THE SONOROUS SAX

A PROJECT SUBMITTED TO THE DEPARTMENT OF MUSIC IN PARTIAL

FUFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF

BACHELOR OF ARTS IN MUSIC.

BY

OGUNSUYI, ADEKUNLE ADEOYE

REG. NO: 2016/239913

DEPARTMENT OF MUSIC

UNIVERSITY OF NIGERIA, NSUKKA

THE SONOROUS SAX
Abstract

Since the invention of the saxophone in the nineteenth century by the renowned Adolphe Sax, it
has gained more popularity among its counterparts (wind instruments). Its popularity is based on
the unique and blaring sound that reflects the deep, rich sound of the brass instruments. The
utility of the saxophone accounts for its appearance within different contexts of the
contemporary folk, art and popular music performances in Nigeria. This research demonstrates
the sonority of the saxophone through the performance of pieces composed for the instrument
and some other adapted works. Using the descriptive and historical methods of research
respectively, the study explores the selection of certain saxophone pieces for performance from
Western and African music repertoires to entertain, inform and demonstrate the sonority of the
saxophone. The performance therefore provides an exciting and invigorating musical experience
for a diverse audience and showcases the performer’s creativity by way of spontaneous music
expression.
TABLE OF CONTENTS

Title Page--------------

Approval page -----------

Dedication ------------

Acknowledgements--------

Abstract ------------

Table of contents-----------

CHAPTER ONE: INTRODUCTION---------------

1.1 Background of the study-----------------

1.2 Concept of the Performance----------------

1.3 Aims and Objectives --------

1.4 Statement of the Problem------------------

1.5 Significance of the study----------------------

1.6 Performance location and materials------------

1.7 Scope and delimitations of the study-------------

1.8 Research Methodology-----------------------------

CHAPTER TWO

REVIEW OF RELATED LITERATURE

2.1 Music - - - - - - - - - -

2.2 The Saxophone - - - - - - - -

2.3 Performance - - - - - - - - -

CHAPTER THREE

THE PERFORMER’S INSTRUMENT

3.1 Origin, Nature, Features and Types of Saxophone - - - -

3.2 Mechanism and sound production techniques of the saxophone - -

3.3 The saxophone technique - - - - - - -

3.3.1 Vibrato - - - - - - - - -

3.3.2 Growling - - - - - - - - -

3.3.3 Tonguing - - - - - - - - -

3.3.4 Altissimo - - - - - - - - -

3.4 Uses of the saxophone in the present work - - - - -

3.5 Care of the saxophone- - - - - - - -

3.6 Guideline on performing on the saxophone - - - - -

3.7 Brief on some famous performers on the saxophone - - - -

3.7.1 Gerald Anthony Albright - - - - - - -

3.7.2 FelaKuti - - - - - - - -

CHAPTER FOUR: PRESENTATION ANALYSIS OF THE PERFORMER’S

REPERTOIREPRESENTATION AND ANALYSIS OF THE REPERTOIRE

CHAPTER FIVE: FINDINGS, DISCUSSION AND CONCLUSION

5.1 Outline and interpretation of major findings ------------------

5.2 Recommendation------------------------------------------

5.3 Summary and conclusion---------------------------------

REFERENCES-------------------------------------------------

APPENDICES

Appendix A- Performance Program----------------------------------

Appendix B- Music score---------------------------------

CHAPTER 1
1.0 introduction
Music is an art form, created by organizing pitch, rhythm, and sounds using musical instruments

or vocals so as to create an effect for social and aesthetic reasons. The concept music varies from

one society to another and it is necessary to understand what kind of behavior different societies

regard as musical.Music performance is a step in the musical process during which musical idea

are realized and transmitted to a listener.

Some performances are exact presentations of what Music is a performing art.

Performing art is different from object art, such as painting and sculpture. Music as a
 performing art, therefore, involves costumes, staging and movement or dance. Musical

performance involves the use of human voice or musical instrument to interpret a musical

composition of any genre for the consumption of the audience (Eze, 2013, p.1).

the composer has written. This characteristic is common of Western art music. Opportunities for

improvisation in this kind of music occur in the form of cadenzas at the end of a section or at the

end of a musical piece, where the performer is expected to display his/her dexterity on the

instrument. Besides this, the performer is expected to play the piece as written (interpretation

might differ though). Some other musical performance, like jazz, is highly improvisatory. In the

jazz genre, the written music is only a guide, and the performer is by no means limited to it. This

could account for the reason why jazz musicians do not find it difficult to improvise.

Improvisation which involves the spontaneous creation of an original musical material is an art

that can be developed by every musician. It is that special attribute that makes each musical

performance unique. This study presents a practical performance to demonstrate the viability of

the saxophone sound capable of soothing the human mind.

1.1 Background of the study.

The purpose of this research-performance is to demonstrate the soothing qualities of the

Saxophone, beyond just been a musical instrument like others. The study also examines

problems saxophone-performance students encounter in relation to the techniques and

qualities of the saxophone as an instrument.

