The Saxophone

Joseph Fisher Woodwind Literature

West Chester University | Fall 2011 Professor: Dr. Greg Riley

Purpose Statement The purpose of this document is to inform saxophonists of all ages and skill about their instrument. With the knowledge provided, the learner can make wise assessments on

materials to study. With growing resources available in print and on the internet, today’s saxophonists are guided in several directions. Using this document, informed decisions can be made without affecting the unique sound

that the instrumentalist may desire. h"p://www.theowanne.com/mouthpieces101/Selmer.php  

Adolphe Sax, inventor A troubled man who fixed

and invented instruments was most notably popular for creating the modern bass clarinet. When Sax invented the instrument he named the saxophone he invested most of his

time and money promoting the instrument with the help of musical genius’ such as Berlioz

and Ravel. Henri Berlioz

Adolphe Sax

Saxophone Patent After inventing the “saxophon” in 1840 Adolphe premiered

the instrument in Brussels in 1841. Eight saxophone models were officially patented on March 21, 1846.

h"p://www.selmer.fr/histdetail.php?id=3  

The Mouthpiece Arguably the most important part of the

saxophone, the mouthpiece is crucial in

creating the unique sound. The first

mouthpieces as well as some of the first Selmer

mouthpieces had “a very large chamber.”

Selmer C Star Mouthpiece

“H Selmer” first mouthpiece made by Selmer in the early 1920s h"p://www.theowanne.com/mouthpieces101/Selmer.php  

Saxophone Mouthpiece

h"p://www.saxman.co.nz/sax-­‐mouth.htm  

The Chamber (Large and Medium)

Large Chamber - When the chamber (1B) has a larger diameter than the bore (1A) of the mouthpiece (original design by Sax in 1841)

Medium Chamber - When the chamber (2B) has approximately the same diameter as the bore (2A) of the mouthpiece.

h"p://www.theowanne.com/mouthpieces101/chamber.php  

The Chamber (Small and Extra-Small)

Small Chamber - When the chamber (3B) has a smaller diameter than the bore (3A) of the mouthpiece.

Extra-Small Chamber - When the chamber (4B) has an overtly smaller diameter than the bore (4A) of the mouthpiece, such that the chamber 'drops' down into the bore.

h"p://www.theowanne.com/mouthpieces101/chamber.php  

The Facing

h"p://www.mouthpieceexpress.com/specshub/anatomy_ww.html  

Alto Saxophone Mouthpiece Facing Chart

h"p://www.saxman.co.nz/saxophone_mouthpiece_facing.html  

Tenor Saxophone Mouthpiece Facing Chart

h"p://www.saxman.co.nz/saxophone_mouthpiece_facing.html  

h"p://www.sax.co.uk/acatalog/Vandoren_Mouthpieces_Further_InformaIon4.html  

ALTO Tip Opening / Facing chart

TENOR Tip Opening / Facing chart

TeaCHING THE SAXOPHONE Most students will come up through some sort of school program but when you have a student that is home schooled or is from a private school, your

responsibility changes from strictly the saxophone teacher to the music teacher.

Beginning Saxophone Study Today, most public schools will adopt a series of books such as “Essential

Elements 2000” published by Hal Leonard or “Accent on Achievement” published by Alfred.

In speaking with the writers/composers of these books, they have been compiled in new ways so that it is easy to play with other students, on

any instrument. Both series have a book one and book two.

Intermediate Saxophone Study Although the “Essential Elements” and “Accent on Achievement”

series have added repertoire to play together, a duet book is a must-have for intermediate students. The challenge of playing in time with another person or even a play-along CD will help

the student gain invaluable skills on the instrument.

Practicing on a higher level

Practice should include a mix of work ranging from long tones to scales and arpeggios, short exercises in limited ranges for fingering and tonguing, studies such as Ferling, Mule or the

Charlie Parker Omnibook, repertoire which places the technical work into an expressive context

and involves work with piano or other instruments, and improvisation.

