when seated, similar to those found on bass clarinets. Transposition It is a transposing instrument in the key of E, pitched an octave plus a major sixth lower than written. It is one octave lower than the alto saxophone. Modern baritones with a low A key and high F key have a range from C2 to A4. As with all saxophones, its music is written in treble clef. By coincidence, it is possible to use a trick known as clef substitution to read music written in bass clef at concert pitch (for example most tuba or bassoon parts), by reading as if it were a transposing part in treble clef and pretending there were three more sharps (or three fewer flats) in the key signature. A similar trick allows instruments in B like the tenor saxophone to read concert pitch tenor clef. In classical music The baritone saxophone is used as a standard member of saxophone quartets. It has also been occasionally called for in music for orchestra. Examples include Richard Strauss' Sinfonia Domestica, which calls for a baritone saxophone in F; Béla Bartók's The Wooden Prince ballet music; Charles Ives' Symphony No. 4, composed in 1910–1916; and Gershwin's Rhapsody in Blue (Grofé's orchestration) and An American in Paris. In his opera The Devils of Loudun (Die Teufel von Loudun), Krzysztof Penderecki calls for two baritone saxes. Karlheinz Stockhausen includes a baritone saxophone in Gruppen and Stravinsky calls for one in his Ebony Concerto. It has a comparatively small solo repertoire although an increasing number of concertos have appeared, one of these being "Concerto for Saxophone Quartet and Orchestra" by American composer Philip Glass. This is a piece that can be played with or without an orchestra that features the baritone sax in the second movement. In jazz music A number of jazz performers have used the baritone saxophone as their primary instrument. It is part of standard big band instrumentation (the larger bass saxophone was also occasionally used up until the 1940s). As phrased by Alain Cupper from JazzBariSax.com, "Used a few times in contemporary classical music...it is especially in jazz that this wonderful instrument feels most comfortable." One of the instrument's pioneers was Harry Carney, longtime baritone saxophone player in the Duke Ellington band. Since the mid-1950s, baritone saxophone soloists such as Gerry Mulligan, Cecil Payne, and Pepper Adams achieved fame, while Serge Chaloff was the first baritone