Tenor Saxophone

Technique Packet

Saxophone Basics
Reed Clinic
Fingering Chart
Major Scales
Long Tones
Tuning Chords
Technique No. 1
Technique No. 2
Technique No. 3
Technique NO. 4
Articulation No. 1
Articulation No. 2
Articulation No. 3
Amazing Grace (Phantom Regiment 1992)
Canon (Phantom Regiment 2003)
Adagio for Strings (Santa Clara Vanguard 2013)
Saxophone Basics 5/2/12 5:23 PM

by Sergeant First Class Jeffrey G. Price

HISTORY

The saxophone is a versatile single reed instrument belonging to the woodwind family. The
entire family of saxophones ranges from the seldom used sopranino and contrabass to the
more commonly used soprano, alto, tenor, and baritone saxophones. The saxophone was
invented in 1838 by Belgian-born instrument maker, Adolphe Sax, and was patented in
1846 in Paris, France.

Although designed to augment low voices of the symphony orchestra brass section, the
saxophone was first commonly used in French military bands. As it gained exposure around
the world, the saxophone established itself as a permanent fixture in band repertoire. Since
its introduction into vaudeville and early jazz, the saxophone has continued to hold a
prominent place in popular music.

Whether in marching band, jazz ensemble, concert band, or saxophone quartet, many
student saxophonists have difficulty playing in tune and blending with other instruments.
For proper intonation and good blending in an ensemble, saxophonists must evaluate these
factors: the condition of the instrument, breath support, mouthpiece/reed setup,
embouchure, vibrato, and sound concept. By addressing all of these areas, saxophonists can
use this knowledge to enjoy practicing, playing, and performing all types of music.

INSTRUMENT MAINTENANCE

Saxophones are like cars-without regular maintenance they will not respond well. Common
problems include leaky pads, bent keys and rods, missing felts and corks, broken springs,
unregulated keys, and faulty alignment.

Saxophonists can do many things to keep their instruments in good playing condition. First,
use a swab to wipe the moisture out of the saxophone neck and body after playing. This
will help remove the condensation from the bore and pads. Failure to do this regularly can
cause pads to wear out quickly. The instrument may also develop an unpleasant odor-green
and blue bacteria may even grow on the pads and bore! Second, use both hands when
holding or moving the instrument, especially when getting it out or putting it away. Be
especially careful not to bend the rods. Third, inspect the instrument regularly. Look for
loose pads, cracked corks, and unusual clicks; have them checked before they become
major problems. Finally, have the instrument evaluated periodically by a qualified
professional repairman. Doing this preventative maintenance will fix many minor problems
and eliminate the need for costly major repairs later. Remember that a properly maintained
instrument will work better and be more fun to play.

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BREATH SUPPORT

The lungs must be trained to produce the steady, focused, sustained air stream needed to
make the reed vibrate. Good posture with a straight back and neck will greatly aid the
breathing process. Do not raise and lower the shoulders when breathing. Lifting the
shoulders creates tension that will affect the sound and the fingers. Players should try to use
their entire lung capacity, allowing the lower part of the lungs to push the stomach forward,
then filling the upper cavity. The air is then released steadily, controlled by a muscle called
the diaphragm. The air stream should always be steady, never choppy. A player can think
of filling the instrument or the whole room, never stopping the air except at the end of a
phrase or during a rest. Using too little air can result in playing sharp, while using too much
air can cause a note to go flat. A good way to practice producing a steady air stream is to
play scales at various speeds using the full range of the instrument (see Example 1).
Concentrate on producing an even air stream and consistent sound all the way up and down.

MOUTHPIECES AND REEDS

There are many different kinds of reeds and mouthpieces developed for the diverse styles of
music a saxophonist must play. Generally, a medium-sized mouthpiece will meet most
marching and concert band needs. A medium facing will produce a round, focused sound
typically needed for these groups. The mouthpiece will aid in blending with the dynamic,
tone color, and style of the other musicians. A Selmer C* is a good medium-sized
mouthpiece. If cost or availability are a problem, it should be noted that most mouthpieces
that come with a new instrument have a medium facing and will be adequate. When
performing in jazz groups, a mouthpiece with a larger tip opening may be needed to project
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the sound and match the flexible styles and brighter timbre of the other musicians. Good
mouthpieces and facings for this style include Meyer 5, 6, or 7 or Otto Link 5, 6, or 7.
Mouthpieces are usually made of hard rubber or metal. These materials produce different
timbres and have distinct advantages and disadvantages. Make an educated choice when
picking a mouthpiece. Use the knowledge of a band director, private teacher, local
professional musician, or music dealer to find a match that will suit the playing needs.
However, remember that the price of a mouthpiece has little to do with its suitability.

