A BRIEF HISTORY OF THE SAXOPHONE

AND A GUIDE TO STUDY MATERIALS

A Supporting Paper

Presented to

the Faculty of the Department of Music

University of Houston

In Partial Fulfillment

of the Requirements for the Degree

Master of Music

by
Donald Edward West

August, 1968

454507
A BRIEF HISTORY OF THE SAXOPHONE

AND A GUIDE TO STUDY MATERIALS

An Abstract of a Supporting Paper

Presented to

the Faculty of the Department of Music

University of Houston

In Partial Fulfillment

of the Requirements for the Degree

Master of Music

by
Donald Edward West

August, 1968
 ABSTRACT

Although the saxophone has been in existence for one hundred­

twenty-six years, the instrument's history is brief in comparison to

that of other wind instruments.

In chapter one, the history of the instrument is traced from

its invention in 1842 by Adolph Sax and its introduction to America in

the 1880*s, to its development into its present form.

Chapter two has a dual purpose: first, to serve as a guide to

some of the materials available for the technical study of the saxophone;

secondly, to make students of all ages aware of the vast body of fine

literature available for the instrument.

 TABLE OF CONTENTS

CHAPTER

I. HISTORY OF THE SAXOPHONE

A. Invention of the Instrument............................... 1

B. Development of the Saxophone.......................... 6
C. Introduction to America..................................... 11

H. GUIDE TO METHODS AND LITERATURE

A. Methods ................................................................ 17
B. Solos....................................................................... 22
C. Ensembles , .. ............................... 42
D. Orchestral Music Including Saxophone........... 47
E. Recordings ....................................... 49

BIBLIOGRAPHY 51
 CHAPTER ONE

HISTORY OF THE SAXOPHONE

A. Invention of the Saxophone

The saxophone, unlike most wind instruments in present day

use, enjoys a comparatively short, but nevertheless interesting

history. Its invention is credited to Antoine Joseph (Adolph) Sax.

Adolph Sax, son of the instrument maker Charles Joseph Sax,

spent much time during his formative years In his father's workshop

in Brussels, Belgium. After studying flute and clarinet in the

Brussels Conservatory, he began devoting his time, as did his father,

to the improvement of various instruments. In the course of his

endeavors to improve the clarinet, Sax produced a new instrument,

called a "saxophone", which possessed a different tonal quality from

that of the clarinet.

The development of the saxophone and an entire family of

instruments related in pitch, took place in a relatively brief period

of time.

"Unfortunately Sax left no account of his discovery of the

saxophone, but we might imagine that he began by experimenting

1
 2

in the field of woodwind-brass hybrids. Predecessors of the saxo­

phone with which he might have worked with were the Alto Fagotto

invented by William Meikle in 1830, the ophicleide invented by Halary

in 1821, and the bass instrument with a wooden conical tube and a
9
clarinet mouthpiece invented by Desfontenelles of Lisieux in 1807.

Adam Carse describes the Alto Fagotto as being a conical

wooden tube shaped like a bassoon, but sounded by means of a single

reed attached to the end of a bassoon-like crook. 3 In 1836, Sax

experimented with die instrument invented by Desfontenelles of

Lisieux. This instrument is now what we know as the bass clarinet.

The most probable theory concerning the invention of the

saxophone is that Sax conceived his instrument as something in the

nature of an ophicleide furnished with a single reed mouthpiece.

1 Anthony Baines, Woodwind Instruments and Their History,

(New York: W. W. Norton & Co., Inc., 1957), p. 142.

^Curt Sachs, The History of Musical Instruments, (New

York: W. W. Norton & Co., Inc., 1940), pp. 415-417.
3Adam Carse, Musical Wind Instruments, (New York:
Da Capo Press, 1965), p. 176.
^Sachs, History of Musical Instruments, pp. 415-417.
 3

Sax's patent drawings support this view.

It is not certain that Sax had any particular reason for inventing

the instrument. Bate suggested that Sax might have been trying to

invent a clarinet that overblew at the octave or to invent an instrument

that would link the woodwinds with the brasses.A

So as to Indicate the structure of the soprano saxophone in

comparison with the modern clarinet, and to show the resemblance

of it to the older, obsolete ophicleide, the following statement by

Adam Carse is included:

Compared with a clarinet the difference in the bore

is considerable. A soprano saxophone in B flat starts
at the upper end with a bore about half as wide as the
clarinet; the conical tube, which is about three inches
shorter than the B flat clarinet tube, increases in width
till it is nearly half as wide again as the cylindrical
bore of a clarinet. The mouthpiece and reed are broader
for the saxophone than for the clarinet, and the aperture
is rounded at the tip; the interior opening inside the
mouthpiece is also wider on the saxophone, in spite of
the narrow bore at the upper end of its conical tube.
The note-holes are larger than those of the clarinet,
and increase in diameter as the cone increases in width;
in this respect the saxophone tube much resembles die
tube of an ophicleide.

^•Philip Bate, Grove's Dictionary of Music and Musicians,

ed. by Eric Blom, Vol. VTI, (5th ed. New York: St. Martin's Press
Inc., 1955), pp. 430-434.

2Ibid., p. 431.

^Carse, Musical Wind Instruments, p. 178.

 4

The year 1841 marks the date of the first saxophone, and

the year 1846 marks the completion of the entire family and the

issuance of a French patent. In 1842, in the midst of these inven­

tions, Sax moved to Paris from Brussels and set up a new workshop.

The original patent was for fourteen instruments divided

into an orchestral grotp and a military group. Hie orchestral

group alternated in pitch from F to C. The military group alter­

nated from E flat to B flat. All of the instruments required trans­

position except for the orchestral soprano which was at the unison

pitch. The pitches of the instruments in the military group have

been retained for present day use.

Apparently the noted French composer Hector Berlioz heard

the saxophone shortly after it was invented, for in the June 12, 1842,

issue of the Paris Journal des Debats he gives us the following

description of the instrument.

The Saxophone (le Saxophon), named after its inventor,

is a brass instrument with nineteen keys Its mouthpiece
is similar to the mouthpiece of the bass-clarinet; its
fingering is akin to that of the flute or the second part of the
clarinet. Its sound is of such rare quality that, to my
knowledge, there is not a bass Instrument in use nowadays that
could be compared to the Saxophone. It is full, soft, vibrating,
extremely powerful, and easy to lower in intensity. As far as

Ifiate, Grove’s Dictionary, ed. by Eric Blom, p. 431.