1.2 Concept of Performance

 Since its first appearance in 1842 in public, the saxophone has proven to be a highly flexible

performance interface with expressive characteristics that have allowed its wide range of

musical aesthetics.which is the title of this performance project portrays both Western and

African works especially reflecting the aesthetics and beauty of Western and African music.

This is to say that saxophone being a Western instrument does not mean it cannot be used in

the typical African context. This works shows the expressive possibilities and of the

saxophone in a live performance.

1.3 Aims and objectives

The aim and objective of this research work is highlighted as follows:

1. To explore the entertaining quality of the saxophone instrument.

2. To motivate an upcoming saxophone performer.
3. To use the saxophone instrument in providing recreation and relaxation.
4. To express the dexterity of saxophonists.
5. To demonstrate the sonority of the saxophone

The performer intends to reach out to his audience through playing pieces that cut across
art, folk and popular categories. For this to have been achieved at its supremeheight; the
performer put to his effort and time to rehearse the pieces so as to make the concert a
memorable one

1.4 Statement of the problem

Music has been an excellent therapy for slackening of the mind and body.
Numerouspersons who have engrossed themselves in a taxing day, tends to listen to
music for rest purposes andsatisfaction. Due to the hustling and buzzing that is bothering
 the society today, I observed that there are necessitiesfor the human ingestionof good
music for the purpose of relaxation, refreshmentandpleasure.Consequently, this research
aims to initiateenjoyment, relaxation, and recreation to its audience and lovers of good
music using the saxophone as aself-sufficientmusical instrument. The precedingfactors
are responsible for urgingthe researcher’s desire to embark on this project.

1.5 Significance of the study

Performance, as the acting of a play or the playing or the singing of a piece of music in
front of an audience, shows how well the performer can perform on the instrument of
performance before an audience (Sinclair [Ed.]’ 1992|). The usage of the saxophone in
this performance project demonstrates that the saxophone could be used as a “complete”
autonomous solo instrument that exhibits the matchless quality of mimicking and
reproducing any genre of music. The saxophone can as well play the melodic and
improvisational passages in any musical performance. This study revealsin-depth
understanding, andsubsequently, the appreciation and worthwhilenessof the saxophone. It
also inspiresup-and-coming saxophonists on the demands, task and necessityof the art of
saxophone playing and performance.

1.6 Performance location and material

This research study is conducted in the Department of Music, University of Nigeria,

Nsukka, and involves musical works collected from both African and western composers.
Most of these works are extracted from CDs; re- arranged and scored for the saxophone
to suite the purpose of this research. A few datawere also acquiredand obtainedfrom the
internet, and from the library. The musical instruments involved in the performance for
this project included the saxophone as the primary/major performance instrument;
accompanying instruments include the piano, brass instruments, bass guitar, electric
guitar, drum set, and percussion instruments.

1.7 Scope and delimitation

Surrounded by many limitations confronted during this research, time and fund were the
most vital. The case of the saxophone is unusual in the sense that there are very limited
published scores for the instrument. Nonetheless, the researcher has come to a decisionto
 bring togethermaterials from some selected genres of music as jazz, folk, art and other
popular music arrangements.In addition, the exposureof this study is limited to the
saxophone as a performance instrument in areas like history of the saxophone instrument,
care of the saxophone, sound production and techniques of playing the saxophone
instrument.

1.8 Research methodology

In the course of collecting materials and information for this study, the researcher usedthe
historical and descriptive research methods. The historical approach was usedto obtain
comprehensiveinformation about history of some celebratedSaxophonists and the origin
of saxophone. The descriptive approach was used to describe the saxophone as a musical
instrument, its mechanism and technical components. The researcher also understudied a
compilationof notable performers like Mike Aremu, Gerald Albright, Lagbaja, FelaKuti,
and Kenny Garret via their audio and video recordings. This research study is being
organizedin two mainphases. First, as a saxophonist; the researcher had more than
enoughchanceto directlyexperience saxophone music performance in diversecontexts.
The researcher has listened to saxophone music performance for more than four years,
and had interest on the instrument even before he started playing it four years ago.
Secondly, the researcher conducted a more detailed study in the course of the study, like
interviewing friends who play better. The researcher visited both the university (UNN)
and the departmental (department of Music) libraries for both pieces and books that are
specially written for the saxophone. Through the internet, articles, periodicals, and pieces
were sourced.

CHAPTER TWO

REVIEW OF RELATED LITERATURE

The review of literature related to this study is to be had in three sub-titles,as follows:
Music, the saxophone and the performance.

