right-side bell central 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 loftier F ♯ key was also first introduced as an option on the Counterbalanced Activeness 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 written report of classical saxophone. They include Northwestern Academy, Indiana University, and the Eastman School of Music.^[22]

Uses [edit]

In military bands and classical music [edit]

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 the instrument in their ensembles. Most French and Belgian military bands incorporate at least a quartet of saxophones, comprising an Due east ♭ baritone, B ♭ tenor, E ♭ alto and B ♭ soprano. These four instruments have proved the most pop of all of Sax's creations, with the E ♭ contrabass and B ♭ bass usually considered impractically big and the E ♭ sopranino comparatively powerful. British armed forces bands tend to include at minimum two saxophonists, on the alto and tenor.^{[ citation needed ]}

The saxophone was introduced into the concert band, which ordinarily calls for an Due east ♭ alto saxophone, a B ♭ tenor saxophone, and an Due east ♭ baritone saxophone. A concert ring may include two altos, one tenor, and one baritone. A B ♭ soprano saxophone is also sometimes used, and is played past the first alto saxophonist. A bass saxophone in B ♭ is used in some concert ring music (especially music by Percy Grainger).^[23]

Saxophones are used in bedchamber music, such every bit 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 2d alto sax (AATB); a few professional person saxophone quartets have featured non-standard instrumentation, such every bit James Fei's Alto Quartet^[24] (iv altos).

In that location 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. Still, the largest body of chamber works for saxophone are from the mod era of classical saxophone initiated past 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 frequently considered the epitome for quartets due to the level of virtuosity demonstrated by its members and its central role in the development of modernistic quartet repertoire. Even so, organized quartets existed before Mule'southward ensemble, the prime instance being the quartet headed by Edward A. Lefebre (1834–1911), which was a subset of Patrick Gilmore's 22nd Regiment ring between 1873 and 1893.^[nineteen]

In the 20th and 21st centuries, the saxophone establish 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 [edit]

• Fantasie sur un thème original (1860)—Jules Demersseman
• Rapsodie pour orchestre et saxophone [Rhapsody for orchestra and saxophone] (1901)—Claude Debussy
• Choral varié, Op.55 (1903)—Vincent d'Indy
• 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 photographic 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, iii 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 cascade 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
• Panic for alto saxophone, jazz drum kit, winds and percussion (1995)—Harrison Birtwistle
• Concerto for Saxophone Quartet (1995)—Philip Drinking glass^{[25] [26]}
• Because Information technology Has a Song (2010) - James Barger
• Concerto for Alto Saxophone and Orchestra (2013)—John Adams

Selected saxophone quartets [edit]

• 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 sleeping room-music pieces with saxophone [edit]

• 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 pianoforte, 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 [edit]

• 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) – Small-scale 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. eight (1925) – Heitor Villa-Lobos
• Háry János (1926) – Zoltán Kodály
• Chôros No. x (1926) – Heitor Villa-Lobos
• Pianoforte Concerto (1926) – Aaron Copland
• An American in Paris (1928) – George Gershwin
• Symphony No. one (1928) – Aaron Copland
• Der Wein (1929) – Alban Berg
• The Golden Age (1930) – Dmitri Shostakovich
• Belshazzar's Banquet (1931) – William Walton
• Job: A Masque for Dancing (1931) – Ralph Vaughan Williams
• Suite No. ane (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. xi (1928–41) – Heitor Villa-Lobos
• Chôros No. 6 (1925–42) – Heitor Villa-Lobos
• Chôros No. 12 (1925–45) – Heitor Villa-Lobos
• Symphony No. vi (1947) – Ralph Vaughan Williams
• On the Waterfront (1954) – Leonard Bernstein
• Symphony No. 9 (1957) – Ralph Vaughan Williams
• Suite for Multifariousness Orchestra (post-1956) – Dmitri Shostakovich
• The Prince of the Pagodas (1957) – Benjamin Britten
• Gruppen (1955–57) – Karlheinz Stockhausen
• Carré (1959–threescore) – Karlheinz Stockhausen
• Déclarations d'orage for reciter, soprano, baritone, three improvising instruments (alto saxophone, tuba, synthesizer), large orchestra and tape (1988–89) – Henri Pousseur
• Urban center Noir (2009) – John Adams

