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I am a senior music ed. major and have owned and played a lot of different horns. Five thousand dollars is plenty of money to get a horn that will last you as long as you want to continue playing, if you take care of it.

First, PLEASE don't march with a professional quality sax. They can get damaged so easily in a marching band setting, and the benefits of you playing on a nice horn will not make any impact whatsoever on the ensemble sound of a marching band. It absolutely is not worth it.

Second, you cannot underestimate the importance of a quality mouthpiece. Playing an average horn with a good quality mouthpiece often sounds better than playing a high quality horn on a bad mouthpiece. Your budget is more than large enough to include a great mouthpiece. Also, I know it seems cool to get a metal mouthpiece, but I would advise you against it. While it is common to play a metal piece on tenor, I'd say ninety percent of Alto players play hard rubber pieces. Just look at the greats: Charlie Parker, Phil woods, Cannonball Adderley, Paul Desmond, they all play hard rubber and sound incredible. A metal piece cost more, are almost always very bright sounding on Alto, and will be more difficult to control starting out. I would highly recommend a Meyer hard rubber style mouthpiece, with two great options being a Vandoren V16 A6 medium chamber mouthpiece,

https://www.amazon.com/Vandoren-SM812M-Chamber-Saxophone-Mouthpiece/dp/B000UJFZOM/ref=mp_s_a_1_1?ie=UTF8&qid=1541718296&sr=8-1&pi=AC_SX236_SY340_FMwebp_QL65&keywords=vandoren%2Bv16%2Balto%2Bmouthpiece&dpPl=1&dpID=31bDmRqJdFL&ref=plSrch&th=1&psc=1

And the Jody Jazz hard rubber 6M

https://www.wwbw.com/JodyJazz-HR-Hard-Rubber-Alto-Saxophone-Mouthpiece-471630.wwbw?source=TWWR5J1BB&cntry=us&currency=usd&gclid=Cj0KCQiA2o_fBRC8ARIsAIOyQ-mZadWBOQ4P7BRLQuk72AN6fyqDckpFCzKU_NfxXXrvOfxYyDXBwDIaAo2_EALw_wcB

These pieces are very similar, and will both be free blowing, play well in tune, and be very versatile, capable of producing a wide variety of sounds.

Now, on to your actual question. There are many options when it comes to professional saxophones, and it is important to find what works well for YOU.

In my own personal experience, the best Alto for the money is a Yamaha Custom Z (model number YAS-82Z II). They are versatile, excellent intonation, very easy to play, consistent from horn to horn horns, sound fantastic and will last a lifetime. Phil woods played one of these in his later years, and I have played one all through college. These horns are on the the brighter end of the spectrum and are geared towards jazz musicians, but I have had no issue getting a great classical sound out of it.

Selmer Paris makes some very good horns, however I don't think they are as consistent as Yamaha. Some definitely play better than others. The two best horns Selmer currently makes are the Series II, which I find to have a very dark sound and is excellent for classical playing, and the Reference 54, which is based on the legendary Mark VI and is great for classical or jazz. Both of these horns are going to be out of your budget to buy them brand new, however there is nothing wrong with buying a used horn so long as you check it out and play it extensively before purchasing. Definitely never purchase a used horn on eBay or anything like that where you haven't checked it out thoroughly in person. In fact, I don't think it is wise at all to purchase any horn you haven't play tested extensively beforehand, because this is a very large sum of money you are spending, and as I said some horns of the same exact model play better or worse than others due to inconsistency in the manufacturing process.

Eastman makes one horn that I really like, and it is their 52 street model. I have played the Alto and tenor, and actually purchased the tenor I tried at a convention. They are less expensive than a Yamaha and definitely less expensive than a Selmer, and sound and feel more like a vintage horn such as a mark vi my opinion. I love my tenor, and these are also a good option.

Yanigasawa makes extremely high quality horns also, but I personally never played one I really liked.

I really hope I was able to offer some help or give some information you can use.

I like this! Great Job!

By the looks and of this, it seems that currently, you have only basic knowledge of how to write in this style and this way. That’s ok, the more you do it the more you’ll learn, there are plenty of books on arranging out there.

My favorite is Jazz Arranging written by Norman David.

But quick things to consider that you can do right now:

Write your melody in unison, and save the harmony for the impact points of the line. Usually the last note, or if there a sting of eights(make those unison) and when you come to a quarter note, harmonize that. Rather than writing the whole line harmonized. Only because: (a) it’s just another way to do this that is legit in this style - and a technique you clearly could understand and practice right now. (b) it doesn’t seem that you understand how to write in closed position harmony in this style yet - again this is fine; I’m not Quincy Jones, we’re all are at different levels simply trying to learn and get better!