2.1 Music
Music is a sonorous. Music, according to Nzewi (1991), is a system of sound to stimulate
emotion, through instrument or voice. It is extraordinary to think that a simple vibration
unseen by human eye can facilitate a deeply rich emotional experience, alter perception
and consciousness, and induce ecstatic state of being. The word music comes from the
Greek word mousike. It is derived from mousa, the Greek word for muse. From the very
time a person is born into the world and until the time he dies, music and music making
revolve around him. Music can be said to be an integral part of life since it is found in all
aspects of human living. For many, music is like a constant companion. It can bring us
joy and motivate us, accompany us through difficult times, and alleviate our worries.
Music is much more than mere entertainment, it has also become an important tool for
the regulation of our affective states (De Nora, 2001; Slobodia and O’Neill, 2001) and a
fundamental reference for the construction and expression of a notion of ‘who we are’
(McDonald, Hargreaves and Miell, 2002).The first answer is coherent with the common
sense assumption that the musical and artistic experience in general as essentially
subjective: musical meanings are as varied as there are people who compose it, play it,
listen or dance to it. However, several disciplines and theoretical traditions have
challenged this premise. In the first place, musicology has taught us that music expresses
profound philosophical, religious and social messages (Bicknell, 2002).

Meyer (1956: 6) described two extreme positions in this debate: absolutists believe music
cannot refer to anything else but itself; that is, the sounds of a piece of music acquire
meaning through their relation with other sounds in the same piece and with general
musical structures like tonality and harmony. On the other hand, referentialistsaffirm
music refers to extra-musical “concepts, actions, emotional states and character” (ibid). In
the case of music, the question of what music refers to has not reached a consensual
answer.

It has been a feature of every known human society. Anthropologist and sociologist have
yet to find single culture throughout the course of human history that has not had music.
In fact, many evolutionary psychologists today make the argument that music predated
language. Currently, cutting-edge scientific research has shown the effect that music has
on brain, the individual, and society. Not only does music reach us on intellectual, social,
and emotional levels, but many described it as spiritual or mystical. The use of melodic,
harmonic, and rhythmic devices in music can induce a psychological state in both the
musicians and the listener that is beyond words to describe. Music can bring us back to
ourselves, be our mirror, and show us a side of us we have long forgotten or never knew
existed. Even though we are constantly exposed to music in our daily lives, we rarely
stop to actually think about what it is. After all, what exactly is music? Fundamentally,
music is a combination of sounds, and sound is vibration. One of the most succinct
definitions of music comes from the Italian composed Ferruccio Busoni, who posits that,
“Music is sonorous.” Olisaeke (2006) states that: “music is as old as creation itself, since
music is associated with sound, and sound existed from creation. Rustling of wind,
chirping of birds, echoes of the caves, rumbling of seas and thunders are all natural
‘musical’ sounds associated with the universe” (p.64). Both negative and positive
feelings could be expressed in music. Carl (1938) posits that:

Music is the medium through which we express our feelings of joy and sorrow, love and
patriotism, the instrument that lifts the mind to higher regions, the gateway into the
realms of imagination. It makes the eye to sparkle, the pulse to beat more quickly. It
causes emotions to pass over the far- reaching sea (p. 11).

According to Nzewi (1965, p.25) “music is a system of sound to stimulate emotion” and
Egharevba (1991, p.7) also explains music “as the artistic union of sounds which are
produced by voice or musical instruments”.

The Oxford Advanced Learners Dictionary of Current English Hornby (1990, p.816)
defines music as the “art of arranging the sounds of voice(S) or instrument(s) or both in a
pleasing order”. The World Book Dictionary Branhart defines music as

“The art of making soundsthat is beautiful, with pleasing or interesting arrangements

especially as produced by the voice or instruments” (p.1317).

Study of music deals with the principles of melody, rhythm, harmony, tempo, timber.

David Butler (2009) states that ‘music is the artful arrangement of sounds across time’.
 This assertion is true owing to the fact that every piece of music is guided by time.
“Explication of the concept of music usually begins with the idea which many
musicologists have concerning music as an organized sound. They go on the note that
this characterization is too broad, since there are many examples of organized sound that
are not music, such as human speech, and the sounds non-human animals and machines
make’ (kania 2014). Many authorities have suggested definitions, but defining music
turns out to be more difficult than might first be imagined.

Music would not express any feeling or emotion until it is performed. Therefore, through
interpretation by performance, the feelings in a piece of music are communicated. No
one can really talk of performances without talking about the performer. Everything lies
in the hands of the performance, for instance, as far as interpretation of any piece of
music for the audience’s and commendation is concerned.

