Writing for the Saxophone
(under construction!)
The word is spelled "saxophone". "Saxaphone" is not correct.
This is my guide to writing for the newest wind instrument, the saxophones. This instrument can be a challenge to write for. The saxophone is the only common wind instrument that was invented by one person rather than gradually developed, and by design it is a Frankensteinian combination of other instruments. The fingering system is similar to that of a flute or oboe and it uses a single reed just like a clarinet, so the technique of the saxophone is that of a woodwind instrument. (This is why it is considered a member of the woodwind family.) However, saxophones are built with a brass body, designed to bridge the volume gap between the woodwind family and the brass family. The saxophone can't produce quite as much volume as a trumpet or trombone, but can generate more sound than other woodwinds. While the saxophone has limited range compared to most other woodwinds, its greater dynamic range and stunningly unique sound make it a popular instrument in jazz, rock, concert bands, and occasionally even in the orchestra.
This is my guide to writing for the newest wind instrument, the saxophones. This instrument can be a challenge to write for. The saxophone is the only common wind instrument that was invented by one person rather than gradually developed, and by design it is a Frankensteinian combination of other instruments. The fingering system is similar to that of a flute or oboe and it uses a single reed just like a clarinet, so the technique of the saxophone is that of a woodwind instrument. (This is why it is considered a member of the woodwind family.) However, saxophones are built with a brass body, designed to bridge the volume gap between the woodwind family and the brass family. The saxophone can't produce quite as much volume as a trumpet or trombone, but can generate more sound than other woodwinds. While the saxophone has limited range compared to most other woodwinds, its greater dynamic range and stunningly unique sound make it a popular instrument in jazz, rock, concert bands, and occasionally even in the orchestra.
Most instruments have one standard size and a few other less common sizes, but the saxophone comes in four common sizes. Standard in the wind ensemble and the jazz orchestra are the alto, tenor, and baritone saxes. The soprano sax is a little less commonly used, but often called for in both kinds of ensembles in more advanced music. There are many more rare sizes higher, lower, and in between, but these are the four that are widely used. All four are transposing instruments, meaning that anything you write for saxophones must be transposed to the right key if you want it played right. This can be a little confusing for those not used to it!
Before we get to the examples, let's talk about why we bother transposing. Doesn't it seem like a pain in the rear? Why don't we just write the parts at concert pitch? Well, there are two excellent reasons. One, it helps the parts fit on the staff. If you tried to write alto and especially tenor parts in concert pitch, the parts would be awkwardly right between treble and bass clef. Unless you use a less common clef like alto clef, it's going to look awkward. The soprano could be written in treble and the baritone sax in bass clef, however. Why don't we just do that? This brings us to our second reason: making it easy on the player. All saxophones are always written in treble clef and transposed so that the player only has to learn one set of saxophone fingerings. No matter what sax you are playing, if you see, for example, second space A, you put down the same two fingers on your left hand. It will come out as a different note depending on which sax you are playing, but you can play all four with the same set of fingerings. These examples will show you how to transpose for all four common saxophones:
Before we get to the examples, let's talk about why we bother transposing. Doesn't it seem like a pain in the rear? Why don't we just write the parts at concert pitch? Well, there are two excellent reasons. One, it helps the parts fit on the staff. If you tried to write alto and especially tenor parts in concert pitch, the parts would be awkwardly right between treble and bass clef. Unless you use a less common clef like alto clef, it's going to look awkward. The soprano could be written in treble and the baritone sax in bass clef, however. Why don't we just do that? This brings us to our second reason: making it easy on the player. All saxophones are always written in treble clef and transposed so that the player only has to learn one set of saxophone fingerings. No matter what sax you are playing, if you see, for example, second space A, you put down the same two fingers on your left hand. It will come out as a different note depending on which sax you are playing, but you can play all four with the same set of fingerings. These examples will show you how to transpose for all four common saxophones:
The soprano and tenor saxes are both B-flat instruments, but note that if the two instruments read the same music, the tenor will sound a whole octave lower. The soprano sax has the exact same transposition as the trumpet and clarinet (albeit a different range). Likewise, while the alto and baritone saxes transpose to the same key - they are both E-flat instruments - they sound in different octaves, with the baritone sax pitched exactly one octave lower than the alto. Again, note that saxes - even the baritone which sounds in bass clef - are always written in treble clef.
