A great British sax that jazz players will love.The Signature Custom range has established Trevor James as one of theWorld's finest saxophone makers. Designed and hand built in the UK, thisRaw XS model features an unlacquered hand polished finish and anenlarged bell offering a bigger broader sound.DescriptionHand built under the supervision of Trevor James' head technician DaveFarley at their UK headquarters, the Signature Custom range is one ofthe finest available.The RAW XS has been developed following more than 12 months of testing,discussion and research with sax players around the world who wanted agenuine vintage sound and an aged look to their instrument. All of our instruments are fully checked and set-up by our experiencedtechnicians.
Regardless of size or price - all saxophones go through thesame process. Care of Unlacquered SaxesP. Mauriat, Yamaha, Yanagisawa, Forestone and Trevor James all producesome of their top models with an unlacquered option. The SignatureCustom RAW and 66R-UL, in particular, are spectacular horns and quitenoticeably different from their regular gold lacquered counterparts. Donote, however, that- as the metal has no protective lacquer, a sax likethis will develop an aged look quite rapidly (which isn’t necessarily aproblem- it can look superb, as anyone who’s seen Snake Davis’Yanagisawas will testify). Though this can, to an extent- be slowed- itcan’t be stopped entirely; an unlacquered horn will, over time, developa vintage patina. Free 1st Class Delivery on all orders over £100 to UK MAINLAND.
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Free Next Working day Delivery on all Saxophones to UK MAINLAND (excluding hire saxophones). Competitive International Shipping RatesDelivery ScheduleWe deliver your order right away. Orders received before 2pm are normally shipped the same day. International orders are generally received in under 7 days.We have a massive selection of goods, although If your item is not in stock, we will back order it for you. You will always be emailed with the option to choose an alternative or cancel your order if you would rather not wait.
Postage Prices Outside of the UKSimply add your desired products to the shopping cart, choose your shipping destination and the website will automatically assign your postage to the shopping cart. UK Shipping GuideListed below is a guide to our UK Mainland shipping charges. CategoryRoyal Mail 1st ClassSpecial Next DaySpecial Next Day (by 12pm)SaxophonesN/AFREE£5.00Accessories£4.00£8.00N/AHeavy Items£5.00£8.00N/APostage Within The UKRoyal Mail First Class (Default Shipping)First Class Delivery aims to deliver within 1 to 3 days of postage but do bear in mind larger items are likely to need hand delivery (sax stands don't fit through letter boxes). Royal Mail Special Delivery (Next Day)If your order is placed before 2pm and is in stock we promise to deliver next day. If an Item is not in stock we will refund your additional postage costs and deliver as soon as the goods are available. Over 2kg we use a mixture of regular post (low value items such as bags and heavier stands) & various couriers (usually DPD or UPS) depending on location and value.Postage Within The EUAnything under 2kg ships with Royal Mail. Orders amounting to over about £50 ship using a signed for and, if necessary, insured postal service.
Orders over 2kg ship with various courier services- again, usually UPS or Fedex.Rest Of The WorldAny order under 2kg ships in the regular mail (unless otherwise requested at time of ordering). Higher value shipments are sent using a signed for and, if necessary, insured postal service. Heavier items ship by courier - again, we tend to use UPS or Fedex. Please note that, should you want smaller orders by courier (an advisable security measure in some countries) please specify clearly when ordering. This will often incur a higher shipping price which we may have to cover by sending a paypal invoice.For any order which has shipped with tracking: the full tracking information can be checked using the 'my orders' section on our website (a link is on your initial order confirmation).If you're based overseas and would like more information on shipping including customs duty, please read our Based Overseas guide locatedReturns. If you wish to return products purchased on our website please follow the guidance below.Goods purchased online from www.sax.co.uk can be returned within 14 days of receipt. This does not apply to products where hygiene is concerned and product seals have been broken (Reeds, mouthpieces etc).
