HELLO! Mr. SAX ou Paramétres du Saxophone or Parameters of the Saxophone Jean-Marie LONDEIX English translation : William and Anna STREET Editions Musicales ALPHONSE LEDUC 175, rue Saint-Honoré 75040 PARIS CEDEX 01TABLE DES MATIERES Préface HAUTEUR Hauteur Ambitus Le Suraigu Planche du saxophone Trilles et batteries 1/3, W/4, 1/5 de ton Sons simultanés ou mutiphoniques L'accord aux saxophones TIMBRES Timbre Flatterzunge ou frullato Bisbigliando ou Flattement Vibrato Sons-trompettes Sons éoliens Sons-tambourins DUREE Durée Respiration continue ou circulaire Du travail des articulations INTENSITE Les p aux saxophones Du travail des intensités ATTAQUE Transitoires polymorphes du son ‘Types de sons possibles aux saxo- phones Du travail des différentes attaques et accents Le point suscrit Attaques-résonances Autres timbres Exemples musicaux _— Page 44 45 46 65 68 81 15 82 82 82 84 85 86 95 98 99 103 81 104 AL. -27.489 TABLE OF CONTENTS Preface PITCH Pitch Range Altissimo Chart of the saxophone Trills and Tremolo 13, 114, 1IS of atone Simultaneous sounds or multiphonics Tuning for saxophones TIMBRE Timbre Flutter-tonguing or frullato Bisbigliando Vibrato Trumpet-sounds Aeolian sounds Key clicks and pad sounds DURATION Duration Continuous or Circular breathing Articulation exercises of rhythm and accent VOLUME Soft dynamics for saxophones Exercises for the control of dynamics ATTACK Polymorphical transients of a musical tone Types of sound which can be produced on the saxophone Exercises for a variety of attacks and accents Staccato markings Resonant attacks Other timbres Musical examplesVest pas un instrument mais une i, compléte, couvre approxima- Piano. inventée par Adolphe SAX, suellement 6 membres : Basse - + Alto - Soprano - Sopranino. ‘membre, le saxophone-contrebasse, pratiquement inusit ones s'écrivent en clé de sol, et ‘ou une quarte les uns des au- (Contrebasse Mib) Basse-Sib, Bary- » Alto-Mib , Soprano-Sib,, Soprani- ‘facile en raison de son embouchure de la rationalité de son mécanisme e saxophone savére étre un instru- fficile par Iétendue de ses possibili- ce fragmentaire que nous en avons i. II trouve son expression la plus ori et la souplesse de ses nuances ‘page 82) ; la variété de ses timbres iversité de ses attaques, Mieux stupéfiante & jouer les grands hors tempérament, 4 fair entendre les des sons simultanés, des harmoniques, its" particuliers intrinstques ("bruits” ins, sons-trompettes, effets de souf- caractéristiques non-classiques (au sen: mme), qui en font un instrument parmi les capable de répondre aux exigences les ment du présent et de l'avenir. spour les autres instruments de forme coni- basson), la maitrise de la justesse d’intona- En tant qu’instrument monodique, il est er le jeu des cordes (expressivité, vélocité, ique), la voix (chaleur particuligrement timbre", et d’atteindre en ensemble d la Bs cuivres comme A la douceur des bois. pent & vent de concert par excellence® : panante, virtuosité transcendante, varigté ex- qualités expressives, étendue exceptionnelle 1ues), il posséde en ensemble (quatuor et iginalité remarquable particulirement sé- nt soliste-concertant, instrument de grou- et dhharmonie, le saxophone est capable ensemble et en famille — « de faire de la ‘chambre pour le plein air », le délié et la dis- ener, mais mieux encore, Prokofiev et Malipizo ont config au es versions instrumentales deeuvres originalement destinées & mment avec Tusage de pl jeurs saxophones joués par un PREFACE The saxophone is not a single instrument, but a whole family of instruments which, when complete, co- vers approximately the range of the piano. The original family (invented by Adolphe SAX, in 1840) is usually composed of six members : Bass - Baritone - Tenor - Alto - Soprano - Sopranino. A seventh member exists, the contrabass-saxophone, which is extremely large and practically obsolete. Music for all saxophones is written in the G or treble clef, and they are tuned to a perfect fifth or perfect fourth, in relation to each other (see page 4) (contrabass in E>), Bass in Bb, Baritone in Eb, Tenor in Bb, Alto in Eb, Soprano in Bb, Sopranino in Eb. Although the saxophone seems an easily accessible instrument because it uses a single reed and because its mechanism is logical, having been fashioned after the BEEHM system, it may also be considered a complex and difficult instrument because of the great variety and ex- tent of its musical and acoustical possibilities, and because, even today, our knowledge of this instrument remains fragmentary. Its most original expression is found in the variety and the flexibility of its dynamic ‘possibilities (see page 82) ; the variety of its