Question: Which instrument sounded at concert pitch?

Having constructed saxophones in several sizes in the early 1840s,  Sax applied for, and received, a 15-year patent for the instrument on June 28, 1846. The patent encompassed 14 versions of the fundamental design, split into two categories of seven instruments each, and ranging from sopranino to contrabass. Although the instruments transposed at either F or C have been considered "orchestral", there is no evidence that Sax intended this. As only 3 percent of Sax's surviving production were pitched in F and C, and as contemporary composers used the E♭ alto and B♭ bass saxophone freely in orchestral music, it is almost certain that Sax experimented to find the most suitable keys for these instruments, settling upon instruments alternating between E♭ and B♭ rather than those pitched in F or C, for reasons of tone and economy (the saxophones were the most expensive wind instruments of their day). The C soprano saxophone was the only instrument to sound at concert pitch. All the instruments were given an initial written range from the B below the treble staff to the F, one space above the three ledger lines above staff, giving each saxophone a range of two and a half octaves.

Answer: The C soprano saxophone was the only instrument to sound at concert pitch.

Having constructed saxophones in several sizes in the early 1840s, Sax applied for, and received, a 15-year patent for the instrument on June 28, 1846. The patent encompassed 14 versions of the fundamental design, split into two categories of seven instruments each, and ranging from sopranino to contrabass. Although the instruments transposed at either F or C have been considered "orchestral", there is no evidence that Sax intended this. As only 3 percent of Sax's surviving production were pitched in F and C, and as contemporary composers used the E♭ alto and B♭ bass saxophone freely in orchestral music, it is almost certain that Sax experimented to find the most suitable keys for these instruments, settling upon instruments alternating between E♭ and B♭ rather than those pitched in F or C, for reasons of tone and economy (the saxophones were the most expensive wind instruments of their day). <hl> The C soprano saxophone was the only instrument to sound at concert pitch. All the instruments were given an initial written range from the B below the treble staff to the F, one space above the three ledger lines above staff, giving each saxophone a range of two and a half octaves. <hl>

Having constructed saxophones in several sizes in the early 1840s, Sax applied for, and received, a 15-year patent for the instrument on June 28, 1846. The patent encompassed 14 versions of the fundamental design, split into two categories of seven instruments each, and ranging from sopranino to contrabass. Although the instruments transposed at either F or C have been considered "orchestral", there is no evidence that Sax intended this. As only 3 percent of Sax's surviving production were pitched in F and C, and as contemporary composers used the E♭ alto and B♭ bass saxophone freely in orchestral music, it is almost certain that Sax experimented to find the most suitable keys for these instruments, settling upon instruments alternating between E♭ and B♭ rather than those pitched in F or C, for reasons of tone and economy (the saxophones were the most expensive wind instruments of their day). <hl> The C soprano saxophone was the only instrument to sound at concert pitch. <hl> All the instruments were given an initial written range from the B below the treble staff to the F, one space above the three ledger lines above staff, giving each saxophone a range of two and a half octaves.


Question: How much range did each saxophone have?

Answer: giving each saxophone a range of two and a half octaves.

Having constructed saxophones in several sizes in the early 1840s, Sax applied for, and received, a 15-year patent for the instrument on June 28, 1846. The patent encompassed 14 versions of the fundamental design, split into two categories of seven instruments each, and ranging from sopranino to contrabass. Although the instruments transposed at either F or C have been considered "orchestral", there is no evidence that Sax intended this. As only 3 percent of Sax's surviving production were pitched in F and C, and as contemporary composers used the E♭ alto and B♭ bass saxophone freely in orchestral music, it is almost certain that Sax experimented to find the most suitable keys for these instruments, settling upon instruments alternating between E♭ and B♭ rather than those pitched in F or C, for reasons of tone and economy (the saxophones were the most expensive wind instruments of their day). The C soprano saxophone was the only instrument to sound at concert pitch. <hl> All the instruments were given an initial written range from the B below the treble staff to the F, one space above the three ledger lines above staff, giving each saxophone a range of two and a half octaves. <hl>

Having constructed saxophones in several sizes in the early 1840s, Sax applied for, and received, a 15-year patent for the instrument on June 28, 1846. The patent encompassed 14 versions of the fundamental design, split into two categories of seven instruments each, and ranging from sopranino to contrabass. Although the instruments transposed at either F or C have been considered "orchestral", there is no evidence that Sax intended this. As only 3 percent of Sax's surviving production were pitched in F and C, and as contemporary composers used the E♭ alto and B♭ bass saxophone freely in orchestral music, it is almost certain that Sax experimented to find the most suitable keys for these instruments, settling upon instruments alternating between E♭ and B♭ rather than those pitched in F or C, for reasons of tone and economy (the saxophones were the most expensive wind instruments of their day). The C soprano saxophone was the only instrument to sound at concert pitch. All the instruments were given an initial written range from the B below the treble staff to the F, one space above the three ledger lines above staff, <hl> giving each saxophone a range of two and a half octaves. <hl>


Question: When did Sax's patent expire?

Sax's patent expired in 1866; thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. The first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification. This extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings will allow the player to play easily and as fast as they can. The player may also use alternate fingerings to bend the pitch. Some of the alternate fingerings are good for trilling, scales, and big interval jumps.

Answer: Sax's patent expired in 1866

<hl> Sax's patent expired in 1866 ; thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. <hl> The first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification. This extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings will allow the player to play easily and as fast as they can. The player may also use alternate fingerings to bend the pitch. Some of the alternate fingerings are good for trilling, scales, and big interval jumps.

<hl> Sax's patent expired in 1866 <hl>; thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. The first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification. This extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings will allow the player to play easily and as fast as they can. The player may also use alternate fingerings to bend the pitch. Some of the alternate fingerings are good for trilling, scales, and big interval jumps.

<hl> Sax's patent expired in 1866 <hl> ; thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork.


Question: Who made the first significant modification?

Answer: The first substantial modification was by a French manufacturer

Sax's patent expired in 1866; thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. <hl> The first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. <hl> It is suspected that Sax himself may have attempted this modification. This extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings will allow the player to play easily and as fast as they can. The player may also use alternate fingerings to bend the pitch. Some of the alternate fingerings are good for trilling, scales, and big interval jumps.

Sax's patent expired in 1866; thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. <hl> The first substantial modification was by a French manufacturer <hl> who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification. This extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings will allow the player to play easily and as fast as they can. The player may also use alternate fingerings to bend the pitch. Some of the alternate fingerings are good for trilling, scales, and big interval jumps.


Question: What were the initial significant improvements made after 1866 to the Saxophone?

Answer: extended the bell slightly and added an extra key to extend the range

Sax's patent expired in 1866; thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. <hl> The first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. <hl> It is suspected that Sax himself may have attempted this modification. This extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings will allow the player to play easily and as fast as they can. The player may also use alternate fingerings to bend the pitch. Some of the alternate fingerings are good for trilling, scales, and big interval jumps.

