Question: Which saxophones use a curved neck above the highest tone hole?

Answer: the alto and tenor

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. <hl> 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. <hl> 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 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, <hl> the alto and tenor <hl> 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: What distinctive shape is sometimes a feature of the soprano and sopranino saxes?

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: U-shape

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 <hl> U-shape <hl> 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: At what angle does the main body and mouthpiece bend?

Answer: right

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. <hl> 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. <hl>

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 <hl> right <hl> angle bends between the main body and the mouthpiece.


Question: All saxophones share the same what to produce a pitch?

Because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, and many do so. Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature. This process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for bassoon, tuba, trombone, or string bass. This can be useful if a band or orchestra lacks one of those instruments.

Answer: key arrangement and fingering

<hl> Because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, and many do so. <hl> Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature. This process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for bassoon, tuba, trombone, or string bass. This can be useful if a band or orchestra lacks one of those instruments.

Because all saxophones use the same <hl> key arrangement and fingering <hl> to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, and many do so. Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature. This process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for bassoon, tuba, trombone, or string bass. This can be useful if a band or orchestra lacks one of those instruments.


Question: What is the baritone and alto pitched in?

Answer: E♭

Because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, and many do so. <hl> Since the baritone and alto are pitched in E♭ , players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature. <hl> This process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for bassoon, tuba, trombone, or string bass. This can be useful if a band or orchestra lacks one of those instruments.

Because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, and many do so. Since the baritone and alto are pitched in <hl> E♭ <hl>, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature. This process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for bassoon, tuba, trombone, or string bass. This can be useful if a band or orchestra lacks one of those instruments.

Since the baritone and alto are pitched in <hl> E♭ <hl> , players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature.


Question: Players can read pitch notated in the bass cleff by reading it as treble cleff and adding how many sharps to the key signature?

Answer: three

Because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, and many do so. <hl> Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature. <hl> This process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for bassoon, tuba, trombone, or string bass. This can be useful if a band or orchestra lacks one of those instruments.

Because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, and many do so. Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding <hl> three <hl> sharps to the key signature. This process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for bassoon, tuba, trombone, or string bass. This can be useful if a band or orchestra lacks one of those instruments.


Question: What is the process that allows Eb instruments to play parts originally written for instruments such as the tuba or trombone?

Answer: clef substitution

Because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, and many do so. Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature. <hl> This process, referred to as clef substitution , makes it possible for the Eb instruments to play from parts written for bassoon, tuba, trombone, or string bass. <hl> This can be useful if a band or orchestra lacks one of those instruments.

Because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, and many do so. Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature. This process, referred to as <hl> clef substitution <hl>, makes it possible for the Eb instruments to play from parts written for bassoon, tuba, trombone, or string bass. This can be useful if a band or orchestra lacks one of those instruments.

This process, referred to as <hl> clef substitution <hl> , makes it possible for the Eb instruments to play from parts written for bassoon, tuba, trombone, or string bass.


Question: What connects the rods to the posts?

Most saxophones, both past and present, are made from brass. Despite this, they are categorized as woodwind instruments rather than brass, as the sound waves are produced by an oscillating wood reed, not the player's lips against a mouthpiece as in a brass instrument, and because different pitches are produced by breath wind passing opening and closing keys. The screw pins that connect the rods to the posts, as well as the needle and leaf springs that cause the keys to return to their rest position after being released, are generally made of blued or stainless steel. Since 1920, most saxophones have 'key touches' (smooth replaceable pieces placed where the fingers touch the instrument) made from either plastic or mother of pearl.  Recently, some saxophones are offered with abalone or stone keytouches.

Answer: screw pins

Most saxophones, both past and present, are made from brass. Despite this, they are categorized as woodwind instruments rather than brass, as the sound waves are produced by an oscillating wood reed, not the player's lips against a mouthpiece as in a brass instrument, and because different pitches are produced by breath wind passing opening and closing keys. <hl> The screw pins that connect the rods to the posts, as well as the needle and leaf springs that cause the keys to return to their rest position after being released, are generally made of blued or stainless steel. <hl> Since 1920, most saxophones have 'key touches' (smooth replaceable pieces placed where the fingers touch the instrument) made from either plastic or mother of pearl. Recently, some saxophones are offered with abalone or stone keytouches.

Most saxophones, both past and present, are made from brass. Despite this, they are categorized as woodwind instruments rather than brass, as the sound waves are produced by an oscillating wood reed, not the player's lips against a mouthpiece as in a brass instrument, and because different pitches are produced by breath wind passing opening and closing keys. The <hl> screw pins <hl> that connect the rods to the posts, as well as the needle and leaf springs that cause the keys to return to their rest position after being released, are generally made of blued or stainless steel. Since 1920, most saxophones have 'key touches' (smooth replaceable pieces placed where the fingers touch the instrument) made from either plastic or mother of pearl. Recently, some saxophones are offered with abalone or stone keytouches.


Question: What are made from plastic or mother of pearl

Answer: 'key touches'

Most saxophones, both past and present, are made from brass. Despite this, they are categorized as woodwind instruments rather than brass, as the sound waves are produced by an oscillating wood reed, not the player's lips against a mouthpiece as in a brass instrument, and because different pitches are produced by breath wind passing opening and closing keys. The screw pins that connect the rods to the posts, as well as the needle and leaf springs that cause the keys to return to their rest position after being released, are generally made of blued or stainless steel. <hl> Since 1920, most saxophones have 'key touches' (smooth replaceable pieces placed where the fingers touch the instrument) made from either plastic or mother of pearl. <hl> Recently, some saxophones are offered with abalone or stone keytouches.

Most saxophones, both past and present, are made from brass. Despite this, they are categorized as woodwind instruments rather than brass, as the sound waves are produced by an oscillating wood reed, not the player's lips against a mouthpiece as in a brass instrument, and because different pitches are produced by breath wind passing opening and closing keys. The screw pins that connect the rods to the posts, as well as the needle and leaf springs that cause the keys to return to their rest position after being released, are generally made of blued or stainless steel. Since 1920, most saxophones have <hl> 'key touches' <hl> (smooth replaceable pieces placed where the fingers touch the instrument) made from either plastic or mother of pearl. Recently, some saxophones are offered with abalone or stone keytouches.


Question: What are some saxophones recently offered with?

Answer: abalone or stone keytouches

Most saxophones, both past and present, are made from brass. Despite this, they are categorized as woodwind instruments rather than brass, as the sound waves are produced by an oscillating wood reed, not the player's lips against a mouthpiece as in a brass instrument, and because different pitches are produced by breath wind passing opening and closing keys. The screw pins that connect the rods to the posts, as well as the needle and leaf springs that cause the keys to return to their rest position after being released, are generally made of blued or stainless steel. Since 1920, most saxophones have 'key touches' (smooth replaceable pieces placed where the fingers touch the instrument) made from either plastic or mother of pearl. <hl> Recently, some saxophones are offered with abalone or stone keytouches . <hl>

Most saxophones, both past and present, are made from brass. Despite this, they are categorized as woodwind instruments rather than brass, as the sound waves are produced by an oscillating wood reed, not the player's lips against a mouthpiece as in a brass instrument, and because different pitches are produced by breath wind passing opening and closing keys. The screw pins that connect the rods to the posts, as well as the needle and leaf springs that cause the keys to return to their rest position after being released, are generally made of blued or stainless steel. Since 1920, most saxophones have 'key touches' (smooth replaceable pieces placed where the fingers touch the instrument) made from either plastic or mother of pearl. Recently, some saxophones are offered with <hl> abalone or stone keytouches <hl>.