tone quality (see page 42), and the diversity of its type of attack. Even more notable is the instrument's astonishing facility in playing extremely wide intervals, in playing outside of the tempered scale, in making audible even the most minute micro-intervals, in playing multiphonic sounds, in playing harmonics, and in playing sounds and noises unique and peculiar to the saxophone (key-clicks, pad sounds, trumpet-sounds, breath effects, etc.) The saxophone has so many characteristics which are not classical in the Apollinarian or traditional sense of the word, that it is in fact one of the most original instruments, and it is capable of satisfying even the most extensive musical and technical demands made of it, The saxophone is an instrument of the present and of the future. As with other conically shaped instruments (oboe and bassoon), it is difficult to master correct intonation upon the saxophone. In so far as it is a monophonic instrument it is capable of imitating the playing of stringed instruments (expressivity, velocity, dynamic flexibility and suppleness), itis also capable of imitating the sound of the human voice (its timbre has a distinctively human warmth) ) In ensemble performance the saxophone is easily capable of producing the same powerful sounds as the brass instruments, as well as the delicate softer sounds of the woodwinds A concert wind instrument par excellence ® : (as- (1) Massenet, az well as Prokofiev and Malipiéro entrusted to the saxophone the instrumental versions of works that were originally intended for thevoice. (2) Notably with the usage of several saxophones played by the same insirumentalis.tinction particulitre de son articulation s'alliant le cas échéant & une voix forte, noble et puissante, “Toutes ces extraordinaires possiblités — trop sou- vent inexploitées — comme son heureuse évolution au Sein de I'Histoire (ayant une certaine équivalence avec le Mfolon et les « violoneux » du XV° siécle) laissent bien augurer de son avenir. Le saxophone est un instrument original d'une fe richesse capable d'engendrer sa propre musique, “Tel Dionysos en Sicile chantant 'hymne secret de la conque marine portée A son oreille, le compositeur daujourd'hui note ce quill "entend” de Tinstrument, sans reculer devant la crudité, l'étrangeté ou linout de Técoute, aboutissant parfois & une musique jusque 18 inconnue... Sa démarche est celle d'un aventurier se vou- Tant objectif et lucide, soucieux, face au doute de Tau-dela, d'exprimer l'outil méme & défaut de la foi, en Jui donnant ainsi une valeur unique, tangible, durable, si possible universelle... seca Je n'ignore pas que Ie terme de "parametre" utilisé ici par analogie peut paraitre impropre, voire abusif a des esprits mathématiciens. II n'en reste pas moins clair pour les musiciens, quand il désigne des variables maitrisables iu son. seen ‘Toutes les recherches ont été réalisées avec des saxophones SELMER de modtle "Super-Action", et des becs SELMER de moddle $-80 Cr, tonishing presence, superior virtuosity, great variety of ‘expressive qualities, exceptionally wide dynamic range), the saxophone has shown itself to have, in ensemble (quartet or more), a remarkable and brilliant originality, which is particuliarly fascinating and seductive. ‘The saxophone is known for its ability as a solo instrument, and as @ member of a group, orchestra or band. It is also capable of « playing outdoor chamber music » —— in either a mixed ensemble or with other members of the family of saxophones. The nimbleness and characteristic distinction of its articulation thus uniting, to form a strong, noble and powerful voice. The saxophone's extraordinary possibilities have been too frequently wrexploited : its fortunate historical evolution (roughly equal to that of the violin and the “fiddler” of the fifteenth century) augures well for ts future, . The saxophone is an original instrument with richness and depth, which is capable of producing its ‘own distinctive and wiique music. ‘Just as Dionysus in Sicily sang the secret of the conch shell as he held it to his ear, so today's composer Sorites what he "hears" in the instrument, without recoiling or shying away from crudeness, strangeness, or unprecedented sounds... His course is like that of an adventurer remaining objective and clearheaded, apprehensive of the unknown yonder, yet anxious 10 discover and reveal the tangible evidence to those who doubted its existence. Thus, the composer gives his work @ unique value that is tangible, durable and, possibly, universal... seen Lam aware of the fact that the term “parameter”, as used here in analogy, might appear improper to mathematicians. Yeti is