Sax's patent expired in 1866; thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. The first substantial modification was by a French manufacturer who <hl> extended the bell slightly and added an extra key to extend the range <hl> downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification. This extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings will allow the player to play easily and as fast as they can. The player may also use alternate fingerings to bend the pitch. Some of the alternate fingerings are good for trilling, scales, and big interval jumps.


Question: What will using alternate fingerings accomplish due to the modifications to the saxophone?

Answer: Using alternate fingerings will allow the player to play easily and as fast as they can.

Sax's patent expired in 1866; thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. The first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification. This extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. <hl> Using alternate fingerings will allow the player to play easily and as fast as they can. The player may also use alternate fingerings to bend the pitch. <hl> Some of the alternate fingerings are good for trilling, scales, and big interval jumps.

Sax's patent expired in 1866; thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. The first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification. This extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. <hl> Using alternate fingerings will allow the player to play easily and as fast as they can. <hl> The player may also use alternate fingerings to bend the pitch. Some of the alternate fingerings are good for trilling, scales, and big interval jumps.


Question: How can the player bend the pitch?

Answer: The player may also use alternate fingerings to bend the pitch

Sax's patent expired in 1866; thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. The first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification. This extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings will allow the player to play easily and as fast as they can. <hl> The player may also use alternate fingerings to bend the pitch . <hl> Some of the alternate fingerings are good for trilling, scales, and big interval jumps.

Sax's patent expired in 1866; thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. The first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification. This extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings will allow the player to play easily and as fast as they can. <hl> The player may also use alternate fingerings to bend the pitch <hl>. Some of the alternate fingerings are good for trilling, scales, and big interval jumps.

<hl> The player may also use alternate fingerings to bend the pitch <hl> .


Question: What was Sax's original keywork for the left hand based on?

Sax's original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the right, was very simplistic and made playing some legato passages and wide intervals extremely difficult to finger, so numerous developers added extra keys and alternate fingerings to make chromatic playing less difficult. While the early saxophone had two separate octave vents to assist in the playing of the upper registers just as modern instruments do, players of Sax's original design had to operate these via two separate octave keys operated by the left thumb. A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones.  Further developments were made by Selmer in the 1930s and 40s, including offsetting tone holes and revamping the octave key mechanism, beginning with their balanced action instruments and continuing through their celebrated Mark VI line.[citation needed] One of the most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris, who completely redeveloped the mechanics of the system to allow a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by pressing the right middle finger. This enables a chromatic scale to be played over two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit. However, this keywork never gained much popularity, and is no longer in use.

Answer: which was based on the Triebert system 3 oboe for the left hand

<hl> Sax's original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the right, was very simplistic and made playing some legato passages and wide intervals extremely difficult to finger, so numerous developers added extra keys and alternate fingerings to make chromatic playing less difficult. <hl> While the early saxophone had two separate octave vents to assist in the playing of the upper registers just as modern instruments do, players of Sax's original design had to operate these via two separate octave keys operated by the left thumb. A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. Further developments were made by Selmer in the 1930s and 40s, including offsetting tone holes and revamping the octave key mechanism, beginning with their balanced action instruments and continuing through their celebrated Mark VI line.[citation needed] One of the most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris, who completely redeveloped the mechanics of the system to allow a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by pressing the right middle finger. This enables a chromatic scale to be played over two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit. However, this keywork never gained much popularity, and is no longer in use.

Sax's original keywork, <hl> which was based on the Triebert system 3 oboe for the left hand <hl> and the Boehm clarinet for the right, was very simplistic and made playing some legato passages and wide intervals extremely difficult to finger, so numerous developers added extra keys and alternate fingerings to make chromatic playing less difficult. While the early saxophone had two separate octave vents to assist in the playing of the upper registers just as modern instruments do, players of Sax's original design had to operate these via two separate octave keys operated by the left thumb. A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. Further developments were made by Selmer in the 1930s and 40s, including offsetting tone holes and revamping the octave key mechanism, beginning with their balanced action instruments and continuing through their celebrated Mark VI line.[citation needed] One of the most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris, who completely redeveloped the mechanics of the system to allow a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by pressing the right middle finger. This enables a chromatic scale to be played over two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit. However, this keywork never gained much popularity, and is no longer in use.


Question: What is another significant improvement in the Sax?

Answer: A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key

Sax's original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the right, was very simplistic and made playing some legato passages and wide intervals extremely difficult to finger, so numerous developers added extra keys and alternate fingerings to make chromatic playing less difficult. While the early saxophone had two separate octave vents to assist in the playing of the upper registers just as modern instruments do, players of Sax's original design had to operate these via two separate octave keys operated by the left thumb. <hl> A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key , which is now universal on modern saxophones. <hl> Further developments were made by Selmer in the 1930s and 40s, including offsetting tone holes and revamping the octave key mechanism, beginning with their balanced action instruments and continuing through their celebrated Mark VI line.[citation needed] One of the most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris, who completely redeveloped the mechanics of the system to allow a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by pressing the right middle finger. This enables a chromatic scale to be played over two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit. However, this keywork never gained much popularity, and is no longer in use.

Sax's original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the right, was very simplistic and made playing some legato passages and wide intervals extremely difficult to finger, so numerous developers added extra keys and alternate fingerings to make chromatic playing less difficult. While the early saxophone had two separate octave vents to assist in the playing of the upper registers just as modern instruments do, players of Sax's original design had to operate these via two separate octave keys operated by the left thumb. <hl> A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key <hl>, which is now universal on modern saxophones. Further developments were made by Selmer in the 1930s and 40s, including offsetting tone holes and revamping the octave key mechanism, beginning with their balanced action instruments and continuing through their celebrated Mark VI line.[citation needed] One of the most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris, who completely redeveloped the mechanics of the system to allow a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by pressing the right middle finger. This enables a chromatic scale to be played over two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit. However, this keywork never gained much popularity, and is no longer in use.

<hl> A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key <hl> , which is now universal on modern saxophones.


Question: Who made further developments in the Saxophone?

Answer: Further developments were made by Selmer

Sax's original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the right, was very simplistic and made playing some legato passages and wide intervals extremely difficult to finger, so numerous developers added extra keys and alternate fingerings to make chromatic playing less difficult. While the early saxophone had two separate octave vents to assist in the playing of the upper registers just as modern instruments do, players of Sax's original design had to operate these via two separate octave keys operated by the left thumb. A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. <hl> Further developments were made by Selmer in the 1930s and 40s, including offsetting tone holes and revamping the octave key mechanism, beginning with their balanced action instruments and continuing through their celebrated Mark VI line.[citation needed] One of the most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris, who completely redeveloped the mechanics of the system to allow a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by pressing the right middle finger. <hl> This enables a chromatic scale to be played over two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit. However, this keywork never gained much popularity, and is no longer in use.