It is important to match the strength of the reed to the mouthpiece. The air stream blows
against the mouthpiece/reed setup, creating the vibrations that become the sound. Soft reeds
may encourage using a weak air stream or poor embouchure to produce the sound. Reeds
that are too soft will produce low notes too easily, cause high notes to be out of tune, and
sound stopped and mushy. The reed will vibrate too easily and unpredictably against the
mouthpiece, so the focus of the sound and pitch will always fluctuate. Hard reeds, which
require excessive amounts of air to make them vibrate, may hamper low note playing,
encourage a biting embouchure, and promote excessive air use. Select a reed strength that
will produce a sound that has a consistent tone throughout the full range of the instrument.
Octaves and intervals should be changed just with fingerings, not with absurd throat and
embouchure movement (See Example 2).

Generally, a medium strength reed fits a medium mouthpiece facing. For example, 3 or 3
1/2 Vandoren reeds would fit a Selmer C* mouthpiece. A lower strength reed fits a large,
open mouthpiece (i.e., 2 or 2 1/2 reeds may better match a Meyer 7 mouthpiece). Consult a
band director, private teacher, or professional for help in matching the reed to the
mouthpiece. Keep in mind that reed strengths vary between manufacturers-a #3 Vandoren
reed, a #3 Rico reed, and a #3 Hemke reed are very different.

The ligature is an important part of the mouthpiece/reed setup, which can also have a
substantial effect on tone. Make sure the ligature is in good condition, allowing for a snug
fit of the reed against the mouthpiece. Ligatures that are bent, broken, or missing screws
might work to a limited extent, but they do not allow the reed to vibrate effectively against
the mouthpiece.

REED AND MOUTHPIECE CARE

Be sure to routinely wipe out the mouthpiece with a soft cloth, not a brush. This cleaning
will prevent gurgles and foreign objects from hampering sound production. Exercise care to
avoid chipping the tip or scratching the bore and rails of the mouthpiece.

Saxophonists should maintain a minimum of four playable reeds at all times. Reeds that are
waterlogged, chipped, cracked, or covered in lipstick should not be played.

When putting the saxophone away, do not leave a reed on the mouthpiece. It can easily

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chip, become discolored, or develop an unpleasant odor. Reeds should be stored in a reed
guard or-at minimum-the plastic covers that come with some reeds. This will keep them
safe until the next use and they will dry evenly without warping. A reed guard can be made
from a piece of glass, with rounded sides for safety, and rubber bands to hold the reeds in
place. Reeds should be rotated frequently, allowing them to dry out properly and last
longer; this will cost less in the long run because fewer reeds will be needed.

EMBOUCHURE

There are many different variations on teaching good saxophone embouchures. A standard
method is to first cover the bottom teeth with the fleshy part of the lower lip to form a
cushion. Next, place the bottom lip on the reed at the point where the mouthpiece curves
away from it. Then place the top teeth on top of the mouthpiece at approximately the same
spot above the bottom lip. Create pressure around the mouthpiece so that no air escapes
from the corners of the mouth. To maintain good intonation, the pressure should be fairly
consistent all the way around the mouthpiece. The embouchure should remain consistent
for the entire range of the instrument. There should be no radical movement of the jaw to
produce any note-avoid opening up for low notes or squeezing for high notes. The
embouchure is generally consistent, though the tongue placement changes in playing
different registers. Saxophonists should be able to play all pitches by simply producing a
steady air stream and pressing fingerings.

VIBRATO

Vibrato, added for warmth and expressiveness, is a slight and rapid variation in the pitch of
a note. It can greatly enhance the tone, adding a wide variety of colors. It does not have to
be used all the time or at a steady rate. Eventually the saxophonist will recognize notes and
phrases where vibrato is best used. While in marching band, vibrato may never be needed.
In playing big band standards, one should mimic a vibrato style of the band that originally
played the piece. In concert band, consider adding vibrato as dictated by the style of music.
Vibrato can be an invaluable tool for adding life and emotion to saxophone playing.

