SAXOPHONE RESOURCE

Dr. Kendra Wheeler

Table of Contents
Required Materials for Applied Saxophone Lessons……………………………………………..…2
Schedule Builders…………………………………………………………………………………..3
Method and Etude Books………………………………………………………………………….5
Professional Organizations, Conferences, and Festivals for Saxophonists…………………………..6
Reading List………………………………………………………………………………………...6
Saxophone Recipe Cards: Personal Practice and Performance by Joseph Lulloff…………………...7
Teaching Students to Sight-Read by Steven Mauk………………………………………………....10
Practice Smarter, Not Harder by Thomas Bacon………………………………………………….11
Reeds: Selecting, Testing, Adjusting……………………………………………………………….15
Recommend Progress of Scales, Method Books, and Solo Literature……………………………...17
First Year…………………………………………………………………………………17
Second Year………………………………………………………………………………18
Third Year………………………………………………………………………………...19
Fourth Year……………………………………………………………………………….20
Graduate Level……………………………………………………………………………21
Graded Saxophone Quartet Literature…………………………………………………………….22
Supplemental Repertoire…………………………………………………………………………..24
Scale Proficiency Chart……………………………………………………………………………26
Langenus Articulation Study……………………………………………………………………....27
Ideal Oral Cavity…………………………………………………………………………………..28
Practice Strategies for Scales and Etudes…………………………………………………………..29
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REQUIRED MATERIALS FOR APPLIED SAXOPHONE LESSONS

Equipment:
● Saxophone, mouthpiece, ligature, and reeds all in good working order
● A notebook and/or iPad – to be brought to each lesson
● An accurate metronome and tuner
● A Tuning CD, Intonation Builder, or Drone Tone Tool (available as an app)
● A recording device of your choice (such as a Zoom recorder, iPad, laptop, or phone with
USB mic)

I.Classical Saxophone Reeds

SOPRANO ALTO TENOR BARITONE

● VANDOREN, BLUE
BOX
● D’ADDARIO,
RESERVE 3, 3.5 3, 3.5 3.0 – 4.0 3.5 – 5.0
● V21
● V12

● LEGERE, 3.0 – 3.75 3.25 – 3.75 3.0 –3.75 3.5 – 4.0

SIGNATURE SERIES

NOTE:   
1. The strength of the reed depends on the facing and opening of the mouthpiece.
2. The increase in number refers to an increase in strength (thickness) of the reed.
3. The smaller the distance is between the tip of the reed and the tip of the mouthpiece, the harder reed
strength one needs to use (i.e. harder reeds relate to higher numbers).
4. Many other fine brands exist on the market, and strengths vary. In auditioning newer brands of reeds,
choose a few of each strength category to ascertain the one which is right for you.

I.Jazz Saxophone Reeds

SOPRANO ALTO TENOR BARITONE

VANDOREN ZZ, 2.5, 3, 3.5 2.5, 3, 3.0 – 4.0 3.5 – 5.0
V-16, JAVA (RED OR GREEN 3.5
BOX)
D’ADDARIO JAZZ SELECT
3, 3.5 2.5, 3.5 – 4.0 4.0 – 5.0
3.0,3.5

NOTE:
1. The increase in number refers to an increase in strength (thickness) of the reed.
2. The strength of the reed depends on the facing and opening of the mouthpiece.
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3. The smaller the distance is between the tip of the reed and the tip of the mouthpiece, the harder reed
strength one needs to use (i.e. harder reeds relate to higher numbers).
4. Many other fine brands exist on the market, and strengths vary. In auditioning newer brands of reeds,
choose a few of each strength category to ascertain the particular reed strength that produces a tone
without buzz or air but still feels resistant enough for you.

II.Classical Mouthpieces
Soprano:   
▪ Selmer S-80 C*
▪ Vandoren SL3. SL4S

Alto:
▪ Rousseau NC4 / RC4 Selmer S-80 C* or C**
▪ Selmer S-90 facing #170, #180, #190
▪ Selmer Soloist (short barrel)
▪ Vandoren AL-3, Al-4, AL- 5
▪ Yamaha Custom Series Mouthpiece (beginners only)

Tenor:
▪ Rousseau NC4 and NC 5
▪ Selmer S-80 C**
▪ Selmer S-90 facing #170 or #190
▪ Vandoren T 20

Baritone: 
▪ Yamaha Custom Series Mouthpiece (beginners only)
▪ Selmer S-80 C** or D
▪ Rousseau

II.Jazz Mouthpieces
Soprano:
▪ Otto Link 6* to 7*, medium chamber (hard rubber)
▪ Selmer (older soloist style), S80 or S-90 style

Alto:
▪ Meyer 5 M-6 M
▪ Otto Link 5* to 7*, medium chamber (hard rubber)
▪ VandorenV16: A6- A8, Short or medium chamber

Tenor: 
▪ Berg Larson 95/1 to 115/1 or 95/2 to 105/2 (either hard rubber or metal)
▪ Dukoff Metal (7 – 9 facing)
▪ Otto Link 6*, 7* 8*, medium chamber (either hard rubber or metal)
▪ Vandoren V16: T7, T 8, Short or medium chamber
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Baritone:
▪ Berg Larson 100/1 to 115/1 or 100/2 to 115/2 (either hard rubber or metal)
▪ Otto Link 5* to 7* (either hard rubber or metal)
▪ Vandoren V16: B7, or B8, Short or medium chamber

Note:
The use of letters such as C and D or numbers such as 5,6 and 7 indicate the amount of space between
the tip-rail and the reed-tip. This space is often called the tip-opening or lay of the mouthpiece. The
addition of a star or asterisk (*) after a letter or the increase in number or progression through the
alphabet indicates a wider or larger tip-opening.

Each mouthpiece manufacturer has it’s own numbering and/or lettering system that determines the
facing and tip opening. This will obviously affect the quality of sound (dark-bright), resonance of sound,
response and of course the choice of both the strength and brand of the reed.

III.Ligatures
Soprano, Alto, Tenor, and Bari
▪ BG (metal and cloth)
▪ Ishimori (metal) Gold and Silver plate
▪ Rovner (c) – Eddie Daniels (recommended for jazz playing only)
▪ Silverstein (any metal or cloth)
▪ Selmer Paris (metal)
▪ Vandoren Optima and new M/O in Gold Plate, and regular plate (metal)

IV.Accessories of Importance
Reed Tools
▪ Reed Geek
▪ Reed File

Saxophone Cleaning Devices

▪ Handkerchief or Swab (silk or cloth)

Reed Cases
▪ Harrison or similar types of glass surface reed cases (keep these cases in a zip lock bag with a
small soaked sponge to retain proper humidity).
▪ Humidor Box (Cases found in Cigar Store) in a Tupperware container
▪ Rico reed system (Humidity Control Case) w/ Rico Control pack
▪ Vandoren reed system (Humidity Control Case)
▪ Legere Reed Case

Mute
▪ Saxophone Mute
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Neck straps
▪ Breathtaking
▪ Boston Sax Shop Balam Strap
▪ Vandoren Harness Straps for Baritone Saxophones
▪ Vandoren Neck Strap with attachable Libero bar
▪ Cebulla Neck Strap
▪ Marmaduke (Feather IV and Dual)
▪ Kolbl Bassoon Harness
▪ Other closed-hook type straps
▪ IMPORTANT: No Neotech Straps!