nevertheless an accurate musical term when it designates variables of sound that can be ‘mastered. sapere ‘All research was reaiized with the "Super-Action” model of SELMER sexophonei, and with the S-80 C* SELMER mouthpieces. AL. -27.489\de rappeler ici que le sentiment des sons de fréquence égale lear timbre, de leur intensité, de contexte oi ils se trouvent, etc. de sérieuses recherches de la actuels, que les instrumentistes nt doivent accorder & la (par exemple quand deux ou jovent ensemble), ou encore, aux que représente, de la part du des timbres. seseeese saxophone (qui correspond & ) peut étre sensiblement agrandie ou encore, éventuellement, instrument au sein de la méme Jes saxophones ont une extréme grands intervalles (jusqu'd deux i bien détaché que lié, et dans toutes nt tout aussi bien jouer hors entendre les micro-intervalles de toutes les notes). ont, de plus, la faculté de faire simultanés, doubles, triples, is plus, de fagon exemplaire, de teillamment trilles et batteries (dans plus d'une octave !). ALL. 27.489 PITCH Itis important to note that the perception of pitch, which is given by sounds of equal frequency also depends upon the intensity of the sound, the actual source of the sound, and the context in which the sound is heard, observations made by contemporary psycholo- gists and physiologists. This concept underlines the importance which instrumentalists playing the same instrument must give to the creation of tone color (for example when two or more ‘saxophones play together), and also to the consequences which will result from the blending of tone colors designated by the composer. een The range of all saxophones (which corresponds to that of the baroque violin) can be appreciatively enlarged through the playing of harmonics or altissimo, or possibly by changing to another member of the saxophone family within the same piece of music. In another area, the saxophones have exceptional {facility for playing large intervals (up to more than two octaves), staccato as well as slurred, and in every dynamic range. They can also play outside of the tempered scale and éxecute micro-intervals (virtually around any note). The saxophones also have the ability to create Simultaneous sounds of two, three, four, and sometimes ‘more parts in an exemplary manner. They can, as well, play trills and tremolos brilliantly (in certain cases up t0 ‘more than one octave !).AMBITUS Les saxophones s'écrivent tous en elé de sol. Is ont tous les mémes doigtés. Ils ont approximativement la méme étendue (deux octaves et demie), qui par le jeu des, notes harmoniques peut étre plus ou moins augmentée selon I'instrument, I'adresse et le talent de Tins- trumentiste (d’une quinte, sinon dune octave et plus...) (Voir page 5 : le suraigu). Etendue de chaque saxophone : RANGE Music for all saxophones is written in the G or treble clef. All have the same fingerings. They have approximately the same written range (two and one half octaves), which can be augmented by the use of harmonies or altissimo, depending upon the instrument and the ability of the player (from a perfect fifth up to an ‘octave or more...)(See page S : Harmonics or Altissimo) Range of each saxophone : En Ut: Etendue normale: Harmoniques : In Concert C : Normal range : Harmonics : fa f2——_ Basse en Sib # = = = Bass in Bb = & =| Baryton en Mib Baritone in Eb Ténor en Sib Tenor in Bb Alto en Mib Alto in Eb Soprano en Sib Soprano in Bb Sopranino en Mib Sopranino in Eb Le jeu en harmonique, quoique usuel, reste souvent délicat, sinon difficile et limité dans la rapidité et Jes nuances extrémes. N.B.—Les notes harmoniques s‘écrivent de la méme facon que les notes « ordinaires », ve Playing harmonics, though common, is sometimes problematic, and even difficult. It has limits in passages of great speed or with extreme dynamic markings. NB. — Harmonics are written exactly the same as «ordinary » notes. 4 ALL. - 27.489LE SURAIGU ¢ d’un usage maintenant courant, le sur- re difficile pournombre de saxophonistes. lons alors aux compositeurs, en dehors des sité, d’en faire un usage modéré, en tout s en suraigu du saxophone sont écrites », sans signe particulier. Le saxophoniste de instrument qu'il posséde, quandil doit sregistre improprement appelé des « harmo- autre par, retenir que : ) sont généralement des les jouer comectement que les notes au- n des notes suraigués est plus facile en it que conjoint ; ato convient mieux que le jeu legato ; des notes suraigués est de plusen plus s'élevant dans l'échelle musicale ; dintonationest généralement difficile S moyennes conviennent générale- Jes nuances extrémes. seen I tessiture la plus haute au-dessus du