I see why a written F would be better for every player due to it being a stable (with more fingers down) and well vented note.
But I don't honestly see why some people insist there should be a binding need for concert A to be the tuning note in sax quartets or wind ensembles when there are no stringed instruments present (though bass players in big bands usually tune to an electronic tuner), and also the need to tune to 440Hz as there's no piano. So long as the ensemble is in tune with itself and plays in tune with itself is what matters most even if the general pitch is all 438Hz to 442Hz among all the players (and not a mix of these pitches!), depending on the temperature.
And concert A on an alto and bari sax is a forked note in that there's a tonehole closed below the one the note issues from, so it's not the most ideal one to use.
But I don't honestly see why some people insist there should be a binding need for concert A to be the tuning note in sax quartets or wind ensembles when there are no stringed instruments present (though bass players in big bands usually tune to an electronic tuner), and also the need to tune to 440Hz as there's no piano. So long as the ensemble is in tune with itself and plays in tune with itself is what matters most even if the general pitch is all 438Hz to 442Hz among all the players (and not a mix of these pitches!), depending on the temperature.
And concert A on an alto and bari sax is a forked note in that there's a tonehole closed below the one the note issues from, so it's not the most ideal one to use.
