拉里蒂尔对美国萨克斯教学法的研究

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A STUDY OF LARRY TEAL'S INFLUENCE ON SAXOPHONE
PEDAGOGY IN THE UNITED STATES
by
RUTH LUCILE CALDER COLEGROVE
B.MUS., The University of Georgia, 1996
M.M., The University of North Carolina at Greensboro, 1998
A Document Submitted to the Graduate Faculty
of The University of Georgia in Partial Fulfillment
of the
Requirements for the Degree
DOCTOR OF MUSICAL ARTS
ATHENS, GEORGIA
2001
UMI Number: 3025272
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Ruth Ludle Calder Colegrove
All Rights Reserved
A STUDY OF LARRY TEAL'S INFLUENCE ON SAXOPHONE
PEDAGOGY IN THE UNITED STATES
by
Approved:
fajor Professor
afq-0\
Date
Approved:
Dean of the Graduate School
Oml XI Ami______
Date
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission
A Study of Larry Teal's Influence on Saxophone Pedagogy in the United States.
(Under the Direction of KENNETH M. FISCHER)
As an early pioneer of American saxophone pedagogy, Larry Teal
established a standard of playing and championed the acceptance of the
saxophone as a serious instrument of study. Teal's early notoriety as a
performer and teacher culminated in his appointment to the faculty of The
University of Michigan. While at The University of Michigan, Teal pioneered
American saxophone pedagogy, established the first doctoral program in
Saxophone Performance in the United States, and was the first American teacher
of saxophone to be named a full professor. As a result of his university position,
Teal codified his ideas on saxophone pedagogy through his publication of
articles, pedagogical books, arrangements, and collections. In addition to these
materials, his influence as a person and a teacher had a great impact on his
students. Teal also influenced his student's methodology by encouraging them
to maintain specific standards of excellence. With a philosophy based on a
strong foundation of fundamentals, Teal demanded preparation, proper tone,
steady rhythm, and exquisite technique from his students. Former students
continue to recognize the importance of the concepts Teal imparted to them and
continue to teach these concepts to their students, thus continuing the tradition
of Teal's development of an American School of saxophone pedagogy. Teal's
performing, teaching, and production of pedagogical materials was very
important to the acceptance of the saxophone as a classical instrument. With his
study of various woodwinds, Teal combined his knowledge and experience of
Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission.
performance and pedagogy of these instruments to improve saxophone
performance and pedagogy. He influenced many future teachers and
performers through his establishment of an American standard of saxophone
performance. The success of his teaching at The University of Michigan was
duplicated at other universities, which allowed students the opportunity to
study the saxophone at the university level.
INDEX WORDS: Larry (Laurence) Teal, Saxophone, Pedagogy,
Arrangements, Pioneer, Biography, American School, The
University of Michigan, Performance, Teaching
This research document, in conjunction with a series of recitals,
is submitted in partial fulfillment
of the degree
Doctor of Musical Arts
in Saxophone Performance
at
The University of Georgia
ACKNOWLEDGMENTS
Appreciation is expressed to the former students and colleagues of Larry
Teal, who participated in the study. Only through their generous assistance was
this study possible. The guidance and support of my Major Professor, Dr.
Kenneth M. Fischer, was instrumental to this study's design and
implementation. Additionally, the advisory committee including Dr. Harriet
Hair, Dr. Theodore Jahn, Dr. Roy Legette, Dr. Dwight Manning, and Dr. Roger
Vogel provided invaluable advice and encouragement.
Gratitude is expressed to my family and friends who provided support
throughout my degree. Finally, I wish to express my deepest gratitude to my
husband, John, without whose support throughout my career, this study never
would have been completed.
TABLE OF CONTENTS
ACKNOWLEDGMENTS................................................................................ v
CHAPTER
I. OVERVIEW AND ORGANIZATION.................................................. 1
Statement of Purpose........................................................................... 1
Definition of Terms..............................................................................3
Need for the S tudy..............................................................................3
Review of Literature........................................................................... 5
Methodology..................................................................................... 9
H. BIOGRAPHY..................................................................................... 12
Early Musical Experience and Education.......................................... 12

Performing and Teaching Career........................................................15
HI. TEAL'S INFLUENCE ON SAXOPHONE PEDAGOGY IN THE UNITED

STATES.............................................................................................. 25
Introduction and Early Influences.....................................................25

Teal's Lessons: Teaching Style, Emphasis on Technique
and Selection of Literature............................................................... 28
Career Advice and Training............................................................... 41
Summary of Teal's Influence............................................................ 43
Pedagogical Articles and T exts..........................................................49
IV. BOOKS FOR THE IMPROVEMENT OF SAXOPHONE

PERFORMANCE...............................................................................52
V. ARRANGEMENTS AND COLLECTIONS......................................... 80
Introduction...................................................................................... 80
Arrangements....................................................................................82
Collections......................................................................................... 91
VI. CONCLUSION.................................................................................108
vi
BIBLIOGRAPHY..........................................................................................112
APPENDICES............................................................................................... 120
I. BOOKS FOR THE IMPROVEMENT OF SAXOPHONE PEDAGOGY . 121
n. ARRANGEMENTS.............................................................................122
m. COLLECTIONS..................................................................................123
IV. TIME L IN E ....................................................................................... 128
CHAPTER I
OVERVIEW AND ORGANIZATION
Statement of Purpose
In 1936, Larry Teal1(1905-1984) began his teaching career in a small
studio in Detroit, Michigan named Teal's Music Studio. Many of his first
students were professional woodwind players2who wanted to study the
saxophone due to the increased demand in dance and jazz bands. In addition to
these students, Teal taught many students from local colleges in the Detroit area
and was closely associated with the Wayne State University Music Department.3
Teal's Music Studio grew so rapidly in the 1930s and 1940s, that it was moved to
a larger building and renamed the Teal School of Music.4 From 1931 to 1942,
Teal was a member of the orchestra at radio station WJR, appearing as a soloist
on local and network programs. One particular feature in 1938 included the
American premier performance of the Concerto in E-flat for Alto Saxophone and
‘Larry Teal's given name was Laurence Lyon Teal. Teal's wife, Mary Teal, has stated
that he was called Larry throughout his life and that this nickname should be used throughout
the document.
Professional woodwind players refers to people who made their living performing in
the various musical groups of the time.
3C. Matthew Balensuela, "A Biography of Larry Teal: His Youth and Early Career"
(master's thesis, Bowling Green State University, 1985), 20.
4Balensuela, "A Biography," 20.
2
Orchestra (1934) by Alexander Glazunov (1865-1936). Teal was noticed by
prominent German composer Bernhard Heiden (1910-2000) who was inspired by
Teal's performance and wrote the Sonata for Alto Saxophone and Piano (1937).
Teal premiered Heiden's Sonata, now a standard of saxophone repertoire, in
1937.5 As a well-known saxophone soloist, Teal performed the Concertino da
Camera for Alto Saxophone and Eleven Instruments (1935) by Jacques Ibert
(1890-1962) with the Detroit Symphony Orchestra in 1947.6 By 1951, Teal's
reputation as a saxophone teacher and performer was well documented, and
subsequently he was appointed to the faculty of The University of Michigan. As
a pioneer of American saxophone pedagogy, he was an outspoken proponent of
saxophone teaching in the college curriculum and began the first doctoral
program for saxophone in the United States in 1953.7 During his tenure at The
University of Michigan (1953-1974), Teal codified his pedagogical concepts by
publishing articles, books, and arrangements designed for all levels of
saxophonists.
The purpose of this study is to provide a brief biography of Larry Teal, to
give insight into Teal's influence on saxophone pedagogy in the United States,
and to deliver a detailed description of Teal's arrangements, collections, and
books for the improvement of saxophone performance. The materials for this
5Harry Gee, "American Pioneer Saxophonists," School Musician 56 (April 1985): 21.
6Gee, "American Pioneer Saxophonists," 21-22.
7Gee, "American Pioneer Saxophonists," 22.
3
study were derived from interviews of his former students and a survey of
literature and professional journals.
Definitions of Terms
In this study the following terms are defined as follows.
Arrangements. The term arrangements refers to compositions written by
another composer and arranged or edited for saxophone by Larry Teal.
Books for the improvement o f saxophoneperformance. The phrase books
for the improvement of saxophone performance is used to describe books that
include appropriate repertoire, scales, arpeggios, etudes, and exercises for
rhythm, tone, vibrato, and finger technique.
Collections. The term collections is defined as compositions by other
composers compiled and arranged or edited by Larry Teal.
Pedagogy. The term pedagogy refers to all aspects of saxophone
teaching including: tone, vibrato, articulation, intonation, finger technique,
instrument maintenance, and reed care.
Need for the Study
Larry Teal's importance to saxophone pedagogy in the United States is
displayed through his creation of pedagogical materials for the developing
saxophonist, his excellence as a pioneer classical saxophone performer, and his
dedication to saxophone teaching at the university level.8 A comprehensive
BLarry Teal is commonly referred to as a pioneer saxophonist by former students.
4
study of Teal's influence on saxophone pedagogy in the United States has not
been written. Therefore, this document shall heighten awareness of his
commitment to saxophone teaching and reveal the merits of his pedagogical
materials.
From the early twentieth century, the saxophone gained great popularity
in the United States. Although limited saxophone instruction was available,
neither general saxophone instruction nor an American School of saxophone
teaching had been established. Even though the saxophone was accepted in
popular music genres during the early twentieth century, it was not widely
accepted as an instrument of study in American universities. The struggle to
include saxophone in the university curriculum continued through the 1950s and
is noted by Teal in the following statement:
Inclusion of the saxophone as a major instrument in universities and

colleges has been a controversial subject with faculty and administration
for the past several years. The teaching of this instrument on the higher
education level has come from complete rejection to the point where
several of the major universities offer doctoral degrees in performance
with saxophone as the major instrument— there seems to be quite a
trend toward unquestioned acceptance of the instrument as an integral
part of the music school curricula.9
Larry Teal came from an era of self-taught saxophonists, formed his own school
of music, and became the first professor of saxophone at the university level
where he influenced and taught some of the most successful saxophone teachers
in America today, for example: Ted Hegvik (b. 1932), Saxophone Instructor at
’Larry Teal, "The Role of the Saxophone in the College Music Scene," W oodwind World
10 (November 1971): 12.
5
Musicworks Northwest, Donald Sinta (b. 1937), Professor of Saxophone at The
University of Michigan, Elizabeth Ervin (b. 1941) Vice Provost of Academic
Affairs at The University of Arizona, Steven Mauk (b. 1949), Professor of
Saxophone at Ithaca College, Lynn Klock (b. 1950), Professor of Saxophone at
The University of Massachusetts, James Forger (b. 1951), Director of The School
of Music at Michigan State University, and Kenneth Fischer (b. 1951), Professor
of Saxophone at The University of Georgia.
Review of Literature
This study surveys Larry Teal's life, career, publications, and evaluates
his influence on saxophone pedagogy in the United States. Several documents
have been written focusing on the significance of other pedagogues or their
publications, but few include both aspects. The documents reviewed for this
study included biographical information, a discussion of the pedagogical
influence, or an evaluation of pedagogical literature. In regards to the format of
the study, each type of document aided the writer in organizing Teal's
biographical information, his influence on saxophone pedagogy, and the content
analysis of his publications.
"A Biography of Larry Teal: His Youth and Early Career" by Matthew
Balensuela contains facts about Teal's childhood, education, early career, and
performance experience. This document contains biographical information
pertinent to this study.10
“’Balensuela, "A Biography."
6
A dissertation by Gail Russell Hall entitled "Eugene Rousseau: His Life
and the Saxophone," examines the life of a prominent American saxophonist
who taught at Indiana University concurrently with Teal's tenure at The
University of Michigan.11 Included in this document are records of Rousseau's
early musical experiences and details of his career as a performer and
pedagogue. In chapter four, Hall highlights Rousseau's pedagogical
philosophies and procedures and includes his thoughts on developing
musicianship, pedagogical concepts, repertoire, and equipment.12
A dissertation by Thomas W. Smialek, Jr. entitled "Clay Smith and G. E.
Holmes: Their Role in the Development of Saxophone Performance and
Pedagogy in the United States, 1905-1930," includes historical information about
these early saxophonists through a review of their ensembles, performances, and
repertoire.13 Smialek explores Smith's and Holmes's pedagogical influence, the
state of saxophone performance and pedagogy in the early twentieth century,
performance practices of their contemporaries, and individual performance
practices and teaching style. To support his findings, Smialek analyzed Smith's
and Holmes's articles and included excerpts in his paper. In the portion of the
"Gail Russell Hall, "Eugene Rousseau: His Life and the Saxophone" (D.M.A. diss.,
University of Oklahoma, 1996). Teal taught at The University of Michigan from 1951-1974 but
became full time in 1964 the same year that Rousseau was hired at Indiana, 65.
l2Hall, "Eugene Rousseau: His Life and the Saxophone."
13Thomas W. Smialek, "Clay Smith and G. E. Holmes: Their Role in the Development of
Saxophone Performance and Pedagogy in the United States, 1905-1930” (D.M.A. diss.,
University of Georgia, 1991), 16-99.
7
document highlighting pedagogy, the following concepts were analyzed: tone,
articulation, technique, expression, reeds, equipment, and literature.
"An Analysis and Comparison of Early Saxophone Methods Published
Between 1846-1946," by Gail Beth Levinsky explores European and American
method books.14 Her study reveals the inception of saxophone methods books in
France and traces their influence on methods produced in the United States.
Each method book is described in detail, highlighting the author of the method
book, the historical perspective in which the book was written, and the
pedagogical concepts discussed in the book. Additionally, she examines various
pedagogical approaches to teaching extended techniques on the saxophone.
John Anthony Logsdon's dissertation entitled "An Annotated
Bibliography of Selected Pedagogical Materials for the Saxophone Published
Between 1969-1992," includes an annotated bibliography and comparison of
method and etude books.15 In each annotation of the method books, Logsdon
discusses fingering charts, pitches, key signatures, time signatures, rhythms,
historical content, and repertoire. Included in this study is a critical analysis of
varied approaches to pedagogical concepts.
"Louise Wadley Bianchi's Contributions to Piano Pedagogy," by Samuel
Holland outlines Bianchi's influence through a discussion of her early musical
l4Gail Beth Levinsky, "An Analysis and Comparison of Early Saxophone Methods
Published Between 1846-1946” (D.M. diss., Northwestern University, 1997).
15John Anthony Logsdon, "An Annotated Bibliography of Selected Pedagogical

Materials for the Saxophone Published Between 1969-1992” (D.M.A. diss., University of Georgia,
1996), 34-43.
8
and teaching experience, influences in her life, graduate school experience, and
the development of the Southern Methodist University Piano Pedagogy
Program.16 Included in this dissertation are reproductions of Bianchi's Master's
thesis, articles, and lectures which provide evidence of her pedagogical concepts
such as musical training, aural awareness, sight-reading, rhythm, theory, form
and style, and phrasing and interpretation.
"Boris Berlin's Career and Contributions to Piano Pedagogy" by Laura
Beauchamp includes Berlin's musical education and performances, professional
activities, publications, and retirement.17 In this study, she discusses Berlin's
teaching philosophy, teaching style, and his approach to pedagogical concepts.
Berlin's articles and interviews are included to support Beauchamp's findings.
To document Berlin's contribution to piano pedagogy, Beauchamp provides a
summary of Berlin's career and of his pedagogical activities which are supported
by letters and interviews of colleagues and students.
Saxophone Soloist's and Their Music 1844-1985 by Harry R. Gee contains
information about approximately 600 saxophonists in the United States and
Europe.18 Each entry includes a short biography and a list of books,
publications, and compositions by and dedicated to the performer. This book
I6Samuel Stinson Holland, "Louise Wadley Bianchi's Contribution to Piano Pedagogy"

(Ph.D. diss., University of Oklahoma, 1996), 190-295.
17Laura Beauchamp, "Boris Berlin's Career and Contributions to Piano Pedagogy"

(D.M.A. diss., University of Oklahoma, 1994), 78-304.
18Harry Gee, Saxophone Soloists and Their M usic,1844-1985: An Annotated

Bibliography (Bloomington: Indiana University Press, 1986), 13-15.
9
provides biographical information and publications written, arranged, and
edited by Larry Teal.
A listing of Larry Teal's publications is included in 150 Years o/M usic for
the Saxophoneby Jean-Marie Londiex.19 This book lists original compositions
and arrangements written for the saxophone listed by composer and includes
brief biographical information. The listings include the title, instrumentation,
year of composition, dedicatory information, duration, and publisher.
Methodology
The writer utilized articles, books, taped interviews of and about Larry
Teal along with the Master's thesis written about Larry Teal to produce the
biographical portion of this document. To document his influence on saxophone
pedagogy in the United States, the writer interviewed former students and
colleagues and reviewed articles written by and about Larry Teal. To display
the wealth of materials Teal produced, the writer obtained a copy of his works
and provides a content analysis and overview of the seven books for the
improvement of saxophone performance, nine arrangements, and five collections
written and arranged by Teal. These materials are presented in Appendix I, H,
and m.
The organizational format of this document includes Chapter I: Overview
and Review of Literature, Chapter II: Biography and Teaching Career, Chapter
19Jean-Marie Londeix, ed., 150 Years o f M usic fo r Saxophone (Cherry Hill, Nj: Roncorp,
Inc., 1994)256.
10
HI: Teal's Influence on Saxophone Pedagogy in the United States, Chapter IV:
Books for the Improvements of Saxophone Performance, Chapter V:
Arrangements and Collections, and Chapter VI: Conclusion.
The entries for Chapter IV: Books for the Improvement of Saxophone
Performance are organized in the following manner.
I. Background of Book
a. Title: Subtitle
b. Year of Publication
c. Dedication
d. Historical Information
D. Purpose of Book
a. Intended Audience
b. Noted Intention of the Author
ID. Content
a. Instructions
b. Layout
c. Concepts
d. Literature
e. Musical Examples
The entries for Chapter V: Arrangements and Collections are organized in
the following manner.
I. Background of Arrangement
a. Title
b. Original Instrumentation
c. Year of Publication
n. Pedagogical Aids
a. Preface
b. Instructions to Performer
c. Intended Audience
11
m. Edited, Adapted or Arranged
a. Adaptations
1.Key
2. Tempo Marking
3. Dynamics
4. Articulation Markings
5. Range
4. Melodic and Harmonic Content
b. Explanation of Adaptations
1. By Author
2. By Writer
The entries for the books for the improvement of saxophone pedagogy are
arranged in order of related content (pedagogical studies, technical and melodic
studies, and band method). The discussion of the arrangements follows the
order of the number of saxophones in the work. The collections are arranged by
date of publication. The title of the arrangements and the compositions within
the collections are listed as they appear in the original composition and the
publisher's information is listed in the footnote. The intended audience for the
books for the improvement of saxophone performance, arrangements, and
collections are listed in the appendices of this document and were derived from
the designations stated by Larry Teal in the foreword of each work or in the
appendix of The A rt o f Saxophone Playing.20
“ Larry Teal, The A rt o f Saxophone Playing (Miami: Summy-Birchard, Inc., 1963;

distributed by Warner Bros. Publications, Inc.), 102-111.
CHAPTER n
BIOGRAPHY
Early Musical Experience and Education
Larry Teal was bom March 26,1905 in Midland, Michigan to George and
Eleanor Teal. Teal's father played violin and directed a small orchestra in his
home. His mother played piano and organ; and directed the choir at the
Episcopal Church in Midland. Teal was the youngest of three children and both
his brother, Douglas, and his sister, lone, played instruments.
I don't remember when my music started... it was there as long as I can

remember... You just didn't hear music unless you made it yourself and
sometimes I think that's sort of an advantage because people participated
more; you weren't just a spectator.1
Teal joined the musical activities of his family at age six by taking piano lessons
from his mother and singing in her church choir. At the age of ten, in addition
to piano lessons, he studied flute with his brother. Despite the fact that his
fingers were barely large enough to cover the holes on the flute, he learned to
play many popular melodies by ear. Around 1917, Teal's father said to him
"well the saxophone is getting very popular and you've got to work your way
'C. Matthew Balensuela, "A Biography of Larry Teal: His Youth and Early Career"
(master's thesis, Bowling Green State University, 1985), 2.
12
13
through college, so let's get a saxophone for you."2 Teal recalled his first
experience with the saxophone.
... I ended up with a [Evette and Schaffer] brass tenor with a double
octave key and a fingering chart Because it fingered like the flute, and
I had been playing all these other tunes by ear, Saturday night I made 75
cents playing a dance job.3
Although he was only twelve, Teal performed frequently with local dance bands
and orchestras playing the melodies of popular songs by ear as he had done on
the flute.4 The orchestra jobs would prove to be quite a challenge for Teal. At
first, Teal learned to read notes from the cello parts because the saxophone parts
were not yet available. He learned to identify notes not by their name but by
their fingering. A few years later when saxophone parts were produced, Teal
learned how to properly read music.5
In high school, Teal was offered little musical training. He did, however,
direct a small ensemble made up of students, teachers, and administrators who
performed for school assemblies and commencement exercises.6 Teal was also
hired by a Vaudeville7show to perform a short solo each week, which he
3C. Matthew Balensuela, "A Special Tribute to Dr. Larry Teal: The Early Youth and
Career of Larry Teal" The Saxophone Symposium (Spring 1984): 13.
‘Balensuela, "A Special Tribute," 13.
7The Vaudeville era, approximately 1910-1925, arose out of the soloists and solo groups
that performed with military bands. The acts eventually separated from the military bands and
performed outrageous musical acts throughout the United States.
14
selected solos from the recordings of saxophone virtuoso Rudy Wiedoeft (1893-
1940).8
Although Teal's father taught and inspired him to pursue musical
endeavors, he discouraged Teal from pursuing music as a career and rather
encouraged the pursuit of a career in dentistry or journalism.9 'In those days/
Teal stated, 'Music was not considered a true vocation, but was looked upon as a
means of support while one studied something more respectable.'10 Teal
graduated from high school in 1922 and entered The University of Michigan in
1923 as a pre-dentistry major. He soon left The University of Michigan to pursue
various performance opportunities, returning to school several years later to
complete a music degree. In spite of his successful music career which
supported his family, wife Margaret Cramer (d. 1955), a son Laurence Jr. (b.
1928), and a daughter Carolyn (b. 1931), Teal attempted to take the advice of his
father and embark on a steadfast career. In the early 1930s, Teal briefly enrolled
at Wayne State University in Detroit as an accounting major. While at Wayne
State University, he participated in the music ensembles and studied music
theory.11 Foregoing his accounting studies, Teal enrolled at the Detroit Institute
of Musical Art in 1938, at the age of thirty-three, and passed the comprehensive
examination for the Bachelor of Music Degree in one year (1939). The following
“Balensuela, "A Special Tribute," 13.
10Haas, "Teal Retirement."
llTeal, interview by C. Matthew Balensuela, 13 October 1983.
15
year, he completed the Master's degree and in 1943 earned the Ph.D. in music.12
Due to Teal's study of music theory at Wayne State University and his vast
performance and teaching experience, he exempted applied music and many
other music courses allowing him to finish the degrees in a short amount of time.
Teal stated that "I might have made more money in some other field, but I
always went back to music, and I don't regret it a bit."13
Performing and Teaching Career
While at The University of Michigan, Teal performed with numerous
dance bands for the experience and to help pay for school. From 1923-1925, he
played woodwinds (saxophone and clarinet) in the Wilson Wolverines, a
popular dance band that toured Michigan. Teal's frequent travels and
performances brought him in contact with many prominent musicians in both
Ann Arbor and Detroit. While traveling, he met Jean Goldkette (1899-1962), one
of the most prominent band leaders in Detroit during the 1920s and 1930s who
employed such jazz greats as Bix Beiderbecke (1903-1931) and the Dorsey
brothers (Jimmy 1904-1957, Tommy 1905-1956). Teal played with The Goldkette
Band on three or four occasions, working with some of the best jazz talent in the
country.14 Although traveling with the Wilson Wolverines was not good for his
academic studies, Teal managed to save one thousand dollars during his first
l2Teal, interview by C. Matthew Balensuela, 13 October 1983. Larry Teal's Doctoral