Goods purchased through our website cannot be returned to our retail stores.Please print and complete returns document found: Return Document and include it inside your package. You must obtain a receipt with tracking information from the Post Office or chosen courier service. This can be used to track the item(s) that you are returning. We cannot accept liability for returned goods that we don’t receive or for those that get damaged in transit on their return.
In all cases, (except where an item is faulty) the item(s) returned must be in its original and saleable condition. This includes all original packaging that must be undamaged and intact. All goods will be inspected on return. Where we have to make reductions in price to facilitate re-sale, you will be notified and the cost will be deducted from your refund. Goods are your responsibility until they reach our warehouse, so please ensure you package them up well to prevent any damage or loss during shipping. The initial postage and packaging charge is non refundable.We aim process refunds 24 hours of receipt. If you do not see your original payment method credited within ten days please contact us.Please send all returns to the following address:SAX.CO.UK RETURNS DEPARTMENTBROOKLANDS PARKFARNINGHAM ROADCROWBOROUGHEAST SUSSEXTN6 2JDIf you have any difficulty or have any other queries regarding our returns policy, our customer services will be able to assist at [email protected] or 3.
Family:.family:.Other saxophones:. ('Soprillo').Musicians.The saxophone (referred to colloquially as the sax) is a family of. Saxophones are usually made of and played with a similar to that of the. Although most saxophones are made from, they are categorized as, because sound is produced by an oscillating reed, traditionally made out of woody, rather than lips vibrating in a mouthpiece cup as with the family. As with the other woodwinds, the of the note being played is controlled by covering holes in the body tube to control the of the air column by changing the effective length of the tube.The saxophone is used in (such as, and, occasionally, ), (such as and jazz combos), and contemporary music.
The saxophone is also used as a solo and melody instrument or as a member of a in some styles of. Saxophone players are called.Since the first saxophone was invented by the Belgian instrument maker in the early 1840s, saxophones have been produced in a variety of series distinguished. Sax patented the saxophone on 28 June 1846, in two groups of seven instruments each. Each series consisted of instruments ranked by pitch, in alternating transposition. The series pitched in B ♭ and E ♭ soon became dominant and most saxophones encountered today are from this series.
Instruments from the series pitched in C and F never gained a foothold and constituted only a small percentage of instruments made by Sax. High Pitch (also marked 'H' or 'HP') saxophones tuned than the (concert) standard were produced into the early twentieth century for sonic qualities suited for outdoor uses, but are not playable to modern tuning and are considered obsolete. Low Pitch (also marked 'L' or 'LP') saxophones are equivalent in tuning to modern instruments. And saxophones were produced for the casual market as parlor instruments during the early twentieth century. Saxophones in F were introduced during the late 1920s but never gained acceptance.
The modern saxophone family consists entirely of instruments in the B ♭ – E ♭ series, historical and experimental instruments notwithstanding. The saxophones with widest use and availability are the soprano, alto, tenor, and baritone saxophones.#SaxophoneKeySounds an octave lower thanSounds an octave higher than1B ♭##Soprano2E ♭##Alto3B ♭SopranissimoTenor4E ♭SopraninoBaritone5B ♭SopranoBass6E ♭AltoContrabass7B ♭TenorSubcontrabass8E ♭Baritone##9B ♭Bass##. The traditional keyed range in C major of the, and when playing a B ♭ major.In the keyed (below -produced ) ranges of the various saxophones, the is controlled by keys with shallow cups in which are fastened leather pads that seal toneholes, controlling the resonant length, and thereby frequency, of the air column within the bore. Small holes called vents, located between the toneholes and the mouthpiece, are opened by an octave key to raise the pitch by eliminating the, leaving the as the frequency defining the pitch. Most modern saxophones are keyed to produce a low B ♭ (relative to the instrument's ) with all keys closed; modern baritone saxophones commonly play a low A and altos keyed to low A have been produced in the past. The highest keyed note has traditionally been F two and a half octaves above low B ♭, while the keyed range is extended to F ♯ on most recent performance-class instruments.
