Gettin’ It On The Side…Bb and C on Saxophone

/ Saxophone, Saxophone Fingering, Technique, Woodwinds

Using Side Bb and Side C Fingerings on Saxophone

Who

This technique benefits saxophonists, from middle school beginners to advanced players, performing on alto or tenor saxophone in band or jazz settings, and band directors guiding them to improve fluency and intonation.

What

The challenge is achieving smooth transitions and accurate intonation for middle-register Bb and C, where standard fingerings cause A or C# blips in rapid passages, disrupting flow and ensemble blend.

Why

Standard Bb (Bis key) and C (left middle finger on A key) fingerings require complex finger shifts, leading to A blips (if the middle finger lifts too soon) or C# blips (if the B key releases before the A key presses) in rapid transitions, as noted in The Art of Saxophone Playing. Side Bb and side C reduce finger movement, stabilizing pitch (A=440 Hz) and enhancing fluidity.

Where

Fingerings are applied via:

  • Side Bb: Left hand on B and A keys, right-hand index finger on middle side key.
  • Side C: Left index on B key, right-hand index finger on top side key.
  • Side Key Technique: Press side keys with the base of the right-hand index finger (where it meets the hand), not the finger pad, for ergonomic efficiency.

When

Use side Bb and side C in:

    1. Chromatic Passages: In runs like A-Bb-B-C or B-C-C#-D.
    2. Technical Runs: In fast scales or arpeggios in F, Bb, or Eb major, like in Sousa marches.
    3. Intonation-Sensitive Sections: In lyrical passages requiring stable pitch for blend.
    4. Middle School Repertoire: In pieces with rapid transitions, where standard fingerings disrupt flow, such as in Furioso by Robert W. Smith, to avoid A or C# blips..

    This excerpt from David R. Holsingers “Prelude and Rondo” is also an excellent time for alto sax to use side C. They key signature for alto in this exceprt is A minor (no sharps, no flats). The tenor sax part also offers a unique opportunity to make a substitution for the third space C t hat would benefit younger saxophone players. We will talk about that one in another post (“Trill Fingering Substitutions”).

    How

    To master side Bb and side C:

    1. Practice Scales: Use F major (Bb as subdominant, C as dominant), Bb major (Bb as tonic, C as supertonic), and Eb major (Bb as dominant, C as submediant) with side fingerings, as shown in Klose’s Daily Studies (https://www.youtube.com/watch?v=Sc_px_tzXwc).
    2. Target Transitions: Practice A-Bb-B-C (side Bb) and B-C-C#-D (side C) to ensure fluidity.
    3. Check Intonation: Use a tuner to confirm side Bb and C pitches align with A=440 Hz, adjusting embouchure.
    4. Annotate Parts: Mark side Bb and C in Furioso for the B-C-B-C-B-C-B-C sequence, eliminating A and C# blips, as I found with a middle school band.
    5. Teach Technique: Emphasize pressing side keys with the base of the index finger to avoid tension.
    6. Reinforce in Ensemble: Check pitch in rehearsals for blend with woodwinds.
    7. Use Exercises: Incorporate chromatic runs to build side key dexterity.

    Conclusion

    Side Bb and side C fingerings, using the middle and top side keys, enhance saxophone fluency and intonation in F, Bb, and Eb major scales and rapid passages. My experience with Furioso in a middle school band proved side C’s value in eliminating A and C# blips in a B-C-B-C-B-C-B-C run. By teaching proper side key technique, scale practice, and repertoire annotation, directors empower saxophonists to deliver polished performances in demanding repertoire.

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