!

!
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!

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PRACTICE!MONSTER!
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exercises'and'etudes''
for'the'21st'century'saxophonist!
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!
by!
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David!Pope!
Contemporary saxophonists are increasingly called upon to perform in an impossibly
wide variety of styles. The labels “classical” and “jazz” each contain a myriad of
subcategories, to the point of ceasing to be useful in establishing what we are talking
about. Extended techniques, such as multiphonics, circular breathing, microtonal
variations, and exotic articulations, are no longer extended; they are rapidly becoming
standard techniques.

This collection of exercises, essays, and etudes is the culmination of my adventures in

music. Although much of the book should be helpful to any saxophonist, it is specifically
designed to assist two types of musicians: jazz saxophonists who need to improve their
basic musicianship on the horn, and classical saxophonists who require assistance to
become more flexible, to meet the demands of the modern repertoire.

This work was supported by the James Madison University Program of Grants for
Faculty Educational Leaves.

NOTES:

Whenever possible, I have opted for a simple method of notation. Fingerings are given
with the numbers 1-6 to indicate the main keys of the instrument, starting with the index
finger of the left hand, and moving downward so that 6 is the ring finger of the right
hand. Side keys are named, such as “Palm F,” “side C,” and so on.

Harmonics are notated with the sounding pitch in a normal note-head, and the fingered
note (i.e., the fundamental) with an x-head. When a note appears with an additional x-
head, use the normal fingering for the x-head, while sounding the pitch of the normal
note head. With ventings, a circle indicates open, and a plus sign means closed.

The portamenti that occur in some of the exercises and etudes should be performed in the
same manner that pitches are bent with the mouthpiece alone. While a slight decrease in
jaw pressure will occur, the downward affectation should mostly come from a voicing
change, as the tone will collapse with too little jaw pressure.

Some of the pieces in this book work very well as stand-alone performance pieces (Shake
the Hive, for example, was written specifically for the World Saxophone Congress).
Others are simply exercises, such as Vent,Tap, and Slur.
 VERSION 3 – EDITED JAN 13, 2012
Overtones

The study of overtones (a.k.a., harmonics) is vital to any woodwind performer. The
saxophone is a large cone, making it fairly efficient at producing a complete harmonic
series for any given fundamental. Of course, the saxophone is not a perfect cone, and the
harmonic series for any given note is compromised by a variety of conditions, including
the length of the bell, proximity to the bow, under-venting from open keys, and the
overall strength of the standing wave (which grows weaker with ascending pitches).

When producing a note, we are amplifying a standing wave that already exists within the
saxophone. (With the mouthpiece removed, put your ear up to the opening in the neck
and slowly change fingerings to hear these faint standing waves.) When supplied with
the correct balance of air and embouchure support, the reed will open and close at the
same frequency as the standing wave, and most easily at the lower frequencies, where the
standing waves are strongest. Higher harmonics have weaker resonances, making them
more difficult to produce; the player must somehow compensate for these weak
resonances, especially in the altissimo register. In simple terms, the saxophone does
more of the work on low notes, while higher notes require more operator assistance.

Play a low note at a moderately loud dynamic and you will notice that most of your work
is supplying ample air and allowing the reed to vibrate. In contrast, a high harmonic, or
even a high note in the palm keys, must be supported with considerable embouchure
strength. The lack of high frequency resonance within the body of the saxophone must
be balanced with a complimentary resonance in the oral cavity. This performer-supplied
resonance boost is what is meant by the term voicing.

An interesting way of thinking about tone production is to make an analogy to electricity.

The player provides directional energy, in the form of air, like the direct current of a
battery. The energy expressed by the saxophone, however, is in the form of a pulsating
wave (alternating current). The embouchure provides support as the mouthpiece/reed
interface converts energy from a one-way stream of air (DC) into sound waves (AC). To
continue the analogy, remember that electrical current is the amount of particles
(electrons) in the stream, and voltage is the amount of pressure. Low notes have high
resonance and low resistance, requiring a large stream of moderately pressurized air.
Resistance is higher (and resonance is lower) for the upper notes, changing the ratio to
require more pressure, with a smaller volume of air moving through the mouthpiece.

