The saxophone (also referred to as sax ) is a family of woodwind instruments. Saxophone is usually made of brass and is played with a single mouth mouthpiece similar to a clarinet. Like the clarinet, the saxophone has a hole in the instrument that is closed by the player using a key mechanism system. When the player presses a button, the pad either closes the hole or lifts the hole, lowering or raising the pitch, respectively.
The saxophone family was invented by Belgian instrument maker Adolphe Sax in 1840. Adolphe Sax wanted to create a group or series of instruments that would be the most powerful and vocal of woodwinds, and the most adaptive of brass instruments, which would fill the empty middle ground between the two halves. Saxophone patented saxophone on June 28, 1846, in two groups of seven instruments each. Each series consists of various size instruments in alternating transpositions. This series is pitched in B ? and E ? , designed for military bands, has proven popular and most saxophones encountered today come from this series. The instrument of the so-called "orchestra" series, pitched in C and F, never gained a foothold, and B ? and E ? The instrument has now replaced the C and F instruments when the saxophone is used in the orchestra.
Saxophones are used in classical music (such as concert bands, chamber music, solo repertoire, and, occasionally, orchestras), military bands, marching bands and jazz (such as large bands and jazz combo). Saxophone is also used as a solo and melody instrument or as a member of the horn section in several rock and roll styles and popular music. The saxophone player is called saxophonist .
Video Saxophone
History
The Saxophone was developed in 1846 by Adolphe Sax, the maker of Belgian instruments, flautist, and clarinet. Born in Dinant and originally based in Brussels, he moved to Paris in 1842 to set up his musical instrument business. Before his work in saxophone, he has made some improvements to the bass clarinet by increasing his key and acoustics and extending his lower reach. Sax was also a popular ophicleide maker back then, a large conical brass instrument in a bass register with keys similar to a woodwind instrument. His experience with these two instruments enabled him to develop the skills and technologies needed to create the first saxophone. As a result of his work on improving the bass clarinet, Sax began to develop instruments with brass instrument projection and agility from woodwind. He wants it to overblow in octaves, unlike clarinets, which increase in pitch by twelve when overblown. Instruments that overblows on octaves have identical fingering for both registers.
Sax creates instruments with single-reed sponges such as clarinets, conical brass bodies such as ophicleide, and some acoustic properties of both horns and clarinets.
After establishing the saxophone in several sizes in the early 1840s, Sax applied for, and received, a 15-year patent for the instrument on June 28, 1846. This patent covers 14 versions of fundamental design, divided into two categories of seven instruments each. , and from sopranino to conjoined. Although instruments transferred to F or C have been considered "orchestras", there is no evidence that Sax intended this. Because only three percent of Sax's production survives in F and C, and when contemporary composers use E ? alto and B ? freely bass saxophone in orchestral music, it is almost certain that Sax experimented to find the most suitable key for this instrument, settling on alternating instruments between E ? and B ? than those pitched in F or C, for tone and economic reasons (saxophone is the most expensive wind instrument of their day). Soprano soprano C is the only instrument that sounded in concert tone. All instruments are given the initial written range from B under the treble staff to F, one space above the three book lines above the staff, giving each saxophone a range of two and a half octaves.
The patent of Sax expired in 1866; After that, many saxophonists and instrument manufacturers apply their own improvements to design and mainstream jobs. The first substantial modification was by the French manufacturer that extended the bell slightly and added an extra key to extend the downward range by one semitone to B ? . It is suspected that Sax himself might have tried this modification. This extension is now common in almost all modern designs, along with other minor changes like additional buttons for alternative radii. Using alternative fingerings allows players to play faster and easier. A player can also use the alternate fingers to bend the pitch. Some good alternative radius for trilling, scale, and large interval jumps.
