Question: In which case can optimizations of procedures not be applied?

There are some seemingly obvious optimizations of procedure calls that cannot be applied if the procedures may have side effects. For example, in the expression (f(x)-1)/(f(x)+1), the function f must be called twice, because the two calls may return different results. Moreover, the value of x must be fetched again before the second call, since the first call may have changed it. Determining whether a subprogram may have a side effect is very difficult (indeed, undecidable).[citation needed] So, while those optimizations are safe in purely functional programming languages, compilers of typical imperative programming usually have to assume the worst.

Answer: if the procedures may have side effects

<hl> There are some seemingly obvious optimizations of procedure calls that cannot be applied if the procedures may have side effects . <hl> For example, in the expression (f(x)-1)/(f(x)+1), the function f must be called twice, because the two calls may return different results. Moreover, the value of x must be fetched again before the second call, since the first call may have changed it. Determining whether a subprogram may have a side effect is very difficult (indeed, undecidable).[citation needed] So, while those optimizations are safe in purely functional programming languages, compilers of typical imperative programming usually have to assume the worst.

There are some seemingly obvious optimizations of procedure calls that cannot be applied <hl> if the procedures may have side effects <hl>. For example, in the expression (f(x)-1)/(f(x)+1), the function f must be called twice, because the two calls may return different results. Moreover, the value of x must be fetched again before the second call, since the first call may have changed it. Determining whether a subprogram may have a side effect is very difficult (indeed, undecidable).[citation needed] So, while those optimizations are safe in purely functional programming languages, compilers of typical imperative programming usually have to assume the worst.

There are some seemingly obvious optimizations of procedure calls that cannot be applied <hl> if the procedures may have side effects <hl> .


Question: How many times must the function f be called in the expression (f(x)-1)/(f(x)+1)?

Answer: twice

There are some seemingly obvious optimizations of procedure calls that cannot be applied if the procedures may have side effects. <hl> For example, in the expression (f(x)-1)/(f(x)+1), the function f must be called twice , because the two calls may return different results. <hl> Moreover, the value of x must be fetched again before the second call, since the first call may have changed it. Determining whether a subprogram may have a side effect is very difficult (indeed, undecidable).[citation needed] So, while those optimizations are safe in purely functional programming languages, compilers of typical imperative programming usually have to assume the worst.

There are some seemingly obvious optimizations of procedure calls that cannot be applied if the procedures may have side effects. For example, in the expression (f(x)-1)/(f(x)+1), the function f must be called <hl> twice <hl>, because the two calls may return different results. Moreover, the value of x must be fetched again before the second call, since the first call may have changed it. Determining whether a subprogram may have a side effect is very difficult (indeed, undecidable).[citation needed] So, while those optimizations are safe in purely functional programming languages, compilers of typical imperative programming usually have to assume the worst.

For example, in the expression (f(x)-1)/(f(x)+1), the function f must be called <hl> twice <hl> , because the two calls may return different results.


Question: Why must the expression (f(x)-1)/(f(x)+1) be called twice?

Answer: because the two calls may return different results

There are some seemingly obvious optimizations of procedure calls that cannot be applied if the procedures may have side effects. <hl> For example, in the expression (f(x)-1)/(f(x)+1), the function f must be called twice, because the two calls may return different results . <hl> Moreover, the value of x must be fetched again before the second call, since the first call may have changed it. Determining whether a subprogram may have a side effect is very difficult (indeed, undecidable).[citation needed] So, while those optimizations are safe in purely functional programming languages, compilers of typical imperative programming usually have to assume the worst.

There are some seemingly obvious optimizations of procedure calls that cannot be applied if the procedures may have side effects. For example, in the expression (f(x)-1)/(f(x)+1), the function f must be called twice, <hl> because the two calls may return different results <hl>. Moreover, the value of x must be fetched again before the second call, since the first call may have changed it. Determining whether a subprogram may have a side effect is very difficult (indeed, undecidable).[citation needed] So, while those optimizations are safe in purely functional programming languages, compilers of typical imperative programming usually have to assume the worst.

For example, in the expression (f(x)-1)/(f(x)+1), the function f must be called twice, <hl> because the two calls may return different results <hl> .


