Chords for Orpheus Musical Instruments "Steve Goodson" Model Bari Sax
Tempo:
93.55 bpm
Chords used:
B
Ab
E
D
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[B] [B]
[Db] [N] Now, I'm a baritone player by profession, and I very proudly present to you the Steve
Goodson Model Baritone.
Absolutely the finest baritone anyone has ever manufactured.
Designing a new baritone and creating the problems inherent with the baritone sax was
a labor of love for me.
Now, this, ladies and [G] gentlemen, is the Steve Goodson Model Baritone Sax.
There's never been anything like it.
There is no finer [Ab] baritone available on this planet at any price.
This example is in a beautiful silver plate.
We also have this instrument available in [B] gold plate, black nickel, or gold lacquer.
[N] Now, the reason that other baritone saxophones don't perform nearly as well as this is
because the other manufacturers have refused to do the math and pay attention to [B] acoustic theory.
I'll say that again.
[G] Those guys are asleep at the [N] wheel.
They're not paying attention.
We totally redesigned the upper pigtail of this horn and got the math right.
So when you go from the third space C to the fourth line D, it doesn't sound like you picked
up an additional instrument.
Now, in my career as a repairman, I've had to fix too many baritones, so I made some changes here.
I added some nickel silver guards to the top E, F, and a high F sharp, and I made them
screw removable for easy maintenance.
We also added an additional brace here so the pigtail doesn't get knocked out of line.
We're using our premium kangaroo leather pads with a solid brass Noyex.
The front F is fully screw adjustable, which is critical on the baritone.
We have on our low A key, feels like a real saxophone key rather than an add-on because
we move the geometry over here instead of coming over here, enabling us to use a shorter
rod and not have any key flex.
A three-position strap hook, an extra large sax from a thumb rest, the chromatic B flat
and C have stops at the bottom so they don't flex.
Genuine mother of pearl key touches, and here's the important thing [E] you need to know about
the key touches.
The spacing [N] on the key touches on this baritone is exactly the same as a tenor saxophone.
[E] You don't have your hands spread out trying to play the baritone.
[D] It's in a very natural, relaxed position, which will give you greater speed [Ab] in execution.
We have double arms on the low C to keep it moving in a horizontal [G] plane, but we don't
use a double arm on the low B, B flat, or [B] A because it's not necessary.
You see, we use a double brace on the bell to [Eb] body here to keep the bell [Dbm] from moving,
so these are [E] always nice and stable.
These keys are also protected [Em] by individual key guards instead of [C] one large [B] guard.
An extra [G] large bell, beautiful, [N] beautiful engraving.
The engraving on this horn is the best in the world.
[E] Every one of them's a little bit different.
[N] This one has a beautiful, beautiful floral motif.
[Ab] Nothing sounds like it.
If you would do me the honor, my [Gb] friend.
Okay, on baritone.
Now you were [D]
probably one of the finest baritone players ever.
You concentrate on repairing now, and I don't know why you should be out here [N] playing this thing.
The money's better.
Ha ha ha ha ha.
So, let's see.
[A] [N] So straight in the middle, straight and fine, the kind of sound you want.
[Eb] Straight down [B] the bottom, [Db] bottom note [B] is straight up.
[D] Okay, let's look at this difference between the octaves.
[Bb] [Dbm] [E]
[C] [Gb] So she boots up okay.
So can we do a bit of [Db] Motown?
[A] [D]
[Gbm] [D] Perfect for any [F] Motown session.
What about the lightness?
If I want to play a [Ab] little bit of Mulligan.
Let's hear some Mulligan.
Okay.
[Gm] [Eb]
[G] [Ab]
[Gm] [Gb] [E]
[Db] Now I've never got that sound, apart from maybe with a con crossbar,
but that only does that [F] sound.
So I've always needed two baritones to do that.
One for rock and roll sessions, and one to play jazz.
So this is the first horn that I've ever had that's covered both basses.
And the feel.
You can play it like a tenor.
[Gb] Oh, oh, oh, oh.
[F]
[D] [Ab] [E]
[Ab] Yeah, I could give a tenor player a run for his [D] money.
Ha ha ha.
[G]
[Bb] Oh yeah, let me at it.
[Db] [N] Now, I'm a baritone player by profession, and I very proudly present to you the Steve
Goodson Model Baritone.