When practicing vibrato, use a metronome. First, pick a scale and play it in whole notes.
Next try to alter the tone of each pitch by dropping the jaw one time per beat at a
metronome marking of 60 beats per minute. The jaw motion for altering the pitch is similar
to chewing bubble gum; however, as one develops the technique, the dip of the pitch will
become less noticeable.

After developing this exercise, work to create four alterations per beat, gradually moving
the metronome marking up to 76. This is approximately 300 repetitions per minute. With
this facility, one can effectively alter vibrato to change mood, intensity, and style of a piece.

INTONATION

All saxophones have pitch inconsistencies that must be identified and compensated for in
order to achieve good intonation. No two saxophones are the same, although some are
better than others. However, various registers of all instruments do have similar tendencies.
Typically, low Bb through low D# are sharp, low E through middle C# are flat, and middle

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D through high F are sharp. Many of the elements discussed in earlier sections (such as
mouthpiece, reed, condition of the instrument, and air support) can greatly affect the
intonation.

The pitch and timbre of some notes can be extremely troublesome. High A can be very
sharp, middle C# extremely flat, and middle D and E can be somewhat sharp. These notes
need to be corrected with alternate fingerings or by tightening or loosening the
embouchure. Ask a band director or private instructor about correct use of alternate
fingerings. Two rules can guide the tuning of individual pitches: first, tighten the
embouchure to raise the pitch of a note; second, loosen the embouchure to lower the pitch
of a note. Use caution to avoid disrupting the embouchure so much that it affects the quality
of tone.

SOUND CONCEPT

Realizing how a saxophone is supposed to sound should be a primary consideration when

attempting to tune and blend with others. The saxophone is very versatile and can be played
in many genres. Each style has a unique vocabulary based on the sound, articulation, and
scales used. In order to properly learn the musical language of each style one must listen to
the music. Fortunately, there are recordings available of each genre that can enable a
student to progress effectively. The recordings listed as recommended resources later in this
chapter can help the saxophonist learn the sound concepts for various styles of playing.

Classical saxophone playing is rarely heard on the radio and is often not the sound
cultivated in band; yet, concert bands and marching bands usually require this type of
sound. Generally, classical saxophone playing calls for a thick, round, luscious sound.
Good examples to imitate would be a horn player, a cellist, or a vocalist.

Jazz and rock 'n' roll are easily identified by listening to popular radio. These commercial
styles call for a brighter, edgier sound. Use different reeds and mouthpieces (as previously
discussed) to help duplicate these tone concepts.

TECHNIQUE

Developing good technique on the saxophone will allow one to comfortably play
throughout the entire range of the instrument. Consequently, it will be easier to learn the
notes of a new piece of music. After learning the notes and rhythms, concentrate on good
tone and musicianship. To have good technique one must use correct posture. The back and
neck should be straight, allowing for proper breathing. The neck strap must be pulled up far
enough so that the mouthpiece comes to the mouth; do not shift the head to the mouthpiece.
The tenor and baritone saxophones must be held along the right leg, although the alto
saxophone can be positioned between the legs or to the side. Either way is acceptable, but
the player must be sure not to lean the instrument against the chair or on the lap; this can
change the placement of the mouthpiece in the mouth. The saxophone is primarily
supported by the neck strap and the left and right thumbs. The right thumb is placed in the
thumb guard so that the hand can gently curve with the fingertips on the pearls. The right
pinky finger is placed where the Eb and C keys meet so that they can be used quickly. The
left thumb acts as a balance to hold your instrument in place. The thumb should be placed

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so that it can easily reach the octave key. The rest of the left hand is curved around the palm
keys so that the fingertips touch the pearls. The left pinky is placed on the G# key so it can
be used quickly. It is important to keep the fingers that are not being used as close to the
keys as possible. When playing middle C#, when no keys are depressed, all fingertips
should still be touching the pearls. Keeping fingers close to the keys eliminates wasted
motion and allows more rapid movement between notes. Another example occurs when
playing a low G. The three left fingers should be down and the left pinky should touch the
G# key. The fingers of the right hand should be resting on the pearls.