Sax's original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the right, was very simplistic and made playing some legato passages and wide intervals extremely difficult to finger, so numerous developers added extra keys and alternate fingerings to make chromatic playing less difficult. While the early saxophone had two separate octave vents to assist in the playing of the upper registers just as modern instruments do, players of Sax's original design had to operate these via two separate octave keys operated by the left thumb. A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. <hl> Further developments were made by Selmer <hl> in the 1930s and 40s, including offsetting tone holes and revamping the octave key mechanism, beginning with their balanced action instruments and continuing through their celebrated Mark VI line.[citation needed] One of the most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris, who completely redeveloped the mechanics of the system to allow a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by pressing the right middle finger. This enables a chromatic scale to be played over two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit. However, this keywork never gained much popularity, and is no longer in use.


Question: Who is responsible for the most radical improvements to teh Saxohones's keywork?

Answer: most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris,

Sax's original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the right, was very simplistic and made playing some legato passages and wide intervals extremely difficult to finger, so numerous developers added extra keys and alternate fingerings to make chromatic playing less difficult. While the early saxophone had two separate octave vents to assist in the playing of the upper registers just as modern instruments do, players of Sax's original design had to operate these via two separate octave keys operated by the left thumb. A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. <hl> Further developments were made by Selmer in the 1930s and 40s, including offsetting tone holes and revamping the octave key mechanism, beginning with their balanced action instruments and continuing through their celebrated Mark VI line.[citation needed] One of the most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris, who completely redeveloped the mechanics of the system to allow a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by pressing the right middle finger. <hl> This enables a chromatic scale to be played over two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit. However, this keywork never gained much popularity, and is no longer in use.

Sax's original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the right, was very simplistic and made playing some legato passages and wide intervals extremely difficult to finger, so numerous developers added extra keys and alternate fingerings to make chromatic playing less difficult. While the early saxophone had two separate octave vents to assist in the playing of the upper registers just as modern instruments do, players of Sax's original design had to operate these via two separate octave keys operated by the left thumb. A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. Further developments were made by Selmer in the 1930s and 40s, including offsetting tone holes and revamping the octave key mechanism, beginning with their balanced action instruments and continuing through their celebrated Mark VI line.[citation needed] One of the <hl> most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris, <hl> who completely redeveloped the mechanics of the system to allow a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by pressing the right middle finger. This enables a chromatic scale to be played over two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit. However, this keywork never gained much popularity, and is no longer in use.


Question: How are the notes A, B and C flattened by the semitone on the Saxophone?

Answer: a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by pressing the right middle finger.

Sax's original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the right, was very simplistic and made playing some legato passages and wide intervals extremely difficult to finger, so numerous developers added extra keys and alternate fingerings to make chromatic playing less difficult. While the early saxophone had two separate octave vents to assist in the playing of the upper registers just as modern instruments do, players of Sax's original design had to operate these via two separate octave keys operated by the left thumb. A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. <hl> Further developments were made by Selmer in the 1930s and 40s, including offsetting tone holes and revamping the octave key mechanism, beginning with their balanced action instruments and continuing through their celebrated Mark VI line.[citation needed] One of the most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris, who completely redeveloped the mechanics of the system to allow a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by pressing the right middle finger. This enables a chromatic scale to be played over two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit. <hl> However, this keywork never gained much popularity, and is no longer in use.

Sax's original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the right, was very simplistic and made playing some legato passages and wide intervals extremely difficult to finger, so numerous developers added extra keys and alternate fingerings to make chromatic playing less difficult. While the early saxophone had two separate octave vents to assist in the playing of the upper registers just as modern instruments do, players of Sax's original design had to operate these via two separate octave keys operated by the left thumb. A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. Further developments were made by Selmer in the 1930s and 40s, including offsetting tone holes and revamping the octave key mechanism, beginning with their balanced action instruments and continuing through their celebrated Mark VI line.[citation needed] One of the most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris, who completely redeveloped the mechanics of the system to allow <hl> a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by pressing the right middle finger. <hl> This enables a chromatic scale to be played over two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit. However, this keywork never gained much popularity, and is no longer in use.


Question: What did the saxophone players define with the avant-garde movement of the 1930s?

Saxophone players such as John Coltrane, Ornette Coleman, Sam Rivers and Pharoah Sanders again defined the forefront of creative exploration with the avant-garde movement of the 1960s.  Modal, harmolodic, and free jazz again removed boundaries and the new space was explored with every device that saxophone players could conceive of.  Sheets of sound, tonal exploration, upper harmonics, and multiphonics were hallmarks of the creative possibilities that saxophones offered in the new realm.  One lasting influence of the avant-garde movement has been the exploration of non-western ethnic sounds on the saxophone, for example, the Africanized sounds used by Pharoah Sanders.  The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists Steve Coleman and Greg Osby.

Answer: the forefront of creative exploration

<hl> Saxophone players such as John Coltrane, Ornette Coleman, Sam Rivers and Pharoah Sanders again defined the forefront of creative exploration with the avant-garde movement of the 1960s. <hl> Modal, harmolodic, and free jazz again removed boundaries and the new space was explored with every device that saxophone players could conceive of. Sheets of sound, tonal exploration, upper harmonics, and multiphonics were hallmarks of the creative possibilities that saxophones offered in the new realm. One lasting influence of the avant-garde movement has been the exploration of non-western ethnic sounds on the saxophone, for example, the Africanized sounds used by Pharoah Sanders. The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists Steve Coleman and Greg Osby.

Saxophone players such as John Coltrane, Ornette Coleman, Sam Rivers and Pharoah Sanders again defined <hl> the forefront of creative exploration <hl> with the avant-garde movement of the 1960s. Modal, harmolodic, and free jazz again removed boundaries and the new space was explored with every device that saxophone players could conceive of. Sheets of sound, tonal exploration, upper harmonics, and multiphonics were hallmarks of the creative possibilities that saxophones offered in the new realm. One lasting influence of the avant-garde movement has been the exploration of non-western ethnic sounds on the saxophone, for example, the Africanized sounds used by Pharoah Sanders. The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists Steve Coleman and Greg Osby.


Question: What were the hallmarks that offered saxophones creative possibilities in the new realm

Answer: Sheets of sound, tonal exploration, upper harmonics, and multiphonics

Saxophone players such as John Coltrane, Ornette Coleman, Sam Rivers and Pharoah Sanders again defined the forefront of creative exploration with the avant-garde movement of the 1960s. Modal, harmolodic, and free jazz again removed boundaries and the new space was explored with every device that saxophone players could conceive of. <hl> Sheets of sound, tonal exploration, upper harmonics, and multiphonics were hallmarks of the creative possibilities that saxophones offered in the new realm. <hl> One lasting influence of the avant-garde movement has been the exploration of non-western ethnic sounds on the saxophone, for example, the Africanized sounds used by Pharoah Sanders. The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists Steve Coleman and Greg Osby.