Low notes = high current/low voltage, i.e, lots of moderately pressurized air

High notes = high voltage/low current, i.e., a smaller stream of highly pressurized air

Venting

The octave key is used to operate two small vents, one on the neck, and the other on the
body. These vents are distinct from tone holes in that they have very small diameters,
and that, unlike the outwardly drawn holes that cover most of the instrument, vents are
tiny pipes that reach into the saxophone bore. These vents serve the purpose of
disrupting the fundamental resonance of a given standing wave, leaving the next
strongest resonance to control the reed. A similar effect can be seen by lightly touching a
guitar string in the center: with the fundamental disrupted, only half of the string can
vibrate. This vibration occurs with greater speed, and less amplitude. The problem of
reduced amplitude multiplies as the vent moves away from its ideal placement. For this
reason, middle D is particularly stuffy and sharp, as the vent is too high. Play a middle D
without the octave key, and with the palm D key slightly opened. This note will speak
more clearly, as it is closer to the ideal placement of the vent. Although every note could
have its own dedicated octave vent, this would be mechanically cumbersome, not to
mention the possibility of creating new acoustic problems with too many little pipes
reaching into the bore!

Embouchure: Firm but Flexible

Everything in the universe is subject to the laws of physics, and the reed is no exception.
Imagine a rubber band, stretched between your finger and your thumb. When plucked, it
will vibrate at a frequency (pitch) and amplitude (loudness) that is controlled by how far
the elastic has been stretched. When loose, it will vibrate in a relatively slow and wide
pattern, producing a low pitch. Tightly stretched, it will be vibrate much faster, but the
distance from peak to trough will be considerably narrower. There is also a window of
acceptable tensions. If too loose, it will flop about, out of control. Stretch it too far, and
it will not vibrate much at all, and it will eventually break.

Clearly, a saxophone reed does not vibrate in the same manner as a string in free air.
Still, it does behave according to the same laws of physics with similar relationships
between frequency and amplitude. A loose embouchure allows the reed to vibrate
widely, and as with a loose rubber band, wider vibrations express more energy in
amplitude, leaving less energy for speed. In other words, a loose embouchure results in a
louder tone with a lower pitch. On the other hand, a tight embouchure limits amplitude,
causing the reed to invest its excess energy in higher frequency. A simple experiment
with a tuner will quickly demonstrate that pitch can be regulated with embouchure
pressure. The ear alone will also confirm that biting on the reed will squash dynamics,
and a slack-jawed approach will result in an unpleasantly loud tone.

For each member of the saxophone family, there is a “just right” amount of embouchure
pressure. Although this pressure will vary slightly for different notes, and at different
dynamics, an ideal pressure will result in the following pitches, when the mouthpiece is
played alone:

• Soprano – concert C
• Alto – concert A
• Tenor – concert G
• Baritone – concert D
Experimentation with mouthpiece alone will reveal that pitch can be manipulated over a
wide range with voicing adjustments, but dramatic changes in embouchure pressure will
result in squeaking, or total collapse of the sound. As a daily exercise, warm up with the
mouthpiece alone, starting on the appropriate pitch, and then bending down, one note at a
time. Play slowly, with a full, consistently supported sound. It should be possible to
eventually play at least a full octave on the mouthpiece alone. If the sound breaks, or the
reed squeaks, make certain that the embouchure is not too loose, and that the jaw is not
dropping excessively. Good technique on the mouthpiece alone will assist greatly in
intonation study and tonal flexibility on the instrument.

Vent, Tap, and Slur

This exercise is intended to assist the advancing student with achieving the various
overtones, first with artificial ventings, then flicking (or tapping) these artificial vents.
As the student becomes more comfortable with the overtones, the ventings will no longer
be necessary. Each series indicates which fingers, or keys, should be used for ventings.
The lower, x-head indicates what note to finger. The higher, normal head is the sounding
pitch. A small circle tells the player to open the specified key, or keys, for the venting,
while a plus symbol signifies a return to the normal fingering of the low, x-head.

The portamento is an important part of the exercise. It should be performed like a

mouthpiece-alone pitch bend. This requires a relatively firm embouchure grip, and a
lower voicing. Dropping the jaw will most likely result in losing the harmonic, dropping
down to the fundamental, or a lower overtone. If the portamento is too difficult, skip it at
first and work on pitch bending with the mouthpiece alone. It is also helpful to practice
bending on a front-F. Remember that the embouchure must be flexible but firm, and a
strong voicing/resonance must be supplied . . . and high voltage air!