While in high school the saxophonist should strive to learn all major, harmonic minor, and
chromatic scales over the full length of the instrument (refer to Example 1). Scales are part
of the language of music. If one knows the scales, they can be easily identified and
performed as music is read. Almost all music is based on one scale or another. If one
recognizes scales, playing pieces will be easier and making music will be more fun.

To be effective, technical learning must be slow and methodical. Slowly teach the fingers
what they need to do. Establishing a good practice routine, setting short and long term
goals, and employing constructive critical thinking will help one become a more
accomplished saxophonist.

TONGUING

Tonguing refers to the way the saxophonist articulates particular notes and rhythms. The
tongue can produce light staccato, heavy marcato, long legato, emphasized accents, and
many more sounds. The more variety of music played, the more types of articulation
encountered. In general, the saxophonist creates the syllable to be produced with the tongue
before sounding the note. Use the syllables "doo," "dah," or "dee" for a lighter tongue, "tah"
or "tee" for a heavier tongue. The tip is arched forward and, as the syllable is produced, the
part of the tongue slightly above its tip contacts the tip of the reed, momentarily blocks the
air, and causes the note to be rearticulated when released. The air stream remains steady,
without stopping. Problems with tonguing arise if too much of the surface of the tongue
touches the reed; a slapping, thuddy sound results.

Tonguing should be practiced with scales (tongue Example 1 scales) and motives (see
Example 3 below). Often, the hardest part of perfecting a technical tonguing passage is
coordinating the tongue with the fingers. The speed of the tongue can be developed by
doing exercises to strengthen it (see Example 4 below).

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When doing any exercise for speed, use a metronome to avoid rushing or dragging. Make
sure the articulation is clear and correct every time. When setting a tempo, determine at
what speed a passage can be cleanly tongued; then slowly increase the speed of the
metronome. Practice tonguing in each register of the instrument, as each range will vary in
response time.

Accents are played just like normal notes except that an extra push of air is added to
emphasize the note. Use caution to avoid exploding attacks.

INTERPRETATION

A saxophonist as a musician must realize that music is more than just notes. Pay attention
to tone, intonation, and the markings on the music. All markings are written for a reason.
Dynamics, accents, crescendos, etc., should be audible to the audience. Music is comprised
of contrast, so emphasize differences. After interpreting the markings, use personal taste,
the conductor, or a private teacher to refine how the music should be performed. Exaggerate
these markings and refine them in rehearsal, striving for an enjoyable musical performance.

PLAYING WITH AN ENSEMBLE

The key to playing in an ensemble is listening to others. In an ensemble:

1) Determine who is playing melody, harmony, and countermelodies; see where the
saxophone part fits. Listen to things like dynamics, style, phrasing, etc.

2) Learn the saxophone part well; then, be flexible in order to adapt to the group.

3) Remember that playing with others takes teamwork.

When listening, determine how the saxophone has been used in the orchestration. For
example, in concert band the saxophones can play as a section. The alto saxophones may be
playing with the horns or blending with the clarinets and flutes. The tenor saxophones may
double the bass clarinets, bassoons, or euphoniums. The baritone saxophone might play
with tubas, trombones, or low woodwinds. Awareness of the musical environment will help
determine who to listen to and blend with for good ensemble playing.

RECOMMENDED RESOURCES

Method Books
48 Studies Ferling
Selected Studies Voxman

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24 Etudes Faciles after Samies Mule

18 Studies after Berbiguer Mule
The Charlie Parker Omnibook Atlantic Music Corps
The Universal Method for Saxophone Paul Deville

Solos
Program Solos for Alto Saxophone L. Teal
Solos for the Alto Saxophone Player L. Teal
Concerto in Eb A. Glazounov
Chanson et Passepeid J. Rueff
Sicilienne P. Lantier
Sonata P. Creston
Introduction and Samba M. Whitney
Aria J. Ibert
Aria E. Bozza
Introduction et Caprice E. Bozza
Solo Album E. Rousseau
Debussy Album J. Harle

AATB Quartet
The Pink Panther Mancini/Frankenpohl
Missipppi Rag Krell/Frankenpohl
10 Saxophone Quartets L. Teal
Quartet Repertoire Voxman

SATB Quartet
Andante and Scherzo E. Bozza
Fantasia Gibbons/Hemke
Three Preludes G. Gershwin
Quatour pour Sax Jeanjean
Goldrush Suite Marshall
Sonata No. 44 D. Scarlatti

