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Extended
Saxophone Techniques
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The following books are a very good place for composers
to find saxophone-specific information"
"Hello! Mr.
Sax"
(Parameters of the Saxophone)
by Jean-Marie
Londeix
The "saxophone bible" (has examples of notation, and extensive
fingering charts for possible microtones, multiphonics, altissimo,
etc.)
AL 27.489
Editions Musicales Alphonse Leduc
175 rue Saint-Honore
75040 Paris cedex 01
available in
the USA from
http://www.dornpub.com/ken/etudes.html
Extended technique sheet music examples/with CD (I highly recommend
this for every composer and performer):
L'Art Du
Saxophone
by Daniel Kientzy
Nova Musica CD NMCD5101
http://www.kientzy.org/fr/sax.html
And Daniel Kientzy's
doctoral dissertation, Saxologie, demonstrating the tonal
and extended possibilities of the saxophone family, is now available.
Both are available
through Vandoren
sheet music
Jay Easton's available saxes:
- Bb Subcontrabass
(an octave below bass, extended range to high C)
- Eb Contrabass
(one octave below baritone- but without the low A)
- Bb bass(w/high
F#)
- Eb Baritone
(w/ low A)
- Bb Tenor
- C Tenor
- Eb Alto
- F mezzo-soprano
(same transposition as English Horn)
- Bb Soprano
- C soprano
-
Eb
sopranino
-
Bb
soprillo (piccolo sax- one octave above Bb soprano)
Separate classical and jazz mouthpieces are available for saxophone-
the classical sound is usually darker, warmer, and softer; the
jazz sound tends to be edgier, brighter, buzzier, and louder.
Unless specified, most saxophonists use a classical mouthpiece
for concert music. Here is a comparison using two different mouthpieces
on the same instrument:
mp3
demo of tenor classical mouthpiece vs jazz mouthpiece
1.3MB
Extended
techniques: It is always possible to invent techniques other
than those included here. When in doubt, ask a saxophonist!
- circular breathing
(above written F in the staff)
- slap tongue:
- explosive
slap- (unpitched). maximum tempo: quarter note = 70
- woodblock
slap- unpitched, dry sound. Maximum tempo: quarter note = 200
- pizzicato-
clearly pitched melodic slap, soft or loud, entire range of
horn. Maximum tempo: quarter note = 240
- slap tone-
slap attack followed by normal tone. Maximum tempo: quarter
note = 200
N.B.- slap tongue is fatiguing if used for more than about 30
seconds. It is especially effective on
low saxes.
mp3
demo of slaptongue on sopranino, curved soprano, straight soprano,
alto, tenor, and baritone saxes; and alto and contrabass clarinets
4.8MB
- double/triple
tonguing
- multiphonics-
consult Londeix book for details
mp3
demo of multiphonics on soprano, tenor, baritone, and bass saxes;
and alto clarinet 1.3MB
- altissimo (very
limited on bass and sopranino, otherwise good) consult Londeix book
for details
- microtones
(above Eb at bottom of staff) consult Londeix book for details
mp3 demo of quarter-tones on alto sax 0.6MB
- pitch or intensity
vibrato (lip or diaphragm)
- finger vibrato
(flattement)
- irregular vibrato
- smear
- glissando
- scoop
- fall
- "doit" (falling
up instead of down)
- chirp
- growl
- scream
- laugh
- ghost notes
- back-tongue/half
tongue accent
- vox-sax (singing
drone, harmony, or unison/octave with sax tone through horn) mp3
demo of vox & scream on tenor sax 2.4MB
- sing into horn
(no sax tone, just voice)
- embouchure
alteration- (fuzzy/breathy tone, nasal/thin tone, or harsh/squawky
tone)
- key pops (w/
mpc. open or closed)
mp3 demo of key pops on tenor 0.9MB
- hiss/colored
noise, (with or w/o key clicks)
mp3
demo of colored noise on tenor sax 1.1MB
- flutter-tongue
(with or without tone)
mp3
demo of fluttertongue and portamento on bass clarinet
1.1MB
- overtone/harmonic
slide (shifting partials on a single fingering,
or can be used on a trill)
mp3 harmonic series/slide (mezzo soprano sax) 0.6MB
- kiss sound
- reverse-tone
(like backwards tape)
- subtone mp3
demo of subtone vs. true tone on jazz tenor 1.0MB
- overblow
- reed percussion
(flick w/ fingernail)
- controlled
squeak (teeth on reed- ppp to fff)
- mute in bell
(darkens sound slightly, muffles low notes)
- tubular extension
of bell for lower note with muffled timbre
- sliding harmonics
over shifting non-standard finger patterns
- timbral alteration
(bisbigliando- alternate fingerings for same note)
- Timbral
accent
- Timbral
appogiatura
- Timbral
tremolo (tone-color trill)
mp3
demo of bisbigliando (baritone sax) 1.1MB
- tongue-damped
tone (very soft, muffled, dark sound)
- gurgle (strangled,
bubbly sound- essentially unpitched)
- whistle into
mouthpiece
Without mouthpiece:
- kiss sound
- key pops (with
neck open or closed)
- tongue-ram
(on open end of neck- can be double or triple tongued, fingering
is still good)
- palm-ram (on
open end of neck- fingering only w/left hand)
mp3
demo of palm-ram and tongue-ram 1.6MB
- trumpet-sounds
(not very good on sopranino) consult Londeix book for details
- trumpet-sounds
w/ voice
- spetrofluctuation
(trumpet-sound with wah-wah effect)
- whistle into
neck
- use game call
in place of mouthpiece (mule deer grunt--VERY low, crow call, duck
quack, goose honk, baby cry), requires one hand to hold call on
neck of horn, other hand can change fingerings
mp3
demo of mule deer/mezzo-soprano sax 1.5MB
- flutter tongue
- double/triple
tongue w/colored breath noise
Neck only: (not
on sopranino or C soprano)
- kiss sound
- key pops (with
neck open or closed)
- tongue-ram
(on open end of neck- can be double or triple tongued)
- palm-ram
- trumpet-sounds
- trumpet-sounds
w/ voice
- spetrofluctuation
(trumpet-sound with wah-wah effect)
- whistle into
neck
- pitch slide
w/ finger
- flutter tongue
- double/triple
tongue w/ colored breath noise
Mouthpiece only:
- siren
- squawk
- pitch slide
w/ finger
- slap tongue
Sopranino, sopranos,
and mezzo-soprano only:
- western-style
flute tone (must remove reed .- very quiet, approx. pitch only)
- kaval/ney middle-eastern-style
flute tone
(must remove mpc.- very quiet, approx. pitch only)
mp3 demo of flute tone (soprano saxophone) 0.8MB
- snake hiss
Baritone and bass
only:
Bass and contrabass
only:
Multiple saxes:
- sopranino,
soprano or mezzo-soprano can be played simultaneously with any of
the other horns. Remember to allow me enough time to pick up and
adjust both instruments.
- I can play
with one hand fingering each instrument, or hold an open C# (written)
drone on one and use both hands on the other.
- I usually
play contrabass on a stand, so I can have tenor or smaller on a
neckstrap ready to play almost instantly, but baritone and bass
require at least 10 seconds to get them settled if I'm switching
instruments. These can be played on a stand if quicker switches
are necessary.
Live Electronics:
Any horn can be
put through reverb, distortion, pitch shift, harmonizer, Leslie speaker,
wah-wah...
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All
material © Jay Easton 2001-2006 unless
otherwise noted
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