Saxophone Stands (make sure that all pegs fit your doubles securely)
▪ K & M Saxophone Stands
▪ Hercules Stands
▪ Konig & Meyer Stands

V.Cases and Gig Bags

▪ Bam Trekking or HighTech Case
▪ Selmer or Yamaha cases
▪ Wisemann
▪ Macus Bonna Cases (double case for alto and soprano also available, for both straight neck
and detached neck)
▪ Tortajada Saxophone Case (double case for alto and soprano for detached neck soprano
only)

VI.Minor Repair Items

▪ Five-piece jewelers screwdriver set
▪ Key Oiler (key oil in an applicator bottle: mix 1-part 10W40 motor oil: 1 part sewing
machine oil)
▪ Polishing cloth
▪ Spring hook

SCHEDULE BUILDERS
It can be hard finding time to practice, study, rest, and take care of yourself during the academic year.
Below are a few links to aid in visualizing your schedules in order to help you efficiently manage
your time. If you don’t wish to use the ones listed below, perhaps you can use them as a guide to
make your own.
● College Schedule Maker
● Free Schedule Builder

METHOD AND ETUDE BOOKS

Method Books
▪ Sigurd Raschèr – Top Tones for the Saxophone (Carl Fischer)
▪ Donald Sinta — High Tones
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▪ Dan Graser — Chops (Volumes 1 and 2)

▪ Jean-Marie Londeix – Exercices D’Intonation (Leduc)
▪ Debra Richtmeyer — The Richtmeyer Method (Volumes 1 and 2)

Etude Books
▪ Ferling 48 Studies
▪ Lacour 8 Difficult Studies
▪ Lacour 28 Etudes
▪ Luft Etudes
▪ Klosè 25 Daily Studies
▪ Demersseman Etudes
▪ Creviston Brass Violin
▪ Kynaston Daily Studies

PROFESSIONAL ORGANIZATIONS, CONFERENCES, AND FESTIVALS

● North American Saxophone Alliance
● World Saxophone Congress (happens every 4 years)
● Great Plains Saxophone Workshop
● American Saxophone Academy (ASA)
● Darmstadt
● Cortona New Music Festival
● New Music Gathering
● SPLICE

READING LIST
*Other books or articles may be recommended based on personal interest.

● Beyond Talent byAngela Myles Beeching

● The Mindful Musician: Mental Skills for Peak Performance by Vanessa Cornett
● The Musician’s Way: A Guide to Practice, Performance, and Wellness by Gerald Klickstein
● The Art of Practicing: A Guide to Making Music from the Heartby Madeline Bruser
● Peak: Secrets from the New Science of Expertiseby Anders Ericsson and Robert Pool
● Effortless Mastery: Liberating the Master Musician Within by Kenny Werner
● Atomic Habits: Tiny Changes, Remarkable Results by James Clear
● Good Habits, Bad Habits: The Science of Making Positive Changes that Stickby Wendy Wood
● Improvisation: Its Nature and Practice in Music by Derek Bailey
● Sound in Motion: A Performer’s Guide to Greater Musical Expression by David McGill
● This Is Your Brain on Music: The Science of a Human Obsession(Hardcover) by Daniel J. Levitin
● Musicophilia: Tales of Music and the Brain(Hardcover) by Oliver Sacks
● The Perfect Wrong Note: Learning to Trust Your Musical Self (Paperback) by William Westney
● The Art of Practicing: A Guide to Making Music from the Heart(Paperback) by Madeline Bruser
● The Rest Is Noise: Listening to the Twentieth Century (Hardcover) by Alex Ross
● The Joy of Music(Paperback) by Leonard Bernstein
● The Inner Game of Music(Hardcover) by Barry Green
● Flow by Mihaly Csikszentmihalyi
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● The Oxford History of Western Musicby Richard Taruskin

● Audio-Vision: Sound on Screen by Michel Chion
● Gay Guerrilla: Julius Eastman and His Music by Mary Jane Leach
● Cultural Selection: Why Some Achievements Survive the Test of Time – and Others Don’tby Gary
Taylor
● The Music Lesson: A Spiritual Search for Growth through Music by Victor Wooten
● What to Listen for in Music by Aaron Copland
● Sister Outsider by Audre Lorde
● “Free Jazz: A Reflection of Black Power Ideology” by John D. Baskerville (Article)
● “Music and Sexuality” by Judith Peraino and Suzanne G. Cusick (Article)
● “Power, Privilege, and Difference” by Allan Johnson (Article)
● “White Privilege” by Peggy McIntosh (Article)
● “Marian Anderson and Sonic Blackness in Opera” by Nina Sun Eidsheim (Article)
● “What is this ‘Black’ in Black Popular Culture” by Stuart Hall (Article)
● “The Matter of Seggri” by Ursala K. LeGuin
● “Afrofuturism: The World of Black Sci-Fi and Fantasy Culture” by Ytasha L. Womack
● “Grit” by Angela Duckworth
● “Psycho Cybernetics” by Maxwell Maltz
● “You’ll See it When you Believe It” by Wayne Dyer
● “Fight Your Fear and Win” by Don Greene
● “Performance Success: Performing Your Best Under Pressure” by Don Greene
● “Feel Your Fear… and Do It Anyway” by Susan Jeffers

SAXOPHONE RECIPE CARDS: PERSONAL PRACTICE AND

PERFORMANCE
JOSEPH LULLOFF
Professor of Saxophone
Michigan State University, East Lansing, MI

PERSONAL PREPARATION, PRACTICE AND PERFORMANCE

Embouchure: Proper embouchure concept is essential for total control of sound and vibrato. The
following is a suggested conceptual approach for a full dark and rich saxophone tone:

● Corners of mouth drawn in

● Lower lip bunched over bottom teeth
● Conceptualize (even vocalize) the word “mew” with this lip formation
● Top teeth placed on top mouthpiece
● proper amount of mouthpiece taken in is important. The top teeth should rest on top center
of the mouthpiece at the point where the reed and mouthpiece break away from each other.
● Entire embouchure should be firm, hugging the mouthpiece
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● Blow a concise and focused airstream into the instrument, focusing the air on a point across
the room at eye level.

