5. Saxo-Flute Hybridity

Embouchure

The saxophonist must adopt a new embouchure to execute this technique, closely resembling that used for the flute and the ney. Begin by puckering the lips as if pronouncing the word “pooh.” Position the saxophone neck between the lips, and direct a focused stream of air over the hole in the neckpiece. Adjust the angle of the saxophone neck as needed to achieve the desired sound. [Demonstrates].

Transposition

The transposition of saxo-flute hybridity closely follows the detuned scale defined in the air pitch technique. However, determining a comprehensive transposition is impossible due to the absence of the mouthpiece.

Range

As of today, the range of saxo-flute hybridity remains highly limited, in large part due to the lack of training on the part of the saxophonist and to the conical shape of the tube which is not designed to produce sounds in this way. The functional range, which every saxophonist should familiarize themselves with as a basis, spans from C5 to F#5 (G5 on soprano), utilizing the palm keys from D5 upwards. [Demonstrates range on alto]. However, this range may be extended further depending on the performer’s comfort and skill level with the technique and embouchure manipulation. Yet, as they explore the lower tessitura of this technique, it becomes more difficult to produce audible pitches.

For more advanced players, the range can be extended by over- or under-blowing the base octave much in the same way that a flutist will overblow to the octave:

• Soprano: The technique can be extended from F#4 to G5.
• Alto: Two octaves are possible. The lower octave ranges from B♭4 to F#5, while the middle octave ranges from D#4 to F#5.
• Tenor: Similarly, two octaves are possible. The middle octave ranges from E4 to F#5, while the higher octave ranges from G4 to F#5.
• Baritone: There are four different octaves that the player can execute. In the low octave, the range is B4 to F#5. In the middle octave, the range is C5 to F#5. In the high octave, the range is C5 to F#5. Additionally, by overblowing into this higher octave, one can attain a limited altissimo range of D5 to Eb5.

To hear the full range on each of the four main saxophones, click on the chromatic scale video in the section entitled Demonstration Videos.

Discussion

Saxo-flute hybridity is a rather new phenomenon in the history of saxophone playing. For this reason, not many saxophonists have either heard them or seen them in written music. Despite this, several contemporary musicians have taken these techniques to heart. Apart from myself, for example Philippe Geiss and Ola Asdahl Rokkones, have made these techniques an integral part of their artistic practice.

My first introduction to saxo-flute hybridity was hearing Geiss perform live. Geiss is a staunch advocate for this technique, especially on sopranino saxophone. It was from his performance that I started to grow curious about this way of playing the saxophone. Here is an excerpt from one of those concerts featuring Geiss as soloist. [Short excerpt of Calderosaxo (2012) by Phillipe Geiss plays] In this work, Caldersaxo for 12 saxophones and saxophone solo (2012), the soloist is asked to improvise on written out chord progressions in a legato style. In doing so, Geiss weaves a dreamy sound world to the opening of this rhythmically active work. ¹

Another deeply devoted saxophonist to this technique is Ola Asdahl Rokkones. He has developed it for several years, performing his own works or those of Scandinavian composers. Memorable is his work in the mixed ensemble Zwei-Mann-Orchester (two musicians playing various instruments at once) where many techniques are used to create a rich tapestry of sounds. Notable is the use of saxo-flute hybridity in the work Scener fra et Nabolag (2015) composed by Lars Skoglund. Here the tenor saxophone, played by Rokkones, is used to create flute sounds in between trumpet sounds from the other musician on the baritone saxophone.

Kientzy is the only author to mention the saxo-flute hybridity technique, briefly in his Saxologie. He classifies its sounds as “possessing the qualities of the flute and that of the ney” (Kientzy 2007: 511). Kientzy therefore names it the “saxnay technique.” The analogy comes from the position of the lips to the open bocal used to create the characteristic sounds, much in the same way that the ney is performed.

Kientzy falsely claims that the technique is only possible on the higher saxophones (sopranino, soprano, and alto saxophones). However, the ranges for the soprano and alto saxophones are inconsistent with the current possibilities on these instruments. Moreover, the outlined transposition and pitches that are detailed are inconsistent with my own findings on the same saxophones. Below, in the Video Demonstration section, you will find examples of me performing this technique on all four standard saxophones.