Which Saxophone Should I Play?

Which Saxophone Should I Play?

The question of which size of saxophone one should play is frequently asked and sometimes the answer is very straight forward depending the size of the player, the budget available, any previous instrumental experience, etc. Often however other factors also enter the frame and perhaps a discussion would be helpful.

When a potential player is quite young or very small the options are limited. Some teachers, with the best of intentions, will recommend starting on the fully curved soprano sax. I do not agree with this, as the soprano, being so small, is more demanding and far less tolerant of initial learning efforts. I would recommend that a keen young player start either on the recorder (never a bad suggestion for any future woodwind player), the standard Bb clarinet (or C clarinet if necessary) as this is such a common double later in life anyway, or wait until the alto sax can be comfortably held and operated.

IF ONE SIMPLY MUST GET STARTED ON THE SAX STRAIGHT AWAY then I would recommend beginning on a Trevor James Alpha alto sax which is purpose designed with fewer keys for lightness, smaller finger stretches and key work positioned for easy reach by the small beginner. It is ideal for the purpose and introduces the player to the 'proper' Eb alto straight away. The upgrade to a fully keyed alto can happen with ease when growth and experience allows.

Assuming one is not limited by age or size then the full SATB range of the saxophone options could be considered. In a quick summary here are my thoughts:

• The ALTO sax is the MAIN MEMBER OF THE SAX FAMILY with most of the educational and performance literature written with it in mind. The alto features most strongly in the classical solo repertoire with many original works and transcriptions now available, the wind band or in the orchestra as a solo instrument. Its position leading the traditional Big Band and as a jazz solo instrument is well established. Rock and pop, funk and reggae use in horn sections is also common.

•  The TENOR sax is often thought of as THE JAZZ SOLO INSTRUMENT as a result of the many superb artists who have made this instrument their 'voice'. It is too big for most beginners (other than adults) but is easy to either add to the alto sax when ready or to learn on, with some repertoire challenges, when a player is physically big enough to manage the tenor. Deeper and richer in tone quality than the alto, it figures in the same classical ensembles but less frequently and with much less literature written specifically for the tenor. The tenor sax has a huge range and the high altissimo register is easier to exploit than that of the alto or soprano.

• The SOPRANO sax is usually added by an experienced player to augment their established alto or tenor sax playing. It is a REGARDED AS A SOLOISTS INSTRUMENT and as such has a small classical repertoire and a growing use in a wide variety of jazz settings. It is the highest sounding member of the sax quartet (and other sax ensembles) and is usually played by the strongest, most musically knowledgeable player of the group as it is used to carry the melody and lead the ensemble. I personally prefer the double crook soprano as having the option of either a straight or curved top crook to use depending upon your desired holding position seems a very sensible choice. Some players prefer the fully curved instrument and others choose the straight, one-piece body version. I do not attribute a tonal difference to the shapes but the player does hear them differently due to the position relative to the head and ears.

• The BARITONE sax is a very important COLOUR INSTRUMENT providing the foundation of an wind band or sax ensemble offering great power and facility. It has a limited role in classical music but has a much more established role in the jazz band and has some outstanding examples of players who have pushed to instrument to marvellous extremes as a jazz solo instrument. Instruments with a low A (Concert C) bell are now most common but some lovely instruments extending to only low Bb are still available. The baritone is a valuable sax to be familiar with and there are often opportunities to join groups if one can provide this instrument.

•  The remaining members of the modern saxophone family, the SOPRANINO, the BASS, the CONTRABASS, the older C MELODY, and other even less well known instruments are all about COLOUR and specific ENSEMBLE ROLES. These should never be considered 'first choice' saxophones upon which to learn but may prove to be valuable additional instruments to play and own as they are rare and often welcomed in ensembles.

Many sax players end up playing multiple saxophones for the sheer joy of the variety of sounds and musical opportunities that playing and owning these different saxophones make available. Players eventually learn to move freely and with minimal effort between their different saxes and often undergo a change of and musical 'attitude' and 'personality' while they play their different instruments. The usual pairings as I have experienced them are:

• Alto adding Soprano
• Alto adding Tenor
• Tenor adding Soprano
• Alto adding Baritone
• Soprano adding Sopranino
• Baritone adding Bass

The tone quality, sensitivity, projection and playing response of all saxophones can be altered dramatically by the choice of mouthpiece used. To get the most out of any sax it is a good idea to select a mouthpiece suited to your abilities and comfort as well as the requirements of the music you wish to play. Owning a number of mouthpieces for each saxophone is not uncommon and can be a great source of inspiration keeping oneself freshly engaged and fully idiosyncratic in a wide variety of styles on the same instrument. More than anything else it help make all your playing MORE FUN!

