Adaptation Part II

All's well and going well, i've been playing long tones all these while on the chromatic scale from high C# to low D. 24 notes, it's great practise and focuses upon achieving a good tone and also making one conscious of different tone production styles, more or lesser air, tighter or looser embouchure.

i've never sounded better than now currently since the first day i tried the metal mp. guess hard work and perseverance really pays off~ i'm gonna continue focusing on tone for another 1 - 2 more weeks or until i can achieve a beautiful tone on all notes in all immediate registers.

Runyon C# Key

I was busy brushin out my sax this afternoon and fiddling around with the pinky table of the sax. before dat, i'd already learnt about the C# extension palm key and how it can help make playing low C# to low Bb and vice versa alot easier.

however, i also noticed dat while it made life easier, it still did not solve the switch problem from low B to low Bb and vice versa. Therefore, i had this idea. why not come up with a low B palm key as well?? so i proceeded to email my thoughts and suggestions to Paul Coats. still waiting for his opinion on this. basically, there will be 2 extra palm keys on the pinky table. this would make playin the low G# C# B and Bb keys a breeze. so if switching from C# to Bb or vice versa and B to Bb and vice versa is made easy, then comes the problem of how to cleanly execute G# to Bb and vice versa but that problem will be solved with a depressed B palm key or C palm key, depending on wat note the player wants to play next. all in all, the G# key can be closed either by finger or palm. there are 2 new ways to play the G# now and thus will afford the sax player faster execution in challenging passages. all they need to do is incorporate a second palm key into the pinky table and find the best position for these 2 keys to be played with ease beside each other.

i hope the runyon C# palm key and my suggested low B palm key become standard on saxes in the future :)