Document is entitled "An Investigation of Pitch Variation of Certain Wind Instruments."
uHaas, "Teal Retirement."
“Balensuela, "A Biography," 7-9.
16
year at college and gained valuable musical training. He shared a pivotal
moment in his career as a traveling musician.
At this time, I had never had a formal lesson on any instrument except in
my home. I remember that during my first year in Ann Arbor, we
[Wilson's Wolverines] played in the Capitol Theater in Detroit, which was
one of the big theaters then___ It was a good experience because being
self-taught I had to figure out the fingerings and I had to stand up and
take a chorus on 'Tin Roof Blues' during the show. The old clarinet
player in the pit came downstairs afterwards and he said, 'Hey son, how
do you finger those high notes up there?' And I said, 'Gee, I don't know.'
And he said, 'That's what I thought.' He showed me the correct
fingerings This is the way I got my help in most of these things.15
Teal joined Kennedy's Kollegians (1925-1926) in the fall of 1925 and
accompanied the band to Europe, playing in France and Spain and returned to
play in the United States in the spring of 1926, after which time the group
disbanded.16
Upon his return from Europe, Teal decided not to return to Ann Arbor for
schooling, but to take steady paying performances in Detroit with dance bands,
pit orchestras, and boat cruises.17 "In those days, there was a lot of work
available for saxophonists, and people did not ask if you were working but
where you were working."18 Teal returned to work with Jean Goldkette (1927-
1928) and performed in a small Dixieland combo at the Graystone Hall in Detroit
and the Casa Loma Hotel in Toronto, Ontario, Canada. While working with
15BalensueIa, "A Biography," 9.
I6Balensuela, "A Biography," 10-12.
17Balensuela, "A Special Tribute," 14.
I8Balensuela, "A Special Tribute," 14.
17
Goldkette, Teal met and befriended prominent jazz alto saxophonist Glen Gray
Knoblaugh (1906-1963). Knoblauch eventually moved to New York where he
transformed The Casa Loma Orchestra into The Glen Gray Orchestra. From
1928-1931, Teal played clarinet and saxophone in the orchestras accompanying
silent films at the Capital and Fisher Theaters in Detroit. These shows were
patterned after the Radio City Music Hall presentations, beginning with an
overture by the orchestra in the pit and continuing on stage with standard
popular music and a Vaudeville show.19 Due to the challenging clarinet parts,
Teal took his first private music lessons with Albert Luconi (1886-1953), the
principal clarinetist of the Detroit Symphony Orchestra.20
From 1931 to 1942, Teal was a member of the WJR orchestra, appearing as
a soloist (flute, clarinet, saxophone, and bass clarinet) on local and network
programs under the direction of many well-known conductors.21 The stability of
this job allowed Teal to obtain lessons on flute, clarinet, and saxophone, create a
teaching studio, and perform as a concert soloist.22
Teal was a featured soloist with the WPA orchestra in 1938 performing
the American premier performance of the Concerto in E-flat for Alto Saxophone
and Orchestra by Alexander Glazunov. In addition to his solo performance, Teal
19Balensuela, "A Special Tribute," 14.
“ Balensuela, "A Biography," 14.
21Teal, interview by C. Matthew Balensuela, 13 October 1983.
“Teal, interview by C. Matthew Balensuela, 13 October 1983.
18
was known for his skills as a woodwind doubler and was invited in 193823to
play bass clarinet with the Detroit Symphony Orchestra and later to become a
permanent member of the flute section. He was also the premier saxophonist of
the orchestra and, in 1947, performed the Concertino da Camera for Alto
Saxophone and Eleven Instruments by Jacques Ibert.24 Over the next twenty
years, Teal appeared in the flute, clarinet, and saxophone sections until he
retired from the Detroit Symphony Orchestra in I960.25
During the 1930s, Teal studied flute, clarinet, and saxophone with
prominent teachers. Teal studied flute with John Wummer (1899-1977), the
principal flutist with the Detroit Symphony Orchestra soon after joining WJR.
While teaching saxophone at a summer music camp in Chautaugua, New York
in 1936 and 1937, Teal's flute studies continued with flutist Georges Barrere
(1876-1944).26 Also, during his summer vacations in the mid 1930s, Teal studied
saxophone with Andrew Jacobson (n. d.), formerly a tenor saxophonist with the
John Phillip Sousa Band. Jacobson settled in Boston, Massachusetts where he ran
a society orchestra in which Teal played saxophone. He also studied saxophone
briefly in New York with Merle Johnston (1897-1978), a well-known east-coast
saxophonist. With each teacher, Teal spent five or six weeks taking lessons and
“ Biographical Information: Laurence L. Teal, November 1964, The U niversity o f

Michigan N ew s Service.
24Gee, "American Pioneer Saxophonists," 21-22.
“ Balensuela, "A Biography," 25-26.
19
observing the instruction of other students.27 Fine saxophone teachers in those
days were very few, and Teal felt that Jacobson and Johnston were exceptional.28
He also recognized the sound, musicianship, and technique of Rudy Wiedoeft as
a great influence on him during his younger years.29 Although his guided study
of the saxophone was brief, Teal felt that the knowledge he gained from contact
with good musicians and professional engagements enabled him to be a
successful performer and teacher. "A lot of people helped me. I do not think
any of the people I asked turned me down."30 Teal carefully studied each
instrument and did n ot" ... blow it through with the same approach as the
saxophone."31 Hugh Cooper (b. 1926), Professor Emeritus of Bassoon at The
University of Michigan, recalls a scientific study done by a doctoral student at
The University of Michigan in which wind instrumentalist's muscular activity
was measured while playing. Teal was tested on flute, clarinet, and saxophone,
and the results confirmed that Teal used distinctly different muscular activity for
each instrument, proving his proficiency on each.32
In 1936, Teal began his teaching career at Teal's Music Studio in Detroit.
The three-story brick studio was also his home; the first two floors were divided
“ Balensuela, "A Biography," 17-18.
“Gee, "American Pioneer Saxophonists," 21.
“Gee, "American Pioneer Saxophonists," 22.
“ Teal, interview by C. Matthew Balensuela, 13 October 1983.
31Hugh Cooper, Professor Emeritus at The University of Michigan, interview by author,

25 January 2001, Athens, Ga, tape recording.
h o o p e r, interview.
20
into studios with an office on the first floor and the third floor was his
residence.33 For many years the studio flourished due to the fact that Teal was a
well-known performer on many instruments.
Teal taught clarinet, flute, and saxophone in the first years of the studio.
According to Donald Sinta, Professor of Saxophone at The University of
Michigan, "He was the best flute teacher in Detroit, bar none. He also played
and taught clarinet, bass clarinet, flute, alto flute, and piccolo."34 As the studio's
size increased and the popularity of the saxophone grew, he hired other
professional musicians to teach flute and clarinet and only taught saxophone.
The collapse of prohibition and the rise of talking pictures brought the demise of
pit orchestras and the increase in stage bands.35 Many former pit orchestra
members realized that they could save their jobs if they could play the
saxophone with the stage bands. "A lot of my students were a lot older and well
established on their instrument, but many did not make it in the stage bands
because they were not experienced saxophone players."36 In addition to the
stage bands, a renaissance of cafe jobs took place, "All the beer gardens and bars
wanted an orchestra, and people who had saxophones wanted these jobs."37
“Cooper, interview.
“ Donald Sinta, Professor of Saxophone at The University of Michigan, interview by

author, 18 January 2001, Athens, Ga, tape recording.
21
Also in the 1930s, universities in the United States typically did not employ full
time faculty to teach musical instruments, therefore students studied with a local
teacher approved by their college.38 Teal taught many students from local
colleges in the Detroit area and was closely associated with the Wayne State
University Music Department.39 Teal's Music Studio grew so rapidly in the
1930s that Teal moved to a larger building and renamed the studio the Teal
School of Music.40 After World War II, the G.I. bill aided military personnel in
job training and placement. Many of them wanted to be musicians, creating a
steady flow of over 400 students a week including many who wanted to be
saxophone players. Teal found that the majority of the G. I/s did not posses
significant musical knowledge, and he advised them of their chances of survival
in the music world.41 At its height in the 1940s, the Teal School of Music
occupied fifteen rooms and employed twenty-two teachers, many of them
members of the Detroit Symphony Orchestra.42 It was the most prestigious
music studio in the dty of Detroit at that time.43 In 1968, due to his increased
^Balensuela, "A Biography," 19-21.
^Balensuela, "A Biography," 20.
22
teaching responsibilities at The University of Michigan, Teal closed the Teal
School of Music.44
In the 1950s, the saxophone was not recognized as an accepted instrument
of study at major university music schools.45 William Revelli (1902-1994), Chair
of the Wind Instrument Department and Conductor of Bands at The University
of Michigan at the time, convinced the Dean of the School of Music, Earl Moore
(1890-1987), to hire Teal to teach saxophone. Teal's reputation as a performer
and teacher was recognized by many faculty at The University of Michigan, and
he was hired in 1951 as part-time woodwind instructor to teach flute and
saxophone.46 In 1953, Teal only taught saxophone and as the studio grew, he
was hired full time in 1964. A few years later, Teal became full professor at The
University of Michigan, the first full professor of saxophone at a major
university (1968).47 During his tenure at The University of Michigan, Teal
formed the first doctoral program in saxophone performance in the United
States48and codified his pedagogical concepts by writing articles, books, and
arrangements, designed to aid saxophonists of all levels.49
"Cooper, interview.
"Haas, "Teal Retirement"
"Teal, interview by C. Matthew Balensuela, 13 October 1983.
"Teal, interview by C. Matthew Balensuela, 13 October 1983.
"Haas, "Teal Retirement."
23
In 1969, Teal was honored by the First World Saxophone Congress for his
many years of performance and teaching and for his vast contributions to the
establishment of serious literature for the saxophone. He was one of only four
people to be so honored.50 Teal was also honored by the North American
Saxophone Alliance in 1984 as the second honorary member.
In 1974, Teal retired from The University of Michigan and maintained a
private saxophone studio in Ann Arbor, Michigan at Arbor Music filled with
young students.51 He stated that "any teaching I do will concentrate on younger
students, since I feel there is a great need in that area."52 Teal believed that there
was not enough material written for young students and therefore wrote The
Saxophonist's Manualand Melodies for the Young Saxophonistbased on his
teaching at the Teal School of Music and his teaching at Arbor Music.53
To acknowledge Teal's accomplishments as a prolific performer and
teacher, many composers wrote pieces in his honor. In 1935, Teal met and
befriended Bernhard and Cola Heiden, both accomplished pianists who
accompanied Teal at various times during their years in Detroit. Teal asked
Bernhard to compose a work for him, and thus he wrote the Sonata for Alto
Saxophone and Piano, which they premiered at a meeting of the Bohemian's
“ Haas, 'Teal Retirement"
’'Steve Mauk, Professor of Saxophone at Ithaca College, interview by author, 10 January

2001, Athens, Ga, tape recording.
“ Haas, "Teal Retirement."
24
Club, a dub for musidans, on April 8,1937.54 As Heiden related "the saxophone
was still for m e... an instrument of popular music... I didn't write the
saxophone Sonata because I knew the saxophone; I wrote it because I knew
Teal, who happened to play the saxophone."55 This composition, one of the first
sonatas written for saxophone and is now prominent in the standard repertoire.56
In addition to Heiden's Sonata, several works were dedicated to Teal after he
retired from The University of Michigan. A group of Teal's students
commissioned Ross Lee Finney (1906-1997) to compose the Concerto (or
Saxophone and Orchestra o f Winds (1974), premiered by Donald Sinta in 1975.
Jerry Bilik (b. 1933) composed the Concertino for Alto Saxophone and Band
(1973), premiered by Donald Sinta in 1973. Frederick Fox (b. 1931) also wrote a
saxophone solo with saxophone quartet accompaniment entitled S. A. X (1979).57
Jean-Marie Londeix (b. 1932) dedicated Gammes et modes d'apres Debussy,
Ravel, et Bartok(\9(A) to Teal.
“Thomas Walsh, "A Performer's Guide to the Saxophone Music of Bernhard Heiden"
(D.M. diss., Indiana University, 1999), 10-11.
“Walsh, "A Performer's Guide," 11.
“ Walsh, "A Performer's Guide," 8.
^Gee, "A Special Tribute," 15.
CHAPTER III
TEAL'S INFLUENCE ON SAXOPHONE PEDAGOGY IN THE
UNITED STATES
Introduction and Early Influences
From the 1880s to the 1930s, the saxophone gained popularity and
recognition in the United States through its use as a solo instrument in the bands
of Patrick Gilmore (1829-1892) and John Philip Sousa (1854-1932),1the saxophone
groups of Vaudeville, and the jazz orchestras and dance bands.2 Although
numerous people were playing the saxophone, saxophone instruction in the
United States was in its early stages and not readily available. As the popularity
of the saxophone increased in the 1920s and 1930s, there grew a need for a
standard of saxophone instruction. This need was met by hastily-constructed
method books which lacked pedagogically-sound advice for improving
technique and musicality. These works advertised instant success and pure
enjoyment through the elimination of "unnecessary studies."3 The introduction
'Harry Gee, Saxophone Soloists and Their Music, 1844-1985: A n Annotated Bibliography
(Bloomington: Indiana University Press, 1986), 16-17.
^ re d L. Hemke, "The Early History of the Saxophone" (Ph. D. diss., University of

Wisconsin, 1975), 278.
YSail Beth Levinsky, "An Analysis and Comparison of Early Saxophone Methods
Published Between 1846-1946” (D.M. diss., Northwestern University, 1997), 107-108.
25
26
of method books for saxophone sparked a variety of pedagogical ideas and
produced many self-taught saxophonists who taught and performed throughout
the United States.4 Although there was not a teaching tradition or a playing
standard, there were many formidable saxophone soloists. The bands of Patrick
Gilmore and John Phillip Sousa featured Edouard A. Lefebre (1834-1911), Jean
H. B. Moeremans (188?-1922), H. Benne Henton (1867-1938), Jascha Gurewich
(1896-1938), and Benjamin Vereeken (n. d.) as soloists. In addition to the band
soloists, Rudy Wiedoft (1893-1940), a prominent soloist from the Vaudeville era,
was delighting audiences all over the United States.5 The virtuosity of these
soloists aided the acceptance of the saxophone as a concert instrument. Teal was
inspired by these performers and recognized that the saxophone's acceptance as
a concert instrument relied on the development of a standard of teaching and
playing.
Players of the past were pioneers, converted woodwind players who

picked up the saxophone because it was easy to finger. Those who were
interested in making the saxophone a legitimate concert instrument had to
get their knowledge from players of other instruments.6
Teal patterned his approach to saxophone pedagogy, as displayed in his books
and arrangements, after the pedagogy of other woodwind instruments because
he believed that saxophone playing and teaching could benefit from their well-
4Hemke, "The Early History of the Saxophone," 279.
5Rudy Wiedoft, a popular saxophone virtuoso of the 1910s, performed as a soloist

throughout the United States. He produced many compositions and recordings that inspired
saxophone players to obtain a higher level of performance. Gee, Saxophone Soloists, 24-25.
‘Larry Teal, interview by C. Matthew Balensuela, 15 December 1983.
27
established tradition.7 Two of his most widely used publications include The
A rt o fSaxophone Playing and The Saxophonist's Workbook. In 1963, Teal
published The A rt o f Saxophone Playing, considered by many to be the most
comprehensive guide to all aspects of saxophone pedagogy. Many of Teal's
arrangements and pedagogical materials, especially The Saxophonist's
Workbook: A Handbook o f Basic Fundamentals and Solos for the Alto
Saxophone Player, are used by university saxophone instructors throughout the
United States. Through his teaching and production of pedagogical materials,
Teal helped to solidify saxophone pedagogical concepts in the United States.
Early influence. At a young age, Teal's father encouraged him to play
saxophone. He continued to pursue a career in saxophone because "it was an
open field in music, and I thought much could be done."8 To solidify his
teaching skills, Teal sought the advice of other musicians while performing with
prominent dance bands and the Detroit Symphony Orchestra. These venues
brought him in contact with quality music and seasoned professional
performers. More importantly, the brief time he studied flute, clarinet, and
saxophone greatly impacted his approach to performance and teaching. Teal
studied with and was inspired by Merle Johnston, a Sousa soloist.
Johnston was the man who revolutionized saxophone pedagogy in this

country through his method of teaching embouchure, vibrato, and throat
position. Merle was also the first American saxophonist to teach the
7Teal, interview by C. Matthew Balensuela, 15 December 1983.
*Haas, 'Teal Retirement."
28
regulated jaw vibrato and was the founder of the New York school of
saxophone playing.9
Through these experiences, Teal's pedagogical ideas broadened, and he
committed himself to bringing saxophone performance and saxophone
pedagogy to the same level as other instruments.10 In the introduction to The A rt
o f Saxophone Playing, Teal emphasized that musicians would do well to study
the saxophone in the same fashion they have studied related instruments." Teal
attributed his success as a saxophonist and as a teacher to his study of various
instruments, a wide range of practical experiences, and sound musical
advice from fine musicians.12
Teal's Lessons: Teaching Style. Emphasis on Technique, and
Selection of Literature
Teaching style. According to his students, Teal was a kind and
considerate person who expected dedication to musical excellence and
professionalism from his students. He taught objectively and maintained a
straightforward approach to teaching the saxophone. In lessons, Teal demanded
that his students maintain a high standard of playing, or they would be advised
’Gee, Saxophone Soloists, 114.
"Teal, interview by C. Matthew Balensuela, 15 December 1983.
“Larry Teal, The A rt o fSaxophone Playing (Miami: Summy-Birchard, Inc., 1963;

distributed by Warner Bros. Publications, Inc.), 9.
“Harry Gee, "American Pioneer Saxophonists," SchoolMusician 56 (April 1985): 22.
29
to pursue another profession.13 Teal's professional experience and woodwind
studies helped to shape his teaching style. He studied clarinet lessons with
Albert Luconi, principal clarinetist of the Detroit Symphony Orchestra, who was
very demanding in regards to phrasing and technique, but taught by rote with
little verbal explanation of specific technical procedures.14 Like Luconi, Teal was
also very demanding, but he aided the improvement of his students with
pedagogical explanations, technical studies, and appropriate literature.15
At Teal's Music Studio in Detroit, it was customary for the students to
audition to take lessons with Teal. He was only interested in teaching students
who were dedicated to music, practicing, and preparation. For example, if a
student missed a lesson without prior notification, Teal ensured that the next
week another student would be waiting in his or her place.16 Prior to meeting
Teal, Donald Sinta won a contest to perform on the radio. Following the
performance, a member of the radio orchestra suggested that he study with Teal.
Sinta, a Teal student from 1949-1962, recalls his first encounter with Teal.
Teal looked at my mother and said, 'I'll take him as a student.' Then, he
looked at me and told me to bring in Rubank Elementary Volume One. I
remarked, Tjut I already did that.' Teal replied,'We'll do it again.' I
said, 'I don't even own a copy.' Teal said 'Well, buy a new one.' When
t3Elaine Zajac, Private instructor, copyist, and composer, interview with author, 20
February 2001, Athens, Ga, tape recording.
MLynn Klock, Professor of Saxophone at The University of Massachusetts, interview by

lsSteven Mauk, Professor of Saxophone at Ithaca College, interview by author, 10

January 2001, Athens, Ga, tape recording.
16Klock, interview.
30
you are twelve and have already been on the radio, it was hard to buy
into that style.17
Teal was straightforward in his approach and expected students to heed his
advice. If a student was unprepared, Teal would assign the next two pages and
ask the student to pack up their materials and leave.18 He made his expectations
clear and therefore students rarely were unprepared for a lesson. Sinta and the
saxophone players from his high school studied together at the Teal School of
Music. He recalled their strategy for handling Teal's teaching style.
The four of us would take the bus down to the Teal School of Music and
take a lesson with Teal. If the first person's lesson was not good, we
would be there for an hour and forty-five minutes and get a lecture. In
order to avoid this, we found out who had practiced and decided that
they would take their lesson first. Teal was very stem and very serious
about commitment and discipline — You did not last long with him if
you were not prepared.19
Over the years, Teal's teaching style remained the same but his approach to
students changed. Steven Mauk, Professor of Saxophone at Ithaca College,
studied with Teal near retirement (1969-1974) and recalled that Teal held very
high standards for his students and was also very encouraging.
Teal, at that time, was more mellow and he was wiser about what works
and what does not. He was always very pleasant and cordial, but also
very tough and very demanding. He was of the 'old-school' approach,
where you did not hear the word 'good', or the phrase 'good for you.'
Teal pointed to the negative with only a handful of complements. That's
"Donald Sinta, Professor of Saxophone at The University of Michigan, interview by

