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How to Play Saxophone – Blues for Alice, First Phrase of A Section on Tenor Sax

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Blues for Alice by Charlie Parker, bebop tune. Good one to know!

This lesson probably is the most technically challenging music in a video lesson on this site, or at least up there.

To make bebop sound right, you really need to make the notes flow in a smooth way. If you are just starting to play saxophone, this tune probably isn’t the best one to begin with.

Part of getting that smooth sound is moving your fingers in an efficient way, like how Charlie Parker did. I try to move my fingers in that way and you’ll see in the video my fingers basically stay on the keys.

If you would like to work on your technique with me, check out Saxophone Tribe.

Notes for alto sax below the video.

Alto Saxophone:

D A F#
C# A F#
B C# G# A
A# G E
F# D B
E F# D C#
C E G B Bb

“How to convert sheet music from tenor sax to alto sax and from alto sax to tenor sax?”

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Question:

How to convert sheet music from tenor sax to alto sax and from alto sax to tenor sax?

My response:

The tenor saxophone is in the key of Bb.

The alto saxophone is in the key of Eb.

Let’s first compare those two notes.

Eb_Bb

Eb down to Bb is down a perfect fourth.

Eb_up_to_Bb

Eb up to Bb is a perfect fifth.

Personally, I can think of the perfect fifth faster than the fourth. Probably because the fifth is often a chord tone.

A perfect fourth and a perfect fifth together are a perfect octave.

Example: C up to F is a perfect fourth, and F up to C is a perfect fifth, total distance of one octave.

Therefore, up a perfect fifth is the same note name as down a perfect fourth.

And down a perfect fifth is the same note name as up a perfect fourth.

So to go from Bb tenor saxophone to Eb alto saxophone notes, you go up a perfect fifth (or down a perfect fourth).

C on tenor sax up a fifth makes it a G on alto sax. This note is a concert Bb, a concert Bb is C on tenor and G on alto.

To go from Eb alto saxophone to Bb tenor saxophone, you go up a perfect fourth (or down a perfect fifth)

C on alto sax down a fifth gets you to F on tenor sax. This note is a concert Eb, which is C on alto and F on tenor.

Another option:

If you prefer to think in terms of fourths, go for it.

Other times I’ll transpose to concert and then to the other saxophone, depending on the situation and whether it’s useful to also be able to play something on the piano, which it can be many times.

Saxophone Scales – “I need someone to explain me those scales. What’s the point? Dooh, why are they so complex?”

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B Major Scale for Saxophone

B Major Scale for Saxophone

Question:

I’d love to practise on technique, blowing and notes. And I need someone to explain me those scales. What’s the point? Dooh, why are they so complex?

-Blazka

My response:

Basically music can be played in 12 different keys, each with a different root. And the keys have different variations – major, minor, etc.

Many songs also change key, sometimes multiple times and very quickly.

To be able to play music you need to be comfortable with, for instance, five sharps.

To become comfortable with music that has five sharps, playing the notes in a sequence with five sharps can help you practice. That sequence is a scale.

Playing the notes in that order has a specific sound characteristic of the type of scale. So all major scales have a certain sound. All Lydian scales have a certain sound.

The scale is going to be one of the simplest things you play in any given key.

Music will go in different directions and also include the rest of the elements of music – rhythm, articulation, space, dynamics, etc.

A scale can be practiced with a very regular rhythm.

Getting the movement between notes smooth is one of your first goals when playing scales. You don’t want any awkward transitions between notes or uneven rhythm.

It’s kind of like learning to draw and being able to draw straight lines. You’ll use straight lines when you draw sometimes, but your drawing will also have more complicated shapes, contours, texture, etc.

The skill in being able to draw a straight line will help you be able to draw other things.

Scales are kind of like straight lines in music. In their simplest form, they go straight up and straight down.

Real music sometimes has parts that move exactly like scales. It also has parts that move in different directions with jumps.

-Neal

What is your opinion on the mouthpiece selmer soloist c **? (Saxophone Mouthpiece)

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Selmer Soloist Mouthpiece, C**

Selmer Soloist Mouthpiece, C**

Question about a saxophone mouthpiece and a bit of discussion.

The comments on a few pages were getting a little bit out of hand, so I was thinking I would change the format a bit. Here’s a question, my answer, and a bit of discussion about mouthpieces and equipment.

Go to the Questions? page if you have a question. And feel free to leave comments on posts.

Hélio Lacerda

Hi Neal,
thanks for all the posts and lessons this year and wish a happy new year to you.

What is your opinion on the mouthpiece selmer soloist c **?
That will be formed in my setup to play in the suit of my orchestra?
Our repertoire is mostly jazz standarts and Brazilian music.
Our suit is made by me on tenor sax and flute, a clarinet and two alto sax.
Ihave a Conn 16M tenor, currently use a 7-d dukoff metal and reeds Fibracell.