Selected operas and musicals with saxophones [edit]

• 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
• Westward Side Story (1957) – Leonard Bernstein
• Nosotros Come to the River (1976) – Hans Werner Henze
• Samstag aus Licht (1984) – Karlheinz Stockhausen
• Nixon in China (1987) – John Adams

In jazz and pop music [edit]

SS Stockholm. 369th Infantry Regiment Band and leader Lt. James Reese Europe, winter 1918–1919

Coincident with the more widespread availability of saxophones in the US around the plough of the century was the rise of ragtime music. The bands featuring the syncopated Latin- and African-American rhythmic influences of ragtime were an exciting new feature of the American cultural landscape and provided the background for new styles of dancing. Two of the best known ragtime-playing contumely bands with saxophones were those led by Westward. C. Handy and James R. Europe. Europe's 369th Infantry Regiment Band popularized ragtime in France during its 1918 bout.^[27] The rise of dance bands into the 1920s followed from the popularity of ragtime. The saxophone was likewise used in Vaudeville amusement during the same flow. Ragtime, Vaudeville, and dance bands introduced much of the American public to the saxophone. Rudy Wiedoeft became the best known individual saxophone stylist and virtuoso during this period leading into the "saxophone craze" of the 1920s.^[28] Following it, the saxophone became featured in music equally diverse equally the "sweet" music of Paul Whiteman and Guy Lombardo, jazz, swing, and big stage show bands.^{[ citation needed ]}

The rise of the saxophone as a jazz instrument followed its widespread adoption in dance bands during the early 1920s. The Fletcher Henderson Orchestra, formed in 1923, featured arrangements to dorsum upwards improvisation, bringing the starting time elements of jazz to the large dance orchestra format.^[29] Following the innovations of the Fletcher Henderson Orchestra, the Duke Ellington Orchestra and Jean Goldkette's Victor Recording Orchestra featured jazz solos with saxophones and other instruments. The association of trip the light fantastic bands with jazz would reach its peak with the swing music of the 1930s. The large prove band format, influenced by the 1930s swing bands, would be used as backing for popular vocalists and stage shows in the post Earth State of war Ii era, and provided a foundation for big band jazz. Testify bands with saxophone sections became a staple of television talk shows (such as the Tonight Show that featured bands led by Doc Severinsen and Branford Marsalis) and Las Vegas phase shows. The swing era fostered the later saxophone styles that permeated bebop and rhythm and blues in the early postwar era.^{[ citation needed ]}

Coleman Hawkins, the most influential saxophone stylist of jazz'south early on period, c. 1945

Coleman Hawkins established the tenor saxophone as a jazz solo instrument during his stint with Fletcher Henderson from 1923 to 1934. Hawkins' arpeggiated, rich-toned, vibrato-laden manner was the main influence on swing era tenor players before Lester Young, and his influence connected with other big-toned tenor players into the era of modern jazz. Among the tenor players directly influenced by him were Chu Berry, Charlie Barnet, Tex Beneke, Ben Webster, Vido Musso, Herschel Evans, Buddy Tate, and Don Byas.^{[half dozen]} Hawkins' bandmate Benny Carter and Duke Ellington's alto saxophonist Johnny Hodges became influential on swing era alto styles, while Harry Carney brought the baritone saxophone to prominence with the Duke Ellington Orchestra. The New Orleans player Sidney Bechet gained recognition for playing the soprano saxophone during the 1920s, but the instrument did not come into wide apply until the mod era of jazz.^{[ citation needed ]}