Question: When must the value of x be fetched again?

Answer: before the second call

There are some seemingly obvious optimizations of procedure calls that cannot be applied if the procedures may have side effects. For example, in the expression (f(x)-1)/(f(x)+1), the function f must be called twice, because the two calls may return different results. <hl> Moreover, the value of x must be fetched again before the second call , since the first call may have changed it. <hl> Determining whether a subprogram may have a side effect is very difficult (indeed, undecidable).[citation needed] So, while those optimizations are safe in purely functional programming languages, compilers of typical imperative programming usually have to assume the worst.

There are some seemingly obvious optimizations of procedure calls that cannot be applied if the procedures may have side effects. For example, in the expression (f(x)-1)/(f(x)+1), the function f must be called twice, because the two calls may return different results. Moreover, the value of x must be fetched again <hl> before the second call <hl>, since the first call may have changed it. Determining whether a subprogram may have a side effect is very difficult (indeed, undecidable).[citation needed] So, while those optimizations are safe in purely functional programming languages, compilers of typical imperative programming usually have to assume the worst.

Moreover, the value of x must be fetched again <hl> before the second call <hl> , since the first call may have changed it.


Question: What is the method used to eliminate this overhead?

A method used to eliminate this overhead is inline expansion or inlining of the subprogram's body at each call site (versus branching to the subroutine and back). Not only does this avoid the call overhead, but it also allows the compiler to optimize the procedure's body more effectively by taking into account the context and arguments at that call. The inserted body can be optimized by the compiler. Inlining however, will usually increase the code size, unless the program contains only one call to the subroutine, or the subroutine body is less code than the call overhead.

Answer: inline expansion

<hl> A method used to eliminate this overhead is inline expansion or inlining of the subprogram's body at each call site (versus branching to the subroutine and back). <hl> Not only does this avoid the call overhead, but it also allows the compiler to optimize the procedure's body more effectively by taking into account the context and arguments at that call. The inserted body can be optimized by the compiler. Inlining however, will usually increase the code size, unless the program contains only one call to the subroutine, or the subroutine body is less code than the call overhead.

A method used to eliminate this overhead is <hl> inline expansion <hl> or inlining of the subprogram's body at each call site (versus branching to the subroutine and back). Not only does this avoid the call overhead, but it also allows the compiler to optimize the procedure's body more effectively by taking into account the context and arguments at that call. The inserted body can be optimized by the compiler. Inlining however, will usually increase the code size, unless the program contains only one call to the subroutine, or the subroutine body is less code than the call overhead.


Question: What is the effect of inline expansion?

Answer: avoid the call overhead, but it also allows the compiler to optimize the procedure's body more effectively

A method used to eliminate this overhead is inline expansion or inlining of the subprogram's body at each call site (versus branching to the subroutine and back). <hl> Not only does this avoid the call overhead, but it also allows the compiler to optimize the procedure's body more effectively by taking into account the context and arguments at that call. <hl> The inserted body can be optimized by the compiler. Inlining however, will usually increase the code size, unless the program contains only one call to the subroutine, or the subroutine body is less code than the call overhead.

A method used to eliminate this overhead is inline expansion or inlining of the subprogram's body at each call site (versus branching to the subroutine and back). Not only does this <hl> avoid the call overhead, but it also allows the compiler to optimize the procedure's body more effectively <hl> by taking into account the context and arguments at that call. The inserted body can be optimized by the compiler. Inlining however, will usually increase the code size, unless the program contains only one call to the subroutine, or the subroutine body is less code than the call overhead.


Question: How does inline expansion allow the compiler to optimize the procedure's body more effectively?

Answer: by taking into account the context and arguments at that call.

A method used to eliminate this overhead is inline expansion or inlining of the subprogram's body at each call site (versus branching to the subroutine and back). <hl> Not only does this avoid the call overhead, but it also allows the compiler to optimize the procedure's body more effectively by taking into account the context and arguments at that call. The inserted body can be optimized by the compiler. <hl> Inlining however, will usually increase the code size, unless the program contains only one call to the subroutine, or the subroutine body is less code than the call overhead.

