EL ALTO SAXOPHONE © BOOK 1 CENT on HIEVEMENT. ‘Acomprehensive band method that develops creativity and musicianship Dear Band Suden Congratulations on deciding to become a member of the band! ‘There is @ special kind of enjoyment that comes from performing with a musical group that can be found nowhere se. AS 9 skilled band musician, you will be able to play & ‘wide variety of musical styles from symphony to je: contemporary pop to marching band. With regular deily practice, there’s no limit to the exciting musical ‘experionces weting for you! We wish you the best of from ses al Va a ea OR LL, Drrmh. Whhan CF sohn O'Reilly Mork WiliamsGertine Reavy To Play Mournprece 1 Seropnones play best when the red is thoroughly ‘moistored. Sook the thin ond ofthe reed in your mouth while you are sssombling the rest of your rumen 2. Apply a emall quantity of cork groase to tho eouk on the eck novos 3, Place the neck step sround your neck and connect 18 to the ig on the book ef tho instrument. Romene the end plug and retum it 0 your case, 14 Remonp the sistas cap ered Ine, rd S66 twist the mouthpiace onto the nech 80 that about "Yo the cod is sill se, 5, Adé the ligaturs ond carefully slide the thick end of tho rood betioon it and the moutypiee. Cento the ‘wed so thet omy ty slvr of the mouthpiece iciblo bor the reed. Cony thon the ligature serous unt sug. B, Alac the neck tothe upper end of the body and tighton tho serow fer the rock t propery lined up, SAXOPHONE CaRE 1. Whon you oro fished plying, take of the wood ane place it in a weed holder. This allo the red to dry propty and makes i ast longer. 2. Crean the inside of te mouthpioco with sot, clean lath. Snake any eacost nlsture frm the eck, ane se tha saxophone vad fo dry ‘he insige of the inerument 18. To hoop your hey shiny, wipe ‘hom off with a ct, cle cloth 4. Sloe only those its in your that tho cae ie doignod 16 hold. Forcing muse or other objects into your sexoohone caso oan couse protems vith the isteamentCheck Your Puayinc Position 1. Siton the font hal of your chai 2 Keep you fet ft on the for. 8, Sit up straight and tll, 4. Adjust the nack strap ane mouthpiece so thatthe iouthpieee falls comfotably into our mouth without having to Hp {our feed oli the instrument. 5, The right thumb i placod under tho thumb rst nest the base of ‘he thumbaat, 6, Fingose romain euwod, oven when ot pressing down toysPropucine Your First Tone 1, Practice taking ofall breath, filing the bottom ‘of your lungs 40 that your stomach expands, “hen il the tp of your lungs without raising your shoulders With gentle pressure. exhale complotely, Any wsing ofall breath whi laying helps produce tong, fal tones, 2 Our fist tone will be produced using just the ‘mouthpiece and neck. Hold tho asembled mouthpiece an neck sectors, fom an ‘embouchure ond tee fll breath through the commers of your mouth. Lit your tongue stighty so that I comacts the reed. Now stro exhale tnd then release the reed a8 i saying "Too", Mate the tone as 0 long ab posible, Net, roduce sever notes on one bath by touching the teed with your tongue as if seying To9-Too-ToaToo—" while exhaling, Produce as many notes as posible on one breath until you un out of ar FORMING THE ENGOUCHURE Embouchure (in-buhswe) fe @ Feanch word used to detcribe the nay you shope our mouth wile