As Chicago mode jazz evolved from New Orleans jazz in the 1920s, 1 of its defining features was the addition of saxophones to the ensemble. The small Chicago ensembles offered more improvisational freedom than did the New Orleans or large band formats, fostering the innovations of saxophonists Jimmy Dorsey (alto), Frankie Trumbauer (c-melody), Bud Freeman (tenor) and Stump Evans (baritone). Dorsey and Trumbauer became important influences on tenor saxophonist Lester Immature.^[6]

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 past the melody. He used vibrato less, fitting information technology to the passage he was playing. His tone was smoother and darker than that of his 1930s contemporaries. Young'south 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 Fine art Pepper.^[6]

Charlie Parker, leader of the bebop revolution, 1947

The influence of Lester Immature with the Count Basie Orchestra in the belatedly 1930s and the popularity of Hawkins' 1939 recording of "Torso and Soul" marked the saxophone equally an influence on jazz equal to the trumpet, which had been the defining instrument of jazz since its ancestry 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 pocket-size-group format of bebop and post-bebop jazz ensembles gained ascendancy in the 1940s equally musicians used the harmonic and melodic freedom pioneered by Parker, Empty-headed 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 Immature, 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 1000 also uses the soprano sax as his principal instrument.^[thirty]

Saxophonists such as John Coltrane, Ornette Coleman, Sam Rivers, and Pharoah Sanders divers the forefront of creative exploration with the avant-garde movement of the 1960s. The new realms offered with Modal, harmolodic, and gratuitous 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. I lasting influence of the avant-garde motion is the exploration of non-Western indigenous sounds on the saxophone, for example, the African-influenced sounds used past Sanders and the Indian-influenced sounds used by Coltrane. The devices of the avant-garde movement accept continued to be influential in music that challenges the boundaries betwixt advanced and other categories of jazz, such equally that of alto saxophonists Steve Coleman and Greg Osby.

Illinois Jacquet, early influence on R&B saxophone, 1941

Some ensembles such as the World Saxophone Quartet utilize 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 (iv baritones).^[31]

The "bound swing" bands of the 1940s gave ascension to rhythm and blues, featuring horn sections and exuberant, strong-toned, heavily rhythmic styles of saxophone playing with a melodic sense based on dejection tonalities. Illinois Jacquet, Sam Butera, Arnett Cobb, and Jimmy Forrest were major influences on R&B tenor styles and Louis Jordan, Eddie "Cleanhead" Vinson, Earl Bostic, and Bull Moose Jackson were major influences on alto. The R&B saxophone players influenced later genres including rock and scroll, ska, soul, and funk. Horn department work continued with Johnny Otis and Ray Charles featuring horn sections and the Memphis Horns, the Phenix Horns, and Tower of Ability achieving stardom for their section playing. Horn sections were added to the Chicago and West Coast blues bands of Lowell Fulson, T-Bone Walker, B.B. Rex, and Guitar Slim. Rock and soul fusion bands such as Chicago, The Electric Flag, and Blood, Sweat, and Tears featured horn sections. Bobby Keys and Clarence Clemons became influential rock and whorl saxophone stylists. Inferior Walker, Male monarch Curtis and Maceo Parker became influential soul and funk saxophone stylists, influencing the more technical jazz-fusion sounds of Michael Brecker and Bob Mintzer and pop-jazz players such equally Candy Dulfer.^{[ commendation needed ]}

Unusual variants [edit]

A number of experimental saxophones and saxophone-related instruments accept appeared since Sax's original work, about with no lasting touch on. During the early 1920s Reiffel & Husted of Chicago produced a slide soprano saxophone.^{[32] [33] [34]} During the 1920s some straight alto and tenor saxophones were produced by Buescher, which proved cumbersome to handle and difficult to transport. Buescher custom produced 1 straight baritone saxophone as novelty instrument for a vaudeville performer.^[35] C.M. Conn introduced two new variants in 1928–1929, the Conn-O-Sax and the mezzo-soprano saxophone keyed in F. The Conn-O-Sax is a straight-conical bore instrument in F (one step above the East ♭ alto) with a slightly curved neck and spherical bell. This musical instrument, which combines 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 has a key range from low A to high One thousand. Fewer than 100 Conn-O-Saxes are in existence and they are highly sought by collectors. The Conn mezzo-soprano experienced a similarly brusk production run equally the economics of the Great Low curtailed the market for what were regarded as novelty instruments. Most were expended by Conn as objects of repair training exercises.

