What Instrument Family Does the Saxophone Belong to

Single-reed woodwind instrument

Saxophone

An alto saxophone
Woodwind instrument
Nomenclature	Air current, woodwind, aerophone
Hornbostel–Sachs classification	422.212-71 (Single-reed aerophone with keys)
Inventor(s)	Adolphe Sax
Developed	28 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

The saxophone is a type of single-reed woodwind instrument with a conical body, usually made of contumely. Every bit with all single-reed instruments, sound is produced when a reed on a mouthpiece vibrates to produce a audio moving ridge inside the instrument'due south body. The pitch is controlled by opening and closing holes in the body to alter the constructive length of the tube.^[2] The holes are airtight by leather pads attached to keys operated by the player. Saxophones are made in various sizes and are almost always treated as transposing instruments. Saxophone players are called saxophonists.^[three]

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), armed services bands, marching bands, jazz (such equally big bands and jazz combos), and gimmicky music. The saxophone is also used every bit a solo and tune musical instrument or as a member of a horn section in some styles of stone and coil and popular music.

The saxophone was invented past the Belgian instrument maker Adolphe Sax in the early 1840s^[4] and was patented on 28 June 1846. Sax invented ii 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 before long became ascendant and most saxophones encountered today are from this serial. Instruments from the series pitched in C and F never gained a foothold and constituted only a small percentage of instruments fabricated by Sax. High Pitch (also marked "H" or "HP") saxophones tuned sharper than the (concert) A = 440 Hz standard were produced into the early twentieth century for sonic qualities suited for outdoor utilize, but are not playable to modernistic tuning and are considered obsolete. Low Pitch (likewise marked "L" or "LP") saxophones are equivalent in tuning to mod instruments. C soprano and C melody saxophones were produced for the coincidental market as parlor instruments during the early on twentieth century, and saxophones in F were introduced during the late 1920s but never gained acceptance. The modern saxophone family consists entirely of B ♭ and E ♭ instruments. The saxophones in widest employ are the B ♭ soprano, East ♭ alto, B ♭ tenor, and E ♭ baritone. The E ♭ sopranino and B ♭ bass saxophone are typically used in larger saxophone choir settings, when available.

#	Saxophone	Fundamental	Sounds an octave lower than	Sounds an octave higher than
ane	Sopranissimo	B ♭	##	Soprano
2	Sopranino	E ♭	##	Alto
3	Soprano	B ♭	Sopranissimo	Tenor
4	Alto	E ♭	Sopranino	Baritone
5	Tenor	B ♭	Soprano	Bass
6	Baritone	Eastward ♭	Alto	Contrabass
7	Bass	B ♭	Tenor	Subcontrabass
8	Contrabass	E ♭	Baritone	##
ix	Subcontrabass	B ♭	Bass	##

Description [edit]

Construction [edit]

The pitch of a saxophone is controlled past opening or closing the toneholes along the body of the instrument to alter the length of the vibrating air column. The toneholes are airtight by leather pads connected to keys—near are operated by the player'southward fingers but some are operated using the palm or the side of a finger. There is an octave key which raises the pitch of the lower notes past one octave. The lowest note, with all of the pads closed, is the (written) B ♭ beneath heart C. Modern baritone saxophones are normally constructed to play a low A, and a pocket-size number of altos keyed to low A have also been manufactured. The highest keyed notation has traditionally been the F two and a half octaves above the low B ♭ but higher-quality instruments now have an extra key for a high F ♯ , and a loftier M cardinal can be found on some modern soprano saxophones. Notes above the keyed range are part of the altissimo register 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 instrument) and all saxophones use the same central arrangement and fingerings, enabling players to switch betwixt different types of saxophones adequately easily.

Soprano and sopranino saxophones are normally synthetic with a direct tube with a flared bell at the cease although some are made in the curved shape of the other saxophones. Alto and larger saxophones accept a detachable curved neck and a U-shaped bend (the bow) that directs the tubing upwards equally it approaches the bong. There are rare examples of alto, tenor, and baritone saxophones with by and large straight bodies.^[five] The baritone, bass, and contrabass saxophones adapt 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 organization clarinet,^[6] and the flute.

Materials [edit]

From the earliest days of the saxophone the trunk and central cups have been made from sheet brass stock, which tin can be worked into complex shapes. The keywork is manufactured from other types of contumely stock. King fabricated saxophones with necks and bells of sterling silverish from the 1930s into the early 1960s. Yanagisawa revived this idea in the 1980s and later introduced instruments entirely made of sterling silver.^[vii] Keilwerth and P. Mauriat take used nickel argent, a copper-nickel-zinc alloy more than commonly used for flutes, for the bodies of some saxophone models.^[8] For visual and tonal effect, higher copper variants of contumely are sometimes substituted for the more common "xanthous brass" and "cartridge contumely." Yanagisawa made its 902 and 992 series saxophones with the high copper blend phosphor bronze to achieve 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 fabricated from plastic or mother of pearl. Rods, screw pins, and springs are commonly fabricated of blued or stainless steel. Mechanical buffers of felt, cork, leather, and various synthetic materials are used to minimize mechanical racket from key movement and to optimize the action of the keywork. Nickel silvery is sometimes used for hinges for its advantages of mechanical durability, although the most mutual cloth for such applications has remained brass.