playing. Have is how to form a good embouchure: 1. Turn your lowsr lip aight over your bottom teth to provide a cushion for the reed 2. Paco the reed on your lower lip so that Itexends anu Ys inch into your mouth 3. Peco your upper feoth ontop of the mouthpiece, 4. Support the mouthpiece with you ps, using even, gone pressure fom all sles. ike a uber and. Keep your chin relaxed ond dows. Practice Tips 1. Tro find @ place with a goed, fem chat whore you il rot be intsrupted. Use a muse sara 10 hold your music in the coe! postion for playing, 2 Occasionally use diferent rend so that yor all ‘lays have move then one reed ready for perlrmance. 8, Stat by paying long tones. This bul yout tembouchure ond improves your tone. 4. Always includo come ctood loaned “review Biles, so that YoU Continue a improve ate pertst your periormanes. 5. Spend 2 concontated period of time on ts most Two oF a Kino Alccenr on uisrewne Listen cart oth solos, thon mateh the pte Si) moosTegesees — 1azagaee Ruccves 2 beats Rezehes 2 beats in tine ie be Movin’ on Down Hate Fuu. or Hatr Emery ‘oueo) razesaae agli Fell ong Au Ciaire ve La Lune French Fle Song Jincte Bews Tredional Coro & 3B Deg 6 Accent on uistewinc 1. Play “May Has @ by ee 2, Wile inthe missing notas to completo the song,‘Ouanree Nove ee au A composition with pce fr two Gooo NeicuoRs Mix ‘em Up rR a n Four in a Row Passinc Nores (out) Take Five) ° = 2 ‘Turee-Note Samoa B‘Ouarrer Rest Receives 1 boat in and J tiv. Tine SionaTuRs B= 2 baste in oach measure > quarter veto rocives 1 beat Hanociapper’s March 21] cmeinas | vezel rere fe ouc 4S 6 OCW eee Tian ie Res 5 A BAG Goop Kine Wencestas Tradition Carol Donkey Rouno icon Fk Si oO : aGar Drevot, Drevou Tration| Honea Song 25 JECENT OW ALTO SAXOPHONE A fxm nebo wactarorpoge ain.Key Stonature: Indicates notes which aro Wo be flatod or chorped AAIF's should be played ox F# throughoat Joins mo apes of ‘Shane the same pitch to Raises te mmoke onelong note. yak ta a Dich oft nae Tempo MARKinos ne hel to. te Allegro iam wenpe Fast mp Reacting Down 27 ‘THe Score Is Tiep iuew, a, Jernccan Fk Seng, Areican Flt Song BG Accenr ow rueorr: on the Bridge at avignon ‘Name tha notes ha play rena Fat Song 3[CCENT ON PERFORMANCE Houay SamPLer 2 by dob ORaily rd Mek Wiliam Allegro: 8 2EtontH Nores Racebo 4 eat inf ad § tno Bee Vagiarion | Changing the chythan cornotes of @ treme 10 orate vail. Tero MaRKINe ‘Andante Modoratly slow tempo EicnTH-Nore Express 2 Raytum Riooie lop fst, ten pay. Bite THem Cassace Down Allegro Anion Fide Tone Alccewr on ceeariwsry: variation on Lightiy now Greate your own variation by changing some ofthe quartor note ito ait af eighth nets, Getmon Fel: Song 36Repeat only the music ‘tween the srs. 2nd ime: ship the fist ending ar pity the second Cumeinc Hicner More Eicurm Nores 38 © Lonoow Brice (Duet! Noderato Engh Falk Song 33] ‘Stovoua Puna Conch Fk Song ‘Alegre aaa Stir ro My Lou Moderato orion Falk Seng a First CHoraie™ L Andante a ACcEWT om auto SAXOPHONE 3 = ‘or more indivi technique practice. see page 42, #2Divier Some plays play the top notes while thers pay the botom notes, Dorreo Hair Nore J. dd "Too" Connects notes at sifrent pth Tongue only he fit noe, Tae SionatuRe B= 3 beets in each meatue = quater nove receives 1 beat A dot following @ note increases as lenath