What note do you tune to on your alto?
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Most university concert bands tune to both B flat and A. Orchestras to A. For saxophone, I think A is a better choice. 5th line F sharp is stable and an "in tune" pitch. The G tends to be flat in the low register and the upper is sharp.
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It really doesn't matter. Most bands will try to tune with a single note, but that's not realistic. Once you use that single tuning note, it's only going to get you in the ballpark. You should work to tune each and every note you play. Too many musicians assumed they are tuned based on a single note, usually to an electronic tuner. I prefer tuning to the piano, since it can't adjust it's tuning. The truth is that no instrument is perfect througout its entire range, and you should adjust each note as you play it.
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but it does give a central point so that most of the notes are in tune or slightly out of tune.. you cant play with the mouthpiece falling off as your neighbour has no cork left. that`s why you can tune to one note but it`s true you`ll have to listen to each note and find the correct pitch, either alone or in a concert band. tuning to one note gets you alot closer to other pitches
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I use B1, B2, B3 , If all three are in tune my sax is in tune with itself and it is all ear from there. Not concert pitch, BTW. If it is really cold outside it is almost impossible to tune the octaves. In that case you just do the best you can.
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My 1925 King alto doesn't have the best intonation in the world -- but it does have the voice of an angel so I won't part with it.
I tune it to side key Bb on the alto (C# concert) played as sharp as I can play it because it's the flattest not on that particular horn. By doing so I can use my ear/lip to play all the notes on the horn in tune.
Notes
I tune it to side key Bb on the alto (C# concert) played as sharp as I can play it because it's the flattest not on that particular horn. By doing so I can use my ear/lip to play all the notes on the horn in tune.
Notes
Thanks for all the replies. There is one guy who recommends tuning to one of the low notes because the higher notes are more flexible. I'll try the first octave A (C concert) and let you know how that feels. I spend a lot of time on intonation and am aware that every note is individual and demands a different approach.
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Concert A(F#2) or Concert Bb(G2). If you know your horn"s intonation tendencies it doesn't matter. If you don't know ypor horns intonation tendencies it doesn't matter either.
If you are just doing it for yourself, then tune like this...Mouthpiece placement by Steve Duke That will get you in the right area for tuning to any note and any temperature and any lip tensions. The rest is up to you. I rarely move my mouthpiece anymore, though it did take a few years to find just the right positioning with feedback from my teacher.
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Concert A and Concert F are another popular pair for large ensembles. In this case, concert A is a more reliable choice for alto.
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Dear friends, a note is the black dot on the paper!! The TONE is what you want to tune!!! When playing in a satb saxophone quartett, all instruments tune on their tones F2. Why? Because it the the most stable tone on the instrument. If you overblow on low Bb, the first tone will be that F and not the octave. If you are practicing alone, use a tuner and check all tones. To know if the mouthpiece is sitting on the optimal spot, again overblow on low Bb and compare the overtones to the same fingered pitches. If they do not match, try putting the mouthpiece according to what you hear, too low, too high. When the overtones and the fingered pitches line up, your mouthpiece is sitting on the optimal spot. This should also be done before you buy an instrument, its a test to see if the scale is even. I am sure you all know that when you tune with a tuner, your tone must be absolutly quiet, no waves, no matter if it is unison or an interval with which you are tuning.
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How about pitch?
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Tune to whatever note you intend to play. When that fails, tune such that most of the notes on your horn are closest to desired pitch.
On a better day (note that I didn't say "good"), try Hak's method. This, of course, depends on having a mouthpiece that is best suited to your horn.
On a better day (note that I didn't say "good"), try Hak's method. This, of course, depends on having a mouthpiece that is best suited to your horn.
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Usually concert A, but I like to play a concert E on Bb horns and make sure the horn is in tune in both key stacks.
Anywhere Rascher's students teach, you tune to F in the second octave. (Concert Ab for Eb horns, concert Eb for Bb horns.) The idea is that A and E, as cross-vented fingerings, are not quite so indicative of intonation up and down the horn.
Anywhere Rascher's students teach, you tune to F in the second octave. (Concert Ab for Eb horns, concert Eb for Bb horns.) The idea is that A and E, as cross-vented fingerings, are not quite so indicative of intonation up and down the horn.
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F#(concert A)
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Ideally, several. & not just in unison, but also tuning P4 & P5 intervals. If I can only go with one pitch I'll go with F (concert Ab) in the middle of the horn for the reason that it's a consistently in tune note & is an overtone of the fundamental Bb.
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