Saxophone players such as John Coltrane, Ornette Coleman, Sam Rivers and Pharoah Sanders again defined the forefront of creative exploration with the avant-garde movement of the 1960s. Modal, harmolodic, and free jazz again removed boundaries and the new space was explored with every device that saxophone players could conceive of. <hl> Sheets of sound, tonal exploration, upper harmonics, and multiphonics <hl> were hallmarks of the creative possibilities that saxophones offered in the new realm. One lasting influence of the avant-garde movement has been the exploration of non-western ethnic sounds on the saxophone, for example, the Africanized sounds used by Pharoah Sanders. The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists Steve Coleman and Greg Osby.


Question: What was a lasting effect of the avant-garde movement?

Answer: the exploration of non-western ethnic sounds on the saxophone

Saxophone players such as John Coltrane, Ornette Coleman, Sam Rivers and Pharoah Sanders again defined the forefront of creative exploration with the avant-garde movement of the 1960s. Modal, harmolodic, and free jazz again removed boundaries and the new space was explored with every device that saxophone players could conceive of. Sheets of sound, tonal exploration, upper harmonics, and multiphonics were hallmarks of the creative possibilities that saxophones offered in the new realm. <hl> One lasting influence of the avant-garde movement has been the exploration of non-western ethnic sounds on the saxophone , for example, the Africanized sounds used by Pharoah Sanders. <hl> The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists Steve Coleman and Greg Osby.

Saxophone players such as John Coltrane, Ornette Coleman, Sam Rivers and Pharoah Sanders again defined the forefront of creative exploration with the avant-garde movement of the 1960s. Modal, harmolodic, and free jazz again removed boundaries and the new space was explored with every device that saxophone players could conceive of. Sheets of sound, tonal exploration, upper harmonics, and multiphonics were hallmarks of the creative possibilities that saxophones offered in the new realm. One lasting influence of the avant-garde movement has been <hl> the exploration of non-western ethnic sounds on the saxophone <hl>, for example, the Africanized sounds used by Pharoah Sanders. The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists Steve Coleman and Greg Osby.

One lasting influence of the avant-garde movement has been <hl> the exploration of non-western ethnic sounds on the saxophone <hl> , for example, the Africanized sounds used by Pharoah Sanders.


Question: What were the names of the Saxophone players?

Answer: John Coltrane, Ornette Coleman, Sam Rivers and Pharoah Sanders

<hl> Saxophone players such as John Coltrane, Ornette Coleman, Sam Rivers and Pharoah Sanders again defined the forefront of creative exploration with the avant-garde movement of the 1960s. <hl> Modal, harmolodic, and free jazz again removed boundaries and the new space was explored with every device that saxophone players could conceive of. Sheets of sound, tonal exploration, upper harmonics, and multiphonics were hallmarks of the creative possibilities that saxophones offered in the new realm. One lasting influence of the avant-garde movement has been the exploration of non-western ethnic sounds on the saxophone, for example, the Africanized sounds used by Pharoah Sanders. The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists Steve Coleman and Greg Osby.

Saxophone players such as <hl> John Coltrane, Ornette Coleman, Sam Rivers and Pharoah Sanders <hl> again defined the forefront of creative exploration with the avant-garde movement of the 1960s. Modal, harmolodic, and free jazz again removed boundaries and the new space was explored with every device that saxophone players could conceive of. Sheets of sound, tonal exploration, upper harmonics, and multiphonics were hallmarks of the creative possibilities that saxophones offered in the new realm. One lasting influence of the avant-garde movement has been the exploration of non-western ethnic sounds on the saxophone, for example, the Africanized sounds used by Pharoah Sanders. The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists Steve Coleman and Greg Osby.


Question: What musical notes did The primary saxophone family alternate

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

Answer: B♭ and E♭

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

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

The primary (military band) saxophone family alternates instruments in <hl> B♭ and E♭ <hl> .


Question: Which production was recent revived

Answer: the C soprano and C melody

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

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

One company has recently revived production of <hl> the C soprano and C melody <hl> .


Question: In what note are instruments rare

Answer: F

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

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

The other (orchestral) family patented by Sax, alternating instruments in C and <hl> F <hl> , has always been marginal, although some manufacturers tried to popularise the soprano in C (or C soprano saxophone), the alto in F (or mezzo-soprano saxophone), and the tenor in C (or C melody saxophone) early in the twentieth century.


Question: In what years did the C melody enjoy it's success

Answer: the late 1920s and early 1930s

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

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


Question: What instrument has only had minor changes to it's fingering scheme since it's invention?

The fingering scheme of the saxophone, which has had only minor changes since the instrument's original invention, has presented inherent acoustic problems related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes.  There is also a lack of tactile consistency moving between key centers.  In other words, extra effort is required from the player to adjust modes of muscle memory when moving between key centers.  Two efforts to remedy the acoustic problems and awkward aspects of the original fingering system are noteworthy.

Answer: saxophone

<hl> The fingering scheme of the saxophone , which has had only minor changes since the instrument's original invention, has presented inherent acoustic problems related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes. <hl> There is also a lack of tactile consistency moving between key centers. In other words, extra effort is required from the player to adjust modes of muscle memory when moving between key centers. Two efforts to remedy the acoustic problems and awkward aspects of the original fingering system are noteworthy.

The fingering scheme of the <hl> saxophone <hl>, which has had only minor changes since the instrument's original invention, has presented inherent acoustic problems related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes. There is also a lack of tactile consistency moving between key centers. In other words, extra effort is required from the player to adjust modes of muscle memory when moving between key centers. Two efforts to remedy the acoustic problems and awkward aspects of the original fingering system are noteworthy.

The fingering scheme of the <hl> saxophone <hl> , which has had only minor changes since the instrument's original invention, has presented inherent acoustic problems related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes.


Question: What sort of inherent issues does the saxophone have, related to it's closed keys below the first open tonehole?

Answer: acoustic problems

<hl> The fingering scheme of the saxophone, which has had only minor changes since the instrument's original invention, has presented inherent acoustic problems related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes. <hl> There is also a lack of tactile consistency moving between key centers. In other words, extra effort is required from the player to adjust modes of muscle memory when moving between key centers. Two efforts to remedy the acoustic problems and awkward aspects of the original fingering system are noteworthy.

The fingering scheme of the saxophone, which has had only minor changes since the instrument's original invention, has presented inherent <hl> acoustic problems <hl> related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes. There is also a lack of tactile consistency moving between key centers. In other words, extra effort is required from the player to adjust modes of muscle memory when moving between key centers. Two efforts to remedy the acoustic problems and awkward aspects of the original fingering system are noteworthy.


