Tools for a Trade (W)
The instrument I play is aproximately 41 in. (104 cm. or almost 3 1/2 ft.) in length and 13 in. (33 cm. or aprox. 1 ft.) in width at its widest point. It weighs 19 lbs. (8.6 kg) when assembled and 21 lbs. (9.5 kg.) in its soft carrying case. It is made of a mixture of copper and zinc also known as brass and was built in the year 1956 by the Selmer company based in Paris, France. It has a written range of c” (two octaves below middle c) to a-flat”’ (just above middle c), but on a good day and with a good reed, I can extend the range to c”” (two octaves above middle c). This compass of four octaves is approximately the same range as that of the cello. The instrument’s shape is what’s known as a conical bore which means that the instrument gradually increases in diameter along its length (i.e. it’s a cone). This is in contrast to a cylindrical bore instrument which maintains a consistent diameter along its length (also known as a cylinder (a clarinet is a cylinder)). This geometrical shape means that my instrument overblows at the octave (when I blow harder, I get a note one octave higher). Cylindrical bores overblow at the twelfth (when you blow harder, you get a note an octave and a fifth higher). The instrument’s mechanism is operated by blowing into a small opening bounded on the upper end by vulcanized rubber (an old Selmer soloist mouthpiece) and on the lower end by a thin piece of wild-growing grass (also known as arundo donax or a reed). While blowing, my fingers can press any of 23 buttons and levers thus altering the effective length of the instrument. This results in altering the frequencies produced (I can play higher or lower notes by pressing keys). My instrument is part of the family of single-reed woodwinds. It is a baritone saxophone.
All of the above are inarguable facts. That is, they are physical realities which I can do little about. My job as a professional player of this instrument is to simply accommodate myself to these facts and respond creatively to these limitations.
The instrument I play is inherently loud and incapable of playing softly. It’s rather cumbersome and inflexible. While it can be played with enormous power and velocity, clarity of pitch is sacrificed the faster it is played. It’s a poor choice for quiet or lyrical music. It does not blend well with instruments from other families. It is a graceless and non-delicate member of the woodwind family. It makes a perfect substitute for a bass instrument.
All of the above are opinions and stereotypes. Their only basis is in people’s biases. While I am aware of these opinions, I am free to disregard them (I often do). Giving them credence uses up valuable energy that the music demands.
What it comes down to is that a baritone saxophone is a musical tool, no different from any other musical tool except in its physical dimensions. Like any musical tool, it can be used to express any desired musical idea. Rejecting the instrument out of hand is akin to hating wrenches or hammers (“Stupid hammer! I hate it! all it does is . . . hit things! so stupid!”). Sitting in its case, a baritone saxophone is an inert, silent object. It requires agency. It requires a human being to sound it. A human being with thought, imagination and intent. I agree that most of the humans standing behind baritone saxophones for the past 30 years have played it in a remarkably similar way, but that fact speaks to cultural norms, not imaginative possibilities.(1)
There is a larger issue at stake here. It’s the issue of aesthetic compassion. Letting a piece of music be itself is paramount not just to the music, but to the listener. Too many times people shut down at the sound of a particular instrument (2) and they miss out. Miss out on an opportunity to hear what’s happening. I certainly don’t think that everyone is required to like every piece of music they hear. But there is a difference between listening and not enjoying versus rejecting out of hand. The former I can guarantee will not hurt you. Cause discomfort, anger, sadness, boredom, sure, those are possibilities. But it won’t physically harm you. And unlike a bad movie or t.v. show, unenjoyable music almost always takes up way less time. But when music is shut out without any consideration, then an opportunity is lost. An opportunity to see how large human imagination is. An opportunity to hear all the different ways a human being can hear. An opportunity to experience the world in a changed way.
Ultimately, it’s pretty simple. A poorly played instrument is a problem with EXECUTION not TOOLS. If I don’t like Sonny Rollins’ solo on the Rolling Stones’ “I’m Just Waiting on a Friend” (and actually, I like that solo quite a bit), it doesn’t mean that saxophones suck or that they don’t belong in rock music (3), it means that I DON’T LIKE THE MUSIC. Generalizing beyond that point is understandable, sure, but not really logical, compassionate or sensible.
FOOTNOTES:
(1) Just to be clear here, I have ABSOLUTELY NO PROBLEM with the way the baritone saxophone is generally played today. I have the utmost respect for Pepper Adams and the many players who have adopted his style and approach. I’ve had my ass handed to me far too often trying to learn one of his solos or keep up with one of his adherents. However, while I want people to feel free to play whatever they like, I’d like the same opportunity myself. Put simply, Pepper Adams built a beautiful wardrobe of clothes that never quite fit me.
(2) I have to admit at this point that I do harbor a little bit of instrumental bigotry: wind chimes (not the real ones mind you that you find out on someone’s porch). can’t stand ‘em. the moment I hear that tell-tale twinkle I can feel myself mentally hoist my middle finger in the air in a heart-felt salute to the perpetrators of such happy-horseshit. I’ll just say it: if it weren’t for wind-chimes, I’d probably be a little less disturbed by power ballads.
(3) Nice to see that people got such a kick out of this, but hey, fair’s fair, right? I propose a parallel list: “10 Great Songs Nearly Ruined by Guitar.” Oh, that’s right, 10 IS BEING OVERLY-GENEROUS…COUNTLESS SONGS HAVE BEEN SCREWED UP BY TRULY STUPID GUITAR PLAYING. So how’s about this: “10 Great Songs Nearly Ruined by Breathless Hyperbole”? I’m just saying…