Absolutely the finest baritone anyone has ever manufactured.
Designing a new baritone and creating the problems inherent with the baritone sax was
a labor of love for me.
Now, this, ladies and [G] gentlemen, is the Steve Goodson Model Baritone Sax.
There's never been anything like it.
There is no finer [Ab] baritone available on this planet at any price.
This example is in a beautiful silver plate.
We also have this instrument available in [B] gold plate, black nickel, or gold lacquer.
[N] Now, the reason that other baritone saxophones don't perform nearly as well as this is
because the other manufacturers have refused to do the math and pay attention to [B] acoustic theory.
I'll say that again.
[G] Those guys are asleep at the [N] wheel.
They're not paying attention.
We totally redesigned the upper pigtail of this horn and got the math right.
So when you go from the third space C to the fourth line D, it doesn't sound like you picked
up an additional instrument.
Now, in my career as a repairman, I've had to fix too many baritones, so I made some changes here.
I added some nickel silver guards to the top E, F, and a high F sharp, and I made them
screw removable for easy maintenance.
We also added an additional brace here so the pigtail doesn't get knocked out of line.
We're using our premium kangaroo leather pads with a solid brass Noyex.
The front F is fully screw adjustable, which is critical on the baritone.
We have on our low A key, feels like a real saxophone key rather than an add-on because
we move the geometry over here instead of coming over here, enabling us to use a shorter
rod and not have any key flex.
A three-position strap hook, an extra large sax from a thumb rest, the chromatic B flat
and C have stops at the bottom so they don't flex.
Genuine mother of pearl key touches, and here's the important thing [E] you need to know about
the key touches.
The spacing [N] on the key touches on this baritone is exactly the same as a tenor saxophone.
[E] You don't have your hands spread out trying to play the baritone.
[D] It's in a very natural, relaxed position, which will give you greater speed [Ab] in execution.
We have double arms on the low C to keep it moving in a horizontal [G] plane, but we don't
use a double arm on the low B, B flat, or [B] A because it's not necessary.
You see, we use a double brace on the bell to [Eb] body here to keep the bell [Dbm] from moving,
so these are [E] always nice and stable.
These keys are also protected [Em] by individual key guards instead of [C] one large [B] guard.
An extra [G] large bell, beautiful, [N] beautiful engraving.
The engraving on this horn is the best in the world.
[E] Every one of them's a little bit different.
[N] This one has a beautiful, beautiful floral motif.
[Ab] Nothing sounds like it.
If you would do me the honor, my [Gb] friend.
Okay, on baritone.
Now you were [D]
probably one of the finest baritone players ever.
You concentrate on repairing now, and I don't know why you should be out here [N] playing this thing.
The money's better.
Ha ha ha ha ha.
So, let's see.
[A] [N] So straight in the middle, straight and fine, the kind of sound you want.
[Eb] Straight down [B] the bottom, [Db] bottom note [B] is straight up.
[D] Okay, let's look at this difference between the octaves.
[Bb] [Dbm] [E]
[C] [Gb] So she boots up okay.
So can we do a bit of [Db] Motown?
[A] [D]
[Gbm] [D] Perfect for any [F] Motown session.
What about the lightness?
If I want to play a [Ab] little bit of Mulligan.
Let's hear some Mulligan.
Okay.
[Gm] [Eb]
[G] [Ab]
[Gm] [Gb] [E]
[Db] Now I've never got that sound, apart from maybe with a con crossbar,
but that only does that [F] sound.
So I've always needed two baritones to do that.
One for rock and roll sessions, and one to play jazz.
So this is the first horn that I've ever had that's covered both basses.
And the feel.
You can play it like a tenor.
[Gb] Oh, oh, oh, oh.
[F]
[D] [Ab] [E]
[Ab] Yeah, I could give a tenor player a run for his [D] money.
Ha ha ha.
[G]
[Bb] Oh yeah, let me at it.
Key:
B
Ab
E
D
G
B
Ab
E
_ _ _ _ [B] _ _ _ [B] _
_ _ _ [Db] _ _ [N] Now, I'm a baritone player by profession, and I very proudly present to you the Steve
Goodson Model Baritone.
Absolutely the finest baritone anyone has ever manufactured.
Designing a new baritone and creating the problems inherent with the baritone sax was
a labor of love for me.
