The baritone, more than other horns because of it’s register, can have very different personalities. It is able to sound light and romantic in the upper register, full and vibrant in the middle, and sharp or robust in the lower. It can take on the characteristics of a tenor sax or a trombone, but also a cello, bassoon and even the human voice when played well. Each player must decide for themselves what it is they want to hear in their own sound. Of course, set up can have a lot to do with that. Different horns and mouthpieces will lend themselves towards one approach or another. Personally, I prefer a low Bb horn and I tend to think that older horns have warmer and richer sounds, though that is certainly a generalization. There is nothing inherent in modern horns that prevent them from being able to do that, I just don’t think it’s a priority for those who make the horns these days. Low A baritones have to add a fair amount of metal tubing to the horn which changes the intonation and sound of the horn. Low A’s are recalibrated to account for this of course, but I tend to believe that the extra note isn’t worth it. - Paul Nedzela in his interview with jazzbarisax This. This is my entire method for playing Bari Sax. Since I usually play in concert or jazz bands, both of which have scenarios where the Bari is doubling other more primary instruments, I try to be flexible in order to blend with whatever section Im playing with. Oddly enough, I have a much easier time doing so on my wide open Rico M9 piece than any other that Ive tried. I think it has something to do with how full the combination of that mouthpiece and my 400 horn sounds.
Posted on: Tue, 15 Oct 2013 01:32:55 +0000
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