A method used to eliminate this overhead is inline expansion or inlining of the subprogram's body at each call site (versus branching to the subroutine and back). Not only does this avoid the call overhead, but it also allows the compiler to optimize the procedure's body more effectively <hl> by taking into account the context and arguments at that call. <hl> The inserted body can be optimized by the compiler. Inlining however, will usually increase the code size, unless the program contains only one call to the subroutine, or the subroutine body is less code than the call overhead.


Question: What optimizes the inserted body?

Answer: compiler

A method used to eliminate this overhead is inline expansion or inlining of the subprogram's body at each call site (versus branching to the subroutine and back). <hl> Not only does this avoid the call overhead, but it also allows the compiler to optimize the procedure's body more effectively by taking into account the context and arguments at that call. <hl> The inserted body can be optimized by the compiler. Inlining however, will usually increase the code size, unless the program contains only one call to the subroutine, or the subroutine body is less code than the call overhead.

A method used to eliminate this overhead is inline expansion or inlining of the subprogram's body at each call site (versus branching to the subroutine and back). Not only does this avoid the call overhead, but it also allows the <hl> compiler <hl> to optimize the procedure's body more effectively by taking into account the context and arguments at that call. The inserted body can be optimized by the compiler. Inlining however, will usually increase the code size, unless the program contains only one call to the subroutine, or the subroutine body is less code than the call overhead.


Question: For what kind of ensemble was the saxophone made?

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.[citation needed]

Answer: military bands

The saxophone first gained popularity in one of the uses it was designed for: the military band. <hl> 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. <hl> 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.[citation needed]

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 <hl> military bands <hl> 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.[citation needed]


Question: What is the name of the saxophone's creator?

Answer: Sax

The saxophone first gained popularity in one of the uses it was designed for: the military band. <hl> 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. <hl> 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.[citation needed]

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 <hl> Sax <hl> 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.[citation needed]


Question: What groups first adopted the saxophone?

Answer: French and Belgian military bands

The saxophone first gained popularity in one of the uses it was designed for: the military band. <hl> 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. <hl> 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.[citation needed]

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, <hl> French and Belgian military bands <hl> 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.[citation needed]


Question: How many saxes do French and Belgian military bands have?

Answer: least a quartet of saxophones

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. <hl> 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. <hl> 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.[citation needed]

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 <hl> least a quartet of saxophones <hl> 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.[citation needed]


Question: What characteristic does the sopranino saxophone have that makes it less popular?

Answer: insufficiently powerful

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. <hl> 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 . <hl> 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.[citation needed]

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 <hl> insufficiently powerful <hl>. 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.[citation needed]

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 <hl> insufficiently powerful <hl> .


Question: Which saxes are usually included in a concert band?

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 high-level[clarification needed] 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).[citation needed]

Answer: the E♭ alto saxophone, the B♭ tenor saxophone, and the E♭ baritone saxophone

<hl> 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 . <hl> The typical high-level[clarification needed] 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).[citation needed]

The saxophone was subsequently introduced into the concert band, which generally calls for <hl> the E♭ alto saxophone, the B♭ tenor saxophone, and the E♭ baritone saxophone <hl>. The typical high-level[clarification needed] 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).[citation needed]

The saxophone was subsequently introduced into the concert band, which generally calls for <hl> the E♭ alto saxophone, the B♭ tenor saxophone, and the E♭ baritone saxophone <hl> .


Question: What is the makeup of the saxophone section in a high-level concert band?

Answer: two altos, one tenor, and one baritone

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. <hl> The typical high-level[clarification needed] concert band includes two altos, one tenor, and one baritone . <hl> 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).[citation needed]

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 high-level[clarification needed] concert band includes <hl> two altos, one tenor, and one baritone <hl>. 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).[citation needed]

The typical high-level[clarification needed] concert band includes <hl> two altos, one tenor, and one baritone <hl> .


Question: What other saxophone is sometimes added to a concert band?

Answer: B♭ soprano saxophone

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 high-level[clarification needed] concert band includes two altos, one tenor, and one baritone. <hl> The B♭ soprano saxophone is also occasionally used, in which case it is normally played by the first alto saxophonist. <hl> The bass saxophone in B♭ is called for in some concert band music (especially music by Percy Grainger).[citation needed]

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 high-level[clarification needed] concert band includes two altos, one tenor, and one baritone. The <hl> B♭ soprano saxophone <hl> 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).[citation needed]


Question: Who usually plays the B-flat soprano saxophone in a concert band?

