Which E? If you are trying to go across the break, there are two options. Open C# to the E above it using just the high F palm key. Works for C#2 and C#3 (with octave key). You can also use the long (low) C# and with the octave key and wiggle your D finger to play up to the E.
For all trills/tremolos from middle C# - hold down the octave key and LH 3 for the C#. You can add any combo of RH fingers to establish your destination pitch. Then, trill LH 1 & 2.
So, to tremolo from C# to E, finger the E, remove LH 1 & 2, and you have C#. It's quite easy to do, in tune and no fake/cheat notes.
That's worth working on - add syncopation, and you'll get a LOT of variations on the investment.
There's a "trick" to thinking about these, that, once you wire it in your head, may make it easier to conceptualize. Consider it as a continuous descending string of thirds that is "reset" after every four notes.
It's easier on the piano or horn or music staff, but here goes.
First the idea of a continuous descending string of thirds in the key of D:
D B G E C# A F# D B G E
Now play them as descending arpeggios in groups of four:
D3 B3 G2 E2 / C#3 A2 F#2 D2 / B3 G2 E2 C#2 / etc.
Notice that you are descending one diatonic tone for each arpeggio, and playing the same intervals within the key.
thanks very much Merlin, and others; I'd never have figured that out on my own....trilling LH1+2 is a lot easier, will try that
re Originally Posted by Merlin View Post
For all trills/tremolos from middle C# - hold down the octave key and LH 3 for the C#. You can add any combo of RH fingers to establish your destination pitch. Then, trill LH 1 & 2.
So, to tremolo from C# to E, finger the E, remove LH 1 & 2, and you have C#. It's quite easy to do, in tune and no fake/cheat notes.
--
from mid c# to mid E (3 halftones above), it was slow going from nothing pressed to octave plus 5 keys (LH123+RH12) -- your approach is so much better
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thx as always Dr G re 4-note arpeggios; good idea re
First the idea of a continuous descending string of thirds in the key of D:
D B G E C# A F# D B G E
Now play them as descending arpeggios in groups of four:
D3 B3 G2 E2 / C#3 A2 F#2 D2 / B3 G2 E2 C#2 / etc.
agree it has a lot of mileage; i like that idea; I'll do that for practice, excellent tip
When you close the right hand keys, the bis Bb goes down, on any saxophone. On alto, tenor, and larger saxes, the A key is responsible for actuating the C pad above the B key, meaning that the C pad won't go down with the bis key alone. On soprano, however, the bis key is going to actuate the C pad instead of the A key, which is why you can't produce a C# with the right hand keys down.
Why do they design sopranos this way? There just isn't a lot of room to do it the way it's done on the larger saxes...too much clutter in that area of the body...
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