Anyway, the timbre of the saxophones mixed together played in unison or simply octaves is great and sometimes is all that is necessary for fast songs such as this, and when you harmonize the accent notes they harmony will stand out more, and you’ll get better overall results. Also consider intonation with saxophones is always tricky, so the easier you make it, (unison rather than close harmonies) the better your ensemble can make your song sound!

Second, the bass part is cool, but you need to put more rest in there. It virtually impossible for someone to play constant low eight notes like that, for that long on bari. Boogie Woogie Piano can do it, but, of course they don’t require lungs. You can disguise the rest and keep the style by doing something like one measure of eights, and on the following measure, 2 beats of 8ths then rest on beat 3. And then switch it up as necessary going forward. There other ways, so be creative, but the string of eights for that long like that is tough to execute.

Keep in mind the easier you arrange your song the better it will sound when it’s performed.

Also, for future, Bari and Tenor sax are Bass clef instruments. Doing that will help to visually things a little easier for when we try to help you. And then, even though this is simply a blues, always included the changes at the top of your arrangement score so we can easily see the harmony and any substitute harmony you’re going for; Tritone subs, sub ii-V turnarounds, etc. and especially in the intro.

Great job though! All songs are a work in progress and are in constant revisions. Even Stravinsky continued to rewrite and rearrange whole sections of the Rite is Spring after its debut, so... nothing is really ever complete!

Good on you for having your ear tuned well enough to play F and think "what the hell...that doesn't sound like F". Especially if you're playing sheet music written for a C instrument. If you want to play music written in treble C on alto, it's doable, but tricky and you'll probably have more success sticking with music written for Eb.

That said....

I went through this quite a bit when learning how to play alto as a kid. What helped was playing in a band setting where you have to learn to play concert keys for tuning. The most common one being Bb Concert, G on the alto.

After doing that I realized all you're doing is adjusting the time signature and moving the note up 2 degrees on the staff, or one space / bar. So what I would recommend is first adjusting the key signature: so if for piano it's in the key of C, in Alto it's going to be in native A. Naturally knowing your major scales will help this quite a bit, and I'm sure that while you know them on piano, practice them on alto so you get more used to the fingerings, some will feel very unnatural at first. Once you know the key signature adjustments you need to make, just look at the staff and move everything up a line or space while playing. E becomes G. D becomes F. A becomes C, etc. Once I figured this out I taught myself to read music written in concert key on the fly, but it took a while and at this point I had already been playing for a few years. Before that I'd transcribed things by hand.

So it's doable...but that's a roundabout way to make it work from my perspective.

I would strongly recommend that you pick up some workbooks that are for saxophone, like The Larry Teal Saxophonist's Workbook https://www.amazon.com/Larry-Teal-PSBSWB-Saxophonists-Fundamentals/dp/B06XHM9R54/ref=sr_1_1/141-9687023-4115321?ie=UTF8&qid=1536589075&sr=8-1&keywords=larry+teal+saxophonists+workbook

As well as pick up something like a fake book or some contemporary sheet music books for alto sax and focus on playing like that to not stress yourself out too much.

Probably best to start with something that might be too easy and work up so here's a good book to start with. Be sure that you play all exercises very, very slowly at first with absolute 1000% accuracy, start by tonguing each note very, very short at first. Imagine a hammer and anvil. Then work on other articulations and work up the tempo. Work with a metronome.

To drill on rhythm read the theory in the back of that book.

Set the horn aside to drill and Clap the rhythms out (on all exercises, then play on the horn later) while counting as suggested in the book; being sure to say the syllables for the divisions of the beat. "One, two, three, four'; (quarter notes) One and, two and, three and, four and (eighth notes), etc. Drill on this night and day until you're doing it while brushing your teeth! Get a pair of drum sticks and pound out rhythms on a table top. Keep up the counting and clapping, tapping! It's very important to be able to count and play simultaneously. The counting may drop into the background later but be able to bring it up to the conscious level at a moment's notice

Then play the exercises on the horn and yes, (music directors will hate this) tap the basic beat with your feet. Learn to suppress the foot tapping to maybe moving the big toe inside your shoe.

Can't emphasize the importance of playing slowly enough at first so you have accuracy BEFORE speed. Playing an exercise too fast will drill in wrong fingerings which will be hard to iron out later.

!Thou Shall Practice Every Blessed Day unless sick in bed. At first about 10-15 minutes (stop when you get tired or you'll just start making mistakes) and then work to about 30 minutes. Ok to do the 30 minutes in two sessions.