The original Sax key piece, based on Triebert 3 oboe system for left hand and Boehm's clarinet for the right, is simple and made to play some legato parts and wide intervals that are very difficult for fingers, so many developers add extra keys and alternative radii make chromatic play more difficult. While the early saxophone had two separate octave ventilation to assist in playing the top registers like modern instruments, the original Sax designer had to operate this through two separate octave buttons operated by the left thumb. A substantial improvement in key saxophone work is the development of a method in which the left thumb operates both tone holes with a single octave lock, which is now universal in modern saxophones. Subsequent developments were made by Selmer in the 1930s and '40s, including offsetting pitch tones and improving octave lock mechanisms, starting with balanced action instruments and continuing through their famous Mark VI line. One of the most radical, yet temporary, revisions to the saxophone key was made in 1950 by M. Houvenaghel of Paris, who fully developed the mechanism of the system to allow for a number of records (C , B, A, G, F and E ) to flatten the semitone just by pressing the middle right finger. This allows the chromatic scale to be played over two octaves simply by playing a diatonic scale combined with alternately raising and lowering this single digit. However, this key job never gained much popularity, and is no longer in use. Maps Saxophone
Description
The saxophone consists of a tube that is almost cone-shaped, usually of a thin brass, glowing on the tip to form a bell. At intervals along the tube are between 20 and 23 tone holes with various sizes and two very small ventilation holes to help play the upper registers. These holes are covered by a key (also known as a pad cup) containing a soft leather cushion, which is covered to produce an airtight seal. At rest, several openings and others are closed. The buttons are activated by knobs pressed by the fingers, either directly on the pad's cup or connected to it by a lever, either directly or with a connection called "relationship." The right thumb sits under the thumb to stabilize and balance the saxophone, while most of the saxophone is supported by a neckstrap attached to the rope ring on the back of the instrument's body. The radius for the saxophone is a combination of the oboe with the Boehm system and is very similar to the flute or registers over the clarinet. The instrument that plays to low A has the left thumbs key for that note.
The simplest saxophone design is a straight conical tube, and soprano and soprano saxophones are usually from this design. However, because the low-pitched instruments will be very long, they usually combine the U-bend ("arc") at or slightly above the third lowest pitch hole. Since this will cause the bell to point up directly, the tip of the instrument either tilted or tilted slightly forward. This U shape has become the hallmark of the saxophone family, as far as soprano and sopranino sax are sometimes made in a curved style. Conversely, tenor and even baritone are sometimes made in a straight style. Most commonly, however, alto and tenor saxophones incorporate removable, "neck" curves above the highest tone holes directing the mouthpiece into the player's mouth while the instrument is held in a playing position. Baritone, bas, and contrabas sopsofons accommodate the length of the hole with an extra bow and right-angle arch between the main body and the funnel.
Materials
Most saxophones, past and present, are made of brass. Nonetheless, they are categorized as woodwind instruments rather than brasses, because sound waves are generated by oscillating wooden reeds, not lips against the funnel as in brass instruments, and because pitches are produced by the winds through opening and closing locks. The screw pin that connects the rod to the pole, as well as the needle and leaf springs that cause the lock back to the rest position after being released, generally made of blued or stainless steel. Since 1920, most saxophones have "key touch" (substitutable substitute pieces placed in place of the radius touching the instrument) made of plastic or mother of pearl. Recently, some saxophones are offered with stone or abalone stone keys.
Other materials have been tried with varying degrees of success, such as the 1950 Grafton plastic saxophone algae and his recent successor, polycarbonate saxophone, Vibratosax. There is also a wood Sawat saxophone made in Thailand on a small scale. Recent years have seen the use of higher copper alloys replaced for the most common "yellow brass" or "brass cartridge", for visual and tonal effects. The xonon sauce Yanagisawa 902 and 992 are made with bronze phosphorus, which is claimed to offer slightly different tonal qualities than the 901 and 901 brass designs. Other syringes made from high copper alloys are sold under the Chateau, Kessler, Saxgourmet and Bauhaus Walstein brands. Yanagisawa and other producers, beginning with the Super King 20 around 1950, have made saxophone, bell, or whole instrument of sterling silver. Keilwerth and P. Mauriat have made a saxophone with a nickel silver body. Opinions vary on the significance of the body material to sound. With the exception of the bronze Yanagisawa model and the same bronze phosphorus, the opportunity to isolate body material from other variables in design and construction is lacking.
Before the final assembly, the manufacturer usually uses a thin layer of clear or colored acrylic lacquer or silver plate on top of brass. The lacquer or plating serves to protect the brass from oxidation and maintain its shiny appearance. Several types and colors of surface finishing have been used for many years. It is also possible to coat the instrument with nickel or gold, and a number of gold-plated saxophones have been produced. Sticking saxophone with gold is an expensive process because gold is not attached directly to the brass. As a result, the brass was first plated with silver, then gold. Some saxophones, vendors, and repair technicians believe that this type of varnish or coating or absence can improve the tone of the instrument. The possible effects of the final touch on the tone are difficult to separate from other variables that affect the tone of the instrument. In any case, what constitutes a pleasant tone is a matter of personal preference.
