Timbre and Expressive Means of Modern Saxophone Performance

Abstract

A new substrate of timbre-sound model of modern saxophone sound in chamber-instrumental music is considered, which is approved due to the emergence of new and modification of established methods and techniques of saxophone playing. It is found that the timbre-sound instrumental model of the saxophone is realized through the timbre color of the sound, pitch characteristics of the sound range of the instrument and related ideas about: registers, surround effects (vibrato and frullato), spectral sound effects (flageolets), dynamic possibilities of sounds in different registers, realization of possibilities of longness of sound, etc. The technology of using additional alternative fingering and flageolet sounds on the saxophone is described, which contributes to greater diversity in timbre between notes within the same octave. It is emphasized that the coloring of the timbre or bisbigliando is carried out on the instrument by alternating ordinary and flagellate sounds, as well as with the help of additional (auxiliary) fingering. The timbre of the sound from the position of saturation of the melody is highlighted. It is stated that recently in modern performing practice on the saxophone are widely used both performing techniques that affect the timbre of the sound during its extraction, and techniques that generate individual timbre and sound structures. The method of changing the sound of the instrument with the help of specific work of the earbud (earbud effects) is substantiated. It is established that timbre ornamentation involves the use of klangfarbenmelodie, intricately ornamented notes, glissando, trills and tremolo. Emphasis is placed on the possibility of composers introducing a polyphonic element into the saxophone (solo) part as a combination of several sound voices — doubletone. It is proved that one of the biggest innovations of modern saxophone performance is the ability to perform chordal polyphony. The author's concept of using alternative (auxiliary) fingering to reproduce consonance on a fundamentally unanimous saxophone due to the performance of double flageolets, splitting tones, etc. is proposed.