Reference Books
Saxophone Journal (bi-monthly magazine) Dorn Publications, Inc.
The Art of Saxophone Playing Larry Teal (Summy-Birchard)
Saxophone Soloists and Their Music, 1844-1985 Harry Gee (Indiana University Press)

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Marcel Mule: His Life and the Saxophone Eugene Rousseau

Sax and His Saxophone Leon Kochnitsky (North American Saxophone
Alliance)
Teachers' Guide to the Saxophone Frederick Hemke (Selmer)
The Early History of the Saxophone Frederick Hemke (UMI)

Selected Classical Recordings

Soliloquy Dale Underwood
The Contemporary Saxophone John Sampen
Concertos for Alto Saxophone and Symphonic Norbert Nozy
Band
Saxophone Colors Eugene Rousseau
Duo Vivo Laura Hunter
Marcel Mule 'Le Patron' of the Saxophone Marcel Mule
Hommage a Adolphe Sax Daniel Gauthier
Reminiscence Quatuor Alexander
Chicago Saxophone Quartet Chicago Saxophone Quartet
Rudy Wiedoeft, 'Kreisler of the Saxophone' Rudy Wiedoeft

Selected Jazz Recordings

Blue Trane John Coltrane
Giant Steps John Coltrane
Go! Dexter Gordon
Tune Up! Sonny Stitt
Tenor Madness Sonny Rollins
Now's the Time Charlie Parker Quartet
Time Out Dave Brubeck Quartet
Kind of Blue Miles Davis

Sources for Music and Equipment

If you cannot obtain these references from a local music supplier, contact:

The Saxophone Shop

2834 Central St.
Evanston, IL 60201
(847) 328-5711
(847) 328-4455

Eble Music Co.

P.O. Box 2570
Iowa City, IA 52244-2570
(319) 338-0313

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Reed Clinic 5/2/12 5:27 PM

Summer, Spring or Fall

How to Love Your Reeds Despite It All

A concise reed clinic by SFC Robert Beeson

Does this sound familiar? You have just opened a box of reeds, selected the best ones for an
upcoming concert, and set them aside. The next day, you play on them again and
HORRORS! they're now virtually unplayable. The concert is that night and that was your
last box of reeds. The purpose of this clinic is to help the single reed player become
proactive in avoiding this situation and also to offer recommendations as to how to rectify
this situation once it has already occurred.

First, we need to begin with a little informal botany for the single reed player. Reeds were
once living organisms. As such, they had a need for items of basic sustenance such as air,
food, and water. It is this last requirement that causes single reed players the most
difficulty. The cane plant has an extensive network of tubules beneath the surface of the
bark. These tubules are responsible for taking nutrients from the soil at the root and sending
them up to the leaves via capillary action. Unfortunately, these tubules still function in the
inert wood of the reed, drawing moisture under the bark portion of the reed, and leaving the
tip dry--particularly in the dry winter months or in climates with low humidity. To
dramatize this natural phenomenon, take a new reed out of the box and wet it. Now place
the bottom end in your mouth and blow air into the tubules found in the back end of the
reed. If you do this right, you should see bubbles on the vamp (cut top portion) of the reed.
This is what is responsible for pulling moisture from the vamp of the reed under the bark
and causing the bottom or table of the reed to bulge and no longer remain flat against the
mouthpiece. When this occurs, the reed becomes unresponsive and very hard to play. You
can check to see if this is the case by placing the reed on a flat surface and alternating
pressure side to side with your fingertips. If it rocks, the reed is warped. To remedy this
situation, you need to restore some of the flatness to the table of the reed. This can be
accomplished by first running the reed under very hot water for a minute and then very
carefully bending the side rails down until the reed lays flat, and/or secondly, sanding the
table of the reed with 400 grit wet-dry sandpaper until some semblance of flatness is
restored. You must be careful to not over-sand the reed as it may be easily rendered
unplayable.

How do we prevent this situation? We must stop the vamp from drying out too soon and
seal the tubules to prevent the table from becoming water- logged. To do this, we must first
assemble these easily found supplies: 400 and 600 grit wet and dry sandpaper, waxed
paper, plastic Ziploc bags, and a commercial reed holder-- or one constructed out of a piece
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of 6" by 6" Plexiglas and 3-4 heavy rubber bands to hold the reeds flat. (If you make your
own reed holder, or if you have a problem with your reeds getting moldy, put a little rock
salt and aquarium charcoal in a mesh bag, or portion of pantyhose, and place it inside your
plastic bag.)