Spokesman and reed
The saxophone uses a single mouthpiece similar to the clarinet. Most saxophones use reeds made from Arundo donax sugar cane, but since the 20th century some have also been made from fiberglass and other composite materials. The proportional reed saxophone is slightly different from the clarinet reed, becoming wider for the same length, although some soprano saxophones use clarinet reeds. Each saxophone size (alto, tenor, etc.) uses different reed sizes. Reed is commercially available in various brands, styles, and strengths. Saxophonists experiment with different strength grasses (hardness) and materials to find strengths and pieces according to their funnel, embouchure, physiology, and play style.
The saxophone mouthpiece is larger than the clarinet, has wider inner space, and has no cork-covered spines because the neck saxophone inserts into the funnel while the clarinet funnel is inserted into the barrel. The saxophone and clarinet membranes differ from each other in the firmness, the position of the lower lip, and the range of inlet angles. The "long tone" exercise is used to develop embouchure, along with airflow and breath control. The funnel comes in a variety of materials, including vulcanized rubber (sometimes called hard or ebonite rubber), plastics, and metals such as bronze or surgical steel. Less common materials that have been used include wood, glass, crystal, porcelain, and even bone. According to Larry Teal, the funnel material has little, if any, effect on the sound, and the physical dimension provides the color tone funnel. There are examples of "dark" metal pieces that are heard and lighter "light" pieces of soft rubber are heard - Marcel Mule, for example, uses a metal funnel to perform classical music. Some argue that instability in the funnel/neck connections removes harmonic frequencies off series with the fundamental frequency and each other, producing "spreading" sound, and that the weight of the metal funnel fights instability, increasing the "focus" tonal. The funnel design has a big impact on the tone. Early mouthpieces are designed to produce a warm and round sound for classic games. Among classic funnels, those with concave spaces ("excavated") are more in line with the original design of Adolphe Sax; this gives a softer or less piercing tone favored by some saxophone players, including student Sigurd RaschÃÆ'¨r, for classic games. Saxophonists who follow French school play classical saxophone, influenced by Marcel Mule, generally use a funnel with a smaller space from the mouth of Rascher's mouth. The use of saxophone in the dance orchestra and jazz ensemble provides premium on dynamic range, projection, and tone richness, leading to rapid innovation in space and tip design, and metal construction. At the opposite extreme of the classical funnel are those with small spaces and low clearance above the reed between the end and the space, called the high baffle. It produces a bright sound with maximum projection, perfect for having a prominent voice among the reinforced and distinctive instruments of modern pop and fine jazz. Most saxophones that play different styles have a funnel suitable for each style.
Family saxophone
The main saxophone group (military band) alternating instruments in B ? and E ? . Other paternally patented families (orchestras) in C and F are always marginal, although some manufacturers try to popularize soprano in C (C soprano saxophone), alto di F (mezzo-soprano saxophone), and tenor in C (C saxophone melodies) in the early twentieth century. C melody enjoyed some successes in the late 1920s and early 1930s as a living room instrument. One company recently revived the production of soprano C and C melody. Instruments in F are rare. A mezzo-soprano in G has also been produced.
Usage
In the military band and classical music
The first Saxophone gained popularity in one of its uses designed for: military bands. Although the instrument was largely ignored in Germany at first, French and Belgian military bands took full advantage of the instrument Sax had designed. Most French and Belgian military bands combine at least one saxophon quartet, consisting of a baritone E ? , B ? tenor, E ? alto and B ? soprano. These four instruments have proven to be the most popular of all Sax creations, with E ? kontrabas and B ? bass is usually considered to be impractical and E ? sopranino is not strong enough. British military bands tend to include at least two saxophone players, on alto and tenor. Today, saxophone is used in military bands around the world.
The saxophone is then inserted into the concert band, which usually calls E ? alto saxophone, B ? Saxophone, and E ? saxophone bariton. Typical high-performance concert bands include two altos, one tenor, and one bariton. A B ? sopra saxophone is also sometimes used, in this case usually played by the first alto saxophonist. Bass saxophone in B ? is mentioned in some concert band music (especially music by Percy Grainger).
Saxophones are used in room music, such as saxophone quartets and other instrument room combinations.