Question: Moving between the key centers indicates a lack of what in the saxophone?

Answer: tactile consistency

The fingering scheme of the saxophone, which has had only minor changes since the instrument's original invention, has presented inherent acoustic problems related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes. <hl> There is also a lack of tactile consistency moving between key centers. <hl> In other words, extra effort is required from the player to adjust modes of muscle memory when moving between key centers. Two efforts to remedy the acoustic problems and awkward aspects of the original fingering system are noteworthy.

The fingering scheme of the saxophone, which has had only minor changes since the instrument's original invention, has presented inherent acoustic problems related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes. There is also a lack of <hl> tactile consistency <hl> moving between key centers. In other words, extra effort is required from the player to adjust modes of muscle memory when moving between key centers. Two efforts to remedy the acoustic problems and awkward aspects of the original fingering system are noteworthy.


Question: How many major efforts have been made to improve the original fingering system of the saxophone?

Answer: Two

The fingering scheme of the saxophone, which has had only minor changes since the instrument's original invention, has presented inherent acoustic problems related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes. There is also a lack of tactile consistency moving between key centers. In other words, extra effort is required from the player to adjust modes of muscle memory when moving between key centers. <hl> Two efforts to remedy the acoustic problems and awkward aspects of the original fingering system are noteworthy. <hl>

The fingering scheme of the saxophone, which has had only minor changes since the instrument's original invention, has presented inherent acoustic problems related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes. There is also a lack of tactile consistency moving between key centers. In other words, extra effort is required from the player to adjust modes of muscle memory when moving between key centers. <hl> Two <hl> efforts to remedy the acoustic problems and awkward aspects of the original fingering system are noteworthy.


Question: Which instrument is usually of thin brass that is flared at the tip

The saxophone consists of an approximately conical tube, usually of thin brass, flared at the tip to form a bell. At intervals along the tube are between 20 and 23 tone holes of varying size and two very small vent holes to assist the playing of the upper register. These holes are covered by keys (also known as pad cups), containing soft leather pads, which are closed to produce an airtight seal. At rest some of the holes stand open and others are closed. The keys are activated by keytouches pressed by the fingers, either directly on the pad cup or connected to it with levers, either directly or with joints called "linkages."  The right thumb sits under a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument. The fingering for the saxophone is a combination of that of the oboe with the Boehm system, and is very similar to the flute or the upper register of the clarinet. Instruments that play to low A have a left thumb key for that note.

Answer: saxophone

<hl> The saxophone consists of an approximately conical tube, usually of thin brass, flared at the tip to form a bell. <hl> At intervals along the tube are between 20 and 23 tone holes of varying size and two very small vent holes to assist the playing of the upper register. These holes are covered by keys (also known as pad cups), containing soft leather pads, which are closed to produce an airtight seal. At rest some of the holes stand open and others are closed. The keys are activated by keytouches pressed by the fingers, either directly on the pad cup or connected to it with levers, either directly or with joints called "linkages." The right thumb sits under a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument. The fingering for the saxophone is a combination of that of the oboe with the Boehm system, and is very similar to the flute or the upper register of the clarinet. Instruments that play to low A have a left thumb key for that note.

The <hl> saxophone <hl> consists of an approximately conical tube, usually of thin brass, flared at the tip to form a bell. At intervals along the tube are between 20 and 23 tone holes of varying size and two very small vent holes to assist the playing of the upper register. These holes are covered by keys (also known as pad cups), containing soft leather pads, which are closed to produce an airtight seal. At rest some of the holes stand open and others are closed. The keys are activated by keytouches pressed by the fingers, either directly on the pad cup or connected to it with levers, either directly or with joints called "linkages." The right thumb sits under a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument. The fingering for the saxophone is a combination of that of the oboe with the Boehm system, and is very similar to the flute or the upper register of the clarinet. Instruments that play to low A have a left thumb key for that note.


Question: When do some holes stand open while others are closed?

Answer: At rest

The saxophone consists of an approximately conical tube, usually of thin brass, flared at the tip to form a bell. At intervals along the tube are between 20 and 23 tone holes of varying size and two very small vent holes to assist the playing of the upper register. These holes are covered by keys (also known as pad cups), containing soft leather pads, which are closed to produce an airtight seal. <hl> At rest some of the holes stand open and others are closed. <hl> The keys are activated by keytouches pressed by the fingers, either directly on the pad cup or connected to it with levers, either directly or with joints called "linkages." The right thumb sits under a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument. The fingering for the saxophone is a combination of that of the oboe with the Boehm system, and is very similar to the flute or the upper register of the clarinet. Instruments that play to low A have a left thumb key for that note.

The saxophone consists of an approximately conical tube, usually of thin brass, flared at the tip to form a bell. At intervals along the tube are between 20 and 23 tone holes of varying size and two very small vent holes to assist the playing of the upper register. These holes are covered by keys (also known as pad cups), containing soft leather pads, which are closed to produce an airtight seal. <hl> At rest <hl> some of the holes stand open and others are closed. The keys are activated by keytouches pressed by the fingers, either directly on the pad cup or connected to it with levers, either directly or with joints called "linkages." The right thumb sits under a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument. The fingering for the saxophone is a combination of that of the oboe with the Boehm system, and is very similar to the flute or the upper register of the clarinet. Instruments that play to low A have a left thumb key for that note.


Question: What are the keys activated by?

Answer: keytouches pressed by the fingers

The saxophone consists of an approximately conical tube, usually of thin brass, flared at the tip to form a bell. At intervals along the tube are between 20 and 23 tone holes of varying size and two very small vent holes to assist the playing of the upper register. These holes are covered by keys (also known as pad cups), containing soft leather pads, which are closed to produce an airtight seal. At rest some of the holes stand open and others are closed. <hl> The keys are activated by keytouches pressed by the fingers , either directly on the pad cup or connected to it with levers, either directly or with joints called "linkages." <hl> The right thumb sits under a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument. The fingering for the saxophone is a combination of that of the oboe with the Boehm system, and is very similar to the flute or the upper register of the clarinet. Instruments that play to low A have a left thumb key for that note.

The saxophone consists of an approximately conical tube, usually of thin brass, flared at the tip to form a bell. At intervals along the tube are between 20 and 23 tone holes of varying size and two very small vent holes to assist the playing of the upper register. These holes are covered by keys (also known as pad cups), containing soft leather pads, which are closed to produce an airtight seal. At rest some of the holes stand open and others are closed. The keys are activated by <hl> keytouches pressed by the fingers <hl>, either directly on the pad cup or connected to it with levers, either directly or with joints called "linkages." The right thumb sits under a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument. The fingering for the saxophone is a combination of that of the oboe with the Boehm system, and is very similar to the flute or the upper register of the clarinet. Instruments that play to low A have a left thumb key for that note.