Now that you have assembled these items, get a new box of reeds and soak them in water
for 5 minutes. Play, test and set aside the best ones. Now take one these good reeds and
vigorously sand the butt end of the reed with the 400 grit sandpaper. Lightly sand the table
and vamp with the 600 grit sandpaper. To finish, lightly burnish the vamp, tip and butt with
wax paper until a slight sheen appears. Now your reed is sealed and the tubules are closed.
This should minimize any warping of the table.

The next crucial element is to place the sealed reeds flat on a reed holder of some sort, and
keep them in a consistent humid environment. This will retard the rate at which the reeds
dry out. This is very important in the dry months here in the mid-Atlantic region. If you are
using the no-frills Plexiglass/rubber band method, you can place them in a plastic bag with
the rock salt/charcoal combo, or I have seen some reed players use a small Tupperware
container to create a low budget reed humidor. Small commercial reed holders can be
stored this way, or many of the deluxe reed storage systems have methods in place to
regulate humidity. If you have a problem with mold growing on your reeds during the
humid months, don't worry, it's harmless. To rectify this situation, simply add the rock
salt/charcoal combo or leave the reeds out of the bag.

Now you have significantly stacked the odds in your favor and you should enjoy warp-free
reeds in spite of the changing.

This article provided courtesy of The United States Army Band, "Pershing's Own,"
Washington, DC

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 BASIC FINGERING CHART
SAXOPHONE www.conn-selmer.com

To finger any note, depress the colored keys or levers in the drawing above the note.
Where 2 notes are shown, depress the octave key to sound the upper note.
Use the octave key also for the four highest notes.

« « 2 « « «
Ÿ 2« « « « 2« « « 2 « « «
«
A B2 B C C D2 D D
 E2 E F
(ALT.)

« 2« « « 2« « « 2« «
2« «
Ÿ « 2« « « 2« « «
F G2 G G A2 A A B2 B

« « 2« « « 2« « « «
« « 2«
Ÿ
C C D2 D D E2 E F F
Octave key depressed

Y-E17
Tenor Saxophone
Long Tones

& 44 w w w  w bw w  w w

11

& w  w bw w  w w w

20

&  w w  w w 
#w w
Tenor Saxophone
Tuning Chords
University Band

F Tuning
#4 w w w w w n
& 4w

7 B-flat Tuning

& w w bw w w w
Tenor Saxophone

Technique No. 1
University Band

4 . œ. œ. œ. œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ œ œ
œ
&4 œœœœœ w 

œ#œ œ œ œ œ. œ. œ. œ. œ#œ
5
. . . .
& œ œ œ œ œ#œ#œ #œ#œ œ œ œ œ w 

. œ. œ. œ. œ œ œbœ œ œ œ œ bœ. œ. œ. œ. œ œ
9

& b œ œ œbœ œ œ œ bw 

13
œ
& œ. œ. œ. œ. œ œ#œ œ œ œ œ œ. œ. œ. œ. œ#œ#œ œ œ œ œ œ w 

bœ œ œ œ œ bœ. œ. œ. œ. œ œ
17
. . . .
& bœ œ œ œ œ œ œ œ œbœ œ œ œ bw 

. œ. œ. œ. œ#œ#œ œ#œ œ œ œ œ. œ. œ. œ. œ#œ

21

& œ #œ#œ œ œ œ œ w 

. œ. œ. œ. œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ œ œ
25

& œ œœœœœ w 
Tenor Saxophone

Technique No. 2
University Band

. . . . .
œ #œ. #œ. œ. #œ. œ. # œ. œ. n œ œ b œ n œ b œ nœ#œnœnœbœ
& 44 œ#œ œ#œ nœ#œ nw 
3 3 3 3 3 3 3
3

. . . . œ b œ n œ b œ nœbœnœ
.œ œ. #œ. œ. #œ. œ. œ. #œ. œ#œ œ # œ
5
œbœnœbœnœ nw 
&
3 3 3 3 3 3 3
3

9
. . . .
œ #œ. . œ. #œ. œ. #œ. n œ. b œ œ b œ nœbœnœ œbœnœbœ
œ
& #œ. œ œ#œ nœnœ #w 
3 3 3 3 3 3 3
3