The classic saxophone quartet consists of soprano saxophone, alto saxophone, tenax saxophone, and baritone saxophone. There is a repository of classical compositions and arrangements for SATB instrumentation dating back to the nineteenth century, especially by French composers who knew Sax. The classic quartet of saxophone includes Quatuor Habanera, h2 quartet, RaschÃÆ'¨r Saxophone Quartet, Aurelia Saxophone Quartet, New Century Saxophone Quartet. The quartet led by Marcel Mule and Daniel Deffayet, professor of saxophone at the Conservatoire de Paris, began in 1928 and 1953, respectively, and was greatly respected. The Mule Quartet is often regarded as a prototype for future quartets, due to the level of expertise demonstrated by its members and its primary role in the development of a quartet repertoire. However, an organized quartet did exist before the Mule ensemble, a prime example being a quartet led by Eduard Lefebre (1834-1911), a former soloist with the band Sousa, in the United States c. 1904-1911. Other ensembles are likely to exist today as part of the saxophone part of many professional touring bands that existed in the late 19th and early 20th centuries.
In the 20th and 21st centuries, saxophone found an increase in popularity in the symphony orchestra. In one measure or another, this instrument has also been found as a useful companion for genres such as opera and choral music. Many musical theater scores include sections for saxophones, sometimes duplicating woodwind or other brass instruments. In this way, the saxophone serves as the midpoint between the other woodwinds and the brass section, helping to integrate it.
Selected works from repertoire
Selected saxophone quartet
Selected orchestral pieces that include saxophone
In jazz and popular music
Saxophones are also commonly used in jazz, where it is one of the signature sounds, as well as the iconic images used to denote the style. Beginning in the early 20th century, saxophone became popular in the dance orchestra, which is not a jazz ensemble but influenced the formation of a large swing era band that will soon follow. The arrival of saxophone as a jazz instrument associated with the saxophonist tenure of Coleman Hawkins' worked with Fletcher Henderson Orchestra began in 1923. The Saxophone was soon embraced by the Chicago-style musicians who added it, along with chordal instruments such as piano, banjo, and guitar, to clumps- trombon-bass-drum format ensemble inherited from New Orleans jazz.
The Duke Ellington Orchestra in the late 1920s featured the sound of a saxophone and solo-based ensemble by saxophonists Otto Hardwick, Johnny Hodges, and Harry Carney. The 1930s band swing uses saxophone settings and the brass parts play with each other in call-response patterns. The influence of Lester Young's saxophonist tenure with Count Basie Orchestra in the late 1930s and the enormous popularity of Coleman Hawkins' 1939 recording of "Body and Soul" marked the saxophone as an influence on jazz similar to the trumpet that had been jazz music instruments since its beginnings in New Orleans. But the biggest influence of saxophone on jazz will be several years later, as saxophonist Charlie Parker became an icon of bebop revolution that affected the generation of jazz musicians. The format of a small group of bebop and post-bebop jazz ensembles, usually with one to three main instruments, usually including saxophone, chordal, bass and drum instruments, increased in the 1940s when musicians emphasized the expansion of exploration using new harmonics. and the freedom of melody that Charlie Parker and several others, such as Dizzy Gillespie, Thelonious Monk, and Bud Powell pioneered.
In addition to the brilliance and expertise of Parker, alto sax was also popularized in the 1950s by top saxophonists such as Sonny Stitt, Cannonball Adderley, Sonny Criss and Paul Desmond (from Dave Brubeck Quartet). The tenor saxophone, a popular form of saxophone as a solo instrument in jazz, was popularized by great jazz music such as Lester Young, Coleman Hawkins, Dexter Gordon, John Coltrane, Sonny Rollins, Stan Getz and Zoot Sims. Bariton sax, more featured in major bands (especially by Harry Carney at Duke Ellington Orchestra) and larger ensembles than as a solo instrument, popularized in jazz as a solo instrument in small groups by musicians such as Serge Chaloff, Gerry Mulligan , Pepper Adams and Leo Parker. Sopsofon soprano was popularized by Sidney Bechet at the beginning of jazz, but was then largely disliked on the jazz stage until John Coltrane began performing instruments. Popular delicate jazz and contemporary pop musician Kenny G also uses soprano sax as his main instrument.