Recently, some saxophones are offered with <hl> abalone or stone keytouches <hl> .


Question: Since when do most saxophones have keytouches?

Answer: 1920

Most saxophones, both past and present, are made from brass. Despite this, they are categorized as woodwind instruments rather than brass, as the sound waves are produced by an oscillating wood reed, not the player's lips against a mouthpiece as in a brass instrument, and because different pitches are produced by breath wind passing opening and closing keys. The screw pins that connect the rods to the posts, as well as the needle and leaf springs that cause the keys to return to their rest position after being released, are generally made of blued or stainless steel. <hl> Since 1920 , most saxophones have 'key touches' (smooth replaceable pieces placed where the fingers touch the instrument) made from either plastic or mother of pearl. <hl> Recently, some saxophones are offered with abalone or stone keytouches.

Most saxophones, both past and present, are made from brass. Despite this, they are categorized as woodwind instruments rather than brass, as the sound waves are produced by an oscillating wood reed, not the player's lips against a mouthpiece as in a brass instrument, and because different pitches are produced by breath wind passing opening and closing keys. The screw pins that connect the rods to the posts, as well as the needle and leaf springs that cause the keys to return to their rest position after being released, are generally made of blued or stainless steel. Since <hl> 1920 <hl>, most saxophones have 'key touches' (smooth replaceable pieces placed where the fingers touch the instrument) made from either plastic or mother of pearl. Recently, some saxophones are offered with abalone or stone keytouches.

Since <hl> 1920 <hl> , most saxophones have 'key touches' (smooth replaceable pieces placed where the fingers touch the instrument) made from either plastic or mother of pearl.


Question: What is the recent successor to the alto saxophone?

Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, VibratoSax. There is also the wooden Sawat saxophone created in Thailand on a small scale. Recent years have seen use higher copper alloys substituted for the "yellow brass" or "cartridge brass" that are most common, for visual and tonal effect.  Yanagisawa's 902 and 992 series saxophones are made with phosphor bronze, which is claimed to offer slightly different, more "vintage" tonal qualities from the brass 901 and 991 models of identical design.  Other saxophones made of high copper alloys are sold under the brands Chateau, Kessler, Saxgourmet, and Bauhaus Walstein.  Yanagisawa and other manufacturers, starting with the King Super 20 around 1950, have made saxophone necks, bells, or entire instruments from sterling silver. Keilwerth and P. Mauriat have made saxes with a nickel silver body. Opinions vary on the significance of body materials to sound.  With the exception of the identical brass and phosphor bronze Yanagisawa models, opportunities to isolate body materials from other variables in design and construction are lacking.

Answer: VibratoSax

<hl> Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, VibratoSax . <hl> There is also the wooden Sawat saxophone created in Thailand on a small scale. Recent years have seen use higher copper alloys substituted for the "yellow brass" or "cartridge brass" that are most common, for visual and tonal effect. Yanagisawa's 902 and 992 series saxophones are made with phosphor bronze, which is claimed to offer slightly different, more "vintage" tonal qualities from the brass 901 and 991 models of identical design. Other saxophones made of high copper alloys are sold under the brands Chateau, Kessler, Saxgourmet, and Bauhaus Walstein. Yanagisawa and other manufacturers, starting with the King Super 20 around 1950, have made saxophone necks, bells, or entire instruments from sterling silver. Keilwerth and P. Mauriat have made saxes with a nickel silver body. Opinions vary on the significance of body materials to sound. With the exception of the identical brass and phosphor bronze Yanagisawa models, opportunities to isolate body materials from other variables in design and construction are lacking.

Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, <hl> VibratoSax <hl>. There is also the wooden Sawat saxophone created in Thailand on a small scale. Recent years have seen use higher copper alloys substituted for the "yellow brass" or "cartridge brass" that are most common, for visual and tonal effect. Yanagisawa's 902 and 992 series saxophones are made with phosphor bronze, which is claimed to offer slightly different, more "vintage" tonal qualities from the brass 901 and 991 models of identical design. Other saxophones made of high copper alloys are sold under the brands Chateau, Kessler, Saxgourmet, and Bauhaus Walstein. Yanagisawa and other manufacturers, starting with the King Super 20 around 1950, have made saxophone necks, bells, or entire instruments from sterling silver. Keilwerth and P. Mauriat have made saxes with a nickel silver body. Opinions vary on the significance of body materials to sound. With the exception of the identical brass and phosphor bronze Yanagisawa models, opportunities to isolate body materials from other variables in design and construction are lacking.

Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, <hl> VibratoSax <hl> .


Question: Where was the wooden Sawat saxophone made?

Answer: Thailand

Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, VibratoSax. <hl> There is also the wooden Sawat saxophone created in Thailand on a small scale. <hl> Recent years have seen use higher copper alloys substituted for the "yellow brass" or "cartridge brass" that are most common, for visual and tonal effect. Yanagisawa's 902 and 992 series saxophones are made with phosphor bronze, which is claimed to offer slightly different, more "vintage" tonal qualities from the brass 901 and 991 models of identical design. Other saxophones made of high copper alloys are sold under the brands Chateau, Kessler, Saxgourmet, and Bauhaus Walstein. Yanagisawa and other manufacturers, starting with the King Super 20 around 1950, have made saxophone necks, bells, or entire instruments from sterling silver. Keilwerth and P. Mauriat have made saxes with a nickel silver body. Opinions vary on the significance of body materials to sound. With the exception of the identical brass and phosphor bronze Yanagisawa models, opportunities to isolate body materials from other variables in design and construction are lacking.

Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, VibratoSax. There is also the wooden Sawat saxophone created in <hl> Thailand <hl> on a small scale. Recent years have seen use higher copper alloys substituted for the "yellow brass" or "cartridge brass" that are most common, for visual and tonal effect. Yanagisawa's 902 and 992 series saxophones are made with phosphor bronze, which is claimed to offer slightly different, more "vintage" tonal qualities from the brass 901 and 991 models of identical design. Other saxophones made of high copper alloys are sold under the brands Chateau, Kessler, Saxgourmet, and Bauhaus Walstein. Yanagisawa and other manufacturers, starting with the King Super 20 around 1950, have made saxophone necks, bells, or entire instruments from sterling silver. Keilwerth and P. Mauriat have made saxes with a nickel silver body. Opinions vary on the significance of body materials to sound. With the exception of the identical brass and phosphor bronze Yanagisawa models, opportunities to isolate body materials from other variables in design and construction are lacking.