 5

I am concerned. I find it very superior to the lower tones

of the ophicleide, in accuracy as well as in the solidity of
the sound. But the character of such sound is absolutely
new, and does not resemble any of the timbre heard up
till now in our orchestras, with the sole exception of the
bass-clarinet’s lower E and F. Owing to its reed, it can
increase or diminish in intensity of its sounds.
The notes of the hitter compass vibrate so intensively
that they may be applied with great success to melodic
expression. Naturally, this instrument will never be
suitable for rapid passages, for complicated arpeggios;
but the bass instruments are not destined to execute light
evolutions. Instead of complaining; we must rejoice that
it is impossible to misuse the Saxophone and thus to
destroy its majestic futilities.
The composers will be very indebted to Mr. Sax when
his new instruments are generally employed. If he per- -
severes, he will meet with the support of all friends of music.1

Berlioz* description of the instrument leads one to believe that

either the tenor or baritone saxophone was the first to be developed.

Surprisingly, in 1884, only three years after it*s invention,

saxophone parts appeared in several noteworthy works, Jean-George

Kastner’s opera Le dernier Roi de Juda (The Last King of Juda) and

in Hector Berlioz* orchestral arrangement of his own composition

Chant sacre for six of Sax's new instruments. Kastner was the first

composer to write a part for saxophone, however his opera was not

^Lee Patrick, "The Saxophone, " trans, by Leon Kochnitsky,

The Instrumentalist, Vol. 22, No. 4 (Nov., 1967), p. 13.
 6

performed until December of 1844. On the other hand, Berlioz*

arrangement was performed on February 3, 1844. Thus, the per

formance of Berlioz* composition ante-dates that of Kastner’s

composition by some ten months.

In 1845 the new instruments were introduced into

French Army Bands. Several French composers,
including Thomas and Bizet, subsequently made use
of the saxophone in some of their operas, and since
then it has figured frequently in the works of French
and Belgian composers, and only occasionally in
German and English scores. The saxophone was first
introduced into England by Richard Carte of the firm
Rudall, Rose, and Carte, about 1850. In Germany it
was almost ignored, and it is said that when Richard
Strauss* Domestic Symphony was produced in Berlin
the specified saxophone quartet could not be recruited
amongst local players. 2

In British bands, the former prejudice against

saxophones has been dispelled sufficiently to admit
an alto and a tenor regularly and a baritone occasion­
ally.^

B. Development of the Saxophone

The saxophone was at once provided with a covered-

key system partly mounted on rod-axles. The primary

^"Bate, Grove’s Dictionary, ed. by Eric Blom, p. 434.

2Carse, Musical Vdnd Instruments, p. 179.

^Baines, Woodwind Instruments, p. 142.

 7

scale (according to the notation in C) is the same as that

of the flute or oboe, and when overblown, the octave­
harmonics sounds as on both of these instruments. The
key-system is much the same as that of the oboe except
that the keys for the first, second, and the third fingers
of the right hand are arranged as on the Boehm flute. 1

As the years passed, changes made on the saxophone have been

confined basically to those of a mechanical nature, however the range

has been increased somewhat.

In 1887 one semitone (B flat) was added to the bottom range of

the instrument by Lecomte et Cie. Throu^i the years, saxophones

have been equipped with a high E and high F. Modern saxophones may

be equipped with a low A natural and a high F sharp. Other changes

include the elimination of two octave keys through the application of

the automatic leverage system, the mounting of all keys on axles, and

the duplicating of the low B flat key so that the little finger of the left

hand may operate this mechanism from two positions. Those directly

responsible for the changes were P. Goumas, Evette and Schaeffer,

Lecomte et Cie, Fontaine-Besson, and Adolph Sax himself.

In addition to these changes, various experiments have been

l-Carse, Musical Wind Instruments, p. 178.

^Bate, Grove's Dictionary, ed. by Eric Blom, pp. 431-432.

 8

conducted using different materials for the mouthpiece. The original

mouthpiece was made of wood. It has since been made of hard rubber,

plastic, metal, and even glass. From mouthpieces made from these

materials, various tonal results may be achieved. Newly purchased

instruments are generally provided with either a hard rubber or

plastic mouthpiece.

Generally speaking, the selection of a mouthpiece is a matter

of personal preference. It should be noted, however, that many

professional saxophonists in America, especially in the field of jazz,

are using metal mouthpieces for the tenor and baritone. French

saxophonists are using metal mouthpieces on the alto saxophone in

addition to the lower instruments.

The exterior and the interior dimensions of the mouthpiece,

as well as the material, affect the resulting tone quality. For example,

a small, closed-face mouthpiece, made of plastic and fitted with a soft

reed will generally produce a dark tone quality similar to that of the

'cello. Other variable factors which affect the tone quality are the

embouchure and the reed.

Not all of the saxophones invented by Sax remain in use today.

The instruments remaining in common use today are as follows: soprano.

 9

alto, tenor, and baritone. The bass saxophone is infrequently used.

The C tenor (melody) was perhaps the last to disappear from use.

The following chart gives the written notes and the actual sounds of

these instruments. The convenience of the written range being the

same for all of the Instruments (B flat to high F) enables the player

to change from one saxophone to another, using the same fingering

system.

Transposition Pitch
from C"

B flat Soprano Saxophone

E flat Alto Saxophone

B flat Tenor Saxophone

E flat Baritone Saxophone

 10

B flat Bass Saxophone

The saxophone is not a regular member of the symphony

orchestra, but examples of its use in symphonic literature will be

cited in chapter two of this paper. Junior high and high school

orchestras, however, sometimes use saxophones as substitutes

for instruments in the middle and lower ranges such as the English

horn, bassoon, French horn, viola, and ’cello. Occasionally, scores

for small orchestras include saxophone parts to strengthen the

aforementioned instruments.

The development of performance styles and pedagogical

approaches to the teaching of an instrument have always centered

around fine performers in major symphony orchestras, conserv­

atories, or schools of music. The saxophone, in the past, has not

been accorded this serious treatment since it is not a standard

member of the symphony orchestra, and only recently have students

been allowed to "major” on the saxophone at institutions of higher

learning in America. European schools, on the other hand, have

 11

considered the saxophone to be an instrument worthy for major study

for some time, but the influence of these schools has not been widely

felt in the United States. Concepts of saxophone pedagogy, neverthe­

less, have greatly advanced in this country. And today there are

colleges, universities, and conservatories at which a student may

study the instrument with a highly competent teacher. Some of the

outstanding musicians who have contributed to present hi^i standards

of saxophone performance are Vincent Abato, Alfred Galladoro, Cecil

Leeson, Marcel Mule, Siguard Rascher, and Larry Teal. These men

have given clinics at many of our finest colleges, performed with our

outstanding professional organizations, and recorded much of the

saxophone literature.