. #œ. œ. œ. #œ. œ. #œ. n œ b œ nœbœnœ œbœnœbœnœ

13
. . œ
3

& œ. #œ. œ. œ #œ œbœ nw 

3 3 3 3 3
3 3

17
. . . . . .
œ . #œ. œ. #œ. n œ. b œ œ b œ nœbœnœ œbœ
œ
& #œ. œ œ#œ œ#œ nœbœnœnœ #w 
3 3 3 3 3 3 3
3

. . . . œ b œ n œ b œ nœbœnœ
.œ œ. #œ. œ. #œ. œ. œ. #œ. œ#œ œ # œ
21
œbœnœbœnœ nw 
&
3 3 3 3 3 3 3
3

25
. . . . #œ. . #œ. œ. # œ. œ. n œ œ b œ n œ b œ nœ#œnœ
œ
. . œ#œ nœbœnœ#œ nw
& œ#œ œ#œ 
3 3 3 3 3 3 3
3
 Technique No. 3
University Band

œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ w  œ œ œ œ œ œ

7 bœ œ bœ œ œ œ œ œ
& w  bœ œ bœ œ œ œ bw  œ œ

14
œ œ œ œ bœ œ bœ œ œ œ
& œ œ œ œ w  bœ œ bœ œ œ œ bw 

21 œ œ œ œ œ œ
& œ œ œ œ œ œ w 

25 œ œ œ œ œ œ
& œ œ œ œ œ œ w
 Technique No. 4
University Band

œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
& œ w 

5
œ #œ œ #œ #œ # œ #œ œ œ # œ œ œ
#œ
& œ #œ œ w 

9
œ b œ œ œ œ œ œ œ œ bœ œ œ œ œ
& bœ œ bw 

13
œ œ œ #œ œ #œ #œ œ œ œ œ œ
& œ #œ œ œ w 

17
œ b œ œ œ œ œ œ œ œ bœ œ œ œ œ
& bœ œ bw 

21
œ #œ œ #œ #œ # œ #œ œ œ # œ œ œ
#œ
& œ #œ œ w 

œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
25

& œ w
Tenor Saxophone

Articulation No. 1
University Band

œ œ. œ. œ. œ œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ œ. œ. œ.
-œ ‰ Œ -œ ‰ Œ -œ ‰ Œ
& 44 J J
œ
J

5 œ #œ. œ. œ. œ #œ. œ. œ. œ #œ. œ. œ. œ. œ. œ. œ #œ. œ. œ.

-œ ‰ Œ -œ ‰ Œ œ -œ ‰ Œ
& J J J

9 b œ nœ. œ. œ. b œ œ. œ. œ. b œ œ. œ. œ. œ. œ. œ. b œ œ. œ. œ.
-
bœ ‰ Œ -
bœ ‰ Œ bœ b-œ ‰ Œ
& J J J

13
œ œ. œ. œ. j œ œ. œ. œ. j œ œ. œ. œ. œ. œ. œ. œ œ. œ. œ. j ‰ Œ
& œ- ‰ Œ œ- ‰ Œ œ œ-

17 b œ œ. œ. œ. b œ œ. œ. œ. b œ œ. œ. œ. œ. œ. œ. b œ œ. œ. œ.
-
bœ ‰ Œ -
bœ ‰ Œ bœ b-œ ‰ Œ
& J J J

21 n œ #œ. œ. œ. œ #œ. œ. œ. œ #œ. œ. œ. œ. œ. œ. œ #œ. œ. œ.

& n-œ ‰ Œ -œ ‰ Œ œ -œ ‰ Œ
J J J

25 œ œ. œ. œ. œ œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ œ. œ. œ. -
-œ ‰ Œ -œ ‰ Œ œ œ‰ Œ
& J J J
Tenor Saxophone

Articulation No. 2
University Band

œ . . . . . . œ . . . œ œ. œ. œ. œ . . . . . . œ. . œ. . -œ
& 44 œ œ œ œ œ œ œ œ œ œ œœœœœœœ œ œ Œ

. . . .
#œ#œ. œ. œ. œ. œ. œ. #œ#œ. œ. œ. œ# œ œ œ #œ#œ. œ. œ. œ. œ. œ. #œ. #œ. # œ œ. -œ Œ
5

& #œ #œ

. . . .
nœ nœ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ œ. -œ Œ
9

& nœ œ

. . . .
œ œ. œ. œ. œ œ œ œ œ. œ. œ. œ#œ œ œ œ œ. œ. œ. œ œ œ œ. œ. #œ œ. -œ Œ
13

& œ . . . œ . . .