Question: What is a recent metalic substitute used in the instruments, replacing the yellow brass or cartridge brass?

Answer: higher copper alloys

Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, VibratoSax. There is also the wooden Sawat saxophone created in Thailand on a small scale. <hl> Recent years have seen use higher copper alloys substituted for the "yellow brass" or "cartridge brass" that are most common, for visual and tonal effect. <hl> Yanagisawa's 902 and 992 series saxophones are made with phosphor bronze, which is claimed to offer slightly different, more "vintage" tonal qualities from the brass 901 and 991 models of identical design. Other saxophones made of high copper alloys are sold under the brands Chateau, Kessler, Saxgourmet, and Bauhaus Walstein. Yanagisawa and other manufacturers, starting with the King Super 20 around 1950, have made saxophone necks, bells, or entire instruments from sterling silver. Keilwerth and P. Mauriat have made saxes with a nickel silver body. Opinions vary on the significance of body materials to sound. With the exception of the identical brass and phosphor bronze Yanagisawa models, opportunities to isolate body materials from other variables in design and construction are lacking.

Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, VibratoSax. There is also the wooden Sawat saxophone created in Thailand on a small scale. Recent years have seen use <hl> higher copper alloys <hl> substituted for the "yellow brass" or "cartridge brass" that are most common, for visual and tonal effect. Yanagisawa's 902 and 992 series saxophones are made with phosphor bronze, which is claimed to offer slightly different, more "vintage" tonal qualities from the brass 901 and 991 models of identical design. Other saxophones made of high copper alloys are sold under the brands Chateau, Kessler, Saxgourmet, and Bauhaus Walstein. Yanagisawa and other manufacturers, starting with the King Super 20 around 1950, have made saxophone necks, bells, or entire instruments from sterling silver. Keilwerth and P. Mauriat have made saxes with a nickel silver body. Opinions vary on the significance of body materials to sound. With the exception of the identical brass and phosphor bronze Yanagisawa models, opportunities to isolate body materials from other variables in design and construction are lacking.


Question: What saxophones are made with phosphor bronze?

Answer: Yanagisawa's 902 and 992

Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, VibratoSax. There is also the wooden Sawat saxophone created in Thailand on a small scale. Recent years have seen use higher copper alloys substituted for the "yellow brass" or "cartridge brass" that are most common, for visual and tonal effect. <hl> Yanagisawa's 902 and 992 series saxophones are made with phosphor bronze, which is claimed to offer slightly different, more "vintage" tonal qualities from the brass 901 and 991 models of identical design. <hl> Other saxophones made of high copper alloys are sold under the brands Chateau, Kessler, Saxgourmet, and Bauhaus Walstein. Yanagisawa and other manufacturers, starting with the King Super 20 around 1950, have made saxophone necks, bells, or entire instruments from sterling silver. Keilwerth and P. Mauriat have made saxes with a nickel silver body. Opinions vary on the significance of body materials to sound. With the exception of the identical brass and phosphor bronze Yanagisawa models, opportunities to isolate body materials from other variables in design and construction are lacking.

Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, VibratoSax. There is also the wooden Sawat saxophone created in Thailand on a small scale. Recent years have seen use higher copper alloys substituted for the "yellow brass" or "cartridge brass" that are most common, for visual and tonal effect. <hl> Yanagisawa's 902 and 992 <hl> series saxophones are made with phosphor bronze, which is claimed to offer slightly different, more "vintage" tonal qualities from the brass 901 and 991 models of identical design. Other saxophones made of high copper alloys are sold under the brands Chateau, Kessler, Saxgourmet, and Bauhaus Walstein. Yanagisawa and other manufacturers, starting with the King Super 20 around 1950, have made saxophone necks, bells, or entire instruments from sterling silver. Keilwerth and P. Mauriat have made saxes with a nickel silver body. Opinions vary on the significance of body materials to sound. With the exception of the identical brass and phosphor bronze Yanagisawa models, opportunities to isolate body materials from other variables in design and construction are lacking.


Question: What four brands user higher copper alloys in thier contruction?

Answer: Chateau, Kessler, Saxgourmet, and Bauhaus Walstein

Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, VibratoSax. There is also the wooden Sawat saxophone created in Thailand on a small scale. Recent years have seen use higher copper alloys substituted for the "yellow brass" or "cartridge brass" that are most common, for visual and tonal effect. Yanagisawa's 902 and 992 series saxophones are made with phosphor bronze, which is claimed to offer slightly different, more "vintage" tonal qualities from the brass 901 and 991 models of identical design. <hl> Other saxophones made of high copper alloys are sold under the brands Chateau, Kessler, Saxgourmet, and Bauhaus Walstein . <hl> Yanagisawa and other manufacturers, starting with the King Super 20 around 1950, have made saxophone necks, bells, or entire instruments from sterling silver. Keilwerth and P. Mauriat have made saxes with a nickel silver body. Opinions vary on the significance of body materials to sound. With the exception of the identical brass and phosphor bronze Yanagisawa models, opportunities to isolate body materials from other variables in design and construction are lacking.

Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, VibratoSax. There is also the wooden Sawat saxophone created in Thailand on a small scale. Recent years have seen use higher copper alloys substituted for the "yellow brass" or "cartridge brass" that are most common, for visual and tonal effect. Yanagisawa's 902 and 992 series saxophones are made with phosphor bronze, which is claimed to offer slightly different, more "vintage" tonal qualities from the brass 901 and 991 models of identical design. Other saxophones made of high copper alloys are sold under the brands <hl> Chateau, Kessler, Saxgourmet, and Bauhaus Walstein <hl>. Yanagisawa and other manufacturers, starting with the King Super 20 around 1950, have made saxophone necks, bells, or entire instruments from sterling silver. Keilwerth and P. Mauriat have made saxes with a nickel silver body. Opinions vary on the significance of body materials to sound. With the exception of the identical brass and phosphor bronze Yanagisawa models, opportunities to isolate body materials from other variables in design and construction are lacking.

Other saxophones made of high copper alloys are sold under the brands <hl> Chateau, Kessler, Saxgourmet, and Bauhaus Walstein <hl> .


Question: What gets applied over the bare brass in the final assembly of the saxophone?

Prior to final assembly, the manufacturers usually apply a thin coating of clear or colored acrylic lacquer, or silver plate, over the bare brass. The lacquer or plating serves to protect the brass from oxidation, and maintains its shiny appearance. Several different types and colors of surface finish have been used over the years. It is also possible to plate the instrument with nickel or gold, and a number of gold-plated saxophones have been produced. Plating saxophones with gold is an expensive process because gold does not adhere directly to brass. As a result, the brass is first plated with silver, then gold.