Many saxophonists find it helpful to sing the desired sounding pitch before attempting to
perform a harmonic. I recommend singing the pitch into the saxophone, with the correct
fingering, and with lips closed around the mouthpiece. If the voicing is correct, the voice
will freely resonate into the horn. An incorrect voicing will not be compatible with the
internal standing wave, and the voice will “warble,” causing a brief, uncomfortable
sensation in the throat.
 Vent, Tap, and Slur
for alto saxophone
David Pope
for

q = c 72

o + o + o + o +
& c œ¿ œ œ œ œ ˙. œ œ œ œ œ ˙.
portamento portamento

¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿ ¿ ¿ ¿.
Vent = 1 3

o + o + o + o + o + +
& œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ œ¿ w w ∑ w
5

¿ ¿ ¿ w

o + o + o + o +
&#œ œ #œ œ #œ ˙. #œ œ #œ œ #œ ˙.
10

#¿ ¿ ¿ ¿ ¿ ¿. #¿ ¿ ¿ ¿ ¿ ¿.
Vent = 1

o + o + o + o + o + +
&#œ œ œ œ œ œ œ œ #w w ∑ #w
14

#¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ #¿ ¿ #¿ w

o + o + o + o +
&œ œ œ œ ˙. œ œ œ œ ˙.
19

#œ #œ
¿ ¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿ ¿ ¿ ¿.
Vent = 2
2

o + o + o + o + o + +
&œ œ œ œ œ œ œ œ w w ∑ w
23

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ w

o + o + o + o +
& bœ œ œ œ bœ ˙. bœ œ œ œ bœ ˙.
28

b¿ ¿ ¿ ¿ ¿ ¿. b¿ ¿ ¿ ¿ ¿ ¿.
Vent = 3

o + o + o + o + o + +
& bœ œ œ œ œ œ œ œ bw w ∑ bw
32

b¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ b¿ ¿ b¿ w

o + o + o + o +
37
œ œ #œ œ œ ˙. œ œ #œ œ œ ˙.
&
¿ ¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿ ¿ ¿ ¿.
Vent = 4

o + o + o + o + o + +
œ œ œ œ œ œ œ œ w w w w
∑
41

&
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ w

o + o + o + o +
47
#œ œ nœ #œ #œ ˙. #œ œ nœ #œ #œ ˙.
&
#¿ ¿ ¿ ¿ ¿ ¿. #¿ ¿ ¿ ¿ ¿ ¿.
Vent = 456
 3

o + o + o + o + o + +
#œ œ œ œ œ œ œ œ #w w #w
∑ #w
51

&# ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ # ¿ ¿ #¿ ¿ w

o + o + o + o +
57
#œ œ #œ œ #œ ˙. #œ œ #œ œ #œ ˙.
&
¿ ¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿ ¿ ¿ ¿.

o + o + o + o + o
Vent = 4
+ +
#œ œ œ œ œ œ œ œ #w w #w
∑ w
61

&
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ w

o + o + o + o +
67
œ œ œ œ œ ˙. œ œ œ œ œ ˙.
&
b¿ ¿ ¿ ¿ ¿ ¿. b¿ ¿ ¿ ¿ ¿ ¿.

o + o + o + o + o
Vent = 5
+ +
71
œ œ œ œ œ œ œ œ w w ∑ w bw
&
b¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ b¿ ¿ b¿ ¿ w
o + o + o + o +
77 œ œ œ œ œ ˙. œ œ œ œ œ ˙.
&¿ ¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿ ¿ ¿ ¿.
o + o + o + o +
Vent = 1 3

œ œ œ œ œ œ œ œ wo +w +w
w
∑ w
81

&
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ w
4
o + o + o + o +
88 #œ œ #œ œ #œ ˙. #œ œ #œ œ #œ ˙.
&
#¿ ¿ ¿ ¿ ¿ ¿. #¿ ¿ ¿ ¿ ¿ ¿.

o + o + o + o +
Vent = 123

# œ œ œ œ œ œ œ œ # wo +w # +w #w
∑ #w
92

&
#¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ #¿ ¿ #¿ ¿ ¿ w

o + o + o + o +
99 œ œ #œ œ œ ˙. œ œ #œ œ œ ˙.
&
¿ ¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿ ¿ ¿ ¿.
o + o + o + o +
Vent = 6

œ œ œ œ œ œ œ œ wo +w +w
#w
∑ w
103

&
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ w
o + o + o + o +
110 bœ œ œ œ bœ ˙. bœ œ œ œ bœ ˙.
&
b¿ ¿ ¿ ¿ ¿ ¿. b¿ ¿ ¿ ¿ ¿ ¿.
o + o + o + o +
Vent = 2
+w +
b œ œ œ œ œ œ œ œ b wo bw w
∑ bw
114