. . . .
œ œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ œ. -œ Œ
17

& œ œ

. . . .
#œ#œ. œ. œ. œ. œ. œ. #œ#œ. œ. œ. œ# œ œ œ #œ#œ. œ. œ. œ. œ. œ. #œ. #œ. # œ œ. -œ Œ
21

& #œ #œ

. . . .
œ œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ œ. -œ
25

& œ œ Œ
Tenor Saxophone

Articulation No. 3
University Band

4 œ#œ. œ. œ. œ. œ. œ. œ. œ#œ. œ. œ. œ. œ. œ. œ. œ#œ. nœ. œ. #œ œ. œ. #œ. œ#œ. nœ. œ. #œ œ. œ. #œ.

&4

5
œ#œ. œ. œ œ. œ œ. œ. w #œ#œ. œ. œ. œ. œ. œ. œ. #œ#œ. œ. œ. œ. œ. œ. œ.
& 

#œ#œ. nœ. #œ. nœ#œ. œ. #œ. #œ#œ. nœ. #œ. nœ#œ. œ. #œ. #œ#œ. œ. œ œ. œ œ. œ. #w
10

& 

œ œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ œ. bœ. œ. #œ œ. œ. nœ. œ œ. bœ. œ. #œ œ. œ. nœ.

15

&

œ œ. œ. œ œ. œ œ. œ. w œ#œ. œ. œ. œ. œ. œ. œ. œ#œ. œ. œ. œ. œ. œ. œ.
19

& 

œ#œ. nœ. #œ. #œ œ. œ. #œ. œ#œ. nœ. #œ. #œ œ. œ. #œ. œ#œ. œ. œ œ. œ œ. œ. w

24

& 

œ œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ œ. bœ. œ. #œ œ. œ. nœ. œ œ. bœ. œ. #œ œ. œ. nœ.

29

&

œ œ. œ. œ œ. œ œ. œ. w #œ#œ. œ. œ. œ. œ. œ. œ. #œ#œ. œ. œ. œ. œ. œ. œ.
33

& 

#œ#œ. nœ. #œ. nœ#œ. œ. #œ. #œ#œ. nœ. #œ. nœ#œ. œ. #œ. #œ#œ. œ. œ œ. œ œ. œ. #w
38

& 
2 Tenor Saxophone

43
œ #œ. œ. œ. œ. œ. œ. œ. œ #œ. œ. œ. œ. œ. œ. œ. œ #œ. nœ. œ. #œ œ. œ. #œ.
&

œ #œ. nœ. œ. #œ œ. œ. #œ. œ #œ. œ. œ œ. œ œ. œ. w

46

& 
Tenor Saxophone
Amazing Grace
Phantom Regiment

Andante
b
& b 43 Œ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ œœœœœœ
p

9
b
& b ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™

17 A
b
& b ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ œ œ œ œ œ œ

25
b nn
& b ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ œ œ œ

33 B

& ˙™ ˙™ œ ˙™ ˙™ ˙™ œ œ œ œ œ œ œ œ œ ˙™
3 3 3
˙ ˙™
ff

42
œ ˙ œ 
3
& ˙ œ œœœœ œ œ œœœ ˙ œ œ œ œ ˙™

50 C

& ™
˙ ˙™ ˙™ ˙™ ˙™
fp p
Tenor Saxophone
Canon
From "Harmonic Journey" (2003)
Johann Pachelbel
arr. J. D. Shaw

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
q = 95
4 ˙™ œ w
&4
mp p

7 A
3
w w w w w
& w w
p
B
> >
17

& w w w w w ˙™ œ w œ >œ œ œ
mf

25 C
w w w w w w w w w
&
ff fff
Tenor Saxophone
Adagio for Strings
Santa Clara Vanguard 2013
Samuel Barber

U U U U 44 w
& ˙ ˙ ˙ b˙ w bw
fp

U
5

& w  w #w w
ff