The keys are activated by <hl> keytouches pressed by the fingers <hl> , either directly on the pad cup or connected to it with levers, either directly or with joints called "linkages."


Question: What are linkages?

Answer: joints

The saxophone consists of an approximately conical tube, usually of thin brass, flared at the tip to form a bell. At intervals along the tube are between 20 and 23 tone holes of varying size and two very small vent holes to assist the playing of the upper register. These holes are covered by keys (also known as pad cups), containing soft leather pads, which are closed to produce an airtight seal. At rest some of the holes stand open and others are closed. <hl> The keys are activated by keytouches pressed by the fingers, either directly on the pad cup or connected to it with levers, either directly or with joints called "linkages." <hl> The right thumb sits under a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument. The fingering for the saxophone is a combination of that of the oboe with the Boehm system, and is very similar to the flute or the upper register of the clarinet. Instruments that play to low A have a left thumb key for that note.

The saxophone consists of an approximately conical tube, usually of thin brass, flared at the tip to form a bell. At intervals along the tube are between 20 and 23 tone holes of varying size and two very small vent holes to assist the playing of the upper register. These holes are covered by keys (also known as pad cups), containing soft leather pads, which are closed to produce an airtight seal. At rest some of the holes stand open and others are closed. The keys are activated by keytouches pressed by the fingers, either directly on the pad cup or connected to it with levers, either directly or with <hl> joints <hl> called "linkages." The right thumb sits under a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument. The fingering for the saxophone is a combination of that of the oboe with the Boehm system, and is very similar to the flute or the upper register of the clarinet. Instruments that play to low A have a left thumb key for that note.


Question: What part of the saxophone, beneath the first open tonehole, causes acoustic issues?

The Leblanc Rationale and System saxophones had key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole.  They also enabled the player to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away (which could also trip up players used to certain alternate fingerings on a regular saxophone).  Some Leblanc System features were built into the Vito Model 35 saxophones of the 1950s and 1960s.  The acceptance of what was arguably a superior system was impaired by the adjustment required of players switching between System and non-System horns, and the added costs associated with the added complexity of certain key mechanisms.

Answer: closed keys

<hl> The Leblanc Rationale and System saxophones had key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. <hl> They also enabled the player to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away (which could also trip up players used to certain alternate fingerings on a regular saxophone). Some Leblanc System features were built into the Vito Model 35 saxophones of the 1950s and 1960s. The acceptance of what was arguably a superior system was impaired by the adjustment required of players switching between System and non-System horns, and the added costs associated with the added complexity of certain key mechanisms.

The Leblanc Rationale and System saxophones had key mechanics designed to remedy the acoustic problems associated with <hl> closed keys <hl> below the first open tonehole. They also enabled the player to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away (which could also trip up players used to certain alternate fingerings on a regular saxophone). Some Leblanc System features were built into the Vito Model 35 saxophones of the 1950s and 1960s. The acceptance of what was arguably a superior system was impaired by the adjustment required of players switching between System and non-System horns, and the added costs associated with the added complexity of certain key mechanisms.


Question: The Vito Model 35 saxophones incorporated which system in the 1950-60s?

Answer: Leblanc System

The Leblanc Rationale and System saxophones had key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. They also enabled the player to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away (which could also trip up players used to certain alternate fingerings on a regular saxophone). <hl> Some Leblanc System features were built into the Vito Model 35 saxophones of the 1950s and 1960s. <hl> The acceptance of what was arguably a superior system was impaired by the adjustment required of players switching between System and non-System horns, and the added costs associated with the added complexity of certain key mechanisms.

The Leblanc Rationale and System saxophones had key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. They also enabled the player to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away (which could also trip up players used to certain alternate fingerings on a regular saxophone). Some <hl> Leblanc System <hl> features were built into the Vito Model 35 saxophones of the 1950s and 1960s. The acceptance of what was arguably a superior system was impaired by the adjustment required of players switching between System and non-System horns, and the added costs associated with the added complexity of certain key mechanisms.


Question: The Leblanc System was hindered in it's mainstream adoption by players due to it's complexity and what?

Answer: costs

The Leblanc Rationale and System saxophones had key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. They also enabled the player to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away (which could also trip up players used to certain alternate fingerings on a regular saxophone). Some Leblanc System features were built into the Vito Model 35 saxophones of the 1950s and 1960s. <hl> The acceptance of what was arguably a superior system was impaired by the adjustment required of players switching between System and non-System horns, and the added costs associated with the added complexity of certain key mechanisms. <hl>

The Leblanc Rationale and System saxophones had key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. They also enabled the player to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away (which could also trip up players used to certain alternate fingerings on a regular saxophone). Some Leblanc System features were built into the Vito Model 35 saxophones of the 1950s and 1960s. The acceptance of what was arguably a superior system was impaired by the adjustment required of players switching between System and non-System horns, and the added <hl> costs <hl> associated with the added complexity of certain key mechanisms.


Question: The Leblanc Rationale and System allowed players to do what with scales?

Answer: make half-step shifts

The Leblanc Rationale and System saxophones had key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. <hl> They also enabled the player to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away (which could also trip up players used to certain alternate fingerings on a regular saxophone). <hl> Some Leblanc System features were built into the Vito Model 35 saxophones of the 1950s and 1960s. The acceptance of what was arguably a superior system was impaired by the adjustment required of players switching between System and non-System horns, and the added costs associated with the added complexity of certain key mechanisms.

The Leblanc Rationale and System saxophones had key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. They also enabled the player to <hl> make half-step shifts <hl> of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away (which could also trip up players used to certain alternate fingerings on a regular saxophone). Some Leblanc System features were built into the Vito Model 35 saxophones of the 1950s and 1960s. The acceptance of what was arguably a superior system was impaired by the adjustment required of players switching between System and non-System horns, and the added costs associated with the added complexity of certain key mechanisms.


Question: Which new system for saxophones was arguably superior but wasn't easily adopted?

Answer: Leblanc System

The Leblanc Rationale and System saxophones had key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. They also enabled the player to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away (which could also trip up players used to certain alternate fingerings on a regular saxophone). <hl> Some Leblanc System features were built into the Vito Model 35 saxophones of the 1950s and 1960s. <hl> The acceptance of what was arguably a superior system was impaired by the adjustment required of players switching between System and non-System horns, and the added costs associated with the added complexity of certain key mechanisms.

The Leblanc Rationale and System saxophones had key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. They also enabled the player to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away (which could also trip up players used to certain alternate fingerings on a regular saxophone). Some <hl> Leblanc System <hl> features were built into the Vito Model 35 saxophones of the 1950s and 1960s. The acceptance of what was arguably a superior system was impaired by the adjustment required of players switching between System and non-System horns, and the added costs associated with the added complexity of certain key mechanisms.


Question: Linear fingering is also known as what?