&
b¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ b¿ ¿ b¿ ¿ ¿ w
o + o + o + o +
121
œ œ #œ œ œ ˙. œ œ #œ œ œ ˙.
&
¿ ¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿ ¿ ¿ ¿.
Vent = palm F (or front F)
 5
o + o + o + o + +w
œ œ œ œ œ œ œ œ w w w w
∑ w
125

&
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ w
o + o + o + o +
133
#œ œ ‹œ œ #œ ˙. #œ œ ‹œ œ #œ ˙.
&
#¿ ¿ ¿ ¿ ¿ ¿. #¿ ¿ ¿ ¿ ¿ ¿.
o + o + o + o +
# +w
Vent = hi F#

#œ œ œ œ œ œ œ œ #w w #w #w #w
∑
137

&
#¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ #¿ ¿ #¿ ¿ ¿ ¿ w
o + o + o + o +
145 #œ œ ‹œ œ #œ ˙. #œ œ ‹œ œ #œ ˙.
&
¿ ¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿ ¿ ¿ ¿.
o + o + o + o +
Vent = palm D#

#œ œ œ œ œ œ œ œ #w w # +w w
149

∑ #w w
&
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ w
o + o + o + o +
157 œ œ #œ œ œ ˙. œ œ #œ œ œ ˙.
&
b¿ ¿ ¿ ¿ ¿ ¿. b¿ ¿ ¿ ¿ ¿ ¿.
o + o + o + o + +
Vent = palm D

œ œ œ œ œ œ œ œ w w w bw w
∑ bw
161

&
b¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ b¿ ¿ b¿ ¿ ¿ ¿ w
Nimble Thimble, Timbre Clamber

This etude combines harmonics with the equally challenging technique of playing in the
low register with the octave key depressed. Remember that we are attempting to blow
past the open vent. This requires a strong airstream, an open jaw, and a flexible
embouchure. As a primer for this particular etude, practice sustaining a middle C-sharp
while alternating between the normal fingering and the fingering for the upper octave.
When performed properly, the embouchure and air will be consistent between both
fingerings, and the tone will only change slightly as air hisses from the open neck vent.

For the etude, the sounding pitch is always notated with a normal note head. An x-head
indicates the note to be fingered. For example, the second note of the etude is a middle
C-sharp, but fingered as a high C-sharp. The portamenti in the second system are
performed in the same manner as a pitch bend with the mouthpiece alone: the
embouchure must remain firm enough to control the tone, while the voicing drops to
affect the pitch downward. The note following the portamento sounds at the same pitch,
but is fingered normally. This requires a quick voicing adjustment, snapping back to the
conventional position without changing pitch between the two fingerings. In the third
system, harmonics are introduced. Again, the x-head designates the fingering. Pay
careful attention to the fingerings, as they are not always just an octave away from the
sounding pitch.

The title is meant to suggest the mechanical awkwardness of the octave key, and the
challenges in maintaining a consistent tone as the fingerings change (sometimes
radically). Strive for a smooth, musical performance. Carefully follow all of the phrase
markings, dynamics, and tempo changes, and most of all, be sure to capture the feeling of
a waltz.
 Nimble Thimble (Timbre Clamber)
for alto or tenor saxophone
David Pope

Waltz {q = c 180}

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Articulations

Contemporary saxophonists are expected to play a wide variety of articulations, often in

extreme situations, and at very fast tempos. In order to avoid being unprepared for any
given situation, it is wise to explore as many articulations as possible. This series of
exercises is intended to provide a careful exploration of tonguing techniques, and
flexibility.

A common problem with tonguing lies in the conception of beginning a note with an
“attack.” Initializing a note with the tongue is really more of a release: it is the negative
motion of the tongue, quickly coming away from the reed, that allows the pre-pressurized
airstream to instantly set the reed into vibration. There should be no last-moment
pressing down of the tongue. In fact, the tongue should be resting very lightly against the
reed, just enough to prevent the reed from vibrating.

Hurdles make an excellent analogy. Imagine an athlete running up to the hurdle and
gracefully leaping, perfectly in-stride, and repeating the process, over and over. Now,
imagine that same athlete stomping her feet into the ground before jumping the hurdle.
As horrible as this would be to watch, this is exactly what happens when the saxophonist
presses the tongue into the reed right before releasing for an articulation. This results in a
harsh slapping sound, an interrupted airstream, and the potential for losing rhythmic
coordination with the fingers (especially with increasing tempo).

