The range of the alto saxophone is from concert D3 to concert A5. When necessary, a player can extend the instrument's range to concert C3 by putting their knee or foot in the bell. As with most types of saxophone, the standard written range is B3 to F6. Above that, the altissimo register begins at F6 and extends upwards. The saxophone's altissimo register is more difficult to control than that of other woodwinds and is usually only expected from advanced players. The alto saxophone is a transposing instrument; music is transposed by three half-steps.
The alto saxophone has a large classical solo repertoire that includes solos with orchestra, piano and wind symphony. Two important solo compositions are Jacques Ibert's "Concertino da Camera" and Alexander Glazunov's "Concerto in E Flat major". The alto saxophone is found in the standard instrumentation of concert bands and saxophone quartets. Alexander Glazunov composed his Saxophone Quartet in B-flat major in 1932. The alto saxophone is sometimes used in orchestral music. Some of the compositions where it appears are listed below.
Georges Bizet features it in the "Minuet" from the second suite of music from L'Arlésienne.
It was called for by Richard Strauss in his Sinfonia Domestica, which includes parts for four saxophones including an alto saxophone in F.
Dmitri Shostakovich uses the alto in his Suite for Variety Orchestra and it has a prominent solo in the "Waltz No. 2" section. He also includes it in his Suite No. 1 and Suite No. 2.
Maurice Ravel uses the saxophone prominently in his orchestration of Modest Moussorgsky's Pictures at an Exhibition, most notably as the soloist in "Il vecchio castello".
Alban Berg uses the saxophone in his late orchestral works, most notably "Der Wein", Lulu, and the Violin Concerto.
Sergei Rachmaninoff uses the saxophone in his Symphonic Dances as a soloist in the first movement.
George Gershwin includes it in a few pieces; such as Rhapsody in Blue and An American in Paris.
Pierre Boulez wrote for 2 alto saxes in his composition Pli selon pli.
Benjamin Britten calls for an alto in his Sinfonia da Requiem and The Prince of the Pagodas.
Leonard Bernstein includes an alto sax in his Symphonic Dances from West Side Story.
Vincent d'Indy enlists two altos in his opera Fervaal.
Darius Milhaud writes for an alto in La Creation du Monde, and places it in the score where we would expect to see a viola.
Allan Pettersson makes use of an alto in his 16th Symphony.
Krzysztof Penderecki scores for two altos in his opera The Devils of Loudon.
Aram Khatchaturian includes an alto in his ballet Gayane.
Poul Ruders includes a significant solo for the alto saxophone in his orchestral suiteConcerto in Pieces.
Eric Coates wrote for an alto in his 1936 Saxo-Rhapsody.
Claude Debussy features an alto in his Rhapsody for Saxophone and Orchestra.
Paul Creston wrote a concerto for the alto as well as a sonata, a rapsodie, and included it in a suite for saxophone quartet.
Ronald Binge wrote a concerto for the alto saxophone in E-flat major