Saxologists such as John Coltrane, Ornette Coleman, Sam Rivers and Pharoah Sanders once again defined the forefront of creative exploration with the avant-garde movement of the 1960s. Capital, harmolodic, and free jazz are getting rid of the boundaries and the new space is explored with every imaginable saxophone device. Sound sheets, tonal exploration, top harmonics, and multiphones are the hallmark of the creative possibilities that saxophones offer in the new world. One of the lasting effects of the avant-garde movement is the exploration of non-Western ethnic sounds in the saxophone, for example, African-influenced sounds used by Pharoah Sanders. The avant-garde movement device continues to be influential in music that challenges the boundaries between avant-garde and other jazz categories, such as alto-saxophonists Steve Coleman and Greg Osby.
A jazz saxophone quartet usually consists of one b ? soprano, one E ? alto, one B ? tenor and one E ? bariton (SATB). Occasionally, the soprano is replaced with a second alto sax (AATB); some professional saxophone quartets have featured non-standard instrumentation, such as James Fei Alto Quartet (four altos) and Huiet Bluiett's Bluiett Baritone Nation (four baritone). Recently, the World Saxophone Quartet has been known as a prominent jazz saxophone quartet.
The saxophone, as a solo instrument or as part of the horn section, can also be heard in blues, soul music, rhythm and blues, reggae, ska, funk, rock and roll, and other popular musical forms. Some players of this genre include King Curtis, Maceo Parker, Bobby Keys, Clarence Clemons, Memphis Horns, and Phenix Horns.
unusual variant
A number of saxophone and related saxophone instruments have emerged since the original work of Sax, mostly without significant success. This includes saxello , essentially split B ? , but with a slightly curved neck and a bell tipped; alto that is straight; and tenure straight B ? . Because the straight-bore tenor is approximately five feet long, the large size of such a design makes it almost impossible to play or transport. The "king" of Saxellos, made by H. N. White Company in 1920, now orders a price of up to $ 4,000. A number of companies, including Keilwerth, Rampone & amp; The Cazzani model ( altello ), L.A. Sax and Sax Dakota USA, marketing saxophone saxophone as saxellos (or "saxello sopranos").
The saxophone contralto, similar to the size of the soprano orchestra, was developed at the end of the 20th century by California instrument maker Jim Schmidt. This instrument has a larger hole and a new fingering system, and does not resemble a melody C instrument except for its keys and registers. Another new arrival to the sax scene is soprillo sax, a piccolo-sized straight tool with an upper speaker hole built into the funnel. The instrument, which extends the Sax native family, due to a full octave fuller than the soprano B SOP, ? , produced by Benedikt Eppelsheim, Munich, Germany. There is a prototype tenor of rare shear saxophone. One company that produces saxophone soprano slide is Reiffel & amp; Hated, Chicago, c. 1922 (catalog of NMM 5385).
Two of these variants are championed by jazz musicians, Rahsaan Roland Kirk, who mentions Buescher directly as a "stritch" and his saxello is modified as "manzello"; the latter featuring a larger than usual bell and a modified key job. Among some saxophonists, Kirk's term has taken their own lives where it is believed that this is a "special" or "new" saxophone that may still be available. Though rare, alte Buesscher straight is an instrument of production items while manzello is indeed saxello with specially made bells.
Another unusual variant of saxophone is Conni-O-Sax, a straight-cone bore instrument in F (one step above E ? alto ) with a slightly curved neck and bell ball. This instrument, which combines saxophone and lock chips with a bell similar to the heckelphone, is meant to mimic English horn timbre and was produced only in 1929 and 1930. The instrument has a key range from low A to high G. Less than 100 Conn-O -Saxes are there, and they are highly sought after by collectors. Recently a mezzo-soprano in key G has been produced by Danish expert wood expert Peter Jessen, most famously played by Joe Lovano. This instrument is more in the quality of a bass ball than soprao saxophone Bb.
Tubax, developed in 1999 by German instrument maker Benedikt Eppelsheim, plays the same range, and with the same fingering, as a spontaneous saxophone E ? ; boring, however, narrower than the saxophone kontrabas, making the instrument more compact with a "reedier" tone (similar to a double-reed counter-reed sarugophone). It can be played with a smaller (and more commonly available) baritone saxophone and reeds. Eppelsheim also produces subcontrabas tubaxes in C and B ? , the latter being the lowest saxophone ever made. Among the latest developments is the aulochrome, a double soprano saxophone created by Belgian instrument maker FranÃÆ'§ois Louis in 2001.