The most successful of the unusual 1920s designs was the King Saxello, substantially a directly B ♭ soprano, simply with a slightly curved neck and tipped bell, made by the H. North. White Company. Such instruments now command prices up to US$iv,000. Its lasting influence is shown in the number of companies, including Keilwerth, Rampone & Cazzani (altello model), Fifty.A. Sax and Sax Dakota USA, marketing directly-bore, tipped-bell soprano saxophones as saxellos (or "saxello sopranos").

Involvement in ii 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.^[36] More recently, the mezzo-soprano, or a modern variant of it, came into apply 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 mod era. Straight altos and tenors have been revived past Keilwerth,^[37] Fifty.A. Sax^[38] and Sax Dakota USA. A mezzo-soprano in the key of Yard has been produced past Danish woodwind technician Peter Jessen, well-nigh 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-tune, was developed in the late 20th century past California instrument maker Jim Schmidt.^[39] This instrument has a larger bore and a new fingering system, and does not resemble the orchestral musical instrument except for its key and annals.

Eppelsheim Soprillo Saxophone

Benedikt Eppelsheim, of Munich, Frg has introduced recent innovations at the upper and lower ends of the saxophone range. The soprillo sax is a piccolo-sized straight instrument with the upper speaker hole built into the mouthpiece. The instrument, which extends Sax's original family, is pitched a full octave higher than the B ♭ soprano sax. The tubax, developed in 1999 by Eppelsheim,^[40] plays the aforementioned range and with the same fingering as the Eastward ♭ contrabass saxophone; its bore, withal, is narrower than that of a contrabass saxophone, resulting in a more compact musical instrument with a "reedier" tone (alike to the double-reed contrabass sarrusophone). Information technology can be played with the smaller (and more commonly bachelor) baritone saxophone mouthpiece and reeds. Eppelsheim has also produced subcontrabass tubaxes in C and B ♭ , the latter being the lowest saxophone ever made.

Among the 2000s developments is the aulochrome, a double soprano saxophone invented by Belgian musical instrument maker François Louis in 2001.

Since the 1950s, saxophones with non-metallic bodies accept occasionally been in production. Such instruments have failed to gain credence over a number of bug including durability, repairability, and deficiencies in key action and tone.^{[41] [42]} The all-time known of these efforts is the 1950s Grafton acrylic alto saxophone used briefly past Charlie Parker and Ornette Coleman. Information technology had a production run of over x years as a budget model saxophone. The polycarbonate Vibratosax is in production as a low cost culling to metal saxophones. Wooden Sawat saxophones are made in Thailand on a small scale. Opinions vary on the significance of trunk materials to sound.

The fingering scheme of the saxophone, which has had but minor changes since the instrument'south original invention, has presented inherent acoustic bug related to airtight keys below the first open up tonehole that affect response of, and slightly muffle, some notes. There is also a lack of tactile consistency between key centers, requiring actress try from the player to accommodate modes of muscle retentiveness when moving between key centers. Two efforts to remedy the audio-visual problems and awkward aspects of the original fingering organisation are noteworthy.

