Composing for Eb Alto Sax

I've played sax for about 5 years now, so I figured I would use my experience to write a guide for sax playing.

If anything is incorrect, post a reply. ^^

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Composing for Eb Alto Saxophone

Range:

Range in Concert Pitch:

A standard alto sax can play from a low Bb to a high F. However, some saxophone models include a high F# key, which of course allows for a high F# to be played. (There does exist ways to play notes considerably higher than that, however it is very advanced, so I won't post that here. From what I know, it is possible to play an F one octave higher than the highest standard F. This is the altissimo range for saxophones).

Sound:

The alto sax has a very full, warm, and rich sound in the lower and middle registers. As you get higher in the scale, the tone becomes much harsher and harder to control. However, a good saxophonist can produce a tone in the higher register that is equally as pleasing as the lower registers.

Agility:

Saxophones are fairly agile, though not as much as the other woodwinds (flute, clarinet). The key system is very basic and easy to learn, and playing in a straight scale is very easy to do:

That exercise is easily played by an intermediate level saxophonist.

However, when jumping around at high speeds, it becomes much much more difficult:

That exercise is of considerable difficulty.

Playing quickly is easier in the middle and middle-high registers. The low register is very difficult to play quickly in, due to the mass of keys that needs to be pressed along with the very heavy, full sound produced.

Key Signatures:

The easier keys played in are Eb, Bb, Ab, and F. Those are the most common keys in band literature. Several jazz pieces also are in those keys.

I have limited knowledge of orchestras, so keys in use by orchestras may be much more difficult than the common ones for band literature.

Air Usage:

The alto sax requires a bit more air than singing, however it is the easiest to blow of the sax family. Producing a full, warm tone requires a good bit of warm breath. As with the clarinet, don't keep sax players too active for more than half a minute unless the part can easily be doubled by other saxes, as the player will tire easily. Advanced players will, of course, have more dexterity when it comes to playing however. The amount a person can play depends on the level of the player.

Tuning: In my experience, sax tuning is VERY unstable, especially in the higher range.

Attached is a good example of a saxophones capabilities. It is also one of my All State tryout pieces. ^_^

Also, don't let the sound of a sax in a midi, .mus, or .sib file turn you away from composing for it, because it sounds MUCH MUCH MUCH better live.

lol any comments on this, if its any good?

Any sax players here want to verify any of this info? ^^

hi

I've played alto for 3 years and baritone sax for 2 (currently madly in love with it)

I think what you posted was excellent! I have a question for you though I'm very much into jazz and improvisation but many of the things I've tryed to transpose or come up with for sax sound down right horrible is there a key to making a really good improvised solo/piece

thanks

Beth

I hate the sound that finale/midi gives the sax. It really misinterprets the sax, making it tooooo loud and way to noticable. I have found that saxes really help blend well with concert bands and really create that machine like sound(if wanting too of course!)

Finale does misinterperate the sax harshly. It is played about two dynamics higher than assigned and has a constantly harsh tone throughout every register. The information provided is very good, however some of the generalizations made are a little misguided as you compose for middle level high school bands on up.

1) Every saxophone will lose its oboe-like bite as it goes up, its just natural. The tone is foriegn, but it takes on a flute-like tone (which is the best way ive heard it explained in the readibly availibe orchestration books. So Low > High = Oboe/Bassoon > Flute

2) Intonation for saxophone players can be a hassle. Advanced high school bands should be relatively equipped with quality saxophones (especially the alto) that make the intonation so much easier.

3) The Altissimo, while advanced, can be proformed by an educated high school alto; one should be safe however, and only use an altissimo A at the most. Long notes also aid this technique, as not only is it hard to quickly produce the tone, but it is also a difficult fingering set.

So mainly one should know what level band will be playing the piece and make the distinction from there. Otherwise everything here is perfectly valid and perfectly perfect.

Alto, 6 years

This is a good guide for composing for this instrument.

