Grifftabelle Version E-1.0

5/25/2018 Grifftabelle Version E-1.0

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The Ultimate

Fingering Chart

for Saxophone

big bang studio Peter Wespi Stige City CH-6285 Retschwil Switzerland [email protected]

www.bigbangstudio.ch www.improvisation-academy.ch www.improvisation-academy.com

Version E-1.0 March 2013


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The Ultimate Fingering Chart for Saxophone

Dear Saxophonist

Since the beta version of the ultimate ngering chart has been downloaded several 100,000 times throughout the last 10years, it has now been revised and translated. The feedback has been exclusively positive and conrmed that this nge-ring chart is being used by beginners as well as experienced musicians. Particularly the mirror inverted graphics generatefavorable responses and are now being used in other ngering charts. Thank you for using this ngering chart!

I wish you lots of joy and success with the bent horns,

Special thanks to Linus Wyrsch in New York for the english translation! J

The small print: GTC

All rights of The Ultimate Fingering Chart for Saxophoneare reserved by the author Peter Wepsi. The ngeringchart can be used for private purposes only and may be oered as a download exclusively on the authors servers.Without written authorization, commercial or public use of printed and digital forms of this ngering chart (or parts ofit) is prohibited.The place of jurisdiction is in Lucerne, Switzerland.

The author before... ... and after


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Content

page 4 Left Hand and Right Hand, Thumbs and Normal Position of Hands

The following pages 3 and 4 require no further explanation. The mirror inverted ngering graphic helps you to learn thengerings tactually by feeling, rather than visually.

page 6 Basic Fingerings

The basic ngerings are shown on three pages, ascending chromatically beginning with the lowest tone. The notes E6 andF6 include alternate ngerings which should be used from the start.My thinking for the notes A# and Bb is as follows: in key signatures with Bb, use the Bb double ngering. In key signatu-res with A# and with a B following (B major, F# major) I recommend the A# side key. The side key is also useful when aBb follows right after a B or vice versa. The resulting philosophy suggests to use the double ngering as a norm and theA# side key as an alternative for B - Bb or Bb - B sequences.

page 9 Trills

When playing trills and fast repetitions of neighboring tones, the saxophone frequently oers simplied ngering combi-nations. These alternatives help to overcome anatomical crutches. On one hand, they are helpful ngerings with specickeys. On the other hand, keys can often remain closed during fast sequences of notes without considerable negative eect

on the sound. All trills that are not listed must be played with the basic ngerings.

page 12 Tremolo Thirds

Similar to the trill, a tremolo is a fast change between two notes - however, not with a neighboring tone. The ngeringsshown here are helpful for tremoli with the interval of a third. All third tremoli that are not listed must be played withthe basic ngerings.

page 15 Alternate Fingerings

Alternate ngerings help to simplify dicult sequences of notes. However, the intervals are larger than the ones of trills.Some can also be found under Tremolo Thirds beginning on page 12. Furthermore, a better-tuned alternative for the

constantly sharp D5 can be found in this section.

page 17 Top Tones

Here you can nd one of the largest collections of top tones for saxophone. Thank you very much to everyone who sentme their top tones throughout the past 10 years. If you use top tones that are not listed in this chart, feel free to send themby e-mail so I can continue to expand this collection. Thank you very much.

page 41 Honking: False Fingerings

So-called false ngerings create slight dierences in intonation and/or timbre that resemble the sound of the basic nge-ring. The basic tone is being played with the blacked-out keys; the false ngering occurs by using the greyed-out keys. Theinterplay of the basic tone and the false ngering creates a wah-wah eect, just like the brass players create with mutes.

page 43 Honking: Multiphonics

Muchanticipated, the ultimate ngering chart for saxophone now also contains multiphonics. Together with false nge -rings, multiphonics are popular honking eects, especially among rhythm and blues saxophonists since the 1940s.Here is an attempt at a rudimentary explanation: In a multiphonic, a tone cannot decide between two tones. That is whyit jumps back and forth between the two tones. Sometimes another tone sounds throughout. You are doing it right, if thesaxophone sounds like an old, rusty, gargling waste pipe (quote: Albie Donnelly). Often times the embouchure needs tobe adjusted for a quick response, therefore it is dicult to establish an exact pitch. The dened pitches are hence subjectto correction. But to cleanly tune a multiphonic is as absurd as polishing an Inderbinden saxophone until it shines.


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Left Hand

Right Hand

1

2

3

4

5

6

7

8

9

10

1

2

4

5

67

8

9

10

11

12 3

index nger

1 front F2 B key3 Bb double stop

middle nger

4 A key

ring nger

5 G key

pinkie

6 Gb/Ab7 deep C#/Db

8 deep B9 deep Bb

palm

10 high D11 high D#/Eb12 high F

index nger

1 F key

middle nger

2 E key

3 high F#

ring nger

4 D key5 F# trill

pinkie

6 D#/Eb7 deep C

palm

8 high E9 C trill10 side A#/Bb

mirror inverted graphic

mirror inverted graphic

(without high F#)


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Thumbs

Normal Position of Hands

thumb rest to supportthe saxophone

right hand thumb lef hand thumb

thumb plateau andoctave key [O-K]

low A key [A-K] on thebaritone saxophone

O-K O-K

A-K

This graphic shows above which keys thengers should rest.

The thumb of the right hand is under thethumb rest and supports the saxophone.

The thumb of the left hand is on the thumbplateau. The top of the thumb is above theoctave key.

Become accustomed to resting your ngersclose to the keys. The distance should not

be more than 2 cm.

Make sure that your ngers are relaxedand not tense.


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Basic Fingerings A3 to Bb4

A3

A#3 Bb3 B3

C4

C#4 Db4

A-K

D4

D#4 Eb4

E4

F4

G4

A4

A#4

Bb4

for baritone sax

index nger forboth keys

F#4 Gb4

F#4 Gb4


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Basic Fingerings B4 to C6

B4

O-K O-K

O-K O-K O-K O-K O-K

O-K O-K O-K O-K O-K


C5

C#5 Db5

D5

D#5 Eb5

E5

F5

F#5 Gb5

G5

G#5 Ab5

A5

A#5

Bb5

B5

C6


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Basic Fingerings C#6 to F#6

O-K O-K O-K O-K O-K

O-K O-K O-K

alternate ngering

alternate ngering only for horns withhigh F# key

C#6 Db6

D6

D#6 Eb6

E6

E6

F6

F6

F#6 Gb6


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Trill A3 to Bb4


A-K A-K

A3-B3

~~~~~~wA3-Bb3~~~~~~w

C#4-D4

~~~~~~w D#4-E4

~~~~~~w Eb4-F4

~~~~~~w

F4-Gb4

~~~~~~w F#4-G#4

~~~~~~w G#4-A4

~~~~~~w Ab4-Bb4

~~~~~~w

A#4-B4

~~~~~~w B4-C5

~~~~~~w


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Trill B4 to Ab5


O-K O-K

O-K

Eb5-F5

~~~~~~O-K O-K O-K

O-K O-K

B4-C5

~~~~~~w C#5-D5

~~~~~~w

C#5-D#5

~~~~~~w D#5-E5

~~~~~~w F5-Gb5

~~~~~~ F#5-G#5

~~~~~~

G#5-A5

~~~~~~ Ab5-Bb5

~~~~~~

C5-D5

~~~~~~w


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Trill A#5 to F6

O-K O-K O-K O-K O-K

O-K O-K O-K O-K

O-K O-K

A#5-B5

~~~~~~ Bb5-C6

~~~~~~ B5-C6

~~~~~~

C6-D6

~~~~~~ C#6-D#6

~~~~~~ D6-E6

~~~~~~

E6-F6

~~~~~~ F6-Gb6

~~~~~~


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Tremolo Thirds

D4 mued D4 mued

C5 mued

O-K O-K

Bb3 D4

B3 D4

C#4 E4

Db4 F4

D4 F#4

D#4 F#4

Eb4 G4

E4 G#4

F4 Ab4

F#4 A#4

G#4 B4

Ab4 C5

Bb4 D5

B4 D5


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Tremolo Thirds

D#5 mued Eb5 mued

O-K O-K

O-K O-K O-K O-K O-K

O-K O-K O-K O-K O-K

B4 D#5

C5 Eb5

C5 E5

C#5 E5

Db5 F5

D5 F#5

D#5 F#5

Eb5 G5

E5 G#5

F5 Ab5

F#5 A#5

G#5 B5

Ab5 C6


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Tremolo Thirds

D6 mued D6 mued

O-K O-K O-K O-K O-K

O-K O-K O-K

Bb5 D6

B5 D6

B5 D#6

C6 Eb6

C#6 E6

C6 E6

Db6 F6

D6 F6


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Alternate Fingerings

lower D5 forbetter intonation

alternate D#5for E and B major

response may besuboptimal

O-K O-K

G#4/Ab4 combinedwith Bb3 G#4/Ab4 combinedwith B3 G#4/Ab4 combinedwith C#4 from 2nd octaveto Bb4 from 2nd octaveto B4

O-K

from 2nd octaveto C#5

Bb4 combinedwith G4

B4 combinedwith G4

C5 combinedwith G#4/Ab4

from 2nd octaveto C5

O-K

O-K O-K O-K O-K

G#4 Bb3

G#4 B3

G#4 C#4

Bb4

B4

Bb4 G4

B4 G4

C5 G#4

C5

C#5

D5

D#5

G#5 Bb4

G#5 B4

G#5 C#5


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Alternate Fingerings

Bb5 combinedwith G5 B5 combinedwith G5 D#6/Eb6 combinedwith B5

O-K O-K O-K O-K O-K

O-K

Bb5 G5

B5 G5

D#6 B5

E6

F6


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Top Tones

Info

Top tones also known as falsetto, altissimo, or high notes expand the regular range of the saxophone above F6/F#6.The ngerings for them are specic combinations, and in contrast to the basic ngerings, they are usually not as comfor-table and somewhat illogical in sequence.

In most cases, top tones can be played using multiple ngering possibilities. C7 comes with over 40 variations in thisngering chart. Generally speaking, there are no bad ngerings for top tones. However, some ngerings may work better,worse or not at all on certain instruments.Top tones ngering charts also exist specically for tenor or alto saxophones. Others recommend individual ngeringsfor tenor, alto, baritone or soprano saxophones. However, I cannot conrm this experience.

It is necessary to make an optimal selection from the huge range of possibilities. This choice should be based using thefollowing criteria:

1. Response, intonation2. Tangibility, touch3. Logic of ngering sequences

Since saxophones behave dierently in the top tones range, a specic collection of top tones needs to be dened for eachinstrument. Moreover, with a variation of the instrument setup (for example, a change of mouthpiece) proven ngeringsmay render themselves useless.When I recently replaced my Guardala Brecker I tenor mouthpiece with an Inderbinen Rich, neither response nor intona-tion stayed the same on several tones. With the new setup, I now use ngerings that previously responded very badly ornot at all. The interesting part is that now I even use ngerings on my tenor sax that I have found on an alto sax ngeringchart.

Basics First: The Saxophone as Alphorn

Dueto the saxophones odd shape, multiple notes can be played with one and the same ngering. Just as with brass in -struments or the alphorn, the resulting sequence of notes is the harmonic series or overtone series. The rst interval ofthe harmonic series is the octave. This explains why many ngerings for the lower and upper octave are identical. Theoctave key helps over-blowing the tone in its octave. The other intervals (fth, fourth, third etc.) can be generated with amodied embouchure.

Simply put, for top tones, the saxophone is being played from a harmonic, wherein the special ngering lets the instru-ment sound as a regular tone. Without the right feel for the other harmonics above the octave, it is impossible to play toptones on the saxophone. Before you work through the ngerings, you have to be able to play the harmonic series up to thefth in the fourth octave. Proceed as follows:

1. First lock your dog and cat out of your room.2. Play a low tone (for example Bb) and elicit the tone series of the alphorn from your saxophone.

It is hardly possible to give specic advice for this. Experiment rst with jaw pressure, mouthpiece position, breath sup-port and embouchure, until the other harmonics resonate. This is how you develop a feel for this range. Stabilize yourembouchure gradually so that you end up playing the harmonic series more or less with your usual embouchure.

The ability to play alphorn on your saxophone is the gateway into the big wide world of top tones. Without this skill, theprocess of learning top tones quickly leads to frustration and may result in abandonment of the pursuit.

Unison Octave Fifth Octave Third Fifth Seventh Octave Second Third #Fourth Fifth


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Top Tones

O-K O-K O-K O-K O-K

O-K O-K O-K O-K O-K

O-K O-K O-K

O-KO-K O-K

O-K O-K

O-K

F#6 Gb6


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Top Tones

O-K O-K

O-K

O-K O-KO-K

O-K

O-K

O-K

O-K

O-K O-K O-K

O-K

O-K

O-K

O-K

G6


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Top Tones

O-K

O-K

O-K O-K O-K

O-K O-K

O-K O-K O-K O-KO-K

O-K

O-K O-K

O-K

O-K

O-K

G6


21/45- 21 -

Top Tones

O-KO-K

O-K O-K O-K

O-K

O-KO-K O-K

O-K

O-K O-K

O-K

O-K

G#6 Ab6


22/45- 22 -

Top Tones

O-K

O-K

O-K

O-K O-KO-K O-K

O-K O-KO-K

O-K O-KO-K

G#6 Ab6


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Top Tones

O-K O-K

O-K

O-K O-K

O-K

O-K O-KO-K

O-K O-K

O-K O-K

O-K

O-K

O-K O-K

O-K

O-KO-K

A6


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Top Tones

O-K O-K

O-K O-K O-K O-K

A6


25/45- 25 -

Top Tones

O-K

O-K

O-K

O-K

O-K

O-K

O-KO-K

O-KO-K

O-K O-K O-KO-K

O-K O-K

O-K O-K

O-K O-K

O-K O-KO-K

A#6 Bb6


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Top Tones

O-K O-K O-KO-K

O-KO-KO-K O-K

A#6 Bb6


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Top Tones

O-K

O-K

O-K

O-K

O-KO-K

O-K O-K

O-KO-K

O-K

O-K

O-K O-K

O-KO-K

O-KO-K O-K

O-K

O-K

B6


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Top Tones

O-KO-K

O-K

O-K

O-K

O-KO-K

O-K O-K O-K

O-K O-K

O-K

B6


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Top Tones

O-K

O-K

O-K O-K

O-K

O-K

O-KO-K

O-K

O-K O-K O-K

O-K O-K

O-K

O-K O-KO-K

O-K O-K

C7


30/45- 30 -

Top Tones

O-K O-K

O-K O-K O-KO-K

O-K

O-K

O-K

O-K

O-K O-K

O-K O-K

O-KO-K

O-K O-K

C7


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Top Tones

O-K O-KO-KO-K

C7


32/45- 32 -

Top Tones

O-K

O-K

O-K O-K

O-K O-K

O-K

O-K

O-K O-K

O-KO-K

O-KO-K

O-K O-K O-K

O-K O-K

C#7 Db7


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Top Tones

O-KO-K O-KO-KO-K

O-KO-K

O-KO-K O-KO-KO-K

O-K O-KO-K

C#7 Db7


34/45- 34 -

Top Tones

O-K

O-K

O-K

O-K O-K

O-K

O-K

O-K

O-K O-K

O-KO-K

O-K

O-K

D7


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Top Tones

O-KO-K

O-K O-K

O-K O-K

O-K

O-KO-K

O-K

O-K O-K

O-K O-K

O-K

D#7 Eb7


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Top Tones

O-KO-K

O-K

O-K

O-KO-K

O-K

O-K

O-K

O-K

O-K

O-K O-K

O-K

E7


37/45- 37 -

Top Tones

O-K

O-K

O-K

O-K

O-K

O-K

E7


38/45- 38 -

Top Tones

O-K

O-K

O-K O-K O-K O-K O-K

O-K

O-K

O-KO-K

O-K

O-K

O-K

F7


39/45- 39 -

Top Tones

O-K

O-K O-K

O-K O-K

O-K O-K

O-K

O-K

O-KO-KO-K

O-K

O-K

O-K

F#7 Gb7

G7


40/45- 40 -

Top Tones

O-KO-K O-K

O-K O-KO-K

O-KO-K

O-K

O-K

G#7 Ab7

A7

A#7 Bb7

B7

C8


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Honking: False Fingerings

mued sound

O-K O-K

O-K O-K O-K O-K O-K

D4

w D#4 Eb5

w w E4

w F4

w F#4 Gb4

w w

A4

w A#4 Bb4

w w B4

w C5

w C#5 Db5

w w

D5

w D#5 Eb5

w E5

w F5

w F#5 Gb5

w


42/45- 42 -

Honking: False Fingerings

Response may besuboptimal

Response may besuboptimal

O-K O-K O-K O-K O-K

mued sound

O-K O-K O-K O-K O-K

O-K O-K

G5

w G#5 Ab5

w A5

w A#5 Bb5

w B5

w

C6

w C#6 Db6

w D6

w D#6 Eb6

w E6

w

F6

w F#6 Gb6

w


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Honking: Multiphonics

O-K

O-K


44/45- 44 -


O-K

O-K

O-K


45/45- 45 -


O-K

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