The band builder book is a bit short on material so you'll want to find supplementary material right away. The Rubank series are excellent, the exercises with simple rhythms will allow you to practice counting while playing.

I'm wondering if some of your technique issues would be resolved by learning the note fingerings-our cognitive processes here are tricky, we may feel we know the sax fingerings but with so much else going on, the mind has issues resolving what needs to be done next. For this, attack the issue of learning fingerings by silently playing without placing the mouthpiece in your mouth and just finger the notes. Then set the horn down and 'play' the exercise by just saying the note names in strict time. That way you work a different part of your brain which will assist it in pulling up the fingering the note quicker.

I'm a sax player myself (also clarinet) and love to teach music. I'm plowing through Deville's Universal Method for Saxophone; it has an excellent set of drills in the first 100 exercises. Bit pricey but worth it if you want to motivate yourself

Here's website that explores rhythm subdivisions-very important to understand this. Again, take your time and allow yourself to approach this across several days so as to give the mind time to absorb it all.

This by far was the best starter book for songs that I found -

https://www.amazon.com/Easy-Pop-Melodies-Alto-Sax/dp/1480384305

Incredibly well done AND easy to play.

This books works well for learning -

https://www.amazon.com/Essential-Elements-2000-Alto-Saxophone/dp/0634003178/ref=sr_1_1?keywords=alto+essentials&qid=1562175637&s=books&sr=1-1

Gives you the next "challenge" to work on great from a complete beginner's perspective. If you do every exercise in that correctly until at least half way through you'll be playing the previous book easily and the music is written so well for it you could play it on the street if you wanted to. Also lets you log in to hear how it's played and so you can play along.

I would recommend using this random sheet music generator to practice playing playing notes faster the first time you read them -

http://www.randomsheetmusic.com/

An instructor will be needed to make sure you are doing things correctly like getting notes out etc. I would recommend getting also 1.5 reeds because it's almost impossible to not get the note out with them.

Sigurd Rascher wrote a book about this; Top-Tones for the Saxophone. My saxophone professor once jokingly told me to squeak and tune right before he recommended this book, it did the trick but a lot of study was involved. Most people I know used this to extend their range. Remember to practice slowly and patiently, and also that some tones will have a harder time speaking than others. This will depend on many factors including instrument, mouthpiece, reed, actual person playing, etc. What may work for others may not work for you and vice versa. The approach that worked best for me was to work my way up chromatically. I identify my "goal" note and reach higher than that so that my "goal" is no longer my limit, but instead a comfortable note. Comfortably I can reach an octave above the F#. Lastly, any fingering charts you may find are not for everyone, these were made by individuals who found success with those fingerings so if they don't work for you feel free to experiment once you are comfortable with the range.

​

TL;DR - This book will help: https://www.amazon.com/O2964-Top-Tones-Saxophone-Four-Octave-Range/dp/082582642X/ref=sr_1_2?crid=304AVVQDC47HK&keywords=top+tones+for+saxophone+sigurd+rascher&qid=1571542279&sprefix=top+tones+for%2Caps%2C162&sr=8-2

Another good step is D’Addario Reserve tenor sax reed. The thickness is a little different from Vandorean, but still a good reed to look into :) I personally play on them and they have a very wonderful sound on my mouthpiece. Definitely a good reed to start on if you don’t want to mess with Ricos (which is a good reed to start on in and of itself, just a you preference). It also depends on the money you want to spend

D’Addario Reserve

It's horribly taboo, but if you want a cheap and fun sax check out the Glory saxophones. I haven't looked in awhile, but I remember they were on amazon for 100-200 bucks or something like that. I liked my $300 tenor before I upgraded, and there's a ton of great reviews for it on amazon.

Everyone on saxophone forums will blast them for not being a $1500 Yamaha or a 100 year old family heirloom that was a gift from the 3 prince of the Congo, but from my experiences and other reviews they are a cheap and dirty Chinese sax brand that gets the job done.

Edit: The mouth piece and reeds that come with it are terrible, I'd upgrade those asap. But here is a $200ish one with good reviews https://www.amazon.com/Professional-Saxophone-11reeds-Cushions-DIRECTLY/dp/B00OET2ICG/ref=sr_1_2?ie=UTF8&qid=1495033826&sr=8-2&keywords=glory+alto+saxophone

1. Don't let that hater bring you down
   
2. Gear is never the answer but a meyer 5m or another more open piece will do you good for getting a less classical sound - try and pair that with a vandoren java 2.5 or 3 reed.
   
