Suggested Saxophone Repertoire

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Suggested Saxophone Repertoire Suggested Saxophone Repertoire The following guide offers only a sampling of the entire saxophone repertoire and does not restrict students from working on additional material. Specific programs of study will be chosen to develop each student’s individual strengths and weaknesses while best preparing them for life as a performer, educator or well-rounded individual. Students will typically enter and exit the program at various levels. Level I Etudes and Methods Rhythmical Articulation Bona Odd Meter Etudes Gates Daily Exercises for Saxophone Klose Dailey Studies Kynaston 24 Easy Atonal Studies Lacour 50 Easy & Progressive Studies Lacour Beginning Studies in the Altissimo Lang Register Playing the Saxophone, 3 volumes Londeix 18 Exercices d’apres Berbiguier Mule 24 Etudes Faciles d’apres Samie Mule Exercises Mecaniques Mule Exercises Transcendants Perrin Top Tones for Saxophone Rascher 27 Melodious & Rhythmical Etudes Small The Art of Saxophone Playing Teal Selected Studies Voxman Repertoire Sonata No. 6 Bach/Mule Aeolian Song Benson Suite Bonneau Aria Bozza Tango et Tarentelle Dautremer Syrinx (unacc.) Debussy Choral Varie d'Indy Dix Figures a Danser Dubois Characteristic Pieces Dubois Sonata Eccles Sonata Fasch/Rascher Cinq Danses Exotiques Francaix Diversion Heiden Sonata No. 6 Handel/Mule Histoires Ibert Variations on a Dorian Theme Jacob Quinze Etudes Koechlin Sicilienne Lantier Three Short Pieces Myers Canzonetta Pierne Piece en forme de Habanera Ravel Ballade Reed Chanson et Passpied Rueff Particles Bourne Russell Three Romances Schumann/Hemke Sonata Snyder Romance Still Sonatine Sportive Tcherepnine Chant Corse Tomasi Introduction et Danse Tomasi Light of Sothis Quate An Abstract Ward Introduction and Samba Whitney Sonata Wilder Six Studies in English Folk Song Williams, R.V. Level II Etudes and Methods 20 Grand Etudes Camelle 48 Famous Etudes with additional studies Ferling/ Mule 27 Virtuoso Studies Iasilli Daily Studies Kynaston Les Gammes Londeix Etudes after Sivori, Rode, Fiorillo, Mule Capelle Book I 30 Grands Exercices d’apres Soussman Mule 53 Etudes d’apres Boehm Mule Daily Exercises after Tershak Mule Studies in the High Harmonics Nash Saxophone High Tones Rousseau Transcendental Etudes Samyn 10 Contemporary Etudes Schmidt Repertoire Sonata No. 4 Bach/Mule Concerto Badings Concertino Benson Concertino Bilik Concertino Bozza Improvisation et Caprice (unacc.) Bozza Sonata Creston Rapsodie Debussy Seventh Healing Song Demars Concerto Glazunov Concerto Hartley Petite Suite (unacc.) Hartley Solo Heiden Sonata Heiden Fantaisie-Impromptu Jolivet Complainte et Danse Markovitch Meditation Massenet Tableaux de Provence Maurice Improvisations 1, 2, and 3 Noda Sonatine Pascal Parable (unacc.) Persichetti Piece Concertante Reutter Ballade Tomasi Sarabande and Gigue Tull Introduction and Samba Whitney Level III Etudes and Methods Paradigms I Caravan Contemporary Saxophone Studies DeLibero 25 Capricen und Sonate (Bks. I & II) Karg-Elert 8 Brilliant Etudes Lacour 6 Etudes Massis Etudes Varies Mule 53 Etudes, Book 2 Mule Repertoire Partita in A minor (flute unacc.) Bach Cello Suites I-VI Bach/Londeix Sonata Beall Caprice en forme de Valse Bonneau Sonate Bourrel Divertimento Boutry Air and Scherzo Cowell Concerto Creston Duo Hartley Fantasia Concertante Heiden Sonata Hindemith Elegie et Rondeau Husa Concertino da Camera Ibert Sonata Karg-Elert Seasons Karlins Holly Roller Larsen Scaramouche Milhaud Sonata Muczynski Improvisation I, II & III (unacc.) Noda Sonata (unacc.) Rueff Schizo Squito Smith, R Sarabande and Gigue Tull Level IV Etudes and Methods Etudes Expressives Ameller 12 Etudes and Caprices Bozza 28 Etudes after Messiaen Lacour Nouvelles Etudes Variees Londeix 53 Etudes Book III Mule 16 Finishing Studies Ruggiero 9 Transendental