Manufacturers usually apply a finish to the surface of the instrument's body and keywork. The most mutual finish is a sparse coating 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 argent plated saxophones are too lacquered. Plating saxophones with gold is an expensive process because an underplating of silvery is required for the gold to adhere to.^[ten] Nickel plating has been used on the bodies of early on budget model saxophones and is commonly used on keywork when a more durable finish is desired, generally with pupil model saxophones. Chemical surface handling of the base metal has come up into use as 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 similar to that of the clarinet. Each size of saxophone (alto, tenor, etc.) uses a different size of reed and mouthpiece.

Most saxophonists use reeds fabricated from Arundo donax cane, but since the middle of the twentieth century some accept been made of fiberglass or other composite materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length. Commercial reeds vary in hardness and design, and single-reed players try different reeds to find those that arrange their mouthpiece, embouchure, and playing way.

Mouthpiece design has a profound impact on tone.^[11] Unlike mouthpiece design characteristics and features tend to exist favored for different styles. Early mouthpieces were designed to produce a "warm" and "round" sound for classical playing. Amongst classical mouthpieces, those with a concave ("excavated") chamber are more true to Adolphe Sax'south original design; these provide a softer or less piercing tone favored by the Raschèr school of classical playing. Saxophonists who follow the French schoolhouse of classical playing, influenced past Marcel Mule, generally use mouthpieces with smaller chambers for a somewhat "brighter" audio with relatively more than upper harmonics. The use of the saxophone in dance orchestras and jazz ensembles from the 1920s onward placed accent on dynamic range and projection, leading to innovation in mouthpiece designs. At the opposite extreme from the classical mouthpieces are those with a small bedchamber and a low clearance higher up the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum project, suitable for having a audio stand out among amplified instruments.

Mouthpieces come in a broad variety of materials, including vulcanized safety (sometimes called hard safe or ebonite), plastic, and metals such every bit bronze or surgical steel. Less common materials that have been used include wood, 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 bailiwick of much fence. According to Larry Teal, the mouthpiece material has piddling, if whatsoever, effect on the sound, and the physical dimensions requite a mouthpiece its tone color.^[12] In that location are examples of "dark" sounding metallic pieces and "bright" sounding hard rubber pieces. The extra bulk required near the tip with difficult rubber affects oral fissure position and airflow characteristics.

History [edit]

Early on development and adoption [edit]

The saxophone was designed effectually 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 institute his musical instrument business organisation. Before 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 instrument in the bass register with keys similar to a woodwind instrument. His experience with these ii instruments allowed him to develop the skills and technologies needed to make the first saxophones.

As an outgrowth of his piece of work improving the bass clarinet, Sax began developing an musical instrument with the projection of a brass instrument and the agility of a woodwind. He wanted information technology to overblow at the octave, unlike the clarinet, which rises in pitch past a 12th when overblown. An instrument that overblows at the octave has identical fingering for both registers.

Sax created an instrument with a single-reed mouthpiece and conical brass body. Having constructed saxophones in several sizes in the early 1840s, Sax applied for, and received, a 15-year patent for the musical instrument on 28 June 1846.^[xiii] The patent encompassed xiv versions of the fundamental pattern, dissever into 2 categories of seven instruments each, and ranging from sopranino to contrabass. A limited number of instruments in the series pitched in F and C were produced 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 Eastward ♭ 1 half-step beneath the third ledger line in a higher place staff, giving each saxophone a range of ii and a half octaves. Sax's patent expired in 1866.^[14] Thereafter, numerous other instrument manufacturers implemented their own improvements to the blueprint and keywork.

Sax'southward original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the correct, was simplistic and made certain legato passages and wide intervals extremely difficult to finger; that system would afterward evolve with extra keys, linkage mechanisms, and alternate fingerings to make some intervals less difficult.

Early in the development of the saxophone the upper keyed range was extended to East, then F in a higher place the staff; 1880s era canvass music for saxophone was written for the range of low B to F. In 1887 the Buffet-Crampon visitor obtained a patent for extending the bell and adding an actress key to extend the range downward by 1 semitone to B ♭ .^[15] This extension is standard in modernistic 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 ♯ central became common on modern saxophones.