The chromatic, or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval on the horn regardless of key, and avoiding the acoustic problems associated closed keys below the first open tone hole.  Several working prototypes have been built and presented at trade shows.  Production of this fascinating and expensive saxophone is on an individual order basis according to the designer's website referenced above.

Answer: chromatic

The chromatic ,

<hl> The chromatic , <hl> or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval on the horn regardless of key, and avoiding the acoustic problems associated closed keys below the first open tone hole. Several working prototypes have been built and presented at trade shows. Production of this fascinating and expensive saxophone is on an individual order basis according to the designer's website referenced above.

The <hl> chromatic <hl>, or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval on the horn regardless of key, and avoiding the acoustic problems associated closed keys below the first open tone hole. Several working prototypes have been built and presented at trade shows. Production of this fascinating and expensive saxophone is on an individual order basis according to the designer's website referenced above.


Question: Which instrument designer developed chromatic fingering?

Answer: Jim Schmidt

<hl> The chromatic, or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt , developing a horn maximizing tactile and logical consistency between every interval on the horn regardless of key, and avoiding the acoustic problems associated closed keys below the first open tone hole. <hl> Several working prototypes have been built and presented at trade shows. Production of this fascinating and expensive saxophone is on an individual order basis according to the designer's website referenced above.

The chromatic, or linear fingering, saxophone is a project of instrument designer and builder <hl> Jim Schmidt <hl>, developing a horn maximizing tactile and logical consistency between every interval on the horn regardless of key, and avoiding the acoustic problems associated closed keys below the first open tone hole. Several working prototypes have been built and presented at trade shows. Production of this fascinating and expensive saxophone is on an individual order basis according to the designer's website referenced above.

The chromatic, or linear fingering, saxophone is a project of instrument designer and builder <hl> Jim Schmidt <hl> , developing a horn maximizing tactile and logical consistency between every interval on the horn regardless of key, and avoiding the acoustic problems associated closed keys below the first open tone hole.


Question: How were chromatic saxophones ordered?

Answer: individual order

The chromatic, or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval on the horn regardless of key, and avoiding the acoustic problems associated closed keys below the first open tone hole. Several working prototypes have been built and presented at trade shows. <hl> Production of this fascinating and expensive saxophone is on an individual order basis according to the designer's website referenced above. <hl>

The chromatic, or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval on the horn regardless of key, and avoiding the acoustic problems associated closed keys below the first open tone hole. Several working prototypes have been built and presented at trade shows. Production of this fascinating and expensive saxophone is on an <hl> individual order <hl> basis according to the designer's website referenced above.


Question: Jim Schmidt built several working prototypes of what kind of saxophone?

Answer: chromatic

The chromatic ,

<hl> The chromatic , <hl> or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval on the horn regardless of key, and avoiding the acoustic problems associated closed keys below the first open tone hole. Several working prototypes have been built and presented at trade shows. Production of this fascinating and expensive saxophone is on an individual order basis according to the designer's website referenced above.

The <hl> chromatic <hl>, or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval on the horn regardless of key, and avoiding the acoustic problems associated closed keys below the first open tone hole. Several working prototypes have been built and presented at trade shows. Production of this fascinating and expensive saxophone is on an individual order basis according to the designer's website referenced above.


Question: What caused the main acoustic problems on the original saxophone?

Answer: closed keys

<hl> The chromatic, or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval on the horn regardless of key, and avoiding the acoustic problems associated closed keys below the first open tone hole. <hl> Several working prototypes have been built and presented at trade shows. Production of this fascinating and expensive saxophone is on an individual order basis according to the designer's website referenced above.

The chromatic, or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval on the horn regardless of key, and avoiding the acoustic problems associated <hl> closed keys <hl> below the first open tone hole. Several working prototypes have been built and presented at trade shows. Production of this fascinating and expensive saxophone is on an individual order basis according to the designer's website referenced above.


Question: Over how many octaves on tenor and alto have modern sax players extended to cover?

There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce low A; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh. Low A keys however were not limited to just the baritone saxophone. For a short time Selmer Paris produced mark VI alto saxophones with the low A key. Notes above F are considered part of the altissimo register of any sax, and can be produced using advanced embouchure techniques and fingering combinations. Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to a (written) high B4. Modern saxophone players have extended this range to over 4 octaves on tenor and alto.

Answer: 4

There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce low A; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh. Low A keys however were not limited to just the baritone saxophone. For a short time Selmer Paris produced mark VI alto saxophones with the low A key. Notes above F are considered part of the altissimo register of any sax, and can be produced using advanced embouchure techniques and fingering combinations. <hl> Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to a (written) high B 4 . <hl> Modern saxophone players have extended this range to over 4 octaves on tenor and alto.

There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce low A; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh. Low A keys however were not limited to just the baritone saxophone. For a short time Selmer Paris produced mark VI alto saxophones with the low A key. Notes above F are considered part of the altissimo register of any sax, and can be produced using advanced embouchure techniques and fingering combinations. Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to a (written) high B<hl> 4 <hl>. Modern saxophone players have extended this range to over 4 octaves on tenor and alto.

Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to a (written) high B <hl> 4 <hl> .


Question: Which key can modern baritone saxophones hit?

Answer: low A

<hl> There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce low A ; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh. <hl> Low A keys however were not limited to just the baritone saxophone. For a short time Selmer Paris produced mark VI alto saxophones with the low A key. Notes above F are considered part of the altissimo register of any sax, and can be produced using advanced embouchure techniques and fingering combinations. Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to a (written) high B4. Modern saxophone players have extended this range to over 4 octaves on tenor and alto.

There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce <hl> low A <hl>; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh. Low A keys however were not limited to just the baritone saxophone. For a short time Selmer Paris produced mark VI alto saxophones with the low A key. Notes above F are considered part of the altissimo register of any sax, and can be produced using advanced embouchure techniques and fingering combinations. Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to a (written) high B4. Modern saxophone players have extended this range to over 4 octaves on tenor and alto.

There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce <hl> low A <hl> ; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh.


Question: Blocking the end of the bell on a saxophone allows players to play which note?

Answer: low A

<hl> There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce low A ; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh. <hl> Low A keys however were not limited to just the baritone saxophone. For a short time Selmer Paris produced mark VI alto saxophones with the low A key. Notes above F are considered part of the altissimo register of any sax, and can be produced using advanced embouchure techniques and fingering combinations. Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to a (written) high B4. Modern saxophone players have extended this range to over 4 octaves on tenor and alto.

There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce <hl> low A <hl>; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh. Low A keys however were not limited to just the baritone saxophone. For a short time Selmer Paris produced mark VI alto saxophones with the low A key. Notes above F are considered part of the altissimo register of any sax, and can be produced using advanced embouchure techniques and fingering combinations. Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to a (written) high B4. Modern saxophone players have extended this range to over 4 octaves on tenor and alto.

There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce <hl> low A <hl> ; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh.


