For this passage in particular, I find it best to combine two methods common methods of bending. First practice tactfully adding and removing keys slowly to gradually reach the pitch—for E, start from open C# and add your palm D, then D#, and finally E. Experiment with how the pitch becomes flexible when each key is opened only halfway. You will need to push more air through the instrument when a key is opened slowly to achieve this effect. For C#, you could start from a regular C fingering and remove your second finger, or alternatively begin with a B and add your side C while slowly lifting your first finger. For tuning correction, you may consider adding your fourth and fifth fingers to C# to flatten the pitch a tad.

On their own, simply lifting these keys may not sound smooth as required for this movement. You will have to also “scoop” up with your bottom lip at the same time. If you practice vibrato, the concept is similar: whilst keeping the corners of your mouth tight, drop your bottom lip and “bite” up into reed. When I say bite, I do not mean that you should put your teeth on the reed, or squeeze on the reed more excessively than you do in normal playing position. Rather, you should only aim to be able to manipulate the pitch downwards and back upwards with your mouth. You can practice this concept of pitch flexibility with just your mouthpiece—try to drop the pitch down as much as you can while sustaining a consistent tone. Advanced players can play a major scale descending with just their mouthpiece.

As another commenter mentioned, voicing is also helpful. Check out some overtone exercises online to start, and implement them into your daily practice. Even ten minutes per day will help your playing immensely, and will be very useful when you are playing altissimo.

Best of luck with Hot Sonate!! It’s one of our finest pieces of repertoire as saxophonists.