C. Introduction to America

Little was known of the saxophone in America until the 1880* s.

A few of the instruments were imported before that time, but these

were of limited use because of the lack of literature.

The first manufacturing of saxophones in America took place

in 1885, when C. G. Conn began making a few of the instruments. In

1895 Conn employed E. A. Lefebre, a saxophone virtuoso from

Europe vho was touring the country with Patrick Gilmore’s band, to
 12

assist and supervise in the manufacturing of the saxophone. Thirty

years later Americans were buying more saxophones than any

manufacturer had imagined could be sold. It was this demand that

awakened American manufacturing to quality production. At first

the saxophone was made by hand, but, with the increasing demand,

manufacturers were forced to employ modern methods of production.

The saxophone is made of over five hundred parts. Among

these there are more than sixty small key castings, forty-eight

knobs for holding the key hinges, forty-eight hollow hinges of various

lengths, forty-eight springs and pads of assorted sizes and kinds,

and over sixty large and small screws. The size of the smaller screws

may be indicated by the relationship of 1,240 screws to an ounce.

Five and one quarter pounds of raw materials go into an instrument

worth three or four hundred dollars. A total of 1,100 separate

operations are needed for the production of one set of keys. 1

Joe Kayser, in 1921, in his "Novelty Orchestra" was one of the

first to feature the solo saxophone in the United States. Tom Brown

and his famous saxophone sextet is credited with selling the saxophone

^•H. W. Schwartz, The Story of Musical Instruments from

Shepherd’s Pipe to Symphony, (Garden City, N. Y.: Doubleday,
Doran and Co. Inc., 1941), p. 150.
 13

to the American public with its moans and groans, squeaks, cackles

and titter. It is said that had E. A. Lefebre (a concert viruoso)

introduced the saxophone to America, rather than Joe Kayser or

Tom Brown, the instrument’s reputation would not have suffered

as it has. It was the character of Giese novelty ensembles that

prompted Americans to buy saxophones so they too could moan,

groan, squeak, and squawk. This use of the instrument did little

to earn the respectability needed to encourage study of the instrument

by serious-minded musicians.

There were a few very fine saxophonists performing in public

in the early 1920’s. Among these were Jean Moeremans, soloist

with John Philip Sousa’s band, Ben Vereecken, soloist with Arthur

Pryour’s band, and H. Beene Henton, also soloist with Sousa’s band.

Richard Strauss chose H. Beene Henton to head the quartet of saxo­

phones in his Domestic Symphony when the composer toured America

2
conducting this and other of his works. As a result of the activities

of these fine players, the saxophone gradually took its place in the

ranks of the professional and military bands of the country.

1Ibid., p. 137.
2Ibid., p. 142.
 14

The saxophone also found its way into another style of music,

that of the jazz dance orchestras. Being a versatile instrument,

capable of numerous sounds and effects, it fit in well with the so-

called "blues ” and later "dixie land" styles of playing. Here the

concept of tone quality depended on the style of the individual

performer.

It is interesting to note how the modem saxophones developed,

according to size, an individual characteristic during the 1920’s and

1930's. The alto with its clear, brilliant tone became the lead saxo­

phone in ensemble work, (the basic section having two altos and a

tenor). In smaller groups the tenor became the great solo instrument.

The baritone was next to the tenor in frequency of solo passages.

Owing to its great versatility and range, the clarinet, rather than the

soprano saxophone, is customarily used in large ensembles. The

soprano saxophone is commonly used, however, in the saxophone

quartet, vbich consists of soprano, alto, tenor, and baritone saxo­

phone.

It is, perhaps, the association of the saxophone with jazz

that hindered the early development of high performance standards.

^Baines, Woodwind Instruments, pp. 144-146.

 15

When it became popular as a dance-band instrument

the saxophone lost status and dignity, and a style of
playing developed which was mercifully never known to
the originator. 1

Today we have many fine techicians in the field of jazz, yet

each has his own concept of tone suitable to the style of music he

plays. The individual performer selects a solo instrument according

to personal taste.

Through jazz, the tone of the saxophone has been

considerably opened out by enlargement of the bore
and modifications to the mouthpiece. Old saxophones
sound mute by comparison. 2

During the first decade of the twentieth century, the saxophone

became a standard member of the public school band programs. It has

since served as a solo instrument and a supporting instrument in band

compositions. The number of saxophones in any given performing

organization mi^it vary, but according to the National Interscholastic

Music Activities Commission of the Music Educators National Confer­

ence, a desirable instrumentation for a ninety- eight piece concert

band should include four alto saxophones, two tenor saxophones, and

l-Carse, Musical Wind Instruments, p. 179.

^Baines, Woodwind Instruments, p. 144.

 16
one baritone saxophone. 1

Today, the saxophone enjoys a great acceptance in the musical

world, not only in the concert band and jazz ensemble, but in the

symphony orchestra as well. Ihrou^i the development of the previ­

ously mentioned performance standards, composers have been

inspired to include the saxophone in major orchestral works. It is for

this reason that the saxophone still exists in the symphony orchestra

and perhaps someday will become a standard member.

Of all the facts concerning the history of the saxophone, perhaps

the most important is the development of tonal qualities. It may be

pointed out to the saxophone student that no matter how much technique

he may acquire, it is essential to produce a sound that pleases the

discerning ear and blends well with the ensemble.

A few recordings by major artists have been listed at the end

of the next chapter. Througli careful listening and comparison of these

recordings, a student may have the opportunity to compare various

styles and tonal qualities which may assist him in developing a

personal sense of style.

^National Interscholastic Music Activities Commission of the

Music Educators National Conference, NIMAC Manual (Washington,
D. C.: National Interscholastic Music Activities Commission, 1963),
p.8.
 CHAPTER TWO

GUIDE TO METHODS AND LITERATURE

A. Methods

1. Beginning Methods

Bodegraven, Paul van. Adventures in Saxophone Playing.

