-
5/25/2018 Grifftabelle Version E-1.0
1/45- 1 -
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
-
5/25/2018 Grifftabelle Version E-1.0
2/45- 2 -
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
-
5/25/2018 Grifftabelle Version E-1.0
3/45- 3 -
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.
-
5/25/2018 Grifftabelle Version E-1.0
4/45- 4 -
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#)
-
5/25/2018 Grifftabelle Version E-1.0
5/45- 5 -
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.
-
5/25/2018 Grifftabelle Version E-1.0
6/45- 6 -
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
-
5/25/2018 Grifftabelle Version E-1.0
7/45- 7 -
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
index nger forboth keys
C5
C#5 Db5
D5
D#5 Eb5
E5
F5
F#5 Gb5
G5
G#5 Ab5
A5
A#5
Bb5
B5
C6
-
5/25/2018 Grifftabelle Version E-1.0
8/45- 8 -
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
-
5/25/2018 Grifftabelle Version E-1.0
9/45- 9 -
Trill A3 to Bb4
index nger forboth keys
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
-
5/25/2018 Grifftabelle Version E-1.0
10/45- 10 -
Trill B4 to Ab5
index nger forboth keys
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
-
5/25/2018 Grifftabelle Version E-1.0
11/45- 11 -
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
~~~~~~
-
5/25/2018 Grifftabelle Version E-1.0
12/45- 12 -
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
-
5/25/2018 Grifftabelle Version E-1.0
13/45- 13 -
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
-
5/25/2018 Grifftabelle Version E-1.0
14/45- 14 -
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
-
5/25/2018 Grifftabelle Version E-1.0
15/45- 15 -
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
-
5/25/2018 Grifftabelle Version E-1.0
16/45- 16 -
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
-
5/25/2018 Grifftabelle Version E-1.0
17/45- 17 -
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
-
5/25/2018 Grifftabelle Version E-1.0
18/45- 18 -
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
-
5/25/2018 Grifftabelle Version E-1.0
19/45- 19 -
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
-
5/25/2018 Grifftabelle Version E-1.0
20/45- 20 -
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
-
5/25/2018 Grifftabelle Version E-1.0
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
-
5/25/2018 Grifftabelle Version E-1.0
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
-
5/25/2018 Grifftabelle Version E-1.0
23/45- 23 -
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
-
5/25/2018 Grifftabelle Version E-1.0
24/45- 24 -
Top Tones
O-K O-K
O-K O-K O-K O-K
A6
-
5/25/2018 Grifftabelle Version E-1.0
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
-
5/25/2018 Grifftabelle Version E-1.0
26/45- 26 -
Top Tones
O-K O-K O-KO-K
O-KO-KO-K O-K
A#6 Bb6
-
5/25/2018 Grifftabelle Version E-1.0
27/45- 27 -
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
-
5/25/2018 Grifftabelle Version E-1.0
28/45- 28 -
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
-
5/25/2018 Grifftabelle Version E-1.0
29/45- 29 -
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
-
5/25/2018 Grifftabelle Version E-1.0
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
-
5/25/2018 Grifftabelle Version E-1.0
31/45- 31 -
Top Tones
O-K O-KO-KO-K
C7
-
5/25/2018 Grifftabelle Version E-1.0
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
-
5/25/2018 Grifftabelle Version E-1.0
33/45- 33 -
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
-
5/25/2018 Grifftabelle Version E-1.0
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
-
5/25/2018 Grifftabelle Version E-1.0
35/45- 35 -
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
-
5/25/2018 Grifftabelle Version E-1.0
36/45- 36 -
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
-
5/25/2018 Grifftabelle Version E-1.0
37/45- 37 -
Top Tones
O-K
O-K
O-K
O-K
O-K
O-K
E7
-
5/25/2018 Grifftabelle Version E-1.0
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
-
5/25/2018 Grifftabelle Version E-1.0
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
-
5/25/2018 Grifftabelle Version E-1.0
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
-
5/25/2018 Grifftabelle Version E-1.0
41/45- 41 -
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
-
5/25/2018 Grifftabelle Version E-1.0
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
-
5/25/2018 Grifftabelle Version E-1.0
43/45- 43 -
Honking: Multiphonics
O-K
O-K
-
5/25/2018 Grifftabelle Version E-1.0
44/45- 44 -
Honking: Multiphonics
O-K
O-K
O-K
-
5/25/2018 Grifftabelle Version E-1.0
45/45- 45 -
Honking: Multiphonics
O-K