Now, _ this, ladies and [G] gentlemen, is the Steve Goodson Model Baritone Sax.
There's never been anything like it.
There is no finer [Ab] baritone available on this planet at any price.
This example is in a beautiful silver plate.
We also have this instrument available in [B] gold plate, black nickel, or gold lacquer.
[N] Now, the reason that other baritone saxophones don't perform nearly as well as this is
because the other manufacturers have refused to do the math and pay attention to [B] acoustic theory.
I'll say that again.
[G] Those guys are asleep at the [N] wheel.
They're not paying attention.
We totally redesigned the upper pigtail of this horn and got the math right.
So when you go from the third space C to the fourth line D, it doesn't sound like you picked
up an additional instrument.
Now, in my career as a repairman, I've had to fix too many baritones, so I made some changes here.
I added some nickel silver guards to the top E, F, and a high F sharp, and I made them
screw removable for easy maintenance.
We also added an additional brace here so the pigtail doesn't get knocked out of line.
We're using our premium kangaroo leather pads with a solid brass Noyex.
The front F is fully screw adjustable, which is critical on the baritone.
We have on our low A key, feels like a real saxophone key rather than an add-on because
we move the geometry over here instead of coming over here, enabling us to use a shorter
rod and not have any key flex.
A three-position strap hook, an extra large sax from a thumb rest, the chromatic B flat
and C have stops at the bottom so they don't flex.
_ Genuine mother of pearl key touches, and here's the important thing [E] you need to know about
the key touches.
The spacing [N] on the key touches on this baritone is exactly the same as a tenor saxophone.
[E] You don't have your hands spread out trying to play the baritone.
[D] It's in a very natural, relaxed position, which will give you greater speed [Ab] in execution.
We have double arms on the low C to keep it moving in a horizontal [G] plane, but we don't
use a double arm on the low B, B flat, or [B] A because it's not necessary.
You see, we use a double brace on the bell to [Eb] body here to keep the bell [Dbm] from moving,
so these are [E] always nice and stable.
These keys are also protected [Em] by individual key guards instead of [C] one large [B] guard.
An extra [G] large bell, beautiful, [N] beautiful engraving.
The engraving on this horn is the best in the world.
[E] Every one of them's a little bit different.
[N] This one has a beautiful, beautiful floral motif.
[Ab] Nothing sounds like it.
If you would do me the honor, my [Gb] friend.
Okay, on baritone.
Now you were [D]
probably one of the finest baritone players ever.
You concentrate on repairing now, and I don't know why you should be out here [N] playing this thing.
The money's better.
Ha ha ha ha ha.
So, let's see.
_ [A] _ [N] So straight in the middle, straight and fine, the kind of sound you want.
[Eb] Straight down [B] the bottom, [Db] bottom note [B] is straight up. _
_ _ [D] Okay, let's look at this difference between the octaves. _
_ _ _ [Bb] _ _ [Dbm] _ _ [E] _
_ _ _ _ [C] _ _ [Gb] So she boots up okay.
So can we do a bit of [Db] Motown?
_ [A] _ _ [D] _
_ _ _ _ [Gbm] _ _ [D] Perfect for any [F] Motown session.
What about the lightness?
If I want to play a [Ab] little bit of Mulligan.
Let's hear some Mulligan.
Okay.
_ _ _ [Gm] _ _ _ [Eb] _ _
_ _ _ [G] _ _ [Ab] _ _ _
_ [Gm] _ _ _ [Gb] _ _ _ [E] _
_ [Db] Now I've never got that sound, apart from maybe with a con crossbar,
but that only does that [F] sound.
So I've always needed two baritones to do that.
One for rock and roll sessions, and one to play jazz.
So this is the first horn that I've ever had that's covered both basses.
And the feel.
You can play it like a tenor.
[Gb] Oh, oh, oh, oh.
[F] _
_ _ _ [D] _ _ [Ab] _ _ [E] _
_ [Ab] Yeah, I could give a tenor player a run for his [D] money.
Ha ha ha.
_ [G] _
_ _ _ [Bb] Oh yeah, let me at it. _
_ _ _ _ _ _ _ _
_ _ _ [Db] _ _ [N] Now, I'm a baritone player by profession, and I very proudly present to you the Steve
Goodson Model Baritone.
