sarrusophone

They are, nowadays, even less common than the sarrusophone.

The sarrusophone is rarely scored in classical music today, but there are a few examples.

The sarrusophone is rarely called for in orchestral music.

In humorous terms, the sarrusophone can be said to sound rather "industrial" or perhaps "unrefined."

Bechet later denied having ever played the sarrusophone.

The fingering of the sarrusophone is nearly identical to that of the saxophone.

The tone of the sarrusophone is less clear but much reedier than that of the saxophone.

It had a less conical and wide bore than both the saxophone and the sarrusophone.

The Rothphone is a metal double reed instrument similar to the sarrusophone built in saxophone form.

Like the oboe and bassoon, all sizes of sarrusophone were originally designed to be played with a double reed.

For the most part, the use of the sarrusophone was primarily in France, Italy and Spain.

The Soprano sarrusophone is a member of the sarrusophone family.

Its body is wrapped around only once, whereas the contrabass sarrusophone wraps around twice.

The bore of this instrument is narrower than that of either the sarrusophone or saxophone.

The sarrusophone was manufactured in the following sizes and had the following theoretical ranges:

Pierre-Louis Gautrot built this instrument and patented it under the name sarrusophone.

It is unclear if these were available for all sizes of the sarrusophone family, the most common examples being for the E contrabass.

However, because the sarrusophone never gained wide acceptance, makers were not inclined to develop its mechanism to the same extent as that of the saxophone.

Features of the sarrusophone's mechanism generally include:

Today, the sarrusophone is used in a handful of symphonic wind ensembles and as a novelty instrument on occasions.

Igor Stravinsky included a part for contrabass sarrusophone in Threni.

The sarrusophone was played by Earl Dummler.

Contrabass sarrusophone reeds are still manufactured by Vandoren.

Bruce Broughton made extensive use of a contrabass sarrusophone in his score for the film Tombstone.

The reed contrabass is sometimes confused with the contrabass sarrusophone, to which it bears some superficial resemblance.