I8Sinta, interview.
"Sinta, interview.
31
the way teaching was done at that time. He pushed me to do my best and
expected me to reach a high level of performance in every lesson.20
Although Teal maintained high expectations, he was mostly interested in the
overall outcome of the lesson, stressing the importance of the musical elements.
For each lesson, Teal trusted that his students would take his advice and come to
their next lesson better prepared and more knowledgeable. He believed that
with advice and guidance, "The student must learn to listen intelligently, and to
be his own critic and instructor."21 Mauk recalled Teal's approach to lessons.
He approached every lesson with intensity. So, as his student, you

prepared appropriately so that you could get through the material. His
approach was to point out the musical elements and we worked on ways
to make things more musical. If you missed a note, he would point it out,
but he was looking more for the big picture, with the understanding that
you, the student, would take his word and work on it over a longer
period of time and perfect it.22
Kenneth Fischer, Professor of Saxophone at The University of Georgia who
studied with Teal from 1970-1971, recalled similar feelings about his lessons
with Teal.
What I liked about his teaching method was that it was not an 'imitate
me' type of approach; he really wanted you to develop yourself as an
individual with his guidance. You were able to gain musical intuition
through his lessons.23
“Mauk, interview.
21Larry Teal, "Saxophone FUN-damentals," The Instrum entalist (March 1959), 69.
“Mauk, interview.
“Kenneth M. Fischer, Professor of Saxophone at The University of Georgia, interview by

32
Many students remembered that Teal was not overly complementary about their
playing but would let them know their progress in many subtle ways. Lynn
Klock, Professor of Saxophone at The University of Massachusetts who studied
with Teal from 1965-1974, recalled his notion of progress.
Teal complimented very infrequently. Nobody could accuse him of

telling people they were wonderful and needed to be in music. People
had to find that out for themselves. It would have been nice to hear that
you were doing well. You knew whether you were doing well. You
would hear that you were doing well vicariously through other people,
but not very often.24
In the same light, Teal often had a quiet air about him and refrained from
sharing his thoughts with his students. Mauk recalled a time when Teal
surprised him.
At the end of the summer of 1969, in his typical no-nonsense way, Teal
said, 'Well, if you want to come to Michigan to do a Master's degree,
that's okay.' Unbeknownst to me, the summer lessons turned out to be an
audition. And again a few years later at my Master's hearing, Teal said,
'Oh, I just wanted to tell you that you have passed the doctoral entrance
exam.' He had never let me know that I was a candidate.25
Teal's style of teaching impressed upon his students that it was important to
insist upon a high standard of playing from students, while offering a respectful
and caring environment.
Emphasis on technique. Teal sought to provide his students with the
resources to play and teach well, strongly emphasizing a solid foundation of
fundamentals. To Teal, a student exercised proper fundamentals by playing
24Klock, interview.
“Mauk, interview.
33
with good tone and vibrato, precise technique, and solid rhythm. His
philosophy regarding fundamentals is best summarized in the following excerpt
from one of his articles.
Most young musicians would improve at a greater rate of speed if they

would follow the example of the athlete and work on the basic aspects of
performance for at least half of each practice session. This kind of study
can be drudgery, or it can be very interesting—depending upon the
attitude of the student.26
Teal wanted his students to benefit from his experiences as a self-taught
saxophonist and hoped to provide them with better knowledge.27 In lessons,
Teal emphasized a good foundation of fundamentals through the study of scales
and etudes. Realizing that there were few technique books available, Teal was
determined to rectify that shortfall. Sinta recalled the creation of one such book,
The Saxophonist's Workbook.
A saxophone scale book was not readily available in those days. Teal
realized this and thus was the beginning of what the students called the
Teal's Gems.' Everybody who was a decent player in those days, not so
much junior high, but senior high school and college students, studied
with Teal. The word would spread, 'Uh Oh, Teal's added another page to
that book.' The Saxophonist's Workbook as you know it today originally
came out at various times as single pages. It included major scales full
range and palm key and low range exercises. We simply hated them.
The students at that time did not understand the value of these exercises
because they were happily settled in the professional music scene. We
were unaware of Marcel Mule and his reputation; there was not a
standard, so why practice these regimens.28
“Teal, "Saxophone FUN-damentals," 69.
^Teal, interview by C. Matthew Balensuela, 15 December 1983.
“Sinta, interview.
34
According to Mauk, "Once he felt you had solid fundamentals, he was willing to
concentrate on other things. We worked on fundamentals through repertoire or
etudes."29 After Teal retired, he discussed his teaching with Klock who recalled
that "Teal was basics-oriented. He said, 'I would change a lot in my teaching,
but the one thing I would not change was my emphasis on basics.'"30
Teal preferred and taught the "classical style or legitimate or concert style
of playing" but did not like the term classical because it referred to a style
period.31 Although he taught in the classical style, many of his students played
in the theater orchestras, jazz bands, and dance bands. Regardless of the venue
in which they performed, Teal taught all of his students in the same manner,
because he believed that "if you know your instrument, then you can play
whatever you want."32 Teal related the following about his students.
They came to me because they needed to have more facility on their

instrument. It was not a question of, 'I can make your jazz playing better,'
it was, 'I can make your saxophone playing better.' I never taught
students to play jazz, I taught them to play the instrument.33
Although Teal did not teach jazz in his studio, Sinta recalled that he was a
skilled jazz musician.
Teal could play over changes; nobody knows that. We were doing a
Chevrolet show and the movie was longer that the chart. So, the director
®Mauk, interview.
“ Klock, interview.
“ Teal, interview by C. Matthew Balensuela, 15 December 1983.
“ Teal, interview by C. Matthew Balensuela, 15 December 1983.
35
leaned over and said, 'Larry, pick up your piccolo and ride us out on the
tune.' He played the solo on the spot, and that impressed me. That was
the nature of the business. That is why he made a lot of money
performing, because he could do anything.34
To make the most of each lesson, Teal often referred his students to The A rt o f
Saxophone Playing if a question about a concept arose. "If I had a question
about reeds, fingers, or articulation, Teal would often say 'read my book and
we'll discuss it later.'"35 Mauk recalled that, although Teal often referred
students to his book for problems, he stressed and demonstrated the use of
alternate fingerings. Teal's technique building was based on the use of all the
available fingerings both for ease of finger technique and intonation. He often
questioned his student by asking, "Why are you pushing all the buttons?"
suggesting that in some circumstances the correct fingering may not facilitate
technique or intonation.36
While Teal emphasized fundamentals and encouraged the use of alternate
fingerings, he rarely discussed altissimo.37 Sinta recalled why altissimo was not
of particular importance to Teal.
Teal did not concentrate on altissimo because most people, except

Rascher, were not playing it at the time. Although Teal did not
emphasize altissimo, he recognized its value. When Teal came to hear me
“Mauk, interview.
“Mauk, interview.
^The altissimo register of the saxophone indudes all notes above F3.
36
play when I was teaching at Michigan, he would mention to me that I was
blending altissimo better with my normal range.38
Despite that fact that Teal did not concentrate on teaching altissimo, a brief
discussion of Teal's thoughts on altissimo are displayed in The A rt o fSaxophone
Playing.
Teal demonstrated infrequently in his lessons, although when he did, he
made a lasting impression on his students. Fischer recalled a memorable
moment when Teal demonstrated for him.
He always had his neck strap on, and he went over to a cabinet, took his
saxophone out and played the part I was having trouble with by memory
in the style he wanted me to play it. He made a point and a lifetime
impression.39
In conjunction with his emphasis on solid fundamentals, Teal imparted to
his students the importance of a good tone. He believed that you could identify
people by their tone and encouraged his students not to sound like one another.
"He valued uniqueness of sound as opposed to some systems where you are
supposed to sound like the teacher."40 According to Sinta, "His sound was
unbelievable, like no other."41 In his early studies with Teal, Sinta would often
arrive early to his lessons and listen to Teal practice.42 When Sinta asked Teal
how he produced such a beautiful tone, Teal answered simply, "You have to
“ Fischer, interview.
41Sinta, interview.
37
move your sound deeper into your chest."43 Sinta recalled a story in which Teal
emphasized the importance of a unique sound.
Teal would say, 'I told you not to listen to those Mule records.' How
would he know that I was listening to the Mule records. I thought he
might be talking to my mom. Then one lesson, Teal asked again about the
Mule records, and he demanded that I turn over the recordings to him.
Teal admired and respected Mule, but he wanted his students to create
their own unique tone quality.44
Elaine Zajac (b. 1940), who studied with Teal from 1963-1970, believed that
Teal's tone concept developed from his years of experience in early jazz.
Although Teal taught classical saxophone, he had much experience in the

early jazz field. In that idiom, the saxophone sound had a more fluid tone
quality, less rigid than the French.45
Elizabeth Ervin, Vice Provost for Academic Affairs and former Professor
of Saxophone at The University of Arizona who studied with Teal from 1955-
1965, recalled that the students who studied with Teal achieved a particular
quality of sound, described as round and mellow, considered by many as the
signature Teal sound. She recalled many competitions in which Teal's students
participated where the judges identified Teal as their teacher because of their
tone quality.46 Ervin believed that Teal's greatest influence on saxophone
pedagogy was his tonal concept and asserts that his concept aided the
“ Zajac, interview.
“ Elizabeth Ervin, Vice Provost for Academic Affairs and former Professor of Saxophone
at The University of Arizona, interview by author, 3 March 2001, Athens, Ga, tape recording.
38
establishment of the American saxophone sound.47 Although Teal never
released recordings of his playing, he did in fact produce a saxophone
mouthpiece, Selmer LT, in 1963. Teal produced this mouthpiece with his tonal
concept in mind. "It accomplishes the Teal tonal concept through the use of a
large, round backbore,.. . deep baffle,... longer facing, and a more open tip.
The result is an easy to control mouthpiece, free blowing, and produces a dark,
rich sound in the traditional classical style."48
Teal influenced his students by emphasizing particular techniques and by
his production of pedagogical materials designed to aid saxophonists in building
a foundation of fundamentals. Sinta recalled the basis of Teal's philosophy of
good playing.
Teal's value system included playing in tune with the Strobocon tuner.
He would not let you look at it. You needed to play with a good sound,
practice, and be prepared. You needed to count it. If you could not count
it, you said it out loud and tapped it on the stand. Teal believed that if
you don't do all of these things then you should look at saxophone
playing as an avocation not a vocation.49
Many aspects of playing were very important to Teal, but he felt that if one did
not subscribe to solid fundamentals, one should not play the saxophone.
Selection o f Literature. In the 1930s, at the beginning of Teal's teaching
career, many of the original works for saxophone were French and few were
available in the United States. As a result, many of the lessons Teal taught in the
47Ervin, interview.
“Stan Garber to C. Matthew Balensuela, Elkhart, In, 16 April 1984.
4*Sinta, interview.
39
early part of his career were spent on fundamentals and etudes from the
repertoire of other woodwinds. When Teal entered university-level teaching,
the applied lesson structure was in the early stages of development across the
nation and juries were infrequent or non-existent. When the number of
saxophone students at The University of Michigan increased and the students
were required to play juries, more complicated literature by Bernhard Heiden,
Paul Creston (1906-1985), and Alexander Glazunov was available, but "the
students did not play well enough to play those pieces, and therefore played
transcriptions."50 In addition to the performance level of the students, a
saxophone curriculum that included required repertoire for undergraduate or
graduate students did not exist. Sinta recalled that he "went through an
undergraduate and graduate degree without having played the Glazunov, Ibert,
or Creston."51 In time, when the level of performance and volume of literature
increased, Teal played and taught more varied literature.
Teal encouraged his students to use his program formula for a recital
based on the superstitions of a bride: something old (early saxophone
composition), something new (modem), something borrowed (transcription),
and something blue (jazz).52 Teal related the story of a student who wanted to
play four French works on a recital. He voiced his concern saying, "Well, you
“ Sinta, interview.
51Sinta, interview.
40
could take one page from one and stick it in another and it would be the same,
nobody would know the difference."53 To Teal, too much French music sounded
the same and was not interesting to the audience. In some ways, Teal was
disappointed with the French School, because he felt that they limited
themselves to French compositions.54 He likened the overuse of French music to
the overuse of Modem music, "People can't stand it outside of the college
estate."55 Teal believed in variety programming and criticized those who were
overly enamored by one style of music.
He especially worried about the relationship classical saxophonists were
building with audiences and encouraged them to please the audience so that the
audience would continue their support.
In regards to modem music; if the saxophonists are playing for each other
in their colleges, its great. But, if they are expecting to crack the informed
public (recital goers), they must start producing music that the audience
would understand, or they aren't going to be successful. If the saxophone
is going to succeed, somebody has to come up with audience-pleasing
programs that will attract people to the concerts. Without an accessible
program, the audience may recognize the proficiency of the performer,
but they will not want to return because the music does not affect them
enough to invoke a positive reaction, which would call them again to the
recital hall of this performer.56
Teal asserted that classical saxophonists should step outside of the universities
and observe the programs of the jazz performers who he believed knew how to
^Teal, interview by C. Matthew Balensuela, 13 October 1983.
*Teal, interview by C. Matthew Balensuela, 13 October 1983.
41
please an audience.57 Teal asserted that saxophone performance has a long
journey ahead, citing that "the performers who will incite the interest of the
audience will not be doing it through marvelous technique or a lot of modem
works, but by playing music."58 To Teal, it was important that he expose
students to as many different kinds of music as possible, thus warning them not
to overuse special techniques or one style of music, so as not to inhibit their
employment opportunities.59
Career Advice and Training
Teal sought to create versatile students, not only in their knowledge of
music literature, but in their knowledge of other woodwinds. Due to the
tremendous advances in the fields of music education and performance, he
recognized that it would be advantageous for saxophonists to be proficient on
other woodwinds.®
In the early part of his teaching career, Teal focused on the professional
musician,61teaching them how to play the saxophone and other woodwinds for
more and better-paying jobs. In the 1930s, college teaching positions were rare;
therefore, the logical training to obtain employment required proficiency on
“ Larry Teal, "Double Trouble," Etude (April 1955), 19.
“ Professional musician refers to a person who makes their living performing on their
instrument.
42
many instruments. Sinta recalled, "I never imagined teaching in college. There
were plenty of gigs in Detroit to make a good living."62 Teal taught flute,
clarinet, and saxophone at the Teal School of Music and was considered by many
to be the best flute and saxophone teacher in Detroit.63
While teaching at The University of Michigan, Teal encouraged his
students to obtain a Master's degree in woodwinds to make them more
marketable for college teaching positions.64
While it is true that a few of our prominent [schools of music] have

specialists on each instrument, these fortunate institutions are quite in the
minority... at the college teaching level it is desirable that the
prospective teacher be prepared with a thorough knowledge of all the
woodwinds.65
Along with the marketability of the woodwinds degree, Teal encouraged his
students to maintain good academic standing. Teal stated his opinion on the
importance of academics when looking for a college teaching position.
In order for a saxophonist to be advanced in an academic situation, he has

to be a scholar. Colleges will hire the person with more degrees, no
matter how they play. This is favored by the administration. They may
even go so far as to get your college transcripts and see how you've done.
You may play better than someone with a good transcript, and the better
transcript would win.66
“Mauk, interview.
“Teal, "Double Trouble," 19.
43
Teal recalled many instances at The University of Michigan hearing students
who played extremely well but could not be admitted to the university and were
never allowed to audition.67 Teal was selective of the students he admitted to his
program. Before the student entered the university, he met with the parents to
discuss the student's prospect as a music major. If a student was not playing
well, Teal was known to ask about their school work status, because he believed
it was his responsibility to show the student how to be successful as a music
teacher.68 Assuring that a student would succeed in music and in life was one of
Teal's greatest joys.69 He believed in making good relationships, making good
grades, and playing well so in turn the students would establish a rapport with
other musicians which made the stresses of the music degree tolerable.70
Summary of Teal's Influence
At the height of the Teal School of Music, Teal taught eighty students a
week, played various performances, and ran the studio which housed twenty-
two teachers.71 His influence on the saxophonists in the Detroit area was
enormous. As Teal settled into university teaching and his studio grew, he was
in contact with numerous students who would eventually leave Michigan, many
’“Teal, interview by C. Matthew Balensuela, 13 October 1983.
nSinta, interview.
44
to become college teachers and spread his influence to other saxophonists
around the nation. Mauk recounted a historical perspective of Teal's impact on
the saxophonists of the United States.
Many of Teal's students from the 1950s through the 1970s, especially those
in the doctoral program, became college teachers. During the Detroit
days, he produced many young saxophonists and students who went on
to become public school teachers. Teal developed a world-class level of
saxophone playing in that area, unrivaled by many except the Paris
Conservatory.72
Fischer relayed his feeling on this subject.
Those who studied with Teal in turn taught others and they passed his
information on. A high school band director in a very rural part of the
country could be influenced by Teal. To me, that's one of the most
important aspects of Teal's legacy. His influence goes beyond his
teaching in Detroit and Ann Arbor, and can truly be felt throughout the
United States.73
From the accounts of his students, Teal was a kind person who took great
interest in his student's lives while maintaining a professional relationship.74
At the time he was teaching in Detroit, jazz music was on the rise and so was the
influx of drugs into the dty. Teal recognized that often the two would mix and
after mourning the death of a student due to drug use, he warned his students to
stay out of the jazz music scene.75 Fischer stated the following regarding Teal's
kindness.
?JMauk, interview.
^Fischer, interview.
7<Klock, interview,
^ in ta , interview.
45
I think his influence as a human being is equal to his influence on
saxophone pedagogy; he taught his students that it was important to be
an excellent person. He had more of an influence than just how to play
the instrument.76
Teal's students learned many important lessons from the way Teal managed his
life. He was a superbly organized person in both his personal and professional
endeavors. Mauk recalled that Teal taught in a logical and methodical manner,
only demonstrated to emphasize a point, used a tuner and a metronome as aids,
was always on time for lessons, and never missed a lesson without prior
notification. These basic aspects of Teal's approach influenced Mauk's teaching
and served as a model for directing a teaching studio.77
Teal was involved in the welfare of his students and took great pride in
the quality of their lessons. Fischer recalled the following about his lessons with
Teal.
Our lessons were usually scheduled for an hour, but many would last an
hour and a half to two hours. Even after the lesson was over, he would
come down and talk to us for a while about various things, and since my
fiance was in the sciences, he was always interested in what she was
doing as well. He was a great human being as well as a wonderful
teacher.78
The relationship that Teal had with his students was in many ways like the
relationships within a family. Teal was a model person, performer, and
pedagogue and his students reflect his excellence.
^Mauk, interview.
46
Teal believed that the saxophone quartet was a vital part of a
saxophonist's life. While at Michigan, Teal instructed four saxophone quartets
per semester. He stated that "both as a musical adventure and as a means of
individual improvement, there is little to compare with this experience."79 Klock
recalled the importance Teal placed on the saxophone quartet and how that
impacted his teaching.
I was influenced by Teal's dedication to the saxophone quartet. I found

that experience to be so valuable. Even with the young students who do
not play as well, they learn to listen, play without a conductor, and
rehearse. I continue this emphasis in my studio by maintaining five
quartets per semester.80
The materials Teal produced influenced not only his students but
generations of saxophonists through their use of his pedagogical materials.
Fischer explained the impact of Teal's works.
Many of the materials I employ in my teaching were written by Larry

Teal: The Saxophonist's Workbook, I find invaluable. The Daily Studies
for the Improvement o fSaxophone Technique is an excellent book.81
Teal stressed playing with a good sound, good rhythm, and good technique.
Klock recalled the impact that Teal's insistence on a good sound produced from
his students. "The sounds that Teal's students produced were beautiful sounds
and in turn influenced other students in the same studio."82 Teal took great
’’Larry Teal, "Thoughts on the Saxophone Quartet," The School Musician: Director and
Teacher {October 1976), 12-14.
“Klock, interview.
“‘Fischer, interview.
“Klock, interview.
47
pride in his teaching and was not threatened by his students studying with other
teachers. Klock stated the following about Teal's philosophy on this subject.
Teal always made sure that if a student went away for a summer and
studied with someone else, he always remarked on what they had
improved. He never undercut other teachers, although he was very
strong in his beliefs.83
Through his numerous influences as a person, performer, teacher, and
author, Teal was truly a pioneer of saxophone pedagogy. Few saxophone
teachers at that time could compete with the number of students he influenced
and the abundance of pedagogical materials he created. Through the
distribution of his pedagogical materials, Teal created a standard of saxophone
teaching and established the American School of saxophone playing. Mauk
shared his thoughts about Teal's role in American saxophone teaching.
He relayed his standards and methodologies and built what was the
primary American School of pedagogy at the time. Cedi Leeson was
teaching at the time, whom Teal respected highly. Leeson was a well-
respected performer during the 1930s, 1940s, and 1950s, but I don't know
that Cedi Leeson had much influence on saxophone pedagogy. Teal took
the information that he gathered from other instrumentalists and parleyed
it into a methodology of teaching saxophone; which of course is displayed
in The A rt o f Saxophone Playing*
Teal's appointment to the faculty at The University of Michigan also
aided the development of saxophone playing in the United States. The
university stature gave Teal a venue in which to codify his teachings and
establish a standard of playing at the college level, a standard that would be
MMauk, interview.
48
carried on by his students to other colleges. Mauk shared a perspective of Teal's
impact on saxophone teaching in the United States.
He had many students before Northwestern or Indiana began their

saxophone programs. Before most schools had any kind of a doctorate in
saxophone performance, Michigan did, and quite a few students were
cranked out at that time. I consider him to be one of the very first
saxophone pedagogues in the United States.85
Teal credited William Revelli with the acceptance of the saxophone at the
college level in the United States. Before Teal joined the faculty at The
University of Michigan, he befriended William Revelli, who was then the
director of bands at The University of Michigan and who knew of Teal's
reputation as a teacher and performer. Revelli suggested to Earl Moore, Dean of
the School of Music at The University of Michigan, that he should hire Teal to
teach saxophone. Moore was reluctant to include saxophone in the curriculum,
so Revelli placed the Marcel Mule saxophone quartet recordings outside Moore's
office. Moore listened to the recordings and was so impressed by the quality of
sound produced on the saxophone that he hired Teal to teach saxophone. Over
the years, Teal so impressed Moore that when it came time for Teal's promotion
to full professor, Moore asked to be the sponsor. Through the work of Teal and
Revelli, many universities were inspired to employ saxophone teachers and to
include saxophone study in the music curriculum.86
“ Mauk, interview.
49
Teal was highly respected by other prominent saxophone teachers who
entered university teaching a few years after him. Eugene Rousseau (b. 1932),
Distinguished Professor Emeritus of Saxophone of Indiana University, shared
his thoughts on Teal's impact on saxophone pedagogy.
Larry Teal has been a stable and strong force in the development of the
saxophone as a viable medium of musical expression. As one of the first
teachers of the classical saxophone, he was a believer in the merits of our
instrument, and he had the courage and faith to persevere. His many
contributions as a teacher, composer, arranger, friend and mentor are
always subjects of conversation and reflections by his distinguished
pupils and colleagues.87
Pedagogical Articles and Texts
The basis of Teal's teaching and playing was spread throughout the
United States through the success of his students. Through his journal articles,
pedagogical books, arrangements, and saxophone mouthpiece, Teal created a
lasting relationship with all who utilized his materials, making his influence
immeasurable. From 1938-1976, Teal published six articles highlighting
saxophone pedagogy in The Music Supervisor'sJournal, The Instrumentalist,
Etude, Woodwind World, and The School Musician. The subject matter of Teal's
articles revolved around the same concepts and subjects he emphasized in his
lessons and in his pedagogical materials: fundamentals, woodwind doubling,
and the saxophone quartet. In 1971, Teal produced an article entitled, "The Role
of the Saxophone in the College Scene," in which he shared observations of the
^Eugene Rousseau, from "A Special Tribute," The Saxophone Symposium

