Although most woodwinds have been heavily rationalized, both the saxophone and the flute are not exactly operating as Jim Schmidt postulates his is a true improvement and I disagree that it offers no advantages, the question is if those advantages are worth the money that he is currently asking.
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THE NEW SAX DESIGNby JIM SCHMIDT
If you dig common sense, practicality, good technology and comfortable ergonomics, read on.
The logic behind my fingering system is straightforward. One note follows the next chromatic note by closing down the next key with the next finger of your hand, and so on down the line, one after the other in linear sequence.
This new fingering system is easy to memorize. Chromatic scales sound wonderfully smooth. All scales, regardless of how many sharps or flats are involved, can be easily played. As you know, the conventional fingering is built around the C major scale with the sharps and flats of other scales inserted where they can fit. Because of this, scales with more sharps and flats become difficult to play. The JS sax design overcomes this problem because it is based on the chromatic scale - the only scale to include all twelve notes of the octave.
The Schmidt chromatic fingering makes perfect sense and is a pleasure to play. Since the tone holes are generally located directly underneath the fingers being applied, the player understands that he/she is making the sax longer and dropping the pitch by applying more fingers, making it shorter and raising the pitch by lifting fingers, or venting it for altissimo by lifting some fingers and closing others. This direct link of fingers over tone holes enables players to visualize what they are doing to the sax. It encourages them to use more creativity and intelligence in their playing. For example: it is easy to transpose down a third by simply pressing down 4 more fingers on their keys.
When you look at a conventional sax you see a lot of complicated interconnecting linkages, unnecessary weight and redundant keys (side keys, bis key, F#, Bb. G# etc.). In the new system, scales and tones are cleaner and quicker because each key is independent (except the low note keys) and is not loaded down by interlinkage mechanisms as are, for instance, mid Bb and F# in the conventional Boehm method. Tones are also clearer because you have the choice of closing only those holes which produce the best sound. This is especially true when playing altissimo (the conventional sax locks you out of some of the best altissimo fingerings). This fingering system allows you to do much more. For example, low note trills and interval tremolos are now available - a big advantantage over conventional horns. A unique technique is employed to achieve this which allows two fingers to operate the low note touchpieces instead of just the pinky. For example - you can hold down low B with the ring finger while trilling low Bb with the pinky. This is easy because spring pressures are about 1/3 as heavy as found on conventional horns........."
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