Answer: the first alto saxophonist

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 high-level[clarification needed] concert band includes two altos, one tenor, and one baritone. <hl> The B♭ soprano saxophone is also occasionally used, in which case it is normally played by the first alto saxophonist . <hl> The bass saxophone in B♭ is called for in some concert band music (especially music by Percy Grainger).[citation needed]

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 high-level[clarification needed] 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 <hl> the first alto saxophonist <hl>. The bass saxophone in B♭ is called for in some concert band music (especially music by Percy Grainger).[citation needed]

The B♭ soprano saxophone is also occasionally used, in which case it is normally played by <hl> the first alto saxophonist <hl> .


Question: What composer is known for writing pieces that include the b-flat bass saxophone?

Answer: Percy Grainger

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 high-level[clarification needed] 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. <hl> The bass saxophone in B♭ is called for in some concert band music (especially music by Percy Grainger ).[citation needed] <hl>

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 high-level[clarification needed] 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 <hl> Percy Grainger <hl>).[citation needed]

The bass saxophone in B♭ is called for in some concert band music (especially music by <hl> Percy Grainger <hl> ).[citation needed]


Question: What is the h2 quartet?

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, Raschèr 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 (1834–1911), former soloist with the Sousa band, in the United States c. 1904–1911. 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.[citation needed]

Answer: Classical saxophone quartets

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. <hl> Classical saxophone quartets include Quatuor Habanera, the h2 quartet, Raschèr Saxophone Quartet, the Aurelia Saxophone Quartet, the New Century Saxophone Quartet, and others. <hl> 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 (1834–1911), former soloist with the Sousa band, in the United States c. 1904–1911. 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.[citation needed]

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. <hl> Classical saxophone quartets <hl> include Quatuor Habanera, the h2 quartet, Raschèr 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 (1834–1911), former soloist with the Sousa band, in the United States c. 1904–1911. 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.[citation needed]


Question: What instruments are in a classical saxophone quartet?

Answer: the soprano saxophone, alto saxophone, tenor saxophone, and baritone saxophone

<hl> The classical saxophone quartet consists of the soprano saxophone, alto saxophone, tenor saxophone, and baritone saxophone . <hl> 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, Raschèr 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 (1834–1911), former soloist with the Sousa band, in the United States c. 1904–1911. 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.[citation needed]

The classical saxophone quartet consists of <hl> the soprano saxophone, alto saxophone, tenor saxophone, and baritone saxophone <hl>. 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, Raschèr 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 (1834–1911), former soloist with the Sousa band, in the United States c. 1904–1911. 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.[citation needed]

The classical saxophone quartet consists of <hl> the soprano saxophone, alto saxophone, tenor saxophone, and baritone saxophone <hl> .


Question: When did composers start writing classical saxophone quartet music?

Answer: the nineteenth century

The classical saxophone quartet consists of the soprano saxophone, alto saxophone, tenor saxophone, and baritone saxophone. <hl> 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. <hl> Classical saxophone quartets include Quatuor Habanera, the h2 quartet, Raschèr 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 (1834–1911), former soloist with the Sousa band, in the United States c. 1904–1911. 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.[citation needed]

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 <hl> the nineteenth century <hl>, particularly by French composers who knew Adolphe Sax. Classical saxophone quartets include Quatuor Habanera, the h2 quartet, Raschèr 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 (1834–1911), former soloist with the Sousa band, in the United States c. 1904–1911. 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.[citation needed]

There is a repertoire of classical compositions and arrangements for the SATB instrumentation dating back to <hl> the nineteenth century <hl> , particularly by French composers who knew Adolphe Sax.


Question: In whose band was Eduard Lefebre a soloist?

Answer: Sousa

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, Raschèr 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. <hl> However, organised quartets did exist before Mule's ensemble, the prime example being the quartet headed by Eduard Lefebre (1834–1911), former soloist with the Sousa band, in the United States c. 1904–1911. <hl> 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.[citation needed]

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, Raschèr 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 (1834–1911), former soloist with the <hl> Sousa <hl> band, in the United States c. 1904–1911. 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.[citation needed]


Question: Where did Marcel Mule teach music?