The Leblanc Rationale and Organization^[43] saxophones take key mechanics designed to remedy the acoustic bug associated with closed keys below the first open tonehole. They too enable players to brand half-footstep shifts of scales by depressing one key while keeping the rest of the fingering consequent with that of the fingering a one-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 arrangement, acceptance was dumb by the expense and mechanical reliability issues related to the complexity of certain cardinal mechanisms.^[44]

The chromatic, or linear fingering, saxophone is a projection of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval regardless of the primal, and avoiding the acoustic issues associated with closed keys below the beginning open tone hole.^[45] Several working prototypes accept been built and presented at trade shows.^[46] Production of this original and expensive saxophone is on an private order basis.

[edit]

Saxos de Bambú by Ángel Sampedro del Río, Argentina

Inexpensive keyless folk versions of the saxophone fabricated of bamboo (recalling a chalumeau) were developed in the 20th century past musical instrument makers in Hawaii, Jamaica, Thailand, Indonesia, Ethiopia, 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 than closely resembles that of a clarinet, and its lack of any keywork makes information technology more akin to a recorder. Jamaica's best known exponent of a similar type of homemade bamboo "saxophone" was the mento musician and musical instrument maker 'Sugar Abdomen' (William Walker).^[47] In the Minahasa region of the Indonesian isle of Sulawesi, in that location exist entire bands made up of bamboo "saxophones"^[48] and "brass" instruments of various sizes. These instruments are imitations of European instruments, made using local materials. Similar instruments are produced in Thailand.^[49]

In Argentine republic, Ángel Sampedro del Río and Mariana García have produced bamboo saxophones of various sizes since 1985, the larger of which have bamboo keys to permit for the playing of lower notes.^[50]

Many synthesizer air current controllers are played and fingered like a saxophone, such as the Electronic Wind Instrument (EWI).

Epitome gallery [edit]

• 

  A straight-necked Conn C melody saxophone (Conn New Wonder Serial one)^[51] with a series number that dates manufacture to 1922

• 

  Yamaha YAS-25 alto saxophone. Circa 1990s

• 

• 

  Ochres Music "No.5" hand-made professional alto saxophone with 24 carat gold seal on bong.

• 

  Vito 'Model 35' alto saxophone, circa 1960s. An unusual instrument with additional keywork.

Run across as well [edit]

• Saxophone technique
• Saxophone mouthpieces

Notes [edit]

