Patent Grant
8129605
This Application claims benefit of PROVISIONAL PATENT: No. 61/277,671 filing date Sep. 28, 2009
Not Applicable
Not Applicable
In the history of the development of the saxophone, there have been many improvements to the key mechanisms for the purpose of allowing the player to more easily perform difficult technical passages in the musical literature. One of the most significant improvements related to the fingering of the two highest notes in the conventional range of the saxophone was the addition of the key by Paul Evette in 1899, U.S. Pat. No. 638,385. Commonly known today as the Front F Key or Auxiliary high F key. Prior to that improvement, the only means of playing the saxophones third octave E (also E3 or altissimo E) was to press open the two lowest left palm keys while pressing the octave key, and adding the topside key touch piece with the right hand. The only way to play the third octave high F was to press open all three of the left hand palm keys while pressing the octave key, and adding the top side key touch with the right hand. By using Evettes Front F Key the note high F could be produced by simply adding the Front F Key to the regular fingering for high C, which consists of the second finger and thumb of the left hand. The note high E could be produced by adding the third finger of the left hand to the aforementioned fingering. This adaptation proved to be especially useful in arpeggios when going between high C and high F, or high C and high E.
The saxophone, as first designed by Adolphe Sax and patented in 1846, had a conventional playing range extending from written B to F3. In 1881, additional key work was added which allowed the instrument to play down to a written Bb, which has since come to define the conventional range of the instrument from Bb to F3, comprising just over two and one half octaves. While notes going above this conventional two and one half octave range were experimented with by several players, including Adolphe Sax himself in the late 1800s, the study and use of what has come to be called the altissimo register, did not begin in earnest until the early 1900s. Records exist of several American saxophonists from that era who ventured beyond the conventional high F3 into the altissimo register. The most notable of these was the saxophone virtuoso Sigurd Rascher, who in 1928 began performing extensively in the altissimo range, and actively sought to educate others and to pass down this acquired skill. As a result of his pioneering efforts, playing into the altissimo range on all sizes of saxophones has since evolved into a common performance practice in all styles of music, and has become a required skill for all serious students of the saxophone.
In general, special cross-fingerings and oral cavity manipulations are used to play the notes of the altissimo register of the saxophone. Paradoxically, the notes G3 and G#3, that are very close to the conventional range of the saxophone, are among the most difficult notes to produce for players attempting to learn the skill. The most common fingerings used to play these difficult notes involve the use of the Front F Key. Eugene Rousseau, Professor Emeritus of Music at Indiana University, has established himself as one of the worlds leading saxophone performers and teachers. Professor Rousseau over a period of many years, has instructed his students in methods to adjust the Front F Key to open the Palm F Key pad a distance much less than its normal opening, in order to facilitate playing these difficult notes in the altissimo range. Rousseaus explanation for why this works is given in his book Saxophone High Tones MMB 1978. As described, when the key opening is lowered to approximately 0.25 mm, the Palm F Key pad takes on the function of a vent similar to the two octave vent tubes that exist on all saxophones, this allows the player to perform notes G3, G#3 more easily. This technique has been highly successful, and has become a part of the methodology of teaching students to play in the altissimo range in many secondary schools and universities. The only shortcoming to the approach espoused by Rousseau is that by mechanically modifying the Front F Key to the small opening of the Palm F Keypad, it causes the notes in the conventional range that require the use of this key to suffer. As a result of the small opening of the Palm F Key pad, the F3 note in the conventional range produced with this fingering, lacks a clear and full tone, and the E3 that uses this fingering is muffled to such a degree that the note becomes musically unusable. In other words, the saxophonist is forced to choose the traditional Front F Key or the modified Front F Key, but not both.
On the Alto Saxophone, an experienced performer with lessons and many hours of practice can play altissimo G note. The preferred embodiment will greatly improve and ease the transition between the saxophone regular range and the altissimo range. It will also aid in clearer articulation of the Altissimo G note with much less effort, better intonation, and provides alternate fingerings for trills.
