Episode 3 – All About that Bass… Saxophone

After a couple of weeks off, Matt and I discuss the Bass Saxophone.

Show Notes

From Bandestration

Eppelsheim Bass Saxophone

Selmer Bass Saxophone

Keilwerth Bass Saxophone

Wessex Bass Saxophone


2 thoughts on “Episode 3 – All About that Bass… Saxophone

  1. Alexander Kindel

    I must admit that I’ve considered writing for bass saxophone several times, but faltered each time because it only gives that extra major third on the baritone. An extension to written A would make the idea a little more attractive, but I’d say that I prefer the lowest instrument in any given family to add at least a fifth below the next-lowest. It would seem perfectly natural, then, to score for both a bass and a contrabass, if only I were prepared to take that leap, haha. I’d feel similarly about scoring for contra-alto clarinet, except that contrabass clarinets are common enough that I will happily score for both.

    I was going to comment that saxophone nomenclature bothers me because the bass and the contrabass are not an octave apart, because I had thought “contra” means “double,” but looking it up now, I can find no source for that claim. I guess “double bass” and “double bassoon” can’t be considered literal translations of “contrabass” and “contrabassoon.”

  2. Matthew Banks

    When one is writing for bass sax, I think it’s better to consider it a new tone color than merely a range extension. Though, it does play with greater strength in the “bass” register than the Baritone saxophone really can.

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