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Discussion Starter #1
This is the section I'm having an issue with: A#, B, A#, G#, A#, G#, F#...and it's fast! I've tried holding the G# while adding the normal Bb/A# key, but it doesn't have a very good tone compared to a normal alternate fingering.

Suggestions?
 

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Try releasing the G# when you go to A#. But hold it (G#) down when playing F#.
 

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practice it slow and perfect a few hundred times. Standard fingerings (side A#, only open the G# on that note, no need to be lazy or tricky in this spot although 1+2 A# is also viable) -- this is just on the F# scale, it should be a breeze. Just practice it (always with a metronome) as slow as you have to to make it absolutely perfect. Then do it a few hundred more times. Once the muscle memory is established speed is no problem.
 

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Grafton alto | Martin Comm III tenor
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Morgan is spot on, that would be my first approach. However if you find that keep the G# down for the A# is actually easier, then I suggest you get this looked at because it should not significantly affect that note.

Another thing to try (depending on how familar you are with the Bb bis) is to use long Bb for the first two A#, either xoo|xoo or xoo|oxo, but then use the bis for the third A#.
 

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I agree with Pete in that there shouldn't be a significant timbre change between using the normal Side Bb fingering and adding the side Bb to the G# fingering. Depending on the speed of the passage, I'd have no problem simply adding side Bb to get that 3rd A#.

Another option, similar to what Pete suggested, is to use Side Bb for the first two A#'s and then when you move down to the G#, slide your first finger down slightly so that you're covering the bis key and then use bis Bb for that 3rd A#.

I do think using Side Bb throughout is the best way to go, though that 3rd A# is your call, whatever gives you the best results.
 

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Grafton alto | Martin Comm III tenor
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I agree with Pete in that there shouldn't be a significant timbre change between using the normal Side Bb fingering and adding the side Bb to the G# fingering.
Especially if it's noticeable at high speed, something is wrong.

This is an interesting example as it shows how all the three major Bb/A# fingerings can be used, depending on your predilection for whichever.
 

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...no isn't this what this forum is for!!! i would use undoubtedly xoo xoo for all the A3s in this case
 

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...no isn't this what this forum is for!!! i would use undoubtedly xoo xoo for all the A3s in this case
I probably wouldn't, just because I find transition from Side Bb or bis Bb to Ab/G# easier than 1+1 to Ab/G#. But at Pete pointed out, there are multiple solutions and it's really up to the individual to determine what suits them the best.
 

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Grafton alto | Martin Comm III tenor
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Discussion Starter #10
Especially if it's noticeable at high speed, something is wrong.
I think I'm really the only one who hears it (not that many people have heard this riff yet...), I'm just really picky about the way I sound. Kind of have to be with my horn...lol

Thanks for all the advice everyone. I'll slow it down and annoy my 'roommates' for a day or two, as well as try out the other fingerings. I did try the xoo|oxo, but it didn't click in my mind, so I'll have to hammer it out tomorrow.

Thanks again!
 
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