Two volumes. Staff Music Publishing Co. An
excellent, if not the best, beginning method for
the young student.

Calliet, Lucien. Method for Saxophone. Two volumes.

Belwin, Inc. An excellent method. Has more material
and progresses slightly faster than the Bodegraven.
Combines well with the Bodegraven to give more mate­
rial on various levels. Devotes particular attention
to problems of articulation.

Colin-Lindeman. Saxophone Made Easy. Two volumes.

Charles Colin.

Gornston, David. Very First Saxophone Method. Edward

Schuberth & Co.

Herfurth, C. PauL A Tune a Day for Saxophone. Boston

Music Co.

Hovey, N. W. Elementary Method for Saxophone. Rubank,

Inc.

Pease, D. J. Saxophone Method. Pro Art.

17
 18

Skomicka, Intermediate Method for Saxophone. Rubank,

Inc.

Vereecken, Ben. Junior Saxophone Method. Rubank, Inc.

A good source for supplementary melodic material.
Suitable to follow a beginning method.

2. Standard Methods

Gornston, David. Advanced Method. Edward Schuberth &

Co. Excellent study for the advanced player. Includes
selections from the Klose 25 Daily Exercises plus a
fingering chart for the harmonics.

Henton, H. B. Methods for Saxophone. Theodore Presser.

Klose-Gay. Methode Complete pour Saxophone. Leduc.

English and French text. Modeled afteir, and making
use of much of the material in the Klose clarinet
method with considerable additional material. This
is by far the best method for the serious student
who has reached the upper intermediate stage of
development. Material is too difficult to follow
directly after an "advanced" beginning method.

lasilli, G. Modern Conservatory Method for Saxophone.

Two volumes. Carl Fischer.

Mayeur, A. Method for Saxophone. Carl Fischer or Leduc.

Vereecken, B. Foundation to Saxophone Playing. Carl

Fischer.
The Saxophone Virtuoso. Carl Fischer.
More advanced material in the form of twenty-four
advanced studies. The first portion of this book
is concerned with transpositions (including those
for C-melody saxophone I), and the second section
with transpositions for any saxophone through the
 19

use of the seven clefs.

Ville, Paul de. Universal Method for Saxophone. Carl

Fischer. The best and most complete of the American
publications; not arranged in progessive order of
difficulty.

Voxman-Gower. Advanced Method for Saxophone. Rubank,

Inc.

Wiedoeft. R. Modern Method for Saxophone. Two volumes.

Copyright dates of the methods mentioned above vary
from 1908 to 1928. These dates reflect the tremen­
dous popularity of the saxophone in the United States
during the first part of this century, but unfortunately
are somewhat out of date for contemporary teaching tech­
niques and interests.

3. Additional Study Materials

Arnold, Jay. Fingered Scales for Saxophone. Shapiro,

Bernstein & Co.
Modem Fingering System for Saxophone. Shapiro,
Bernstein & Co.
The second of these volumes presents a most exten­
sive series of fingerings with examples of when and
how each is used, and carries the range above the
high F. This fingering may be applied to scales
in various forms, with the option of extending them
above the high F.

Bassi, P. 27 Virtuoso Studies. Carl Fischer. Transcribed

by lasilli from the original clarinet method. Advanced
level

Blemant. 20 Melodic Studies. Two volumes. Leduc.

Capelie. 20 Grand Studies for Saxophone. Leduc.

 20

Cragun. Thirty Melodic Caprices. Rubank, Inc.

Twenty Etudes. Rubank, Inc.

Chopin. Chopin Studies Transcribed for Saxophone.

David Gomston. Chopin melodies transcribed by
Paisner and Gornston.

Endresen. Supplementary Studies for Saxophone. Rubank,

Inc.

Ferling. 48 Studies. Southern Music Co. Leduc. The

Southern Music Company edition is the original oboe
version. The Leduc edition by Mule is for saxophone
and includes original studies in various keys.

Gatti. 35 Melodious Technical Exercises. Carl Fischer.

Studies on Major and Minor Scales. Carl Fischer.

Hovey, Nilo. First Book of Practical Exercises for

Saxophone^ Belwin, Inc. Excellent beginning level
supplementary material.

Klose, H. 25 Exercises for Saxophone. Carl Fischer.

Labanchi. 33 Concert Etudes. Three volumes. Carl Fischer.

Lazarus. Grand Virtuoso Saxophone Studies. Belwin, Inc.

Luft, J. H. 24 Etudes. Editions Costallat. Lower advanced

level.

Mule, M. 24 Easy Studies after Sarnie. Leduc.

Scales and Aipeggios. Three volumes. Leduc.
18 Studies after Berbuier. Leduc.
Daily Exercises after Terschak, Leduc.
30 Grand Studies after Soussmann. Two volumes. Leduc.
52 Studies after Boehm, Terschak and Furstenau. Three
volumes. Leduc.
Miscellaneous Studies in All Keys. Leduc.
Studies arranged by the famous French virtuoso from
 21
standard works for other instruments. Contain some
of the most musical and useful materials available.
Numbered in approximate progressive order of
difficulty.

Pantaleo. Six Virtuoso Caprices. Carl Fischer. Lower

advanced level of difficulty.

Pares, C. Scales and Daily Exercises for Saxophone.

Carl Fischer.
Modem Foundation Studies for Saxophone. Rubank,
Inc. Two versions of the same material.

Rascher, S. Top-Tones for the Saxophone. Carl Fischer.

In a brief book of twenty-four pages Mr. Rascher
clearly presents a technique for developing the
playing range above high F through the use of har­
monics. Indispensable for the saxophonist.
158 Saxophone Exercises. Wilhelm Hanses. Quite
advanced technical exercises built around various
chord structures. Does not use the range above hi^h
F, Excellent material for the advanced student.

Salviani. Exercises for Saxophone. Carl Fischer. Aug-

mented and re-arranged in progressive form. Includes
the lasilli fingering chart. Excellent studies in
practical keys for the development of technique.
Extremely helpful are the alternate fingerings given
for difficult passages.

Teal, Larry. The Saxcphonist's Workbook. University

Music Press. One of the most unique books on the
fundamentals of musicianship. One could very easily
use this book for a lifetime. Excellent remarks are
given by Mr. Teal. Careful study and application
of his exercises should give a student a very firm
foundation on his instrument. The book is not meant
for beginners but as supplementary material to other
methods. This method should prove to be valuable to
the student in developing tone quality, intonation,
 22
and technique. The studies are all written within
the natural range of the instrument.