(Spring 1984), 14.
50
state of saxophone teaching, repertoire, and employment opportunities at the
college level. These articles continue to serve as valuable pedagogical tools for
saxophonists in the United States. In addition to the journal articles, Teal
produced seven books for the improvement of saxophone pedagogy from 1958-
1978. Today, these books are widely utilized throughout the United States by
private instructors and university professors. Sinta recalled the influence of The
Saxophonist's Workbook.
Everyone was dreading the publication because they knew it meant a

standard of playing-not just the gigging standard that was already in
place. The incredible impact of this book was not only on the
saxophonists of Detroit, but on saxophonists all over the nation.88
Fischer recalled the effectiveness of The Saxophonist's Workbook.
He was an individual who was very meticulous in teaching the basics of

saxophone playing. This may be seen in The Saxophonist's Workbook. It
is a very logical approach.89
Teal's pedagogical books were created with a purpose, to form a solid
foundation of fundamentals.
Teal's professional experiences and study of various woodwinds helped
to solidify his pedagogical ideas. As a teacher, he maintained high expectations
for his students and aspired to provide them with a solid foundation of
fundamentals on which to build their performance skills. Through the exposure
to various musical styles, Teal hoped to enlighten and prepare his students for
all musical situations. His career advice and training encompassed an emphasis
“ Fischer, interview.
51
on sound academics and the study of various woodwinds. He believed that a
variety of skills would guarantee his student's success. The numerous students
Teal influenced both in Detroit and Ann Arbor made an impact on saxophone
playing throughout the United States by transferring his knowledge through his
students to others. He imparted to his students the importance of high
standards, a kind demeanor, and an organized lifestyle. Furthermore, Teal
displayed his dedication to saxophone pedagogy in the United States by
producing an abundance of materials with consistent methodology, thus
solidifying an American School of saxophone pedagogy and performance.
CHAPTER IV
BOOKS FOR THE IMPROVEMENT OF SAXOPHONE PERFORMANCE
From 1955 to 1978, Larry Teal published seven books designed to aid
teachers and students in building a foundation of saxophone technique and
pedagogy: Studies in Time Division: A Practical Approach to Accurate Rhythm
Perception, The Saxophonist's Workbook: A Handbook o f Basic Fundamentals,
The A rt o f Saxophone Playing, Daily Studies for the Improvement o fSaxophone
Technique, Melodies for the Young Saxophonist: With Added Preparation
Studies, The Saxophonist's Manual: A Handbook o f Basic Concepts and
Introducing the Saxophone: The Individualized Instructor. Teal was inspired to
write these books in an effort to create a playing and teaching standard for
saxophone in the United States. In this chapter, the books are grouped according
to subject matter: pedagogical studies, technical and melodic studies, and band
method.
In 1963, Teal published The A rt o fSaxophone Playing? considered by
many experts as the definitive work on the subject and has since been translated
’Larry Teal, The A rt o f Saxophone Playing (Miami: Summy-Birchard, Inc., 1963;

distributed by Warner Bros. Publications, Inc.).
52
53
into other languages.2 The creation of this book began in 1955 at the Midwest
Band Convention in Chicago, Illinois where Teal discussed with his friend, Nilo
Hovey, that he would like to write a book on the saxophone. Hovey introduced
Teal to the executives at Summy-Birchard, Inc., who were in the process of
publishing a series of books on wind instruments. Even though Teal was
relatively unknown at the time, the executives at Summy-Birchard, Inc. asked
him to write a chapter on vibrato for their perusal. Teal wrote the chapter on
vibrato, and within a week they asked him to write the entire book entitled The
A rt o fSaxophone Playing?
Having experienced the evolution of saxophone playing from the 1920s to
the 1960s, Teal brought a unique perspective to this book. He hoped that this
book would curtail the ambiguous role of the saxophone in the minds of the
public, composers, and conductors and would set a standard of saxophone
playing in the United States. Teal shared his thoughts on the state of saxophone
playing.
The saxophone has for many years been the victim of a popular
misconception that it is 'easy to play.' The point of view might well be
corrected with the addition of a single word-'easy to play badly.'4
Teal asserted that although some people may make rapid progress on the
saxophone, many do not bother treating this instrument with the same scholarly
2Larry Teal, M aster Solos: Intermediate Level, ed. Linda Rutherford (Milwaukee: Hal
Leonard Publishing Corp., 1975), introduction.
-Teal, interview by C. Matthew Balensuela, 15 December 1983.
4Teal, The A rt o f Saxophone Playing, 9.
54
approach as other instruments and this treatment would cause many to dislike
the saxophone.5 He credited the dedicated soloists and performers who
. .have convinced the informed public and many composers that, when played
artistically, the saxophone is a worthwhile instrument."6 One may question the
legitimacy of the saxophone due to its exclusion from the orchestra. Teal
explained that the saxophone did not exist when much of the orchestral
literature was written, and there was not a standard of saxophone playing on
which composers or conductors could rely.7 Realizing that at this time there was
not an established standard of playing, Teal felt obliged to halt the misguided
teachings and notions about the instrument and create a resource for all
saxophonists and music educators.
The A rt o f Saxophone Playing saves as a comprehensive guide to
saxophone playing and teaching. It is divided into seventeen chapters, each
based on pedagogical concepts, and includes complete illustrations and detailed
written instruction. The introduction to each chapter entails a philosophical or a
scientific discussion in which Teal often expressed his insight.
Chapter I: The Instrument displays a picture of the saxophone family and
of Adolphe Sax's (1814-1894) saxophones along with a brief description of the
origin of the instrument. In the remainder of the chapter, Teal discussed the
selection process of a quality instrument.
Teal, The A rt o f Saxophone Playing, 9.
‘Teal, The A rt o f Saxophone Playing, 9.
Teal, The A rt o f Saxophone Playing,?.
55
It is far cheaper to obtain a fine instrument from the onset than to endure
the frustration of either learning on, or listening to, an inferior saxophone.
The often heard expression 'good enough to learn on' should be
outlawed. A student is entitled to an instrument that is 'good enough to
play well on' from the very first.8
He outlined this process by sharing a detailed description of the structure of the
instrument and the appropriate results of a playing test. Teal concluded the
chapter with a discussion on the care and maintenance of the saxophone.9
Chapter II: The Mouthpiece examines the design of the mouthpiece and
the materials used to make mouthpieces. In addition to the technical knowledge,
Teal supplied advice on mouthpiece selection.
... it should be understood that no cure-all for your problems can be

found. Our aim is to get started in the right direction. At one end of the
pole we have the 'mouthpiece-itis' sufferer, who spends more time
changing mouthpieces that practicing. At the opposite end, the person
who is afraid to try anything new or different. Somewhere in between
these two viewpoints Ues the practical approach to this problem.10
Using a practical example, Teal warned that the mouthpiece is one of the most
important elements in the building of an embouchure and should not be treated
casually.
Another trap to avoid is the buying of a mouthpiece because some well-

known personality uses 'facing X42D' of the 'Shotgun Special.' It is just as
logical to assume that every little leaguer in the country should go out
and buy a bat of the same weight that Babe Ruth used!
"Teal, The A rt o f Saxophone Playing, 14.
’Teal, The A rt o f Saxophone Playing, 13-16.
56
To condude the chapter, Teal offered reminders about refacing, the teeth
cushion, manufacturing inconsistendes, tuning, and doubling.11
The introduction of Chapter HI: The Reed involves a lengthy sdentific
discussion about the reed. The remaining portion of the chapter indudes
detailed instruction and well-marked diagrams for selecting reeds, reed care,
and reed adjustment. Additionally, Teal suggested brands of reeds, reed
making books, and indudes a reed adjustment chart, citing possible problems
and solutions.12
Chapter IV: Playing Position encompasses a discussion of proper playing
posture for the saxophone and highlights pictures of Teal with his alto
saxophone demonstrating proper sitting and standing position(s). To condude,
he detailed a five-step process for proper playing position and issued an
important reminder to the student.
Tone quality, intonation, technique, and interpretation are affected if the

playing position causes discomfort. While just getting comfortable will
not solve all the problems, it will set up a condition which encourages
alertness, and a physical climate condudve to improvement.13
Chapter V: The Breathing Techniquebegms with a philosophical
discussion about the nature of breathing. Teal emphasized the importance of
manipulating air to a desired speed and likened the effect to a string player
manipulating the speed of their bow and stated that, "The air stream is the
"Teal, The A rt o f Saxophone Playing, 20.
“Teal, The A rt o f Saxophone Playing, 21-29.
I3Teal, The A rt o f Saxophone Playing, 31.
57
saxophonist's bow."14 He recognized that the kind of breathing necessary to
play a wind instrument properly is different from the natural breathing process
and must be practiced.
It is questionable whether the Creator had in mind the blowing of the

saxophone when he invented that intricate machine known as man.
Fortunately, he left an excess of capacity so that a human being can train
the various parts of the body to operate in a tremendously versatile
manner.15
In the later part of the chapter, Teal diagramed and described the breathing
process of a saxophonist. Similarly with his other chapters, Teal summarized the
information in a list of guidelines.
In Chapter VI: The Embouchure, the following physical features are
introduced through written explanation and diagrams: facial anatomy, muscle
development, alignment of the jaws, mouthpiece placement, cheek, and tongue
placement. Teal believed that the embouchure is the 'control center' of the tone,
and he stated the following.16
The formation and organization of these elements should be pursued with

the aim that, eventually, the musculature will have the necessary
development so that ail the muscles affecting the embouchure become the
servants of the player.17
“Teal, The A rt o f Saxophone Playing, 33.
58
He reminded the student that the "attainment of a fine embouchure requires
patience combined with intelligent self-supervision."18
In Chapter VII: Tone Quality, Teal addressed the scientific study of tone,
developing a tonal concept, how the body aids tone production, terms
describing tone, the vocal approach to tone, and tone practice. He opened the
chapter with a scientific discussion of overtones and their importance in
determining tone quality. Following the discussion on overtones, Teal defined
terminology related to tone such as intensity, resonance, core, edge, color, and
timbre. He dted many similarities in tone production between vocalists and
saxophonists, therefore emphasizing the practice of singing music before playing
music. Additionally, Teal listed the physical features that aid in good tone
production and discussed the importance of blending tone with other
instruments. To aid the improvement of the student's tone quality, he provided
exercises from the Twenty-five Daily Exercises for Saxophone by Hyadnthe
Klose (1808-1880)19along with detailed instruction on tone production. In
condusion, Teal produced a succinct list summarizing the main ideas of the
chapter. At the end of the chapter, he introduced the saxophone mute, a drapery
ring wound in velvet ribbon. Teal asserted that the purpose of this mute is to
I8Teal, The A rt o f Saxophone Playing, 44.
l9Hyadnthe Eleonore Klose, Twenty-five Daily Exercises for Saxophone (New York: Carl
Fischer, 1943).
reduce the volume and to absorb some of the higher overtones, giving the tone a
more mellow character.20
hi Chapter VIII: The Vibrato, Teal discussed the purpose of vibrato in
music. The remainder of the chapter encompassed insights into the
characteristics of good vibrato, acoustical analysis of vibrato, acquiring a vibrato
concept, types of saxophone vibrato, learning vibrato, and practice patterns for
vibrato. Teal dted the book, In Search o f Beauty in Music, by Dr. Carl E.
Seashore for all scientific details in this chapter. When discussing different types
of saxophone vibrato (lip, throat, diaphragm, and jaw), Teal explained the
intricacies of each type and advocates the use of jaw vibrato.21 In reference to the
early attempts at vibrato production, he noted that, "The transfer of this motion
to the saxophone may be disappointing at first, and it is common for the teacher
to hear 'My gosh, not that!' on the first few attempts."22 To gain control of
vibrato, Teal encouraged the practice of measured vibrato23but adamantly stated
that this practice does not imply that all quarter notes receive a set number of
pulsations.24 To conclude this chapter, Teal proposed "Ten Salient Points"
intended to aid the student in successful vibrato production.25
“Teal, The A rt o f Saxophone Playing, 45*53.
“Teal, The A rt o f Saxophone Playing 56.
“Measured vibrato on the saxophone includes a specified number of pulsations created

by jaw motion per beat.
permission o f the copyright owner. Further reproduction prohibited without permission.

60
In Chapter IX: Intonation, Teal discussed the evolution of pitch
perception, identifying the pitch, embouchure tension, jaw position, mouthpiece
placement, mouthpiece suitability, correct key adjustment, effect of temperature
changes, just and tempered scales, and pitch adjustment using special fingerings.
He recognized that intonation "... is a matter of such personal pride that lasting
friendships have been known to disintegrate when diverse opinions have been
met head on."26 He proclaimed that many older musicians hold the moto, "If
you want to keep a friend, never criticize his family, religion, politics, or
intonation."27 Teal recommended that the study of music should be limited to
those people who have at least an average or better ability of pitch recognition.28
Teal referred to his own research29when outlining the reasons for poor
intonation, and he advocated the importance of a steady embouchure and jaw
when correcting intonation problems. To check for a steady embouchure and
jaw, he recommended that the teacher finger the instrument keys while the
student blows air through the instrument. In addition to this test, Teal advised
the student to examine the saxophone for leaks and correct key height and
validate the compatibility of the mouthpiece to the saxophone. Teal listed
common tuning tendencies, such as the major third is flat, and the minor third is
“Teal, "An Investigation of Pitch Variation of Certain Wind Instruments" (Ph.D. diss.,
Detroit Institute of Musical Art, 1942).
sharp, in order to aid the student's knowledge of acoustical phenomenon. He
concluded the chapter with a demonstration of pitch altering fingerings using a
numbered fingering chart.30
In Chapter X: Developing the Technique, Teal provided a detailed guide
to the improvement of saxophone technique. He emphasized the importance of
proper hand position when cultivating correct finger position and motion. Teal
included exercises that highlight weaknesses in saxophone technique and
included pictures and written discussion on correct finger motion.31 Teal
believed that fine technique depends upon rhythmic accuracy. To build
rhythmic accuracy, Teal asserted that it is important that the student adhere to
the strengths of the human mind and build up time values as the sum of short
segments, from sixteenth notes to the whole note.32 To acquire fine technique,
Teal encouraged students to practice scales, intervals, and arpeggios on a daily
basis. He also advocated the use of alternate fingerings and included
appropriate exercises. To conclude this chapter, Teal summarized the chapter in
a ten-step reminder and also included a trill chart.33
Chapter XI: Attack and Release, Chapter XU: Staccato, and Chapter XIII:
Articulation are all related to the use of the tongue when producing a sound.
^Teal, The A rt o f Saxophone Playing, 65-69. The numbered fingering chart identifies the
keys of the saxophone by number.
3lTeal, The A rt o f Saxophone Playing, 70-73.
“ Teal, The A rt o f Saxophone Playing, 73-78.
permission o f the copyright owner. Further reproduction prohibited without permission.

62
Teal retracted his use of the word 'attack' in chapter eleven and replaced it with
'start' in reference to the initial tone of desired quality, intensity, pitch, and
tuning. He described different tongue positions and the result of each as well as
the release of the tongue from the reed. To conclude the chapter, Teal offered a
succinct process for articulation along with appropriate exercises.34
In chapter twelve, Teal referred to staccato as a repetition of the attack
and release process and believed a good staccato must have the best possible
tonal quality at all times.35 He introduced different articulation syllables and
described the sound each syllable produces. To increase the speed of
articulation, Teal emphasized the importance of a slow rhythmic approach and
proper air support. A set of eight reminders and staccato exercises summarizes
the concepts covered in this chapter. He concluded the chapter with a discussion
of double-tonguing but stipulated that competency results from several months
of practice.36
Teal defined Articulation, chapter thirteen, as the art of note grouping by
the use of legato and staccato.37 He believed the development of this skill is vital
for developing artistic expression and highlighted the following topics in this
chapter: rhythm in articulation, legato playing, articulation markings, and
“ Teal, The A rt o f Saxophone Playing, 82.
^Teal, The A rt o f Saxophone Playing, 87.
adapting different articulation styles to the music ensemble.38 Each section in
this chapter includes exercises along with precise process intended to improve
the student's use of their tongue in producing a musical sound.
In ChapterXIV: Phrasing and Interpretation, Teal commenced with a
philosophical discussion about musical notation and teaching musical
expression. As declared in the following statement, Teal believed that musical
expression can be taught.
While some fortunate individuals have an instinct for expression which

surpasses the average, it has also been proved that the latent desire for
artistic performance may be nurtured through a study of the basic
elements of phrasing.39
The basic elements of phrasing such as dynamics, breathing, tone color,
articulation, and vibrato are discussed by Teal in this chapter and are illustrated
by musical excerpts.40
In Chapter XV: Doubting Teal discussed the intricacies of adapting to
various saxophones and woodwinds. He asserted that "the saxophonist seems
to have been the most vulnerable in the held of doubling, and success in the held
requires proficiency on additional instruments, usually those of the woodwind
^Teal, The A rt o f Saxophone Playing, 87-90.
^Teal, The A rt o f Saxophone Playing, 91-94.
"Teal, The A rt o f Saxophone Playing, 91-94.
permission of the copyright owner. Further reproduction prohibited without permission.

64
family."41 He concluded this chapter with a chart comparing the performance
techniques for each woodwind.42
In Chapter XVII: The Altissimo Register, Teal addressed the altissimo
register and how the pioneering efforts of a few soloists increased its
popularity.43 He warned that altissimo should only be attempted by
"... advanced saxophone players who have a well-developed embouchure and
an accurate sense of pitch discrimination."44 For the beginning stages of
altissimo, Teal encouraged the study of overtones in which the student
experiments with the correct mixture of embouchure pressure, air support, and
throat position to produce overtones. To conclude this chapter, Teal included a
fingering chart for the altissimo register.45
The final chapter displays a chart of methods and etudes, alto saxophone
solos with piano accompaniment, collections of alto saxophone solos, tenor
saxophone solos with piano accompaniment, collections of tenor saxophone
solos, baritone saxophone solos with piano accompaniment, saxophone duets,
saxophone quartets, saxophone with other instruments, suggested reading
material, and distributors of saxophone music. The solos, etudes, duets, and
“ Teal, The A rt o f Saxophone Playing, 95.
“Teal, The A rt o f Saxophone Playing,97.
“Teal, The A rt o f Saxophone Playing 98.
“Teal, The A rt o fSaxophone Playing 98.
65
quartets are divided into the following categories: easy, medium-easy, medium,
medium-difficult, and difficult.
The Saxophonist's Workbook: A Handbook o f Basic Fundamentals was
originally published by Teal in 1958 and revised in 1976 to its current form.46
This book originated in the Teal School of Music in Detroit, where every week,
Teal used his music typewriter to create a new page of exercises and distribute it
to the students in his studio.47 Eventually, the individual exercises became The
Saxophonist's Workbook. Although Teal had the original foresight for this book,
he credited his students for their invaluable suggestions and for assembling the
materials in the book.48
According to Teal, this book was designed to aid the serious saxophonist
by providing a condensed volume of the fundamental techniques necessary for
the development of a fine performer. The format of this book was not designed
for a beginning student and was not intended to replace current saxophone
method books. It was intended, rather, to enhance each practice session and to
benefit further study of etudes and solos.49 Teal recalled that when Marcel Mule
(b. 1901) encountered The Saxophonist's Workbook he said "I need to throw
"Larry Teal, The Saxophonist's Workbook: A Handbook o f Basic Fundamentals (Ann

Arbor, Mi: Larry Teal, 1958; reprint, Ann Arbor, Mi: Encore Publications, 1988), 1.
"Donald Sinta, Professor of Saxophone at The University of Michigan, interview by

