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On this day 166 years ago, the saxophone, darling instrument in much of jazz and blues music, was patented by its Belgian inventor, Adolphe Sax. The saxophone combines the single reed and mouthpiece used in a clarinet, with the wider bore of the oboe. Despite usually being made from brass, it is classified as a woodwind instrument, because the sound of a saxophone is created by an oscillating reed rather than the vibration of the player’s lips against a brass mouthpiece.

The combination of features from the woodwind and brass families make it quite unique – while it has the volume capacity of a brass instrument, it possesses the timbre and dexterity of a woodwind. The shape of the saxophone also results in a complex wave packet compared to other woodwind instruments.

Science shows its about the musician, not the instrument.
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It seems the saxophone not only fascinates music lovers, but scientists as well. A group of acoustics researchers from the University of New South Wales in Sydney, Australia, set about trying to determine exactly how jazz masters like John Coltrane achieve the piercing high notes they are famous for. More specifically, they studied how the shape of the saxophonist’s vocal tract influences the notes he can achieve.

There has long been debate about the role that the acoustics of the vocal tract has on the notes saxophonists and other reed instrumentalists can play. The assumption under investigation in the research was that professional saxophonists achieve “impossible” notes by shaping their vocal tracts in different ways to amplify the high-pitched notes. Of course the challenge lay in the methodology – how do you directly measure the acoustics of a vocal tract in mid-note without interfering with the player’s sound?

What acoustician Jer Ming Chen and his colleagues did, was to modify the mouthpiece of a saxophone by adding a device that emits different tones into the vocal tract of the player, and then records the intensities of the tones bouncing back into the mouthpiece. From this information, they could calculate acoustic resonances in the vocal tract.

The reseach showed that, when playing “normal” notes, the acoustics of the vocal tract seemed to have only modest effects on how notes sounded, but the moment professional players broke into the altissimo, a clear result emerged – the resonance in the vocal track aligned with the note being played, thus serving to amplify and strengthen the note.

What is interesting is that many expert players were unaware of the ways in which they “tuned” their vocal tracts while playing. They knew they “did something” to their throats, but weren’t able to explain exactly how it happened. It does, however, seem to be a skill that can be learnt, and not something certain players are simply born with.

However they do it, it seems blowing that sax not only gives your lungs a workout, it exercises your mind as well.

(Source: Scientific American)