One should, with the proper embouchure outlined above, be able to produce the following pitches:

● Soprano Saxophone mouthpiece = C (2 octaves above middle C

● Alto Saxophone mouthpiece = concert A (1 octave and a M6 above middle C)
● Tenor Saxophone mouthpiece = concert G (1 octave and a P5 above middle C)
● Baritone Saxophone mouthpiece = concert E (1 octave and a M3 above middle C)

Breathing: Good Air = Good Sound

The following tips, combined with proper embouchure, will help in creating a good sound. Start
with good posture:

● Visualize your breath and your sound.

● Strive to relax your body completely before taking a breath.
● Breath in as deep and quick of a breath (with a relaxed stomach) as you can. Think of saying
the word “how” as you inhale.
● As you fill your lungs with air, relax your shoulders and relax/expand your midsection.
● practice patterned breathing exercises, both with and without the saxophone
● Exhale as much as you can before taking another breath. Stale air is as bad as a lack of air.
● Plan and mark your breaths in your music as you practice. Consider musical; phrasing,
harmonic and melodic contact, and any recordings available, in your decision making of a
breath game-plan.
● Focus your air as you blow (think “ah” or almond shaped in the throat).
● Exercises and classes in Yoga can be of great benefit to improving ones breathing control
and capacity.

Finger Technique
● Keep fingers slightly curved.
● place fingertips as close over the pearls of the saxophone as possible
● Fingers should be a natural extension of the instrument.
● Hands should form around the instrumentation a relaxed fashion, as if holding a small
grapefruit or foam nurf ball. The fingers and thumb should form a shape of the letter ”C”.
● Good technique involves as little finger movement as possible, especially in fast technical
passages.
● Fingertip contact to the middle of the pearl is the goal to strive for.
● Use a metronome 90 percent of your practice to attain note only good rhythm but concise
and controlled finger motion.

Articulation
Proper articulation involves using the proper amount and placement of the tongue on the reed, as
well as the correct step procedure in creating the sound. The best results for clear and precise
articulation involves:
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● Placing tongue (upper part, just behind the tip) on the reed at a point or area just behind the
tip.
● Close the reed by lightly pressing the tongue against the reed
● Create a pressured air base by blowing into the mouthpiece with the tongue closing the reed
● To start the sound, release the tongue from the reed, conceptualizing the syllable “Da” or
La”
● To stop the sound, reverse the steps, replacing the same part tongue back on the same part
of the reed
● The smaller the instrument, the lighter stroke that one should use in tonguing. The use of
syllables in defining certain articulation styles such as accents, staccato and legato, marcato,
and similar markings is an excellent way to develop and perfect one’s flexibility of
articulation on the instrument.
Vibrato
● Listen to professional singers, string performers and wind players to develop one’s concept
and style.
● Physically remain relaxed, and concentrate on the movement of the jaw at the hinge.
● Conceptualize the syllable syllable “Wa or va” to create your vibrato. If this is done, the other
muscles will only show visible signs of movement at the point where the lower lip meets the
mouthpiece.
● Do not create the vibrato above the pitch. A vibrato that lies between slightly below the
pitch to the pitch center, keeping a smooth curve (sine wave) of sound present at all times,
will develop into a spinning vibrato over time.
● Begin slow, using the metronome to guide the speed development of your vibrato and
progress. Use the following guide, only progressing until the vibrato wave becomes unsteady.
Stop, and work at that tempo and below until you gain consistency, then move on.
● Start with: quarter note = 60 and 1 cycle per beat, and increase the metronome speed to
120.
● Continue at quarter note = 60 with 2 cycles per beat, and increase the metronome speed
to 100.
● Continue at quarter note = 60 with 3 cycles per beat, and increase the metronome speed
to 90.
● Continue at quarter note = 60 with 4 cycles per beat, and increase the metronome speed
to 88.
● In the end, spin the vibrato to achieve the most singing quality possible.

Practice Habits
A structured warm-up pattern and practice schedule is important. Students having a background of
a structured practice environment can bring an element of preparation and professionalism to the
group. Moreover, slow practice and silent practice of several aspects of music is key to a successful
performance. From developing technical skills of vibrato, articulation and technique; to working out
stylistic decisions of interpretation; these two types of practice techniques can prove to be extremely
effective. Plan enough time to cover each of the following areas in your practice sessions:

1. Lone tones and slow intervallic warm-up exercises.

2. Overtone and voicing exercises.
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3. Technical Study (scales and technical patterns the cover both normal and extended
altissimo range, articulation ex., etc.)
4. Etude work for musical, technical and stylistic study.
5. Repertoire that covers at least two style idioms or periods of composition.
6. Playing through works that you studied in the past.
7. Long Tones for Warming down exercises.

Daily listening to recordings of both saxophone and non-saxophonists to develop one’s own tonal
and stylistic concept of all areas of musical performance is essential

Recording Practice Sessions/Concerts and Marking Parts

Recording parts of your practicing can be beneficial to see how you sound from the “outside.”
Listening to your recording and marking individual parts with cues of rhythmic figures and other
hints can bring to light many performance issues that often go unnoticed until it is too late. Listen
for tonal clarity and consistency throughout your range, intonation throughout the instruments
range, clarity of articulation and if playing with ensemble: overall balance, blend intonation and
rhythmic accuracy. Recording concerts can tell you how you do in a pressure situation and through
careful study and creative thinking, you can implement practice techniques that will quickly solve
your performance issues.

Listening
It is imperative for young saxophonists to develop fine listening skills, especially of works or
styles that they are currently studying. Consistent listening will aid in developing a solid
conceptual sound base for the musician. Research of internet websites of various collegiate
saxophone studios throughout the nation will lead to listening lists for a variety of saxophone
repertoire and styles. These sites will also have information on where to purchase saxophone CDs
or tracks of saxophone music. These sites provide an excellent resource for classical,
contemporary and jazz saxophone music.

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TEACHING STUDENTS TO SIGHT-READ

By Steven Mauk

The three sacred rules of sight-reading are:

1) Total concentration
2) Looking ahead and
3) No stopping. Students must be reminded of these constantly.

Sight-reading requires total concentration. Musicians cannot be daydreaming, but must be focused
on the task at hand. The mind must be clear before even looking at the piece to give it full
attention.
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Students who sight-read poorly often fail to look ahead. Many look at each note as they play it,
thus
making it difficult to prepare for upcoming problems. To help students experience looking ahead,
try this. Select a relatively simple example for sight-reading. Take a note card and cover each
passage
a split second before the student plays it. Students quickly learn that they can only succeed if they
look ahead of where they are playing. Remind students that wrong notes or rhythms cannot be fix
once they have been missed, but looking ahead can help prevent future errors.
without stops. Remember that one stop is equal to ten wrong notes. Stopping cannot erase an
error,
so keep moving forward and go on to the next challenge.

The Seven Checkpoints

Players must know what to observe before they begin to play or the results can be disastrous.
Here
are seven things to check before starting. It should take only about 20-30 seconds to scan the
music
for these items.