Regards,
Hélio.

Neal

Hey Hélio,
I think that the selmer soloist would work well for an orchestra. You might need a mic to cut through with the jazz standards and Brazillian music, the main thing is if you’re liking the sound for the setting that you play it in.

The Dukoff is going to cut through more, but maybe the Selmer sounds better. Go with the one that helps you get the sound you like, maybe get the other musicians to let you know what they think.

Your perspective playing is different than their perspective, you can also record both and see what you think.
-Neal

Hélio Lacerda

Hi Neal!
Exact, was the suggestion of the musicians of the orchestra that I’m looking to change my sound. I’ve tried hard rubber Otto Link, but not like the result. I will test a selmer soloist now.

Thank you.

Ken Bourg

Hélio: I also have a 16M Tenor and get my best results on either a Solist D (rubber) or a Selmer Jazz D (Metal) using Legere 2 1/2 or 3 reeds deending on the music to be played. I have lots of other MPs but these are two of my favorites.

I soon plan to buy a Super Session tenor 8. I play almost exclusively on the Super Session E on Soprano (Selmer VI) and Super Session D or E on Alto (Yamaha Custom 875 EX with the V1 neck. Hope this helps. Happy New Year, Ken

Neal

Hello Ken,
Thanks for adding your thoughts on the matter, especially since you’re playing that horn!
-Neal

Hélio Lacerda

Hi Ken!
Thanks for the help. I already buy the Selmer Soloist mouthpiece, I hope the outcome is good.
Thanks.

Ken Bourg

Hélio: Let us know how it works out for you.

I’m always interested in how different combos work out. For example, on my 1947 Martin Imperial Tenor (the backup with metal resos) I use an old Whitehall that measures 2.05 on the tip gauge. It has a very long facing and a huge chamber. It really looks like a Barry MP.

I like Fibracell Synthetic hard reeds on it and I can tease it between light and dark tones and howl like a wolf when I need to really project. On my Yamaha Custom YTS 82 Z Silver, I like the old Selmer Metal Soloist E (no longer in production) with a Legere #3 Signature Series Synthetic reed & Rovner Platinum Ligature. That combo is dynamite for R&B / blues pieces.

I might add that I exclusively use Rovner ligatures on every sax / clarinet MP. I find there is no equal and have about 15 or so that I use either in rotation or for specific tonal needs. Wishing you the best Happy New Year ever; now go out and gig a mob. Ken

Hélio Lacerda

Ken,
In my tenor Conn16M 1967 I use the D-7 dukoff metal with Fibracell 2.5 or 3 and Rico ligature, then the sound is bright. I’ve tried using other reeds but did not like the result.

My friends in the orchestra suggested a darker sound to fit more on the suit, so I want use a selmer soloist mouthpiece to feel the results. I will start using the fibracel and then I tested other types of reeds. I already bought a selmer soloist C**, I’m waiting to arrive.

I never used Legere reeds. Do you like it?
Thanks,
Hélio

Ken Bourg

Hello Hélio: Yes, I am loyal to Legere, especially their new Signature series. I am also loyal to Rovner Ligatures. I like the Dark 2R or Platnum 2-PR (especially to bring out the lower registers) on the Soloist Hard Rubber D with a 2 1/2 or 3 Legere Platnum for a darker sound.

I don’t know what pads you are using, but if you have domed pads with metal resos, you will always be on the bright side with the 16M. The Dukoff will be brighter than the Solist. In all combos. The 12M series were intended to project brightness into pieces and not built as a dark sounding instrument.

I suggest you try a Rovner 2R Dark with a Legere Signiture reed with your soloist. You will darken your sound some. If you are wanting to do serious concert pieces you might consider using a Yamaha YTS Custom 875 EX with the G3 neck. They are built for the orchestra. Good luck. Ken

Softly as in a Morning Sunrsie (first phrase) on Tenor Saxophone (alto sax notes below video)

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Softly as in a Morning Sunrise first phrase. Composed by Sigmund Romberg and (lyrics) Oscar Hammerstein II. Try learning the rest of the tune by ear (better option), or you could probably find it in a fake book. Alto sax notes below video.

It comes from a 1928 operetta, The New Moon. Has been covered by Artie Shaw, Sonny Rollins, John Coltrane, Freddie Hubbard, and others.

Alto sax notes:
A E
D E D E D
A C

Alto Sax Solo Over Red Clay – Neal

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Over the tune Red Clay by Freddie Hubbard. The changes are the same changes from ‘Sunny’ by Bobby Hebb.

At the Dennis Murphy School of Music, Gary, Michael, Zach, and Robert in the rhythm section. Nate, Tamas, Chris, and Tyler also in the horn section.

Get up to an altissimo A at one point in the solo.