Answer: silver plate

<hl> Prior to final assembly, the manufacturers usually apply a thin coating of clear or colored acrylic lacquer, or silver plate , over the bare brass. <hl> The lacquer or plating serves to protect the brass from oxidation, and maintains its shiny appearance. Several different types and colors of surface finish have been used over the years. It is also possible to plate the instrument with nickel or gold, and a number of gold-plated saxophones have been produced. Plating saxophones with gold is an expensive process because gold does not adhere directly to brass. As a result, the brass is first plated with silver, then gold.

Prior to final assembly, the manufacturers usually apply a thin coating of clear or colored acrylic lacquer, or <hl> silver plate <hl>, over the bare brass. The lacquer or plating serves to protect the brass from oxidation, and maintains its shiny appearance. Several different types and colors of surface finish have been used over the years. It is also possible to plate the instrument with nickel or gold, and a number of gold-plated saxophones have been produced. Plating saxophones with gold is an expensive process because gold does not adhere directly to brass. As a result, the brass is first plated with silver, then gold.

Prior to final assembly, the manufacturers usually apply a thin coating of clear or colored acrylic lacquer, or <hl> silver plate <hl> , over the bare brass.


Question: What chemical process does the plating serve to protection the brass from?

Answer: oxidation

Prior to final assembly, the manufacturers usually apply a thin coating of clear or colored acrylic lacquer, or silver plate, over the bare brass. <hl> The lacquer or plating serves to protect the brass from oxidation , and maintains its shiny appearance. <hl> Several different types and colors of surface finish have been used over the years. It is also possible to plate the instrument with nickel or gold, and a number of gold-plated saxophones have been produced. Plating saxophones with gold is an expensive process because gold does not adhere directly to brass. As a result, the brass is first plated with silver, then gold.

Prior to final assembly, the manufacturers usually apply a thin coating of clear or colored acrylic lacquer, or silver plate, over the bare brass. The lacquer or plating serves to protect the brass from <hl> oxidation <hl>, and maintains its shiny appearance. Several different types and colors of surface finish have been used over the years. It is also possible to plate the instrument with nickel or gold, and a number of gold-plated saxophones have been produced. Plating saxophones with gold is an expensive process because gold does not adhere directly to brass. As a result, the brass is first plated with silver, then gold.

The lacquer or plating serves to protect the brass from <hl> oxidation <hl> , and maintains its shiny appearance.


Question: What are the two other options for plating the brass?

Answer: nickel or gold

Prior to final assembly, the manufacturers usually apply a thin coating of clear or colored acrylic lacquer, or silver plate, over the bare brass. The lacquer or plating serves to protect the brass from oxidation, and maintains its shiny appearance. Several different types and colors of surface finish have been used over the years. <hl> It is also possible to plate the instrument with nickel or gold , and a number of gold-plated saxophones have been produced. <hl> Plating saxophones with gold is an expensive process because gold does not adhere directly to brass. As a result, the brass is first plated with silver, then gold.

Prior to final assembly, the manufacturers usually apply a thin coating of clear or colored acrylic lacquer, or silver plate, over the bare brass. The lacquer or plating serves to protect the brass from oxidation, and maintains its shiny appearance. Several different types and colors of surface finish have been used over the years. It is also possible to plate the instrument with <hl> nickel or gold <hl>, and a number of gold-plated saxophones have been produced. Plating saxophones with gold is an expensive process because gold does not adhere directly to brass. As a result, the brass is first plated with silver, then gold.

It is also possible to plate the instrument with <hl> nickel or gold <hl> , and a number of gold-plated saxophones have been produced.


Question: What is the more expensive plating when it comes to protecting the brass?

Answer: gold

Prior to final assembly, the manufacturers usually apply a thin coating of clear or colored acrylic lacquer, or silver plate, over the bare brass. The lacquer or plating serves to protect the brass from oxidation, and maintains its shiny appearance. Several different types and colors of surface finish have been used over the years. <hl> It is also possible to plate the instrument with nickel or gold , and a number of gold-plated saxophones have been produced. <hl> Plating saxophones with gold is an expensive process because gold does not adhere directly to brass. As a result, the brass is first plated with silver, then gold.

Prior to final assembly, the manufacturers usually apply a thin coating of clear or colored acrylic lacquer, or silver plate, over the bare brass. The lacquer or plating serves to protect the brass from oxidation, and maintains its shiny appearance. Several different types and colors of surface finish have been used over the years. It is also possible to plate the instrument with nickel or <hl> gold <hl>, and a number of gold-plated saxophones have been produced. Plating saxophones with gold is an expensive process because gold does not adhere directly to brass. As a result, the brass is first plated with silver, then gold.

It is also possible to plate the instrument with nickel or <hl> gold <hl> , and a number of gold-plated saxophones have been produced.


Question: What kind of reed is used in the saxophone?

The saxophone uses a single-reed mouthpiece similar to that of the clarinet. Most saxophonists use reeds made from Arundo donax cane, but since the 20th century some have also been made of fiberglass and other composite materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length, although some soprano saxophonists use clarinet reeds on the soprano saxophone. Each size of saxophone (alto, tenor, etc.) uses a different size of reed. Reeds are commercially available in a vast array of brands, styles, and strengths. Players experiment with reeds of different strength (hardnesses) and material to find which strength and cut suits their mouthpiece, embouchure, physiology, and playing style.

Answer: single-reed

<hl> The saxophone uses a single-reed mouthpiece similar to that of the clarinet. <hl> Most saxophonists use reeds made from Arundo donax cane, but since the 20th century some have also been made of fiberglass and other composite materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length, although some soprano saxophonists use clarinet reeds on the soprano saxophone. Each size of saxophone (alto, tenor, etc.) uses a different size of reed. Reeds are commercially available in a vast array of brands, styles, and strengths. Players experiment with reeds of different strength (hardnesses) and material to find which strength and cut suits their mouthpiece, embouchure, physiology, and playing style.

The saxophone uses a <hl> single-reed <hl> mouthpiece similar to that of the clarinet. Most saxophonists use reeds made from Arundo donax cane, but since the 20th century some have also been made of fiberglass and other composite materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length, although some soprano saxophonists use clarinet reeds on the soprano saxophone. Each size of saxophone (alto, tenor, etc.) uses a different size of reed. Reeds are commercially available in a vast array of brands, styles, and strengths. Players experiment with reeds of different strength (hardnesses) and material to find which strength and cut suits their mouthpiece, embouchure, physiology, and playing style.


Question: What other instrument used a single reed mouthpiece?

Answer: clarinet

<hl> The saxophone uses a single-reed mouthpiece similar to that of the clarinet . <hl> Most saxophonists use reeds made from Arundo donax cane, but since the 20th century some have also been made of fiberglass and other composite materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length, although some soprano saxophonists use clarinet reeds on the soprano saxophone. Each size of saxophone (alto, tenor, etc.) uses a different size of reed. Reeds are commercially available in a vast array of brands, styles, and strengths. Players experiment with reeds of different strength (hardnesses) and material to find which strength and cut suits their mouthpiece, embouchure, physiology, and playing style.

