Adolphe Sax, Inventor of the Saxophone

Post by lisper » Wed, Oct 21, 2020, 3:38 PM UTC

jacquesm wrote: post #17

throwaway_pdp09 wrote: post #15

Earlier quoted context omitted.

> a whole range of instruments going from I know but I simply didn't have the vocabulary to distinguish them by name or type, so emphasised their common size and appearance. Thanks for the comprhensive answer, and never even heard of Morphine, ta for that!

You're welcome. For some other really nice saxophone: Anything by Steps Ahead, Grover Washington's record 'mister magic'. If you want more drop me a line by email, I'll do some digging in my collection. To give an idea of the range of saxophones: https://en.wikipedia.org/wiki/Sopranino_saxophone https://www.youtube.com/watch?v=7XqwC1NmtG4 to https://en.wikipedia.org/wiki/Subcontrabass_saxophone https://www.youtube.co…

Post by bjoli » Wed, Oct 21, 2020, 6:12 PM UTC

jacquesm wrote: post #21

bjoli wrote: post #9

Earlier quoted context omitted.

On one hand, it seems harder to learn, on the other: clarinet is the king of large jumps. The shit the clarinet soloists that come to my orchestra squeak out would be impossible to do that cleanly on my instrument (bassoon), even though large jumps on bassoon is considered easy. And it isn't just a Martin Fröst thing. I played recently with Christoffer Sundqvist, Emil jonasson and Harri Mäki (as well as with Fröst on…

Yes, I think you are 100% right. On the sax large jumps are super hard because there are so many modes of resonance to choose from and they all 'work' to some extent. If the instrument already has a strong preference for one such mode you can hit it flawlessly no matter where you come from. > 1 octave jumps on the sax were always hard for me no matter how much I practiced especially when going up I kept getting the w…

Post by dmoy » Wed, Oct 21, 2020, 7:47 PM UTC

bjoli wrote: post #9

dmoy wrote: post #6

Earlier quoted context omitted.

Also makes it stupid difficult to do clean sounding smooth octave jumps on a clarinet.

On one hand, it seems harder to learn, on the other: clarinet is the king of large jumps. The shit the clarinet soloists that come to my orchestra squeak out would be impossible to do that cleanly on my instrument (bassoon), even though large jumps on bassoon is considered easy. And it isn't just a Martin Fröst thing. I played recently with Christoffer Sundqvist, Emil jonasson and Harri Mäki (as well as with Fröst on…

Post by singingfish » Wed, Oct 21, 2020, 8:38 PM UTC

zoomablemind wrote: post #10

jojobas wrote: post #4

Fun fact: a cone open on one end (saxophone) supports all harmonics, as does a cylinder open on both ends (flute). A cylinder open on one end (clarinet) only supports odd harmonics, which is why a clarinet sounds "rounded" and overblows into a twelfth, rather than an octave (as on former two).

Interesting observation is that sax having a conical bore and using a reed to induce the sound resembles an oboe. Indeed, the fingering is nearly the same. Yet, the brass resonates in a much brighter and louder way. The reed and the mouthpiece are of clarinet design, except of conical kind. A true hybrid, ingenious synthesis. Oboe's sound is pliable, thanks to the double reed, player's embouchure, and the richer spec…

Post by jacquesm » Thu, Oct 22, 2020, 12:36 AM UTC

singingfish wrote: post #36

incanus77 wrote: post #32

I grew up learning the alto sax (also occasionally subbed for tenor or even bari in my small school) in the late 80s and 90s. It was impossible to not have been influenced by Kenny G, somewhat unfortunately, as a tangible path to commercial success. Still SMH... I mean, talented guy, but complete Muzak, really. I still have my 1987 Yamaha alto with Vandoren mouthpiece and pull it out every couple years. Remarkable pi…

Pat Metheney doesn't agree with you about Kenny G's talent http://www.jazzoasis.com/methenyonkennyg.htm