In the 1840s and 1850s, Sax's invention gained use in small-scale classical ensembles (both all-saxophone and mixed), as a solo instrument, and in French and British military bands. Saxophone method books were published and saxophone pedagogy was offered at conservatories in France, Switzerland, Kingdom of belgium, Spain, and Italia. By 1856 the French Garde Republicaine ring included 8 saxophones, making it the large ensemble that featured the musical instrument most prominently. The saxophone was used experimentally in orchestral scores, merely never came into widespread use as an orchestral musical instrument. In 1853-54 the orchestra of Louis Antoine Jullien featured a soprano saxophone on a concert tour of the United States.^[17]

Subsequently an early on period of interest and back up from classical music communities in Europe, their interest in the instrument waned in the late nineteenth century. Saxophone didactics at the Paris Conservatory was suspended from 1870 to 1900 and classical saxophone repertoire stagnated during that catamenia.^[13] But it was during this same period that the saxophone began to be promoted in the U.s.a., 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 1872 after he arrived as a clarinetist with a British opera visitor. Gilmore organized the World Peace Jubilee and International Music Festival taking place in Boston that summer. The Garde Republicaine band performed and Lefebre was a clarinetist with the Neat Festival Orchestra for that effect.^[eighteen] In the fall of 1873 Gilmore was reorganizing the 22nd Regiment band nether the influence of the Garde Republicaine band and recruited Lefebre, who had established a reputation in New York equally a saxophonist over the previous yr. Gilmore'southward band presently featured a soprano-alto-tenor-baritone saxophone section, which too performed as a quartet. The Gilmore-Lefebre association lasted until Gilmore's death in 1892, during which fourth dimension Lefebre also performed in smaller ensembles of diverse sizes and instrumentation, and worked with composers to increment light classical and popular repertoire for saxophone.^[19]

Lefebre's afterward promotional efforts were extremely significant in broadening adoption of the saxophone. Starting towards the end of the 1880s he consulted with the brass instrument manufacturer C.Thousand. Conn to develop and commencement production of improved saxophones to replace the plush, scantly bachelor, and mechanically unreliable European instruments in the American market. 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 pedagogy in the U.s.a.. Lefebre's associations with Conn and Fischer lasted into the beginning decade of the twentieth century and Fischer connected to publish new arrangements of Lefebre'due south works posthumously.^[xx]

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 information technology during the early decades of the twentieth century. Its early use 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.a., the manufacturing industry grew; the Martin Band Instrument Company started producing saxophones betwixt 1905 and 1912, and the Cleveland Band Musical instrument Visitor started producing saxophones under contract to the H. N. White Company in 1916. The saxophone was promoted for the coincidental market 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 Great Low. During the 1920s the saxophone came into use as a jazz musical 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 mod era of classical saxophone was launched largely through the efforts of Marcel Mule and Sigurd Raschèr, and the classical repertoire for the musical instrument expanded speedily.

The use of the saxophone for more dynamic and more than technically enervating styles of playing added incentive for improvements in keywork and audio-visual blueprint. Early saxophones had ii split 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 pollex operates the ii octave vents with a single octave key. Ergonomic design of keywork evolved rapidly during the 1920s and 1930s. The front F mechanism supporting alternate fingerings for high E and F, and stack-linked G ♯ key activity, became standard during the 1920s, followed by improvements to the left paw table key mechanisms decision-making the G ♯ and bong keys. New diameter designs during the 1920s and 1930s resulted from the quest for improved intonation, dynamic response, and tonal qualities. The 1920s were also the era of pattern experiments such every bit the Buescher straight 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.

Modern saxophone emerges [edit]

The modernistic layout of the saxophone emerged during the 1930s and 1940s, commencement with right-side bong keys introduced by C. G. Conn on baritones, then past King on altos and tenors. The mechanics of the left hand table were revolutionized by Selmer with their Counterbalanced Activeness instruments in 1936, capitalizing on the correct-side bell cardinal layout. In 1948 Selmer introduced their Super Activeness saxophones with offset left and right paw stack keys. Xxx to twoscore years later this final Selmer layout was about universal on all saxophone models.

The high F ♯ key was as well beginning introduced as an option on the Balanced Action model, although it took several decades for information technology to proceeds credence considering of perceived deleterious effects on intonation in its early implementations.^[21]

Marcel Mule established study of the saxophone equally a classical instrument at the Conservatoire de Paris from the 1940s. Larry Teal did the same in the U.s. at the University of Michigan a decade later. A number of other American institutions have since become recognized homes for the study of classical saxophone. They include Northwestern University, Indiana University, and the Eastman School of Music.^[22]

Uses [edit]

In military bands and classical music [edit]

The saxophone first gained popularity in military bands. Although the instrument was initially ignored in Federal republic of germany, French and Belgian military bands were quick to include the instrument in their ensembles. About French and Belgian armed services bands incorporate at to the lowest degree a quartet of saxophones, comprising an Eastward ♭ baritone, B ♭ tenor, E ♭ alto and B ♭ soprano. These four instruments have proved the most popular of all of Sax's 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 ii saxophonists, on the alto and tenor.^{[ citation needed ]}

