The C Melody is a small tenor sax and was popular for a short period around 1915-1925. Although Adolph Sax intended the C Melody and C Soprano saxes for orchestral use, they were primarily made for the home entertainment market in the US. Yes – home entertainment in a time before electronics when people actually gathered round the piano and played and sang. C instruments could play straight from the sheet music – no transposing! The Wall Street Crash and ensuing depression made it uneconomic to continue making C Melody saxes, and by the time the economy recovered around 1935, the Big Band Era had arrived and everyone wanted to play the alto or tenor, so the C Melody pretty much died out.

The sax I was working on is a Buescher “stencil”, which means it was made by Buescher for a music retailer and stamped with their own “stencil” – Oliver Bitson Company. It’s a very early design with metal touches instead of pearl. Hard to date exactly because the stencil serial numbers differed from the main manufacturer’s numbers, but I reckon around 1920. There were a couple of dents to iron out and the tone holes were quite uneven and needed to be levelled, but after that, the pads went in quite nicely and I’m very pleased with the way the instrument plays.

These saxes have a small bore compared to their length, which gives them a very mellow sound compared to modern saxes, especially with an appropriate vintage mouthpiece. The intonation isn’t perfect but with a little practice it’s possible to play in tune. The ergonomics are awkward compared to modern saxes but really not too bad and the instrument was a joy to play. I didn’t want to give it back to the customer…

Big thanks to my good friend Brett Gustafson from Gustafson Custom Horns in Adelaide for helping out with the dent work and providing a genuine vintage C Melody mouthpiece to test the instrument.

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So you left your oboe on the bed, forgot it was there, sat on it and it’s snapped in half at the tenon joint. OMG, my expensive oboe – what a feeling!

Well, this video shows that it can be fixed. This is the first time I fixed a tenon using this technique and it’s one that I learned from my good friend Bernd Moosmann when I visited his bassoon factory near Stuttgart in December 2015. One of the things I find rewarding about being a woodwind technician is constantly refining your skills and learning new tricks. Building good relationships with other repairers is a great help in this. No matter how much experience you have, you can always learn from other people’s experience.

I’ve seen broken tenons fixed by gluing them back together, sometimes with pins to reinforce the joint, but this type of repair never seems to last very long. By counterboring into the instrument and fitting a new piece of wood, you get a much stronger and more stable repair. The crucial thing is to make sure the bore of the new piece matches up exactly with the bore of the instrument, so precise measurement of the bore and making an accurate reamer is essential.

Many years ago I had to fix a broken oboe tenon in a hurry because the player had to use it the next day for an audition. I had to use 5 minute araldite because I didn’t have time for the glue to set overnight. This repair lasted more than ten years of heavy professional use before the glue failed and the replacement tenon came out. I refitted it with full strength epoxy and the instrument is still going strong another ten years on.

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