1. ^ "June 28, 1846: Parisian Inventor Patents Saxophone". Wired.com. Retrieved fourteen February 2011.
2. ^ Cottrell, Stephen (2013). The Saxophone (Yale Musical instrument Serial). Yale Musical instrument Series.
3. ^ "Saxophone". The Free Dictionary Past Farlex. Retrieved 2012-05-25 .
4. ^ ^{a b} Raumberger, Ventzke, Claus, Karl (2001). "Saxophone". Oxford Music Online. doi:10.1093/gmo/9781561592630.article.24670. ISBN978-i-56159-263-0 . Retrieved 6 April 2019.
5. ^ "Jay Easton's unusual saxophones". Retrieved 2021-05-16 .
6. ^ ^{a b c d} Porter, Lewis (2002). Kernfeld, Barry (ed.). The New Grove Dictionary of Jazz. Vol. 3 (2 ed.). New York: Grove's Dictionaries. pp. 507–514. ISBN978-1-56159-284-v.
7. ^ "T9937". Yanagisawa website. Archived from the original on 2007-12-xxx. Retrieved 2008-01-06 .
8. ^ "PMST-60NS". Paul Mauriat website. Archived from the original on December eight, 2008. Retrieved 2008-08-22 .
9. ^ "Yanagisawa Saxophones". Archived from the original on June xvi, 2009. Retrieved 2014-05-xix .
10. ^ "The Horn". JazzBariSax.com.
11. ^ Rousseau, Eugene. "Discussions". EugeneRousseau.com. The Art of Choosing a Saxophone Mouthpiece. Archived from the original on 2016-04-05. Retrieved 27 April 2016.
12. ^ Teal, Larry (1963). The Art of Saxophone Playing. Miami: Summy-Birchard. p. 17. ISBN978-0-87487-057-two. 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 bedchamber and outside measurements too as the facing, play very most the same.
13. ^ ^{a b} "Adolphe Sax". BassSax.com. Retrieved 2007-05-07 .
14. ^ "The history, of the saxophone". The-Saxophone.com. Retrieved 2008-01-06 .
15. ^ Noyes, p. 119 (Noyes refers to the "Evette and Schaeffer" company, however, Buffet-Crampon had acquired Evette and Schaeffer in 1877 and was using Evette-Schaeffer as the brand for their ain instruments)
16. ^ * Weinstock, Herbert (1968), p. 238, Rossini: A Biography. New York: Knopf. OCLC 192614, 250474431. Reprint (1987): New York: Limelight. ISBN 978-0-87910-071-1.
17. ^ Noyes, Chapter 2
18. ^ Noyes, Chapter III
19. ^ ^{a b} Noyes, Chapter IV
20. ^ Noyes, Chapter V
21. ^ Hales, Pete. "The Selmer Balanced Activity". saxpics.com . Retrieved 9 April 2019.
22. ^ Lipman, Steve (June 2020). "Best Colleges to Study Classical Saxophone". /insidemusicschools.com . Retrieved 24 December 2020.
23. ^ Ventry, J. (26 March 1930). "A Talk On Modern Band Music". Trove.nla.gov.au. The Mercury. Retrieved 3 February 2017.
24. ^ "James Fei: DVD". Archived from the original on 2006-12-17. Retrieved 2007-05-07 .
25. ^ "Recommended Saxophone Repertoire Alto Saxophone Level Three" (PDF). Music.indiana.edu.
26. ^ Mauk, Steven. "Selected Repertoire". Ithaca.edu. Retrieved 2014-05-19 .
27. ^ Emmett Jay Scott (1919). Scott's Official History of the American Negro in the Earth War. Homewood Press. pp. 308–.
28. ^ "How Rudy Wiedoeft's Saxophobia Launched the Saxual Revolution" (PDF).
29. ^ "Fletcher Henderson". Musicians.allaboutjazz.com. Retrieved 2019-02-23 .
30. ^ Mandel, Howard "Kenny G ." Bakery'southward Biographical Lexicon of Popular Musicians Since 1990. . Retrieved June 17, 2020 from Encyclopedia.com: https://www.encyclopedia.com/education/dictionaries-thesauruses-pictures-and-press-releases/kenny-g
31. ^ Russonello, Giovanni (2018-10-07). "Hamiet Bluiett, Baritone Saxophone Trailblazer, Dies at 78 (Published 2018)". The New York Times. ISSN 0362-4331. Retrieved 2021-03-08 .
32. ^ "The Royal Holland Bell Ringers Collection and Annal". Retrieved 2019-03-28 .
33. ^ "Slide sax flick". Retrieved 2006-ten-23 .
34. ^ "Slide sax picture". Archived from the original on 2007-06-28. Retrieved 2006-10-23 .
35. ^ Cohen, Paul (1993). "column". Saxophone Journal. 18 (two).
36. ^ Brown, John Robert. "The Keilwerth direct alto". John Robert Brown, Writer, Musician. Archived from the original on 2019-05-12. Retrieved 8 April 2019.
37. ^ Howard, Stephen. "Workbench review, Keilwerth SX90 straight alto saxophone". shwoodwind.co.uk . Retrieved 8 April 2019.
38. ^ "L.A. Sax Straight Models". Retrieved 2007-05-07 .
39. ^ "Jim Schmidt'due south Contralto". Archived from the original on April 8, 2007. Retrieved 2007-05-07 .
40. ^ "Tubax Due east ♭ saxophone". Benedikt Eppelsheim Wind Instruments. Retrieved 2007-05-07 .
41. ^ "The Grafton Plastic Saxophone | Sax Gourmet". saxgourmet.com. Retrieved 2019-03-28 .
42. ^ Stohrer, Matthew. "Repairman'southward Overview: Vibrato Plastic Saxophone – YouTube". youtube.com. Archived from the original on 2021-x-30. Retrieved 2019-03-28 .
43. ^ "The Fabulous Leblanc Saxophones". saxgourmet.com.
44. ^ Howard, Stephen. "Vito Leblanc System 35 (Johnny Hodges) alto saxophone review". shwoodwind.co.uk . Retrieved 27 July 2019.
45. ^ "Saxophones with Linear Fingering Organization – Flutes and Saxes – JSengineering". jsengineering.net.
46. ^ "Jim Schmidt demonstrates his unique saxophone". YouTube. 20 January 2009. Archived from the original on 2021-10-xxx.
47. ^ "Mento Music: Sugar Belly". Retrieved 2007-05-07 .
48. ^ "Culture & Arts in North Sulawesi, Indonesia". Archived from the original on 2007-04-02. Retrieved 2007-05-07 .
49. ^ "A bio-aesthetic offspring of unmarried reed woodwinds-Dieter Clermont and his Thai partner Khanung Thuanthee build bamboo saxophones in North Thailand since the tardily 1980s". Archived from the original on 2008-09-21. Retrieved 2008-07-31 .
50. ^ "Un Mundo de Bambú". Retrieved 2007-05-07 .
51. ^ "Photo Gallery :: SaxPics.com". saxpics.com.
52. ^ "Photograph Gallery". SaxPics.com. Retrieved 2014-05-xix .
53. ^ "Photo Gallery :: SaxPics.com". saxpics.com.