The saxophone was introduced into the concert band, which usually calls for an Eastward ♭ alto saxophone, a B ♭ tenor saxophone, and an E ♭ baritone saxophone. A concert band may include 2 altos, one tenor, and 1 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 band music (especially music past Percy Grainger).^[23]

Saxophones are used in chamber music, such as saxophone quartets and other chamber combinations of instruments. The classical saxophone quartet consists of a B ♭ soprano saxophone, E ♭ alto saxophone, B ♭ tenor saxophone, and E ♭ baritone saxophone (SATB). On occasion, the soprano is replaced with a second alto sax (AATB); a few professional saxophone quartets have featured non-standard instrumentation, such as James Fei's Alto Quartet^[24] (four altos).

At that place is a repertoire of classical compositions and arrangements for the SATB instrumentation dating dorsum to the nineteenth century, particularly by French composers who knew Sax. All the same, the largest body of chamber works for saxophone are from the modern era of classical saxophone initiated by Marcel Mule in 1928. Sigurd Raschèr followed as a soloist in orchestral works, starting in 1931, and also figured prominently in development of modernistic classical saxophone repertoire. The Mule quartet is often considered the epitome for quartets due to the level of virtuosity demonstrated by its members and its central role in the evolution of modern quartet repertoire. Nonetheless, organized quartets existed before Mule'due south ensemble, the prime example existence the quartet headed past Edward A. Lefebre (1834–1911), which was a subset of Patrick Gilmore'southward 22nd Regiment band between 1873 and 1893.^[nineteen]

In the 20th and 21st centuries, the saxophone found increased popularity in symphony orchestras. The instrument has besides been used in opera and choral music. Musical theatre scores as well can include parts for saxophone, sometimes doubling another woodwind or contumely 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 Eastward ♭ major for alto saxophone and orchestra (1934)—Alexander Glazunov
• Concertino da camera (1935)—Jacques Ibert
• Aria pour saxophone alto (1936)—Eugène Bozza
• Sonata for alto saxophone and pianoforte (1937)—Bernhard Heiden
• Scaramouche for alto saxophone and pianoforte (1937)—Darius Milhaud
• Ballade for Alto Saxophone (1938)—Henri Tomasi
• Sonata for alto saxophone and pianoforte, Op. xix (1939)—Paul Creston
• Sonata for alto saxophone and pianoforte (1943)—Paul Hindemith
• Concerto for alto saxophone and orchestra, Op. 26 (1944)—Paul Creston
• Concerto for alto saxophone and orchestra (1948)—Ingolf Dahl
• Fantasia for saxophone, three horns, and strings (1948)—Heitor Villa-Lobos
• Concerto for alto saxophone and orchestra (1949)—Henri Tomasi
• Tableaux de Provence (1955)—Paule Maurice
• Prélude, cadence et finale (1956)—Alfred Desenclos
• Saxophone Concerto (1958)—Erland von Koch
• Concerto for alto saxophone and orchestra (1959)—Pierre Max Dubois
• Élégie et rondeau 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 Glass^{[25] [26]}
• Because It 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 cascade 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'south 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. seven (1924) – Heitor Villa-Lobos
• Chôros No. 3 (1925) – Heitor Villa-Lobos
• Quartet for clarinet, tenor saxophone, violin, and piano, Op. 22 (1930) – Anton Webern
• The Flowering Peach, Op. 125, for clarinet, saxophone, percussion (timpani, tam-tam, vibraphone, glockenspiel), harp, and celesta (1954) – Alan Hovhaness
• Prometheus for flute, oboe, cor anglais, clarinet, saxophone, and bassoon (1967) – Brian Ferneyhough
• Erwachen, Nr. 92 (2007) – Karlheinz Stockhausen

Selected orchestral pieces with saxophones [edit]

