Good fingering on the saxophone has two objectives :
smooth transitions from one note to the next
achieving the desired tone quality
These two objectives can usually be achieved simultaneously, but not always.
In a given musical situation a side key C, for example, may be the better choice for smooth fingering, but for tone consideration the middle finger C is preferred. You must make a decision which of the two objectives is more important in that particular situation.
I recommend that you learn and practise the fingering rules in this lesson to achieve a smooth technique. At the same time always be aware of the second objective, tone quality, and depart from a fingering rule when you judge that desirable.
André Ameller has written a marvellous selection of expressive etudes which I highly recommend to you.
They utilise
the different fingerings (and tone qualities) for the same note in a musical context.
The Diagram on the right shows the key terminology used in this Course. Left hand keys are shown in purple, right hand keys in green (octave key not shown).
Play this exercise slowly and evenly, all slurred. Make sure to play the side C correctly by rotating the wrist.
This depresses the side key C with the side of the hand near the knuckle of the index finger (Lesson 2).
Practise also the C Fingering Exercise and the major scales of C and G using side key C.
Always be aware of the tone quality implication. In slower passages where both C fingerings occur it is generally best to use one fingering for the C only to maintain uniform tone quality.
The fingerings No.3 and No.4 for Bb are mainly used for arpeggios (broken chords) and for the keys of Gb and B where both the Cb (or B) and Bb (or A#) are in the major scale.
Very fast passages In very fast scale passages which contain the Bb and C it is possible to use the bis key for the Bb and the side key C and bis key for the C. But beware : this C fingering produces on most instruments a very flat C, so do not use it for anything else but fast runs.
Practise the fingering Rule 2 and 3 combination on the major scales of F, Bb, Eb, Ab and Db. Also practice the Bb fingering Exercise.
The song There's Always a Way provides good practice for using correct fingerings for the chromatic scale and also for the Bb. The bis key fingering for Bb is indicated on the music. Use sidekey Bb and middle finger C everywhere else.
Major scales 1 and Major scales 2 provide correct fingerings for the major scale in all keys.
The various fingering rules are applied to these major scales :
Rule 1 (C fingering) : major scales of C and G
Rules 2 & 3 (Bb fingering) : major scales of F, Bb, Eb, Ab and Db
Rule 4 (F# fingering) : major scales of F# and Db
Practise all scales over a two octave range as shown.
The G# (Ab) key affects the G fingering only, none of the other notes. You can therefore keep the G# key depressed over any scale run of the A, E, B, F# and Db major scales.
On most instruments the G# key is also operated by the low C#, low B and low Bb keys. You can use any of these keys instead of the G# key. This is useful when playing large intervals between Ab and these lower notes. You can also use anyone of these keys instead of the G# key for short cut No.2 above (The low C# key will in that case affect the low C and the G, useful for the major scales of B, F# and Db.
The Auxiliary high F key (auxF) is the uppermost key on the saxophone (either round or banana shaped). It is operated by the left index finger. This key combines two fingerings into one. It closes the B key and simultaneously opens the high F key.
The aux.F key is used for alternative fingering of high E, F and F# (also for altissimo G, see Lesson 10).
Continue to put your main effort into Overtone practice. The benefits from this simply cannot be overstated. They will shape the quality of your playing for the rest of your life. Besides Overtones, do some articulation exercises and start working on smooth finger actions as outlined in this lesson.
Do these exercises after your Overtone practice. They help to increase the mobility of your throat. Keep them going for a week or so, then replace them by more soothing Tone exercises like Tone Exercises 1, or the ones you receive in Lesson 9
Most of my students like the Etudes Atonale by Guy Lacour. These are easy to play, but challenge you to 'think' each pitch before you play the note.
The Method book by Klosé is a classic text. It contains numerous useful exercises, including 40 short Etudes for smooth fingering and articulation.
When You're not there is a ballad in C minor. Take the same approach as for previous songs : sing in your mind, listen to the sound produced, and feel the vibrations in your body. Keep your throat as open as you can by simulating the action of yawning. Think about your embouchure, breathing and air support.
In passages that alternate rapidly between C#, D and E, the alternative fingering for the high C# is most useful.