Tustin, Whitney. Technical Studies. Peer International

Corporation. The most complete book of mechanical
technical studies available. Useful on both inter­
mediate and advanced levels. In six sections: scales,
intervals, arpeggios, trills, exercises for tonguing,
exercises for fingering.

Voxman, H. Selected Studies for Saxophone. Rubank, Inc.

B. Solos

1. Concertos For Saxophone

Composer Title Publisher

Badings, H. Concerto (wo)* Donemus

Bennett, D. Concerto (pf. )♦♦** Fischer, C.

Bonneau, P. Concerto (wo)* Leduc

Bonneau, P. Piece Concertante

(wo)* Leduc

Borck, E. Concerto (wo)* Kalmus

Bozza, E. Concertino (wo)* Leduc

Brandt, H. Concerto (wb)*** Comp. Facs. Ed,

Brenta Concertino (so)** Leduc

*(wo) "with orchestra;" **(so) "string orchestra;"

♦**(wb) "with band;" ♦♦♦♦(pf.) "pianoforte."
These indications apply through the following pages.
 23

Composer Title Publisher

Bucci Concerto (pf)**** Southern

Challan, R. Concerto (wo)* Leduc

Creston, P. Concerto (wo) Schirmer

Dahl, I. Concerto (wb) Univ, of S. CaL

Damase, J. Concerts teck

(wo) Leduc

Dautremer Concerto (so) Lemoine

Depelsenaire Concertino No. 6

(pf.) Lemoine

Dressel, E. Concerto (wo) Ries & Erler

Dubois, P. Concertsteck
(wo) Leduc

Dubois, P. Concerto (so) Leduc

Eisenmann, W. Duo Concertante

(wo) Fischer, C.

Elsemnann, W. Concerto Da
Camera (so) Universal

Erickson, F. Concerto (wb) Bourne

Gemer, H. Concertino Op. 3

(pf.) Hofmeister

Gilson, P. Concerto No. 1

(Pf) Garvan

Glazunov, A. Concerto (so) Leduc

Gragun, J. Concerto (pf) Rubank

 24

Composer Title Publisher

Guilhaud, H. Concertino (pf) Leduc

Gurewish, J. Concerto Op. 102

(pf) Rubank

Hartley, W. Concerto (wb) Presser

Hasquenoph, P. Concertino (pf) Heugel

Heck, A. Concertino (pf) Compre

Holbrooke Concerto Op. 88

(pf) Boosey & Hawkes

Ibert, J. Concertino Da
Camera (wo) Leduc

Johnson, B. Concerto
(t. sax.) (pf) Regent

Kleinsinger, G. Concerto (wo) Chappel

Koch, V. Concerto (wo) Marbot

Korn, P. Concerto (wo) Amer. Co. All.

Krumlovsky Concerto (wo) Leduc

Lapham, C. Concerto (pf) Leeds

Larson, L. E. Concerto (so) Gehrmans

Latham, W. Concerto Grosso

(wo) Iowa St. Teach.

Lecail, G. Concertante (pf) Rubank

Leeson, C. Concertino (wb) Enchante

 25

Composer Title Publisher

McBride Concerto (for

doubles) Amer. Co. All.

Moritz Concerto (pf) Mercury

Raphael, G. Concerto Op. Breitkopf und

71 (pf) Haertel

Rivier, J. Concerto (wo &

tipt.) P. Noel

Rueff, J. Concertino Leduc

Saverino, L. Concertino
Petit (pf) Mills

Singelee Concerto No. 1

(pf) Alfred

Steiner, G. Concerto (pf) New Sounds

Tate, P. Concerto (so) Oxford

Tomasi, H. Concerto (wo) Leduc

Toumer, G. Concerto (pf) Leduc

Vellones, P. Concerto (wo) Lemoine

Wirth, C. Concerto (wo) Elkan-Vogel

Zender, H. Konzertino (wo) Breitkopf und

Haertel

2. Sonatas for Saxophone and Piano (unless otherwise indicated)

Composer Publisher

Absil Lemoine
 26

Composer Publisher

Bilotti Presser

Bodart (wo) Henmar

Childs Tritone

Creston Shawnee

Decruck (wo) Costallat

Delden Donemus

Depelsenaire Gallet & Fils

Dillon Salabert

Dressel Ries & Erler

Dubois Leduc

Eccles Elkan - Vogel

Ficher Op. 21 New Music Pub

Franco Pioneer

Girnatis Sikorski

Guillou Leduc

Heiden Ahn & Simrock

Hindemith Schott

Jacobi Bourne

Kanitz Fischer, C.

Karg - Elert (unaccomp.) Zimmerman

 21

Composer Publisher

Koechlin Eschig

KroU Hofmeister

Lazarus (unaccomp.) Durand

Leinert Breitkopf und Haertel

Mueller Univ, of Mich.

Moritz Shawnee

Pascal Durand

Saguet Leduc

Schulhoff Schott

Tcherepnine Leduc

Tuthill Interlochen

3. Suites for Saxophone With Piano

Composer Publisher

Berthomieu Lemoine

Bonneau Leduc
/
Brancour Evette - Schaeffer

Breard Leduc

Brindel Weaner

Camelleri Waterloo
 28

Composer Publisher

Creston Shawnee

Dubois (10 mvts.) Leduc

Dubois (5 mvts.) Leduc

Dubois (8 mvts.) Leduc

Hartley (5 winds) Interlochen

Lane Boosey & Hawkes

Maurice (5 mvts.) Lemoine

Ostransky Rubank

Planel Leduc

Raphling Edition Musicus

Wilder Leonard Carrol

Young Bandland

4. Saxophone and Band

Composer Title Publisher

Bennett, D. Latinata Summy Birchard

Benson, W. Star - Edge Manuscript

Benson, W. Concerto Manuscript

Benson, W. Aeolian Song Manuscript

Coates, E. Saxo - Rhapsody Chappel

 29

Composer Title Publisher

Cofield Chartreuse Rubank

Creston, P. Concerto Schirmer

Dahl, I. Concerto Univ, of S. CaL

Deluca Beautiful Fischer, C.

