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The two red F#s are the ones in question. I figure the first gets the alt-F#, but what of the second? If I use the normal F# or even XXXOOX I have a counter-motion going on against the E#. Yet if I play the alt-F#, I then have RH3 out of position for the D. That's going to cause a ghost note more often than not. What gives? Use alt-F# and a false fingering for D? This is the sort of crap that makes me pull out my hair -- I have a couple minutes of success in making what's in my head come out of the horn, then I hit something like this.

If you are wondering, this is a lick I want to work into "Yesterdays", but it would work over pretty much anything in concert D minor ("Bernie's Tune" comes to mind -- and yes that means the above is written for alto.)
 

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For me, it would depend on how fast it is. If it's really uptempo, then the alternate d would be better. Otherwise, I'd flip-flop on the F#-E# when followed by d.
 

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For me, it would depend on how fast it is. If it's really uptempo, then the alternate d would be better. Otherwise, I'd flip-flop on the F#-E# when followed by d.
Fairly uptempo, or I wouldn't be tripping over flipping on it. I played my YTS-21 with the alt-F# completely broken off (I had a pad duct taped over the hole) for four months or so when I was doing the cruise thing so I'm quite accustomed to flipping. I guess it's the double flip that kills me... using alt-F# for even the first red note takes me out of position for D. False D it is for now unless someone has a better idea.

This lick also serves as an example for the "why must people write E#s and B#s?" question.
 

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Grafton alto | Martin Comm III tenor
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If you are wondering, this is a lick I want to work into "Yesterdays", but it would work over pretty much anything in concert D minor ("Bernie's Tune" comes to mind -- and yes that means the above is written for alto.)
It's a good lick and worth learning in every key.

I would find the regular D to be my favourite because I like the way it pops out after the lower register notes, so I would work very hard at being able to to use the regular F#, the sidekey F# is impossible for me after that D.

But if it is so fast there's no way you can use the regular F#, then it would either have to be the palm D (not an issue at such a fast tempo) or a bit of ghosting lower.

This latter would be my option as I really dislike using the side F#. As this is not a written piece, it's really your choice, either way at really fast tempos there's likely to be a compromise which is really a matter of personal taste - palm D or ghosted E#.

Thanks for posting, it's always interesting though to tghink about these things,
 
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