2.2 The Saxophone

The saxophone, which is among the transposing instruments in the musical orchestral
family, isalso one of the most unique and versatile wind instruments of time. The
saxophone (also referred to as the sax) is an instrument classified under the woodwind
family. Many people wrongly classified the saxophone to be a brass instrument, but
strictly speaking, the saxophone is a member of the woodwind family as a result of the
method of the sound production. The saxophone is usually made of brass and played with
a single- reed mouthpiece similar to that of the clarinet. Under the woodwind family, the
saxophone is a member of the single- reed instruments, which include the clarinet and the
saxophone. Saxophones have holes in the instrument which the player closes by using a
system of key mechanisms. When the player presses a key, a pad either covers a hole or
lifts off a hole, lowering or raising the pitch, respectively. Although the saxophone was
originally envisioned as a classical and military instrument, it has since made its way into
almost every genre of music around the world from pop and rock to jazz, classical etc.
Even today musicians around the world are pushing the boundaries of what the
saxophone can do and what types of music it can be incorporated into. Originally there
were fourteen (14) members of the saxophone family created by Adolphe Sax after its
invention. Adolphe Sax conceived of an orchestra consisting solely of saxophones, and
 he made saxophones in a range of sizes, from the sopranino in the high range to the
contrabass in the low range. As a group, these instruments have a range that spans two
and a half octaves. Yet today, there are only five types in widespread use out of the
fourteen been created. In pitch order from high to low, they are the soprano, alto, tenor,
baritone, and bass saxophones. Originally, the saxophone was designed to have a smooth,
mellow, and balanced tone. This had to be changed so that it could compete with the
blaring trumpets, noisy drums, shuffling feet and loud talking that accompanied the
surrounding of early twentieth century dance band. The mouthpiece of the sax was made
smaller and more parallel so that air could pass through the narrow gap of the reed and
the mouthpiece in order to produce a sound. This gave the saxophone the loud and
obnoxious sound needed for jazz and other genres of music. Since this metamorphosis,
the saxophone has been thought of as primarily a jazz instrument. The saxophone has
become a part of almost every style of music because of its texture. Today, many people
enjoy the wonderful music produced by the saxophone in pop, jazz, soul, funk and other
genres of music been played across the world. The saxophone is truly one of the great
musical instruments in our existence. The characteristics of the sax change with different
tapers. The saxophone is loved by both jazz and classical musicians, but the qualities
demanded of the instrument are different for each genre. With jazz, the ideal instrument
allows players to express their individuality, and so they like a saxophone with a greater
taper (a high angle of graduation). The raspy tones and buzz of the instrument contribute
to the texture of the music, while with classical music, the player must perform with the
many other instruments in the orchestra, and so they prefer an instrument with a clean,
finely controlled pitch. For accuracy of pitch, a more gradual tapper is better, and so the
instrument can appear to be almost as straight as clarinet. This gives the saxophone a
great diverse opportunity to be used in different genres of music across the world.

2.3 Performance

It is natural that the mention of musical performance would evoke a picture of

spontaneous theatrical of time and space via the media of musical instruments and human
body in order to generate some reactions from the audience (Onwuegbuna 2006). The
presence of sight and sound in musical performance movedMachlis and Forney (1995, p.
82) to identify, in the performance art, a combination of visual stimuli with theatre and
music in a multimedia event. The nature of music as a performing art designates its
performance as a “Lively” presentation of sound and movements in concerts, Orchestras,
Operas, Gigs, shows, recitals and dances to an active participant who shares in both the
responsibilities and the reward of the achievement of a great performance than its
conceptual meaning. Music performance provides a rich domain for study of both
cognitive and motor skills. Music performance is often viewed as part of a system of
communication in which composer’s code musical ideas in notation, performers decode
from the notation to acoustical signal, and listeners decode from the acoustical signal to
ideas (kendall&Carterette 1990). Each performer intends to convey the communicative
content in music performance which includes the performers’ conceptual interpretation of
the musical composition. Ambiguities in musical notation allow a performer considerable
freedom in deciding how to interpret the music’s content. Interpretation refers to
performer’s individualistic modeling of a piece according to their ideas or musical
intentions. Differences in interpretation can account for why the same performer may
perform a piece differently by different performers or why the same performer may
perform a piece differently on separate occasions. Music performance can be summarized
as an exchange of information between performer (as transmitter) and audience (as
receiver) through the modification of time and space.

Musser & Swift (1960, p.145) goes a step further to categorize the composer, the
performer and listener as musicians. They write thus: “Everyone who engages in music is
in a sense a musician; the composer writes the music, the performer produces it, and the
listener enjoys it”. The most important person amongst these is the performer, as he
stands as a bridge between the composer and the listener. The composer might not be
able to perform the music that he has written. And when he has written it, it has to be
performed by the performer for the listener to hear it.
Foss, John &Bruce (2009) refers to musical performance as:

“…steps in the musical process during which musical ideas are realized and transmitted
to a listener. In Western music, performance is most commonly viewed as an interpretive
art, though it is not always merely that. A performer to some degree determines aspects
of any music he plays. Issues of tempo, phrasing, dynamics, and, in some types of music,
pitches and instrumentation are subject to a performer’s discretion (p. 1)

In the African context, saxophone playing is more complex than in the western. This is as
a result of the complex rhythm of African music. The saxophone could be used in
combination with other instruments or voice to perform in a concert; it can also be used
with the orchestra instruments in substitution with the French horn, bassoon, and oboe in
some orchestra works. The saxophone is used in many styles of music including rock,
metal, and pop, country blue and jazz. It is also used as a solo instrument in jazz, Latin,
funk and in some other genre of music. As a transposing instrument, works written or
scored for the saxophone are not always in the concert key. For a performance to gain its
standard, it must undergo several and countless rehearsals. Through the medium of
performance, composers aim can be actualized and fulfilled. Without performance,
composers work will still remain in dark.