It should be noted that in many cases when composing for a saxophone in a piece made for younger groups, that the alto sax usually doubles either the French Horn or sometimes the Clarinets. In many cases, a clarinet can be used in the place of a saxophone, since the timbre and the feel is about the same.

Another note: composers, when writing fast sections, try to avoid quick transitions between these notes:

B and C

Middle D and Middle C#

Low B and Low C#

Middle Bb and Middle C

These combinations are very awkward because of the fingerings. Try to avoid them if at all possible.

-Sean St. Pierre

2 years Bari Sax

Germantown High School Varsity Band Member

All-West Tennessee Honor Band- Gold Band

Low Brass Section Leader at Germantown Middle

Actually, having played the clarinet for 8 years of my life and playing the alto/bari for about 3 1/2 years of that 8 also, I have to disagree with you. I think the saxophone produces a beautiful-pure tone (depending on the person) The saxophone is so diverse and can be played in a variety of styles as you know. Saxophones are basically the backbone of any good wind ensemble or symphonic band woodwind section. I think the alto or tenor or even the bari produce a beautiful backdrop to any piece or even a feature.

The saxophone does have a nice sound, but i agree with N.S. Canzano... sometimes it just doesnt fit. I know, to my dismay, that it does not combine well in any small groups. Expressive wind ensemble pieces are probably the best use, where one can use them to take a bit out of the oboe or for many other reasons

Once again :D I am going to have to disagree. The sax goes beautifully as accompianionment or large groups. The sax adds that something that every piece needs-color! I am in a small jazz ensemble and there and in one song we have a tuba and we have a clarinet and a flute. The sax goes beautifully and adds so much to the piece.

Here is a recording of me playing a chromatic scale, from low C to high F. Its not the best ever, but it will give a general idea of the timbre the sax makes across the registers.

Note, I did this pretty much in one breath and at the top it gets real iffy in terms of sound quality, but its decent lol.

Chromatic Scale Recording

Feel free to comment on any tone issues, even though I probably know about them. ^^

Chromatic Scale Recording

Feel free to comment on any tone issues, even though I probably know about them. ^^

Wow that was iffy. to say the least? What type of mouthpiece do you currently use? I would suggest either a Selmer C* or a Myer 6* for jazz......... :cool:

Heh, thats a crappy stock mouthpiece, I didn't use my jazz piece for that.

Also, I promise I can sound better lol

What I want to know is, why is it SOOO difficult to find a good saxophone sample?

I truly believe that the saxophone is one of the hardest instruments to mimic, because the town colors are perhaps more varied than any other wind instrument.

I just came across your posting and had to reply. :-)

I've been playing sax for 14 years now and just finished a BA music performance degree and I think it's great that young players like yourself are actually taking note of the sax [no pun intended], it's capabilities and what it can bring to an ensemble. Whether or not the composer 'knows' the saxophone can have a drastic effect on the color and mood of the piece. As far the technicality, I've found that an advanced saxophone player can play fast and complex runs on the same level as a flute or clarinet if not better because we don't have to worry as much about crossing the break or losing our volume/pitch the higher or lower we go. If you really want a dark, dramatic effect, try combining all of the reeds together in their low registers. Similarly, you can create a good woodwind scream with flutes and clarinets, but if you add saxes to the mix [at about an alt. A or B] it can make a sound that will cut through the band like a hot knife through butter.

Unfortunately though, there are many "experienced" composers out there that think you write for a saxophone by taking the clarinet's part or lowbrass' part and clicking the Transpose button. I've even seen sax parts that have notes below a low A that a sax can't even play--which is clearly a case of the composer taking the bassoon or a low brass part and transposing it and not even bothering to double check the part afterwards.

