The tenor saxophone is a medium-sized member of the saxophone family, a group of instruments invented by Adolphe Sax in the 1840s. The tenor and the alto are the two most commonly used saxophones. The tenor is pitched in the key of B♭ (while the alto is pitched in the key of E♭), and written as a transposing instrument in the treble clef, sounding an octave and a major second lower than the written pitch. Modern tenor saxophones which have a high F♯ key have a range from A♭2 to E5 (concert) and are therefore pitched one octave below the soprano saxophone. People who play the tenor saxophone are known as "tenor saxophonists", "tenor sax players", or "saxophonists".
The tenor saxophone uses a larger mouthpiece, reed and ligature than the alto and soprano saxophones. Visually, it is easily distinguished by the curve in its neck, or its crook, near the mouthpiece. The alto saxophone lacks this and its neck goes straight to the mouthpiece. The tenor saxophone is most recognized for its ability to blend well with the soprano, alto, and baritone saxophones, with its "husky" yet "bright" tone.
The tenor sax has been an important solo instrument in jazz music. Famous and influential players include Coleman Hawkins, Lester Young, Ben Webster, Dexter Gordon, Wardell Gray, Stan Getz, Sonny Rollins, John Coltrane and Wayne Shorter. The work of younger players such as Michael Brecker and Chris Potter has been an important influence in more recent jazz.
History[]
The tenor saxophone is a member of a family of like instruments invented around 1840 by the Belgium instrument maker Adolphe Sax. A patent for the saxophone family was awarded to Sax by the French government on 22 June 1846, but the actual invention of the instrument may have been as early as 1838.
Coleman Hawkins is known as the first prominent jazz tenor saxophonist. He had a significant influence on the playing of pretty much every tenor saxophonist who came after him. Together, Coleman Hawkins and Lester Young especially cemented the tenor saxophone’s importance and popularity in jazz by offering two distinct models. Hawkins’s most well-known record, “Body and Soul” (1939), is a perfect representative of his musical style: virtuosic, with a warm timbre (or sound) and quick vibrato (fluctuations in pitch). In his solos, Hawkins develops short melodic phrases with a keen ear toward complex harmonies. “Body and Soul” gestures toward bebop several years before the genre was developed. Lester Young, on the other hand, is often considered a progenitor of the cool jazz genre: he emphasized melodies and phrasing, and his 1930s and 1940s timbre is lighter and more relaxed (though no less intense) than Hawkins’s. “Lady Be Good” (1936) is a good example of Young’s approach. Since then, the tenor saxophone tradition in jazz has only expanded, spanning the gamut from Stan Getz (1927-1991, cool jazz and bossa nova), to Dexter Gordon (1923-1990, bebop and hard bop), to Joshua Redman (b. 1969), Chris Potter (b. 1971), and Melissa Aldana (b. 1988). But there are two others who stand out: Sonny Rollins (b. 1930) and John Coltrane (1926-1967), whose 1956 recording “Tenor Madness” inspired the title for this event.
Grammy award winning and famous musician Van Morrison from Northern Ireland, took tenor saxophone and music reading lessons from jazz musician George Cassidy. They bonded over these times and became friends.
The tenor is used in classical music. It is a standard instrument in concert bands and saxophone quartets. It also has a body of solo repertoire. The tenor is sometimes used as a member of the orchestra in pieces such as Sergei Prokofiev's "Romeo and Juliet" and "Lieutenant Kijé Suite" and Maurice Ravel's "Boléro". Charles Ives employs a tenor in his Fourth Symphony. Vincent d'Indy wrote for a tenor in his opera Fervaal. Lukas Foss includes a tenor in his Symphony No. 2. Béla Bartók used the tenor and other saxes in his ballet The Wooden Prince. Igor Stravinsky has two tenors performing in his Ebony Concerto.
As a result of its prominence in American jazz, the instrument has also featured prominently in other genres. The tenor is common in rhythm and blues music and has a part to play in rock and roll and more recent rock music as well as African American, Latin American, Afro-Caribbean, and African music.
Uses[]
The tenor saxophone first gained popularity in one of its original intended roles: the military band. Soon after its invention, French and Belgian military bands began to take full advantage of the instrument that Sax had designed specifically for them. Modern military bands typically incorporate a quartet of saxophone players playing the E♭ baritone, tenor, E♭ alto and B♭ soprano. British military bands customarily make use only of the tenor and alto saxes, with two or more musicians on each instrument.
The tenor is used in classical music. It is a standard instrument in concert bands and saxophone quartets. It also has a body of solo repertoire. The tenor is sometimes used as a member of the orchestra in pieces such as Sergei Prokofiev's "Romeo and Juliet" and "Lieutenant Kijé Suite" and Maurice Ravel's "Boléro". Charles Ives employs a tenor in his Fourth Symphony. Vincent d'Indy wrote for a tenor in his opera Fervaal. Lukas Foss includes a tenor in his Symphony No. 2. Béla Bartók used the tenor and other saxes in his ballet The Wooden Prince. Igor Stravinsky has two tenors performing in his Ebony Concerto.
Much of the popularity of saxophones in the United States derives from the large number of military bands that were around at the time of the American Civil War. After the war, former military band instruments found their way into the hands of the general public, where they were often used to play gospel music and jazz. The work of the pioneering bandleader Patrick Gilmore (1829–1892) was highly influential; he was one of the first arrangers to pit brass instruments (trumpet, trombone and cornet) against reeds (clarinet and saxophone) in a manner that has now become the norm for big-band arrangements.
The tenor saxophone became best known to the general public through its frequent use in jazz music. It was the pioneering genius of Coleman Hawkins in the 1930s that lifted the tenor saxophone from its traditional role of adding weight to the ensemble and established it as a highly effective melody instrument in its own right. Many innovative jazz musicians from the 1930s onwards have been tenor saxophone players. The strong resonant sound of Hawkins and his followers was in contrast with the lighter approach of Lester Young and his school. During the bebop years, the most prominent tenor sounds in jazz were those of the Four Brothers in the Woody Herman orchestra, including Stan Getz who in the 1960s went on to great popular success playing the Brazilian bossa nova sound on tenor saxophone (not forgetting John Coltrane, Dexter Gordon and Sonny Rollins). In recent years, the tenor continues to be very popular with fans of smooth jazz music, being played by artists such as Kirk Whalum, Richard Elliot, Steve Cole and Jessy J. Saxophonists Ron Holloway and Karl Denson are two of the major proponents of the tenor on the jam band music scene.
Former president Bill Clinton has played the tenor saxophone for much of his life. He received a special-edition saxophone while in office.
As a result of its prominence in American jazz, the instrument has also featured prominently in other genres. The tenor is common in rhythm and blues music and has a part to play in rock and roll and more recent rock music as well as African American, Latin American, Afro-Caribbean, and African music.