Bryan Kendall
03-20-2003, 05:00 PM
Definately the C-Melody and C-Soprano Saxophones.
I just finished a seminar at the National University of Honduras at their School of Music. I also did one for a kindergarten class at a private school.
The C-melody Saxophone when fitted with a acoustically /mathematically correct mouthpiece/reed/ligature combiantion is closer to a voice than any of the saxophones. (As Roger says it has a very French Horn like quality as well as a Basoon.) The tone has a remarkable voicelike purity in this regard - like an expresive opera voice.
The C-Soprano Saxophone also when fitted with a acoustically /mathematically correct mouthpiece/reed/ligature combiantion is close to a voice. It has the remarkable fragility and delicacy of a lyric oboe.
I use Ralph Morgan #6 tip opening Hard Rubber C-melody and C-soprano Saxophone mouthpieces, 2 1/2 strength Alexander Classique reeds(with Bootman reed drilling) and silver Loius Francios ligatures. And 1922 Conn satin silver horns/gold bells with leather pads and small plastic resonators.
I just finished a seminar at the National University of Honduras at their School of Music. I also did one for a kindergarten class at a private school.
The C-melody Saxophone when fitted with a acoustically /mathematically correct mouthpiece/reed/ligature combiantion is closer to a voice than any of the saxophones. (As Roger says it has a very French Horn like quality as well as a Basoon.) The tone has a remarkable voicelike purity in this regard - like an expresive opera voice.
The C-Soprano Saxophone also when fitted with a acoustically /mathematically correct mouthpiece/reed/ligature combiantion is close to a voice. It has the remarkable fragility and delicacy of a lyric oboe.
I use Ralph Morgan #6 tip opening Hard Rubber C-melody and C-soprano Saxophone mouthpieces, 2 1/2 strength Alexander Classique reeds(with Bootman reed drilling) and silver Loius Francios ligatures. And 1922 Conn satin silver horns/gold bells with leather pads and small plastic resonators.