This is the only one I know of - Fingering low C - as Christopher
mentions.
It produces a sort of "squark" . It is probably used alternating
between the regular fingering - 3 left hand fingers + octave key.
This web site is quite useful. You can hear a demo.
http://www.petethomas.co.uk/saxophone-alternate.html
As far as notating it all I would suggest is keep it simple, like
Darcy says.
Stan Lord
Stan
On 21 Dec 2005, at 00:57, Christopher Smith wrote:
Finger a low (middle) C, and the G a 12th higher is an easy-to-play
(for a pro) harmonic. It would be notated as a middle C with the G
added a 12 higher, and an X over the note. This notation seems a
bit wonky to me, as I would have expected diamond heads or a circle
instead, but apparently this is common notation.
I don't know whether you are going to get the same effect using
this method. Maybe alternating the two altos (G-E-G-E against E-G-E-
G) would be a truer representation of what Lester actually did (is
this Lester Leaps In? I heard it today in a jury examination, so
it's fresh in my brain.)
Christopher
On Dec 20, 2005, at 6:34 PM, Darcy James Argue wrote:
Hey Chuck,
Why not just create a smart line that says "alt fingering" and
extends over the passage? Any jazz player will be familiar with
the technique, but alternate fingerings (like multiphonics) tend
to be a personal thing -- some that work on one horn won't work on
another.
- Darcy
-----
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http://secretsociety.typepad.com
Brooklyn, NY
On 20 Dec 2005, at 6:04 PM, Chuck Israels wrote:
Sax players & gurus:
Is there a convenient alternate fingering for the written G above
the staff (concert B flat for Alto Sax)?
How is this normally notated?
I'm using this to demonstrate using normal AATTB voicing
alternating with ATBAT voicing of the same chord in a harmonized
arrangement of an excerpt of a Lester Young solo where Lester
uses an alternate fingering of a 3rd space C (again, concert B
flat) to produce a timbral change on a repeated note rhythm. The
alto is the lead voice (though I suppose it needn't necessarily
be), and the question is, is there a similar fingering trick for
that note on the alto, so that not only will the chord change
timbre, but the lead voice will also?
Thanks,
Chuck
Chuck Israels
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