The saxophone fingering scheme, which has only slightly changed since the original invention of the instrument, has presented an inherent acoustic problem associated with a lock under the first open earpiece that affects the response, and slightly damps, some notes. There is also a lack of tactile consistency that moves between key centers. It takes extra effort from the player to adjust the muscle memory mode while moving between the key centers. Two attempts to correct acoustic problems and strange aspects of the original fingering system are worth noting.
The Leblanc Rationale and saxophone systems have a key mechanism designed to correct acoustic problems associated with a closed button under the first open earpiece. They also allow the player to make a half-step shift from the scales by pressing a button while keeping the remaining fingers consistent with the one-and-a-half fingers (which can also explore players used for alternative fingers on a regular saxophone). Some features of the Leblanc System were built into Vito Model 35 saxophones in the 1950s and 1960s. The acceptance of what could be arguably a superior system is disrupted by the necessary adjustment of players switching between System and non-System horns, and the additional costs associated with the complex complexity of certain key mechanisms.
The colored or linear fingering, the saxophone is the project of instrument designer and builder Jim Schmidt, develops tactile maximizing horns and logical consistency between each interval regardless of key, and avoids acoustic issues associated with the closed button under the first open tone hole. Some work prototypes have been built and presented at trade shows. Production of these original and expensive saxophones individually.
Related instruments
Although not true saxophone, the cheap keyless folk version of saxophone made from bamboo (remembering chalumeau) was developed in the 20th century by instrument makers in Hawaii, Jamaica, Thailand, Indonesia, Ethiopia, and Argentina. The Hawaiian instrument, called xaphoon, was discovered in the 1970s and is also marketed as a "bamboo sax", although its cylinder is more like a clarinet, and the lack of keywork makes it more akin to a recorder. The famous Jamaican exponent of a homemade bamboo "saxophone" is a musician and instrument maker mento 'Sugar Belly' (William Walker). In the Minahasa region on the island of Sulawesi in Indonesia, there are entire bands made of "saxophone" and "brass" bamboo instruments of various sizes. These instruments are copies of European instruments, made using local materials. Very similar instruments are produced in Thailand. In Argentina, ÃÆ'ngel Sampedro del RÃÆ'o and Mariana GarcÃÆ'a have produced bamboo saxophones of various sizes since 1985, the larger ones have bamboo keys to allow for a lower tone game.
In 2018, Nick Millington launched the Kickstarter project to produce an instrument called Saxmonica. This is a two-part instrument, in B ? , with an octave range. It is designed for baggage when unpacked. It has a flat mouth mouthpiece fixed saxophone but with a keyless body similar to a recorder. The project is very quick to exceed its original funding objectives.
Composition
Music for most saxophones is usually denoted using a treble key. Standard write range extends from B ? under staff to F or F ? three rows of ledger above staff. Most, if not all, medium and professional saxophones made today are built with the F key? , with F ? including even student instruments.
There are many soprano saxophone models that have a key for high G, and most modern models of baritone saxophones have holes and long locks to produce low A; may also play low A on any saxophone by blocking the end of the bell, usually with legs or inside the left thigh. Key A is low but not limited to baritone sax. For a short time Selmer Paris produced a VI alto saxophone mark with a low A key. Notes above F are considered part of altissimo registers of any saxophone, and can be produced using sophisticated embroidery techniques and fingering combinations. Sax himself has mastered these techniques; He demonstrates the instrument has a range of just above three octaves to a high B4 (written). The modern saxophonist has expanded this range to over 4 octaves in tenor and alto.
Since all the saxophones use the same key and fingering settings to produce a notched note, it is not difficult for a competent player to switch between different sizes when the music has been properly diverted, and many do. Because baritone and alto are pitched in E ? , the player can read the concert pitch music marked on the bass clef by reading it as if it was a treble key and adding three sharp objects to the key signature. This process, referred to as substitute substitution, allows the Eb instrument to play from parts written for baritone horns, bassoon, euphonium, bass strings, trombone, or tuba. This can be useful if the band or orchestra does not have one of those instruments.
Picture gallery
Note
References
External links
- Instruments In Depth: The Saxophone Online feature with a video demonstration from Bloomingdale School of Music (June, 2009)
- The Saxophone Fingering Chart
Source of the article : Wikipedia
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