Articulation Studies

I. Taa-hiss/tongue stops

This exercise occurs in two variations. On the first pass, the x-heads are intended to be
without a traditional tone. Only air passes through the mouthpiece, while the tongue is
held lightly against the reed, just enough to prevent vibration. There should be a
relatively loud hissing sound – the louder, the better. On the normal note-heads, the
tongue should release from the reed with a “pop,” instantaneously starting the normal
tone. The air should flow continuously, with no feeling of stops or starts between the hiss
and the tone. This is extremely important! A “bump” in the airstream indicates that the
tongue is too hard against the reed, or that the reed is being pressed down at the last
moment.

The second variation is something that I have heard called by a few different names,
including tongue stops, and half-tonguing. For the x-heads, use the tongue to mute the
reed, so that there is a traditional tone, but that the tongue is in contact with the reed. To
illustrate, recite an elongated “TH,” as in the ending of the word teeth. For the normal
note-heads, the tongue falls away, producing a conventional tone. Ideally, there should
be a little “pop,” as the muted tone gives way to a full sound. It is extremely important
that the air is uninterrupted, with no “bump” between normal and muted tones. Once
these variations can be performed on C#, explore other notes, throughout the registers,
and try playing scales and patterns. This initial exercise is only a starting point.
II. Legato

The first exercise is basically a slow-motion version of normal tonguing, with an

artificially elongated beginning. In an actual articulation, the hiss/muted tone only
happens for an imperceptible moment before the note speaks. In this second exercise,
each note has a traditional tone, and should be played with a feeling of continuous air and
very light tongue motion. As the notes speed up, focus on a relaxed tongue and a fast
airstream. Keep the muscles of the face relaxed, the shoulders down, and the diaphragm
engaged. Choose a tempo that allows a clean articulation, and just begins to push your
limits. It is ultimately unfruitful to practice a fast, sloppy articulation.

III. “Dead-stroke” Slap Tongue

This version of slap tongue is the opposite of a normal articulation. It is performed with a
rush of air, terminated with a forceful slap of the tongue, closing the reed against the
mouthpiece. In this technique, the airstream obviously stops, since no air can pass
through the mouthpiece when the reed is forcefully closed!

As the exercise moves from single dead-strokes to combinations with traditional tones, it
is important to think about relaxing the tongue. It is also helpful to pulse the diaphragm
for the traditional notes. Start this exercise slowly, and increase the tempo as you
become comfortable alternating between normal tone and dead-strokes. It may also be
helpful to firm the embouchure for tones, and relax for dead-strokes.

I use this technique in the second movement of my composition Prelude, Mystery, and
Ecstasy (Dorn Publications). It is also useful in the last notes of the fourth movement of
John Mackey’s Concerto for Soprano Saxophone.

IV. Pitched Percussive Slap Tongue

This is the traditional slap tongue, probably first used as a theatrical technique by
Vaudeville players, and then by the honking bar-walkers of rhythm and blues. Slap
tongue is now an expectation of all saxophonists, and it appears throughout the classical
repertoire. Christian Lauba’s etudes and solo pieces (Steady Study on the Boogie and
Jungle, in particular) are noteworthy examples of pieces requiring significant skill in the
technique.

Slap tongue is executed with the tongue pressing the reed against the mouthpiece,
forming a suction. This suction is broken with a sudden, forceful burst of air. The
amount of air is actually quite small. In fact, a single slap tongue does not require a
proper inhalation; the air normally residing within the oral cavity will suffice.

In general, the goal is to create a percussive sound, amplified by the resonance in the
saxophone. In other words, the reed should not vibrate, as in a normal tone. It will be
helpful to keep a relaxed embouchure, and to avoid engaging the diaphragm excessively,
as too much embouchure, or air support will allow a normal tone to escape.

V. Double Tongue

Although it is always possible to improve the technique of the single tongue articulation,
every individual will eventually hit his unique “speed limit.” It is important to develop a
good double tongue technique, starting at a speed that is slower than the fastest single
tongue, allowing for an imperceptible crossover between the two.