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

Recommended First Upgrade Mouthpieces (Clarinet & Saxophone)

Recommended First Upgrade Mouthpieces (Clarinet & Saxophone)

When a player, often but not always a younger child, begins to play their clarinet or saxophone they (and often also their parents) are faced with an almost completely unknown new world. The shiny instrument and lovely case are inspiring and the entire experience quite mysterious and perhaps a bit daunting but, working largely on trust and perhaps with the help of a knowledgeable teacher, the journey begins. 

The very first 'playing' involves trying to make a noise at all by learning to blowing upon the mouthpiece and reed, later the assembled instrument, and hopefully succeeding reasonably. With a soft reed and a bit of good coaching most players will eventually manage this and be inspired to keep going. 

With a reasonable amount of practice progress usually follows and so does the level of expectation of the player - both on herself / himself and of the equipment being used. The point at which it occurs to a player, or even the teacher involved, that the level of equipment might be an obstacle to future progress varies widely - and often the realisation come too late as frustrations may have begun that end with a player giving up dissatisfied with their tone or ability to control their instrument.

At the risk of being overly prescriptive I would like to make a few suggestions aimed at avoiding this fate and in the process encouraging and inspiring players in their musical efforts.

After many years working as teacher, shop sales advisor and drawing on my personal experience as well there are some easy, 'immediate' recommendations that can be made which may dramatically improve ones playing over even the best of the 'student', usually plastic, mouthpieces that are supplied with most clarinets and saxophones. These recommendations are as close as I can come to be guaranteed to be successful. All the below made of ebonite hard rubber unless stated otherwise. My quick comments follow each listed item.

Try the following for Bb clarinet:

• Vandoren B45 - suited to softer and mid-strength reeds, bright and responsive
• Vandoren M30 - mid-strength reeds, dark and mellow sound
• Portnoy BP02 or BP03 - mid-strength reeds, great projection

For Bass clarinet:

• Vandoren B45 - the all around standard of comparison

 For Alto and Tenor Sax (Classical):

•  Selmer S80 C*, C** or D - the standard of comparison
• Vandoren Optimum AL3 or AL5 - mid-strength reeds, dark and mellow sound
• Rousseau New Classic 5 - great control with a lively sound

For Alto or Tenor Sax (Jazz):

• Meyer 5, 6 or 7 - the absolute standard mouthpiece, warmth and projection 
• Otto Link 5 or 6 - darker and rounder
• D'Addario Reserve Jazz - centred sound and warmth with projection

For Alto Sax (Jazz Metal):

• Yanagisawa 6 or 7 - power with control

For Tenor Sax Jazz (Metal):

• Yanagisawa 6 or 7 - power with control
• Otto Link 6, 6* or 7 - a great 'traditional' jazz sound, favoured by players for decades

Soprano (Classical):

• Selmer S80 C*, C** or D - warm sound with great intonation characteristics

Soprano (Jazz Metal):

• Yanagisawa 6 or 7 - power with control

Any of the above, though different in sound quality (and that is the most important bit after all) are never-the-less considered reliable, tried and trusted and frequently recommended mouthpieces that will improve the tuning characteristics and control of almost any sax, from the cheapest and most cheerful to the finest professional models. I strongly feel that getting onto one of the above at the earliest sensible opportunity (Grade 3 is not too early and it is never too late to improve). 

In my opinion the mouthpiece accounts for at least 80% of the perceived sound with the instrument behaving like a megaphone, amplifying and adding resonance to the tone generated by the mouthpiece.

I have often found myself saying to customers and pupils - if you stay with such deservedly popular mouthpiece choices you cannot make a mistake. You might change your mind years later and you might purchase other options as well to suit your changing tastes - that is called progress - but you won't regret the investment in a good mouthpiece. 

Happy playing.


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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers