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Fingerings, good/bad habits?

2K views 17 replies 8 participants last post by  saftaffe 
#1 ·
Soooo.... many years since I had a teacher to ask.
I have e song I need to learn. Nothing to fancy, but the first 3 bars is way faster and trickier then I would like to admit. And when practicing playing really fast I have found a few small habits I have that I can't remember if I've been schooled to keep to by my teacher when younger, or if I've just developed them by my self and should try to get out of.
So a few questions to all experts out here:

-If I play in a Key that have 3 or more sharps I have the habit of holding down that G# key with my pinky whenever I play a lower note than G#. If say I play a F#, E, D# or D (any of the right hands notes) I keep that G# pushed down constantly.
Is this a bad habit?
In this latest song I'm trying to nail I've noticed that I stumbles when playing the melody fast going from F# up to A, or E to A, because of my pinky having to release that G# at the same time as my other hand releases the F#.
Also in the first bar I stumbles when going from E to low C#, when my left hand pinky needs to chang from that G#(I'm unconsciously keeping pressed) to low C#.
I tried to change to keep low C# pressed instead for both C# and G# but it only results in keeping my pinky stretched even more and therefore stumbling even more.

Is it a bad habit to keep the G# or C # down when playing notes on the right hand?
Or is it a good habit and I just need to practice my fingerings and speed?

-My second habit (good or bad?) is that I tend to use side key for A# and front fingering for Bb. Is this good or bad?
In this song there is an momentary A# I'm not sure how to tackle. I unconsciously go for the side A#, but then when climbing back up again I stumbles when I have to release F# with my right and hit the side A# at the same time.

What would be the best/most efficient/correct/easiest way to finger/play the first 3 bars in this song?
Should I force my self out of old learned habits of fingerings, or should I keep to them and just keep practicing slow to reach the speed I neeed?

Here's the sheet for the song:
Music Font Writing Sheet music Paper
 
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#2 ·
I think you answered your own question. If keeping the G# key depressed when it doesn't need to be makes it more difficult to play certain passages, then that qualifies as a "bad habit," I would say.

As for the fingering in those first couple bars, I would use the bis key for that A#, but a lot of people would use the "split" fingering (ie, B key with the left hand, middle key with the right hand) since it's followed by an F#: that makes for a pretty easy transition.

Generally speaking, you want to be comfortable with all the 'standard' fingerings (including the usual alternates for Bb, the side C, etc) and then apply them in whatever way is easiest in a given passage.
 
#3 ·
Holding down the G# is a rule-of-thumb for early learners. I suggest that as one develops skill in reading ahead of where you are in the music, you may eventually have your pinky where it needs to be without it being a conscious effort.

Learn several fingerings for A#/Bb and use them as the music dictates. Again, with experience, you'll come to know when it is more appropriate to use a particular fingering without having to make conscious choices because you'll recognize the patterns of notes around the A#/Bb that inform your decision.

MLucky said much the same thing with fewer words - read his response first. :bluewink:
 
#4 ·
I've been playing for many decades without the benefit of a teacher. A teacher would have been a tremendous advantage because there are so many things they can show you that you may take decades to discover for yourself or maybe never realize. I have been teaching myself for about the last 10 years to hold down various keys to make things easier. I had to learn a particular song by King Curtis and in the process I learned to hold the side Bb for almost the whole thing. Other songs, other saxes have there own hold-down demands. Hold-downs and alternate fingerings are the keys to fast playing.
Your coordination of finger work will improve with practice.
Going back to your original statement, in sharp keys I usually hold low C# open which of course also opens G# when it is released by the lower stack. On baritone I was having trouble with the coordination of going from E1 to low A smoothly for a repeated line in a song. Never having had a low A bari, I eventually discovered the low A hold-down works great - it reduces the movement involved to the equivalent of going from E1 to C1. In this case you actually could also hold down the C1 so you really only have to move one finger to the D1 key. This is actually an awkward movement for me but you could practice it to improve.
There are dozens and dozens of hold-downs and you could have fun discovering them and practicing their use. I actually started getting interested in this as I watched Brecker playing on videos. I was amazed at the stuff he was playing with minimal finger movement and also his continual use of the side and palm keys. Using hold-downs and alternate fingerings also led him to develop many overtone effects that he also used extensively. You could study that cat for the rest of your life!
 
#5 ·
I played what you posted and only noticed a few G#'s except near the end, no need to keep that key down. It's easy enough to hit only when needed. I also agree with bis for A# if you're used to using the bis key. Whole tune lays pretty well. I bet you'll have it down pat in 15 minutes of shedding. Being a familiar tune makes it even easier.
 
#11 ·
Yepp. There's only a few G# but my subconscious makes me keep that G# pressed any way:p

I have the melody from before by ear only. The only new stuff is the licks and the intro part that the groups leader written for the piece (I think?).
My problem is only in the intro, and only when trying to play it at 180bmp. Have to work harder.
 
#6 ·
-If I play in a Key that have 3 or more sharps I have the habit of holding down that G# key with my pinky whenever I play a lower note than G#. If say I play a F#, E, D# or D (any of the right hands notes) I keep that G# pushed down constantly.
Is this a bad habit?
In this latest song I'm trying to nail I've noticed that I stumbles when playing the melody fast going from F# up to A, or E to A, because of my pinky having to release that G# at the same time as my other hand releases the F#.
I would call that a good habit, or at least the start of a good habit.

In the key of A I would usually keep my finger on C# or G# for more or less everything, whether lower or higher than G#. i.e. you can keep that key down for A and B. I understand if C# is a bit of a stretch, ut worth working towards.

I tried to change to keep low C# pressed instead for both C# and G# but it only results in keeping my pinky stretched even more and therefore stumbling even more.
Worth working towards though.

What would be the best/most efficient/correct/easiest way to finger/play the first 3 bars in this song?
Should I force my self out of old learned habits of fingerings, or should I keep to them and just keep practicing slow to reach the speed I neeed?
I would keep C# down, and use the bis for A#
 
#17 ·
Regarding holding the G# (or C#) down, I actually think it's a bad idea. For certain **passages** it might be useful, but not as a general rule. Why do I think this? I play clarinet and flute too - which don't allow this. Being good with cross fingerings is all part of playing woodwinds.

On the other hand, flute and clarinet don't have the bis Bb either - and I love me my bis :)
 
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