1. Tempo and style-What is the tempo indication, metronome marking, and style indication?
Do any of these change as the piece progresses?

2. Meter-What meter does the selection begin in? What type of notes gets the beat and how
does this beat relate to the tempo indication and metronome marking? Are there any
other meters used later in the work? How do these different meters relate to the original
one?

3. Key-What is the key signature and what note is tonic? Is the key major, relative minor,
some modal form, or atonal? Does the key remain the same or does it change? (Mentally
finger the scale and hear it in your head.)

4. Rhythm-What are the basic rhythms used? How do these rhythms relate to the tempo and
meter? Can you perform all of these rhythms or should you count some out first? (Any
awkward subdivision changes, as from four sixteenths to three triplets, should be mentally
tried before you begin.)

5. Technique-Where are the busiest technical sections, the blackest parts of the page? Are they
made up of scales, chords, wide leaps, or unfamiliar patterns? (Quickly analyze them to
make the performance easier and mentally or physically finger through any difficult
passages.)

6. Accidentals-Are there any sharp or flat signs present? Do these indicate a change of key or
tonality?
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7. Special items-What other items are present that need your attention? (For instance, check
for repeats and find out where they go.) Are there any instructive terms used? Does
anything else in the music draw your eyes or are there any subtle, hidden items that might
trip you up?

Practicing Sight-Reading
Sight-reading must be practiced frequently to make improvements. Sight-reading should be
included in daily practice sessions using medium-level etude books and pieces. Have students
record
sight- reading performances and listen to them to evaluate the results. Be sure they practice the
sacred rules and review the seven checkpoints. A teacher can test students periodically by having them
sight-read in a lesson and discussing the strengths and weaknesses of the performance afterwards.

Duets are another great way to practice sight-reading. The teacher must always keep going and
make the student find the correct entrance spot after stopping for an error. Increased demands
can
be made by changing parts each line. Once the student gains confidence, change lines every bar.

Sight-reading is reading at sight, not practicing at sight. Students must understand that they cannot
stop for anything, but must perform the music, to the best of their ability, during the first attempt.
Those who are encouraged to perform in lessons, with no stops, will find it much easier to sight
read really gets the student looking ahead. Of course, this same approach can be used by two
students to push each other along in developing better sight-reading skills.

Sight-reading does not get better without practice. Try these suggestions to help your students
improve their skills.
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PRACTICE SMARTER, NOT HARDER: A Brass Players Handout that can

be adapted to all musician’s practicing sessions
By Thomas Bacon

Objective: to attain and then maintain top playing condition on our instrument, having the physical
strength, finesse and dexterity to produce our best musical results.

Method: develop a fundamental practice routine of exercises - appropriate to our playing level –
that
addresses all of the technical attributes required in our day-to-day playing needs, and apply this
routine on a daily basis.

Many published examples of routines are available and every instrument has their own. For horn
players these include Farkas, Singer, Standley, Caruso, Brophy, Belfrage, and more. We’re not
talking about etudes here, but rather musical calisthenics – the musical equivalent of the stretches,
aerobics, sit-ups, push-ups, and other exercises that people do at the health club or gym to keep
fit.
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Mostly these musical exercises are repetitive patterns with measured rhythms, based on the natural
harmonics of the instrument, or scale patterns that go through a series of keys.

The basic routine varies from player to player. Some call it a warm-up and make it the first thing
that they play each day. Other players call it “daily dues” or “practice hour” or any number of
other
different terms, and with some it doesn’t matter what part of the day that they do it, just as long as
they do it regularly.

The whole point is: To obtain the objective, you need to have a method. Find or make up the
right
one for you. Then apply it diligently and well, and you can obtain the objective.

The Practice Techniques:

Beyond the basic musical calisthenics of the daily practice routine, here are the techniques to help
you efficiently get the best results when practicing specific pieces, you are working on for
upcoming
lessons, concerts, recitals, auditions, etc.

Chunking:
The technique of practicing small chunks, a couple of notes or a short passage, instead of always
playing through an entire piece. Very often it will be only small parts of a musical work that make it
seem difficult – an awkward slur, an odd interval, a quick rhythm, a couple bars here, a short phrase
there, etc. Identify and fix those little chunks first, and you will learn the piece much faster. Apply
Chunking with great results in The Metronome Game and One Note Practice.

The Metronome Game: Working on a fast passage that always sounds sloppy when you play it
up to tempo? Play The Metronome Game.

Here are the rules:

1. Turn on the metronome at a tempo that is somewhat slower than where
you think you can play the passage easily and perfectly. It may be half the
desired tempo, or slower, and that is fine.
2. Play the passage with the metronome.
3. Ask yourself the question: “Was that exactly the way I want it to be?” That
is, did you play all the right notes with the right fingerings, dynamics,
rhythms, etc. in every regard exactly the way you want to perform it, albeit
slower?
4. If “yes”, move the metronome up one number and repeat steps 2 through
4

If “no”, give yourself another attempt at the passage. If you get two “no’s” in a
row, move the metronome down one number and repeat steps 2 through 4.
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The Metronome Game can be profoundly effective in working up fast passages in minimum
time. But for this to be true, you must observe several things:

1. Honesty. You won’t get great results without it. If you allow a “yes” to get by that
was sloppy, had a missed note, a “fluffed” attack, bad tone, or other little
discrepancy, you will end up with a fast, and consistently sloppy performance.
2. The reply to question 3 above is a simple “yes” or “no”. There are no “maybes” or
“almosts”. If it is a “yes” you will know it immediately. You will not have to
analyze it. If you cannot say “yes” immediately and with conviction, simply say
“no” and get back to work.
3. Be patient. The metronome game can sometimes get you great results in one short
practice session. Often though, if the piece is really challenging and has many
difficult passages, it can take several weeks – or more – to work something up
from half tempo to full tempo. But is it ever worth it!

You will be amazed at how effective The Metronome Game can be in working up pieces that
seem almost impossible when you first attempt them. But don’t cheat at this game. You
may fool yourself and think you can get away with it, but you won’t fool your audience.

One Note Practice:

When you play a passage with inconsistencies like missed notes or different sounding
attacks on each note, try One Note Practice.

Here are the rules:

1. Play the first note of the passage ten times in a row. Play it in measured time,
with measured rests in between each repetition. For example, play the note at a
moderate tempo for one quarter, then rest for three quarters. A metronome
can be a big help.
2. Each time you play it, ask yourself the question: “Was that exactly the way I
want it to be?” That is: did you play the right note with the right fingering,
dynamic, articulation, tone, etc. in every regard exactly the way you want to
perform it? Count the number of “yeses.”

Repeat until you have achieved ten “yeses” in a row, resting briefly after each set
of ten.

Note: The reply to number 2 above is a simple “yes” or “no” question. There are no
“maybes” or “almosts” and there should never be debate. If it is a “yes” you will know it
immediately. If you cannot say “yes” immediately and with conviction, simply say “no” and
get back to work. This technique also works with two notes, or short “chunks”.