References [edit]

• Grove, George (Jan 2001). Sadie, Stanley (ed.). The New Grove Encyclopædia of Music and Musicians (2d ed.). Grove's Dictionaries of Music. Book 18, pp534–539. ISBN978-1-56159-239-5.
• Horwood, Wally (1992) [1983]. Adolphe Sax, 1814–1894: His Life and Legacy ((Revised edition) ed.). Herts: Egon Publishers. ISBN978-0-905858-18-0.
• 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 . Cambridge Companions to Music. Cambridge: Cambridge Univ. Press. ISBN978-0-521-59348-9.
• Kool, Jaap (1931). Das Saxophon (in German). Leipzig: J. J. Weber. (translated to English every bit Gwozdz, Lawrence (1987). The Saxophone. Egon Publishers Ltd. )
• Kotchnitsky, Léon (1985) [1949]. Sax and His Saxophone (Fourth ed.). North American Saxophone Brotherhood.
• Lindemeyer, Paul (1996). Jubilant the Saxophone. William Morrow & Co. ISBN978-0-688-13518-8.
• Marzi, Mario (2009). Il Saxofono. The Expression of Music 4 (in Italian). Varese, Italian republic: Zecchini Editore (Zecchini Publisher). p. 468. ISBN978-88-87203-86-8.
• Noyes, John Russell (2000). Edward A. Lefebre (1835-1911): Preeminent Saxophonist of the Nineteenth Century (PhD Dissertation) (PDF). New York: Manhattan Schoolhouse of Music. Retrieved 21 Apr 2019.
• Segell, Michael (2005). The Devil's Horn: The Story of the Saxophone, from Noisy Novelty to Rex of Absurd . Farrar, Straus and Giroux. ISBN978-0-374-15938-2.
• Thiollet, Jean-Pierre (2004). Sax, Mule & Co. Paris: H & D. ISBN978-2-914266-03-1.

Farther reading [edit]

• Chadwick, George. "Waner Boys Popularizing Saxophone". The San Bernardino Sun. June 16, 1927.

External links [edit]

• Instruments In Depth: The Saxophone An online feature with video demonstrations from Bloomingdale School of Music (June 2009)
• Saxophone Fingering Charts

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Source: https://en.wikipedia.org/wiki/Saxophone

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