transposée en Sib ou Mib ) pour les Ala virtuosité de l'instrumentiste. peered est systématiquement employée indiqués. informations plus completes, consulter : "Saxophon-Schule” "Top-Tones for the Saxophone" - ALTISSIMO Although itis commonly used, the altissimo remains difficult for a number of saxophonists today. The best advice for composers is, outside of pieces that display virtuosity, 10 use the altissimo moderately, or at least with caution. Altissimo notes for the saxophone are written « normally » without any particular notation. The saxo- Phonist knows, within the functions of the instrument he plays, when itis necessarry to change to the register which is, by the way, incorrectly called « harmonics ». Onthe other hand, itis necessary to be aware that ae (ft) ~ the notes are generally more difficult to play consistently correct than notes that are higher ; - altissimo notes are more easily produced in disjunct passages than in adjacent or connected passa- ges; = staccato playing is better suited than legato playing in altissimo passages ; + the intensity of altissimo notes is progressively weaker as one goes higher in the musical scale ; = correct intonation is less certain ; - moderate dynamic markings are more suitable than extreme dynamic markings. seeeeeiik In general, save the highest tessitura, above pen (the transposed note in either Bb or Eb ) for musical pieces that call upon a virtuoso performer. eben The octave key is used systematically for all of the ‘fingerings indicated. For more complete information, consult : Gustav BUMCKE - Edit. Benjamin (1926) igurd RASCHER - Edit. Fischer (1941) "High Harmonics" - Ted NASH - Edit. Leeds Mus. Corp. (1946) "The Art of Saxophone Playing" - Larry TEAL - "Altissimo Register" - Rosemary LANG - Edit. Lang (1971) "Tablature des doigtés comparés des notes suraigués au Saxophone-alto" J.-M. LONDEIK - Edit, A. Leduc (1974) ; "Les tons Suraigus du Saxophone" - Eugene ROUSSEAU - Edit. Etoile (1978) “Bulletin de'AsSaFra" N° 27 - Louis-Noél FONTAINE - (1985) tae 5 Summy-Birchard (1963)1/3, 1/4 et 1/5* DE TONS 1/3, 1/4 and 1/5 TONES ek RR Dans l'état actuel de la facture instrumentale, les, Because of the current state of instrumental manu 1/3, 1/4, 1/5* de tons et micro-intervalles ne sont pas tous facturing, 1/3, 1/4, and 1/5 tones and micro-interval réalisables aux saxophones. cannot all be obtained on saxophones. Seuls figurent ici les doigtés faisant entendre les The fingerings which appear here are the only oné intervalles plus petits que les demi-tons, allant de : that can create intervals smaller than a semi-tone be ween : (enut): (in Concert Pitch) : + = 1/4deton plus haut Ii tone higher # == 3/4deton plus haut 314 tone higher % = = 1/4de ton plus bas 1/4 tone lower = 3/4deton plus bas 3/4 tone lower. 24 AL. - 27.489SAXOPHONES Basse en Sib Barytonen Mib | Ténoren Sib | AltoenMib | Soprano en Sib} Sopranino en Mib Bass in Bb Baritone in ES | TenorinBb | Altoin Es | Soprano in Bs| Sopranino in Eb 08Basse en Sib Bass in Bb Se acaloee eee 7 pes |leo cso sestone : lo |g LEI B/ ne sie i = 8 i Feaileso eeeleceo selene seclose | eacojese encoloce ‘eeelooo coolege govteee q Hig | 2) Ele f le Ic § encojeeo secoloce ceojoee | oveloge 3 ta cle P possédant ta cl € 5 Note en UT | Nate in © tt i | LEE G) difficile & attaquer avec prt (2) pour Basse pee (1) tacher tes levres Ao7 seeleeoo ye Soprano en Sib Soprano in Bb Eb encojoce eeojoo0 Alto en Mib Alto in 2.00[090 oeelooe oeofooe eooleoe eecloce td 8 58 wlalialelg geslooe seojece | encejoce | sacoloce bF & & eae [a la lat | a |i oeojoce goeloce eecloce | oeclooe ete ® 8 58 ‘Ténor en Sib Tenor in Bb Eb formant nto cco|oc0 ecclece | oo 38 58 38 Baryton en Mib Baritone in eee joce ee il 1 3, délicat B tenir (I pis les Revres Basse en Sib Bass in Bb g flse oO as eeeieeed eeslore wclose scojeeeo 28 k £& i t tt i a jencojeoe oeelooo GE | cootege | cesloeg Pe gs e e & | Gl Zid A ii : z* 4 a 2 a a pore pnesione greclese aa q\4 g a geolere grelere ae egies ce 38 y 4h 4il wy ai i Qi al als Bs H BIG IE els Big ig i rt 2 tenis. Serrer un peu plus les fevres et avancer te menton [pour mieux assurer ta note. (®) Quelque peu détic 2‘Sopranino en Mib ‘Alto en Mib Soprano en Sib ‘Ténor en Sib Sopranino in Eb Soprano in Bb Tenor in Bb eoojooe 58 bs i e4 seologe 8 4 a Byes’ eacoiooe £58 x!Notweent | Basse en Sib |Baryton en Mib] Ténor en Sib | Alto en Mi> Soprano en Sib ‘Sopranino en M Nawine | Bassin Bb | Baritone in Eb Tenorin Bb | Altoin Eb Soprano in Bb ‘Sopranino in E to att “$ - & —=.: - 2 te 5S 88 _* £ 3 Gs |p : + 3 sie # ts . 2 2G i a 3. RE FH ress x ¢ ae is 227 Te =, Tc 929° alte) Gel el Te ED i 8 aE i 99908 AL. -27489