A high G key is most common on modern soprano saxophones. Notes above F are considered part of the altissimo register of any saxophone, and can be produced using advanced embouchure techniques and fingering combinations. Keywork facilitating altissimo playing is a feature of modern saxophones.
Modern saxophone players have extended the range to over four on tenor and alto. Music for most saxophones is usually notated using.Because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, and many do so. Since the baritone and alto are pitched in E ♭, players can read concert pitch music notated in the by reading it as if it were treble clef and adding three to the.
This process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for,. This can be useful if a band or orchestra lacks one of those instruments.Design features The straight and saxophones consist of a straight conical tube with a flared bell at the end opposite the mouthpiece. Alto and larger saxophones include a detachable curved neck above the highest tone hole, directing the mouthpiece to the player's mouth and, with rare exceptions, a U-shaped bow that directs the bore upward and a curve in the throat of the bell directing it forward. The set of curves near the bell has become a distinctive feature of the saxophone family, to the extent that soprano and even sopranino saxes are sometimes made in the curved style. The baritone, bass, and contrabass saxophones accommodate the length of the bore with extra bows and right-angle bends between the main body and the mouthpiece.The left hand operates keys from the upper part of the body tube while the right hand operates keys from the lower part. The right thumb sits under a thumb hook and left thumb is placed on a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is shared by the right thumb and a neckstrap attached to a strap ring on the rear of the body of the instrument.
With the smaller instruments, relatively more of the weight is supported by the thumb. The left thumb operates the octave key.Keys consist of the cups, levers, and pivots that control the position of the pads over the toneholes. At rest, some keys are open and some are closed, held in position by springs that are overridden by finger or hand ( palm keys) pressure. The keys are activated by pressure on key touches, either directly on the pad cup or connected to it with levers, either directly or with joints called linkages. The levers between the key cups and the pivots are called key arms.The fingering for the saxophone is a combination of that of the with the and is similar to the or upper register of the clarinet. The stack keys are operated by the first, second, and third fingers on each hand with slightly concave button-style key touches ( key buttons) operating with the same motion as the pad cups that they control. The stack keys are linked to higher stack keys with regulation bar and bridge arm linkages.
Key buttons are advantageous for operating keys with direct downward finger pressure but provide disadvantages operating keys with other finger and hand motions, hence, their use on keys operated with such motions has diminished with the evolution of saxophone designs.Palm keys and the front F key operated by the left hand, and the high F, high F ♯ and high G keys operated by the right hand, control the upper end of the keyed range and are used to vent altissimo notes. Chromatic keys operated by the right hand provide alternate fingerings for F ♯, B ♭, and C within the stack range.
The fourth fingers of the right and left hands open keys to raise pitch by a as well as close keys towards the lower range of the instrument, with the lowest pitch bell keys operated by the left hand. The keys operated by the fourth fingers are referred to as table keys. Instruments that play to low A have a left thumb key for that note.On saxophones produced since the early 1920s the G ♯ key operated from the left hand table is closed by closing keys on the lower stack regardless of pressure on the G ♯ actuating mechanism ( F-linked, or stack-linked, G ♯ mechanism). That feature vastly increases the speed and playability of certain intervals to the point that saxophones with direct G ♯ action, in which the key stays open when the lower stack keys are depressed, are considered obsolete. Modern left hand tables also articulate the G ♯ key with the low C ♯, B, and B ♭ keys to open it when any of those keys are depressed and the right hand stack keys are not.
That also provides significant advantages for playing certain intervals near the lower range of the instrument. Some players willingly forego the benefits of the articulated G ♯ to play vintage instruments, but a front F key and a stack-linked G ♯ key are regarded as critical features by serious players.
