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by John Laughter Alternate fingering can be used to obtain a "double tone" (trumpet w/ mute on and off the bell) type of effect that is popular in a lot of solos. Some examples;
The small variance of intonation between the above alternate notes help to make the effect. (You can get a little grit in the tone on C, C#, D and Bb w/o the octave key by dropping the jaw to get a split octave.) Add some "ghosting" as you go back and forth to add color. Other alternate fingerings can be used to help when speed and clean fingerings needed, especially in classical or fast jazz passages; To play a first space or fifth line F to F# trill, play F then press the alt. F# key that is under the right palm with the 3rd finger. Or, to play F to F# to G real fast or G to F# to F, use the the F# alt. key with the 3rd finger. This will help stop the "crossing noise" that can be produced by uneven fingering that is common with fast F to F# to F fingering. The same key can be used to play E to F to F# in a fast passage.
To make a smooth change from F to Bb, use the bis key (pearl key between the B and A keys.) Finger F then release all fingers except the B key and bis key. Press both keys with the left pointing finger. Or you can go from F to Bb by fingering Bb with the first finger of each hand. Play F then raise the G and A finger. To go from B to C and stop the "crossing noise", play B then press the middle key of the 3 palm keys under the right hand, i.e. the side key above the side Bb key. Middle C to D can also present a problem with crossing noise if you have a rapid passage back and forth. Many players will leave the right hand D, E and F keys down when going back and forth from D to C real quick. This takes away a lot of key action and noise.
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“The History of Top 40 Saxophone Solos-1955-2004” ![]() |
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