Question: Who produced mark VI alto saxophones with the ability to play the low A key?

Answer: Selmer Paris

There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce low A; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh. Low A keys however were not limited to just the baritone saxophone. <hl> For a short time Selmer Paris produced mark VI alto saxophones with the low A key. <hl> Notes above F are considered part of the altissimo register of any sax, and can be produced using advanced embouchure techniques and fingering combinations. Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to a (written) high B4. Modern saxophone players have extended this range to over 4 octaves on tenor and alto.

There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce low A; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh. Low A keys however were not limited to just the baritone saxophone. For a short time <hl> Selmer Paris <hl> produced mark VI alto saxophones with the low A key. Notes above F are considered part of the altissimo register of any sax, and can be produced using advanced embouchure techniques and fingering combinations. Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to a (written) high B4. Modern saxophone players have extended this range to over 4 octaves on tenor and alto.


Question: Notes above which key are considered part of the altissimo register for saxophones?

Answer: F

There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce low A; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh. Low A keys however were not limited to just the baritone saxophone. <hl> F or a short time Selmer Paris produced mark VI alto saxophones with the low A key. <hl> Notes above F are considered part of the altissimo register of any sax, and can be produced using advanced embouchure techniques and fingering combinations. Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to a (written) high B4. Modern saxophone players have extended this range to over 4 octaves on tenor and alto.

There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce low A; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh. Low A keys however were not limited to just the baritone saxophone. <hl> F <hl>or a short time Selmer Paris produced mark VI alto saxophones with the low A key. Notes above F are considered part of the altissimo register of any sax, and can be produced using advanced embouchure techniques and fingering combinations. Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to a (written) high B4. Modern saxophone players have extended this range to over 4 octaves on tenor and alto.

<hl> F <hl> or a short time Selmer Paris produced mark VI alto saxophones with the low A key.


Question: What usually incorporate a "bow"

The simplest design of saxophone is a straight conical tube, and the sopranino and soprano saxophones are usually of this straight design. However, as the lower-pitched instruments would be unacceptably long if straight, for ergonomic reasons, the larger instruments usually incorporate a U-bend ("bow") at, or slightly above, the third-lowest tone hole. As this would cause the bell of the instrument to point almost directly upward, the end of the instrument is either beveled or tilted slightly forward. This U-shape has become a distinctive feature of the saxophone family, to the extent that soprano and even sopranino saxes are sometimes made in the curved style, even though not strictly necessary. By contrast, tenors and even baritones have occasionally been made in the straight style. Most commonly, however, the alto and tenor saxophones incorporate a detachable, curved "neck" above the highest tone hole, directing the mouthpiece to the player's mouth while the instrument is held in a playing stance. The baritone, bass and contrabass saxophones accommodate the length of the bore with extra bows and right angle bends between the main body and the mouthpiece.

Answer: the larger instruments

The simplest design of saxophone is a straight conical tube, and the sopranino and soprano saxophones are usually of this straight design. <hl> However, as the lower-pitched instruments would be unacceptably long if straight, for ergonomic reasons, the larger instruments usually incorporate a U-bend ("bow") at, or slightly above, the third-lowest tone hole. <hl> As this would cause the bell of the instrument to point almost directly upward, the end of the instrument is either beveled or tilted slightly forward. This U-shape has become a distinctive feature of the saxophone family, to the extent that soprano and even sopranino saxes are sometimes made in the curved style, even though not strictly necessary. By contrast, tenors and even baritones have occasionally been made in the straight style. Most commonly, however, the alto and tenor saxophones incorporate a detachable, curved "neck" above the highest tone hole, directing the mouthpiece to the player's mouth while the instrument is held in a playing stance. The baritone, bass and contrabass saxophones accommodate the length of the bore with extra bows and right angle bends between the main body and the mouthpiece.

The simplest design of saxophone is a straight conical tube, and the sopranino and soprano saxophones are usually of this straight design. However, as the lower-pitched instruments would be unacceptably long if straight, for ergonomic reasons, <hl> the larger instruments <hl> usually incorporate a U-bend ("bow") at, or slightly above, the third-lowest tone hole. As this would cause the bell of the instrument to point almost directly upward, the end of the instrument is either beveled or tilted slightly forward. This U-shape has become a distinctive feature of the saxophone family, to the extent that soprano and even sopranino saxes are sometimes made in the curved style, even though not strictly necessary. By contrast, tenors and even baritones have occasionally been made in the straight style. Most commonly, however, the alto and tenor saxophones incorporate a detachable, curved "neck" above the highest tone hole, directing the mouthpiece to the player's mouth while the instrument is held in a playing stance. The baritone, bass and contrabass saxophones accommodate the length of the bore with extra bows and right angle bends between the main body and the mouthpiece.


Question: the U-shape became a distinctive feature to which family?

Answer: the saxophone family

The simplest design of saxophone is a straight conical tube, and the sopranino and soprano saxophones are usually of this straight design. However, as the lower-pitched instruments would be unacceptably long if straight, for ergonomic reasons, the larger instruments usually incorporate a U-bend ("bow") at, or slightly above, the third-lowest tone hole. As this would cause the bell of the instrument to point almost directly upward, the end of the instrument is either beveled or tilted slightly forward. <hl> This U-shape has become a distinctive feature of the saxophone family , to the extent that soprano and even sopranino saxes are sometimes made in the curved style, even though not strictly necessary. <hl> By contrast, tenors and even baritones have occasionally been made in the straight style. Most commonly, however, the alto and tenor saxophones incorporate a detachable, curved "neck" above the highest tone hole, directing the mouthpiece to the player's mouth while the instrument is held in a playing stance. The baritone, bass and contrabass saxophones accommodate the length of the bore with extra bows and right angle bends between the main body and the mouthpiece.

The simplest design of saxophone is a straight conical tube, and the sopranino and soprano saxophones are usually of this straight design. However, as the lower-pitched instruments would be unacceptably long if straight, for ergonomic reasons, the larger instruments usually incorporate a U-bend ("bow") at, or slightly above, the third-lowest tone hole. As this would cause the bell of the instrument to point almost directly upward, the end of the instrument is either beveled or tilted slightly forward. This U-shape has become a distinctive feature of <hl> the saxophone family <hl>, to the extent that soprano and even sopranino saxes are sometimes made in the curved style, even though not strictly necessary. By contrast, tenors and even baritones have occasionally been made in the straight style. Most commonly, however, the alto and tenor saxophones incorporate a detachable, curved "neck" above the highest tone hole, directing the mouthpiece to the player's mouth while the instrument is held in a playing stance. The baritone, bass and contrabass saxophones accommodate the length of the bore with extra bows and right angle bends between the main body and the mouthpiece.

This U-shape has become a distinctive feature of <hl> the saxophone family <hl> , to the extent that soprano and even sopranino saxes are sometimes made in the curved style, even though not strictly necessary.