Etudes Samyn Repertoire Canto IV Adler Ode to Lord Buckley Amram Music for Saxophone Basset Salsa with That Bramwell Pastoral Carter Gavambodi 2 Charpentier Musique de Concert M. Constant Concerto Dahl Deux Pieces Denisov Sonata Denisov Prelude, Cadence et Finale Desenclos Shu Gath Manna Galante Concerto Gotkovski San Antonio Harbison Leger Musique Lee, H Concerto Larsson Distances Within Me Lennon Concerto Muczynski Ballade (alto) Martin Mai (unacc.) Noda Phoenix (unacc.) Noda Cadenza Robert The Nature of this Whirling Wheel Rogers Picnic on the Marne Rorem Legende Schmitt Renewing the Myth Shrude Hot Seat Smith, R Wings Tower Level V Etudes and Methods Mirrors IV Diemente 28 Etudes sur les Modes Lacona k’Olivier Messiaen Douze Esquisses Lacour Neuf Etudes Books I-IV Lauba Tango-Etudes Piazzolla/Delangle 22 Etudes Samyn 10 Contemporary Etudes Schmidt Exercises Journaliers Tershak/Mule Repertoire Sonata Albright Accompanied Recitative Babbitt Whirled Series Babbitt Images (sopnino, sop, alto w/tape) Babbitt Duo Concertante Bassett Sequenza IXb (unacc.) Berio Panic Birtwistle Concert Suite (a.sax & band) Bolcom Lilith Bolcom Concerto Brandt Concerto Colgrass Concertante M. Constant Sonata for sax and cello Denisov Concerto (asax w/orch.) Denisov Sonata for Alto Saxophone Feld Concerto Finney Brilliance Gotkovski Another Man’s Poison Hodkinson Concerto Husa Airline (a.sax & tape) Krause Steady Study on the Boogie (unacc.) Lauba Sud Lauba Symphonic Rhapsody Lennon Concerto Martino Concerto Maslanka Sonata Maslanka Concerto Mead Scena (unacc.) Mead Hiatus Pitch Moore GEN Noda Arabesque III Nodäira Le frene egare Rosse Concerto Ruggiero Winds of Summer Stock In Freundschaft (unacc.) Stockhausen Concerto Salonen Concerto Schuller Juggernaut Smith, R In Two Worlds (sax w/ computer) Subotnick Klonos Swerts Luminescence Wilson Urban Thoughts Worley Divertimento Wuorinen Soprano Saxophone Repertoire (All Levels) Phases Contra Phases Arma Trois Contrastes Arma Passages Beerman Sequenza VIIb (unacc.) Berio Six Metamorphosis after Ovid Britten Sonata for Soprano Saxophone Caravan Inner Song (oboe unacc.) Carter Le Chant des Ténèbres Escaich Elegie for Soprano Saxophone Feld Diversions Hartley Concertino Harvey Sonatina Lee, H Sonata Op. 4, No. 11 Loeillet/Pittel Concerto in c minor Marcello/Pittel Sonata Maslanka Concerto Myers Sonata (oboe w/ piano) Poulenc Vocalise Rachmaninoff/Pittel Concerto Read-Thomas Lessons of the Sky Rogers Variations Rossini/Schmidt Interplay Ruggiero Tre Pezzi (unacc.) Scelsi Shadows and Dawning Shrude In Freundschaft (unacc.) Stockhausen Distance Takemitsu Concerto Torke Fantasia Villa-Lobos Intermezzo for Soprano Saxophone Yoshioka Sonata Young Tenor Saxophone Repertoire (All Levels) Sonata Anderson Trigon, Op.31 Cunningham Sonata DiPasquale Pitt County Excursions Duckworth Ballad in Time and Space Duckworth Poem Hartley Concertino Hartley Sonata Hartley Concertino Hasquenoph Opcit (unacc.) Hurel Episode Quatriemme (unacc.) Jolas Music for Tenor Saxophone Karlins Piece Concertante Lacour Hard (unacc.) Lauba Ballade (tenor) Martin Periple (unacc.) Mefano The Upward Stream Peck Tre Pezzi (unacc.) Scelsi Sonatina Schimdt Concerto Schmidt Sonata Stein Fantasia Villa-Lobos Concertino Lachrymose Waddle September Sonata Worley Books The Saxophonist's Bedside Book Harvey New Directions in Saxophone Technique Hemke Les Sons Multiples aux Saxophones Kientzy Sax and His Saxophone Kochnitzky 150 Ans de Musique pour Saxophone Londeix Hello, Mr. Sax! Londeix The Orchestral Saxophonist Vol. 1 & 2 Ronkin & Frascotti Marcel Mule: His Life and the Saxophone Rousseau Jean-Marie Londeix Umble Music and Accessory Suppliers Eble Music www.eble.com 319-338-0313 Dorn Publications www.dornpub.com 508-359-1015 Weiner Music www.weinermusic.com 800-622-CORK Woodwind & Brasswind www.wwandbw.com 800-348-5003 Muncy Winds Music Co. www.muncywinds.com 800-333-6415 .