On the Tenor Saxophone experienced performers find it is much more difficult to play the Altissimo G note. Professional players can force an Altissimo G that is harsh, often weak and off pitch. Some Tenor Saxophone players omit Altissimo G note from their music or avoid music that has altissimo G notes. The preferred embodiment will greatly improve and ease the transition between the saxophone regular range and the altissimo range. It will also aid in clearer articulation of Altissimo G note, with much less effort, better intonation, and provides alternate fingerings for trills.
It is the object of the Preferred Embodiment to give the performer the advantage of using the Palm F Key pad with a small opening, to act as a vent in order to better play the more difficult altissimo G note. In addition pressing the same key mechanism in a different location on its surface affects a full opening (approximately 4 mm) of the Palm F Keypad. This takes advantage of the traditional Front F Key function, allowing the player to perform the notes altissimo F and E.
In the illustrated saxophone, well known and conventional parts have been omitted, and the description thereof has also been omitted in order not to obscure the novel construction of the present embodiment. First a description of Prior Art, the Preferred Embodiment and then variants one and two of the Preferred Embodiment, called the Front F, altissimo G Key.
The Prior Art drawing in
The drawing in
When the Front F key spatula (8) is pressed it closes the B key (7) and C key and simultaneously contacts (6a) on the Auxiliary key (6) which opens the Palm key F (4) approximately 4 mm at contact point (6b). This allows the player to perform altissimo F and E notes. When the Altissimo G key spatula (8a) is pressed it has a foot (8b) which closes the B key and C key. As the Altissimo G key travels it pushes the Front F key arm (8c) and simultaneously contacts (6a) on the Auxiliary key (6) which opens the Palm key F (4) approximately 1 mm (0.5 to 1 mm) at contact point (6b). This allows player to easily perform altissimo G note.
The drawing in
When the Front F key spatula (9) is pressed it closes the B key (7) and C key and simultaneously opens the Palm key F (4) approximately 4 mm at contact point (9d). This allows the player to perform altissimo F, and E notes. When the Altissimo G key spatula (9a) is pressed, it has a foot (9b) which closes the B key (7) and C key. As the Altissimo G key (9a) travels it contacts the Front F key arm (9c) and simultaneously opens the Palm key F (4) approximately 1 mm (0.5 to 1 mm) at the contact point (9d). This allows the player to easily perform altissimo G note.
The drawings in
For clarity I will describe the function of the Base Key (10a) and Touch piece (10) separately. In
The combination of the Touch piece (10) with the Base key (10a) allows a player to choose altissimo F by simply pressing the top of the Touch piece (10) or choose altissimo G by sliding down the Touch piece (10) past the hinge (10b) to the tip of the Touch piece (10) (on top of B key 7). The player can choose either position at will with no limitations.
It should be noted that the natural material used in the construction of a saxophone pad can vary. Leather quality, felt density, cardboard, adhesive, and age of a pad can be affected by temperature, humidity and finger pressure. The optimal pad opening for altissimo E, F, G, and G# vary according to the player and the instrument. Therefore the pad openings are expressed in a range, for altissimo E and F notes, about 4 mm to 5 mm. For altissimo G note, about 0.25 mm to 1 mm pad opening. The instrument should be adjusted for the player. One of the previous variants will operate on a majority of current and vintage saxophone configurations.
Although this embodiment has been described in its preferred form with a certain degree of particularity, it is understood that the present disclosure of the preferred form has been made by way of example. Numerous changes in the details of construction, combination and arrangement of parts may be resorted to without departing from the spirit and scope of the embodiment.
A player will find the Preferred Embodiment in
A player will find the Preferred Embodiment in
This allows the player to perform altissimo G note effortlessly. It almost pops out. The player can easily slide between altissimo F and G notes at will.
| Number | Name | Date | Kind |
|---|---|---|---|
| 638385 | Evette | Dec 1899 | A |
| 7741555 | Onozawa | Jun 2010 | B2 |
