in the US. Lefebre's associations with Conn and Fischer lasted into the first decade of the twentieth century and Fischer continued to publish new arrangements of Lefebre's works posthumously. Early twentieth-century growth and development While the saxophone remained marginal and regarded mainly as a novelty instrument in the classical music world, many new musical niches were established for it during the early decades of the twentieth century. Its early use in vaudeville and ragtime bands around the turn of the century laid the groundwork for its use in dance orchestras and eventually jazz. As the market for saxophones grew in the US, the manufacturing industry grew. The Martin Band Instrument Company started producing saxophones between 1905 and 1912, and the Cleveland Band Instrument Company started producing saxophones under contract to the H. N. White Company in 1916. The saxophone was promoted for the casual market with introduction of the C-soprano and C-melody (between alto and tenor) saxophones to play in key with pianos from the same sheet music. Production of such instruments stopped during the Great Depression. During the 1920s the saxophone came into use as a jazz instrument, fostered by the influences of the Fletcher Henderson Orchestra and the Duke Ellington Orchestra. Starting in the late 1920s and early 1930s, the modern era of classical saxophone was launched largely through the efforts of Marcel Mule and Sigurd Raschèr, and the classical repertoire for the instrument expanded rapidly. The use of the saxophone for more dynamic and more technically demanding styles of playing added incentive for improvements in keywork and acoustic design. Early saxophones had two separate octave keys operated by the left thumb to control the two octave vents required on alto or larger saxophones. A substantial advance in keywork around the turn of the century was development of mechanisms, by which the left thumb operates the two octave vents with a single octave key. Ergonomic design of keywork evolved rapidly during the 1920s and 1930s. The front F mechanism supporting alternate fingerings for high E and F, and stack-linked G key action became standard during the 1920s, followed by improvements to the left hand table key mechanisms controlling G and bell keys. New bore designs during the 1920s and 1930s resulted from the quest for improved intonation, dynamic response and tonal qualities. The 1920s were also the era of design experiments like the Buescher straight altos and tenors,