A good performance should therefore, have a positive effect physically, psychologically

and socially on the audience and the performer. The audience is aroused at the message
of good performance. A good performer achieves this goal by being able to bring to life
composer’s ideas and communicate perfectly to his audience. A good performer should
also be a good entertainer so that he/she can carry his audience even if there is a mistake
in the course of performing; such a mistake becomes unnoticeable by his audience (Ogu,
1991).
 CHAPTER THREE

THE PERFORMER’S INTRUMENT

3.1 Origin, Nature, Features and Types

The history of the saxophone can be traced back over 150 years. In spite of its
longwinded years of existence, the saxophone remains one of the juvenile instruments in
the musical spectrum. It was invented by a Belgian, Antoine-Joseph (Adolphe) Sax, who
was born on November 6, 1814 in Dinant. His father was an expert maker of musical
instruments. As a child he studied to make instruments in his father’s shop. His father’s
appetite for creating instruments had such a robustinfluence on him that by the age of six,
he had already become anprofessionalin instrument making and talented musician as
well.
 Antoine-Joseph Adolphe Sax

The saxophone was patented on March 20, 1846. It has since then, become a necessity in
every band due to its tonal beauty and versatility. Sax, being the musician he was,
became aware of the tonal disparity between strings and winds, brasses and woodwinds.
The strings were being overpowered by the winds and the woodwinds were being
overblown by the brasses, therefore he needed an instrument that would balance and
blend with the three sections. Thus, the invention of a horn with the body of a brass
instrument and the mouthpiece of a woodwind instrument. The combination of these two
elementsgave birth to the saxophone. The first saxophone after the invention of sax was a
C bass saxophone, which was displayed for the first time, in 1841, to the famous
composer, Hector Berlioz. He was amazed at its versatility, unique tone, and control of
dynamics. In 1842, Sax moved to Paris to introduce his new instrument to the rest of the
world. Soon to follow was the creation of an entire saxophone family: fourteen different
saxophones in all. Each differed by size and pitch. They include: E flat sopranino, F
sopranino, B flat soprano, C soprano, E flat alto, F alto, B flat tenor, C tenor, E flat
baritone, B flat bass, C bass, E flat contrabass, and F contrabass. Many of these
variations, however, are seldom used or have become obsolete.
 The saxophone finally became known as an integral part of all bands in 1845. This is the
year of the famous "battle of the bands". The French Army band was still using
"traditional" instrumentation. Adolphe Sax saw this as an opportunity to show the world
how the saxophone could improve the tonal quality in all bands. He suggested a contest
between a militarybandscomposed of the original orchestral instrumentation against a
band with an instrumentation that included saxophones. Sax’s band of twenty-eight men,
compared to the French military band of thirty-five, overwhelmed the crowd. That day,
the saxophone was officially introduced into the French Army (Military) Band and soon
to all other bands.

Many composers began to write music for the saxophone, but it was not until about
seventy-five years later that the saxophone began to be used to play dance music.
However, to do this the saxophone needed to be altered.

The reason a saxophone is considered a woodwind instrument is because the way it is

played is very similar to clarinet. It is made of brass, and it is only woodwind instrument
that has never been made of wood. It has a single reed mouthpiece through which the
sound is been produced. It is made of a long, bent tube with holes in it, which are covered
by pads called keys. The player operates the keys, by opening and closing them,
determining the pitch. The saxophone has three parts: the neck, the mouthpiece and the
body. Soprano saxophones are straight in shape, whereas other saxophones with deeper –
tones have a bent crook and an upturned bell.

3.2 Mechanism and sound production techniques

The major fundamental sound-production mechanism of the saxophone is the reed and
mouthpiece. As the air is blown through the mouthpiece, the reed vibrates, which
produces the sound. This sound resonates throughout the rest of the instrument and by
changing the length of this resonating tube of the instrument (by pressing different keys
and closing the pads), a wide range of pitches is achieved. A saxophone embouchure is
the major key for sounding better on the saxophone. The embouchure is formed by
placing the top teeth about mid-way on the mouthpiece and applying the lower lip as a
 cushion on the reed (lower part of the mouthpiece) without adding too much on the reed
and the mouthpiece. The upper lips muscle is then pulled downwards around the
mouthpiece. The upper lips serve as a clamp and the lower lips serves as the control of
the jaw.

3.3 The saxophone technique

Just like other musical instruments, the saxophone instrument requires an in-depth study
on the technical know-how of the instrument. This requires being acquainted with the
manner in which special skills are treated and/ handled in details gearing towards getting
special and desired result (s). Some of these techniques include; Vibrato, Growling,
Tonguing, Altissimo. A brief explanation of thesetechniques will be done below.