Answer: Conservatoire de Paris

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, Raschèr Saxophone Quartet, the Aurelia Saxophone Quartet, the New Century Saxophone Quartet, and others. <hl> 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. <hl> 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 (1834–1911), former soloist with the Sousa band, in the United States c. 1904–1911. 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.[citation needed]

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, Raschèr 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 <hl> Conservatoire de Paris <hl>, 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 (1834–1911), former soloist with the Sousa band, in the United States c. 1904–1911. 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.[citation needed]

Historically, the quartets led by Marcel Mule and Daniel Deffayet, saxophone professors at the <hl> Conservatoire de Paris <hl> , were started in 1928 and 1953, respectively, and were highly regarded.


Question: When did saxophones become common in dance orchestras?

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 by saxophonists Otto Hardwick, Johnny Hodges, and Harry Carney.  The swing bands of 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.

Answer: the early 20th century

The saxophone is also commonly used in jazz music, where the saxophone is one of the signature sounds. <hl> 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. <hl> 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 by saxophonists Otto Hardwick, Johnny Hodges, and Harry Carney. The swing bands of 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.

The saxophone is also commonly used in jazz music, where the saxophone is one of the signature sounds. Beginning in <hl> the early 20th century <hl>, 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 by saxophonists Otto Hardwick, Johnny Hodges, and Harry Carney. The swing bands of 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.

Beginning in <hl> the early 20th century <hl> , 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.


Question: What kind of ensembles were most influenced by the dance orchestra?

Answer: big swing era bands

The saxophone is also commonly used in jazz music, where the saxophone is one of the signature sounds. <hl> 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. <hl> 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 by saxophonists Otto Hardwick, Johnny Hodges, and Harry Carney. The swing bands of 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.

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 <hl> big swing era bands <hl> 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 by saxophonists Otto Hardwick, Johnny Hodges, and Harry Carney. The swing bands of 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.


Question: How were sax and brass sections used in 1930s swing bands?

Answer: call-response patterns

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 by saxophonists Otto Hardwick, Johnny Hodges, and Harry Carney. <hl> The swing bands of the 1930s utilized arrangements of saxophone and brass sections playing off each other in call-response patterns . <hl> 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.

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 by saxophonists Otto Hardwick, Johnny Hodges, and Harry Carney. The swing bands of the 1930s utilized arrangements of saxophone and brass sections playing off each other in <hl> call-response patterns <hl>. 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.

The swing bands of the 1930s utilized arrangements of saxophone and brass sections playing off each other in <hl> call-response patterns <hl> .


Question: Who played tenor sax in the Count Basie Orchestra?

Answer: Lester Young

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 by saxophonists Otto Hardwick, Johnny Hodges, and Harry Carney. The swing bands of the 1930s utilized arrangements of saxophone and brass sections playing off each other in call-response patterns. <hl> 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. <hl> 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.

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 by saxophonists Otto Hardwick, Johnny Hodges, and Harry Carney. The swing bands of the 1930s utilized arrangements of saxophone and brass sections playing off each other in call-response patterns. The influence of tenor saxophonist <hl> Lester Young <hl> 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.


Question: Of what kind of music did Charlie Parker a major player?

Answer: bebop

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 by saxophonists Otto Hardwick, Johnny Hodges, and Harry Carney. The swing bands of 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. <hl> 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. <hl> 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.

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 by saxophonists Otto Hardwick, Johnny Hodges, and Harry Carney. The swing bands of 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 <hl> bebop <hl> 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.


Question: What kind of saxophone was played by Sidney Bechet?

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.[citation needed] Popular smooth jazz/contemporary pop musician Kenny G also features the soprano sax as his principal instrument.

Answer: soprano saxophone

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. <hl> 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.[citation needed] Popular smooth jazz/contemporary pop musician Kenny G also features the soprano sax as his principal instrument. <hl>

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 <hl> soprano saxophone <hl> 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.[citation needed] Popular smooth jazz/contemporary pop musician Kenny G also features the soprano sax as his principal instrument.


Question: Did the soprano saxophone remain popular in jazz after Sidney Bechet's time?