Every saxophone has the same written range. The lowest note is B-flat below treble clef, and the highest is F just above the third ledger line. Most modern saxophones have a key allowing a high F-sharp and most modern baritone saxes have a key for low A. College and professional players learn to use altissimo - that is, the notes up above the standard range - but generally those notes are off limits for ensemble parts and only used in advanced solo literature or improvised solos. (However, it's worth noting that advanced players can manage the high F# even without having the official F# key by using altissimo.)
In written pitch, anything between about the bottom of the staff D and the C above the staff is fair game. That range should sound lovely and be easy to play.
The extreme low range of each instrument, down below about D, is difficult to play quietly. It's also tough to start on a low note unless it's a loud stab, and they are easier to approach by descending from higher notes. The high range above about the high C will sound great from an experienced player but tends to be difficult to control and tune for less experienced players.
On the soprano sax, the low range (below about E) doesn't sound very good and isn't used very often. Especially since the soprano sax is usually treated as a double and not a primary instrument, if you want those notes, you're probably better off simply using a lower saxophone. A quick dip into the low range, especially if slurred, is just fine, but that range is just not really characteristic for the soprano. The soprano sax is notoriously difficult to play in tune, and because it is used less often many players don't get as much chance to become extremely familiar with the instrument. While it's certainly true that an experienced player with a good instrument can play with magnificently solid tuning, be aware that this can be a problem for this instrument.
The alto sax likewise is probably best avoided in the bottom of its range, below about D. However, the high range is clear and strong. The alto does not tend to have the tuning problems of the soprano.
The tenor sax has a better sounding, more usable bottom range than its higher cousins. Though it is still difficult to start on a very low note or play them quietly, the tenor produces a really nice sound all the way up and down its range. I suspect that this is the reason so many jazz artists prefer the tenor: its range seems a little wider than that of the other saxophones.
The baritone sax is known for its lovely low range (though keep in mind that it is still tough to control very quietly), but be aware that the highest notes up above about C are usually relatively weak and better handled by high saxophones. The low A is a wonderful note if the instrument has it, but be aware that not every baritone sax has that key. Unless you are specifically writing for someone you know has that key, be sure to write effective optional parts any time you call for low A. Because the baritone is less likely to be someone's primary instrument, this is another instrument where the tuning can get a little rough, especially in the high register.
In written pitch, anything between about the bottom of the staff D and the C above the staff is fair game. That range should sound lovely and be easy to play.
The extreme low range of each instrument, down below about D, is difficult to play quietly. It's also tough to start on a low note unless it's a loud stab, and they are easier to approach by descending from higher notes. The high range above about the high C will sound great from an experienced player but tends to be difficult to control and tune for less experienced players.
On the soprano sax, the low range (below about E) doesn't sound very good and isn't used very often. Especially since the soprano sax is usually treated as a double and not a primary instrument, if you want those notes, you're probably better off simply using a lower saxophone. A quick dip into the low range, especially if slurred, is just fine, but that range is just not really characteristic for the soprano. The soprano sax is notoriously difficult to play in tune, and because it is used less often many players don't get as much chance to become extremely familiar with the instrument. While it's certainly true that an experienced player with a good instrument can play with magnificently solid tuning, be aware that this can be a problem for this instrument.
The alto sax likewise is probably best avoided in the bottom of its range, below about D. However, the high range is clear and strong. The alto does not tend to have the tuning problems of the soprano.
The tenor sax has a better sounding, more usable bottom range than its higher cousins. Though it is still difficult to start on a very low note or play them quietly, the tenor produces a really nice sound all the way up and down its range. I suspect that this is the reason so many jazz artists prefer the tenor: its range seems a little wider than that of the other saxophones.
The baritone sax is known for its lovely low range (though keep in mind that it is still tough to control very quietly), but be aware that the highest notes up above about C are usually relatively weak and better handled by high saxophones. The low A is a wonderful note if the instrument has it, but be aware that not every baritone sax has that key. Unless you are specifically writing for someone you know has that key, be sure to write effective optional parts any time you call for low A. Because the baritone is less likely to be someone's primary instrument, this is another instrument where the tuning can get a little rough, especially in the high register.
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