3.3.1 Vibrato

Vibrato is the rate of pulsation. Vibrato on the saxophone is typically produced via a
slight change in embouchure, at the lower lip. Vibrato is an essential expressive element
of the saxophone sound. Vibrato on the saxophone is accomplished by very slight up- and
–down motions with the jaw, not with the diaphragm or the throat as it is on other wind
instruments. The most common and useful form of vibrato for the saxophone is called
jaw vibrato. This involves moving the jaw down and up repeatedly to create oscillations
in the pitch. Utley (2013) in describing saxophone vibrato says: “this is different to the
vibrato used on flute which is called diaphragm vibrato, in which the loudness of the tone
oscillates rather than the pitch”. Application of the Vibrato technique in saxophone
oscillates the pitch rather than the tone.

3.3.2 Growling
 The saxophone growl is produced by singing or humming a note at the same time as
playing. The most common and effective method of saxophone growling is to hum, sing
or even scream into the mouthpiece of the instrument. This method introduces
interference within the instrument itself, breaking up the normal quality of sound waves
produced. Furthermore, the vibration of the vocal note in the mouth and lips creates rustle
noise in the instrument. A saxophone growl can also be produced by allowing air to
escape from around the corners of the mouth, causing a vibration in the lips and
mouthpiece. Although this method does not set up patterns of interference, it does
produce the characteristic rustle of the growl.

3.3.3 Tonguing

Tonguing refers to the way the saxophonist articulates particular notes and rhythms. The
tongue can produce light staccato, heavy marcato, long legato, emphasized accents, and
many more sounds. Tonguing is a technique used in wind instrument to enunciate
different notes using the tongue on the reed or woodwind mouthpiece or brass
mouthpiece. A silent “tee” sound is made when the tongue strikes the reed or roof of the
mouth basically a sound effect used by saxophone players to create a raspy, growling
sound. However, unlike the standard saxophone growl which involves basically vocally
growling or singing into the horn, this more challenging form of rasp involves the tongue
3.3.4 Altissimo

Altissimo is just a name for notes above what is (or used to be, at least) considered higher
than the "normal" range of the instrument. Most saxophones can play up to written F or
F-sharp above the treble staff normally just by using side keys that open tone holes
farther up the saxophone to make the air column shorter along with the octave vent
opening. The notes higher than that are considered "altissimo." Altissimo can be played
on any saxophone (of sufficient quality), and it's still called altissimo regardless of
whether it is being played on alto, soprano, tenor, etc. Generally speaking, the lower
saxophones have more altissimo notes available than the higher ones, and it is easier to
play altissimo on lower saxophones than higher ones. The fingerings for altissimo notes
are not the same on all saxophones.

3.4 Use of the saxophone in the present work

 In this performance research study, the saxophone is at workto showcase the
independence of the saxophone instrument as a solo instrument capable of
discoveringmany musical creativities, as well as other competencesin the area of musical
performance in both Western and African musical styles. It is also used as a solo
instrument with improvisations accompanied by various musical instruments. The
saxophone is best known for its use in jazz and popular music and its therapeutic effects.

3.5 Care of the Saxophone

Saxophones are likeautomobiles—without steadylooking after,they will not act in

responsewell to your actions. Aninadequatelymaintained saxophone leads to
inadequateproduction of sound quality.Thus, making the saxophonist produce
deficientsounds, have less fun, and getting the audience aggravatedand irritated quickly.
Common problems include leaky pads, bent keys and rods, missing felts and corks,
broken springs, unregulated keys, and faulty alignment. Saxophonists can do many things
to keep their instruments in good playing condition. Proper care of the Saxophone
instrumentcomprises, wiping the moisture out of the saxophone neck and body after
playing as this will help remove the condensation from the bore and pads, allowing them
to dry faster. Failure to do this regularly can cause pads to wear out quickly. The
instrument may also develop an unpleasant odor—green and blue bacteria may even
grow on the pads and bore! Secondly, use both hands when holding or moving the
instrument, especially when getting it out or putting it away. Be especially careful not to
bend the rods. Thirdly, inspect the instrument regularly. Look for loose pads, cracked
corks, and unusual clicks; have them checked before they become major problems.
Finally, have the instrument evaluated periodically by a qualified professional repair-
man. Adhering to these maintenance guides at least once a year will fix many minor
problems and eliminate the need for costly major repairs later. Remember that a properly
maintained instrument will work better and create more fun while playing.

3.6 Guideline on performing on the saxophone

To perform on the saxophone, it is quintessential that one familiarizes oneself with the
instrument regarding its structure, parts and correct embouchure which is the right way
 the mouth is placed on the mouthpiece and serious rehearsal to attain professionalism.
The mastery of saxophone techniques is also necessary to acquire for a proper playing of
the instrument. Expert Performance as the end result of individual’s prolonged effort is
achieved. So as a saxophonist, there are certain guidelines for effective performance on
the instrument.