"Teal, The Saxophonist's Workbook, foreword.
"Teal, The Saxophonist's Workbook, foreword.
66
mine out because I wrote out all exercises in each key signature."50 Teal
minimized writing exercises in each key because he believed students should
use their memory and their ears to proceed to the next exercise.51
The Saxophonist's Workbook contains exercises emphasizing the
fundamental concepts of technical and musical development regarding tone,
vibrato, intonation, dynamic control, articulation, alternate fingerings, scales,
intervals, arpeggios, and register studies.52 With the introduction of each
concept, Teal provided a succinct description of how to properly approach each
concept. Tempos for each exercise are rarely marked, but Teal advocated a slow
methodical approach.53
Teal included a lengthy treatise on tone development entitled
Introductory Remarks on Tonal Development, in which he stated that classifying
studies as technical or tone studies diminished the importance of correct
intonation and clean technique for all studies.54 He emphasized that in order to
produce good music all aspects of good playing should be incorporated at all
times.55
“Teal, The Saxophonist's Workbook, 1.
“Teal, The Saxophonist's Workbook, 13 and 19.
“ Teal, The Saxophonist's W orkbook,!.
“ Teal, The Saxophonist's W orkbook,!.
67
Teal described the proper way to form an embouchure and discussed the
importance of the oral cavity, breath control, and breath support in tone
development.56 Teal introduced vibrato as an important part of tone
development and presented a concise approach to the production of vibrato.57
He stated t h a t .. vibrato is correctly an embellishment of the tone, and should
serve to beautify and liquify the sound."58
In regards to the improvement of intonation, Teal advocated the use of a
tuning device or a well-tuned piano. He believed it was important for the
student to know intervallic relationships like the major third and the perfect fifth
and included arpeggio exercises to aid proper ear training.59 Included in this
section are exercises that emphasize tendency tones on the saxophone.60
For the study of dynamics, Teal created an exercise entitled Pattern for
Study o f Dynamic Control which assigned a number to a dynamic marking. He
reminded students to control the crescendo and the decrescendo by the air
stream and not by lip pressure and to increase the vibrato as the volume
“Teal, The Saxophonist's W orkbook,!.
^The concept of metered vibrato includes a step by step process in which the student
creates pulses with their jaw using the syllable "Vah" to the pulse of the metronome.
“Teal, The Saxophonist's Workbook,<3.
“ Teal, The Saxophonist's Workbook, 5.
"Teal, The Saxophonist's Workbook, 9. The tendency tones include (Flat: D l, Bl, Bbl,
C#2), (Sharp: D2,E2,C#2)
68
diminishes. To conclude, Teal inserted exercises that involved changing
dynamics at a rapid pace.61
Teal described the proper way to articulate on saxophone and the staccato
style of articulation. Recognizing that each individual has different anatomy,
Teal recommended that the student experiment with the placement of the tongue
on the reed.62 Teal's articulation exercises begin with repeated pitch articulation
and progressively move to arpeggiated articulation.63 Included with his
articulation study is a study of alternate fingerings which culminates into a
compilation exercise entitled Basic Articulation Study combining his articulation
study with the alternate fingering study.64 As an additional articulation study,
Teal included a movement from Flute Sonata no. 4 by Johann Sebastian Bach
(1685-1750) at the conclusion of the book.65
Teal emphasized the improvement of technique through various
articulation and rhythmic patterns involving major and minor scale patterns and
thirds, chromatic scale and chromatic intervals, whole-tone scale and thirds,
diminished and augmented scale progressions.66 To emphasize the importance
of the study of scales, Teal encouraged the student to create "... additional
61Teal, The Saxophonist's Workbook, 6.
“Teal describes how a person should articulate on the saxophone in a succinct manner.
“Teal, The Saxophonist's Workbook, 12.
“Teal, The Saxophonist's Workbook, 13-14.
“Teal, The Saxophonist's Workbook, 19-33,40, and 42.
69
exercises that fit his particular needs. Since the upper register and lower
registers are more difficult, a repetition of these sections is urged."67 To support
his assertion, he created exercises for the lower and upper register.68 At the time
of the first publication of The Saxophonist's Workbook, Teal recognized that
many saxophones were not equipt with a high F-sharp key and therefore does
not include it in his exercises.69 Teal does not extend the range of his exercises
into the altissimo register.70 He stated the following about the inclusion of
altissimo in this book.
While many advanced saxophonists have been employing this technique

for some time, only recently has it become a required addition for the
accomplished player. Since the study of altissimo is quite involved, it has
been omitted from this work, but certainly should be explored.71
To conclude The Saxophonist's Workbook, Teal listed additional
recommendations of books including etudes, articulation, altissimo, and finger
technique as well as his own work, The A rt o fSaxophone PlayingP-
The Saxophonist's Manual: A Handbook o f Basic Concepts was created in
1978 as a simplified version of The Saxophonist's Workbook According to Teal,
The Saxophonist's Manualshovld precede The Saxophonist's Workbook.
67Teal, The Saxophonist's Workbook, 19.
“Teal, The Saxophonist's Workbook, foreword and 19. F-sharp key refers to F#3.
70Altissimo register includes all notes written above F3.
^Teal, The Saxophonist's Workbook, foreword.
^ e a l, The Saxophonist's Workbook, 44.
70
Concepts covered in The Saxophonist's Workbook and. The Saxophonist's
Manual ate throughly outlined in The A rt o fSaxophone Playing.73
Teal stated that The Saxophonist's A/ani/ai provides aid for both students
and teachers in developing a correct basis on which to build fine playing skills.
He believed that the first lesson is the most important and recognized that
improper habits formed through misinformation may result in destructive
routines which are difficult to remedy.74 The Saxophonist's Manual is intended
to supplement beginning method books by focusing on fundamental practices
not typically encountered in those sources.75
In The Saxophonist's Manual, Teal addressed posture, hand and finger
position, embouchure formation, breathing, intonation, vibrato, articulation, tone
production, alternate fingerings, and dynamics. Additionally, Teal included
music theory, musical terms, and practice habits. Compositions by well-known
composers such as Johann Sebastian Bach, Franz Joseph Haydn (1732-1809),
Felix Mendelssohn-Bartholdy (1809-1847), Johannes Brahms (1833-1891),
Antonin Dvorak (1841-1904) are utilized for practical application of each
concept. Along with the musical example, Teal guided the student through each
concept with a succinct process and an appropriate exercise.76
^Larry Teal, The Saxophonist's Manual: A Handbook o f Basic Concepts (Ann Arbor,
Mi: Larry Teal, 1978; reprint, Ann Arbor, Mi: Encore Publications, 1988).
74Teal, The Saxophonist's Manual,
’’Teal, The Saxophonist's Manual, 1.
’“Teal, The Saxophonist's Manual.
Teal demonstrated proper playing position for the neck strap,
embouchure, and head with pictures and a written description. He noted that
individual physical differences may preclude any definitive rules concerning
playing position and more importantly that the student should have a
comfortable and relaxed posture with freely moving hands, arms, and fingers.77
After he described exact hand and finger position, Teal isolated potential
fingering problems and included a relevant exercise. The student is encouraged
to use a mirror to observe the action and positioning of the fingers.78
To demonstrate proper embouchure formation, Teal included a picture
and a written description. He then asked the student to perform a series of
exercises that required a steady embouchure.79
Teal divided his discussion of breathing by focusing on posture,
inhalation, exhalation, and airstream development. After teaching the student
the proper way to breathe while playing the saxophone, he advised the student
when and where to breathe in the music. To practice this, Teal included two
duets with four measure phrases with no breath marks, challenging the student
to apply the information in this chapter to the duet.80
In his introduction to intonation, Teal stated the following about the
importance of ear training.
"Teal, The Saxophonist's M anualA .
"Teal, The Saxophonist's Manual, 5.
72
Pitch recognition is so tied up with ear training that it is illogical to
separate the two. Attentive listening is the prelude to sensitive hearing,
and is essential to the development of a discriminating musical ear.81
He believed that the ear can be trained and he therefore recommended that the
student play a note and then sing the note. To improve intonation, Teal
recommended finding the embouchure position that would produce accurate
intonation with no pressure alteration using an electronic timing device.82
In regards to vibrato, Teal believed that the student should work to obtain
a consistent vibrato to enhance their tone quality and the musicality of a piece of
music. He stated the following about the importance of vibrato.
Successful use of vibrato, a characteristic of saxophone tonal quality,

depends on the degree of control attained by the performer, plus an
artistic application in musical renditions. Lacking this control, the
performer will be unable to express his own musical thoughts well.83
Teal's formula for creating a musical vibrato included the practice of measured
vibrato. He believed that when a physical control of both speed and amplitude
is established, the vibrato can successfully be added to the musical requirements
of a piece.84 To relate this concept to something the student recognizes, Teal
utilized exercises relating the pulsations of vibrato to articulated rhythms. He
proceeded with vibrato exercises of four pulsations per beat using scale patterns.
To conclude this section, Teal encouraged the student to apply vibrato to the
“ Teal, The Saxophonist's Manual, 10.
73
included musical excerpts. Although Teal advocated the practice of measured
vibrato, he stated that not every quarter note receives an exact number of
pulsations.85
Teal highlights the fundamentals of music theory in his discussion on
major, minor, and chromatic scales. After teaching the formation of scales, Teal
introduced the major third, perfect fourth, perfect fifth and other intervals found
in a major scale. To practice the major and minor scales, Teal selected a few
scales and placed them in duet form for the teacher and the student. He also
included major and minor scales and arpeggio patterns, the chromatic scale, and
he emphasized that scales should be tongued and slurred.86
In his discussion of articulation, Teal emphasized staccato articulation,
defined as the separation of tones in which each tone is held less than its printed
value.87 As part of the discussion on articulation, Teal introduced tonal shaping
which included the variations of the release and length of tones. This section
included diagrams and descriptions of the articulation process and tonal
shaping.88
“Teal, The Saxophonist's Manual, 11.
“ Teal, The Saxophonist's Manual, 15-23.
“Teal, The Saxophonist's Manual, 24.
“Teal, The Saxophonist's Manual, 24-27.
74
Teal displayed a complete guide to alternate fingerings and included
exercises to improve the use of each fingering.89 Included with these exercises
are compositions intended to benefit from alternate fingerings.90
The last concept discussed in The Saxophonist's Manual is dynamics or as
Teal labels it, volume control. He asserted that volume level is correctly
controlled by the speed and pressure of the air stream at the point of the reed.91
To reinforce this concept, Teal included five important points. To aid in volume
stability, Teal associated a number with each volume level from pianissimo to
fortissimo. Progressive exercises for practicing dynamic changes are included,
moving from whole notes with slight dynamic changes, to eighth-note triplets
with sudden dynamic changes. Teal also encouraged the student to play a series
of pitches at different dynamic levels to measure the tonal control of every
register of the saxophone.92
Teal concluded the Manualvhth definitions of musical terms and a guide
to good practice habits, including advice on breathing, posture, embouchure,
long tones, intonation, tonal connection, vibrato, articulation, and how to
approach etude and solo material.93
“’Side B-flat, &s B-flat, 1/4 B-flat, 1/5 B-flat, Side C, Side F-sharp, G-sharp.
"Teal, The Saxophonist's Manual, 29-35.
91Teal, The Saxophonist's Manual, 26.
75
Daily Studies for the Improvement o fSaxophone Technique was
published in 1972.94 Unlike his other books, this book does not provide any
pedagogical aids and solely focuses on the improvement of finger technique.95
In the foreword, Teal stated that good technique is more than just speed, but also
accurate rhythm, even tempo, uniformity of time values, as well as consistency
of tone color, correct intonation, and smooth connection of pitches. He believed
that one must address the development of fine technique by striving for a
thorough command of the basics.96
The exercises in this book include scale, chord, interval, and rhythmic
patterns, using the major, minor, whole tone, and chromatic scale. Teal also
included major and minor second trill exercises and alternate fingering
exercises. Although Teal's exercises are based on commonly used technical
study material, they are fashioned to strengthen common weaknesses in
saxophone technique. For example, the last study in this book highlights a
specific technical difficulty in saxophone playing, playing from A-flat to B-flat
using the side B-flat key. For each exercise in this book, Teal suggested alternate
articulations and repetition of the exercise to be played up an octave when
possible.97
**Larry Teal, Daily Studies lo r the Im provem ento f Saxophone Technique (Saint Louis:
Etoile Music, Inc., 1972; reprint, Saint Louis: MMB Music, Inc., 1993).
^Pedagogical aids refers to instruction given by the author before each new exercises
instructing the student as to how to proceed with the exercises.
*Teal, D aily Studies, 2.
^Teal, D aily Studies, 40.
76
In 1955, Teal published Studies in Time Division: A PracticalApproach to
Accurate Rhythm Perception with the intention of making a comprehensive
guide to rhythm for students studying privately or in a classroom setting.98 He
stated that these exercises are for all instruments, written in the playable range of
all treble clef instruments, and should be practiced daily. To aid the study of
rhythm, Teal included musical examples which were selected for their
adaptability to the particular time division study, rather than their melodic
content.99 Teal launched the book with a discussion of teaching time division.
Scientific studies in the field of time perception have long substantiated

the fact that the human mind is more capable of accurately measuring a
short period of time than a long one. With this thought in mind, it is our
contention that we have been teaching time division backwards. Division
of a relatively long period, i.e., the 'beat', into eighths, sixteenths, thirty-
seconds, etc., with all the possible combinations, is much more difficult
than building up time values from a smaller time unit.100
To produce this book, Teal studied various books and articles on teaching
rhythm. He borrowed the formula, one ta an ta, for counting sixteenth notes
from a famous dance instructor. Teal found these syllables to be more even than
the commonly used one a an a: to him, the "a" was not precise enough.101 He
believed that the student must be able to count the sixteenth notes evenly before
proceeding to other rhythms. With the introduction of a new rhythm, Teal gave
’'Larry Teal, Studies in Time Division: A Practical Approach to Accurate Rhythm

Perception (Ann Arbor, Mi: Larry Teal, 1955.; reprint, Ann Arbor, Mi: Encore Publications,
1988).
’Teal, Studies in Time Division:, foreword.
'T e a l, Studies in Time Division, foreword.
'“Teal, interview by C. Matthew Balensuela, 15 December 1983.
77
precise written directions and diagrams of rhythmic equivalents. He
encouraged the student to tap their feet while saying the rhythm out loud and
then play the rhythm on their instrument. The meters discussed include
common meter (4/4,2/4) and compound meter (3/8,6/8,9/8,12/8).
Syncopation is explained and demonstrated first through the use of subdivisions
with accents, quarter note to half notes, and then rests are included. Teal
concluded this book by encouraging the student to apply this knowledge to
other music. He concluded the book with the following statement.
The possible combinations are endless, and the aim in this method has
been to include the basic patterns only. It is hoped that with these
fundamentals, the student will be able to analyze and correctly interpret
the more complicated patterns.102
Melodies for the Young Saxophonist: With Added Preparation Studies
was written by Larry Teal around 1972.103 Teal created this book for young
students with a concentration on melody. He believed that in order to maintain
the musical interest of a young child, the study of fundamentals must be
supplemented with melodious exercises.104
The compositions utilized by Teal in Melodies for the Young Saxophonist
are by well-known composers such as Johann Sebastian Bach, Wolfgang
Amadeus Mozart (1756-1791), Ludwig van Beethoven (1770-1827), Giuseppe
Verdi (1813-1901), Pytor Tchaikovsky (1840-1893), and Scott Joplin (1868-1917).
““Teal, Studies in Time Division:, 24.
'“ Larry Teal, M elodies for the Young Saxophonist With A dded Preparation Studies
(Saint Louis: Etoile Music, n.d.; distributed by MMB Music, Inc.).
'"Teal, M elodies for die Young Saxophonist, 1.
78
Traditional European folk songs are included as well. Amongst the various
melodies are seven short duets for the teacher and the student.
According to Teal," ... each solo was chosen with a particular aspect of
musical development in mind"105and was placed in order of difficulty level.
The melodies are accompanied by a preparation106which is directly related to
the melodic and technical content of the piece. Although the word preparation
implies an aid to performance, Teal noted from his experience that once the
young student has attempted the solo, the value of the preparation becomes
apparent.107 Included in the preparation are technical exercises using major and
minor scales and arpeggios, intervals, different styles of articulation,108and
technical exercises for range development. Teal encouraged memorization of the
preparation and included an explanation of musical concepts, directions, style,
and terms.
In the late 1970s, James Froseth created a band method entitled The
Individualized Instructor. Froseth requested Teal to coauthor Introducing the
Saxophone (Alto and Tenor) and Introducing the Alto Clarinet and Introducing
’“ Teal, M elodies for the Young Saxophonist, 1.
'“Teal, M elodies for the Young Saxophonist, 1. The term preparation refers to the
exercises included on each page that contain material relevant to the performance of the melody.
l07Teal, M elodies for die Young Saxophonist, 1.
'“ Teal, M elodies for the Young Saxophonist, 4. In the beginning of M elodies for the
Young Saxophonist, Teal diagrams the proper position of the tongue and the reed and adds
additional commentary to aid the student in learning the proper articulation technique
79
the Bass Clarinetm Teal and Froseth intended this series "to precede or
supplement a regular beginning instrumental text."110 The introduction of the
book includes a discussion of the responsibility of the student, parent, and
teacher when using this book. He advised the student of the importance of
regular practice, outlining how to practice and emphasizing the use of a practice
schedule and record. Included with this book is a recording with examples from
the book and accompaniment. As Teal introduced the fundamentals of playing
the saxophone, he displayed a series of checklists for the parent and the student
which were designed to monitor the student's progress. In addition to the
fundamentals, Teal instructed the student how to read and play music and to
count and play rhythms. To conclude the book, the student is asked to take A
Final Achievement Test which summarizes the concepts learned in the book and
graded by the teacher and parent.
lwLarry Teal and James O. Froseth, The Individualized Instructor: Introducing the
Saxophone (Chicago: G. I.A. Publications, 1977).
U0Teal and Froseth, The Individualized Instructor, 2.
Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission
CHAPTER V
ARRANGEMENTS AND COLLECTIONS
Introduction
From 1965 to 1980, Larry Teal arranged many works from the Baroque,
Classical, and Romantic period for the saxophone. Teal was introduced to music
arranging by his father who arranged classical and popular music for saxophone
quartet for Larry and family friends to play at home.1 Through his varied
musical experiences, Teal fostered a love for classical music and desired to bring
this repertoire to the saxophone.2 Sinta recalled Teal's fervor for classical music.
What drove him [to arrange for saxophone], was his love for classical
music. He played Schumann and Schubert with the Detroit Symphony
Orchestra and connected with the past. He owned hundreds of records,
and the saxophone records were way off in the comer. He concentrated
his listening on great music.3
Teal stated the following about the importance of studying a variety of music.
... saxophonists should experience all periods of music and should

become familiar with each tradition and play it well. This way,
saxophonists would have the experience of other music, not just
'C. Matthew Balensuela, "A Biography of Larry Teal: His Youth and Early Career"
(master's thesis, Bowling Green State University, 1985), 5. Instrumentation: Two Altos, Tenor,
and Baritone.
2Larry Teal, interview by C. Matthew Balensuela, 15 December 1983, Ann Arbor, Mi.
3Donald Sinta, Professor of Saxophone at The University of Michigan, interview by

80
81
contemporary music. There is a lot of cheaply written music composed
for the saxophone. Since the music of the older style periods were written
with quality performers in mind, saxophonists should take advantage and
perform this quality music as well.4
With this in mind, Teal arranged a complete solo work for alto saxophone, three
solo collections for alto saxophone, one solo collection for tenor saxophone, two
duets, one trio, four quartets, and a collection for saxophone quartet (see
appendices).
Teal selected compositions that complimented the idiosyncrades of the
saxophone and made minor changes to further adapt the pieces. After surveying
all of his arrangements, the author has discovered consistent patterns in his
arranging style. For most compositions, Teal maintained the original key, as
well as the dynamic, tempo, and articulation markings. Slight changes were
made to the composition in an effort to maintain melodic interest, a reasonable
duration, and a consistent level of difficulty. Additional characteristics of Teal's
arranging style indude the addition of metronome markings for each movement
and the addition of cursory dynamic markings.
Teal's arrangements indude works that focus on all levels of playing and
are suitable for contests as well as redtals. When arranging these works for
saxophone, Teal worked carefully to maintain a consistent difficulty level. To
maintain a consistent level of difficulty, Teal commonly omitted portions of the
compositions that did not work well within the range of the saxophone or
heightened the intended level of difficulty melodically or rhythmically.
82
Arrangements
Solo. Teal transcribed the Sonata for Clarinet and Piano, op. 167 by
Camille Saint-Saens (1835-1921) for alto saxophone and piano in 1976. Although
Teal arranged many collections of short works for the saxophone, this is his only
transcription of a complete solo work.5
In all four movements, Teal maintained the original key as well as the
dynamic and articulation markings.6 Although the majority of this work fits
well within the saxophone's range, Teal occasionally transposed the original part
up an octave to accommodate the range of the saxophone.7 He also included
optional parts extending beyond the most used range into the altissimo register.
Movement HI: Lento, originally written in the rich chalumeau register8of the
clarinet, required Teal to transpose the movement up an octave.9 One might
wonder if an extensive use of octave displacement changes the flow and melodic
continuity of the piece. Due to the fact that Teal was consistent with his use of
octave displacement, the continuity of melodic lines was preserved throughout
the work. In fact, in movement two, the octave displacement supports the
5Camille Saint-Saens, Sonate, op. 167, trans. by Larry Teal (Saint Louis: Etoile Music,
Inc., 1976; distributed by MMB Music, Inc.).
‘Camille Saint-Saens, Sonate, op. 167, ed. Reiner Zimmermann (Leipzig: Edition
Peters, 1972).
7Saint-Saens, Sonate, ed. Reiner Zimmermann, 3-6.
‘Kent Kennan and Donald Grantham, The Technique o f Orchestration, 4thed.