by Yoga value In and # uma, a doned halt roto reeves 3 boats, Sturs ano Dots ‘Turee-Four Duet Soutnern Roses Joh Seuss, ccrate ‘0az1899) 46 wre EB a feat a (Accceur ow rheozy . J Draw the comoet bat nes, thon poy 48Key Sionarure As and Csaba i eed gS os Herd Gh tnaghout Denne Mantince wt I P {orte-loud piano-soh Two Ways To Pay It ‘Aura Lee (uct) Andante American Fle Song Frére Jacoues (Round) Moderato o Franch Fl Sang @ ® - e St P Moraine trom "Peer Gynt” hed ring Andante (e907) P Alccent on creaniviry: Camptowa races Stophan Foster (iee-1968) |Add your on dynaniec markings, then pertorm, LtPick-up Notes, Ferwara 7 Hoe Ritaroanpo Ht Gradually slow down the orn. 238 Notes that precede the Ft ll moosare PATTERNS WITH Pick-ups ry ial , # us Carwivat oF Venice a tet Fok Song Moderato 1. = ots va Jouy Oto Sr. Nictotas Alegre Trot Ca 36 fi P sf P f The Suace Cuaemer ee Tattint ae » Seer a j d or iis Buu Grocan's Goat " 2 ‘lege . Arie Fok So ss £ Accent on a1ro saxopnone 50 £ For more IndWdeal technkque pace, see page 42, $3 & 4Alscent on renrormance Eacte Summ Marckavant This hy signatie conte = hangs wiee > f Wnen Love Is Kin Moderato iy Fok Song “1 foe 2 t - OF Johornes Brats: ‘Tueme Feom “SyuPHony No. 1” ‘0 Allegro or e oF ms Atona ‘Or (Guoon Luan avai) meee 38-1917) Mina, Minka linia Falk Song Moderato Alccenr ow rueony KEY RINGS: Cie all notes changed by the key signaturesNarueat ‘OncHesTRATiON Conca oft or sharp unl the Choosing which intranents oat bat ine Ploy 0 action of music ‘The Key Makes THE DIFFERENCE 6 “F 2 Jasmine Flower Pare ‘a mae Chie Fl Sone oP oes be © sat ans ae Biues Apvenrure (ouen Aliegro oF Alccewr on crearwity: this o1@ man Amtek Choose your one oschostaton for this melody a inSiucts Eiourn Nore Aub Etcuru Rest Enon rooanos 4 beat in Bond F tino Ensy Eicutus OO 2 Lf f Pou Wouy Doopte ‘Allegro ‘Amecan ft So n March From “Ronbo Atta TurcA” Wolgere A. Maza (s-1700, Moderato n “Fs La Bamea ‘Alegro Mexean fl Song ee Ses ot = > Alcceur on atro saxopnowe = m "Pp For move individ! iechnique practice, ee page 42, #5.Opposite Directions 7 f AccipenTat ENCOUNTER 6 Chesrer Witla itings Andente (0735-1809 of . Avian Fok Song ALSCENT ON THEORY — Asx We Ktkrsing noes in onde fom soles to lutest and beck: ay. re 29 — = = = Fae enaLowa the path of note Sno hal tp. Moan’ Ir UP. uf ‘ON Top oF Op SmoKy BSS Aewicen fk Sing Allegro r at e Per, Telatesty Marcu Stav (9310-1098) Largo hk 132 mp Las Mafiawitas Moderato asian Fat Song 133 P Pomp anp Circumstance rod Bg Andante (HE-1038 134 —— 6° 1 For more individu! techrique practice, se page 43. #10.Auro saxopnone sovo To A Wito Rose ord MocDoval Andante (800-1906) Snepton| Paneco ovr © 8 e e a ——— a Fm, om ° — mp . cm om Gd 8 F & "7 ovr re ca oa ome fr a >Alccewr on Peerormance ‘Sousa SPECTACULAR Joh Pi Sean (0854-103) A. bdo Ody ‘nd Mek Wilins rer 2nt tne ny Allegro fAccews on seats G Masor Scate anp Cuoros (concert th D Masor Scate ano CHoRos ‘concert F) b a © Masor Scate AND CHORDS (concert Eb) m F Masor Scate ano CHorDs (concert G Masor Scate In THIRDS (concort aby Sreitors: 1) dd. ddd gd. dddge ddd D Masor Scate in THIRDS (Concert F) Masor Scate in THiRDs (concert eh F Masor Scate In THIRDS (Concort Clromaric Scaue Use altemate Sngeing {808 Fingering Chart on page 46)(Alcceur on rnvrams 144 Jit J jij jy