1. Before taking any saxophone for a performance, the state and condition of such
saxophone should be critically looked into, in order to avoid public embarrassment
while on stage.
2. Any saxophone intend for use in a performance should be rehearsed with before using
it on stage, so as to be familiar with it and that will enhance good performance rather
than using any saxophone that the performer sees on stage.
3. Every effort should be made to perform musically and with good intonation.
4. Careful attention should be paid to the rhythm when performing.
5. The pads and the keys of the instrument should be well oiled before going on stage.
6. Personal mouthpiece is advised to be used when performing, rather than a new
mouthpiece which one is not used to. Reason is that new mouthpieces can affect the
saxophonist’s pitch.
7. Efforts should be made to clean up the trumpet after each use.
8. Constant practices are needed on the instrument to acquire some professional skills.
9. Scaling exercises is encouraged in order to have effective fingering on the instrument.

3.7Brief on some famous performers on the saxophone

3.7.1 Life and music of Gerald Anthony Albright

Gerald Anthony Albright is an American jazz saxophonist and multi-instrumentalist who
was born o August 30, 1957 in Los Angeles, California, USA as Gerald Anthony
Albright. He began piano lessons at an early age, even though he professed no great
interest in the instrument. His love of music picked up considerably when he was given a
saxophone that belonged to his piano teacher. It was further reinforced when he attended
Locke High School, a breeding ground for many young West Coast musicians. After high
school, he attended the University of Redlands where he received a B.S. degree in
business management, minoring in music. Already a polished saxophonist by the time he
enrolled in college, Albright suddenly switched to bass guitar after he saw Louis Johnson
in concert.Immediately after college, Albright began to master his talent by working
extensively in the studio with such artists as Anita Baker, Ray Parke, Jr., The
Temptations and Olivia Newton-John. A few months after graduating from college,
Gerald joined Patrice Rushen, who was in the process of forming her own band, in which
he played the saxophone. Later, when the bass player left in the middle of a tour, Albright
replaced him and finished the tour on bass guitar. Consequently, he often performed on
both instruments. Around the same time, he also began to tour Europe with drummer
Alphonse Mouzon.He has also toured with Jeff Lorber, Teena Marie, Quincy Jones,
Whitney Houston, Phil Collins, Johnny Hallyday, Anita Baker and many others. In
addition to numerous appearances at clubs and jazz festivals, Albright had also been a
part of the popular Jazz Explosion tours, which saw him teaming up with contemporary
jazz stars like Will Downing, Jonathan Butler, Hugh Masekela, Chaka Khan and Rachelle
Ferrell, among others.Albright has also made several television appearances on shows
such as A Different World, Melrose Place and BET jazz segments, as well as piloting a
 show in Las Vegas with Designing Women star Meshach Taylor.Albright was one of the
ten featured saxophonists who performed at Bill Clinton’s inauguration. He was also
featured at the Presidential Summit, as well as several private functions for the
President.Albright is a member of Alpha Phi Alpha fraternity. Albright now lives with his
family near Denver, Colorado.

3.6.2 Life and music of FelaKuti

FelaKuti, by name of OlufelaOlusegunOludotunRansome-Kuti, also called

FelaAnikulapo-Kuti, (born October 15, 1938, Abeokuta, Nigeria—died August 2, 1997,
Lagos), Nigerian musician and activist who launched a modern style of music called
Afro-beat, which fused American blues, jazz, and funk with traditional Yoruba music.

Kuti was the son of feminist and labor activist FunmilayoRansome-Kuti. As a youth he
took lessons in piano and percussion before studying (1959) classical music at Trinity
College London. While in London, he encountered various musical styles by playing
piano in jazz and rock bands. Returning to Nigeria in the mid-1960s, he reconstituted
KoolaLobitos, a band with which he had played in London. The Afro-beat sound
emerged from that group’s experiments.

Following his 1969 tour of the United States, where he was influenced by the politics of
Malcolm X, the Black Panthers, and other militants, Kuti’s music became increasingly
politicized. He exhorted social change in such songs as “Zombie,” “Monkey Banana,”
“Beasts of No Nation,” and “Upside Down.” Fela (as he was popularly known) and his
band, which was known variously as the Nigeria 70, Africa 70, and later the Egypt 80,
performed for packed houses at the early-morning concerts that they staged at Fela’s
 often-raided nightclub in Lagos. The firebrand singer, who gyrated over the keyboard as
he sang in English and Yoruba, struck a chord among the unemployed, disadvantaged,
and oppressed. His politically charged songs, which decried oppression by Nigeria’s
military government, prompted authorities to routinely raid his club, looking for reasons
to jail him. Near there he also set up a communal compound, which he proclaimed the
independent Kalakuta Republic. As head of the commune, he often provoked controversy
and attracted attention by promoting indulgence in sex, polygamy (he married 27
women), and drugs, especially marijuana. A 1977 raid on the complex by Nigerian
authorities resulted in his brief incarceration and the death of his mother the following
year due to complications from a fall. In exile in Ghana in 1978, he changed his name
from Ransome to the tribal Anikulapo.