The saxophone uses a single-reed mouthpiece similar to that of the <hl> clarinet <hl>. Most saxophonists use reeds made from Arundo donax cane, but since the 20th century some have also been made of fiberglass and other composite materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length, although some soprano saxophonists use clarinet reeds on the soprano saxophone. Each size of saxophone (alto, tenor, etc.) uses a different size of reed. Reeds are commercially available in a vast array of brands, styles, and strengths. Players experiment with reeds of different strength (hardnesses) and material to find which strength and cut suits their mouthpiece, embouchure, physiology, and playing style.

The saxophone uses a single-reed mouthpiece similar to that of the <hl> clarinet <hl> .


Question: Prior to the 20th century, what were most reed's made from?

Answer: Arundo donax cane

The saxophone uses a single-reed mouthpiece similar to that of the clarinet. <hl> Most saxophonists use reeds made from Arundo donax cane , but since the 20th century some have also been made of fiberglass and other composite materials. <hl> Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length, although some soprano saxophonists use clarinet reeds on the soprano saxophone. Each size of saxophone (alto, tenor, etc.) uses a different size of reed. Reeds are commercially available in a vast array of brands, styles, and strengths. Players experiment with reeds of different strength (hardnesses) and material to find which strength and cut suits their mouthpiece, embouchure, physiology, and playing style.

The saxophone uses a single-reed mouthpiece similar to that of the clarinet. Most saxophonists use reeds made from <hl> Arundo donax cane <hl>, but since the 20th century some have also been made of fiberglass and other composite materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length, although some soprano saxophonists use clarinet reeds on the soprano saxophone. Each size of saxophone (alto, tenor, etc.) uses a different size of reed. Reeds are commercially available in a vast array of brands, styles, and strengths. Players experiment with reeds of different strength (hardnesses) and material to find which strength and cut suits their mouthpiece, embouchure, physiology, and playing style.

Most saxophonists use reeds made from <hl> Arundo donax cane <hl> , but since the 20th century some have also been made of fiberglass and other composite materials.


Question: What three variations do you have to consider when you go to buy a reed?

Answer: brands, styles, and strengths

The saxophone uses a single-reed mouthpiece similar to that of the clarinet. Most saxophonists use reeds made from Arundo donax cane, but since the 20th century some have also been made of fiberglass and other composite materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length, although some soprano saxophonists use clarinet reeds on the soprano saxophone. Each size of saxophone (alto, tenor, etc.) uses a different size of reed. <hl> Reeds are commercially available in a vast array of brands, styles, and strengths . <hl> Players experiment with reeds of different strength (hardnesses) and material to find which strength and cut suits their mouthpiece, embouchure, physiology, and playing style.

The saxophone uses a single-reed mouthpiece similar to that of the clarinet. Most saxophonists use reeds made from Arundo donax cane, but since the 20th century some have also been made of fiberglass and other composite materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length, although some soprano saxophonists use clarinet reeds on the soprano saxophone. Each size of saxophone (alto, tenor, etc.) uses a different size of reed. Reeds are commercially available in a vast array of <hl> brands, styles, and strengths <hl>. Players experiment with reeds of different strength (hardnesses) and material to find which strength and cut suits their mouthpiece, embouchure, physiology, and playing style.

Reeds are commercially available in a vast array of <hl> brands, styles, and strengths <hl> .


Question: What are the five less common materials used in reeds?

Mouthpieces come in a wide variety of materials, including vulcanized rubber (sometimes called hard rubber or ebonite), plastic, and metals such as bronze or surgical steel. Less common materials that have been used include wood, glass, crystal, porcelain, and even bone. According to Larry Teal, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour. There are examples of "dark" sounding metal pieces and "bright" sounding hard rubber pieces.  Some contend that instability at the mouthpiece/neck connection moves harmonic frequencies off series with the fundamental frequency and each other, resulting in a "spread" sound, and that the weight of a metal mouthpiece counteracts that instability, increasing tonal "focus."  Mouthpiece design has a profound impact on tone.

Answer: wood, glass, crystal, porcelain, and even bone

Mouthpieces come in a wide variety of materials, including vulcanized rubber (sometimes called hard rubber or ebonite), plastic, and metals such as bronze or surgical steel. <hl> Less common materials that have been used include wood, glass, crystal, porcelain, and even bone . <hl> According to Larry Teal, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour. There are examples of "dark" sounding metal pieces and "bright" sounding hard rubber pieces. Some contend that instability at the mouthpiece/neck connection moves harmonic frequencies off series with the fundamental frequency and each other, resulting in a "spread" sound, and that the weight of a metal mouthpiece counteracts that instability, increasing tonal "focus." Mouthpiece design has a profound impact on tone.

Mouthpieces come in a wide variety of materials, including vulcanized rubber (sometimes called hard rubber or ebonite), plastic, and metals such as bronze or surgical steel. Less common materials that have been used include <hl> wood, glass, crystal, porcelain, and even bone <hl>. According to Larry Teal, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour. There are examples of "dark" sounding metal pieces and "bright" sounding hard rubber pieces. Some contend that instability at the mouthpiece/neck connection moves harmonic frequencies off series with the fundamental frequency and each other, resulting in a "spread" sound, and that the weight of a metal mouthpiece counteracts that instability, increasing tonal "focus." Mouthpiece design has a profound impact on tone.

Less common materials that have been used include <hl> wood, glass, crystal, porcelain, and even bone <hl> .


Question: Who stated that the material of the reed has little effect on sound?

Answer: Larry Teal

Mouthpieces come in a wide variety of materials, including vulcanized rubber (sometimes called hard rubber or ebonite), plastic, and metals such as bronze or surgical steel. Less common materials that have been used include wood, glass, crystal, porcelain, and even bone. <hl> According to Larry Teal , the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour. <hl> There are examples of "dark" sounding metal pieces and "bright" sounding hard rubber pieces. Some contend that instability at the mouthpiece/neck connection moves harmonic frequencies off series with the fundamental frequency and each other, resulting in a "spread" sound, and that the weight of a metal mouthpiece counteracts that instability, increasing tonal "focus." Mouthpiece design has a profound impact on tone.

Mouthpieces come in a wide variety of materials, including vulcanized rubber (sometimes called hard rubber or ebonite), plastic, and metals such as bronze or surgical steel. Less common materials that have been used include wood, glass, crystal, porcelain, and even bone. According to <hl> Larry Teal <hl>, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour. There are examples of "dark" sounding metal pieces and "bright" sounding hard rubber pieces. Some contend that instability at the mouthpiece/neck connection moves harmonic frequencies off series with the fundamental frequency and each other, resulting in a "spread" sound, and that the weight of a metal mouthpiece counteracts that instability, increasing tonal "focus." Mouthpiece design has a profound impact on tone.

According to <hl> Larry Teal <hl> , the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour.


Question: What is stated to have a profound impact on tone?