agl JNyLI I Dyl Oli 12 pO A age _Dy td a she ded. ee Aye pe i «gt OL oy om 9401 140 yl tooo, oP LDL OD yp Ly« $l Tj dL 4) 4._bdJ. 4 STD. 4 o PM NL pl oP MLN yp Ot NL DgAccent on restsAlcceur on atto saxopHone Use atenate Sager.se stoma Rageing. Tata G Beer, on aa‘Alccenr on cwonases Concert Bb Andante. Concert F taigo Concert E> ‘Andante Concert Ab “Andante a, G eSGuossary Accenr(>) Pa th ste songer ‘utero Fest orpo ‘Ancavre Moder sos tmpe Bac Jann Senn Gomer comps a-1750) Ba Line Dries the st to messes Bass Cur ()_ Abo called Foe Th out no of ts wate Ue wow F ‘Beeruoven, Lubwe VAM Goman composer (770-1827) ‘Bunce, Wha Anscan sp (1746-1800) Benvs, Jonas Grn composer (1839-1097 Breau Ma) A sects plo to tk beth Cuaves, Jeazh Frosh compar (1578-1707) Conon Tine (€) Sone a Sine sakes eeecoo (—) Got dr grado IC. (On Ca00) 1 Fine Go bak to Dining 0d pert oe Dinnwenoo (=) Ge soter gmc Ds Sone ples ay he op nos while ths plate bab tes Dovets Bar (I) The ond sition of mesic DS. (Dai Seco) al Five Go back to the sign % ey te [Dur A earpotion th par fr pays yoke, Aon Crh cempoe (1941=1904) Drmanic Marnce Syne tet indie oss racivom ol he muse tear, Eowaro English composer (1857—1938) Feewara (7) Hilt nat bape “ar no 2no ewance Psy the Is ein tne eough tometer lip the 2rd codoy Furr (b) Lowers the pitch of ¢ note one Fore (f) Loud Foster, Semen Aeron compose (126-186) ure, Renwo Fusion comporer (875-1856) Grete, Eovaso Norwogon sonore (1848-1807) anor, Groscs glen composer of Gman ety (1585-1759 Hovon, Feane Josten fern compose cr 08) Hunurenomcx, EosiseRt Gervan compose tis=1821 Ireras Rerear Repeat on the msi ween te ins Key Senarume Ido ich ee tobe etal shred Brougext asco Von son tll stop Lepore Lines Used to exer! the staf Luuoknuam Hayaion compeso (1838-1017) Masune The distance betwen to bas Hines Mezzo rorre (|. Medium loud Mezzo mano (amp) Modium soft Moosesro Vedi tempo Mozart, Wourcene A. Austian composer (1756=1791) Murnpus Measure Rest ladicaics nore measure of es! Narurat (i) Cancels © at o shop unl fo next bor fine Orrenanch, Jacques French compesa: (1819-1880) (OncrEsTRATION Chocsng which instuments play 2 ection of mse Piano (p) Sot Prex-up Note(s) Notts) proceding the frst fal measure RePerr Si0N Play the music again Kom tha bgianing RRrtazoanoo (Rr) Gradualy slow down the mp2 Rossin, Gronccrino alan composer (1782-868) Rouno Playing the samo musi bagining ot ‘ifeent tres She (i) Raise ho pitch of note cne hate SteELUS, Jean Finish composer (1865-1957) Suve Connects notes of ciferent itch Sovo One potion playing Sousa, JOnN PHILP American composer (1854-1992) Sraccavo (-) Play the note Ys nonmallengh StAFF 5 fines ond 4 spoces used for wsting mic Srrause, Jonna JR, Acton composer (1628-1809) Sevcopnnon Stting 2 voto that is one boat: longer Tennwovsiy, Perer I. Russian composer 1840-1893) Teupo MaRiincs. Terms which Indeate the speed of the music Tie Joins two noes ofthe same pitch to make cre Jang note Tove SiONATURE Indicates bax mony beat in each ‘moasam ang whet hind of note receives one bea Teese Cuer (6) Ako called G det. The second ine of he net he te G Varaanion Changing the sytha or nok of theme to roa vey Vero, GUSEPFE lain composer (1818-1901) Vivace Yer fost lompoSaxornowe ruceame cnarr Cpeoieeserooiooe 6 one, 5 geolooo go01c00Home eeacricerscono