Recommended publications
  • New Century Saxophone Quartet Press
    New Century Saxophone Quartet Press KALAMAZOO GAZETTE Thursday, July 12, 2007 Saxophone ensemble shows off versatility By C.J. Gianakaris uesday in South Haven and Precise, synchronized playing Wednesday night at Brook Lodge T in Augusta, Fontana Chamber Arts was matched by a balanced presented the New Century blend … A total winner. Saxophone Quartet. Its playing of a wide range of works, by seven different By the last half of the concert, it composers, initiated the audience in the became clear that certain compositions musical possibilities of such ensembles. lend themselves more to saxophone sound The New Century features Michael than others. The first section of Astor Stephenson on soprano saxophone, Chris- Piazzolla’s marvelous “Histoire du topher Hemingway on alto saxophone, Tango,” arranged by Claude Voirpy, was Stephen Pollock on tenor saxophone and a total winner. Infectious tango rhythms Connie Frigo on baritone saxophone. worked well for saxes, as did tapping of After marching in while playing Bob the instrument’s body — a technique Mintzer’s invigorating “Contraption,” the heard often in Piazzolla’s music. ensemble turned to five selections from George Gershwin’s great American J.S. Bach’s “Art of the Fugue,” BMV opera “Porgy and Bess” also sounded 1080. Immediately impressive was the especially fine. Our ears are accustomed velvety aura emanating from different to hearing Gershwin played with soaring saxophones possessing varying ranges. reed instruments, clarinet or sax, Precise, synchronized playing was deliberately scored. So the sounds were matched by a balanced blend, suggesting warm and familiar. saxophones could present Bach’s works as well as other instruments.
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  • Alfred Desenclos
    FRENCH SAXOPHONE QUARTETS Dubois Pierné Françaix Desenclos Bozza Schmitt Kenari Quartet French Saxophone Quartets Dubois • Pierné • Françaix • Desenclos • Bozza • Schmitt Invented in Paris in 1846 by Belgian-born Adolphe Sax, conductor of the Concerts Colonne series in 1910, Alfred Desenclos (1912-71) had a comparatively late The Andante et Scherzo, composed in 1943, is the saxophone was readily embraced by French conducting the world première of Stravinsky’s ballet The start in music. During his teenage years he had to work to dedicated to the Paris Quartet. This enjoyable piece is composers who were first to champion the instrument Firebird on 25th June 1910 in Paris. support his family, but in his early twenties he studied the divided into two parts. A tenor solo starts the Andante through ensemble and solo compositions. The French Pierné’s style is very French, moving with ease piano at the Conservatory in Roubaix and won the Prix de section and is followed by a gentle chorus with the other tradition, expertly demonstrated on this recording, pays between the light and playful to the more contemplative. Rome in 1942. He composed a large number of works, saxophones. The lyrical quality of the melodic solos homage to the élan, esprit and elegance delivered by this The Introduction et variations sur une ronde populaire which being mostly melodic and harmonic were often continues as the accompaniment becomes busier. The unique and versatile instrument. was composed in 1936 and dedicated to the Marcel Mule overlooked in the more experimental post-war period. second section is fast and lively, with staccato playing and Pierre Max Dubois (1930-95) was a French Quartet.