(Englewood Cliffs, Nj: Prentice Hall, 1990), 90. The chalumeau register of the clarinet
includes E-Dl.
‘Saint-Saens, Sonate, ed. Reiner Zimmermann, 12-15.
83
thematic material through similar contour of the melodic line.10 In some
instances, the octave displacement creates a non-idiomatic sequence in the
saxophone part and therefore forced Teal to choose an alternate pitch that would
suit the harmonic structure of the piece and the range of the saxophone.
Duets. In 1967, Teal arranged Three Concert Duets, op. lOby Friedrich
Kuhlau (1786-1832). Originally written for flute, this arrangement is intended
for two alto saxophones or for alto and tenor saxophone.11 Teal maintained the
original key and the tempo, dynamic, and articulation markings while utilizing
octave displacement to accommodate the range of the saxophone.
In 1969, Teal adapted Johann Sebastian Bach's Fifteen Two-Part
Inventions for saxophone duet, two altos or alto and tenor.12 He addressed the
elements of this adaptation in the following note to the student.
The first is the obvious difference in range between a keyboard

instrument... and a saxophone. The saxophone's comparatively limited
range necessitated numerous octave transpositions, the great majority of
them occurring in the second part.13
Teal recognized that the octave transpositions caused the voices to cross. Despite
the slightly varied transcription, he asserted that this work should be available to
saxophonists and other instrumentalists.14
“Saint-Saens, Sonate, ed. Reiner Zimmermann, 7.
"Friedrich Kuhlau, Three Concert Duets, op. 10, arr. Larry Teal (Bryn Mawr, Pa:
Theodore Presser Co., 1967; reprint, Ann Arbor, Mi: Encore Publications, 1991).
“Johann Sebastian Bach, Fifteen Two-Part Inventions, adapt. Larry Teal (Bryn Mawr, Pa:
Theodore Presser Co., 1969).
“Bach, Fifteen Two-PartInventions, adapt. Larry Teal, note.
I4Bach, Fifteen Two-PartInventions, adapt. Larry Teal, note.
84
In the introduction to the Inventions, Teal stated that, In these adaptations
for saxophone, there are fewer ornaments than usually found in editions
of the Inventions for keyboard, and the notation of the ornaments has
been somewhat modified.15
To aid the student in understanding the ornamentation utilized in this
arrangement, Teal included a descriptive guide, but claims that "this table...
lays no claim to being authoritative,"16and encouraged the student to study
other sources to gain a more accurate historical understanding of the notation.
In this adaptation, Teal maintained the original key for each Invention
and clearly marked the dynamics, articulation, and tempo. Regarding tempo, he
supplied each Invention with a metronome marking, but notes that, "Tempo
indications are believed by the editor to be effective for the saxophone and
should not be considered inflexible."17
In 1978, Teal published Six Canonic Sonatas, op. 5 fTW V40:118-123Jby
Georg Philipp Telemann (1681-1767) for two B-flat or two E-flat saxophones.18
Originally, this composition was written for two German flutes or two violins.19
To introduce the work, Teal provided a brief history of the composer and the
piece. Teal included an explanation of correct ornamentation for this work and
illustrated how the ornaments were written and how the ornaments should be
lsBach, Fifteen Two-PartInventions, adapt Larry Teal, note.
I6Bach, Fifteen Two-PartInventions, adapt Larry Teal, note.
l7Bach, Fifteen Two-PartInventions, adapt Larry Teal, note.
'“Georg Philipp Telemann, Six Canonic Sonatas, op. 5, TW V40:118-123, ed. Larry Teal
(Shell Lake, Wi: Etoile Music, Inc., 1978; reprint, Saint Louis: MMB Music, Inc., 1987).
'“Georg Philipp Telemann, Six Canonic Sonatas, ed C. Herrmann (New York:

International Music Company, 1977).
85
played.20 He also reminded the student that if the note following the trill is a
step away from the written note, the trill often ends in a turn.21 Due to the fact
that the range of the original instruments coincide with the saxophone's range,
Teal maintained the original key and pitches. Teal does not include metronome
markings for the movements and indicated the dynamics at the beginning of
each movement.22
Trio. Trio, op. 87 by Ludwig van Beethoven was originally written for
two oboes and English horn.23 In 1972, Teal arranged this work for soprano,
alto, and tenor saxophone, and also for alto, tenor, and baritone saxophone.24
The original written key is maintained in the soprano saxophone part and the
other parts were transposed accordingly. Although Teal maintained the original
dynamic and tempo markings, some slur markings were added to alleviate
articulation problems.25
^Telemann, Six Canonic Sonatas, op. 5, TW V40:118-123, ed. Larry Teal.
J1Telemann, Six Canonic Sonatas, op. 5, TW V40:118-123, ed. Larry Teal.
Telem ann, Six Canonic Sonatas, op. 5, TW V40:118-123, ed. Larry Teal.
“ Ludwig van Beethoven, Trio in C Major Tor Two Oboes and Cor Anglais, op. 87
(London: Ernst Eulenburg, Ltd., 1950).
24Ludwig van Beethoven, Trio, op. 87, arr. Larry Teal (Ann Arbor, Mi: Larry Teal, 1972;
reprint, Saint Louis: MMB Music, Inc., 1991).
“Beethoven, Trio, op. 87, arr. Larry Teal.
86
Quartets. Teal arranged four separate works for saxophone quartet26and
a collection of works entitled Ten Saxophone QuartetsP The four works are
Andantino and Vifitom String Quartet no. 1, op. lOby Claude Debussy (1862-
1918), Spinning Song from Six Songs Without Words, op. 67, no. 4 28and Presto
from Rondo Capricdoso in E Major for Pianoforte, op. 14 29by Felix
Mendelssohn-Bartholdy, and Andante from Quartet in A Minor, op. 29by Franz
Schubert (1797-1828).30
Andantino and Vifkom String Quartet no. 1, op. lOby Claude Debussy
was dedicated to the Detroit Saxophone Quartet31and published in 1976.32 In
the original, Andantino is the third movement and Vif(Assez vifet bien rythme)
is movement two. Teal rearranged the order of the movements to create a slow-
fast movement structure.
To arrange this work for saxophone quartet, Teal made minor changes to
the original composition. The original key was maintained in the soprano part
“Soprano, alto, tenor, and baritone saxophone.
^Two altos, tenor, and baritone saxophone.
“ Felix Mendelssohn-Bartholdy, Spinning Song horn Six Songs W ithout Words, op. 67,
no. 4, arr. Larry Teal (Saint Louis: Etoile Music, Inc., 1977; distributed by MMB Music, Inc.).
“ Felix Mendelssohn-Bartholdy, Presto from Rondo Capricdoso in E Major, op. 14, arr.
Larry Teal (Saint Louis: MMB Music Inc., 1977).
“ Franz Schubert, Andante from String Quartet in A Minor, op. 29, arr. Larry Teal (Saint
Louis: Etoile Music, Inc., 1980; distributed by MMB Music, Inc.).
31According to Lynn Klock the Detroit Saxophone Quartet was started in 1975 with Russ
Malory on soprano, John Slichten on Alto, John Littlejohn on Tenor, and Lynn Klock on
Baritone.
“ Claude Debussy, Andantino and V iffrom Q uartetno.l, op. 10, an. Larry Teal (Saint
Louis: Etoile Music, Inc., 1976; distributed by MMB Music, Inc.)
87
in Andantino, but Vifwas changed from G Major to A Major. The musical
directions are in the original language, French, and the dynamic, articulation,
and tempo markings are virtually unchanged from the original. Teal made
changes to the harmonic structure and musical markings. For example, when
the original includes a multiple stop, Teal retained the pitches that are important
to the harmonic stability of the measure. To aid the student in counting repeated
measures, Teal often omitted the repeat sign from the original and instead wrote
out the entire measure.33
In 1977, Teal published Spinning Song from Six Songs Without Words,
op. 67, no. 4by Felix Mendelssohn-Bartholdy for saxophone quartet.34 He
maintained the original key in the soprano part, as well as the dynamic,
articulation, and metronome markings. In order to make this composition
suitable for saxophone quartet, Teal divided the parts logically among the four
instruments and separated the original piano part giving the sixteenth-note
passages to the soprano and alto saxophone and the eighth-note passages to the
tenor and baritone saxophone. When four parts were not evident in the piano
part, Teal added new but harmonically sound eighth-note pitches to maintain
the rhythmic motion of the piece.35 Another example of this is shown when Teal
“ Claude Debussy, StreichquartettQuatuor, op. 10, ed. Herausgegeben von Reiner

Zimmerman (Leipzig: Edition Peters, 1971) 5-9.
^Mendelssohn-Bartholdy, Spum ing Song, arr. Larry Teal.
“ Felix Mendelssohn-Bartholdy, Spinning Song from Six Songs W ithout Words, op. 67,
no. 4, ed. Julius Rietz, Complete Works for Pianoforte Solo (New York: Dover Publications,
1975), 167-170.
88
replaced complicated sixteenth-note patterns with repetitious sixteenths that
outline the harmonic structure of the original.36 This technique helps to maintain
a consistent level of difficulty without destroying the harmonic structure of the
work.37
From the original to the arrangement of the Presto from Rondo
Capricdosoby Felix Mendelssohn-Bartholdy, Teal preserved the body of the
composition, the majority of the articulation and dynamic markings, and utilized
the same key for the soprano saxophone.38 To assure melodic and harmonic
interest and to adhere to a consistent level of difficulty in all the saxophone
parts, he purposely omitted unnecessary accompaniment, reduced
developmental material, simplified passages that were non-idiomatic,39and
rearranged measures that were inconsistent with the intended performance
level.40 Teal aimed to maintain melodic interest in all the saxophone parts and
therefore omitted passages that focused extensively on a particular voice.41
Harmonically, the original is frequently divided into three parts, of which Teal
logically divided amongst the soprano, alto, and tenor saxophone. The baritone
“ Mendelssohn-Bartholdy, Spinning Song, Complete Works, ed. Julius Rietz, 167-170.
^Mendelssohn-Bartholdy, Spinning Song, arr. Larry Teal.
“ Mendelssohn-Bartholdy, Presto from Rondo Capricdoso, arr. Larry Teal.
“The term idiom atic refers to technical material that is performed comfortably by the
saxophonist.
"Felix Mendelssohn-Bartholdy, Presto from Rondo Capricdoso in E Majorfor

Pianoforte, op. 14, ed. Julius Rietz, Complete Works for Pianoforte Solo (New York: Dover
Publications, 1975), 55-61.
41The term voice refers to the (soprano, alto, tenor, bass) voices of the piano part.
89
part emphasized the tonal structure of the work and is often based on a fourth or
fifth part. The soprano saxophone part, often derived from the top voice, is
featured in a lengthy melodic sequence. Although Teal highlighted the soprano
saxophone, he successfully maintained an equally satisfying part for all
instruments by including sections of the work where all voices are of equal
importance. In this work, Teal eliminated a recurrence of the original theme in
an effort to introduce new material. At times, Teal included the prominent
melodic line in a measure and dismissed supporting harmonic material to
maintain melodic interest.42
Teal arranged Presto in such a way that each part maintains an equal
difficulty level and is complementary to the strengths of the saxophone. For
example, when Teal encountered a leaping eighth-note pattern in the piano part,
he replaced the difficult passage with the first pitch of the eighth-note pattern
held as a dotted quarter note. Teal simplified a passage by exchanging pitches
from a sixteenth-note passage with pitches from an adjacent eighth-note passage.
In this work, he omitted a portion of a development section to avoid possible
range problems and in return gained a faster resolution to a building sequence.43
To avoid the altissimo register, which might not be accessible to the young
saxophonist, Teal utilized octave displacement. When the chords in the piano
part include more than four voices, Teal omitted those measures and moved to
^endelssohn-Bartholdy, Presto, Complete Works, ed. Julius Rietz, 55-61.
"Mendelssohn-Bartholdy, Presto, Complete Works, ed. Julius Rietz, 55-61.
90
more suitable sections of the work. Taking into consideration that this work was
arranged for saxophone quartet, Teal anticipated the rhythmic difficulties of
certain measures and altered them accordingly.
Andante from Quartet in A Minor, op. 29by Franz Schubert was arranged
by Teal for saxophone quartet and published in 1980.44 Teal maintained the
articulation and dynamics markings from the original but changed the original
key from A Minor to B Minor. To adapt this composition for the saxophone
quartet, Teal omitted harmonically redundant pitches and used octave
displacement to avoid the extreme registers of the saxophone. When the original
part included a double stop, Teal omitted the harmonic note and maintained the
melody.45 The majority of range manipulation is in the soprano part where Teal
protected the player from difficult passages in the high register. At a climactic
section of the movement, Teal changed the direction of the line to make the line
more musically effective. He strayed from the original first violin line which
descends as it crescendos into the resolution, and he replaced the part with an
ascending line in the upper register of the soprano with notes in the harmony.46
“ Franz Schubert, Andante from Quartet in A Minor, op. 29, art. Larry Teal (Saint Louis:
Etoile Music, Inc., 1980; distributed by MMB Music, Inc.).
“ Franz Schubert, Q uartettA m oll fu r 2 Violonen, Viola und Violoncello, op. 29, ed. C. G.
■
Roder (Leipzig: Ernst Eulenburg, 1930), 16.
“Schubert, Q uartettA m oll, ed. C. G. Roder, 21.
91
Collections
In 1964-1965, G. Schirmer, Inc. initiated a series of solo collections for all
instruments with piano accompaniment. Teal was commissioned to arrange
Solos for the Alto Saxophone Player and Solos for the Tenor Saxophone Player.
According to Teal, "The pieces in this collection have been selected for their
musical value, and for their adaptability to the style and limitations of the
instrument."47
Solos for the Alto Saxophone Player includes fifteen pieces selected from
the repertoire of the flute, violin, viola, piano, opera, and orchestra (see
appendix HI). Among the selections are two movements from Sonata no. 2 for
Flute and Keyboard, BWV1031 by Johann Sebastian Bach, Fantasy Piece for
Clarinet and Piano, op. 73, no. 3by Robert Schumann (1810-1856), Gypsy Rondo
from Piano Trio in G Major by Franz Joseph Haydn, Intermezzo from the Opera,
Goyescas, by Enrique Granados (1867-1916), Vocalise, op. 34, no. 14by Sergey
Rachmaninoff (1873-1943), and the saxophone solo from "The Old Castle"
movement of Pictures at an Exhibitionby Modest Mussorgsky (1839-1881) as
orchestrated by Maurice Ravel (1875-1937).
Teal clearly stated in his foreword to Solos for the Alto Saxophone Player
the purpose and the importance of this collection.
Although many outstanding composers have written solos for the

saxophone, its comparatively late invention leaves a great void in its
literature. For many years its use was confined to military bands and,
47Larry Teal, arr., Solos for foe A lto Saxophone Player (New York: G. Schirmer, Inc.,
1965; distributed by Hal Leonard Corp.), 1.
92
occasionally, the orchestra. Emergence of the saxophone as a solo
instrument did not take place until the 1920s, and it is since then that most
of the solo literature has been composed. If the serious saxophonist wants
to perform the music of the Gassical and Romantic periods, we must turn
to transcriptions.48
Teal carefully edited and arranged each of these works by manipulating the
melodic content, range, key, tempo, and articulation and dynamic markings to
best fit the idiosyncrades of the saxophone and to create the most musical
interest.
In regards to melodic content, Teal stated that "cuts have been made that
were deemed advisable."49 In all of these works, Teal maintained constant
melody in the saxophone part and therefore extracted most of the development
and interlude material from the original composition. An example of this
technique is evident in Larghetto from Sonatina for Violin and Piano, op. lOOby
Antonin Dvorak when Teal exduded a large developmental section due to the
lack of melodic material.50 The same technique is used in Gypsy Rondo where
he omitted new thematic material that might interfere with the repetition of the
initial melody.51 In Larghetto, Teal preserved the melody by incorporating
“Teal, arr., Solos fo r the A lto Saxophone Player, 1.
50Antonin Dvorak, Sonatina for Violin and Piano, op. 100, ed. Jan Hanus (Prague: Edito
Suraphon, 1955), 10.
51Joseph Haydn, G ypsy Rondo from Piano Trio in GMajor, ed. Xavier Scharwenka,
Variations, Dances, and O ther Short Works for Solo Piano (Mineola, Ny: Dover Publications,
Inc., 1999), 58-59.
93
melodic material from the lower voice of the piano part into the saxophone part
when the upper voice no longer contained the melody.52
According to Teal, "Technically, the solos might be graded from
medium-easy to medium-difficult."53 In order to sustain a consistent level of
difficulty, Teal selected works that fit his criteria for this level in regards to key,
range, articulation, range development, tempo, and dynamics.
Teal stated that "many of the compositions were transposed from their
original keys,"54which means that the saxophone part appears in the same
written key as the original and the piano part is transposed. The key signatures
for most of the compositions in Solos for the Alto Saxophone Player do not
exceed three flats or sharps, with the exception of two pieces: "The Old Castle"
from Pictures at an Exhibition (four flats) and Canzonetta, op. 6by Alfredo
d'Ambrosio (1871-1914) (five sharps).55
When selecting these works for the collection, Teal sought compositions
that remained within the most used range of the instrument, from B to F3.56 On
occasion, Teal transposed the original part up an octave to accommodate the
range of the saxophone, as in Gypsy Rondo. He was also considerate of the
“ Dvorak, Sonatina, ed. Jan Hanus, 8.
“Teal, arr., Solos for the A lto Saxophone Player, 1.
“Teal, arr., Solos tor the A lto Saxophone Player, 1.
“ Teal, arr., Solos tor toe A lto Saxophone Player, 2-6 and 53-57.
“Thomas, Benjamin, Michael Horvit, and Robert Nelson, Techniques and Materials o f
TonalM usic (Belmont, Ca: Wadsworth Publishing Co., 1992.), 3. The saxophone's written range
is referred to in this document.
94
technical challenges of the saxophone in regards to range. For example, in the
last measure of Romantic Piece for Piano, op. 75, no. lb y Antonin Dvorak, Teal
rewrote what would have been one of the lowest notes on the saxophone, B, up
an octave to alleviate the difficulty of sustaining this note for an extended period
of time. Of all the works in this collection, Fantasy Piece is the only composition
that utilizes the full range of the instrument, from B to F3.57
In regards to articulation markings, Teal followed the original when it
best suited the saxophone part. In several instances, as in Bach's Sonata no. 2:
Allegro, Haydn's Gypsy Rondo, M inuet hom Divertimento in D, K. 334, and
Rondo in D by Wolfgang Amadeus Mozart, Teal added slur markings to aid the
performer with what would have been continuous rapid articulation.58
The tempi have been translated from the original language of the
composer to Italian. For example, the tempo in Fantasy Piece is originally
written in German, rasch und m it FeuerJ* but Teal translated the indication to
Italian, Veloce e con fuoco.60 In addition to the translation, Teal added a
metronome marking, as he did for all the pieces in the collection.61
“Teal, arr., Solos for the A lto Saxophone Player, 68-75.
“Teal, arr.. Solos for the A lto Saxophone Player, 9-14 and 35-40.
“ Robert Schumann, Fantasiestucke furK lavier undKlarinette, op. 73, ed. Wolfgang
Boetticher (Munich: G. Henle Verlag, 1986), 10.
“ Teal, arr., Solos fo r the A lto Saxophone Player, 68.
61Teal, arr., Solos fo r the A lto Saxophone Player, 68.
95
The dynamic markings of each selection remained the same as the
original. Teal enhanced the original dynamic markings by placing additional
reminders of dynamic levels at the beginning and the end of marked crescendos
and decrescendos and at the beginnings and endings of long phrases. Vocalise
serves as a suitable example of both techniques.62
Solos for the Tenor Saxophone Player includes fourteen pieces selected
from the repertoire of the violin, cello, piano, and oboe (see appendix m).63
Among the selections are Allegretto from Sonata for Violin and Piano, op. 8, no.l
by Edvard Grieg (1843-1907), Spanish Dance for the Piano: Playera, op.5, no.Sby
Enrique Granados, Sarabandeitom PourlePianoby Claude Debussy, Scherzo
from Violin Sonata, op. 30, no. 2by Ludwig van Beethoven, Sleighride from The
Seasons: Twelve Characteristic Pieces for the pianoby Pytor Tchaikovsky, and
Two Bourees from Third Cello Suite by Johann Sebastian Bach. The majority of
the compositions are character pieces in the form and style of a dance.64
In order to justify the creation of this collection of tenor saxophone solos,
Teal stated the following about the tenor saxophone.
The present role of the tenor saxophone is that of a subsidiary instrument

in concert band or orchestra. The scarcity of solos written for this
instrument may contribute to the fact that it has not received a more
important place in contemporary scores.65
“ Larry Teal, arr. Solos for die Tenor Saxophone Player (New York: G. Schirmer, Inc.,
1965; distributed by Hal Leonard Corp.), iii.
“Teal, arr. Solos fo r die Tenor Saxophone Player.
“ Teal, arr. Solos for the Tenor Saxophone Player, iii.
96
Teal hoped that this collection would be a welcome addition to "the inadequate
literature available to the serious tenor saxophonist."66
Teal utilized the same arranging techniques as in the Solos for the Alto
Saxophone Player. He manipulated the melodic content, range, key, and the
tempo, articulation, and dynamic markings to best fit the technical challenges of
the saxophone and to create the most musical interest.
In regards to melodic content, Teal stated that" ... few changes were
made from the original composition, and most of these alterations were
necessitated by the limited range of the saxophone."67 When selecting these
works for the collection, Teal sought compositions that remained within the most
used range of the instrument, from B to F3, and which contained an abundance
of melodic content.68 On occasion, Teal was required to rewrite the original part
up an octave to avoid the low register of the tenor saxophone. This technique is
evident in Playera where the saxophone part has been transposed up an octave
to avoid the low register of the saxophone at a soft dynamic level.69 Also in
Sarabande, the original is transposed up an octave to avoid constant unison
which could cause intonation problems.70 Most of the pieces in this collection
“Teal, arr. Solos for die Tenor Saxophone Player, iii.
67Teal, arr. Solos for die Tenor Saxophone Player, iii.
“Benjamin, Horvit, and Nelson, Techniques and Materials o f TonalMusic, 3. The

saxophone's written range is referred to in this document.
“ Enrique Granados, Spanish Dance for die Piano: Playera, op. 5, no. 5, ed. Willard A.
Palmer (Van Nuys, Ca: Alfred Publishing Co., Inc., 1989), 6.
^Claude Debussy, Pour le Piano, ed. Emst-Gunter Heinemann (Munich: G. Henle

