Guide price: £425
Weight: 1.9Kg (yes, really)
Date of manufacture: 2011
Date reviewed: November 2011
A lightweight alto aimed at very young beginners
If I had a pound for every time someone has asked me "I want to
play the sax, so should I start on clarinet?" I'd have enough money
to keep me supplied with single malt whisky for an entire year. The answer,
of course, is "No" - but it's worth thinking about where this
misconception comes from.
When a child wishes to learn a woodwind instrument there are few options
that are practicable. Their arms and fingers aren't often long enough
to cope with the size of standard instruments, and the sheer weight of
some of them is an important consideration.
Unlike stringed instruments that are available in smaller sizes (such
as 1/4 and 1/8th), you can't make a woodwind instrument smaller without
affecting its pitch. Even brass players fare better, with the availability
of pocket trumpets - which play in the standard Bb pitch but just have
all the tubes more tightly wrapped. If you make a Bb clarinet smaller
you end up with a C or an Eb clarinet - and while a C clarinet can sound
presentable, an Eb in the hands of a child can be a painful experience
for anyone within earshot.
But even so, such instruments are good for getting children started on
the road to learning a woodwind instrument - and the experience gleaned
will pay dividends when they're big enough to physically handle a saxophone.
So you can imagine that there's a large potential market in making a
sax that can be handled at an earlier age.
"Aha!" you say, "What about the curved soprano?" Well
yes, it's an option - but it suffers a bit from the same problem as the
Eb clarinet in that unless you can play it quite well, it sounds bloody
awful and can be quite hard to play in tune. It's also relatively expensive
compared to other woodwinds - though there are some surprisingly serviceable
examples coming out of China now that fall well within the price range
of a standard student alto.
Clearly you can't make the alto any smaller without affecting its pitch,
and there's only so much you can do about the positioning of the keys
- but you can cut down on the weight.
There are two ways of doing this; make it out of a different material,
such as plastic - or make it with fewer keys.
The former is available in the shape of the somewhat controversial Vibratosax
- a wholly plastic saxophone which sounds like a great idea in principle
but hasn't really made the grade in practice (yet), and the latter in
the shape of the TJ (Trevor James) Alphasax.
I have to admit I've always been slightly sceptical about 'cut-down'
instruments - it always seemed to me that if you wanted to go down this
route all you really needed to do was get a standard sax and have a few
keys taken off. Of course, you'd need to have the relevant tone holes
plugged up - but these could be opened up at a later date and the keys
refitted when the player is able to manage them.
It sounds like a great idea, but in practice I realise it's actually a
pretty daft one as it wouldn't reduce the weight by much and it would
be rather a fiddly process, and some keys would still be hard to reach.
So the Alphasax makes sense - but does it make for a good horn?
it's certainly built well enough.
It might have fewer keys than a standard alto, but TJ haven't skimped
on the features. It has a detachable bell, an adjustable thumb hook, a
generously-sized thumb rest and sling ring - and they've even managed
to include adjusters on the bell key bumper felts. I'm pleased to report
that the tone holes were all level, though they could have been a tad
smoother on the rims.
The pillars are individually mounted (as opposed to fitted to straps or
ribs) which takes off a few ounces here and there, but this hasn't been
done at the expense of strength. The pillar bases are decently-sized,
as are the bell key guard feet, and there's an attactively-designed triple
point bell stay as well as a semicircular bell key pillar.
Light though this horn may be, it's nonetheless been built to withstand
the rigours of student use.
Things get very interesting indeed when it comes to the keywork, and
perhaps the most obvious omissions are the B & Bb at the bottom end
and the F and Eb at the top.
Slightly less obvious is the omission of the side C and lower F# keys
- and not having a top F means there's no need for a front top F key,
and no top Eb means there's no need for the side top E key either. There's
no top F# either (which isn't that uncommon on some pro horns even today).
That's quite a bundle of keys and fittings, and therefore quite a bit
of weight that's been saved.
as with the body, things may have been pared down but it hasn't been at
the expense of build quality. The keys are well made, and TJ appears to
have avoided being tempted to save a few grams by making the key arms
thinner - they're as chunky as you'll find on any standard horn, and just
as strong. Again, this bodes well for rough handling.
At this point the frills definitely run out - there are no adjusting screws
on the main stacks (though the Bb/ G# adjusters are present), and both
the bell key and low C/Eb spatulas have been replaced with simple touchpieces.