Answer: largely fell out of favor

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. <hl> 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.[citation needed] Popular smooth jazz/contemporary pop musician Kenny G also features the soprano sax as his principal instrument. <hl>

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 <hl> largely fell out of favor <hl> on the jazz scene until John Coltrane began to feature the instrument.[citation needed] Popular smooth jazz/contemporary pop musician Kenny G also features the soprano sax as his principal instrument.


Question: Whose band did Paul Desmond play for?

Answer: Dave Brubeck

<hl> 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). <hl> 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.[citation needed] Popular smooth jazz/contemporary pop musician Kenny G also features the soprano sax as his principal instrument.

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 <hl> Dave Brubeck <hl> 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.[citation needed] Popular smooth jazz/contemporary pop musician Kenny G also features the soprano sax as his principal instrument.


Question: Who repopularized the jazz soprano sax?

Answer: Sidney Bechet

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. <hl> 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.[citation needed] Popular smooth jazz/contemporary pop musician Kenny G also features the soprano sax as his principal instrument. <hl>

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 <hl> Sidney Bechet <hl> in early jazz, but then largely fell out of favor on the jazz scene until John Coltrane began to feature the instrument.[citation needed] Popular smooth jazz/contemporary pop musician Kenny G also features the soprano sax as his principal instrument.


Question: What kind of music is played by Kenny G?

Answer: smooth jazz/contemporary pop

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. <hl> 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.[citation needed] Popular smooth jazz/contemporary pop musician Kenny G also features the soprano sax as his principal instrument. <hl>

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.[citation needed] Popular <hl> smooth jazz/contemporary pop <hl> musician Kenny G also features the soprano sax as his principal instrument.


Question: Who invented the saxophone family of instruments?

The saxophone (also referred to as the sax) is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet. The saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. Adolphe Sax wanted to create a group or series of instruments that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass instruments, that would fill the vacant middle ground between the two sections. He patented the saxophone on June 28, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for military bands, have proved extremely popular and most saxophones encountered today are from this series. Instruments from the so-called "orchestral" series, pitched in C and F, never gained a foothold, and the B♭ and E♭ instruments have now replaced the C and F instruments when the saxophone is used in the orchestra.

Answer: Adolphe Sax

The saxophone (also referred to as the sax) is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet. <hl> The saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. <hl> Adolphe Sax wanted to create a group or series of instruments that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass instruments, that would fill the vacant middle ground between the two sections. He patented the saxophone on June 28, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for military bands, have proved extremely popular and most saxophones encountered today are from this series. Instruments from the so-called "orchestral" series, pitched in C and F, never gained a foothold, and the B♭ and E♭ instruments have now replaced the C and F instruments when the saxophone is used in the orchestra.

The saxophone (also referred to as the sax) is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet. The saxophone family was invented by the Belgian instrument maker <hl> Adolphe Sax <hl> in 1840. Adolphe Sax wanted to create a group or series of instruments that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass instruments, that would fill the vacant middle ground between the two sections. He patented the saxophone on June 28, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for military bands, have proved extremely popular and most saxophones encountered today are from this series. Instruments from the so-called "orchestral" series, pitched in C and F, never gained a foothold, and the B♭ and E♭ instruments have now replaced the C and F instruments when the saxophone is used in the orchestra.


Question: When did Adolphe Sax invent the saxophone?

Answer: 1840

The saxophone (also referred to as the sax) is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet. <hl> The saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840 . <hl> Adolphe Sax wanted to create a group or series of instruments that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass instruments, that would fill the vacant middle ground between the two sections. He patented the saxophone on June 28, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for military bands, have proved extremely popular and most saxophones encountered today are from this series. Instruments from the so-called "orchestral" series, pitched in C and F, never gained a foothold, and the B♭ and E♭ instruments have now replaced the C and F instruments when the saxophone is used in the orchestra.

The saxophone (also referred to as the sax) is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet. The saxophone family was invented by the Belgian instrument maker Adolphe Sax in <hl> 1840 <hl>. Adolphe Sax wanted to create a group or series of instruments that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass instruments, that would fill the vacant middle ground between the two sections. He patented the saxophone on June 28, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for military bands, have proved extremely popular and most saxophones encountered today are from this series. Instruments from the so-called "orchestral" series, pitched in C and F, never gained a foothold, and the B♭ and E♭ instruments have now replaced the C and F instruments when the saxophone is used in the orchestra.