In 1979 Fela formed a political party, the Movement of the People, and ran
unsuccessfully for the presidency of Nigeria. Five years later he was jailed for 20 months
on charges of currency smuggling. Upon his release, he turned away from active political
protest and left his son, Femi, to carry the torch of Afro-beat music. Fela was jailed again
in 1993 for murder, but the charges were eventually dropped. He died as a result of
complications from AIDS.

CHAPTER FOUR

PRESENTATION ANALYSIS OF THE PERFORMER’S REPERTOIRE

CHAPTER FIVE

5.1 OUTLINE AND INTERPRETATION OF MAJOR FINDINGS

In the course of this performance project, certain problems that appear to be peculiar with
performance in Nigeria have been observed. It is, therefore, important that they are highlighted.
Such problems include:

 Lack of exposure to standard performance occasions

 Narrow coverage in the choice of performance repertoires
  Complete absence of artiste and repertoire management
 Lack of skills in manipulation of the instrument
 Poor or no knowledge of proper breath control
 Lack of technical know-how regarding the instrument
 Improper attitude toward rehearsals and practice sessions
 Lack of encouragement and support from the majority of the Nigerian audience,
who still consider the artiste generally as a social outcast.

5.2 RECOMMENDATION

To solve these problems encountered by the saxophone performer, the following solutions are
suggested:

 There should be visual tapes of live performance of the world acclaimed

successful saxophonists to inspire and mentor budding saxophonists
 Thorough drills are needed on breath control because that is the only way to
tackle/ perform most technical works on the saxophone
 Budding performers, especially on the saxophone, should be more adventuresome
and broaden their scope to try their hands in pieces of various periods and genres
 The professional bodies of performing musicians should mount enlighten
crusades to educate the budding performers on the importance of specialization in
administrative matters concerning musicians in the country
 Musicians should form their own fan clubs and public relations personnel to
handle the issue of their public image and propaganda

5.3 SUMMARY AND CONCLUSION

Every person who desires to study saxophone performance for the purpose of making it a
profession ought to try and discover how much natural endowment he/she may possess before
considering such a step seriously. Playing for other people’s pleasure demands certain standard
of excellence. Professional saxophone performance is an entirely different and tedious
undertaking. To begin with, it is a competitive activity. The standards of excellence are as high
as the greatest saxophonists of the 21st century may happen to set them. Nothing but an unusual
natural gift plus the most exciting control of it attained under such circumstances.
A good performer must take into consideration attributes like personalities, poise, imagination,
and emotional power, power of projection, dramatic ability, and love for the instrument,
patience, discipline, courage, intelligence and perseverance. It is very salient to note that the
saxophone as a performance instrument and also to show how the saxophone can be used as a
solo instrument, expressing such effects such as tonguing, growling, vibrato, altissimo, bending,
articulation, over blow, and crossing the bridge. This is an attempt to educate upcoming
saxophonists and also other students who would want to undertake a study of the saxophone or
take saxophone as their instrument of performance to have a reference point and guide.
Finally, the instrument therefore requires a great deal of discipline in order to perform on it for
performance and entertainment purposes.

REFERENCES

Albright, G. Contemporary Musicians. 2008. Retrieved August 06, 2015 from

Encyclopaedia.com;http://www.encyclopaedia.com/doc/1G23079100009. html

Eze, S. (2013).Expressivo on “Al-ten” Sax: A Saxophone Music Performance.Unpublished B.

A. project. University of Nigeria Nsukka.

Encarta Encyclopedia. (2009). Microsoft® Student [DVD] Redmond, W.A: Microsoft

Corporation.

Foss. L, John. T.& Bruce A. C. (2009b). Musicalperformance. Encyclopedia Britannica.

Chicago.

Hornby, A.S. (2004). Oxford Advanced Learner’s Dictionary. New York: Oxford University
Press.
Larry.T (1963).The Art of Saxophone Playing. New York.

MEYER, L. (1956) (1994). Emotion and meaning in music (first chapter) in Rita Aiello and
John Slobodia (Eds). Musical Perceptions. Oxford: Oxford University Press.
pp 6-39.

Musser, W. I. & Swift, F. F. (1960).All about Music. New York: Etma Publishing Corporation.

Nzewi, Meki (1991). Musical practice and creativity: An African traditional perspective.
Iwalewa-Haus.

Ogu, Chris (1993). Ozurigbo. Unpublished B.A. Project, UNN.

Olisaeke F.I (2006). Piano Composition in Contemporary Nigeria.Interlink: A journal of

Research in Music ,3, 64.

Zachary Music (2003). Care and maintenance of your saxophone. Retrieved January 23, 2003
from http://www.zacharymusic.com

Albright,G.ContemporaryMusicians.2008.RetrievedAugust06,2015from
Encyclopaedia.com;http://www.encyclopaedia.com/doc/1G23079100009. html

Eze, S. (2013).Expressivo on “Al-ten” Sax: A Saxophone Music Performance.Unpublished B.

A.project. University of Nigeria Nsukka.