Answer: Mouthpiece design

Mouthpieces come in a wide variety of materials, including vulcanized rubber (sometimes called hard rubber or ebonite), plastic, and metals such as bronze or surgical steel. Less common materials that have been used include wood, glass, crystal, porcelain, and even bone. According to Larry Teal, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour. There are examples of "dark" sounding metal pieces and "bright" sounding hard rubber pieces. Some contend that instability at the mouthpiece/neck connection moves harmonic frequencies off series with the fundamental frequency and each other, resulting in a "spread" sound, and that the weight of a metal mouthpiece counteracts that instability, increasing tonal "focus." <hl> Mouthpiece design has a profound impact on tone. <hl>

Mouthpieces come in a wide variety of materials, including vulcanized rubber (sometimes called hard rubber or ebonite), plastic, and metals such as bronze or surgical steel. Less common materials that have been used include wood, glass, crystal, porcelain, and even bone. According to Larry Teal, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour. There are examples of "dark" sounding metal pieces and "bright" sounding hard rubber pieces. Some contend that instability at the mouthpiece/neck connection moves harmonic frequencies off series with the fundamental frequency and each other, resulting in a "spread" sound, and that the weight of a metal mouthpiece counteracts that instability, increasing tonal "focus." <hl> Mouthpiece design <hl> has a profound impact on tone.


Question: What comes in a wide variety of materials?

Answer: Mouthpieces

<hl> Mouthpieces come in a wide variety of materials, including vulcanized rubber (sometimes called hard rubber or ebonite), plastic, and metals such as bronze or surgical steel. <hl> Less common materials that have been used include wood, glass, crystal, porcelain, and even bone. According to Larry Teal, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour. There are examples of "dark" sounding metal pieces and "bright" sounding hard rubber pieces. Some contend that instability at the mouthpiece/neck connection moves harmonic frequencies off series with the fundamental frequency and each other, resulting in a "spread" sound, and that the weight of a metal mouthpiece counteracts that instability, increasing tonal "focus." Mouthpiece design has a profound impact on tone.

<hl> Mouthpieces <hl> come in a wide variety of materials, including vulcanized rubber (sometimes called hard rubber or ebonite), plastic, and metals such as bronze or surgical steel. Less common materials that have been used include wood, glass, crystal, porcelain, and even bone. According to Larry Teal, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour. There are examples of "dark" sounding metal pieces and "bright" sounding hard rubber pieces. Some contend that instability at the mouthpiece/neck connection moves harmonic frequencies off series with the fundamental frequency and each other, resulting in a "spread" sound, and that the weight of a metal mouthpiece counteracts that instability, increasing tonal "focus." Mouthpiece design has a profound impact on tone.


Question: What style of music were early mouthpieces designed for?

Early mouthpieces were designed to produce a warm and round sound for classical playing. Among classical mouthpieces, those with a concave ("excavated") chamber are more true to Adolphe Sax's original design; these provide a softer or less piercing tone favored by some saxophonists, including students of Sigurd Raschèr, for classical playing. Saxophonists who follow the French school of classical saxophone playing, influenced by Marcel Mule, generally use mouthpieces with smaller chambers than Rascher style mouthpieces. The use of the saxophone in dance orchestras and jazz ensembles put a premium on dynamic range, projection, and tonal richness, leading to rapid innovation in chamber shape and tip design, and metal construction.  At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments and typical of modern pop and smooth jazz. Most saxophonists who play different styles have a mouthpiece suited for each style.

Answer: classical

<hl> Early mouthpieces were designed to produce a warm and round sound for classical playing. <hl> Among classical mouthpieces, those with a concave ("excavated") chamber are more true to Adolphe Sax's original design; these provide a softer or less piercing tone favored by some saxophonists, including students of Sigurd Raschèr, for classical playing. Saxophonists who follow the French school of classical saxophone playing, influenced by Marcel Mule, generally use mouthpieces with smaller chambers than Rascher style mouthpieces. The use of the saxophone in dance orchestras and jazz ensembles put a premium on dynamic range, projection, and tonal richness, leading to rapid innovation in chamber shape and tip design, and metal construction. At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments and typical of modern pop and smooth jazz. Most saxophonists who play different styles have a mouthpiece suited for each style.

Early mouthpieces were designed to produce a warm and round sound for <hl> classical <hl> playing. Among classical mouthpieces, those with a concave ("excavated") chamber are more true to Adolphe Sax's original design; these provide a softer or less piercing tone favored by some saxophonists, including students of Sigurd Raschèr, for classical playing. Saxophonists who follow the French school of classical saxophone playing, influenced by Marcel Mule, generally use mouthpieces with smaller chambers than Rascher style mouthpieces. The use of the saxophone in dance orchestras and jazz ensembles put a premium on dynamic range, projection, and tonal richness, leading to rapid innovation in chamber shape and tip design, and metal construction. At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments and typical of modern pop and smooth jazz. Most saxophonists who play different styles have a mouthpiece suited for each style.


Question: What style mouthpiece produces a bright sound with maximum projection?

Answer: high baffle

Early mouthpieces were designed to produce a warm and round sound for classical playing. Among classical mouthpieces, those with a concave ("excavated") chamber are more true to Adolphe Sax's original design; these provide a softer or less piercing tone favored by some saxophonists, including students of Sigurd Raschèr, for classical playing. Saxophonists who follow the French school of classical saxophone playing, influenced by Marcel Mule, generally use mouthpieces with smaller chambers than Rascher style mouthpieces. The use of the saxophone in dance orchestras and jazz ensembles put a premium on dynamic range, projection, and tonal richness, leading to rapid innovation in chamber shape and tip design, and metal construction. <hl> At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle . <hl> These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments and typical of modern pop and smooth jazz. Most saxophonists who play different styles have a mouthpiece suited for each style.

Early mouthpieces were designed to produce a warm and round sound for classical playing. Among classical mouthpieces, those with a concave ("excavated") chamber are more true to Adolphe Sax's original design; these provide a softer or less piercing tone favored by some saxophonists, including students of Sigurd Raschèr, for classical playing. Saxophonists who follow the French school of classical saxophone playing, influenced by Marcel Mule, generally use mouthpieces with smaller chambers than Rascher style mouthpieces. The use of the saxophone in dance orchestras and jazz ensembles put a premium on dynamic range, projection, and tonal richness, leading to rapid innovation in chamber shape and tip design, and metal construction. At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called <hl> high baffle <hl>. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments and typical of modern pop and smooth jazz. Most saxophonists who play different styles have a mouthpiece suited for each style.

At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called <hl> high baffle <hl> .


Question: The use of sax and dance orchestra's lead to the innovation of which three design styles?

Answer: chamber shape and tip design, and metal construction

Early mouthpieces were designed to produce a warm and round sound for classical playing. Among classical mouthpieces, those with a concave ("excavated") chamber are more true to Adolphe Sax's original design; these provide a softer or less piercing tone favored by some saxophonists, including students of Sigurd Raschèr, for classical playing. Saxophonists who follow the French school of classical saxophone playing, influenced by Marcel Mule, generally use mouthpieces with smaller chambers than Rascher style mouthpieces. <hl> The use of the saxophone in dance orchestras and jazz ensembles put a premium on dynamic range, projection, and tonal richness, leading to rapid innovation in chamber shape and tip design, and metal construction . <hl> At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments and typical of modern pop and smooth jazz. Most saxophonists who play different styles have a mouthpiece suited for each style.

