Jazz Instrumental Saxophone Music Mp3 Download |WORK|

It's not easy to find a instrumental song,i know; its a chill jazz song , with saxophone and other instruments, its the kind of music people listen to while studying, it had about a million views on YouTube, i think the name of the song or the band/musician started with T? the saxophone goes dudududu du du dududu i dont know how to explain does anyone know what i mean lol?

I'm trying to remember a music video which I saw a few years ago on YouTube (presumably). It was a kind of light, poppy, instrumental song. I'd say it may fall into jazz purely because the sax was the lead instrument and I don't recall any vocal, but really it was very much a mid tempo pop melody. The kind of artists that may be comparable I suppose would be Kenny G and Curtis Stigers, but I'm quite sure it wasn't either of those.

Jazz Instrumental Saxophone Music Mp3 Download

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This coached chamber music course focuses on the performance of standard and emerging saxophone quartet (SATB) and sextet (sopranino through bass) music. Instruction emphasizes rehearsal skills, leadership, and collaborative methods; familiarization with the repertory; musical analysis through performance; and the development of a historically informed, musically unified, interpretation. The course will conclude with a concert featuring music prepared throughout the semester in collaboration with the Ithaca College saxophone quartet.

Though the saxophone is made of metal, it generates sound with a single reed, and so it is classified as a woodwind rather than as a brass instrument. Be that as it may, the original goal of the inventor was said to be to bridge the gap between the brass and the woodwinds, to blend the divergent tones of the two groups in wind-instrument music, to reinforce the lower range of the woodwinds, and to create a tonal balance. The saxophone, in fact, blends in well with both brass and woodwinds, and is now heavily relied upon to firm up the tone of the band and give it a rich voice and charm.

The dynamic range of the saxophone is the widest of all the woodwinds. It has tonal qualities very close to those of the human voice, and it is capable of a wide range of expression, so it is no wonder that it features prominently in the history of jazz music as a solo instrument. In classical music as well, it enjoys a robust repertoire, particularly from French composers, and it is used in a wide range of instrumental groupings, including chamber music, orchestra, and even as a solo instrument.

The Jazz Studies Program offers students myriad opportunities to hone their craft and prepare for careers as professional musicians, educators, composers and arrangers. Boyer jazz alumni can be found performing with eminent musicians, composing film scores, recording with major labels and teaching jazz to students around the country.

Boyer also hosts a jazz student exchange program with the prestigious Conservatorium van Amsterdam (Amsterdam Conservatory). Students have opportunities to participate in large and small ensembles that provide a comprehensive performance experience in solo as well as ensemble playing for both instrumentalists and vocalists.

The saxophone is used in a wide range of musical styles including classical music (such as concert bands, chamber music, solo repertoire, and occasionally orchestras), military bands, marching bands, jazz (such as big bands and jazz combos), and contemporary music. The saxophone is also used as a solo and melody instrument or as a member of a horn section in some styles of rock and roll and popular music.

Mouthpiece design has a profound impact on tone.[10] Different mouthpiece design characteristics and features tend to be favored for different styles. Early mouthpieces were designed to produce a "warm" and "round" sound for classical playing. Among classical mouthpieces, those with a concave ("excavated") chamber are truer to Adolphe Sax's original design; these provide a softer or less piercing tone favored by the Raschr school of classical playing. Saxophonists who follow the French school of classical playing, influenced by Marcel Mule, generally use mouthpieces with smaller chambers for a somewhat "brighter" sound with relatively more upper harmonics. The use of the saxophone in dance orchestras and jazz ensembles from the 1920s onward placed emphasis on dynamic range and projection, leading to innovation in mouthpiece designs. At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments.

The saxophone was designed around 1840 by Adolphe Sax, a Belgian instrument maker, flautist, and clarinetist.[3] Born in Dinant and originally based in Brussels, he moved to Paris in 1842 to establish his musical instrument business. Before working on the saxophone, he made several improvements to the bass clarinet by improving its keywork and acoustics and extending its lower range. Sax was also a maker of the ophicleide, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with these two instruments allowed him to develop the skills and technologies needed to make the first saxophones.