The saxophone family was invented by the Belgian instrument maker Adolphe Sax in <hl> 1840 <hl> .


Question: What category of instrument do the saxophone family of instruments fall under??

Answer: family of woodwind instruments

<hl> The saxophone (also referred to as the sax) is a family of woodwind instruments . <hl> Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet. The saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. Adolphe Sax wanted to create a group or series of instruments that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass instruments, that would fill the vacant middle ground between the two sections. He patented the saxophone on June 28, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for military bands, have proved extremely popular and most saxophones encountered today are from this series. Instruments from the so-called "orchestral" series, pitched in C and F, never gained a foothold, and the B♭ and E♭ instruments have now replaced the C and F instruments when the saxophone is used in the orchestra.

The saxophone (also referred to as the sax) is a <hl> family of woodwind instruments <hl>. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet. The saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. Adolphe Sax wanted to create a group or series of instruments that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass instruments, that would fill the vacant middle ground between the two sections. He patented the saxophone on June 28, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for military bands, have proved extremely popular and most saxophones encountered today are from this series. Instruments from the so-called "orchestral" series, pitched in C and F, never gained a foothold, and the B♭ and E♭ instruments have now replaced the C and F instruments when the saxophone is used in the orchestra.

The saxophone (also referred to as the sax) is a <hl> family of woodwind instruments <hl> .


Question: What kind or series of saxophones were designed for the military?

Answer: The series pitched in B♭ and E♭,

The saxophone (also referred to as the sax) is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet. The saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. Adolphe Sax wanted to create a group or series of instruments that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass instruments, that would fill the vacant middle ground between the two sections. He patented the saxophone on June 28, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. <hl> The series pitched in B♭ and E♭, designed for military bands, have proved extremely popular and most saxophones encountered today are from this series. <hl> Instruments from the so-called "orchestral" series, pitched in C and F, never gained a foothold, and the B♭ and E♭ instruments have now replaced the C and F instruments when the saxophone is used in the orchestra.

The saxophone (also referred to as the sax) is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet. The saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. Adolphe Sax wanted to create a group or series of instruments that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass instruments, that would fill the vacant middle ground between the two sections. He patented the saxophone on June 28, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. <hl> The series pitched in B♭ and E♭, <hl> designed for military bands, have proved extremely popular and most saxophones encountered today are from this series. Instruments from the so-called "orchestral" series, pitched in C and F, never gained a foothold, and the B♭ and E♭ instruments have now replaced the C and F instruments when the saxophone is used in the orchestra.


Question: What are the orchestral series?

Answer: Instruments from the so-called "orchestral" series, pitched in C and F,

The saxophone (also referred to as the sax) is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet. The saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. Adolphe Sax wanted to create a group or series of instruments that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass instruments, that would fill the vacant middle ground between the two sections. He patented the saxophone on June 28, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for military bands, have proved extremely popular and most saxophones encountered today are from this series. <hl> Instruments from the so-called "orchestral" series, pitched in C and F, never gained a foothold, and the B♭ and E♭ instruments have now replaced the C and F instruments when the saxophone is used in the orchestra. <hl>

The saxophone (also referred to as the sax) is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet. The saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. Adolphe Sax wanted to create a group or series of instruments that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass instruments, that would fill the vacant middle ground between the two sections. He patented the saxophone on June 28, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for military bands, have proved extremely popular and most saxophones encountered today are from this series. <hl> Instruments from the so-called "orchestral" series, pitched in C and F, <hl> never gained a foothold, and the B♭ and E♭ instruments have now replaced the C and F instruments when the saxophone is used in the orchestra.


Question: Who was Adolph Sax?