Materials From the earliest days of the saxophone the body and key cups have been made from sheet brass stock, owing to its workability in forming complex shapes. Mechanical keywork is assembled from components either hand-tooled or machined from other forms of brass stock. Introduced saxophones with necks and bells of sterling silver during the 1930s and continued that 'silversonic' scheme into the early 1960s. Yanagisawa revived the scheme during the 1980s and later introduced entire instruments of sterling silver.and have used, a copper-nickel-zinc alloy more commonly used for flutes, for the bodies of some saxophone models.For visual and tonal effect, higher copper are sometimes substituted for the more common 'yellow brass' and 'cartridge brass.' Made its 902 and 992 series saxophones with the high copper alloy to achieve a darker, more 'vintage' tone than the brass 901 and 991 models.
Other saxophones made of high copper alloys are sold under various brands.Other materials are used for some mechanical parts and keywork. Since 1920, most saxophones have replaceable key buttons operating the stack keys, usually made from either plastic.
Some saxophones are made with, stone, or wood key buttons. On some premium models, the key button material is used to form the convex key touches for other keys. The rods and screw pins that the keywork's hinges pivot on, and the needle and that hold keys in their rest position, are usually made of blued or stainless steel. Mechanical buffers of felt, cork, leather, and various synthetic materials are used to reduce friction, to minimize mechanical noise from movement of keys, and to optimize the action of the keywork for positive pad sealing, intonation, speed, and 'feel.' Nickel silver is sometimes used for hinges for its advantages of mechanical durability, although the most common material for such applications has remained brass. Saxophones with high copper bodies still have brass keywork owing to its more suitable mechanical properties relative to those alloys.Surface finishes Before final assembly, manufacturers usually apply a finish to the surface of the horn. The most common finish is a thin coating of clear or colored.
The lacquer serves to protect the brass from oxidation and maintains its shiny appearance. Silver or gold plating are offered as premium options on some models. Some silver plated saxophones are also lacquered.
Plating saxophones with gold is an expensive process because an underplating of silver is required for the gold to adhere to. Nickel plating has been used on the bodies of early budget model saxophones and is commonly used on keywork when a more durable finish than lacquer is desired, mostly with student model saxophones. Chemical surface treatment of the base metal has come into use as an alternative to the lacquer and plating finishes in recent years. Some saxophonists, retailers, and repair technicians argue that the type of lacquer or plating (or absence of lacquer) may be a factor affecting the instrument's tone quality.Mouthpiece and reed. Tenor saxophone mouthpieces, ligatures, reed, and capThe saxophone uses a single-reed 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 made from cane, but since middle of the twentieth century some have also been made of fiberglass and other composite materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length. Reeds are commercially available in a vast array of brands, styles, and strengths. Saxophonists experiment with reeds of different strength (hardnesses) and material to find which strength and cut suits their mouthpiece, embouchure, physiology, and playing style.Mouthpiece design has a profound impact on tone. 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's original design; these provide a softer or less piercing tone favored by the school of classical playing.
Saxophonists who follow the French school of classical playing, influenced by, generally use mouthpieces with smaller chambers for a somewhat 'brighter' sound with relatively more upper harmonics. The use of the saxophone in dance orchestras and jazz ensembles from the 1920s onward placed emphasis on and projection, leading to innovation in mouthpiece chamber shapes and tip designs, as well as metal construction. At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments and are commonly used in modern pop and smooth jazz.Mouthpieces come in a wide variety of materials, including rubber (sometimes called or ), plastic, and metals such as bronze. Less common materials that have been used include wood, glass, crystal, porcelain, and bone. Recently, 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 debate.
According to, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone color. There are examples of 'dark' sounding metal pieces and 'bright' sounding hard rubber pieces. The lower rigidity of hard rubber relative to metal restricts some design characteristics affecting tone and response more than with metal. The extra bulk required near the tip with hard rubber affects mouth position and airflow characteristics.
Recently, increased of the mouthpiece over the shank, which fits over the neck cork, has become a design feature to enhance the integrity of the by stabilizing the mouthpiece/neck connection. Shank weights (large rings of brass over the shank) are used with some Delrin mouthpieces to increase 'resonance and projection.'