After an early period of interest and support from classical music communities in Europe, their interest in the instrument waned in the late nineteenth century. Saxophone teaching at the Paris Conservatory was suspended from 1870 to 1900 and classical saxophone repertoire stagnated during that period.[12] But it was during this same period that the saxophone began to be promoted in the United States, largely through the efforts of Patrick Gilmore, leader of the 22nd Regiment band, and Edward A. Lefebre, a Dutch emigre and saxophonist with family business associations with Sax. Lefebre settled in New York in early 1872 after he arrived as a clarinetist with a British opera company. Gilmore organized the World Peace Jubilee and International Music Festival taking place in Boston that summer. The Garde Republicaine band performed and Lefebre was a clarinetist with the Great Festival Orchestra for that event.[17] In the fall of 1873 Gilmore was reorganizing the 22nd Regiment band under the influence of the Garde Republicaine band and recruited Lefebre, who had established a reputation in New York as a saxophonist over the previous year. Gilmore's band soon featured a soprano-alto-tenor-baritone saxophone section, which also performed as a quartet. The Gilmore-Lefebre association lasted until Gilmore's death in 1892, during which time Lefebre also performed in smaller ensembles of various sizes and instrumentation, and worked with composers to increase light classical and popular repertoire for saxophone.[18]

Lefebre's later promotional efforts were extremely significant in broadening adoption of the saxophone. Starting towards the end of the 1880s he consulted with the brass instrument manufacturer C.G. Conn to develop and start production of improved saxophones to replace the costly, scantly available, and mechanically unreliable European instruments in the American market. The early 1890s saw regular production of saxophones commence at Conn and its offshoot Buescher Manufacturing Company, which dramatically increased availability of saxophones in the US. Lefebre worked with the music publisher Carl Fischer to distribute his transcriptions, arrangements, and original works for saxophone, and worked with the Conn Conservatory to further saxophone pedagogy in the US. Lefebre's associations with Conn and Fischer lasted into the first decade of the twentieth century and Fischer continued to publish new arrangements of Lefebre's works posthumously.[19]

While the saxophone remained marginal and regarded mainly as a novelty instrument in the classical music world, many new musical niches were established for it during the early decades of the twentieth century. Its early use in vaudeville and ragtime bands around the turn of the century laid the groundwork for its use in dance orchestras and eventually jazz. As the market for saxophones grew in the US, the manufacturing industry grew. The Martin Band Instrument Company started producing saxophones between 1905 and 1912, and the Cleveland Band Instrument Company started producing saxophones under contract to the H. N. White Company in 1916. The saxophone was promoted for the casual market with introduction of the C-soprano and C-melody (between alto and tenor) saxophones to play in key with pianos from the same sheet music. Production of such instruments stopped during the Great Depression. During the 1920s the saxophone came into use as a jazz instrument, fostered by the influences of the Fletcher Henderson Orchestra and the Duke Ellington Orchestra. Starting in the late 1920s and early 1930s, the modern era of classical saxophone was launched largely through the efforts of Marcel Mule and Sigurd Raschr, and the classical repertoire for the instrument expanded rapidly.

In the 20th and 21st centuries, the saxophone found increased popularity in symphony orchestras. The instrument has also been used in opera and choral music. Musical theatre scores also can include parts for saxophone, sometimes doubling another woodwind or brass instrument.

Coincident with the more widespread availability of saxophones in the US around the turn of the century was the rise of ragtime music. The bands featuring the syncopated African-American rhythmic influences of ragtime were an exciting new feature of the American cultural landscape and provided the groundwork for new styles of dancing. Two of the best known ragtime-playing brass bands with saxophones were those led by W. C. Handy and James R. Europe. Europe's 369th Infantry Regiment Band popularized ragtime in France during its 1918 tour.[28] The rise of dance bands into the 1920s followed from the popularity of ragtime. The saxophone was also used in Vaudeville entertainment during the same period. Ragtime, Vaudeville, and dance bands introduced much of the American public to the saxophone. Rudy Wiedoeft became the best known individual saxophone stylist and virtuoso during this period leading into the "saxophone craze" of the 1920s.[29] Following it, the saxophone became featured in music as diverse as the "sweet" music of Paul Whiteman and Guy Lombardo, jazz, swing, and large stage show bands.[citation needed] 2351a5e196