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  • Conn Saxophone Microtuner
    THE CONN SAXOPHONE MICROTUNER After a mouthpiece is placed on the neck of a saxophone it is then moved in (farther on) to raise the pitch or out to lower the pitch. The adjustment of the pitch by varying the tubing length by one method or another is common to most wind instruments. In most, if not all, cases the properties of the mouthpieces are not affected. However, as the mouthpiece of a saxophone is moved farther on the neck, the neck then protrudes farther into the mouthpiece, causing a reduction in the chamber volume of the mouthpiece. The chamber volume is believed to affect the intonation, quality, and stability of the notes produced by the saxophone. In July 1919, Conn engineer Edward J. Gulick was granted a patent for a saxophone microtuner, the primary purpose being to provide a convenient means to adjust the overall pitch of the instrument without having to move the mouthpiece on the cork. An apparently unintended benefit was that the mouthpiece chamber volume remains unaffected. This is true provided the mouthpiece is not moved relative to the cork during the tuning process. The microtuner assembly consists of a receiver, a composite piece which I will call the armature, and a collar with a retaining nut. The receiver is an integral part of the saxophone neck and has external threads to accept the collar. An early version of the receiver is shown in Figure 1. The armature is made of three parts. First is a thin-walled cylindrical brass tube which telescopes snugly into the bore of the receiver, Second is an annular flange with a larger external diameter than the receiver.
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  • Faculty Recital, Ronald L. Caravan, Clarinet, Soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano
    Syracuse University SURFACE Setnor School of Music - Performance Programs Setnor School of Music 2-24-2008 Faculty Recital, Ronald L. Caravan, Clarinet, soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano Ronald L. Caravan Syracuse University Sar Shalom Strong Follow this and additional works at: https://surface.syr.edu/setnor_performances Part of the Music Performance Commons Recommended Citation Setnor School of Music, Syracuse University. Faculty Recital, Ronald L. Caravan, Clarinet, soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano. 2-24-2008 https://surface.syr.edu/ setnor_performances/7 This Performance Program is brought to you for free and open access by the Setnor School of Music at SURFACE. It has been accepted for inclusion in Setnor School of Music - Performance Programs by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY SETNOR SCHOOL OF MUSIC Faculty Recital Ronald L. Caravan Clarinet, Soprano Saxophone, Alto Saxophone Assisted by Sar Shalom Strong Piano SETNOR AUDITORIUM SUNDAY, FEB. 24, 2008 2:00 P.M. Program Rondo Capriccioso . Anton Stamitz adapted for C clarinet & piano by Ronald Caravan (1750-c.1809) Soliloquy & Scherzo (2000) ........ ................ Walters. Hartley for Eb clarinet & piano Four Episodes (2006) ................................ Fred Cohen for Bb clarinet & piano 1. Flash 2. Breath 3. Arioso 4. Pure -Intermission - Sonata (1969) .............................. ..... Erwin Chandler for alto saxophone & piano 1. Allegro 2. Con moto 3. With drive Sonata (1976) . ... ............................. Brian Bevelander for alto saxophone & piano (in one movement) Soliloquy & Celebration (1996) ................... Ronald L. Caravan A tribute to the classic jazz saxophonist Paul Desmond for soprano saxophone & piano About the Performers ..
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  • A THEORETICAL ANALYSIS of SELECTED SOLO REPERTOIRE for SAXOPHONE by PAUL BONNEAU Keith T
    A THEORETICAL ANALYSIS OF SELECTED SOLO REPERTOIRE FOR SAXOPHONE BY PAUL BONNEAU Keith T. Johnson, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2002 APPROVED: James Riggs, Major Professor and Chair James Gillespie, Co-Major Professor Gene Cho, Minor Professor John Scott, Chair of the Doctor of Musical Arts Committee, Dean of the School of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies 1 Johnson, Keith T., A theoretical analysis of selected solo repertoire for saxophone by Paul Bonneau. Doctor of Musical Arts, (Saxophone Performance), August 2002, 118 pp., 98 musical examples, references, 44 titles. The primary purpose of this dissertation is to provide greater insight into the compositional design of Paul Bonneau’s Caprice en forme de valse solo pour saxophone and the Piece Concertante Dans L’Esprit “Jazz” pour saxophone alto et piano through a detailed analysis of the pieces. Paul Bonneau’s Caprice en forme de valse is a major work for saxophone. It has been referred to as one of the most technically demanding works in the classical saxophone repertoire. In addition, the Caprice has been transcribed for the flute, clarinet and bassoon. In fact, the Caprice has been designated as “one of the most musically cohesive unaccompanied works written for any wind instrument.” Bonneau’s Piece Concertante Dans L’Esprit “Jazz” is also an important work in the repertoire due to its high degree of virtuosity and unique fusion of traditional classical and jazz elements. The analysis process focuses initially on the fundamental elements of music.