Early mouthpieces were designed to produce a warm and round sound for classical playing. Among classical mouthpieces, those with a concave ("excavated") chamber are more true to Adolphe Sax's original design; these provide a softer or less piercing tone favored by some saxophonists, including students of Sigurd Raschèr, for classical playing. Saxophonists who follow the French school of classical saxophone playing, influenced by Marcel Mule, generally use mouthpieces with smaller chambers than Rascher style mouthpieces. The use of the saxophone in dance orchestras and jazz ensembles put a premium on dynamic range, projection, and tonal richness, leading to rapid innovation in <hl> chamber shape and tip design, and metal construction <hl>. At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments and typical of modern pop and smooth jazz. Most saxophonists who play different styles have a mouthpiece suited for each style.

The use of the saxophone in dance orchestras and jazz ensembles put a premium on dynamic range, projection, and tonal richness, leading to rapid innovation in <hl> chamber shape and tip design, and metal construction <hl> .


Question: Saxophonist who follow the French school of classical playing were influenced by who?

Answer: Marcel Mule

Early mouthpieces were designed to produce a warm and round sound for classical playing. Among classical mouthpieces, those with a concave ("excavated") chamber are more true to Adolphe Sax's original design; these provide a softer or less piercing tone favored by some saxophonists, including students of Sigurd Raschèr, for classical playing. <hl> Saxophonists who follow the French school of classical saxophone playing, influenced by Marcel Mule , generally use mouthpieces with smaller chambers than Rascher style mouthpieces. <hl> The use of the saxophone in dance orchestras and jazz ensembles put a premium on dynamic range, projection, and tonal richness, leading to rapid innovation in chamber shape and tip design, and metal construction. At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments and typical of modern pop and smooth jazz. Most saxophonists who play different styles have a mouthpiece suited for each style.

Early mouthpieces were designed to produce a warm and round sound for classical playing. Among classical mouthpieces, those with a concave ("excavated") chamber are more true to Adolphe Sax's original design; these provide a softer or less piercing tone favored by some saxophonists, including students of Sigurd Raschèr, for classical playing. Saxophonists who follow the French school of classical saxophone playing, influenced by <hl> Marcel Mule <hl>, generally use mouthpieces with smaller chambers than Rascher style mouthpieces. The use of the saxophone in dance orchestras and jazz ensembles put a premium on dynamic range, projection, and tonal richness, leading to rapid innovation in chamber shape and tip design, and metal construction. At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments and typical of modern pop and smooth jazz. Most saxophonists who play different styles have a mouthpiece suited for each style.

Saxophonists who follow the French school of classical saxophone playing, influenced by <hl> Marcel Mule <hl> , generally use mouthpieces with smaller chambers than Rascher style mouthpieces.


Question: What style mouthpiece did Adolphe's sax have?

Answer: concave

Early mouthpieces were designed to produce a warm and round sound for classical playing. <hl> Among classical mouthpieces, those with a concave ("excavated") chamber are more true to Adolphe Sax's original design; these provide a softer or less piercing tone favored by some saxophonists, including students of Sigurd Raschèr, for classical playing. <hl> Saxophonists who follow the French school of classical saxophone playing, influenced by Marcel Mule, generally use mouthpieces with smaller chambers than Rascher style mouthpieces. The use of the saxophone in dance orchestras and jazz ensembles put a premium on dynamic range, projection, and tonal richness, leading to rapid innovation in chamber shape and tip design, and metal construction. At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments and typical of modern pop and smooth jazz. Most saxophonists who play different styles have a mouthpiece suited for each style.

Early mouthpieces were designed to produce a warm and round sound for classical playing. Among classical mouthpieces, those with a <hl> concave <hl> ("excavated") chamber are more true to Adolphe Sax's original design; these provide a softer or less piercing tone favored by some saxophonists, including students of Sigurd Raschèr, for classical playing. Saxophonists who follow the French school of classical saxophone playing, influenced by Marcel Mule, generally use mouthpieces with smaller chambers than Rascher style mouthpieces. The use of the saxophone in dance orchestras and jazz ensembles put a premium on dynamic range, projection, and tonal richness, leading to rapid innovation in chamber shape and tip design, and metal construction. At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments and typical of modern pop and smooth jazz. Most saxophonists who play different styles have a mouthpiece suited for each style.


Question: What is the definition of postmodern music?

Postmodern music is either music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism. As the name suggests, the postmodernist movement formed partly in reaction to the ideals of the modernist. Because of this, postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodern, but not both. Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude.

Answer: music that follows aesthetic and philosophical trends of postmodernism

<hl> Postmodern music is either music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism . <hl> As the name suggests, the postmodernist movement formed partly in reaction to the ideals of the modernist. Because of this, postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodern, but not both. Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude.

Postmodern music is either music of the postmodern era, or <hl> music that follows aesthetic and philosophical trends of postmodernism <hl>. As the name suggests, the postmodernist movement formed partly in reaction to the ideals of the modernist. Because of this, postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodern, but not both. Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude.

Postmodern music is either music of the postmodern era, or <hl> music that follows aesthetic and philosophical trends of postmodernism <hl> .


Question: Who describes postmodern music as an attitude?

Answer: Jonathan Kramer

Postmodern music is either music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism. As the name suggests, the postmodernist movement formed partly in reaction to the ideals of the modernist. Because of this, postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodern, but not both. <hl> Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude. <hl>

Postmodern music is either music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism. As the name suggests, the postmodernist movement formed partly in reaction to the ideals of the modernist. Because of this, postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodern, but not both. <hl> Jonathan Kramer <hl> posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude.


Question: Who are two predecessors to Jonathan Kramer that have similar ideology?

Answer: Umberto Eco and Jean-François Lyotard

Postmodern music is either music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism. As the name suggests, the postmodernist movement formed partly in reaction to the ideals of the modernist. Because of this, postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodern, but not both. <hl> Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard ) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude. <hl>

Postmodern music is either music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism. As the name suggests, the postmodernist movement formed partly in reaction to the ideals of the modernist. Because of this, postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodern, but not both. Jonathan Kramer posits the idea (following <hl> Umberto Eco and Jean-François Lyotard <hl>) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude.

Jonathan Kramer posits the idea (following <hl> Umberto Eco and Jean-François Lyotard <hl> ) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude.


Question: What formed as a reaction to the ideals of a modernist?

Answer: the postmodernist movement

Postmodern music is either music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism. <hl> As the name suggests, the postmodernist movement formed partly in reaction to the ideals of the modernist. <hl> Because of this, postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodern, but not both. Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude.

Postmodern music is either music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism. As the name suggests, <hl> the postmodernist movement <hl> formed partly in reaction to the ideals of the modernist. Because of this, postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodern, but not both. Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude.