Other 'hybrid' designs with a hard rubber body and a substantial metal shank have a similar mass distribution, although its contribution to sound characteristics is not highlighted in product descriptions. History Early development and adoption. The inventor of the saxophoneThe saxophone was designed around 1840 by, a Belgian instrument maker,. Born in and originally based in, he moved to Paris in 1842 to establish his musical instrument business. Before working on the saxophone, he made several improvements to the by improving its keywork and acoustics and extending its lower range. Sax was also a maker of the, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with these two instruments allowed him to develop the skills and technologies needed to make the first saxophones.As an outgrowth of his work improving the bass clarinet, Sax began developing an instrument with the projection of a brass instrument and the agility of a woodwind.
He wanted it to at the, unlike the clarinet, which rises in by a when overblown. An instrument that overblows at the octave has identical for both.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 instrument on 28 June 1846. The patent encompassed 14 versions of the fundamental design, split into two categories of seven instruments each, and ranging from to. A limited number of instruments in the series pitched in F and C were produced by Sax, but the series pitched in E ♭ and B ♭ quickly became the standard. All the instruments were given an initial written range from the B below the treble staff to the E ♭ one half-step below the third above staff, giving each saxophone a range of two and a half octaves. Sax's patent expired in 1866.
A US sailor with the plays a saxophone in Hong Kong In military bands and classical music The saxophone first gained popularity in. 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 E ♭ 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 two saxophonists, on the alto and tenor. The saxophone was introduced into the, which usually calls for an E ♭ alto saxophone, a B ♭ tenor saxophone, and an E ♭ baritone saxophone.
A concert band may include two altos, one tenor, and one baritone. A B ♭ soprano saxophone is also used, in which case it is played by the first alto saxophonist. A bass saxophone in B ♭ is used in some concert band music (especially music by ). Classical saxophonistSaxophones are used in chamber music, such as 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 's Alto Quartet (four altos).There is a repertoire of classical compositions and arrangements for the instrumentation dating back to the nineteenth century, particularly by French composers who knew Sax. However, the largest body of chamber works for saxophone are from the modern era of classical saxophone initiated by in 1928.
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 often considered the prototype for quartets due the level of virtuosity demonstrated by its members and its central role in the development of modern quartet repertoire. However, organized quartets existed before Mule's ensemble, the prime example being the quartet headed by Edward A. Lefebre (1834–1911), which was a subset of 's 22nd Regiment band between 1873 and 1893.In the 20th and 21st centuries, the saxophone found increased popularity in symphony orchestras. The instrument has also been used in genres such as opera and choral music. Many musical theatre scores include parts for saxophone, sometimes doubling another woodwind or brass instrument.Selected works of the repertoire. 369th Infantry Regiment Band and leader Lt.
James Reese Europe, winter 1918-1919Coincident with the more widespread availability of saxophones in the US around the turn of the century was the rise of music. The bands featuring the latin- and African-American rhythmic influences of ragtime were an exciting new feature of the American cultural landscape and provided the groundwork for new styles of dancing. The rise of dance bands into the 1920s followed from the popularity of ragtime. Two of the best known ragtime-playing brass bands with saxophones were those led. The saxophone was also used in entertainment during the same period. Ragtime, Vaudeville, and dance bands introduced much of the American public to the saxophone.
Europe's 369th Infantry Regiment Band popularized ragtime in France during its 1918 tour. Became the best known individual saxophone stylist and virtuoso during this period leading into the 'saxophone craze' of the 1920s. Following it, the saxophone became featured in music as diverse as the 'sweet' music of and, jazz, swing, and large stage show bands.The rise of the saxophone as a jazz instrument followed its widespread adoption in dance bands during the early 1920s. The, formed in 1923, featured arrangements to back up improvisation, bringing the first elements of jazz to the large dance band format. Following the innovations of the Fletcher Henderson Orchestra, the and 's featured jazz solos with saxophones and other instruments. The association of dance bands with jazz would reach its peak with the of the 1930s. The large show band format, influenced by the 1930s swing bands, would be used as backing for popular vocalists and stage shows in the post World War II era, and provided a foundation for big band jazz.
