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Vandoren has a large range of accessories for clarinet and saxophone: these include ligatures, reed cases, cleaning swabs, mouthpiece cushions and cork grease, and even instrument harnesses and neck straps. Some other accessories include mouthpiece pouches, reed trimmers and reed resurfacers.
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 ...
Tenor saxophone: B ♭ 2: Baritone saxophone: E ♭ 2: C bass saxophone C 2: Bass saxophone: B ♭ 1: Contrabass saxophone: E ♭ 1: Subcontrabass saxophone B ♭ 0: Tin whistle: C 5: Transposes at the octave. Some whistle players treat whistles pitched higher or lower than the "standard" D tin whistle as (additionally) transposing instruments ...
Soprano saxophone mouthpiece. The mouthpiece of a woodwind instrument is that part of the instrument which is placed partly in the player's mouth. Single-reed instruments, capped double-reed instruments, and fipple flutes have mouthpieces while exposed double-reed instruments (apart from those using pirouettes) and open flutes do not.
The following are lists of makers of clarinets, clarinet mouthpieces, clarinet ligatures, and clarinet reeds. Note that some of the following are simply brands for instruments from original equipment manufacturers.
Henri Selmer Paris is a French enterprise, manufacturer of musical instruments based at Mantes-la-Ville near Paris.Founded in 1885, it is known as a producer of professional-grade woodwind and brass instruments, especially saxophones, clarinets and trumpets.
The clarinet and tenor saxophone player Jimmy Giuffre used a clarinet-style embouchure with a tenor saxophone with a specially-modified neck. [3] It is still commonly, and controversially, taught to beginning students as a shortcut to a passable result in lieu of more sustained effort developing embouchure strength and technique.
The shift in the 1820s to playing with the reed facing downwards corresponded with a move away from exclusive double-lip embouchure. [3] Double-lip embouchure was similarly recommended in early saxophone materials, such as those of Adolphe Sax and Louis Mayeur .