Help me with bis key...please!

[TenorX]

I've finally seen the light and realize the importance of this fingering. As a long-time forked Bb guy who also uses 1-4 and 1-5, please suggest some passages or exercises to incorporate this in my playing. Thanks all!

[TenorX]

Oops...message should read "who also uses Bb side key"

[MS]

You can encorporate the Bis fingering in arpeggios like Bb, Eb, etc and most any passage that doesn't have a B natural just before or after. I like to use the side in chromatic scales and when sight reading. I work out confortable fingerings for Bb on something I'm working on for performance. I make final choices on which sounds the smoothest and which keeps my hands balanced best.

Some players use the Bis as regular fingering and are even fairly good at sliding, even for chromatics

I recommend facility with all the Bb fingerings so you have a choice rather just reacting from habit. :D

[jazzbluescat]

I've finally seen the light and realize the importance of this fingering. As a long-time forked Bb guy who also uses 1-4 and 1-5, please suggest some passages or exercises to incorporate this in my playing. Thanks all!

I assume that 1-4 and 1-5 is the same as 1&1 and 1&2(?).
You need to incorporate the side Bb too, comes in handy.

[iplaydasax]

:P my teacher has always tols me to use the Bb side key as the little one under the B key is only for trills apparently!!

the Bb side key is always much easier to use (i think)

in other words use the key which you find easiest. :P

[John Laughter]

Tenor, I just noticed your question about the bis. Here is some more info from an old posting that might be of some interest;

Alternate fingering can be used to obtain a “double tone” (trumpet w/ mute on and off the bell) type of effect that is popular in a lot of solos. Some examples;

1. Play a 3rd space C then finger a Low C with or w/o the octave key and go back and forth.
2. Play a high A then close the right hand D, E and F keys and back and forth.
3. Play a 4th line D and maintain the fingering while opening/closing the left D palm key.
4. Play a 3rd line bis Bb then finger a low Bb with or w/o the octave key back and forth.
5. Play a 3rd space C# then go to the low C# fingering with or w/o the octave key. (You can get a little grit in the tone w/o the octave key by dropping the jaw to get a split octave.)

The small variance of intonation between the above alternate notes help to make the effect.

Other alternate fingerings can be used to help when speed and clean fingerings needed, especially in classical or fast jazz passages;

To play a first space or fifth line F to F# trill, play F then press the alt. F# key that is under the right palm with the 3rd finger. Or, to play F to F# to G real fast or G to F# to F, use the the F# alt. key with the 3rd finger. This will help stop the “crossing noise” that can be produced by uneven fingering that is common with fast F to F# to F fingering.
The same key can be used to play E to F to F# in a fast passage.

There are 3 basic fingerings for Bb;
1. B and A keys with the bottom side key of the 3 keys under the right palm,
2. the first finger of both hands,
3. and the B key with the bis key.

To make a smooth change from F to Bb, use the bis key (pearl key between the B and A keys. Finger F then release all fingers except the B key and bis key. Press both keys with the left pointing finger. Or you can go from F to Bb by fingering Bb with the first finger of each hand. Play F then raise the G and A finger.
To go from B to C and stop the “crossing noise”, play B then press the middle key of the 3 palm keys under the right hand, i.e. the side key above the side Bb key.

Middle C to D can also present a problem with crossing noise if you have a rapid passage back and forth. Many players will leave the right hand D, E and F keys down when going back and forth from D to C real quick. This takes away a lot of key action and noise.

There are many more “alternate” fingering and perhaps some of the board members can suggest a good book. I have some additional info for the person who posted the question if you need it. JSAXL@aol.com

[William J. Dillard]

Hello, TenorX:

In additions to the excellent suggestions above: Paul DeVille's "Universal Method for Saxophone" (published by Carl Fischer) has some super advice for the bis B-flat and other B-flat fingerings. Pages 72-90 are filled with these great exercises and suggested fingerings. If your local music store doesn't have a copy of DeVille's book you might try writing directly to the publisher for a copy. The address is Carl Fischer, 65 Bleecker Street, New York, N.Y. 10012.

Hope this helps.

Regards,

Billy D.

[TenorX]

Thanks for the excellent help! This "problem" all started while trying to play the tenor lead for "Four Brothers" in Bb at 220...and the harmony in the bridge. The only way to play this thing smoothly (as I see it) is to know ALL of the Bb fingerings. My left index finger "misses" the bis key about half of the time...like my left hand is way out of position. I'll slow things down a bit on the metronome and keep plugging away.

[saxplayer07]

It helps if u go from like C to bis Bb or like B to bis Bb

[Paul Coats]

Plaing in keys with flats, with passages that have Bb, but NO B natural, simply slide the Left Hand Index Finger down slightly to cover both the B and Bis pearls.

The habit of sliding the index finger on and off the Bis, from B natural, is awkward, and poor technique.

SOME saxes have a concave, or dished bis pearl. This makes it more difficult to use the Bis key. If your sax is like this, ask your repairman to replace it with a rounded, or convex pearl. Or the pearl may be smoothed and repolished.