There is once concession to comfort though - the Bis Bb key pearl is domed,
which makes for a pleasant action as your finger rolls over onto the key.
As far as I could see the pads look to be of reasonable quality, and quite
well set. This should be a sax that will play straight out of the box.
The whole horn is very nicely finished in lacquer, and there's a rather
elegant logo neatly stamped into the bell.
Also worthy of note is that the action is powered by blued steel springs.
I'd normally say this is a good thing - but given that kids aren't perhaps
going to be the most fastidious of saxophone owners, a decent set of stainless
springs might have been a better bet. It's a small point though.
Not so small however is the use of pseudo
point screws. These have no provision for adjustment when the keywork
wears, and that could be an important consideration over time. Fortunately
there aren't many of them, so it wouldn't be an overly-expensive job to
replace them as and when necessary.
the fingers the action felt quite good. The horn is set with a medium-high
action, which will be just about right for young players, and clearly
some effort has been made to ensure that the springs are not set
too strong. Top marks there.
The placement of the main stack key pearls is pretty much standard
- no real need to move these around - but it's on the ancillary
keys where the concessions to small hands will be found.
I have quite long fingers, so I found it quite tricky to hit the low C/Eb
keys - in fact I couldn't hit the Eb key at all - but when I slid my right
thumb further around the body (to simulate a smaller hand) these keys
fell right into place.
Likewise, the bell keys (all two of them) feel a little strange at first,
but are actually quite comfortable once you get used to them. The top
D key seemed more or less as standard but the side Bb seems to extend
just a little bit lower than usual...again, a concession for smaller hands.
As it happens I had a client drop by with her clarinet while I was working
on this review and she'd brought her 8 year old son with her. I immediately
spotted an opportunity and fitted him up with the Alphasax. His mum was
a bit taken aback, but he seemed to be enjoying himself thoroughly and
was rather fascinated with it - and I was able to see how his hands fitted
the keywork. Spot on.
I was very pleased with the results, but I don't think the client was
all that happy - the lad seemed so thrilled with it that I told him if
he was very good he might get one for Christmas. I caught a stern look
from his mum, but it was already too late - as they left the workshop
I heard the boy say "Mummy, I want one for Christmas!". Mr Popular
- that's me!
Tonewise the Alphasax is quite a surprise - I expected it to be quite
bright, but it's actually a little on the warm side. This is very nice.
Most beginners are going to make a terrible racket for the first few months,
and nothing's more guaranteed to put you off your dinner than the shrill
squawking of a beginner on an alto sax...but that touch of warmth to the
tone will really take the edge off.
Accident, or design? Who knows, but it's a nice touch.
It's an easy blow too. Not as free-blowing as some altos I've played,
but then that's not always a good quality for a student horn. A little
bit of resistance helps prevent the horn running away with itself. Think
of it as traction control.
only thing that caught me out a bit was the 'presentation' of the low
Nerdy readers will be wondering where the low C note comes out. It usually
comes out of the low B tone hole (remember, when you play a note on a
woodwind instrument, the sound comes out from the nearest open hole. When
you close the low C key, the nearest open hole is the low B) - but as
there isn't a low B on this horn it comes out of a special hole at the
rear of the bell. This is a sensible place for it as the main body will
offer it a degree of protection. (Even-nerdier readers will be wondering
why they bothered with a full-sized bell. They'd be right too, there's
no need for it - it's just there for 'the look').
So, when I hit the low C the sound didn't come from quite where I expected
it to, which was a little odd. Not an issue, just a quirky observation
from someone so used to hearing that note come from the right hand side
(or the left on certain vintage horns). Supremely-nerdy readers will be
poised to email me about the Buescher
400, which has its B & Bb tone holes on the rear of the bell).
I actually quite enjoyed playing it - but I think this was more to do
with the lack of weight, it's really noticeable how light it is.
In terms of evenness of tone it's right there - very well balanced - and
the tuning is bang on the mark.
One other nice feature that's worth a mention is the mouthpiece - labelled
'TJ Esprit II (by) Bari'.
It's a little warm for my tastes (but this will raise another cheer from
long-suffering parents) but it at least blows quite nicely - which is
much more than can be said for most 'supplied-with-horn' pieces. Better
still it comes with a decent single-screw ligature, which will be an absolute
boon for beginners. Trust me on that.
just how much difference does all the paring-down make?