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  • Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
    NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists.
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  • An Ultrasonographic Observation of Saxophonists' Tongue Positions
    An Ultrasonographic Observation of Saxophonists’ Tongue Positions While Producing Front F Pitch Bends by Ryan C. Lemoine A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2016 by the Graduate Supervisory Committee: Joshua Gardner, Co-Chair Christopher Creviston, Co-Chair Sabine Feisst Robert Spring ARIZONA STATE UNIVERSITY May 2016 ©2016 Ryan C. Lemoine All Rights Reserved ABSTRACT Voicing, as it pertains to saxophone pedagogy, presents certain obstacles to both teachers and students simply because we cannot visually assess the internal mechanics of the vocal tract. The teacher is then left to instruct based on subjective “feel” which can lead to conflicting instruction, and in some cases, misinformation. In an effort to expand the understanding and pedagogical resources available, ten subjects—comprised of graduate-level and professional-level saxophonists— performed varied pitch bend tasks while their tongue motion was imaged ultrasonographically and recorded. Tongue range of motion was measured from midsagittal tongue contours extracted from the ultrasound data using a superimposed polar grid. The results indicate variations in how saxophonists shape their tongues in order to produce pitch bends from F6. i ACKNOWLEDGMENTS I would like to acknowledge and thank the saxophonist who volunteered their time to make this study possible. Also a special thanks to the members of my doctoral committee: Joshua Gardner, Christopher Creviston, Sabine Feisst, and Robert Spring. They have all been sources of encouragement and inspiration, not only during these final stages of my degree process, but for the duration of my studies at Arizona State University.
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  • Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958, Subscription
    *l'\ fr^j BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 24 G> X will MIIHIi H tf SEVENTY-SEVENTH SEASON 1957-1958 BAYARD TUCEERMAN. JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT 8. TUCEERMAN J. DEANE SOMERVILLE It takes only seconds for accidents to occur that damage or destroy property. It takes only a few minutes to develop a complete insurance program that will give you proper coverages in adequate amounts. It might be well for you to spend a little time with us helping to see that in the event of a loss you will find yourself protected with insurance. WHAT TIME to ask for help? Any time! Now! CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. Insurance of Every Description 108 Water Street Boston 6, Mast. LA fayette 3-5700 SEVENTY-SEVENTH SEASON, 1957-1958 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1958, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks Michael T. Kelleher Theodore P. Ferris Henry A. Laughlin Alvan T. Fuller John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D.
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  • Understanding Saxophone Transposition Bb Tenor Sax C Bb Eb Baritone Sax C Eb Saxophones Are Commonly Pitched in Bb and Eb
    Understanding Saxophone Transposition Bb Tenor Sax C Bb Eb Baritone Sax C Eb Saxophones are commonly pitched in Bb and Eb. Piano, flutes, guitars, basses and other stringed instruments sound in “concert pitch.” This is WHY it is called a Bb Soprano Saxophone. When you play “C” Concert pitched instruments are “non-transposing instruments.” on the soprano saxophone, a concert Bb is what you hear. Saxophones are “transposing instruments” (except C Melody When you play a C on Eb Alto Saxophone, you hear a concert Eb. Saxophone). Further Understanding Transposition Does this confuse you? Don’t worry. The following article will attempt to explain in a no-nonsense way just how to understand When reading concert pitched (non-transposed) music on the transposition on any saxophone. saxophone, you must transpose it at sight or take the time to rewrite it in the correct transposition. First, it is important to understand that the concept of transposition is often dealt with far into the study of saxophone. If you are reading The soprano saxophone has the easiest transposition. You simply read from a saxophone method book or reading music written for your up one whole step from concert pitch. You can also think of it another specific saxophone, the transposition has been done for you in your way. Change the key signature and read up to the next line or space. copy of the music. For example: You are given a piece of music that The example below should help clarify the process. says “Eb Alto Saxophone” in the top, left hand corner.