Show bands with saxophone sections became a staple of television talk shows (such as the that featured bands led by and ) and Las Vegas stage shows. The swing era fostered the later saxophone styles that permeated and in the early postwar era. Coleman Hawkins, the most influential saxophone stylist of Jazz's early period, c. 1945established the tenor saxophone as a jazz solo instrument during his stint with Fletcher Henderson from 1923 to 1934.
Hawkins', rich-toned, vibrato-laden style was the main influence on swing era tenor players before, and his influence continued with other big-toned tenor players into the era of modern jazz. Among the tenor players directly influenced by him were,. Hawkins' band mate and Duke Ellington's alto saxophonist became influential on swing era alto styles, while brought the baritone saxophone to prominence with the Duke Ellington Orchestra. The New Orleans player gained recognition for playing the soprano saxophone during the 1920s, but the instrument did not come into wide use until the modern era of jazz.As Chicago style jazz evolved from in the 1920s, one 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 (alto), (c-melody), (tenor) and (baritone). Dorsey and Trumbauer became important influences on tenor saxophonist Lester Young.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 by the tune.
He used vibrato less, fitting it to the passage he was playing. His tone was smoother and darker that that of his 1930s contemporaries. Young's playing was a major influence on the modern jazz saxophonists,. Charlie Parker, leader of the bebop revolution, 1947The influence of Lester Young with the in the late 1930s and the popularity of Hawkins' 1939 recording of ' marked the saxophone as an influence on jazz equal to the trumpet, which had been the defining instrument of jazz since its beginnings in New Orleans. But the greatest influence of the saxophone on jazz was to occur a few years later when alto saxophonist became an icon of the revolution that influenced generations of jazz musicians.
The small-group format of bebop and post-bebop jazz ensembles gained ascendancy in the 1940s as musicians used the harmonic and melodic freedom pioneered by Parker, and in extended jazz solos.During the 1950s, prominent alto players included, and, while prominent tenor players included Lester Young, Coleman Hawkins, and., and brought the baritone saxophone to prominence as a solo instrument. 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 also uses the soprano sax as his principal instrument.Saxophonists such as John Coltrane, and defined the forefront of creative exploration with the avant-garde movement of the 1960s. The new realms offered with, and 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. One 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 -influenced sounds used by Coltrane.
The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists. Illinois Jacquet, early influence on R&B saxophone, 1941Some ensembles such as the use the soprano-alto-tenor-baritone (SATB) format of the classical saxophone quartet for jazz. In the 1990s, World Saxophone Quartet founder formed the quartet Baritone Nation (four baritones).The 'jump swing' bands of the 1940s gave rise to, featuring horn sections and exuberant, strong-toned, heavily rhythmic styles of saxophone playing with a melodic sense based on tonalities., and were major influences on R&B tenor styles and, and were major influences on alto. The R&B saxophone players influenced later genres including,.
Horn section work continued with and featuring horn sections and the, the, and achieving distinction for their section playing. Horn sections were added to the Chicago and West Coast blues bands of,.
The rock/soul fusion bands, and featured horn sections., and became influential soul and funk saxophone stylists. And were well known rock & roll saxophone stylists.Unusual variants A number of experimental saxophones and saxophone-related instruments have appeared since Sax's original work, most with no lasting impact. During the early 1920s Reiffel & Husted of Chicago produced a slide soprano saxophone.During the 1920s some straight alto and tenor saxophones were produced by, which proved cumbersome to handle and difficult to transport. Buescher custom produced one straight baritone saxophone as novelty instrument for a vaudeville performer.introduced two new variants in 1928–1929, the Conn-O-Sax and the keyed in F. The Conn-O-Sax is a straight-conical bore instrument in F (one step above the E ♭ alto) with a slightly curved neck and spherical bell.
This instrument, which combines a saxophone bore and keys with a bell shaped similar to that of a, was intended to imitate the timbre of the and was produced only in 1929 and 1930. The instrument has a key range from low 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 economics of the 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, essentially a straight B ♭ soprano, but with a slightly curved neck and tipped bell, made by the. Such instruments now command prices up to $4,000 USD.
