Bidang kegunaan saxophone secara meluas

Military bands and classical music

The saxophone first gained popularity in one of the uses it was designed for: the military band.
Although the instrument was studiously ignored in Germany at first, French and Belgian military
bands took full advantage of the instrument that Sax had designed. Most French and Belgian
military bands incorporate at least a quartet of saxophones comprising at least the E baritone,
B tenor, E alto and B soprano. These four instruments have proved the most popular of all of
Sax's creations, with the E contrabass and B bass usually considered impractically large and
the E sopranino insufficiently powerful. British military bands tend to include at minimum two
saxophonists on the alto and tenor. Today, the saxophone is used in military bands all around the
world.
The saxophone was subsequently introduced into the concert band, which generally calls for the
E alto saxophone, the B tenor saxophone, and the E baritone saxophone. The typical highlevel concert band includes two altos, one tenor, and one baritone. The B soprano saxophone is
also occasionally used, in which case it is normally played by the first alto saxophonist. The bass
saxophone in B is called for in some concert band music (especially music by Percy Grainger).
The saxophone is used in chamber music, such as the saxophone quartet, reed quintet, and
other chamber combinations of instruments.
The classical saxophone quartet consists of the soprano saxophone, alto saxophone, tenor
saxophone, and baritone saxophone. There is a repertoire of classical compositions and
arrangements for the SATB instrumentation dating back to the nineteenth century, particularly by
French composers who knew Adolphe Sax. Classical saxophone quartets include Quatuor
Habanera, the h2 quartet, Raschr Saxophone Quartet, the Aurelia Saxophone Quartet, the New
Century Saxophone Quartet, and others. Historically, the quartets led by Marcel Mule and Daniel
Deffayet, saxophone professors at the Conservatoire de Paris, were started in 1928 and 1953,
respectively, and were highly regarded. The Mule quartet is often considered the prototype for
future quartets, due the level of virtuosity demonstrated by its members and its central role in the
development of the quartet repertoire. However, organised quartets did exist before Mule's
ensemble, the prime example being the quartet headed by Eduard Lefebre (18341911), former
soloist with the Sousa band, in the United States c. 19041911. Other ensembles most likely
existed at this time as part of the saxophone sections of the many touring professional bands that
existed in the late 19th and early 20th centuries.
The saxophone is a member of the reed quintet. The reed quintet consists of an oboe, a clarinet,
a saxophone, a bass clarinet, and a bassoon.
In the 20th and 21st centuries, the saxophone has found increased popularity in the symphony
orchestra. In one or other size, the instrument has also been found as a useful accompaniment
to genres as wide-ranging as opera and choral music. Many musical theatre scores include parts
for the saxophone, sometimes doubling another woodwind or brass instrument. In this way, the

sax serves as a middle point between other woodwinds and the brass section, helping to blend
the two sections.

Jazz and popular music

The saxophone is also commonly used in jazz music, where the saxophone is one of the
signature sounds. Beginning in the early 20th century, the saxophone became popular in dance
orchestras, which were not jazz ensembles but influenced the format of the big swing era bands
that were soon to follow. The arrival of the saxophone as a jazz instrument is attributed to tenor
saxophonist Coleman Hawkins' stint with the Fletcher Henderson Orchestra starting in 1923. The
saxophone was soon embraced by Chicago style musicians who added it, along with chordal
instruments such as a piano, banjo, or guitar, to the trumpet-clarinet-trombone-bass-drums
ensemble format inherited from New Orleans Jazz. The Duke Ellington Orchestra of the late
1920s

featured saxophone-based ensemble sounds and solos

Hardwick, Johnny

Hodges,

and Harry

Carney.