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  • Transferring from the Saxophone
    Transferring from the Saxophone: Many of the fingerings encountered while playing the bassoon are similar to those on the saxophone. Looking at the fingering system of the bassoon vs. the saxophone you will notice the same basic six-finger set- up. The major differences occur when comparing the use of the thumb. The embouchure will obviously be different but again the finger placement is similar. The best place to start comparing the two would be with the B on the saxophone and the E on the bassoon. They use basically the same fingering but do not read the same notes. (All of these exercises will work regardless of what saxophone you play soprano, alto, tenor, or baritone) Bassoon First Three Notes: E, D, and C Sax: B, A, and G E D C Now try playing the B on the bassoon: Notice that the fingering is basically the same on both instruments. The first index finger is down on both instruments. The left thumb is added on the bassoon whisper key. *These exercises are not to be played simultaneously. They are only used as a comparison. Now try D: (same as A on the saxophone) How about C: (same as G on the saxophone) Mix them up: Now try a familiar song: Hot Cross Buns F is different on the bassoon but not too difficult. You just use your left thumb on the whisper key. This note does not relate to the saxophone. F The next two notes have similar fingering patterns but beware of the difference between hands on each instrument: The bassoon has a half step between hands, while the saxophone has a whole step.
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  • Teacher's Guide Hemke
    Teacher’s Guide by Dr Frederick Hemke Frederick Hemke is a graduate of the University of Wisconsin;the Eastman School of Music, where he was solo saxophonist with the Eastman Wind Ensemble; and the National Conservatory at Paris, where he was a student of the celebrated Marcel Mule, and the first A m e r ican ever to win a Fi rst Prize in saxophone. He has since become a major exponent of the French school of saxophone technique,giving concerts,clinics and lectures throughout the country. D r. H e m ke is Pro fessor of Music at N o rt h we s t e r n Unive rs i t y, and head of the wind and percussion department there. He has also taught at the Gunnison, Colorado, Music Camp and the National Music Camp at I n t e r l o ch e n , as well as the Bemidji State College Music Camp. Introduction It is unnecessary to lament the plight of the saxophone and its gross misuse. It is necessary to recognize that the instrument can be successfully taught with as high a degree of seriousness as any other concert instrument. Moreover, it can be taught in relation to itself; that is, it need not depend on any other instrument for pedagogical analogies. The saxophone is an instrument distinct in itself and must be taught as such. While in the United States uncertainty has hampered the teaching of the saxophone, Europeans have long since t u r ned to Fra n c e ’s established school of saxophone technique, sound, and pedagogy.
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  • The Early Evolution of the Saxophone Mouthpiece 263
    THE EARLY EVOLUTION OF THE SAXOPHONE MOUTHPIECE 263 The Early Evolution of the Saxophone Mouthpiece The Early Saxophone Mouthpiece TIMOTHY R. ROSE The early saxophone mouthpiece design, predominating during half of the instrument’s entire history, represents an important component of the or nine decades after the saxophone’s invention in the 1840s, clas- saxophone’s initial period of development. To be sure, any attempt to re- Fsical saxophone players throughout the world sought to maintain a construct the early history of the mouthpiece must be constrained by gaps soft, rounded timbre—a relatively subdued quality praised in more recent in evidence, particularly the scarcity of the oldest mouthpieces, from the years by the eminent classical saxophonist Sigurd Rascher (1930–1977) nineteenth century. Although more than 300 original Adolphe Sax saxo- as a “smooth, velvety, rich tone.”1 Although that distinct but subtle tone phones are thought to survive today,2 fewer than twenty original mouth- color was a far cry from the louder, more penetrating sound later adopted pieces are known.3 Despite this gap in the historical record, this study is by most contemporary saxophonists, Rascher’s wish was to preserve the intended to document the early evolution of the saxophone mouthpiece original sound of the instrument as intended by the instrument’s creator, through scientific analysis of existing vintage mouthpieces, together with Antoine-Joseph “Adolphe” Sax. And that velvety sound, the hallmark of a review of patents and promotional materials from the late nineteenth the original instrument, was attributed by musicians, including Rascher, and early twentieth centuries.
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