Play It All:
This is the technique of playing it through, in its entirety, counting rests, taking
intermissions or other breaks in real time. Whatever “it” is; whether it be a full recital
program, chamber music or orchestral concert, concerto, or audition, play it in its entirety.
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It should be played through from start to finish, without any restarts, and no stops other
than what would be part of the performance. It should be as close to a simulated
performance as you can achieve in your practice room. During the practice make mental
notes of passages that don’t go well, and address those specifically in Chunking later. In
between movements or pieces, quickly jot down the mental notes in a practice log or diary
so you will remember what you have to work on at your next practice session.

Distorted Rhythm:
This technique is especially useful when confronted by awkward passages of steady eighty
or sixteenth notes. Try playing the passage at a much slower tempo, but with a very snappy
dotted (almost double dotted) rhythm. Then reverse the dotted rhythm.

For example, take a troublesome scale passage, set the metronome at half or maybe one
third of the desired tempo and play the passage with dotted rhythms instead of even notes.
Play the short notes very snappy. Repeat a few times, until it becomes easy and sounds
good.

Then reverse the rhythm so the notes that were dotted now become the short notes. Again
play the short notes very snappy. Repeat a few times, until it becomes easy and sounds
good.

Then play the passage one way, followed by the reverse way. Repeat a few times until you
can alternately play it dotted one way, then the other, and they both sound good.

Then play it in normal rhythm. You will surely notice a difference.

Take it to the Easy Place:

If there is a passage that you play over and over, each time realizing that it is not what you
want, but it just doesn’t get better, take it to the easy place!

For example, if the problem is that the range is too high, take it down. Transpose it a
fourth (or an octave) lower and practice it there until it sounds just the way you want it to,
then do it a half step higher, and so on until you reach the desired range. If it is too low,
then transpose it up and gradually work it down by half steps. If it is too fast, play it slower
(see The Metronome Game). If the passage is too long, then practice smaller pieces of it (see
Chunking and One Note Practice), gradually adding the chunks together until you have the
whole piece.

Other problems can be solved by taking it to physically different places or spaces than the
practice room. If you are having troubles with the concept of the music, take it out of the
practice room, and into the listening room. Listen to recording of the piece, or pieces in
similar style, performed by players you admire. Get more acquainted with the style, then
go back to your practice room and try to emulate it, and ultimately make it your own. If
you have to play something that is really loud, but hate to practice really loud in your little
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practice room, take it to a larger space where you can feel comfortable playing with a full,
loud dynamic.

Concluding Thoughts:
Practice makes perfect. But if you practice sloppy, you will perfect the art of sloppy
performance. Only if you practice greatness will you perform great.

Things take time. Patience is essential in achieving great practice.

Approach each practice session with a specific goal and a plan how to achieve it.

It’s okay to say “no.” In fact, it is essential if you want to achieve great practice habits. Say
“no” whenever you hear something in your practice that is not exactly what you want it to
be, then figure out how to turn it into a “yes”.

Frustration can become your ally, if not your friend. Saying “no” to yourself frequently, as
you must in honest practice, can be very frustrating. Acknowledge this and accept it. Even
embrace frustration as a great motivator, but never allow it to push you into dishonest and
sloppy practice. Frustration can only be an observer, sitting in the chair next to you. There
is no room for it inside of you.

Learn how to use the metronome to achieve even greater discipline and focus in your
practice. Learn how to combine different practice techniques to achieve maximum results
in minimum time. Great practice habits take years of practice to develop.
Practice is a lifelong adventure that should be constantly evolving.

Practice the art of practicing. ENJOY!!!

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REEDS: SELECTING, TESTING, AND ADJUSTING

SELECTING
Select reputable brands, such as:

Elementary    Intermediate/Advanced
Vandoren (2.5-3)    Vandoren (3-4)   
D’Addario (3-3.5)    D’Addario(3-4)
Legere (3-3.75)

● Select the proper strength. Medium is preferred for the greatest dynamic and tonal
control.
● Buy reeds by the box when possible. This gives the greatest selection and is
cheaper in the end.
● Thoroughly inspect reeds when buying them individually.
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Dr. Kendra Wheeler

● Check for uniformity of cutting and a golden color; don’t buy reeds with a
greenish color.

TESTING
● Test reeds after a 5-minute soaking in lukewarm water.
● Test primarily mid-range and low notes; avoid extreme highs until the reed is
broken in.
● Mark the back of each reed with a pencil to indicate strength and any other
particulars (for example MS = medium soft, F = fair, B = bright, etc.).
● Look for reeds that are slightly stiffer and stuffier than you normally like to play.
Usually, these will break in to become the desired strength.
● Avoid selecting reeds at the beginning or end of a practice session or day. At the
beginning, the embouchure may not be warmed up sufficiently; at the end, it may
be tired.
● Breaking In Reeds — Plan 3-4 sessions over a week to allow for full
wetting/drying cycles.
● Dry reeds with the flat side (table) up. Saliva vs. water wetting—easier to find lots
of water, so use it; lukewarm water is preferable.
● “Stockpile” reeds — Save poor playing reeds. They may be excellent in a different
season, since temperature and humidity can greatly effect performance.
● Store reeds in a safe container, such as original boxes, reed cards, or best of all,
custom reed cases (Vandoren, Selmer, or ReedMate). In dry environments, such as
most buildings during winter, maintain a constant humidity by keeping reeds damp
and wrapped in a plastic bag or in a humidity-controlled reed case, such as those by
Vandoren or ReedMate.

ADJUSTING
When to adjust:
● Adjust reeds that seem to have potential, yet do not play as you want. Except in
emergencies, only reeds that are broken in should be adjusted. Many playing
problems will disappear as a reed becomes “settled”, after the break-in period.
● “If it ain't broke, don't fix it!" — Chipped or split reeds may play great. Sometimes,
more damage than good comes from trying to make a reed do something it can't.
If the reed feels reasonably good, leave it alone unless you're a real expert.