Theswing bands

of

by saxophonists Otto
the

1930s

utilized

arrangements of saxophone and brass sections playing off each other in call-response patterns.
The influence of tenor saxophonist Lester Young with the Count Basie Orchestra in the late
1930s and the tremendous popularity of Coleman Hawkins' 1939 recording of Body and
Soul marked the saxophone as an influence on jazz equal to that of the trumpet, which had been
the defining instrument of jazz since its beginnings in New Orleans. But the greatest influence of
the saxophone on jazz was to occur just a few years later, as alto saxophonist Charlie
Parker became an icon of the bebop revolution that influenced generations of jazz musicians.
The small group format of bebop and post-bebop jazz ensembles, typically with one to three lead
instruments(usually including a saxophone), a chordal instrument, bass, and drums, gained
ascendancy in the 1940s as musicians emphasized extended exploration utilizing the new
harmonic and melodic freedoms that bebop provided, thanks to Charlie Parker and a few other
pioneers such as Dizzy Gillespie, Thelonious Monk, and Bud Powell.
In addition to the colossal brilliance and virtuosity of Parker, the alto sax was also popularized in
the 1950s by top saxophonists such as Sonny Stitt, Cannonball Adderley, Sonny Criss and Paul
Desmond (latter of the Dave Brubeck Quartet). The tenor sax, which some consider to be the
more popular form of saxophone as a solo instrument in jazz, was popularized by jazz greats
such as Lester Young, Coleman Hawkins, Dexter Gordon, John Coltrane, Sonny Rollins, Stan
Getz and Zoot Sims. The baritone sax, featured more in big bands (notably by Harry Carney in
the Duke Ellington Orchestra) and larger ensembles than as a solo instrument, was popularized
in jazz as a solo instrument within small groups by musicians such as Serge Chaloff, Gerry
Mulligan, Pepper Adams and Leo Parker. The soprano saxophone was popularized by Sidney
Bechet in early jazz, but then largely fell out of favor on the jazz scene until John Coltrane began
to feature the instrument. Popular smooth jazz/contemporary pop musician Kenny G also
features the soprano sax as his principal instrument.

Saxophone players

such as John Coltrane, Ornette Coleman, Sam Rivers and Pharaoh

Sanders again defined the forefront of creative exploration with the avant-garde movement of the
1960s. Modal, harmolodic, and free jazz again removed boundaries and the new space was
explored with every device that saxophone players could conceive of. Sheets of sound, tonal
exploration, upper harmonics, and multiphonics were hallmarks of the creative possibilities that
saxophones offered in the new realm. One lasting influence of the avant-garde movement has
been the exploration of non-western ethnic sounds on the saxophone, for example, the
Africanized sounds used by Pharaoh Sanders. The devices of the avant-garde movement have
continued to be influential in music that challenges the boundaries between avant-garde and
other categories of jazz, such as that of alto saxophonists Steve Coleman and Greg Osby.
The jazz saxophone quartet is usually made up of one B soprano, one E alto, one B tenor and
one E baritone (SATB). On occasion, the soprano is replaced with a second alto sax (AATB); a
few professional saxophone quartets have featured non-standard instrumentation, such
as James Fei's Alto Quartet[10] (four altos) and Hamiet Bluiett's Bluiett Baritone Nation (four
baritones). Recently, the World Saxophone Quartet has become known as the preeminent jazz
saxophone quartet.
The saxophone, as a solo instrument or as part of a horn section, may also be heard
in blues, soul music, rhythm and blues, reggae, ska, funk, rock and roll and other forms ofpopular
music. Some players of these genres include King Curtis, Maceo Parker, Bobby Keys, Clarence
Clemons, the Memphis Horns, and the Phenix Horns.

Keluarga saxophone
The primary (military band) saxophone family alternates instruments in B and E. The other
(orchestral) family patented by Sax, alternating instruments in C and F, has always been
marginal, although some manufacturers tried to popularise the soprano in C (or C soprano
saxophone), the alto in F (or mezzo-soprano saxophone), and the tenor in C (orC melody
saxophone) early in the twentieth century. The C melody enjoyed some success in the late 1920s
and early 1930s as a parlor instrument. One company has recently revived production of the C
soprano and C melody.[11] Instruments in F are rare.
# Saxophone

Key Sounds an octave lower than

Sounds an octave higher than

1 Sopranissimo

##

Soprano

2 Sopranino

##

Alto

3 Soprano

Sopranissimo

Tenor

4 Alto

Sopranino

Baritone

5 Tenor

Soprano

Bass

6 Baritone

Alto

Contrabass

7 Bass

Tenor

Subcontrabass

8 Contrabass

Baritone

##

9 Subcontrabass

Bass

##