Actually the saxophone fits quite nicely in classical music in any ensemble as Bizet demonstrates in his Bizet's L'Arlesienne suites for orchestra. Prokofiev also uses the saxophone in his Liutenant Kije Suite and Ravel uses it in Bolero and in Pictures in an Exhibition. Classical saxophone is a different ball game than jazz saxophone in that the tone is more concentrated and round. If you guys would like, check this link out which contains 800, 1 minute clips of classical saxophone pieces:

http://www.reedmusic.com/audio.html

I recommend you check these out and the artist thats playing it since there are several of the same in some cases and some are better performed than others:

Paul Creston's Saxophone Sonata: (Arno bornkamp, Eugene Rousseau playing it)

Paule Maurice's Tableaux de Provence (Marcel Mule, Jean Yves-Formeau)

Heitor Villa Lobbos' Fantasia

Robert Muczynski's Sonata

Darius Milhaud's Scaramouche

These are all very tonal, so u can relax Canzano. Some are of the neo-romantic or neo-classical and some are impressionist. They are all however gorgeous pieces especially the Creston and the Maurice's Tableaux. There are more pieces which i would list but it gots to go. Hope you guys like em.

Meh, I don't like the classical Alto tone. However, I am biased, being a brass player, I'm not allowed to like saxophones =D

And i am you antagonist. I, being a saxophone player, am conditioned to hate brass, especially trumpets.

PS, The woodwinds have allied with the Percussion for an invasion of the brass section. Be glad most band rooms are ground floor.

Anyways, try and find a recording to 'Aria' for Eb alto saxophone, its a very popular tune and the annoying part is the wide interpretation people have with the piece. Once a judge told me i should have decresendo'd when the part called for a massive cresendo, AND HE WAS SERIOUS!

I've been playing saxophone for abaout 9 years now. my teacher has been getting me to experiment with notes in the altissimo register. i can play the D above the regular high D. its hard to get out and takes a firm, well developed embouchure.

I don't think you have to worry about most of those tricky fingerings, with the Bb to C, B to C, D to C or C#. There are trill fingerings, it makes life much easier.

I felt like I should add something, as I have been playing for seven years... The very lax tuning of the mouthpiece and flexible intonation can sometimes be annoying, but more often than not, it is a blessing! I can't count how many times my clarinet is flat, with the barrel all the way in, just because it is cold. On sax, all one needs to do is lip it up or down depending on the intonation. During tunings before rehersals, I rarely move my mouthpiece; the tuning is just to let me know where the sax is in comparison to 440. I know from that if I'll need to slightly lip up or down.

However, this takes a good ear and can be quite difficult for beginners. Which is why n00b sax players make my ears cry.

I don't think you have to worry about most of those tricky fingerings, with the Bb to C, B to C, D to C or C#. There are trill fingerings, it makes life much easier.

yeah, most of those (if not all) have alternate fingerings...

the altissimo notes are very usefull if used in the right place (with the right technique). If not used correctly, it will sound very shrill. the pitch can also fluctuate easily, so not all players who can play altissimo should, although if one can play that high, he or she is most likely able to play well...

alto 4 years

soprano 7 months

Unfortunately though, there are many "experienced" composers out there that think you write for a saxophone by taking the clarinet's part or lowbrass' part and clicking the Transpose button. I've even seen sax parts that have notes below a low A that a sax can't even play--which is clearly a case of the composer taking the bassoon or a low brass part and transposing it and not even bothering to double check the part afterwards.

i agree with gm; sometimes people compose for a concert band and use saxes as leftover instruments (write for them just cause they're there). This really annoys me because saxophones are extremely versatile instruments and should be used for the melody on every song and just have all of the other instruments pretend to play!!!!:P

...anyway, saxes can blend nicely while still standing out (without sticking out).

also, i have a question...

what's the difference between filed and unfiled reeds?

i think the saxophone is a nice solo instrument, and could work well in classical music, but sometimes i think it just doesn't fit, ya know?

yes, but they work most of the time. the thing is, they have to be controlled (w/ dynamics and articulations) while stil blending in...if you get what im saying...

I don't even know where to begin to clarify and correct this topic. I'll give it a shot tonight if I have time.

(saxophonist for 23 years...)

I don't even know where to begin to clarify and correct this topic. I'll give it a shot tonight if I have time.

yeah, lol