Verlag, 1984), 11.
97
span the full range of the saxophone but avoid the extreme registers for an
extended period of time.
In all of these works, Teal maintained constant melody in the saxophone
part and therefore extracted most of the development and interlude material
from the original composition. Sarabande serves as an example of this
technique, where instead of maintaining the melody in the piano part, Teal
added the melody in the saxophone part in unison with the original piano part.71
Originally an unaccompanied work, Teal added a simple accompaniment to
Bouree I and Hand maintained the melody in the saxophone.72 To avoid
technical difficulty in Sleighride, Teal maintained a fast staccato passage in the
piano part and gave the bass clef melody to the tenor saxophone.73
According to Teal, "Technically the solos are medium-easy to medium-
difficult."74 To make his arrangements conducive to the intended difficulty
level, Teal selected works that fit his criteria for this level in regards to key,
range, articulation, range development, tempos, and dynamics.
Teal stated that "in many cases it was necessary to change the original key
to keep the piano and saxophone parts in a key suitable as to range and
7lTeal,arr. Solos for the Tenor Saxophone Player, 17-20.
^ e a l, arr., Solos for the Tenor Saxophone Player, 2-5.
^Peter I. Tchaikovsky, The Seasons: Twelve Character Pieces, op. 37a, ed. Louis Oesterle
(New York: G. Schirmer, 1909), 48-50.
74Teal, arr.. Solos fo r the TenorSaxophone Player, iii.
98
difficulty."75 While in some of the works he maintains the original key, most of
the keys have been transposed to sound in the original key. The key signatures
for most of the compositions in Solos for the Tenor Saxophone Player do not
exceed three flats or sharps, with the exception of one piece, Playera (five
sharps).76
In regards to articulation markings, Teal followed the original when it
best suited the saxophone part. In some instances, as in Bach's Bouree I and II,
Teal added slur markings to aid the performer.77
Text indications have been translated from the original language to
Italian. For example, the tempo in Three Romances for Oboe and Piano, op. 94,
no. 1 by Robert Schumann is originally written in German, Nicht schnell,n but
Teal translated the indication to Italian, Moderate.79 In addition to translation,
Teal added a metronome marking, as he did for all the pieces in the collection.
The dynamic markings of each selection remained the same as the
original. Teal enhanced the original dynamic markings by placing additional
reminders of dynamic levels at the beginning and the end of crescendos and
decrescendos and at the beginnings and endings of long phrases. Song Without
’’Teal, arr., Solos fo r the Tenor Saxophone Player, iii.
76Teal, arr., Solos (or the TenorSaxophone Player, 29-33.
”Teal, arr.. Solos for the Tenor Saxophone Player, 2-5.
’’Robert Schumann, Three Romances fo r Oboe and Piano, op. 94, no. l,e d. Robert
Bloom (Cranberry Isles, Me: The Robert Bloom Collection, 1998).
’’Teal, arr., Solos h r the A lto Saxophone Player, 68.
99
Words, op. 109by Felix Mendelssohn-Bartholdy served as a good example of
both techniques.80
Program Solos for the Alto Saxophone and Piano includes twelve pieces.
Among the selections are Bouree from Organ Concerto, op. 7, no. 1 by Georg
Frideric Handel (1685-1759), Andante from Sonata no. 1 for Violin and Pianoby
Franz Joseph Haydn, M inuet from Sonata for Piano, op. 49, no. 2by Ludwig van
Beethoven, £ldgie op. 24 for Violoncello and Pianoby Gabriel Faure (1845-1924),
and Berceuse, op. 20, no. 8 for Pianoby Cesar Cui (1835-1918).
In an effort to make this collection suitable for the young saxophonist,
Teal made minor changes or adaptations necessary "to suit the range and scope
of the instrument."81 He carefully edited and arranged each of these works by
manipulating the melodic content, range, key signatures, and tempo, articulation
and dynamic markings to best fit the limitations of the saxophone and to create
the most musical interest.
In all of these works, Teal maintained constant melody in the saxophone
part and therefore extracted most of the development and interlude material
from the original composition. An example of this is in Minuet, where Teal
omitted accompaniment material from the original piano part and maintained
“ Teal, arr., Solos fo r the Tenor Saxophone Player, 36-41.
81Teal, arr. Program Solos for A lto Saxophone and Piano, foreword.
100
the melody in the saxophone part.82 In Berceuse, Teal transferred the melodic
content from the left hand of the original piano part to the saxophone.83
To maintain a consistent level of difficulty for young saxophonists, Teal
omitted measures that might interfere with the technical level of the piece and
range of the saxophone. In Andante, for example, Teal omitted a large section of
the original composition due to complicated rhythms and technical demands.84
Also in Andante, Teal omitted the grace notes horn the melody while
maintaining the melodic content. In £legie, Teal used a small portion of the
original to complete the piece due to the fact that the remaining portion of the
original work is rhythmically challenging and technically demanding, possibly
beyond the scope of the young student.85 To maintain the appropriate range of
the saxophone, Teal used octave displacement in most of the works.
Teal maintained most of the original keys, tempo, and dynamic and
articulation markings. In rare occasions, Teal changed the key of the original by
a whole step to facilitate the saxophone's range. Metronome markings are
“Ludwig van Beethoven, Klaviersonaten, op. 4 9 /1 ,2 , ed. Karl-Heinz Kohler (Wien:

Wiener Urtext Edition, 1986), 13-15.
“Cesar Cui, Berceuse op. 20, no. 8, ed. Maurice Hinson, M asters o f Russian Piano M usic
(New York: Alfred Publishing Co., Inc., 1990) 17-19.
“Franz Joseph Haydn, Sonata n o .l for Violin and Piano, ed. Aldolfo Betti, N ine Sonatas
for Violin and Piano (New York: G. Schirmer, Inc., 1931), 3-7.
“Gabriel Faure, Gldgie fo r Violoncello and Piano, op. 24, ed. Roy Howat (New York:
Edition Peters, 1994) 5-6.
101
added to the given Italian marking. To maintain a consistent technical level of
difficulty, Teal added slur markings to sixteenth-note passages in Bouree.96
Teal arranged a collection of saxophone quartets entitled Ten Saxophone
Quartets, published in 1969.87 The collection consists of compositions by
composers of different style periods and includes selected compositions from the
repertoire of the string quartet and quintet, flute quartet, oratorio, and orchestra
(see appendix III). Among the selections are: Bouree /and //from Orchestral
Suite no. 1 by Johann Sebastian Bach, Minuet k om String Quartet in E-Bat Major
K. 428by Wolfgang Amadeus Mozart, Grand Quartet from Flute Quartet, op.
103by Friedrich Kuhlau, Presto from String Quartet op. 18, no. 3by Ludwig van
Beethoven and "Yet Doth the Lord" from Elijah by Felix Mendelssohn-
Bartholdy.
In this collection, Teal utilized the same arranging techniques as in the
individual quartet arrangements. When arranging string quartet compositions,
Teal paired the alto one/violin one, alto two/violin two, tenor/viola, and
baritone/cello parts. In vocal works, when the parts are divided by soprano,
alto, tenor, and baritone voice, Teal joined the subsequent parts to maintain
appropriate harmonic structure. In a majority of the works, Teal preserved the
original key in the alto saxophone part and transposed the other parts. To
accommodate the range of the saxophone, Teal utilized octave displacement, as
“Georg Frideric Handel, Twelve Organ Concertos Book 3: op. 7, nos. 1-3, ed. Hermann
Keller (Boca Raton: Masters Music Publications, Inc., 1998) 22-25.
87Larry Teal, arr. Ten Saxophone Quartets (New York: G. Schirmer, Inc., 1969;
distributed by Hal Leonard Corp.).
102
in Mozart's Minuet:M When the original had more than four parts, Teal
borrowed melodic content from another part to maintain melodic interest. In
Bourse /and II, Teal selected a portion of the tenor and baritone parts horn the
piano part and added length to the notes to maintain melodic interest by
avoiding imitation of the other parts.89 In some instances, Teal omitted portions
of a work and added a repeat at the section with the most melodic content. For
example, Teal added a repeat to Minuet and Presto from String Quartet, op. 20,
no. 4 by Franz Joseph Haydn and omitted a lengthy development section.90 The
majority of the works are in a dance style, Bouree, Minuet, or Scherzo, and
therefore the melodic content is rich and the texture is light and accessible to all
levels of saxophone playing. The dynamic,
tempo, and articulation markings are maintained from the original.
In 1975, Teal published a collection of eight pieces for alto saxophone and
piano entitled Master Solos Intermediate Level. The collection includes six
arranged compositions by prominent composers and two original compositions
by Elaine Zajac and Trent Kynaston (b. 1946) (see appendix HI).91 Included with
this collection is a cassette tape of Elaine Zajac performing the works with piano
“ Wolfgang Amadeus Mozart, M enuetto horn String Quartet, K. 428, ed. Ernst
Eulenburg, Ten String Quartets (New York: Edition Eulenburg, Inc., 1968), 15-32.
"Johann Sebastian Bach, Vier Ouverturen (Suiten), ed. Kurt Soldan (Leipzig: Edition
Peters, 1934).
"Franz Joseph Haydn, String Quartetin D Major, op. 20, no. 4, ed Wilhelm Altmann,
String Quartets op. 20 and 33, Complete (New York: Dover Publications, Inc., 1985), 88-98.
,lLarry Teal, M aster Solos: Intermediate Level, ed. Linda Rutherford (Milwaukee: Hal
Leonard Publishing Corp., 1975).
103
on the first side of the tape. For practice purposes, the piano accompaniment is
included on the second side of the cassette tape.
Teal was inspired to arrange this collection for solo and ensemble festivals
and therefore selected compositions from various style periods to improve the
student's artistic and technical capabilities while also maintaining an
intermediate difficulty level. Teal judged many solo and ensemble festivals and
stated that a student's score would be reduced if he or she failed to include
melodic and technical material.92 With this in mind, each solo contains sections
that correspond with the principal categories of grading such as tone quality,
intonation, technique, rhythm, articulation, interpretation, and is intended to
adhere to a two to four-minute time limit. He believed that due to his careful
selection of compositions, the student would obtain a thorough evaluation of his
or her playing.93
As indicated in The Saxophonist's Workbook, Teal believed students
should develop the ability to teach themselves. With this in mind, Teal included
several pages of instruction with each solo to serve as several private lessons. In
the introduction to each piece, Teal provided a brief biography of the composer,
a description of the origin of the piece and style period, and a definition of
musical terms related to the piece. In some instances, Teal also introduced a new
“Lynn Klock, Professor of Saxophone at The University of Massachusetts, interview by

“Teal, M aster Solos, introduction.
104
note or an alternate fingering and included labeled exercises for that fingering.94
After the introduction, he proceeded with a discussion of tempo markings, time
signatures, beat division, musical directions,95style, ornamentation, dynamics,
phrasing, articulation, breathing and breath control, vibrato, and embouchure.
With each of the concepts listed above, Teal included an exercise or a
preparation that isolates potential difficulties and guides the student's practice
through written description and exercises.96
Each composition in this collection introduces new musical concepts.
Using music of the Baroque period, Teal instructed the student on
ornamentation. Utilizing Adagio andAllegroby Frederick the Great (1712-1786)
as an example, Teal instructed the student how to trill, read grace notes, and use
the appropriate dynamics in phrasing and repeated sections. To practice trilling,
Teal introduced a metered exercise starting with eighth notes and moving to
thirty-second notes. Teal insisted that repeating the movement between two
notes promotes evenness when placed in context. Teal illustrated a trill using an
example from the Adagio movement by designating the trill equal to a
quintuplet.97 Teal defined grace or ornamented notes and utilized measure two
*TeaI, Master Solos, 7,16, and 18. The new note is either an alternate fingering that
would aid in the performance of the piece or an upper or lower register note that are utilized
infrequently in music of this level. The alternate fingering refers fingerings used to facilitate
technical passages. For example, the saxophone has three ways to play A#/Bb. A colorful
fingering chart is included on the back cover of this book.
*The term, musical directions, is referring to repeats.
%Teal, M aster Solos. One example: Page 4 includes a rhythmic exercise involving
rhythms from the upcoming piece.
wTeal, M aster Solos, 8-9.
105
of the Allegro movement as an example. He illustrated what is written in the
music and what is actually played, giving the student a rhythmical comparison.98
To guide the student in producing proper dynamics in a repeated section
of Baroque music, Teal provided the following instructions:
Measures 27-32: Begin 'forte' in this phrase. Then start the last two
sixteenth notes of measure 28 'piano.' Measure 30 should be 'forte' to
finish the solo. On the repeat of this section, 'ritard' slightly at the end."
Teal also instructed the student on the proper use of dynamics for satisfactory
phrasing in the Baroque period. In regards to a measure in the Allegro, Teal
noted to "... put a slight decrescendo on the 'F' to 'E' to make the phrase sound
finished."100
In contrast to the Baroque period, the Contemporary period proposed a
new selection of nuances. Teal used Theme and Elaboration by Elaine Zajac to
introduce the caesura and the cadenza. He defined caesura and advised the
student to slightly ritard before the marking. Teal defined cadenza and advised
the student to practice the cadenza, at first, with a metronome.
Master Solos represents a variety of compositions, taking the student
through the ornamented style of the Baroque, the clean style of the Classical, the
freedom of the Contemporary, and the harmonic ambiguity of the Modem. It is
through this variety that Teal developed the student's knowledge of and comfort
with various styles of music.
’Teal, M aster Solos, 9.
"Teal, M aster Solos, 9.
“Teal, M aster Solos, 9.
106
Program Solos for Alto Saxophone and Piano was published in 1966 and
consists of compositions by various composers from different style periods. The
violoncello, organ, and piano (see appendix HI). Teal stated in the foreword that
"recognition of [the saxophone's] potential as a solo instrument has been slow
and only in recent years has much solo literature been written for it."101 Teal
continued by stating that "major composers who are beginning to write for this
instrument seem to prefer the more difficult and demanding type of
composition."102 In this light, Teal selected the compositions for this collection
on the basis of their compatibility with the saxophone and suitability to the
abilities of a young saxophonist.103 He found this collection suitable for study
and performance and suggested that the advanced saxophone player perform
these works on recital programs.104
In an effort to bring music of the past to a relatively new instrument, Teal
carefully selected a variety of music that adapts well to the saxophone and
displays various styles and genres. Teal included various degrees of difficulty
in his arrangements in an effort to bring this music to all levels of saxophone
t01Larry Teal, arr. Program Solos (or A lto Saxophone and Piano (Bryn Mawr, Pa:
Theodore Presser Co., 1966), foreword.
imTeal, arr. Program Solos for Alto Saxophone and Piano, foreword.
1<BTeai, arr. Program Solos for A lto Saxophone and Piano, foreword.
1MTeal, arr. Program Solos fo r A lto Saxophone and Piano, foreword.
107
playing. He maintained his arranging style in all of his works and endeavored
to make each arrangement suitable for the intended audience.
CHAPTER VI
CONCLUSION
As an early pioneer of American saxophone pedagogy, Teal established a
standard of playing and championed the acceptance of the saxophone as a
serious instrument of study. His reputation as a performer brought saxophone
playing to a new level, introducing the classical style to the public and inspiring
original compositions for the saxophone. During his years at The University of
Michigan, Teal shaped an American School of saxophone pedagogy by
encouraging numerous students to seek a career in saxophone teaching and by
publishing invaluable pedagogical materials and arrangements for all levels of
saxophonists.
Teal's performance proficiency on various woodwinds resulted in
numerous performances with WJR and the Detroit Symphony Orchestra, giving
him the opportunity to perform new works for the saxophone. At a time when
classical saxophone playing in the United States was in its infancy, Teal inspired
Bernhard Heiden to write the Sonata for Alto Saxophone and Piano, now a
standard of saxophone repertoire, performed the American premier of the
Concerto in E-flatfor A lto Saxophone and Orchestra by Alexander Glazunov,
and later performed the Concertino da Camera for Alto Saxophone and Eleven
108
109
Instrumentsby Jacques Ibert. These performances enlightened many to the
musical potential of the saxophone and established Teal's reputation as an
outstanding performer. As a result, the Teal School of Music enjoyed great
success and produced some of the finest saxophonists in the United States.
Teal's early notoriety as a performer and teacher culminated in his
appointment to the faculty of The University of Michigan. While at The
University of Michigan, Teal pioneered American saxophone pedagogy,
established the first doctoral program in Saxophone Performance in the United
States, and was the first American teacher of saxophone to be named a full
professor. As a result of his university position, Teal codified his ideas on
saxophone pedagogy through his publication of articles, pedagogical books,
arrangements, and collections. In addition to these materials, Teal's influence as
a person and teacher had a great impact on his students. He cared about the
lives of his students, and his goal as a teacher was to ensure their success in the
music world. While teaching at The University of Michigan, Teal monitored his
student's academic progress to ensure future employment. In addition, Teal
increased their exposure to a variety of music and instruments and encouraged
many to obtain a degree in woodwinds to increase their marketability. Teal also
influenced his student's methodology by encouraging them to maintain specific
standards of excellence. With a philosophy based on a strong foundation of
fundamentals, Teal demanded preparation, proper tone, steady rhythm, and
exquisite technique from his students. Former students continue to recognize
the importance of the concepts Teal imparted to them and teach these concepts to
110
their students, thus continuing the tradition of Teal's development of an
American School of saxophone pedagogy.
Teal's pedagogical materials concentrate on the improvement of
fundamentals and afford students and teachers the opportunity to improve their
playing and teaching through self-instruction. They were designed to aid all
levels of saxophone playing and serve as a basis for teaching saxophone in the
United States.
Teal arranged solo works for all levels of saxophonists in an effort to
bring the quality of classical music to the modem saxophone performer and to
add variety to saxophone repertoire. The content of the solo collections is
borrowed from the repertoire of nearly all instruments and from a multitude of
different style periods and musical genres. His arrangements encompass well-
known literature of prominent composers in an effort to improve the student's
knowledge and performance of music written before the invention of the
saxophone. The quartet collection caters to the young saxophone quartet by
virtue of the use of two altos and the simplified repertoire. The individual
quartet arrangements are for the advanced saxophonists and include a soprano
saxophone. Like his pedagogical books, Teal's arrangements provide literature
from a variety of historical styles for all levels of playing.
Teal's performing, teaching, and production of pedagogical materials was
very important to the acceptance of the saxophone as a classical instrument.
Teal, through his study of various woodwinds, combined his knowledge and
experience with these instruments to improve saxophone performance and
Ill
pedagogy. Teal influenced many future teachers and performers through his
establishment of an American standard of saxophone performance. The success
of his teaching at The University of Michigan was duplicated at other
universities, which then allowed students the opportunity to study the
saxophone at the university level.
BIBLIOGRAPHY
Articles by Larry Teal
Teal, Larry. "Some Fundamentals for the Saxophone." Music Supervisors Journal
(October 1938): 50-51.
_______. "Preparing to Start the Saxophone Tone." The Instrumentalist

(February 1954): 22-23,45.
_______. "Double Trouble." Etude (April 1955): 19,46.
_______. "Saxophone Fun-damentals." The Instrumentalist (March 1959): 69-71.
_______. "The Role of the Saxophone in the College Music Scene." Woodwind
World (November 1971): 12-13.
_______. "Thoughts of the Saxophone Quartet." The School Musician: Director

and Teacher (October 1976): 12-14.
Articles About Larry Teal
Balensuela, C. Matthew. "A Special Tribute to Dr. Larry Teal: The Early Youth
and Career of Larry Teal." The Saxophone Symposium (Spring 1984):
12-14.
Callaghan, J. Dorsey. "Sax Novelty Highlights Concert." Detroit Free Press, 28

February 1947.
Finney, Ross Lee, Kenneth Fischer, Jean-Marie Londeix, John Mobler, Max
Plank, Eugene Rousseau, Larry Sheets, James Stoltie. "Letters of Tribute."
The Saxophone Symposium (Spring 1984): 15-16.
Garber, Stan. Letter to C. Matthew Balensuela. Elkhart, In., 16 April 1984.
Gee, Harry R. "American Pioneer Saxophonists." SchoolMusician 56 (April

1985): 21-22.
112
113
______ . "A Special Tribute to Dr. Larry Teal: The Later Years." The Saxophone
Symposium (Spring 1984): 14-15.
Haas, Rosamond. "Teal Retirement." The University o f Michigan News, 6 May

1974.
Hegvik, Ted. "Like a Father Away from Home." The Saxophone Symposium
(Spring 1984): 17-18.
Liley, Thomas L., Frederick L. Hemke, Cedi Leeson, Jean-Marie Londeix, Steven
Mauk, Marcel Mule, Sigurd M. Rascher, William D. Revelli, Donald Sinta.
"In Memorium: Dr. Larry Teal." The Saxophone Symposium (Fall 1984),
16-17.
Masdmben, Michael D. "L. T. and Me." The Saxophone Symposium (Spring

1984): 18.
McLaughlin, Russell. "Novelties are Presented by Detroit Music Guild." The

Detroit News, 9 April 1937.
_______. "Sax Soloist at Concert is Larry Teal." The Detroit News, 28 February
1947.
Spedal. "Biographical Information: Laurence L. Teal." The University o f

Michigan Newsservice, November 1964.
Interviews
Cooper, Hugh, Professor Emeritus of Bassoon at The University of Michigan.

Interview by Author, 25 January 2001, Athens, Ga. Tape recording of
phone interview.
Ervin, Elizabeth, Vice Provost for Academic Affairs and former Professor of
Saxophone at The University of Arizona. Interview by Author, 3 March
2001, Athens, Ga. Tape recording of phone interview.
Fischer, Kenneth M., Professor of Saxophone at The University of Georgia,

Interview by Author, 3 January 2001, Athens, Ga. Tape recording.
Klock, Lynn, Professor of Saxophone at The University of Massachusetts.

Interview by Author, 18 January 2001, Athens, Ga. Tape recording of
phone interview.
114
Mauk, Steven, Professor of Saxophone at Ithaca College. Interview by Author, 10
January 2001, Athens, Ga. Tape recording of phone interview.
Sinta, Donald, Professor of Saxophone at The University of Michigan. Interview

by Author, 18 January 2001, Athens, Ga. Tape recording of phone
interview.
Teal, Larry. Interview by C. Matthew Balensuela, 13 October 1983. Tape

recording. Ann Arbor, Mi.
______ . Interview by C. Matthew Balensuela, 15 December 1983. Tape

recording. Ann Arbor, Mi.
Zajac, Elaine. Interview by Author, 22 February 2001, Athens, Ga. Tape

recording of phone interview.
Books for the Improvement of Saxophone Pedagogy
Teal, Larry. Studies in Time Division: A PracticalApproach to Accurate Rhythm

Perception. Ann Arbor, Mi: Larry Teal, 1955. Reprint, Ann Arbor, Mi:
Encore Publications, 1988.
______ . The Saxophonist's Workbook: A Handbook o f Basic Fundamentals.

Ann Arbor, Mi: Larry Teal, 1958. Reprint, Ann Arbor, Mi: Encore
Publications, 1988.
______ . The A rt o fSaxophone Playing. Miami: Summy-Birchard, Inc., 1963;

distributed by Warner Bros. Publications Inc.
______ . Daily Studies for the Improvement o f Saxophone Technique. Saint

Louis: Etoile Music, Inc., 1972. Reprint, Saint Louis: MMB Music, Inc.,
1993.
______ and James O. Froseth. The Individualized Instructor: Introducing the

Saxophone. Chicago: G.I.A. Publications, Inc., 1976.
______ . The Saxophonist's Manual: A Handbook o f Basic Concepts. Ann

Arbor, Mi: Larry Teal, 1978. Reprint, Ann Arbor, Mi: Encore Publications,
1988.
______ . Melodies for the Young Saxophonist: With A dded Preparation

Studies. Saint Louis: Etoile Music, Inc., n.d.; distributed by MMB Music,
Inc.
115
Arrangements
Bach, Johann Sebastian. Fifteen Two-PartInventions. Adapted by Larry Teal.

