Thanks for sharing all these fingerings. I’ve only been playing sax about two years but I like using some alternate fingerings for intonation and fluidity. From Eugene Rousseau I learned the middle C# by lifting top 2 left fingers from middle D or E - makes the transition smooth and quick. On my alto both middle B & C tend to be flat and I’ll add the Bb side key to raise the pitch a bit, as you mentioned for B, also for A. And my middle D and somewhat E are typically sharp and I like the left pinky B key to lower them. I’m looking forward to trying some of your suggestions.
You forgot about low a with leg 😂 Also, for front fingerings, instead of using the front key, you can finger the b key and press the f palm key (It does the same thing but is easier to transition into sometimes).
I tried that out. B key with F palm key, I don't actually get an E or F, but a flat sounding D#. It could be good for a B to to D# trill I suppose, but doesn't really work as an alternative to front fingerings.
@@zacksax This might have been unclear, but this is for the high register and instead of using the front key which essentially presses the b front key and f palm key, do them individually or “manually.” For high E for example, finger a g with the octave key and press the f palm key.
@@loganignatenko4319 Thanks for clarifying. I hear you. Playing a "G" note with the f palm key definitely makes more sense than a "B" for front E. Or fingering an "A" with the palm key for high F. It's fairly awkward for me, but maybe some will like to use it. I do like that I can get a cool split tone effect with that one, if I voice it right. Thanks for the input.
This got me thinking about the exploratory fiddling I've done on sax, and how funny flutists', so sonically limited, are about absolute laws on this stuff..NO overblown low notes, NO! A new teacher! More practice! Buy a new headjoint. A new flute. Also, your approach, focused on total sonics is great. I wonder if another, from the same experiences, could be done with a focus on quarter or other micro tones, and perhaps even notes and scales from other systems, such as the varieties of "Arabic"?
Thanks for the comment and the compliment. It would be great to explore micro tonal systems in depth. I find them fascinating. Are you familiar with saxophonist Hayden Chisholm?
@@zacksax Hadn't heard of him before, but saw Philipp Gerschlauer's things. I come to this in part as a sax player in Morocco, with oodles of ouds around
Thanks man. This is helpful.
Absolutely
Thank for the vidéo, what is your setup please ?
Yamaha Custom Z. Vandoren V16 mouthpiece with Optimum ligature, Vandoren ZZ 2.5 reed .
This is pretty solid information, Maestro. Thank you for sharing!
Great stuff!
@@RandyResnick thanks!
Thanks professor aloha coach Mundo Hawaii
I like the middle D with regular fingering without octave key and with palm D instead.
@@ramiveiberman3182 me too!
Brilliant 🎉
@@JayCee-hw4zc thank you!
Thanks for sharing all these fingerings! Just subscribed! 🎷
You're welcome Eric! Thanks for subscribing.
Thanks for sharing all these fingerings. I’ve only been playing sax about two years but I like using some alternate fingerings for intonation and fluidity. From Eugene Rousseau I learned the middle C# by lifting top 2 left fingers from middle D or E - makes the transition smooth and quick. On my alto both middle B & C tend to be flat and I’ll add the Bb side key to raise the pitch a bit, as you mentioned for B, also for A. And my middle D and somewhat E are typically sharp and I like the left pinky B key to lower them. I’m looking forward to trying some of your suggestions.
You're welcome, and thanks for sharing your fingerings.
I meant C not A for the right side Bb key.
You forgot about low a with leg 😂
Also, for front fingerings, instead of using the front key, you can finger the b key and press the f palm key (It does the same thing but is easier to transition into sometimes).
Haha, I did leave that one out. I'll be sure to include abnormal body parts in my video on extended range.
I actually like the shoe in the bell method for low A, ha.
I tried that out. B key with F palm key, I don't actually get an E or F, but a flat sounding D#. It could be good for a B to to D# trill I suppose, but doesn't really work as an alternative to front fingerings.
@@zacksax This might have been unclear, but this is for the high register and instead of using the front key which essentially presses the b front key and f palm key, do them individually or “manually.” For high E for example, finger a g with the octave key and press the f palm key.
@@loganignatenko4319 Thanks for clarifying. I hear you. Playing a "G" note with the f palm key definitely makes more sense than a "B" for front E. Or fingering an "A" with the palm key for high F. It's fairly awkward for me, but maybe some will like to use it. I do like that I can get a cool split tone effect with that one, if I voice it right. Thanks for the input.
🎉
This got me thinking about the exploratory fiddling I've done on sax, and how funny flutists', so sonically limited, are about absolute laws on this stuff..NO overblown low notes, NO! A new teacher! More practice! Buy a new headjoint. A new flute.
Also, your approach, focused on total sonics is great. I wonder if another, from the same experiences, could be done with a focus on quarter or other micro tones, and perhaps even notes and scales from other systems, such as the varieties of "Arabic"?
Thanks for the comment and the compliment. It would be great to explore micro tonal systems in depth. I find them fascinating. Are you familiar with saxophonist Hayden Chisholm?
@@zacksax Hadn't heard of him before, but saw Philipp Gerschlauer's things. I come to this in part as a sax player in Morocco, with oodles of ouds around
@@IraanOzono Cool!
Do you have a pdf of the fingerings?
I do not have a pdf, yet…
...low a with a knee covering the horn.