• Fifty'Arlésienne (1872) – Georges Bizet
• Sylvia (1876) – Léo Delibes
• Symphonia Domestica (1904) – Richard Strauss
• The Wooden Prince (1917) – Béla Bartók
• Pictures at an Exhibition (1922 Ravel version) – Modest Mussorgsky/Maurice Ravel
• Boléro (1928) – Maurice Ravel
• La création du monde (1923) – Darius Milhaud
• Symphony No. 4 (1924) – Charles Ives
• Rhapsody in Blueish (1924) – George Gershwin
• Chôros No. 8 (1925) – Heitor Villa-Lobos
• Háry János (1926) – Zoltán Kodály
• Chôros No. 10 (1926) – Heitor Villa-Lobos
• Pianoforte Concerto (1926) – Aaron Copland
• An American in Paris (1928) – George Gershwin
• Symphony No. i (1928) – Aaron Copland
• Der Wein (1929) – Alban Berg
• The Golden Age (1930) – Dmitri Shostakovich
• Belshazzar's Feast (1931) – William Walton
• Task: A Masque for Dancing (1931) – Ralph Vaughan Williams
• Suite No. 1 (1931) – Dmitri Shostakovich
• Uirapuru (1934) – Heitor Villa-Lobos
• Lieutenant Kijé (1934) – Sergei Prokofiev
• Violin Concerto (1935) – Alban Berg
• Suite No. two (1938) – Dmitri Shostakovich
• Romeo and Juliet (1938) – Sergei Prokofiev
• Alexander Nevsky (1938) – Sergei Prokofiev
• Symphonic Dances (1940) – Sergei Rachmaninoff
• Sinfonia da Requiem (1940) – Benjamin Britten
• Chôros No. 11 (1928–41) – Heitor Villa-Lobos
• Chôros No. 6 (1925–42) – Heitor Villa-Lobos
• Chôros No. 12 (1925–45) – Heitor Villa-Lobos
• Symphony No. 6 (1947) – Ralph Vaughan Williams
• On the Waterfront (1954) – Leonard Bernstein
• Symphony No. 9 (1957) – Ralph Vaughan Williams
• Suite for Diversity Orchestra (post-1956) – Dmitri Shostakovich
• The Prince of the Pagodas (1957) – Benjamin Britten
• Gruppen (1955–57) – Karlheinz Stockhausen
• Carré (1959–lx) – Karlheinz Stockhausen
• Déclarations d'orage for reciter, soprano, baritone, three improvising instruments (alto saxophone, tuba, synthesizer), large orchestra and record (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
• Baton Budd (1951) – Benjamin Britten
• West Side Story (1957) – Leonard Bernstein
• We Come to the River (1976) – Hans Werner Henze
• Samstag aus Licht (1984) – Karlheinz Stockhausen
• Nixon in Prc (1987) – John Adams

In jazz and popular music [edit]

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

Ancillary with the more widespread availability of saxophones in the Usa effectually the turn 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 mural and provided the groundwork for new styles of dancing. Two of the all-time known ragtime-playing brass bands with saxophones were those led by W. C. Handy and James R. Europe. Europe's 369th Infantry Regiment Band popularized ragtime in France during its 1918 tour.^[27] The rise of trip the light fantastic toe bands into the 1920s followed from the popularity of ragtime. The saxophone was also used in Vaudeville entertainment during the same menstruum. Ragtime, Vaudeville, and trip the light fantastic bands introduced much of the American public to the saxophone. Rudy Wiedoeft became the best known private saxophone stylist and virtuoso during this period leading into the "saxophone craze" of the 1920s.^[28] Following it, the saxophone became featured in music as various as the "sweetness" music of Paul Whiteman and Guy Lombardo, jazz, swing, and large stage show bands.^{[ citation needed ]}

The rising of the saxophone as a jazz instrument followed its widespread adoption in trip the light fantastic bands during the early 1920s. The Fletcher Henderson Orchestra, formed in 1923, featured arrangements to back up improvisation, bringing the offset elements of jazz to the big dance band format.^[29] Following the innovations of the Fletcher Henderson Orchestra, the Duke Ellington Orchestra and Jean Goldkette'southward Victor Recording Orchestra featured jazz solos with saxophones and other instruments. The association of dance bands with jazz would attain its peak with the swing music of the 1930s. The large bear witness ring format, influenced by the 1930s swing bands, would exist used as bankroll for pop vocalists and phase shows in the post World War II era, and provided a foundation for large ring jazz. Show bands with saxophone sections became a staple of tv talk shows (such as the Tonight Evidence that featured bands led past Dr. Severinsen and Branford Marsalis) and Las Vegas stage 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's early 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 style was the main influence on swing era tenor players before Lester Immature, and his influence continued with other big-toned tenor players into the era of modern jazz. Amidst the tenor players directly influenced by him were Chu Drupe, Charlie Barnet, Tex Beneke, Ben Webster, Vido Musso, Herschel Evans, Buddy Tate, and Don Byas.^[six] Hawkins' bandmate Benny Carter and Duke Ellington'south 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 actor Sidney Bechet gained recognition for playing the soprano saxophone during the 1920s, only the musical instrument did non come up into broad employ until the modern era of jazz.^{[ citation needed ]}

Equally Chicago style jazz evolved from New Orleans jazz in the 1920s, one of its defining features was the addition of saxophones to the ensemble. The small Chicago ensembles offered more improvisational liberty than did the New Orleans or large ring 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 Young.^[6]

Lester Immature'southward approach on tenor saxophone differed from Hawkins', emphasizing more melodic "linear" playing that wove in and out of the chordal construction and longer phrases that differed from those suggested past the tune. He used vibrato less, fitting it to the passage he was playing. His tone was smoother and darker than that of his 1930s contemporaries. Immature's playing was a major influence on the modern jazz saxophonists Al Cohn, Stan Getz, Zoot Sims, Dexter Gordon, Wardell Grayness, Lee Konitz, Warne Marsh, Charlie Parker, and Art Pepper.^[vi]

