American low A baritone saxophone comparison скачать в хорошем качестве

American low A baritone saxophone comparison

In celebration of two recent acquisitions The American Low A baritone saxophones Selmer Paris introduced the first production low A baritones (c. 1950), beginning with the SBA and followed by the Mark VI (c. 1954). The low A extension was an available option for both models. This was a bold move by Selmer, as they were pushing the boundaries of the bari sax range, (providing a concert C) with the hope that the newer musical trends of the time would embrace the 1/2 step extension. The timing was excellent. Rock and Roll and R&B - new genres of music becoming increasingly popular - began using the saxophone extensively. Many of the key signatures, (especially C) were especially accommodating of the low A, and writers and arrangers took full advantage of the bari sax’s new low note. The low A became immediately desirable. With this new availability, composers increasingly included the low A in jazz, big bands, saxophone quartets, wind ensembles, solo, classical and contemporary music. Even though some players prefer the sonic and ergonomic characteristics of the low Bb baritone, the low A is an essential part of baritone playing today. There is so much music requiring the low A. The Selmer (Paris) low A baritone became increasingly popular through the 1950s and 1960s, and there was no American counterpart for a long time. Conn 11M low A baritone In 1968, the Conn company, mired in an irreversible decline, produced their 11M low A baritone in an attempt to revive sales. Their advertising exclaimed,; “Meet the low A bari….. with GUTS” The Conn 11M is essentially a 12M (Bb bari) with an extension added to the bell, along with additional key work to access the low A. It is somewhat rare as they were not produced for a long time. The Conn 11M was discontinued in 1974. The instrument features full chromatic keywork from low A up to palm key F, with a front F mechanism included. The low A key is accessible in two places: 1) an extra key next to the low Bb table key operated by the small finger of the left hand 2) an additional key for the left hand thumb just below the thumb rest. Some criticize the added low A extension as it is a straight tube, not following the conical bore to the end. I am less critical, as the difference in bore proportion at that part of the tube seems to have a minimal effect on tone or response. Martin Magna low A baritone Although Martin introduced their top of the line Magna as early as 1956, it was not until c. 1960 that they introduced the low A baritone. They appear to have been produced under the new RMC management that lasted for a few years in an attempt to save the company. These are very special instruments, and have become highly desirable to players and collectors. They are hard to find. Production lasted for just a few years before other management and ownership changes shifted the Martin company in a different direction. The Martin Magna low A baritone has two keys to operate the low A, both operated by the thumb of either hand. 1) A key just below the left hand thumb rest and 2) A key to the left of the right hand thumb rest. The video in this post compares the sound of the Martin Magna low A and Conn 11M, preceded by a Mark VI low A baritone demonstration as a reference. In the video will be detailed pictures and descriptions of the instruments and mechanisms. I’m using the same mouthpiece (one of my classical bari mouthpieces - a large chamber Caravan - ) on all three instruments.