Colorado

Erickson, F. Concerto Bourne

Goode, J. Rondino Manuscript

Hartley, W. Concerto Presser

Kanitz, W. Intermezzo Manuscript

Leeson, C. Concerto Enchante

Reed, A. Ballade Hansen

Whitney, M. Introduction Bourne

and Samba

Whitney, M. Rhumba Bourne

5. Saxophone and Orchestra

Composer Title Publisher

Bari Iler Rhapsodic Leduc

Brettone

Bernier Hommage Leduc

a Sax

Bonneau Suite Leduc

 30

Composer Title Publisher

Boutry, R. Divertimento Leduc

(so)

Busch, A. Nocturne Op. 58 Associated

Camaratta Rhapsody Mills

Camilleri, C. Suite Waterloo

Coates, E. Saxo - Rhapsody Chappel

Costant Musique de Leduc

Conceit

Debussy, C. Rhapsody Durand

D’Indy, V. Choral Varie Durand

Dubois, P. Divertissement Leduc

Hunt, F. Chaconne Manuscript

Husa Elegie and Leduc

Rondeau

Jacobs, G. Rhapsody Oxford

Martin, F. Ballade (t. sax.) Universal

Mather, B. Elegy (so) Waterloo

Maurice, P. Tableaux de Lemoine

Provence

Meulemanns Rhapsodie Gervan

Milhaud, D. Scaramouche Salabert

Moller, K. Rhapsody Hansen

 31

Composer Title Publisht

Moller, K. Rhapsodle Leduc

Moreau, L. Pastorale Leduc

Selmer - Fantasie -
Collery Caprice Eschig

Schmitt, F. Legende Durand

Sporck Legende Demets

Stekke ^aptaisie
Elegiaque Gervan

Tomasi, H. Ballade Leduc

Villa - Lobos, H. Fantasia (so) Southern

6. Saxophone Solos with Piano

Composer Title Publisher

Absil Berceuse Gervan

Ackerman, H. Deux Pieces Leduc

Ameller Jeux de Table Lemoine

Aubert Premier Solo de

Concours Alfred

Bach - Mule Bourree Leduc

Bach - Johnson Andante Belwin

 32

Composer Title Publisher

Bach - Rascher Preludes to

Cantatas 156 &
12 Chappel

Barat, E. Nostalgic Buffet - Crampton

Bariller Fan * Jazz Leduc

Barraine, E. Improvisation Costallat

Beaucamp, A. Tarantelle Leduc

Beeckman Elegie Costallat

Beethoven - Allegro Bettoney

Bettoney

Bennett Modeme Fischer, C.

Benson, W. Cantilena Boosey & Hawkes

Bigot, E. Prelude et
Danse Leduc

Bitsch, M. Villageoise Leduc

Bourguignon, F. Prelude and

Rondo Gervan

Bozza, E. Impromptu et
Danse Leduc

Bozza, E. Prelude et
Divertissement Leduc

Bozza, E. Aria Leduc

Bozza, E. Scaramouche Leduc

 33

Composer Title Publisher

Bozza, E. Pulcinella Leduc

Bozza, E. Le Campanile Leduc

Brown, En Promenade Lemoine

Brunaiu Fantasie Variee Alfred

Busser, H. Au Pays de Leon

et de Salamanque Leduc

Calliet, L. Theme et
Variations Chart

Castereda, J. Scherzo Leduc

Cerniot Ecloque et Danse

Pastorale Leduc

Chailleux, A. Andante et
Allegro Leduc

Clerisse Chanson a
Bercer Buffet - Crampton

Clerisse Matines Leduc

Clerisse Reverie Leduc

Combelle Solo de
Consours Alfred

Cowell, H. Air and Scherzo Associated

Damais Esquissa
Symphonique Costallat
 34

Composer Title Publisher

Dautremer, M. Reverie
Interrompue Leduc

Dautremer, M. Tango et
Tarantelle Leduc

Decruck, F. Chant Lyrique

Op. 69 Lacour

DeMncourt, C. Linzer Tart Leduc

Demersseman Solo Costallat

Depelsenaire Prelude et
Tarantelle Leduc

Decruck, F. Chant Lyrique

Op. 69 Lacour

DeMncourt, C. Linzer Tart Leduc

Demersseman Solo Costallat

Depelsenaire Prelude et
Divertissement Choudens

Derr, E. One in Five Manuscript

Desenclos, A. Prelude, Cadence

et Finale Leduc

D’Indy, V. Choral Varie Durand

Doran, M. Lento and Interlochen

Allegro

Douane Capriccio Lemoine

 35

Composer Title Publisher

Dressel, E. Bagatellen Ries & Erler

Dressel, E. Partita Ries & Erler

Dubois, P. Divertissement Leduc

Dubois, P. Mazurka Leduc

Dubois, P. Concersteck Leduc

Dubois, P. Dix Figues a

Danser Leduc

Ducles, R. Piece Breve Leduc

Dyck, V. Premier Legende

Hebraique Costallat

F Iocco - Allegro Bourne

Rascher

Francaix, J. Cinq Danses

Exotiques Schott

Fricker Aubade Schott

Gabaye, P. Printemps Leduc

Gaillard Noite Sobre

0 Trejo Costallat

Gallaher Impressions of
Summer Southern

Gaillard - Sonata McGinnis - Marx

Rascher
 36

Composer Title Publisher

Genin Solo de Concours Costallat

Gershwin Prelude No. 2 Harms

Glaser - Rascher Variations on

Gavotte by
Corelli Chappel

Gluck - Mule Gavotte Leduc

Gluck - Mule Armide Leduc

Gretchaninoff Deux
Miniatures Leduc

Grofe, F. Gallodoros
Serenade Robbins

Grovlez Sarabande et
Allegro Leduc

Gurewich, J. Capriccio Op.