From  The  Cambridge  Companion  to  the  Saxophone,  page  86,  excerpt  by  Kyle  Horch  

Practicing Classical Studies can begin from books such as “Concert and Contest”

collection or Klose’s “Twenty Studies.” Arrangements and transcriptions by Sigurd Rascher have set the standard for

saxophone solos.

sheetmusicplus.com  /  poloniussheetmusic.com  

Practicing Classical (Continued)

Through Pennsylvania Music Educators Association students are offered opportunities to audition and play in district, region,

and state band. The audition pieces are chosen from the following

ALTO        First  ConcerIno  by  Guilhaud    Sonata  in  Eb  by  Jacobi    Sonata  for  Alto  Sax  by  Eccles/Rascher  

TENOR    Ballet  Impressions  by  Ostransky    Sonata  in  C  Minor  by  Telemann/Voxman    Concerto  in  G  Minor  by  Handel/Voxman  

BARITONE    RecitaIve  &  Rondino  by  Koepke    Undercurrent  by  Long    Allegro  Spiritoso  by  Senaille/Gee  

h"p://www.pmea12.org  

These pieces serve as excellent suggestions for students to

play solo or even for a college audition.

Practicing Classical (Continued)

Deep routed in the the teachings of Marcel Mule, his student Eugene Rosseau and other saxophone masters, study of classical saxophone often include clarinet,

flute, oboe and string literature. When asking what kind of materials Bob Mintzer studied from, he referred the Bach cello suites and Bozza saxophone

etudes. Etudes by Ferling are also recommended.

sheetmusicplus.com  /  poloniussheetmusic.com  

Practicing Jazz After the intermediate level, the student should continue begin to study etudes and

tunes. Jamey Aebersold and Hal Leonard both have solutions through play-along books. Some public schools are even adopting the “Essential Elements of

Jazz” series to teach basic swing and latin concepts to students in a group.

h"p://www.jazzbooks.com  

Practicing Jazz (Continued)

For a student to be successful in jazz and improvisation there must be a heavy emphasis on scales, patterns, and licks. Most, if not all, teachers will require

their students to learn these in every key. Books published by Jamey Aebersold and Jerry Coker have become the standard. Other important contributions

have come from musicians such as David Baker and David Liebman.

h"p://www.jazzbooks.com  

Practicing Jazz (Continued)

Other practice techniques for jazz include transcriptions of solos and tunes (melody and changes). Accompanied with the “scales, patterns, licks” method, transcribing and learning solos helps the

performer become more aware of the musical elements of jazz and how it operates.

Memorization of solos and tunes is suggested.

And it continues

“On n’arrive jamais” – Marcel Mule

Saxophone  High  Tones  by  Eugene  Rousseau  

Jazz Saxophone Influences

Jazz Saxophone Influences

• Jean  Goldke"e  • Red  Nichols    Pee  Wee  Russell  (1906)  • King  Oliver  • Jelly  Roll  Morton  Sidney  Bechet  (1897)  

• California  Ramblers  Jimmy  Dorsey  (1906)  • Jean  Goldke"e  • Paul  Whiteman  Frankie  Trumbauer  (1901)  

• California  Ramblers  Adrian  Rollini  (1904)  • Red  Nichols  • Tommy  Dorsey  and  Benny  Goodman  Bud  Freeman  (1906)  

Jazz Saxophone Influences

Sidney  Bechet  (1897)  

Earl  BosIc  (1913)  

Benny  Carter  (1907)  

Johnny  Hodges  (1906)  

Jazz Saxophone Influences

Frankie  Trumbauer  (1901)  

Lester  Young  (1909)  

Ben  Webster  (1909)  

Jazz Saxophone Influences

Bud  Freeman  (1906)  

Adrian  Rollini(1904)  

Coleman  Hawkins  (1904)  

Harry  Carney(1910)  

Jazz Saxophone Influences

• Al  Cohn  • Gene  Ammons  •  Paul  Desmond  • Dexter  Gordon  •  Illinois  Jacquet  •  Lee  Konitz  • Hank  Mobley  •  James  Moody  •  Charlie  Parker  •  Zoot  Sims  

Lester  Young  

Jazz Saxophone Influences

• Cannonball  Adderley  • Orne"e  Coleman  • George  Coleman  •  John  Coltrane  •  Lou  Donaldson  •  John  Handy  •  Lee  Konitz  • Yusef  Lateef  •  Jackie  McLean  •  Sonny  Rollins  •  Sonny  SI"  •  Lucky  Thompson  

Charlie  Parker