Bryn Mawr, Pa: Theodore Presser Co., 1969.
Beethoven, Ludwig van. Trio, op. 87. Arranged by Larry Teal. Ann Arbor, Mi:
Larry Teal, 1972. Reprint, Saint Louis: MMB Music, Inc., 1991.
Debussy, Claude. Andantino and Vifixom Quartetno.l, op. 10. Arranged by

Larry Teal. Saint Louis: Etoile Music, Inc., 1976; distributed by MMB
Music, Inc.
Kuhlau, Friedrich. Three Concert Duets, op. 10. Arranged by Larry Teal. Bryn
Mawr, Pa: Theodore Presser Co., 1967. Reprint, Ann Arbor, Mi: Encore
Publications, 1991.
Mendelssohn-Bartholdy, Felix. Spinning Song from Six Songs Without Words,

op. 67, no. 4. Arranged by Larry Teal. Saint Louis: Etoile Music, Inc., 1977;
distributed by MMB Music, Inc.
______ . Presto from Rondo Capricdoso in E Major, op. 14. Arranged by Larry
Teal. Saint Louis: MMB Music, Inc., 1977.
Saint-Saens, Camille. Sonate, op. 167. Transcribed by Larry Teal. Saint Louis:
Etoile Music, Inc., 1976; distributed by MMB Music, Inc.
Schubert, Franz. Andante from Quartetin A Minor, op. 29. Arranged by Larry
Teal. Saint Louis: Etoile Music, Inc., 1980; distributed by MMB Music, Inc.
Telemann, Georg Philipp. Six Canonic Sonatas, op.5, TWV40:118-123. Edited by

Larry Teal. Shell Lake, Wi: Etoile Music, Inc., 1978. Reprint, Saint Louis:
MMB Music, Inc., 1987.
Collections
Teal, Larry, ed. Solos for the Alto Saxophone Player. New York: G. Schirmer,
Inc., 1965; distributed by Hal Leonard Corp.
______ . Solos for the Tenor Saxophone Player. New York: G. Schirmer, Inc.,
1965; distributed by Hal Leonard Corp.
. arr. Program Solos for Alto Saxophone and Piano. Bryn Mawr, Pa:
Theodore Presser Co., 1966.
116
, arr. Ten Saxophone Quartets. New York: G. Schirmer, Inc., 1969;
distributed by Hal Leonard Corp.
. Master Solos Intermediate Level. Edited by Linda Rutherford.

Milwaukee: Hal Leonard Publishing Corp., 1975.
Scores
Bach, Johann Sebastian. Vier Ouverturen (Suiten). Edited by Kurt Soldan

Leipzig: Edition Peters, 1934.
Beethoven, Ludwig van. Kla viersonaten, op. 49, nos. 1 and 2. Edited by Karl-
Heinz Kohler Wien: Wiener Urtext Edition, 1986.
_______. Trio in CMajor for Two Oboes and Cor Anglais, op. 87. London: Ernst
Eulenburg, Ltd., 1950.
Cui, Cesar. Berceuse op. 20, no. 8. Edited by Maurice Hinson. Masters o f Russian
Piano Music. New York: Alfred Publishing Co., Inc., 1990.
Debussy, Claude. Pour le Piano. Edited by Emst-Gunter Heinemann (Munich:

G. Henle Verlag, 1984.
_______. Streichquartett Quatuor, op. 10. Edited by Herausgegeben von Reiner

Zimmerman. Leipzig: Edition Peters, 1971.
Dvorak, Antonin. Sonatina for Violin and Piano, op. 100. Edited by Jan Hanus.
Prague: Edito Suraphon, 1955.
Faure, Gabriel. Elegie for Violoncello and Piano, op. 24. Edited by Roy Howat.
New York: Edition Peters, 1994.
Granados, Enrique. Spanish Dance for the Piano: Playera, op. 5, no. 5. Edited by
Willard A. Palmer. Van Nuys, Ca: Alfred Publishing Co., Inc., 1989.
Handel, Georg Frideric. Twelve Organ Concertos Book 3: op. 7, nos. 1-3. Edited
by Hermann Keller. Boca Raton: Masters Music Publications, Inc., 1998.
Haydn, Franz Joseph. Gypsy Rondo from Piano Trio in G Major. Edited by
Xavier Scharwenka. Variations, Dances, and Other Short Works for Solo
Piano. Mineola, Ny: Dover Publications, Inc., 1999.
_______. Sonata no.l for Violin and Piano. Edited by Aldolfo Betti. Nine
Sonatas for Violin and Piano. New York: G. Schirmer, Inc., 1931.
117
_______. String Quartet in D Major, op. 20, no. 4. Edited by Wilhelm Altmann.
String Quartets op. 20 and 33, Complete. New York: Dover Publications,
Inc., 1985.
Klose, Hyadnthe Eleonore. Twenty-five Daily Exercises for Saxophone. New

York: Carl Fischer, 1943.
Mendelssohn-Bartholdy, Felix. Presto from Rondo Capricdoso in E Major for

Pianoforte, op. 14. Edited by Julius Rietz. Complete Works for Pianoforte
Solo. New York: Dover Publications, Inc., 1975.
_______. Spinning Song horn Six Songs Without Words, op. 67, no. 4. Edited by
Julius Rietz. Complete Works for Pianoforte Solo. New York: Dover
Publications, Inc., 1975.
Mozart, Wolfgang Amadeus. Menuetto from String Quartet, K. 428. Edited by

Ernst Eulenburg, Ten String Quartets. New York: Edition Eulenburg, Lie.,
1968.
Saint-Saens, Camille. Sonate, op. 167. Edited by Reiner Zimmermann. Leipzig:

Edition Peters, 1972.
Schubert, Franz. QuartettA moll fur 2 Violonen, Viola und Violoncello, op.29.
Edited by C. G. Roder. Leipzig: Ernst Eulenburg, 1930.
Schumann, Robert. Fantasiestiicke fur Klavier undKlarinette, op. 73. Edited by

Wolfgang Boetticher. Munich: G. Henle Verlag, 1986.
______ . Three Romances for Oboe and Piano, op. 94, no. 1. Edited by Robert
Bloom. Cranberry Isles, Me: The Robert Bloom Collection, 1998.
Tchaikovsky, Peter I. The Seasons: Twelve Character Pieces, op. 37a. Edited by
Louis Oesterle. New York: G. Schirmer, 1909.
Telemann, Georg Philipp. Six Canonic Sonatas. Edited by C. Herrmann. New

York: International Music Company, 1977.
Other Resources
Balensuela, C. Matthew. "A Biography of Larry Teal: His Youth and Early
Career." Master's thesis, Bowling Green State University, 1985.
Beauchamp, Laura. "Boris Berlin's Career and Contribution to Piano Pedagogy."

D.MA . diss., University of Oklahoma, 1994.
118
Benjamin, Thomas, Michael Horvit, and Robert Nelson. Techniques and
Materials o f TonalMusic. Belmont, Ca: Wadsworth Publishing Co., 1992.
Colegrove, John Dwight DeForest. "Emory Remington (1891-1971), William

Cramer (1917-1989), and Robert Marsteller (1918-1975): A Description of
Trombone Teaching Techniques and A Discussion of Their Influence
Upon Trombone Teaching Methodology." D.M.A. diss., University of
North Carolina at Greensboro, 1999.
Gee, Harry. Saxophone Soloists and Their Music, 1844-1985: An Annotated

Bibliography. Bloomington: Indiana University Press, 1986.
Hall, Gail Russell. "Eugene Rousseau: His Life and the Saxophone." D.M.A.
diss., University of Oklahoma, 1996.
Hemke, Fred L. "The Early History of the Saxophone." Ph. D. diss., University of
Wisconsin, 1975.
Holland, Samuel Stinson. "Louise Wadley Bianchi's Contribution to Piano

Pedagogy." Ph. D. Diss., University of Oklahoma, 1996.
Ingham, Richard, ed. The Cambridge Companion to the Saxophone. Cambridge:

Cambridge University Press, 1998.
Kennan, Kent, and Donald Grantham. The Technique o f Orchestration, 4thed.

Englewood Cliffs, Nj: Prentice Hall, 1990.
Levinsky, Gail Beth. "An Analysis and Comparison of Early Saxophone Methods
Published Between 1846-1946." D.M. diss., Northwestern University, 1997.
Logsdon, John Anthony. "An Annotated Bibliography of Selected Pedagogical

Materials for Saxophone Published Between 1969-1992." D.M.A. diss.,
University of Georgia, 1996.
Londeix, Jean-Marie, ed. 150 Years o f Music for the Saxophone. Cherry Hill, Nj:
Roncorp, Inc., 1994.
Rousseau, Eugene. MarcelMule: A Biographical Sketch. Saint Louis: Etoile

Music Inc., 1982; distributed by MMB Music, Inc.
Smialek, Thomas W. "Clay Smith and G. E. Holmes: Their Role in the

Development of Saxophone Performance Pedagogy in the United States,
1905-1930." D.M.A. diss., University of Georgia, 1991.
Teal, Larry. "An Investigation of Pitch Variation of Certain Wind Instruments
Ph.D. diss., Detroit Institute of Musical Art, 1942.
Walsh, Thomas. "A Performer's Guide to the Saxophone Music of Bernhard

Heiden." D.M. diss., Indiana University, 1999.
APPENDICES
120
121
APPENDIX I: BOOKS FOR THE IMPROVEMENT
OF SAXOPHONE PEDAGOGY
Title Level Publisher

The Saxophonist's Workbook: Advanced Ann Arbor:
A Handbook of Basic Fundamentals Encore Publications
Studies in Time Division: A Practical Beginner- Ann Arbor:
Approach to Accurate Rhythm Advanced Encore Publications
Perception
The Art of Saxophone Playing Beginner- Miami:
Advanced Summy-Birchard
Daily Studies for the Improvement Advanced Saint Louis:
of Saxophone Technique Etoile Music
The Saxophonist's Manual: Beginner Ann Arbor:
A Handbook of Basic Concepts Encore Publications
Melodies for the Young Saxophonists: Beginner Saint Louis:
With Added Preparation Studies Etoile Music
The Individualized Instructor: Beginner Chicago:
Introducing the Alto/Tenor Saxophone GIA Publications
122
APPENDIX II: ARRANGEMENTS
Title Original Composer Level Publisher

Sonate, op. 167 Clarinet Camille Saint-Saens Medium- Saint Louis:
for Alto Saxophone Difficult Etoile Music
and Piano (Alto)
Fifteen Two-Part Piano J. S. Bach Medium- Bryn Mawr
Inventions Difficult Theodore
Duet (AA, AT) Presser
Three Concert Duets Flute Frederich Kuhlau Medium- Ann Arbor:

(AA, AT) Difficult Encore
Publications
Six Canonic Sonatas, Flute or G. P. Telemann Medium Saint Louis:

op. 5 TWV 40:118-123 Violin MMB Music
Trio, op. 87 (SAT, 2 Oboes, Ludwig Medium Saint Louis:

ATB) English van Beethoven MMB Music
Horn
Andantino and Vif String Claude Debussy Difficult Saint Louis:

from Quartet no. 1, Quartet Etoile Music
op.10 (SATB)
Spinning Song, Book String Felix Mendelssohn- Difficult Saint Louis:

VI, op. 67, no. 4 Quartet Bartholdy Etoile Music
from Songs Without
Words (SATB)
Presto from Rondo String Felix Mendelssohn- Difficult Saint Louis:

Capriccioso, op. 14 Quartet Bartholdy Etoile Music
(SATB)
Andante from String Franz Schubert Difficult Saint Louis:

Quartet in A minor, Quartet Etoile Music
op. 29 (SATB)
123
APPENDIX IH: COLLECTIONS
Title O rig in al C om poser Level P ublisher
Solos for the Alto Saxophone Player Edited by Medium- New York;
with Piano Accompaniment Larry Teal Difficult G. Schirmer
1. Canzonetta, op. 6 Violin Alfredo

d'Ambrosio
2. Sicilienne and Allegro Flute J. S. Bach

from Sonata no. 2
3. Nocturne in E minor, op. 72, no. 1 Piano Frederic

(Posthumous) Chopin
4. Larghetto from Sonatina, op. 100 Violin Antonin

Dvorak
5. Romantic Piece, op. 75 Violin Antonin

Dvorak
6. Intermezzo Voice Enrique

from the Opera "Goyescas" Granados
7. Album-Leaf Piano Edward Grieg

from Lyric Pieces, op. 12, no. 7
8. Gypsy Rondo Piano F. J. Haydn
9. Minuet Piano F. J. Haydn
10. Minuet String W. A. Mozart

from Divertimento in D, K. 334 Quartet
and Two
Horns
11. Rondo in D major, KV 382 Piano W. A. Mozart
12. Old Castle Alto Modest

from Pictures at an Exhibition Saxophone Mussorgsky
13. Vocalise, op. 34, no. 14 Viola Sergey

Rachmaninoff
14. Sonatine from First movement Piano Maurice Ravel
15. Fantasy Piece, op. 73, no.3 Clarinet Robert

Schumann
124
Title Original C om poser Level Publisher
Solos for the Tenor Saxophone Player Edited by Medium- New York:
with Piano Accompaniment Larry Teal Difficult G. Schirmer
1. Two Bourees Violoncello J. S. Bach

from Third Suite, S. 1009
2. Scherzo Violin Ludwig van

from Violin Sonata, op. 30, no.l Beethoven
3. Hungarian Dance no. 1 Violin Johannes

Brahms
4. Sarabande from Suite pour le Piano Claude

piano Debussy
5. Lament, op. 85, no. 6 Piano Antonin

Dvorak
6. Cantilena from Cello Concerto Violoncello George

in A minor, op. 14 Goltermann
7. Spanish Dance: Playera, op. 5, no. 5 Piano Enrique

Granados
8. From Violin Sonata op. 8, no. 1 Violin Edward Grieg
9. Song Without Words, op. 109 Piano Felix

Mendelssohn*
Bartholdy
10. Spanish Dance op. 12, no. 2 Piano Moritz

Moszkowski
11. Allegro Appassionata, op. 43 Violoncello Camille Saint-

Saens
12. Minuetto from Sonatina in Violin Franz Schubert

G minor, op. 137
13. Romance, op. 94, no. 1 Oboe Robert

Schumann
14. Sleighride Piano Pytor

Tchaikovsky
125
T ide O riginal C om poser Level P ublisher
Program Solos Arranged Medium Bryn M awr

for Alto Saxophone and Piano by Theodore
Larry Teal Presser
1. Mazurka (Posthumous), op. 67, no. 2 Piano Frederic

Chopin
2. Bouree Organ G.F.

from Organ Concerto, op. 7, no. 1 Handel
3. Minuet from Sonata, op. 49, no. 2 Piano Ludwig van

Beethoven
4. Sarabande and Allegro Flute Jean-Marie

h-om Sonata no. 10 Ledair
5. Aria from Sonata no. 7 Flute Jean-Marie

Ledair
6. Berceuse op. 20, no. 8 Piano Cesar Cui
7. Andante from Sonata no. 1 Violin F.J. Haydn
8. Presto from Sonatina op. 37, no. 1 Piano Muzio

Clemen ti
9. Elegie, op. 24 Violoncello Gabriel

Faure
10. Adagio and Gigue from Sonata no. 3 Flute Michel

Blavet
11. Valse Melancolique Piano Edward

from the Suite "Lonely Life" German
12. Gavotte Piano J. S. Bach

from Clavier Suite in G minor
126
T ide Original C om poser Level P ublisher
Master Solos Intermediate Level Edited by Medium Milwaukee:

Larry Teal Hal Leonard
1. Andante and Bouree Flute G.F. Handel

from Sonata no. 3
2. Adagio and Allegro Flute Frederick the

from Sonata no. 1 Great
3. Adagio and Giga Violin Archangelo

Corelli
4. Theme and Elaborations Saxophone Elaine Zajac
5. Allegro from Sonata in C major Piano W. A. Mozart
6. Allegro Scherzoso Piano Cesar Cui

from Kaleidoscope Suite
7. Passepied from Suite Bergamasque Piano Claude

Debussy
8. Espejos (Mirrors) Saxophone Trent

Kynaston
127
Title Original Composer Level Publisher
Ten Saxophone Quartets (AATB) Arranged by Med.-Diff. New York:
Larry Teal to Difficult G. Schirmer
1. Bouree Orchestra J. S. Bach

from Orchestral Suite no. 1, S. 1066
2. Presto String Ludwig van

from String Quartet op. 18, no. 3 Quartet Beethoven
3. Minuet from String Quintet in E String Luigi

Quintet Boccherini
4. Minuet from Presto String F.J. Haydn

from String Quartet, op. 20, no. 4 Quartet
5. Grand Quartet excerpt Flute Frederich

from Flute Quartet, op. 103 Quartet Kuhlau
6. Elijah "Yet Doth the Lord” Voice Felix

Mendelssohn-
Bartholdy
7. Minuet String W. A. Mozart

from String Quartet in Eb, K.V. 428 Quartet
8. Scherzo from String Quartet op. 12 String Nikolai

Quartet Rimsky-
Korsakov
9. Scherzo from String Quartet in String Robert

A minor, op. 41, no. 2 Quartet Schumann
10. Andante Cantabile String Pytor

from String Quartet, op. 11 Quartet Tchaikovsky
128
APPENDIX IV: TIME LINE
1905 Bom in Midland, Michigan

1911 Piano lessons with mother
1915 Flute lessons with brother
1917 First saxophone 1917-1922 Performed with
1918-1922 Directed high school local bands
ensemble
1922 Graduated from high
school
1923-1924 Entered The 1923-1925 Wilson Wolverines
University of Michigan
(pre-dentistry) 1925-1926 Kennedy's Kollegians
1927-1928 Jean Goldkette Band
1928-1931 Capital and Fisher

Theater Orchestras
Early 1930s
Wayne State University
(accounting)
Clarinet studies with 1931-1942 WJR Orchestra
Albert Luconi
Flute studies John Wummer
Mid 1930s
Saxophone studies with
Andrew Jacobson and
Merle Johnson
1936 Flute studies with 1936-1968 Teal School of Music:

Georges Barrere 1938 Performed Glazunov Owner operator,
Concerto with WPA woodwind instructor,
Orchestra and saxophone teacher
1938-1960 Detroit Symphony

1939 Bachelor of Music Detroit Orchestra (flute, clarinet,
Institute of Musical Arts and saxophone)
1940 Master's in Music

Detroit Institute of
Musical Arts
1951 Part-time Faculty flute and
1943 Ph.D. Detroit Institute of saxophone at The
Musical Arts 1947 Performed Ibert University of Michigan
Concertino with Detroit
Symphony Orchestra 1953-1974 Full-time Faculty
saxophone at The
University of Michigan
1969 Honored at First World

Saxophone Congress
1984 Second Honorary Member

of NASA

拉里蒂尔对美国萨克斯教学法的研究

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PEDAGOGY IN THE UNITED STATES

RUTH LUCILE CALDER COLEGROVE

B.MUS., The University of Georgia, 1996

M.M., The University of North Carolina at Greensboro, 1998

A Document Submitted to the Graduate Faculty

of The University of Georgia in Partial Fulfillment

Requirements for the Degree

DOCTOR OF MUSICAL ARTS

Bell & Howell Information and Learning Company

Ruth Ludle Calder Colegrove

All Rights Reserved

PEDAGOGY IN THE UNITED STATES

RUTH LUCILE CALDER COLEGROVE

Dean of the Graduate School

As an early pioneer of American saxophone pedagogy, Larry Teal

established a standard of playing and championed the acceptance of the

saxophone as a serious instrument of study. Teal's early notoriety as a

performer and teacher culminated in his appointment to the faculty of The

University of Michigan. While at The University of Michigan, Teal pioneered

American saxophone pedagogy, established the first doctoral program in

of saxophone to be named a full professor. As a result of his university position,

Teal codified his ideas on saxophone pedagogy through his publication of

articles, pedagogical books, arrangements, and collections. In addition to these

students. Teal also influenced his student's methodology by encouraging them

to maintain specific standards of excellence. With a philosophy based on a

strong foundation of fundamentals, Teal demanded preparation, proper tone,

of Teal's development of an American School of saxophone pedagogy. Teal's

performing, teaching, and production of pedagogical materials was very

important to the acceptance of the saxophone as a classical instrument. With his

study of various woodwinds, Teal combined his knowledge and experience of

performance and pedagogy. He influenced many future teachers and

performers through his establishment of an American standard of saxophone

performance. The success of his teaching at The University of Michigan was

duplicated at other universities, which allowed students the opportunity to

study the saxophone at the university level.

INDEX WORDS: Larry (Laurence) Teal, Saxophone, Pedagogy,

Arrangements, Pioneer, Biography, American School, The

University of Michigan, Performance, Teaching

is submitted in partial fulfillment

Doctor of Musical Arts

The University of Georgia

Appreciation is expressed to the former students and colleagues of Larry

Kenneth M. Fischer, was instrumental to this study's design and

implementation. Additionally, the advisory committee including Dr. Harriet

Vogel provided invaluable advice and encouragement.

Gratitude is expressed to my family and friends who provided support

throughout my degree. Finally, I wish to express my deepest gratitude to my

would have been completed.

I. OVERVIEW AND ORGANIZATION.................................................. 1

Early Musical Experience and Education.......................................... 12

HI. TEAL'S INFLUENCE ON SAXOPHONE PEDAGOGY IN THE UNITED

Introduction and Early Influences.....................................................25

IV. BOOKS FOR THE IMPROVEMENT OF SAXOPHONE

V. ARRANGEMENTS AND COLLECTIONS......................................... 80

I. BOOKS FOR THE IMPROVEMENT OF SAXOPHONE PEDAGOGY . 121

IV. TIME L IN E ....................................................................................... 128

OVERVIEW AND ORGANIZATION

In 1936, Larry Teal1(1905-1984) began his teaching career in a small

students were professional woodwind players2who wanted to study the