Question: Can a musical piece be both modernist and postmodern?

Answer: a work can either be modernist, or postmodern, but not both

Postmodern music is either music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism. As the name suggests, the postmodernist movement formed partly in reaction to the ideals of the modernist. <hl> Because of this, postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodern, but not both . <hl> Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude.

Postmodern music is either music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism. As the name suggests, the postmodernist movement formed partly in reaction to the ideals of the modernist. Because of this, postmodern music is mostly defined in opposition to modernist music, and <hl> a work can either be modernist, or postmodern, but not both <hl>. Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude.

Because of this, postmodern music is mostly defined in opposition to modernist music, and <hl> a work can either be modernist, or postmodern, but not both <hl> .


Question: What type of music do postmodern composers create?

The postmodern impulse in classical music arose in the 1960s with the advent of musical minimalism. Composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies, whilst others, most notably John Cage challenged the prevailing narratives of beauty and objectivity common to Modernism. Some composers have been openly influenced by popular music and world ethnic musical traditions.

Answer: music with simple textures and relatively consonant harmonies

The postmodern impulse in classical music arose in the 1960s with the advent of musical minimalism. <hl> Composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies , whilst others, most notably John Cage challenged the prevailing narratives of beauty and objectivity common to Modernism. <hl> Some composers have been openly influenced by popular music and world ethnic musical traditions.

The postmodern impulse in classical music arose in the 1960s with the advent of musical minimalism. Composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing <hl> music with simple textures and relatively consonant harmonies <hl>, whilst others, most notably John Cage challenged the prevailing narratives of beauty and objectivity common to Modernism. Some composers have been openly influenced by popular music and world ethnic musical traditions.

Composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing <hl> music with simple textures and relatively consonant harmonies <hl> , whilst others, most notably John Cage challenged the prevailing narratives of beauty and objectivity common to Modernism.


Question: What is and example of genre in postmodern music?

Answer: classical

<hl> The postmodern impulse in classical music arose in the 1960s with the advent of musical minimalism. <hl> Composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies, whilst others, most notably John Cage challenged the prevailing narratives of beauty and objectivity common to Modernism. Some composers have been openly influenced by popular music and world ethnic musical traditions.

The postmodern impulse in <hl> classical <hl> music arose in the 1960s with the advent of musical minimalism. Composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies, whilst others, most notably John Cage challenged the prevailing narratives of beauty and objectivity common to Modernism. Some composers have been openly influenced by popular music and world ethnic musical traditions.


Question: What composer is know for challenging the music common to Modernism?

Answer: John Cage

The postmodern impulse in classical music arose in the 1960s with the advent of musical minimalism. <hl> Composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies, whilst others, most notably John Cage challenged the prevailing narratives of beauty and objectivity common to Modernism. <hl> Some composers have been openly influenced by popular music and world ethnic musical traditions.

The postmodern impulse in classical music arose in the 1960s with the advent of musical minimalism. Composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies, whilst others, most notably <hl> John Cage <hl> challenged the prevailing narratives of beauty and objectivity common to Modernism. Some composers have been openly influenced by popular music and world ethnic musical traditions.


Question: What two things have some postmodern composers been influenced by?

Answer: popular music and world ethnic musical traditions

The postmodern impulse in classical music arose in the 1960s with the advent of musical minimalism. Composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies, whilst others, most notably John Cage challenged the prevailing narratives of beauty and objectivity common to Modernism. <hl> Some composers have been openly influenced by popular music and world ethnic musical traditions . <hl>

The postmodern impulse in classical music arose in the 1960s with the advent of musical minimalism. Composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies, whilst others, most notably John Cage challenged the prevailing narratives of beauty and objectivity common to Modernism. Some composers have been openly influenced by <hl> popular music and world ethnic musical traditions <hl>.

Some composers have been openly influenced by <hl> popular music and world ethnic musical traditions <hl> .


Question: When did postmodern music come about?

Answer: in the 1960s

<hl> The postmodern impulse in classical music arose in the 1960s with the advent of musical minimalism. <hl> Composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies, whilst others, most notably John Cage challenged the prevailing narratives of beauty and objectivity common to Modernism. Some composers have been openly influenced by popular music and world ethnic musical traditions.

The postmodern impulse in classical music arose <hl> in the 1960s <hl> with the advent of musical minimalism. Composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies, whilst others, most notably John Cage challenged the prevailing narratives of beauty and objectivity common to Modernism. Some composers have been openly influenced by popular music and world ethnic musical traditions.


Question: What are two features of postmodern influence in music scores?

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic[citation needed], not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. Eclecticism and freedom of expression, in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition.

Answer: Eclecticism and freedom of expression

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic[citation needed], not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. <hl> Eclecticism and freedom of expression , in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition. <hl>

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic[citation needed], not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. <hl> Eclecticism and freedom of expression <hl>, in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition.

<hl> Eclecticism and freedom of expression <hl> , in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition.


Question: What two adjectives describe modernistic music?

Answer: rigidity and aesthetic limitations

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic[citation needed], not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. <hl> Eclecticism and freedom of expression, in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition. <hl>

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic[citation needed], not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. Eclecticism and freedom of expression, in reaction to the <hl> rigidity and aesthetic limitations <hl> of modernism, are the hallmarks of the postmodern influence in musical composition.


Question: Who is a Dutch composer of postmodern music?

Answer: Louis Andriessen

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic[citation needed], not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. <hl> The works of Dutch composer Louis Andriessen , for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. <hl> Eclecticism and freedom of expression, in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition.

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic[citation needed], not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer <hl> Louis Andriessen <hl>, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. Eclecticism and freedom of expression, in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition.

The works of Dutch composer <hl> Louis Andriessen <hl> , for example, exhibit experimentalist preoccupation that is decidedly anti-romantic.


Question: How can the music of Louis Anderson be described?

Answer: anti-romantic

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic[citation needed], not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. <hl> The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic . <hl> Eclecticism and freedom of expression, in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition.

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic[citation needed], not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly <hl> anti-romantic <hl>. Eclecticism and freedom of expression, in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition.

The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly <hl> anti-romantic <hl> .


Question: What are two features of postmodern influence in music scores?

Answer: Eclecticism and freedom of expression

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic[citation needed], not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. <hl> Eclecticism and freedom of expression , in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition. <hl>

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic[citation needed], not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. <hl> Eclecticism and freedom of expression <hl>, in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition.

<hl> Eclecticism and freedom of expression <hl> , in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition.


Question: What two adjectives describe modernistic music?

Answer: rigidity and aesthetic limitations

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic[citation needed], not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. <hl> Eclecticism and freedom of expression, in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition. <hl>

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic[citation needed], not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. Eclecticism and freedom of expression, in reaction to the <hl> rigidity and aesthetic limitations <hl> of modernism, are the hallmarks of the postmodern influence in musical composition.