Where to adjust:
● Follow your common sense — adjust reed tip for response, articulation and high
notes; adjust reed middle for mid-range notes and general “feel”; adjust reed
bottom (above bark area) for low notes; sand back of reed to correct warping; sand
reed surface for roughness; Teal and Kirck are excellent guides.
● Basic tools — Cordier reed clipper; double reed knife; 2 Plexiglas plateaus - one
~1" X 3" and one ~8" X 10"; a variety of carborundum papers - 3M, Wet/Dry
#200, #400, #600 & regular #120 for heavy work; small cup for soaking; pencil
for marking reeds.
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How to adjust:
● Use the Teal and Kirck books as guides.
● Use a reed clipper on the tip for soft reeds. Proceed slowly.
● “Suction test” all reeds, esp. in winter, to detect warping. Use plateau and various
strength carborundum papers to flatten the reed back. Mark “break-point” on reed
and do not sand above the break-point line. Perform “suction test” frequently
during work.
● Use a reed knife or scraper to work in front of the reed, esp. to make a hard reed
● softer. Scrap away material slowly and test often. Don't try to do it all in one day;
reeds will change overnight in response to work. Carborundum papers can also be
used to take off material and for smoothing the work performed by knife or
scraper.
● Use a variety of reed and ligature placements daily to get the best out of each reed.
(See Mauk article, “Saxophone Reed Placement & Adjustment”.) Rub the grain of the
reed with the finger; sand paper, spoon, knife handle, etc. to close the pores.
● “Unusual and Severe” Methods: Quick break-in approach by slightly bending reed
gently back and forth; use a razor blade treatment to cut some of the fibers on the
reed face; use sandpaper in place of reed clipper to round off and shorten the tip;
bend soft and/or warped reed to give them more spring; and use a reed knife as
scraper on back or front of the reed.

SOURCE BOOKS FOR REED CARE

● The Reed Guide: A Handbook for Modern Reed Working for All Single Reed
Woodwind Instruments by George T. Kirck, 1983, ReedMate Company. Written by
the inventor of the humidity-controlled, reed storage device — The ReedMate. One
of the most thorough books on working with single reeds. Excellent information
about selection, care and adjustment, although no information on making your
own. A must for every single reed player's library. (Updated around 1988)

● The Art of Saxophone Playingby Larry Teal, 1963, Summy-Birchard. The

standard reference source on playing the saxophone. A marvelous, concise section
on reeds. The best adjustment chart available for beginning work. Since an “old”
source, some tools are less often used today (i.e. Dutch rush now usually replaced
by carborundum papers).

● Handbook for Making and Adjusting Single Reeds by Kalman Opperman. 1956,
Chappell & Company. Considered the “Bible” of single reed making and adjusting.
Well- illustrated, step-by-step process from preparing reed blanks through touching
up finished reed. Adjustment information for working on commercial reeds also
given. Measurements given for saxophone reeds (soprano — bass).

● Making and Adjusting Clarinet Reeds by Glenn Bowen, 1980, available from
SHALL-U-MO Publications. A fine little pamphlet on reed making and adjusting.
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Dr. Kendra Wheeler

Similar to Opperman, but with photographs instead of illustrations. Also has more
current information and tools. Though for clarinet, techniques are the same. No
saxophone measurements.

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RECOMMEND PROGRESS OF SCALES, METHOD BOOKS, AND

SOLO LITERATURE*
*This outline may be adapted to fit the specific needs of the student’s progress.

FIRST YEAR

Required Scales
Music Education/Performance:
1. Full Range major scales and arpeggios. 96+ bpm, in sixteenth notes, arpeggios in eighth
notes. 
2. Full Range harmonic minor scales and arpeggios. 96+ bpm, in sixteenth notes, arpeggios in
eighth notes. 
3. Chromatic, Diminished scales, and Whole Tone Scales. 96+ bpm, in eighth notes.
*Introduction of altissimo – Eugene Rousseau’s Saxophone High Tones (MMB), Donald Sinta
High Tones, Dan Graser’s Chops

Methods and Etudes

Ferling/Mule – 48 Études (Leduc)
Sigurd Raschèr – Top Tones for the Saxophone (Carl Fischer)
Dan Graser – CHOPS
Debra Richtemeyer — The Richtmeyer Method (Volume 1 & 2)

Suggested Literature
Bourrel, Sonate
Bencriscutto, Serenade
Bonds, Three Dream Portraits
Bonneau, Suite
Bozza, Aria
D’Indy, Choral Varié
Dukas, arr. Mule, Alla Gitana
Eychenne, Sonata
Gkoudina, Three Women
Heiden, Diversion
J.S. Bach arr. Mule, Sonata No. 4
J.S. Bach arr. Mule, Sonata No. 6
Koechlin, 15 Études
Lantier, Sicilienne
Milhaud, Scaramouche
Rachmaninoff, Vocalise
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Rueff, Chanson et Passepied

Schumann arr. Hemke, Three Romances
Still, Romance
Vivaldi arr. Rascher, Sonata in G minor
Ward, An Abstract

SECOND YEAR

Required Scales
Music Education/Performance:
▪ Full Range major scales and arpeggios. 112+ bpm, in sixteenth notes, arpeggios in eighth
notes. 
▪ Full Range harmonic minor scales and arpeggios. 112+ bpm, in sixteenth notes, arpeggios in
eighth notes. 
▪ Chromatic, Diminished scales, and Whole Tone Scales. 112+ bpm, in sixteenth notes.  
▪ All major scales in 3rds. 90+ bpm, in eighth notes.  
▪ 1 octave melodic minor scales. 90+ bpm, in eighth notes. 
*Introduction of altissimo – Eugene Rousseau’s Saxophone High Tones (MMB), Donald Sinta
High Tones, Dan Graser’s Chops

Methods and Etudes

Karg-Elert – 25 Caprices (Southern) Luft - Etudes
Sigurd Raschèr – Top Tones for the Saxophone (Carl Fischer) Jean-Marie Londeix –
Exercices D’Intonation (Leduc)
Dan Graser – CHOPS
Debra Richtemeyer — The Richtmeyer Method (Volume 1 & 2)

Suggested Literature
C.P.E. Bach, Sonata in G Minor
J.S. Bach arr. Londeix, Cello Suites
Bedàrd, Fantaisie
Ben-Haim, Three Songs Without Words
Bozza, Improvisation et Caprice
Charpantier, Gavambodi 2
Glazunov, Concerto
Gkoudina, Three Women
Crepin, Céline Mandarine
Hartly, Petite Suite
Heiden, Solo
Heiden, Sonata
Husa, Postcard from Home
Ibert, Histories
Jolivet, Fantaisie-Impromptu
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Kaufman, Meditation
Maurice, Tableaux de Provence
Noda, Improvisation I, II, III
Poulenc, Sonata for Oboe (soprano)
Tomasi, Ballade
Tull, Sarabande & Gigue
Van Delden, Sonatia

THIRD YEAR

Required Scales
Music Education/Performance:

▪ Full Range major and harmonic minor scales & arpeggios. 120+ bpm, in sixteenth
notes, arpeggios in eighth notes.  
▪ Chromatic scale. Quarter note = 144+  
▪ Whole-tone and diminished scales. 120+, in sixteenth notes. 