Charlie Parker, leader of the bebop revolution, 1947

The influence of Lester Young with the Count Basie Orchestra in the late 1930s and the popularity of Hawkins' 1939 recording of "Body and Soul" marked the saxophone as an influence on jazz equal to the trumpet, which had been the defining instrument of jazz since its 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 small-scale-group format of bebop and post-bebop jazz ensembles gained ascendancy in the 1940s every bit musicians used the harmonic and melodic liberty pioneered by Parker, Dizzy Gillespie, Thelonious Monk, and Bud Powell in extended jazz solos.^{[ citation needed ]}

During the 1950s, prominent alto players included Sonny Stitt, Cannonball Adderley, Jackie McLean, Lou Donaldson, Sonny Criss and Paul Desmond, while prominent tenor players included Lester Young, Coleman Hawkins, Dexter Gordon, John Coltrane, Sonny Rollins, Stan Getz, Zoot Sims, Lucky Thompson, Eddie "Lockjaw" Davis, and Paul Gonsalves. Serge Chaloff, Gerry Mulligan, Pepper Adams and Leo Parker brought the baritone saxophone to prominence every bit a solo instrument. Steve Lacy renewed attention to the soprano saxophone in the context of modern jazz and John Coltrane additional the instrument'due south popularity during the 1960s. Polish jazz musician Kenny Grand likewise uses the soprano sax as his main instrument.^[xxx]

Saxophonists such as John Coltrane, Ornette Coleman, Sam Rivers, and Pharoah Sanders defined the forefront of creative exploration with the advanced movement of the 1960s. The new realms offered with Modal, harmolodic, and gratis 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. Ane lasting influence of the avant-garde movement is the exploration of non-Western ethnic sounds on the saxophone, for example, the African-influenced sounds used by Sanders and the Indian-influenced sounds used by Coltrane. The devices of the advanced movement take continued to exist influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists Steve Coleman and Greg Osby.

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

Some ensembles such as the World Saxophone Quartet use the soprano-alto-tenor-baritone (SATB) format of the classical saxophone quartet for jazz. In the 1990s, World Saxophone Quartet founder Hamiet Bluiett formed the quartet Baritone Nation (four baritones).^[31]

The "jump swing" bands of the 1940s gave rise 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 Hashemite kingdom of jordan, Eddie "Cleanhead" Vinson, Earl Bostic, and Bull Moose Jackson were major influences on alto. The R&B saxophone players influenced later genres including stone and roll, ska, soul, and funk. Horn section work connected with Johnny Otis and Ray Charles featuring horn sections and the Memphis Horns, the Phenix Horns, and Tower of Power achieving distinction for their department playing. Horn sections were added to the Chicago and West Coast dejection bands of Lowell Fulson, T-Bone Walker, B.B. King, and Guitar Slim. Rock and soul fusion bands such equally Chicago, The Electric Flag, and Blood, Sweat, and Tears featured horn sections. Bobby Keys and Clarence Clemons became influential rock and whorl saxophone stylists. Junior Walker, King Curtis and Maceo Parker became influential soul and funk saxophone stylists, influencing the more than technical jazz-fusion sounds of Michael Brecker and Bob Mintzer and pop-jazz players such as Candy Dulfer.^{[ citation needed ]}

Unusual variants [edit]

A number of experimental saxophones and saxophone-related instruments have appeared since Sax's original work, almost with no lasting bear upon. 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 hard to send. Buescher custom produced 1 straight baritone saxophone as novelty instrument for a vaudeville performer.^[35] C.1000. 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 direct-conical bore instrument in F (i step above the E ♭ alto) with a slightly curved neck and spherical bell. This instrument, which combines a saxophone bore and keys with a bong shaped similar to that of a heckelphone, was intended to imitate the timbre of the English horn and was produced but in 1929 and 1930. The instrument has a key range from depression A to high G. Fewer than 100 Conn-O-Saxes are in existence and they are highly sought by collectors. The Conn mezzo-soprano experienced a similarly short production run as the economic science of the Cracking Depression curtailed the market place for what were regarded as novelty instruments. Most were expended past Conn equally objects of repair training exercises.

The most successful of the unusual 1920s designs was the King Saxello, essentially a straight B ♭ soprano, but with a slightly curved cervix and tipped bong, made by the H. Due north. White Company. Such instruments now command prices up to US$4,000. Its lasting influence is shown in the number of companies, including Keilwerth, Rampone & Cazzani (altello model), L.A. Sax and Sax Dakota Us, marketing straight-diameter, tipped-bell soprano saxophones as saxellos (or "saxello sopranos").