Its lasting influence is shown in the number of companies, including Keilwerth, Rampone & Cazzani ( altello model), L.A. Sax and Sax Dakota USA, marketing straight-bore, tipped-bell soprano saxophones as saxellos (or 'saxello sopranos').Interest in two 1920s variants was revived by jazz musician, 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.
More recently, the mezzo-soprano, or a modern variant of it, came into use by jazz musicians, and.Some of the 1920s experimental designs, in addition to the Saxello, provide the basis for similar instruments produced during the modern era. Straight altos and tenors have been revived by Keilwerth, L.A.
Sax and Sax Dakota USA. A mezzo-soprano in the key of G has been produced by Danish woodwind technician Peter Jessen, most notably played. This instrument is more in the timbral quality of Bb soprano saxophone.The contralto saxophone, similar in size to the orchestral c-soprano, was developed in the late 20th century by California instrument maker Jim Schmidt. This instrument has a larger bore and a new fingering system, and does not resemble the orchestral instrument except for its key and register., of Munich, Germany has introduced recent innovations at the upper and lower ends of the saxophone range. The is a -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, developed in 1999 by Eppelsheim, plays the same range and with the same fingering as the E ♭ contrabass saxophone; its bore, 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 ). It can be played with the smaller (and more commonly available) 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 most recent developments is the, a double soprano saxophone invented by Belgian instrument maker in 2001.Since the 1950s, saxophones with non-metallic bodies have occasionally been in production. Such instruments have failed to gain acceptance over a number of issues including durability, repairability, and deficiencies in key action and tone. The best known of these efforts is the 1950s alto saxophone used briefly by Charlie Parker and Ornette Coleman. It had a production run of over 10 years as a budget model saxophone.
The is in production as a low cost alternative to metal saxophones. Wooden are made in Thailand on a small scale. Opinions vary on the significance of body materials to sound.The fingering scheme of the saxophone, which has had only minor changes since the 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. There is also a lack of tactile consistency between key centers, requiring extra effort from the player to adjust modes of muscle memory when moving between key centers.
Two efforts to remedy the acoustic problems and awkward aspects of the original fingering system are noteworthy.The Leblanc Rationale and System saxophones have key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. They also enable players to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a 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 system, acceptance was impaired by the expense and mechanical reliability issues related to the complexity of certain key mechanisms.The chromatic or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval regardless of the key, and avoiding the acoustic problems associated closed keys below the first open tone hole. Several working prototypes have been built and presented at trade shows.
Production of this original and expensive saxophone is on an individual order basis.Related instruments. Retrieved 14 February 2011. ^. The Free Dictionary By Farlex. Retrieved 2012-05-25.
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^ Porter, Lewis (2002). Kernfeld, Barry (ed.). The New Grove Dictionary of Jazz. New York: Grove's Dictionaries. Pp. 507–514.
Britton, Ben (2010-10-29). Everything Saxophone. Retrieved 9 April 2019. Yanagisawa website. Archived from on 2007-12-30. Retrieved 2008-01-06. Cite uses deprecated parameter deadurl=.
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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 chamber and outside measurements as well as the facing, play very nearly the same. Goodson, Steve. Retrieved 17 February 2019. Retrieved 17 February 2019. ^. Retrieved 2007-05-07.
Retrieved 2008-01-06. 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 own instruments). Noyes, Chapter II. Noyes, Chapter III. ^ Noyes, Chapter IV. Noyes, Chapter V.
Hales, Pete. Retrieved 9 April 2019. Ventry, J.
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Archived from on 2007-06-28. Retrieved 2006-10-23. Cite uses deprecated parameter deadurl=. Cohen, Paul (1993). Saxophone Journal. 18 (2). Brown, John Robert.
John Robert Brown, Writer, Musician. Retrieved 8 April 2019. Howard, Stephen. Retrieved 8 April 2019.
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