120 Schirmer

Handel - Rascher Air and

Variations Bourne

Handel - Rascher Sonata Chappel

Hartley, W. Duo Tritone

Hoffman, A. Serenade
Basque Belwin

Houdy Romanesca Leduc

Husa, K. Elegie and

Rondeau Leduc
 37

Composer Title Publisher

Ibert, J. Aria Leduc

Johnson, C. Scene Forestal Eubank

Jollvet, A. Fantasie -
Impromptu Leduc

Joly, D. Candlene et
Danse Leduc

Jongen, L. Pseudo Valse -

Rag Gervan

Karel, L. Cypress Song Boosey & Hawkes

Kelkel, M. Rhapsodic Ricordi

Lacombe Rigaudon Southern

Lajtha, L. Intermezzo Leduc

Lantier, P. Sicilienne Leduc

Laparra Prelude, Valse

et Irish Reel Leduc

Leleux Danse
Nostalgique Lemoine

Leonard, C. Recitative &

Abracadabra Bourne

Letorey Papotages Costallat

Marc, E. Pierrot et
Colombine Costallat

Mareczk Sommerband
am Berg Zimmerman
 38

Composer Title Publisher

Markovitch Complainte &

Danse Leduc

Martell! Trois
Esquisses Eschig

Martini - Mule Celebre

Romance Leduc

Martini - Rascher Gavotte Chappel

Mather, B. Elegy Waterloo

Maury Sth Contest

Solo Alfred

Mayerus Tarantelle Gervan

Mazellier Spleen Lemoine

Mazellier, J. Fantasie -
Ballet Leduc

Mazellier, J. Quick Lemoine

Meyer Genets &

Bruyeres Leduc

Mondonville - Tambourin Leduc

Mule

Monfeuillard Deux Pieces Leduc

Montbrun, R. Intermezzo Leduc

Moreau Evocations
Rhythmiques Costallat

Mozart - Mule Les Petits

Riens Leduc
 39

Composer Title Publisher

Murgier Deux Pieces

Brevies Lemoine

Olesen, W. Six Pieces W. Hansen

Oubradous, F. Recit et
Variations Leduc

Pascal, C. Impromptu Durand

Perrin, M. Mirage Leduc

Perrin, M. Poeme Delrieu

Petite, M. Andante et
Fileuse Leduc

Planel, R. Suite
(6 Pieces) Leduc

Planel, R. Prelude et
Saltarello Leduc

Foot, M. Ballade Schott

Presle Orientate Leduc

Purcell - Rascher Two Bourrees Bourne

Rameau - Mule Le Temple de

la Gloire Leduc

Rameau - Rascher Rigaudon Chappell

Raphael, G. Recitative Leduc

Rascher, S. 24 Intermezzi Bourne

Reed, A. Ballade C. Hansen

 40

Composer Title Publisher

/ /
Reutter, H. Elegie Leduc

Rueff, J. Chanson et
Passepied Leduc

Rungis, R. Quatre Pieces Lemoine

Saeys Poeme Gervan

Sasamori, T Kojo-No-Tsuki Southern

Sasone, C. Rocconto Southern

Sauter, J. Chanson
Joyeuse Kjos

Segoine Pieta Signore Costallat

Semler - Collery Recit et

Scherzando Leduc

Soule, E. Serenade Shawnee

Strauwen Cavatine Gervan

Strimer Deux Pieces Leduc

Tcherepnine Sonatine
Sportive Leduc

Thiriot, M. Adagio Leduc

Thomasl, H. Introduction
et Danse Leduc

Tournier Prelude et
Scherzo Lemoine
 41

Composer Title Publisher

Vandelle, R. Prelude et
Gigue Leduc

Vidal, P. Sept Pieces Leduc

Ward, D. An Abstract Southern

Welander Arietta Fischer, C

Whitney, M. Introduction
& Samba Bourne

Whitney Rhumba Bourne

Zambarond Neopolitan
Tarantella Shawnee

7. Unaccompanied Saxophone

Composer Title Publisher

Bonneau Caprice en
Forme de Valse Leduc

Bozza, E. Improvisation
and Caprice Leduc

Bozza, E. Piece Breve Leduc

Bozza, E. Etude -
Caprices Leduc

Couf, H. Introduction,
Danse &
Furioso Bandland
 42

Composer Title Publisher

Damais Cinq
Divert! ssements Costallat

Dubois, P. Suite
Francaise Leduc

Elert, K. Sonata Zimmerman

Hartley, W. Petite Suite Interlochen

Lazarus, D. Sonata Durand

/
Mas sis, A. Etude -
Caprices Leduc

C. Ensembles

1. Duets

Composer Title Publisher

Gurewich, J. Seventeen
Classic Duets Fischer, C.

lasilli, G. Thirty
Progressive
Duets Fischer, C.

Voxman, H. Selected Duets

for Saxophone
Vol. I & II Rubank

2. Quartets (two altos, tenor, and baritone)

 43

Composer Title Publisher

Bach - Eymann Prelude and

Fugue Fischer, C.

Bach - Briegel 7th Fugue from

Well Tempered
Keyboard Briegel

Beethoven - Minuet in G Belwin

Cailliet

Bizet - Cailliet Intermezzo Belwin

Glazunov - Gee Canzona, Two

Variations and
Scherzo Boosey & Hawkes

Grieg - Taylor Elegie Mills

Handel - Hervig Adagio and

Allegro Rubank

Mielenz - Voxman Scherzo Rubank

Mozart - Hervig Menuetto and

Presto Rubank

Singelee Allegro de
Concert Fischer, C.

Yoder Jericho Kjos

3. Other Quartets

Composer Title

Absil Pieces en Quatre pour

Saxophones
 44

Composer Title

Bertonville Prelude and Fugue

Bozza Andante et Scherzo

Bozza Nuages

Dubois Quartet pour Saxophones

Ibert Histories

Moulaert Andante, Fugue, et Final

PierneZ Album pour mes Petits
Amis

Schmitt Quartet

Vellones Cavaliers Andalous

VMlliams Prelude and Beguine

4. Saxophones Combined with Other Instruments

Composer Title Publisher

Arman, D. Trio (B. sax.,

hm., bsn.) Peters

Butterworth, A. Old English

Songs (duets) Hinrichsen

Delanney, M. Rhapsody (T.

sax., cello,
pf.) Heugel

Dubois, P. Sinfonia Da
Camera (6 winds) Leduc
 45

Composer Title Publisher

Dubois, P. Circus Parade

(sax., &perc.) Leduc

Dubois, P. Les Pretaux

(fl., sax., pf.) Peters

Flothius, M. Sinfonletta
Concertante
(cl. & sm. or.) Donemus

Fogel, V. Ticinella (fl., ob.