Interest in two 1920s variants was revived past jazz musician Rahsaan Roland Kirk, who chosen 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 bong and modified keywork.^[36] More recently, the mezzo-soprano, or a modern variant of information technology, came into use by jazz musicians Anthony Braxton, James Carter, Vinny Golia, and Joe Lovano.

Some of the 1920s experimental designs, in improver to the Saxello, provide the basis for similar instruments produced during the modern era. Straight altos and tenors accept been revived by Keilwerth,^[37] L.A. Sax^[38] and Sax Dakota U.s.a.. A mezzo-soprano in the key of G has been produced by Danish woodwind technician Peter Jessen, most notably played by Joe Lovano. This instrument is more in the timbral quality of Bb soprano saxophone.

The contralto saxophone, similar in size to the orchestral c-melody, was adult in the tardily 20th century by California musical instrument maker Jim Schmidt.^[39] This musical instrument has a larger diameter and a new fingering organisation, and does not resemble the orchestral instrument except for its key and annals.

Eppelsheim Soprillo Saxophone

Benedikt Eppelsheim, of Munich, Germany 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 congenital into the mouthpiece. The instrument, which extends Sax'southward original family unit, is pitched a total octave higher than the B ♭ soprano sax. The tubax, developed in 1999 by Eppelsheim,^[40] plays the same range and with the aforementioned fingering as the E ♭ contrabass saxophone; its diameter, however, is narrower than that of a contrabass saxophone, resulting in a more compact instrument with a "reedier" tone (akin to the double-reed contrabass sarrusophone). It can be played with the smaller (and more than ordinarily bachelor) baritone saxophone mouthpiece and reeds. Eppelsheim has also produced subcontrabass tubaxes in C and B ♭ , the latter being the lowest saxophone ever made.

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

Since the 1950s, saxophones with non-metal bodies have occasionally been in production. Such instruments have failed to gain credence over a number of bug including durability, repairability, and deficiencies in fundamental action and tone.^{[41] [42]} The best known of these efforts is the 1950s Grafton acrylic alto saxophone used briefly by Charlie Parker and Ornette Coleman. It had a production run of over 10 years equally a budget model saxophone. The polycarbonate Vibratosax is in production as a low cost alternative to metal saxophones. Wooden Sawat saxophones are made in Thailand on a small calibration. Opinions vary on the significance of trunk materials to sound.

The fingering scheme of the saxophone, which has had only small changes since the musical instrument's original invention, has presented inherent acoustic problems related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes. In that location is too a lack of tactile consistency between key centers, requiring extra effort from the histrion to conform modes of musculus memory when moving between key centers. 2 efforts to remedy the audio-visual problems and awkward aspects of the original fingering arrangement are noteworthy.

The Leblanc Rationale and System^[43] saxophones accept key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. They also enable players to brand one-half-step shifts of scales past depressing ane key while keeping the rest of the fingering consistent with that of the fingering a half stride away. Some Leblanc Organization features were built into the Vito Model 35 saxophones of the 1950s and 1960s. Despite the advantages of that system, acceptance was impaired by the expense and mechanical reliability issues related to the complication of sure key mechanisms.^[44]

The chromatic, or linear fingering, saxophone is a project of instrument designer and architect Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval regardless of the fundamental, and avoiding the audio-visual issues associated with closed keys below the first open tone pigsty.^[45] Several working prototypes accept been built and presented at trade shows.^[46] Production of this original and expensive saxophone is on an private club ground.

[edit]

Saxos de Bambú by Ángel Sampedro del Río, Argentina

Cheap keyless folk versions of the saxophone made of bamboo (recalling a chalumeau) were developed in the 20th century by instrument makers in Hawaii, Jamaica, Thailand, Indonesia, Federal democratic republic of ethiopia, and Argentina. The Hawaiian instrument, called a xaphoon, was invented during the 1970s and is also marketed equally a "bamboo sax", although its cylindrical bore more closely resembles that of a clarinet, and its lack of any keywork makes information technology more than akin to a recorder. Jamaica's all-time known exponent of a similar blazon of homemade bamboo "saxophone" was the mento musician and instrument maker 'Sugar Belly' (William Walker).^[47] In the Minahasa region of the Indonesian island of Sulawesi, in that location exist entire bands made up of bamboo "saxophones"^[48] and "contumely" instruments of various sizes. These instruments are imitations of European instruments, made using local materials. Like instruments are produced in Thailand.^[49]

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

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

Image gallery [edit]

• 

  A directly-necked Conn C melody saxophone (Conn New Wonder Series 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 golden seal on bell.

