Acoustics of the saxophone

Bb tenor saxophone

B6

Music Acoustics UNSW

Conventional Fingering

Impedance

Fingering
a key depressed
a key not depressed
a hole covered
a hole uncovered
a part of the mechanism that is not normally touched
Details in fingering legend.

Acoustic schematic
a closed tone hole
an open tone hole

Non-specialist introduction to acoustic impedance
Non-specialist introduction to saxophone acoustics

Notes are the written pitch.
Frequencies are the sounding frequency, for Bb saxophone.
Unless otherwise stated, the impedance spectrum is for a Bb saxophone.


Impedance spectrum of a Bb tenor saxophone measured using fingering for B6.

This is the fifth note in the altissimo or very high range, and plays at the third peak. The weakness of peaks in this range (due to the relatively large cone angle of the saxophone) explains why notes in this range are hard to play and require the player to assist the weak impedance peak of the bore with a strong impedance peak of the vocal tract. See this page for an explanation and some interesting results.

Sound


Sound spectrum of a Bb tenor saxophone played using fingering for B6.
For more explanation, see Introduction to saxophone acoustics.

Sound Clip

You can hear B6 played.

Alternative Fingering

tenor saxophone

Impedance

Fingering
a key depressed
a key not depressed
a hole covered
a hole uncovered
a part of the mechanism that is not normally touched
Details in fingering legend.

Acoustic schematic
a closed tone hole
an open tone hole

Non-specialist introduction to acoustic impedance
Non-specialist introduction to saxophone acoustics

Notes are the written pitch.
Frequencies are the sounding frequency, for Bb saxophone.
Unless otherwise stated, the impedance spectrum is for a Bb saxophone.


Impedance spectrum of a Bb tenor saxophone measured using alternative fingering for B6.

This is the fifth note in the altissimo or very high range, and plays at the third peak. The weakness of peaks in this range (due to the relatively large cone angle of the saxophone) explains why notes in this range are hard to play and require the player to assist the weak impedance peak of the bore with a strong impedance peak of the vocal tract. See this page for an explanation and some interesting results.

Sound


Sound spectrum of a Bb tenor saxophone played using alternative fingering for B6.
For more explanation, see Introduction to saxophone acoustics. This sound spectrum includes transient excitation from the beginning of the note, and so has traces of a subharmonic being excited.

Sound Clip

You can hear B6 played with alternative fingering.

2nd alternative Fingering

tenor saxophone

Impedance

Fingering
a key depressed
a key not depressed
a hole covered
a hole uncovered
a part of the mechanism that is not normally touched
Details in fingering legend.

Acoustic schematic
a closed tone hole
an open tone hole

Non-specialist introduction to acoustic impedance
Non-specialist introduction to saxophone acoustics

Notes are the written pitch.
Frequencies are the sounding frequency, for Bb saxophone.
Unless otherwise stated, the impedance spectrum is for a Bb saxophone.


Impedance spectrum of a tenor saxophone measured using 2nd alternative fingering for B6.

This is the fifth note in the altissimo or very high range. It is not a member of a simple register: it plays rather just below the eight impedance peak. The first few peaks are very strong, and would tend to dominate. The weakness of this peak (due to the relatively large cone angle of the saxophone) explains why notes in this range are hard to play and require the player to assist the weak impedance peak of the bore with a strong impedance peak of the vocal tract. See this page for an explanation and some interesting results.

Sound


Sound spectrum of a tenor saxophone played using 2nd alternative fingering for B6.
For more explanation, see Introduction to saxophone acoustics.

Sound Clip

You can hear B6 played with 2nd alternative fingering.
Fingering legend
How were these results obtained?

Contact: Joe Wolfe / J.Wolfe@unsw.edu.au
phone 61-2-9385-4954 (UT +10, +11 Oct-Mar)
© 1997-2009 Music Acoustics UNSW