Methods and Etudes

Finish Karg-Elert studies
Eugene Bozza – 12 Etude-Caprices (Leduc)
Donald Sinta – Voicing
Dan Graser – CHOPS
Debra Richtemeyer — The Richtmeyer Method (Volume 1 & 2)

Suggested Literature
Bonneau, Caprice en forme de Valse
Boutry, Divertimento
Bozza, Concertino
Creston, Sonata
Creston, Concerto
Debussy arr. David, Rapsodie
Debussy arr. Rousseau, Rapsodie
Dubois, Concertstück
Duckworth, Ballad in Time and Space
Duckworth, Pitt County Excursions (tenor saxophone)
Hartley, Duo for Alto Saxophone and Piano
Hindemith, Sonata
Lunde, Sonata
Muczynski, Sonata
Pascal, Sonatine
Pasquale, Sonata (tenor saxophone)
Persichetti, Parable XI
Rueff, Sonata
Telemann arr. Voxman, Sonata in C Minor (soprano)
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Villa-Lobos, Fastaisie (soprano)

Whitney, Introduction and Samba

FOURTH YEAR

Required Scales:
Music Education/Performance

1. Major, harmonic, melodic minor scales. 132+ bpm, in sixteenth notes.

2. Chromatic, Whole Tone, and Diminished. 132+ bpm, in sixteenth notes.
3. Major scales in three octaves. 144+ bpm, in eighth notes.
4. Diatonic 7th chord patters in major and dorian minor.
5. Major and minor scales in fourths. 100+ bpm in eighth notes.

Methods and Etudes

Guy Lacour – 28 Études sur la Modes of d’Olivier Messiaen(Billaudot) Ruggiero –
16 Finishing Etudes (Leduc)
Caravan – Preliminary Exercises and Etudes in Contemporary Techniques for Saxophone
Dan Graser – CHOPS
Debra Richtemeyer — The Richtmeyer Method (Volume 1 & 2)

Suggested Literature
Bassett, Music for Saxophone and Piano
Brahms arr. Rousseau, Sonatas, op. 120
Constant, Musique de Concert
Creston, Rapsodie
Denisov, Deux Pieces
Desenclos, Prélude, Cadence et Finalé
DiPasquale, Sonata
Dubois, Concerto
Freund, Sky Scrapings
Gotkovsky, Brillance
Harbison, San Antonio Sonata
Hartley, Concerto
Heide, Fantasia Concertante
Husa, Élégie et Rondeau
Ibert, Concertino da Camera
Karlins, Music for Tenor and Piano
Morosco, Blue Caprice
Muczynski, Concerto
Noda, Mai/Phoenix
Orrego-Salas, Quattro Liriche
Tomasi, Concerto
Tower, Wings
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Yuyama, Divertimento

GRADUATE LEVEL

Required Scales
Continuation of all previous scales: running scale, in thirds and fourths.
Diminished, whole tone and augmented scales. Minor scales in broken fifths and
sixths. Diatonic 13th chords in melodic and harmonic minors.

Methods and Etudes

Lacour – 8 Études Brillantes (Leduc) Londeix – Etudes varié (Leduc)
Lauba – Neuf Etudes Books I-IV(Leduc)

Suggested Solo Literature

Albright, Sonata
Arma, Phases contra phases
Bennet, Sonata (soprano)
Berio, Sequenza VIIb for soprano saxophone
Berio, Sequenza IXb for alto saxophone
Boutry, Sérénade
Cunningham, Trigon Op. 31 (tenor saxophone)
Dahl, Concerto
Denisov, Sonate
Dzubay, Sonata
Feld, Concerto (soprano, alto, and tenor saxophones)
Feld, Sonata (soprano)
Feld, Sonata (alto)
Feld, Suite Rhapsodica
Fox, Shaking the Pumpkin
Fox, When the Thunder Speaks
Gotkovsky, Concerto
Gotkovsky, Variations pathétiques
Gkoudina, My Childhood is Your Home
Gkoudina, Three Women
Hába, Partita
Husa, Concerto
Kock, Concerto
Larsen, Holy Roller
Lauba, Steady Study on the Boogie – Sud
Lennon, Distances Within Me
Maslanka, Sonata for Alto Saxophone and Piano
Maslanka, Sonata for Soprano Saxophone and Piano
Rogers, The Nature of this Whirling Wheel
Robert, Cadenza
Sancan, Lamento et Rondo
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Shrude, Renewing the Myth

Slama, Na’ama
Stockhausen, In Freundschaft
Swerts, Klonos
Vassena, Mute Materie
Worley, Sonata
Yoshimatsu, Fuzzy Bird Sonata
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GRADED SAXOPHONE QUARTET LITERATURE

IV — Albeniz arr. Mule, Sevilla

IV — C.P.E. Bach arr. Cunningham, Quartet, Op. 17 No. 6
III — J.S. Bach arr. Hemke, Sarabande
III — J.S. Bach arr. R. Fote, Two Bach Preludes
V — J.S. Bach arr. Rosenthal, Fugue IV from Art of the Fugue
V — Beethoven, Allegro molto
V — Bencriscutto, Concerto Grosso (AATB), (with piano or band)
IV — Boccherini arr. Sibbing, Quartet, Op. 1 No. 2 in Bb
IV — Boucard, Quartet-Sinfonia
V — Bozza, Andante et Scherzo
VI — Bozza, Nuages
III — Calliet, Carnaval
III — Chopin arr. Dedrick, Chopin Favorites
III — Clerrise, Introduction et Scherzo
IV — Corelli arr. Sizemore, Trio Sonata, Op. 3 No. 2 (SSAB)
IV — Debussy arr. Cunningham, Mazurka
V — Debussy arr. Teal, Andantino et Vif
VI — Desenclos, Quatour pour Saxophones
V — Dubois, Quatour pour Saxophones
V — Dubois, Variations
III — Dvorak arr. Ronkin, Prelude and Polka
VI — Dzubay, Di/Con[Conver{gence}]sions
VI — Feld, Quatuor
VI — Fox, Three Diversions
IV — Frackenpohl, Fanfare, Air and Finale
IV — Gibbons arr. Hemke, Fantazia
V — Glazunov, Quatuor, Op. 109
V — Gotkovsky, Quartet
III — Handel arr. Gordon, Sarabande
V — Hartley, Suite
V — Hayakawa, Four Little Poems
V — Haydn arr. Stanton, Quartet in C Major, Op. 76, No. 3
V — Jean-jean, Quartet
IV — Joplin arr. Frackenpohl, The Cascades
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IV — Karlins, Blues
VI — Karlins, Saxophone Quartet No. 2
V — Koch, Miniatyrer
VI — Lacour, Quatour
IV — Lantier, Andante et Scherzo
VI — Ledjet, Quatour
VI — Maslanka, Mountain Roads
IV — Mendelssohn arr. Teal, Rondo Capriccioso
V — Mendelssohn arr. Teal, Spinning Song
V — Mielenz arr. Voxman, Scherzo
IV — Mozart arr. Lang, Eine Kleine Nachtmusik, (SABT or AATB)
V — Murphy, Cadenzas and Recitativos
IV — Nestico, A Study in Contrasts
III — Pachelbel arr. Frascotti, Canon and Gigue (AAAB)
V — Pascal, Quatour de Saxophones
III — Pierne, Chanson d’autrefois
III — Pierne, Chanson do la Grand’
V — Pierne, Trois Conversations
V — Pierne, Introduction et variations sur une ronde poulaire
VI — Rivier, Grave et Presto
V — Rober, Tetraphone
V — Scarlatti arr. Hemke, Sonata, No. 44
V — Scarlatti arr. Schmidt, Prelude and Fugue
V — Schmidt, Suite for Saxophone
VI — Schmitt, Quatuor, Op. 102
IV — Schubert arr. Teal, Andante, Op. 29
IV — Sweelinck arr. Ricker, Variations on a Theme by Sweelinck
III-V — Teal Ten Saxophone Quartets (collection)
VI — Xenaxis, XAS
VI — Webern, Quartet, Op. 22