The saxophone was developed in 1846 by Adolphe Sax, a Belgian instrument maker, flautist, and clarinetist born in Dinant and originally based in Brussels, he moved to Paris in 1842 to establish his musical instrument business.   Prior to his work on the saxophone, he had made several improvements to the bass clarinet by improving its keywork and acoustics and extending its lower range. Sax was also a maker of the then-popular ophicleide, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with these two instruments allowed him to develop the skills and technologies needed to make the first saxophones.  As an outgrowth of his work improving the bass clarinet,  Sax began developing an instrument with the projection of a brass instrument and the agility of a woodwind. He wanted it to overblow at the octave, unlike the clarinet, which rises in pitch by a twelfth when overblown. An instrument that overblew at the octave, would have identical fingering for both registers.

Answer: a Belgian instrument maker

<hl> The saxophone was developed in 1846 by Adolphe Sax, a Belgian instrument maker , flautist, and clarinetist born in Dinant and originally based in Brussels, he moved to Paris in 1842 to establish his musical instrument business. <hl> Prior to his work on the saxophone, he had made several improvements to the bass clarinet by improving its keywork and acoustics and extending its lower range. Sax was also a maker of the then-popular ophicleide, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with these two instruments allowed him to develop the skills and technologies needed to make the first saxophones. As an outgrowth of his work improving the bass clarinet, Sax began developing an instrument with the projection of a brass instrument and the agility of a woodwind. He wanted it to overblow at the octave, unlike the clarinet, which rises in pitch by a twelfth when overblown. An instrument that overblew at the octave, would have identical fingering for both registers.

The saxophone was developed in 1846 by Adolphe Sax, <hl> a Belgian instrument maker <hl>, flautist, and clarinetist born in Dinant and originally based in Brussels, he moved to Paris in 1842 to establish his musical instrument business. Prior to his work on the saxophone, he had made several improvements to the bass clarinet by improving its keywork and acoustics and extending its lower range. Sax was also a maker of the then-popular ophicleide, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with these two instruments allowed him to develop the skills and technologies needed to make the first saxophones. As an outgrowth of his work improving the bass clarinet, Sax began developing an instrument with the projection of a brass instrument and the agility of a woodwind. He wanted it to overblow at the octave, unlike the clarinet, which rises in pitch by a twelfth when overblown. An instrument that overblew at the octave, would have identical fingering for both registers.

The saxophone was developed in 1846 by Adolphe Sax, <hl> a Belgian instrument maker <hl> , flautist, and clarinetist born in Dinant and originally based in Brussels, he moved to Paris in 1842 to establish his musical instrument business.


Question: Why did Adolph Sax move to Paris?

Answer: to establish his musical instrument business

<hl> The saxophone was developed in 1846 by Adolphe Sax, a Belgian instrument maker, flautist, and clarinetist born in Dinant and originally based in Brussels, he moved to Paris in 1842 to establish his musical instrument business . <hl> Prior to his work on the saxophone, he had made several improvements to the bass clarinet by improving its keywork and acoustics and extending its lower range. Sax was also a maker of the then-popular ophicleide, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with these two instruments allowed him to develop the skills and technologies needed to make the first saxophones. As an outgrowth of his work improving the bass clarinet, Sax began developing an instrument with the projection of a brass instrument and the agility of a woodwind. He wanted it to overblow at the octave, unlike the clarinet, which rises in pitch by a twelfth when overblown. An instrument that overblew at the octave, would have identical fingering for both registers.

The saxophone was developed in 1846 by Adolphe Sax, a Belgian instrument maker, flautist, and clarinetist born in Dinant and originally based in Brussels, he moved to Paris in 1842 <hl> to establish his musical instrument business <hl>. Prior to his work on the saxophone, he had made several improvements to the bass clarinet by improving its keywork and acoustics and extending its lower range. Sax was also a maker of the then-popular ophicleide, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with these two instruments allowed him to develop the skills and technologies needed to make the first saxophones. As an outgrowth of his work improving the bass clarinet, Sax began developing an instrument with the projection of a brass instrument and the agility of a woodwind. He wanted it to overblow at the octave, unlike the clarinet, which rises in pitch by a twelfth when overblown. An instrument that overblew at the octave, would have identical fingering for both registers.

The saxophone was developed in 1846 by Adolphe Sax, a Belgian instrument maker, flautist, and clarinetist born in Dinant and originally based in Brussels, he moved to Paris in 1842 <hl> to establish his musical instrument business <hl> .