The first part of the double tongue is a normal articulation, but the second is a rebound
articulation, produced with the tongue against the roof of the mouth. The resulting
syllables will be something like TA-KA. This must be practiced carefully, and with great
air support. In the beginning, it will be especially helpful to practice repeated rebound
articulations, as in KA, KA, KA.

There are two significant problems with the rebound articulation. First, the air is more
likely to be interrupted when the tongue closes against the roof of the mouth. A fast,
supported stream of air will help to minimize this interference. The second problem is
the potential for unwanted, or uncomplimentary voicings resulting from alterations in the
oral cavity to produce the KA attack. If this becomes an issue, it will be helpful to think
of a lower tongue position for low notes (KUH), and a higher tongue position for upper
notes (KEE). This issue is further explored in the next exercise.

VI. Tee-Tukka-Tikah-Tikah (“The Mackey”)

This exercise is dedicated to the composer, John Mackey. It is based upon the
infamously difficult passage in the finale of the aforementioned soprano concerto. This
passage is exceptionally difficult because of the repeated notes, articulated at high speed,
while rapidly changing registers. Avoid biting to support the high notes, as this tightness
will make it difficult to get the low notes to speak. The jaw should be as open as is
practical, and the syllables should be close to the title of the exercise: TEE-TUKKA-
TIKAH-TIKAH. At the fastest tempos, it may be helpful to instead think THEE-
THUKKA-THIKAH-THIKAH.

VII. Metered Doodle Tongue

Doodle tongue is similar to double tongue, but the overall articulation is softer. Unlike
normal, or double tonguing, both articulations in the doodle happen with the tongue on
the roof of the mouth, behind the front teeth. (For clarity, this means that the tongue
never touches the reed.) The first part is like the syllable DO, with a soft tongue
rebounding off the roof of the mouth. The rebound is produced like the second part of
the word DOODLE, as the middle of the tongue closes against the palette, slightly further
back than the initial DO. There is a sensation of air moving across the sides of the
tongue, while the center contacts the roof of the mouth. In a series of doodles, only the
initial note with have a D, so that a series of repeated notes will elide into the following:
DOODLE-LOODLE-LOODLE, etc. Again, because the tongue has the potential to close
off the oral cavity, fast-moving air will help to keep the tongue bouncy and supported.

VIII. Doodle Bisbigliando (“Whisper Tongue”)

Bisbigliando is a technique mostly associate with the harp, like a lightly fluttering
tremolo. For this exercise, notes marked bis., should be played with a gentle doodle
tongue. The effect is similar to a tremolo between two different strings tuned to the same
pitch. The articulation should be light, rapid, and unmeasured. Remember to support the
tongue with fast moving air. Jazz artists have sometimes used this technique as a
coloristic effect (George Adams, John Handy, etc).

IX. Doodle Bisbigliando-Flutter Tongue Transitions

Flutter tongue, usually notated with flz (for the German flatterzungue) is executed by
rolling the tongue as rapidly as possible. Some musicians are physically unable to roll
the tongue, and will substitute with some other rapid disruption within the oral cavity,
even by humming a pitch to distort the tone. In any case, a proper flutter tongue will
sound like a Spanish “rolled R,” and the tongue will be against the roof of the mouth.
The tongue should not make contact with the reed!

In this exercise, the note begins normally. Slowly, add a doodle bisbigliando, increasing
in speed until it is possible to transition to a full flutter tongue. Continue in reverse,
going back to the fast doodle tongue, and slowing down into a normal, sustained tone.
The moment of transition to flutter tongue will be easier with a burst of pressurized air as
the tongue shifts position to the “rolled R.” When changing back to the doodle, the
airstream should slightly relax.
 Articulation Studies
David Pope

I. Variation 1, (x) = air only, with tongue on reed

Variation 2: (x) = muted tone, with tongue on reed
## c . Å w .. .. Å ˙ Å ˙ .. .. Å œ Å œ Å œ Å œ ..
& .