3. There used to be PDF links to the Lennie Niehaus Jazz Conception book - try on the beginner book and get a feel for syncopations and "Swing" - the concept for jazz is the feel, 8th notes on paper sound more like triplets, you learn that by listening and transcribing, but the first methods to build it up are playing dotted eighth/16th notes, and then working towards that triplet feel - https://themusicworkshop.com/swung-vs-straight-8th-notes here's what I'm trying to describe. I think the chapter on swing in this book: https://www.amazon.com/Improvising-Jazz-Fireside-Jerry-Coker-ebook/dp/B003N3TUMU has some good ideas that he's trying to communicate - as i was saying to you before it's all about listening and emulation until you're takin off on your own.

Personally, I like Rico Royals and D Addario Jazz Select, but I'm on a budget so I use them for classical AND jazz/other. You might want to try a Vandoren Sample Pack or a D Addario Reserve sample pack.

Edit: Also I would recommend investing in a good reed case if you haven't already. I personally like this one but you could also look at ones that are a bit nicer.

Reeds is where you will find most of the cost for it. If you always use the one, after just 3 to 4 days it may stop making the proper vibrations.

I have 4 reeds I rotate between, and replace them every month. My 10 pack of tenor reeds cost me ~33$. I would recommend getting a reed case as well just to help you keep the reeds in better conditions and helps remember what reed you should use next.

They're these ones , iirc! They work like a charm! :-)

Easy answer: practice overtone exercises such as the classic:
fingering low Bb and changing your throat position to play a Bb up an octave, and then F a 5th above that, and Bb a 4th above that, etc.

Personal experience: what I found while developing my control of the altissimo register was that I often tried to capture higher overtones by biting more in my embouchure and blowing harder, when I needed to be utilizing throat positioning instead to reach higher overtones as well as to develop better control of them.

Check out these books for a much more comprehensive understanding of the altissimo register:

Top-Tones for the Saxophone: https://www.amazon.com/O2964-Top-Tones-Saxophone-Four-Octave-Range/dp/082582642X

Saxophone High Tones: https://www.amazon.com/Saxophone-High-Tones-Eugene-Rousseau/dp/158106005X/ref=pd_lpo_sbs_14_t_1?_encoding=UTF8&psc=1&refRID=T61FKP0VVR5H1CHJRB5W

Beginning Studies in the Altissimo Register: https://www.amazon.com/Saxophone-Beginning-studies-altissimo-register/dp/B00072ZF9C/ref=sr_1_1?s=books&ie=UTF8&qid=1505855702&sr=1-1&keywords=rosemary+lang+altissimo

Our studio uses dental wax with gauze infused into the wax. It's malleable and goes over the bottom teeth, which prevents just about all biting damage that occurs from extended playing. I'm personally not a fan of these protectors as I like the direct feedback of bottom teeth/bottom lip, but the rest of the studio swears by it. A couple of my friends practice for >6h/day with this thing without any pain whatsoever. I'll edit my post later today when I find out what exactly it's called and where to buy it.

Edit: Poster above me beat me to it, Ezo

https://www.amazon.com/Meyer-Richie-Cole-Saxophone-Mouthpiece/dp/B001NQQGI0

I'm on my second one, been playing this piece since 1990. Best mouthpiece ever.

I would recommend a harness type strap for bari, they're kinda weird at first but it distributes the weight better.

Here's one on amazon.

Neotech Soft Harness, Swivel Hook Saxophone Strap (2501162) https://www.amazon.com/dp/B0002E1NS2/ref=cm_sw_r_cp_apa_i_SMYNDbVQ32KNX

'Tis the one I have. Ran me about 30 bucks. There are sizing options, for if you happen to be a 6'2" 250 lb. giant like I am.

I would recommend you make him a harness. [Like this] (http://www.amazon.com/Neotech-2501162-Harness-Black-Swivel/dp/B0002E1NS2/ref=sr_1_1?ie=UTF8&qid=1369341192&sr=8-1&keywords=bari+sax+harness)

This happens to me when they are exposed to humidity fluctuations or heat from the sun. The little plastic things they come in aren’t very protective against it you could invest in a reed case. If anything put the reeds in a plastic bag to keep the humidity stable. I use this case with a plastic bag over it. D'Addario Woodwinds Woodwind Reeds Case (RVCASE04) https://www.amazon.com/dp/B001SN7VGO/ref=cm_sw_r_cp_api_i_tyYLDbHXN78CM

Here’s the reed case I use! It keeps my reeds from wrinkling. You can also drop a silica packet in your case to absorb moisture.

boop