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SUPPLEMENTAL REPERTOIRE

Tenor Saxophone Repertoire (All levels)

Amato, Five Bagatelles (Amato)
Anderson, Sonata (Dorn)
Cunningham, Trigon, Op.31 (Etoile)
DiPasquale, Sonata (Southern)
Duckworth, Pitt County Excursions (Seesaw)
Duckworth, Ballad in Time and Space (Seesaw)
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Hartley, Poem (Presser)

Hartley, Concertino (Dorn)
Hartley, Sonata (Dorn)
Hasquenoph, Concertino (Heugal)
Hurel, Opcit (unacc.) (Billaudot)
Jolas, Episode Quatriemme (unacc.) (Leduc)
Karlins, Music for Tenor Saxophone (Southern)
Lacour, Piece Concertante (Billaudot)
Lauba, Hard (unacc.) (Fuzeau)
Martin, Ballade (tenor) (Universa)
Mefano, Periple (unacc.)(Salabert)
Peck, The Upward Stream (Pecktacular)
Risset, Voilments (Salabert)
Scelsi, Tre Pezzi (unacc.)(Salabert)
Schmidt, Sonatina (Western International)
Schmidt, Concerto (Western International)
Villa-Lobos, Fantasia (Peer)

Soprano Saxophone Repertoire (All Levels)

Arma, Phases Contra Phase, (Lemoine)
Babbitt, Accompanied Recitative, (Peters)
C.P.E Bach, Sonata in A Minor, (Manuscript)
J.S. Bach, Sonata in G Minor, (Universal)
J.S. Bach, Sonata in Eb Major, (Theodore Presser)
Berio, Sequenza VIIb (unacc.), (Universal)
Britten, Six Metamorphoses after Ovid (oboe unacc.), (Boosey & Hawkes) Carter, Inner
Song (oboe unacc.), (Boosey & Hawkes)
Escaich, Le Chant des Ténèbres, (Leduc)
Marcello/Pittel, Concerto in C minor (oboe), (Southern)
Myers, Concerto
Platti/Rousseau, Sonata in G Major, (Etoile)
Poulenc, Sonata (oboe w/ piano), (Schirmer Read-Thomas)
Rogers, Lessons of the Sky, (Dorn)
Ruggiero, Interplay, (Dorn)
Satie/Leonard, Trois Gymnopedies, (Masters Music)
Scelsi, Ixor (unacc.), (Salabert)
Shrude, Music for soprano saxophone and piano
Takemitsu, Distance, (Sikorski)
Tanada, Mysterious Morning III, (Lemoine)
Torke, Concerto, (Boosey & Hawkes)
Villa-Lobos, Fantasia, (Peer)
Young, Sonata, (Dorn)

Baritone Saxophone Repertoire (All levels)

Beethoven/Easton, Sonata in G Minor, Op. 5, no. 2, (Easton)
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Bozza, Divertissement, (Leduc)

Demerssemen, Premier Solo, (Roncorp)
Eccles/Rascher), Sonata (orig. for viola da gamba)   
McGinnis & Marx Gubaidulina, Duo Sonata (orig. two bassoons), (Sikorski) Hartley,
Duo Sonata (with sop. sax), (Ethos)
Lauba, Stan (Leduc)
Vaughan Williams, Winter's Willow, (A Country Song), (Medici)

Starter Saxophone and Clarinet and Saxophone and Percussion Duos

(Working List)

Saxophone and Clarinet

Ox and the Lark by Resanovic
Puzzle by Martial Host
Poulenc Duo Sonata
Le Petit Duo by David DeBoor Candfield
Circling by Yunfei Li
Sax vs Clar by Emile Lukas
Hot Work by Olivia Kieffer
Entwined by Dorothy Hindman
Les Fauves by Matthew Taylor
Duo Sonata by Gregory Wanamaker
Talking Pictures by Amy Quate
Tachycardia by Marc Mellits

Saxophone and Percussion

Songbook by David Maslanka
Burn by Nathan Daughtery
Wink by Mark Ford
Divertimento by Akia Yuyama
Fractured Laundry by Charlie Wilmoth
Scale Proficiency Chart for Saxophonists
Dr. Kendra Wheeler

Scales, arpeggios, and intervals are full range, based on Les Gammes by Jean-Marie Londiex
Chromatic
M2nds, m3rds,
Level Major Harm. Minor Mel. Minor Chromatic Diminished Whole tone Major 3rds Minor 3rds 4ths Major Arp. Minor Arp. Augm. Arp Dim. Arp M3rds, P4ths Chrom. tritones 6ths

1 80 60 60 60 60 60
2 100 80 80 80 80 80 60
3 112 100 100 100 100 100 80 60 60 60 60 60
4 120 112 112 112 112 112 88 76 60 76 76 76 76
5 126 120 120 120 120 120 96 88 76 88 88 88 88 60
6 126 126 126 126 126 126 104 104 88 104 104 104 104 76 60
7 132 132 132 132 132 132 112 112 104 112 112 112 112 92 72 72
8 138 138 138 138 138 138 120 120 112 120 120 120 120 104 84 80
9 138 138 138 138 138 138 132 132 120 132 132 132 132 112 100 92
10 144 144 144 144 144 144 138 138 132 138 138 138 138 126 112 104
11 144 144 144 144 144 144 144 144 138 144 144 144 144 138 126 112
12 152 152 152 152 152 152 144 144 144 144 144 144 144 144 132 120

Notes:
o Scales are to be performed from memory
o Scales are to be performed in sixteenth notes, at the tempo marking designated
o Scales begin on the lowest tonic note (for Major and Minors), or lowest note on the instrument for others
o Scales are to be performed in all keys
o Major, minor, diminished and whole tones scales performed twice in a row, without stopping or pausing
o Major through 4ths to be prepared with the following articulation:
o all slurred
o slur two, tongue two
o tongue two, slur two
o slur three, tongue one
o tongue one, slur three
o tongue one, slur two, tongue one
o slur two, tongue six
 Langenus p. 22

Clarinet Warm-Up
Saxophone Warm-up,p.
p. 87