Absolutely the finest baritone anyone has ever manufactured.
Designing a new baritone and creating the problems inherent with the baritone sax was
a labor of love for me.
Now, _ this, ladies and [G] gentlemen, is the Steve Goodson Model Baritone Sax.
There's never been anything like it.
There is no finer [Ab] baritone available on this planet at any price.
This example is in a beautiful silver plate.
We also have this instrument available in [B] gold plate, black nickel, or gold lacquer.
[N] Now, the reason that other baritone saxophones don't perform nearly as well as this is
because the other manufacturers have refused to do the math and pay attention to [B] acoustic theory.
I'll say that again.
[G] Those guys are asleep at the [N] wheel.
They're not paying attention.
We totally redesigned the upper pigtail of this horn and got the math right.
So when you go from the third space C to the fourth line D, it doesn't sound like you picked
up an additional instrument.
Now, in my career as a repairman, I've had to fix too many baritones, so I made some changes here.
I added some nickel silver guards to the top E, F, and a high F sharp, and I made them
screw removable for easy maintenance.
We also added an additional brace here so the pigtail doesn't get knocked out of line.
We're using our premium kangaroo leather pads with a solid brass Noyex.
The front F is fully screw adjustable, which is critical on the baritone.
We have on our low A key, feels like a real saxophone key rather than an add-on because
we move the geometry over here instead of coming over here, enabling us to use a shorter
rod and not have any key flex.
A three-position strap hook, an extra large sax from a thumb rest, the chromatic B flat
and C have stops at the bottom so they don't flex.
_ Genuine mother of pearl key touches, and here's the important thing [E] you need to know about
the key touches.
The spacing [N] on the key touches on this baritone is exactly the same as a tenor saxophone.
[E] You don't have your hands spread out trying to play the baritone.
[D] It's in a very natural, relaxed position, which will give you greater speed [Ab] in execution.
We have double arms on the low C to keep it moving in a horizontal [G] plane, but we don't
use a double arm on the low B, B flat, or [B] A because it's not necessary.
You see, we use a double brace on the bell to [Eb] body here to keep the bell [Dbm] from moving,
so these are [E] always nice and stable.
These keys are also protected [Em] by individual key guards instead of [C] one large [B] guard.
An extra [G] large bell, beautiful, [N] beautiful engraving.
The engraving on this horn is the best in the world.
[E] Every one of them's a little bit different.
[N] This one has a beautiful, beautiful floral motif.
[Ab] Nothing sounds like it.
If you would do me the honor, my [Gb] friend.
Okay, on baritone.
Now you were [D]
probably one of the finest baritone players ever.
You concentrate on repairing now, and I don't know why you should be out here [N] playing this thing.
The money's better.
Ha ha ha ha ha.
So, let's see.
_ [A] _ [N] So straight in the middle, straight and fine, the kind of sound you want.
[Eb] Straight down [B] the bottom, [Db] bottom note [B] is straight up. _
_ _ [D] Okay, let's look at this difference between the octaves. _
_ _ _ [Bb] _ _ [Dbm] _ _ [E] _
_ _ _ _ [C] _ _ [Gb] So she boots up okay.
So can we do a bit of [Db] Motown?
_ [A] _ _ [D] _
_ _ _ _ [Gbm] _ _ [D] Perfect for any [F] Motown session.
What about the lightness?
If I want to play a [Ab] little bit of Mulligan.
Let's hear some Mulligan.
Okay.
_ _ _ [Gm] _ _ _ [Eb] _ _
_ _ _ [G] _ _ [Ab] _ _ _
_ [Gm] _ _ _ [Gb] _ _ _ [E] _
_ [Db] Now I've never got that sound, apart from maybe with a con crossbar,
but that only does that [F] sound.
So I've always needed two baritones to do that.
One for rock and roll sessions, and one to play jazz.
So this is the first horn that I've ever had that's covered both basses.
And the feel.
You can play it like a tenor.
[Gb] Oh, oh, oh, oh.
[F] _
_ _ _ [D] _ _ [Ab] _ _ [E] _
_ [Ab] Yeah, I could give a tenor player a run for his [D] money.
Ha ha ha.
_ [G] _
_ _ _ [Bb] Oh yeah, let me at it. _
_ _ _ _ _ _ _ _