• 

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

Come across also [edit]

• Saxophone technique
• Saxophone mouthpieces

Notes [edit]

1. ^ "June 28, 1846: Parisian Inventor Patents Saxophone". Wired.com. Retrieved 14 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:x.1093/gmo/9781561592630.article.24670. ISBN978-1-56159-263-0 . 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-one-56159-284-5.
7. ^ "T9937". Yanagisawa website. Archived from the original on 2007-12-30. Retrieved 2008-01-06 .
8. ^ "PMST-60NS". Paul Mauriat website. Archived from the original on Dec 8, 2008. Retrieved 2008-08-22 .
9. ^ "Yanagisawa Saxophones". Archived from the original on June 16, 2009. Retrieved 2014-05-19 .
10. ^ "The Horn". JazzBariSax.com.
11. ^ Rousseau, Eugene. "Discussions". EugeneRousseau.com. The Fine 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. ISBN978-0-87487-057-2. A preference every bit to material used is up to the individual, and the advantages of each are a affair of controversy. Mouthpieces of various materials with the aforementioned dimensions, including the bedroom and exterior measurements besides every bit the facing, play very nearly 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" visitor, all the same, Buffet-Crampon had acquired Evette and Schaeffer in 1877 and was using Evette-Schaeffer as the brand for their own 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-i.
17. ^ Noyes, Chapter Ii
18. ^ Noyes, Chapter III
19. ^ ^{a b} Noyes, Chapter Four
20. ^ Noyes, Chapter V
21. ^ Hales, Pete. "The Selmer Counterbalanced Activity". saxpics.com . Retrieved 9 Apr 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 III" (PDF). Music.indiana.edu.
26. ^ Mauk, Steven. "Selected Repertoire". Ithaca.edu. Retrieved 2014-05-19 .
27. ^ Emmett Jay Scott (1919). Scott'southward Official History of the American Negro in the World 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 Grand ." Baker'due south Biographical Dictionary of Popular Musicians Since 1990. . Retrieved June 17, 2020 from Encyclopedia.com: https://www.encyclopedia.com/didactics/dictionaries-thesauruses-pictures-and-press-releases/kenny-thousand
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 Imperial Kingdom of the netherlands Bell Ringers Collection and Archive". Retrieved 2019-03-28 .
33. ^ "Slide sax motion-picture show". 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. xviii (2).
36. ^ Dark-brown, John Robert. "The Keilwerth direct alto". John Robert Brown, Writer, Musician. Archived from the original on 2019-05-12. Retrieved 8 Apr 2019.
37. ^ Howard, Stephen. "Workbench review, Keilwerth SX90 direct alto saxophone". shwoodwind.co.uk . Retrieved 8 April 2019.
38. ^ "L.A. Sax Straight Models". Retrieved 2007-05-07 .
39. ^ "Jim Schmidt's Contralto". Archived from the original on April 8, 2007. Retrieved 2007-05-07 .
40. ^ "Tubax E ♭ saxophone". Benedikt Eppelsheim Air current 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-xxx. Retrieved 2019-03-28 .
43. ^ "The Fabled 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. xx Jan 2009. Archived from the original on 2021-x-30.
47. ^ "Mento Music: Carbohydrate Abdomen". Retrieved 2007-05-07 .
48. ^ "Civilisation & Arts in North Sulawesi, Republic of indonesia". Archived from the original on 2007-04-02. Retrieved 2007-05-07 .
49. ^ "A bio-aesthetic offspring of single reed woodwinds-Dieter Clermont and his Thai partner Khanung Thuanthee build bamboo saxophones in Due north Thailand since the late 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. ^ "Photo Gallery". SaxPics.com. Retrieved 2014-05-19 .
53. ^ "Photograph Gallery :: SaxPics.com". saxpics.com.

References [edit]

• Grove, George (January 2001). Sadie, Stanley (ed.). The New Grove Encyclopædia of Music and Musicians (2nd ed.). Grove'south Dictionaries of Music. Volume 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 Evolution of the Saxophone 1840–55. Periodical 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 as Gwozdz, Lawrence (1987). The Saxophone. Egon Publishers Ltd. )
• Kotchnitsky, Léon (1985) [1949]. Sax and His Saxophone (Fourth ed.). North American Saxophone Alliance.
• Lindemeyer, Paul (1996). Celebrating the Saxophone. William Morrow & Co. ISBN978-0-688-13518-8.
• Marzi, Mario (2009). Il Saxofono. The Expression of Music iv (in Italian). Varese, Italy: Zecchini Editore (Zecchini Publisher). p. 468. ISBN978-88-87203-86-viii.
• Noyes, John Russell (2000). Edward A. Lefebre (1835-1911): Preeminent Saxophonist of the Nineteenth Century (PhD Dissertation) (PDF). New York: Manhattan School of Music. Retrieved 21 April 2019.
• Segell, Michael (2005). The Devil's Horn: The Story of the Saxophone, from Noisy Novelty to King of Cool . Farrar, Straus and Giroux. ISBN978-0-374-15938-2.
• Thiollet, Jean-Pierre (2004). Sax, Mule & Co. Paris: H & D. ISBN978-two-914266-03-1.

Further reading [edit]

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

External links [edit]

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

lomaxmach1952.blogspot.com

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

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