cL, sax.,
bsn.) Zerbonl

Haletski, P. Father &Son

(pic., bsn.,
sax., pf.) Schott

Hartley, W. Suite for

Winds Interlochen

Hartley, W. Chamber Music

for Sax. &
Wood Quint. Interlochen

Hovhaness Afton Waters Am. Comp. Fac

Hovhaness The World Under

the Sea Am. Comp. Fac

Ives, C. Scherzo
(chmb. orch.) Peer

Kanitz, E. Serenade
(Sax & win.) Univ, of S. CaL

Koutzen, B. Music for Sax.,

Bsn. and ‘cello BMI
 46

Composer Title Publisher

Maganini, Q. La Romanesca
(T. sax., hrp.,
guitar) Ed. Musicus

Mayusumi, T. Metamusic
(Pf., v., sax.,
& cond.) Peters

Nln, J. I^e Chant du

Beilleur
(m. sop., sax.,
pf) Eschig

Pillevestra, J. Idylle Brettone

(2 sax. & pf.) Ev. & Schaeffer

Raphael, G. Divertimento Breitkopf und

(sax & cello) Haertel

Revueltas, S. 1st & 2nd

Pieces (wind
quint.) Southern

Roesgen, M. - Concert No. 2

Champion (sax., pf., & bsn.) Flute de Pan

Sodero, C. Valse Scherzo

(fl., ob., cl.,
bsn. & t. sax.) Associated

Stein, L. Trio
Concertante (v.
sax., &pf.) Comp. Facs. Ed.

Stein, L. Quintet (sax &

strg. quartet) Comp. Facs. Ed.

Tomasi, H. Printemps
(6 wds.) Lemoine
 47

Composer Title Publisher

Twinn, S. Three Dialogues

(dt.) Hinrichsen

Vellones, P. Rhapsody (hp.,

cist., sax.) Lemoine

Villa - Lobos, H. Chores No. 7 Eschig

Villa - Lobos, H. Sextuor

Mystique Eschig

Villa - Lobos, H. Fantasia

(3 Fr. hns.,
& strg.) Southern

Weber, A. Quartet (cL,

t. sax, V., &
pf) Universal

D. Orchestral Music Including Saxophone

(Instrumentation listed where available)

Composer Title

Bartok, B. Wooden Prince (alto)

Berlioz, H. Chant sacre

Bernstein, L. Jeremiah Symphony (alto)

Bizet, G. L’Arlesienne Suite No. 1 (alto)

Bizet, G. L’Arlesienne Suite No. 2 (alto)

Britten, B. Sinfonia da Requiem (alto)

Charpentier, G. Impressions of Italy

Charpentier, G. The life of A Poet (sop. & alto)

 48

Composer Title

Copland, A. Concerto for Piano and Orchestra

(sop. & alto)

Dallapiccola, L. Dialoghi (cello, orch., & alto)

Delibes, L. The Ballet, ’’Sylvia”

Debussy, C. Rhapsody (alto)

D’Indy, V. Fervaal (sop. Alto & ten.)

Foss, L. Symphony of Chorales (ten.)

Gershwin, G. An American in Paris (alto, ten.,

& bari.)

Gould, M. Symphonette (alto)

Harris, R. Symphony No. 5 (ten.)

Hindemith, P. Cardillac (ten.)

Hindemith, P. News of the Day Overture (alto)

Ives, C. Symphony No. 4 (ten.)

Kastner, G. Opera, The Last King of Juda

Kodaly, Z. Hary Janos Suite (alto)

Massenet, J. Herodiade (alto)

Milhaud, D. The Creation of the World (alto)

Moussorgsky - Pictures at an Exhibition (alto)

Ravel

Prokofieff, S. Lieutenant Kije (ten.)

 49

Composer Title

Ravel, M. Bolero (sop., ten.)

Shapey, R. Dimensions (ten.)

Shostakovich, D. Ballet, Age of Gold (sop.)

Strauss, R. Domestic Symphony (sop., alto,

bari. & ten.)

Thompson, V. The Plow that Broke the Plains

(alto & ten.)

Vau^ian Williams, Symphony No. 6 (ten.)

R.

Wuorinen, C. Into the Pipes and Steeples (sax.

improvisation)

E. Recordings

Abate, Concerto for Saxophone and String Nonesuch

Orchestra, Glazounov and Concertino da 71030
Camera, Saxophone and Orchestra, Ibert

Abato, Creston Sonata for Saxophone and Columbia

Piano, Op. 19 ML-4989

Vincent J. Abato, 1954 National Music Polymusic

Contest Selections Records

Brodie: The Saxophone in Concert Capitol

SW6066

Mule and the Paris Saxophone Quartet Selmer

Mule: The Saxophone London

Rascher Plays the Saxophone, 19 small pieces Grand Award

AAS #703
 50

Rascher Plays the Saxophone, Advanced Grand Award

AAS # 708

Rascher and the Cincinnati Symphony Remington

Orchestra, H. Brant - Concerto # 199-188

Rascher, Bernstein, New York Columbia

Philharmonic Symphony Orchestra ML-6059
Rhapsody for Saxophone and Orchestra
Debussy
 51

SELECTED BIBLIOGRAPHY

Baines, Anthony, Woodwind Instruments and Their History.

New York: W. W. Norton and Company Inc., 1957.

Bate, Philip. Grove’s Dictionary of Music and Musicians.

Edited by Eric Blom. 5th ed. Vol, VIL New York:
St. Martin’s Press Inc., 1955.

Berlioz, Hector. Treatise on Instrumentation. Enlarged and

revised by Richard Strauss. Translated by Theodore
Front. New York: Edwin F. Kalmus, 1948.

Carse, Adam. Musical Wind Instruments. New York: Da Capo

Press, 1965.

Kennan, Kent Wheeler, The Technique of Orchestration. Edited

by Douglas Moorel Englewood Cliffs, N. J.: Prentice-
Hall Music Series, 1952.

National Interscholastic Music Activities Commission of

the Music Educators National Conference. NIMAC Manual.
Washington, D. C.: National Interscholastic Music
Activities Commission, 1963.

Sachs, Curt. The History of Musical Instruments. New York:

W. W. Norton and Company Inc., 1940.

Schwartz, H. W. 'Die Story of Musical Instruments from

Shepherd’s Pipe to Symphony. Garden City, N. Y.:
Doubleday, Doran and Co., Inc., 1941.

Westphal, Frederick W. Guide to Teaching Woodwinds. Dubuque,

Iowa: Win. C. Brown Co., 1962.
 52

ARTICLES

Burnau, John. "Adolph Sax - Inventor, The Saxophone Family."

The Instrumentalist, Vol. 21, No. 6, January 1967.

Patrick, Lee. "The Saxophone." The Instrumentalist, Vol.

22, No. 4, November 1967.