Well, a bog-standard alto weighs in at around 2.5Kg, with perhaps the
lightest on the market being the Yamaha YAS275 at 2.3Kg (the same, incidentally,
as a Selmer MkVI). The Alphasax tips the scales at a tad under 1.9Kg.
That's a difference of about the weight of a pint of milk in a plastic
bottle - and for a child that's not an insignificant amount when it's
hanging around their neck.
And it's not just the sax that's light, the specially designed case is
too. In fact the whole lot comes in at a miserly 3.25Kg.
I know from my own schooldays that lugging around a standard alto in its
case takes its toll - but even the school wimp could handle one of these.
Of course, with a case that's this small there's not a lot of room inside
- so there's a handy pocket on the outside for all your gubbins.
On the face of it, this makes for a powerful selling point for the Alphasax
- but let's have a closer look at the pros and cons:
As just mentioned, the weight is the biggest pro factor. No competition
The specifically designed keywork is a boon too, you simply won't get
this degree of comfort from a standard horn if you have small hands.
It's a quality product - the build quality is good, it's built to take
knocks...and better still, you get a 5 year warranty with it.
It's a proper alto sax, in Eb - not a higher pitched horn.
- It's pricey. At £400+ it's around double the cost of an Ultra-Cheap
- It's limited in terms of the notes it can produce
- It has some non-standard key designs
- A clarinet would be even lighter, and cheaper
Those are pretty powerful counter-arguments - so let's have a closer
look at them.
The price may seem a bit steep, but then this isn't a cheapo horn. It's
well made, well set up and it plays very well indeed. An Ultra-Cheap Chinese
horn can be had for around half the price, but it would be rather heavier
(and less well-made)...and even modifying it wouldn't reduce the weight
Because of this there's going to be a healthy resale market for the Alphasax
- there will always be a steady supply of youngsters keen to learn the
sax, so providing you haven't beaten the thing to death you'll be able
to sell it on (and pretty quickly, I should think).
I should also add that the Trevor James company has been around for quite
some time now, so you're not likely to find that 5 year warranty is worth
less than the paper its printed on. It occurred to me though that most
people are going to buy this horn and get, say, two or three years of
use out of it before wanting to move on to a full-spec sax - which leaves
a couple of year's worth of warranty to run. Wouldn't it be good if the
next buyer could make use of it? Well, they can. It's transferable with
the sale, so as long as you have the original receipt you'll be covered.
Better still, it's valid at any TJ Alphasax dealer - not just the one
it was originally bought from. Now that's what I call a warranty.
The limited range of notes isn't that much of an issue. The target age
range will mean that players will be working on grades 1-3 of the Associated
Board Examinations, and players taking these exams wouldn't be required
to use any notes not provided on the Alphasax. By the time they got past
grade 3 they'd be big enough to handle a full-spec horn. There's more
than enough music out there that fits well within this range - and in
fact I've even played on gigs where I've never needed to go above top
D or below low C.
The non-standard key designs aren't that much of a big deal - any player
swapping between brands of horn has to get used to slightly different
I noted the limitations presented by my long fingers, so by the time the
player is ready to move up it should feel like a natural progression.
I would say too that there's some merit in making the keywork less complicated
- I can well remember the first time I clapped eyes on a saxophone, and
I found myself wondering how on earth I was going to manage to work all
those keys. These days, of course, I could do with a few more...
As for the clarinet - well, it's a clarinet. Nothing against them personally,
but when a child wants to learn a sax and they're given a clarinet its
a bit like you asking a barman for a glass of white wine and being given
a pint of lager. I know, I've been there.
I don't think many people would disagree that the sax is a good deal easier
to learn than the clarinet - and let's be honest here, it's way cooler.
Such things are important, y'know. If that offends any clarinettists out
there, let me add that once a child has learned to get around on a sax
they will be far better suited to maturing their skills with the clarinet.
So, having started off this review with a degree of scepticism, I'm pleased
to say I'm something of a convert.
Yes, it's not an insignificant outlay for a first instrument the the student
will grow out of - but the resale value will knock that right down - but
I really can't think of any other significant drawbacks.
The absolute knockdown killer feature is that the Alphasax will shave
a couple of years off the starting age for the sax, and I can wholeheartedly
recommend it on that basis alone, let alone all the other plus points.