#
& # .. Å œ Å œ Å œ Å œ Å œ Å œ Å œ Å œ .. .. Å œ Å œ Å œ Å œ Å œ Å œ ..
3 3 3 3

II. Legato, constant air, tongue "tha-tha-tha-tha"

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

## . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .
& . . . .
6 6 6 6 7 7 7 7

# nb
& # .. œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ .. .. œœœœœœœœœœœœœœœœœœ œœœœœœœœœ œœœœœœœœœ .. nb
9 9 9 9

III. "Dead-stroke" slap tongue

≤ ≤ ≤ ≤ ≤ ≤
bb ≤ ≤ ≤ ≤ ≤
Å
≤
Å
≤ ≤ ≤ ≤
& Å Å Å Å Å Å
Å Å Å Å Å Å Å Å

≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œ œ
Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å
2
≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤
≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤
œ œ œ œ œ œ œ œ
bbœ œ œ œ œ œ œ œ
&
Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å
≤ ≤ ≤ ≤
œ ≤œ ≤ œ
≤œ ≤ ≤œ ≤ œ
≤œ ≤ ≤œ ≤ œ œ ≤œ ≤
bb œ œ œÅ Å Å Å œÅ Å Å Å œ
& Å Å Å Å Å Å
Å Å
≤
≤ ≤ ≤ ≤ ≤
≤ ≤ œ ≤ ≤ œ œ ≤ ≤ ≤ œ
bb œ ≤ ≤ ≤
& œ œ Å Å œ Å Å Å Å Å Å Å Å Å nn
Å Å Å Å Å
IV. Pitched Percussive Slap Tongue
ä ä ä
& .. œ œ œ- œ- œ .. .. œ. œ. œ œ. œ. œ .. .. œ # œ Œ ..
b œ+ œ+ b œ+ œ+ b œ+ â œ+ œ+ â œ+ b œ+ œ+ â n œ+ # œ+ â

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ+ œ œ œ œ œ œ œ+ œ+ œ œ œ œ œ œ œ+ œ+ œ œ œ œ œ œ œ+
œ+ œ+ + + + +

+œ
&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
+ + + + œ+
â̇
V.
>œ œ. œ. œ. œ. œ. œ. >œ œ. œ. œ. œ. œ. œ. simile . . .
Double Tongue

& œ œœœœœœœ œœœœœœ œ œœœœœœœ œœœœœœ œ œœœœœœœ œœœœœœ

b
& œœœœœœœœœœœœœœ œœœœœœœœœœœœœœ œœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b b
 3

bbb >œ Œ
>œ
œ Œ œ œ œ Œ
œ œ œ œnœ Œ œ œ œnœ
simile . . .

& œ œ œ œ œ œ
œ. œ. . . > œ. . . . >

œ nœ œ
b œ œ œ
nœ œ œ œ Œ œœœœœ Œ
& b œ œnœ œ œ Œ
b œnœ œ œ Œ

œ œœ œ nœ œ œ œ œ œœ œ œ œœ œ
b œ œ Œ œ nœ Œ œ œ Œ
&b b nœ œ Œ

bbb œ œ œ œ œ Œ œ œœ œ Œ œ nœ œ œ Œ œ œœ œ Œ
& œ œ œ œ œ œ œ

>œ >œ >œ >œ

VI.
œ œ
Tee-Tukka-Tikah-Tikah ("The Mackey")
simile . . .

b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œœœœ œœœœ
&b b œ. œ. œ. œ. œœ œœ
œ. œ. œ. œ.

œ œ œ œ œ œ
b œœœœ œœœœ
&b b œœ œœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ

œ œ œ œ œ œ
b œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
&b b œœ œœ œœ œœ
œœ œœ
œ œ œ œ œ œ
b œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
&b b œœ œœ œœ œœ œœ œœ
4
>œ >œ >œ >œ nœ œ
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œœœœ nœ œ œ œ œœœœ
bb
simile . . .

& b œ. œ. œ. œ. œ. œ. œ. œ. nœ œ œœ
œ œ >œ
œ œ œ œ œ œ œ œ œ. œ.
b œ œ œ œ œ. œ. nnn
&b b Œ
œ
>
VII. Metered Doodle Tongue

& œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

85

& œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

87

œœ Œ ## œœ œœ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœœœ œœ œœ œœ œœ
89

&
œ œ œ œ œ œ œ œ œ œœ

##
& œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
91

## œœœ Œ ####
œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
93

&

#### œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
95

&
 5

#### œœœœœœœœœœœœœœœœœ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
97

&

#### œœœ œ nnnn œ œ œ œ œ œœ œœ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ Œ b
99

& œœœœœœœœœ œ œ œ

œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& b œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ
101

œ œ œ œ œ œœ œœ #
b œ œ œ œ œ œ œ œ œ œ Œ n
103

& œœœœœœœœœœœœœœœœœ œ œ œ œœœœœœœœœœ

# œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
105

&

# œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
107

&

# œœ œœœ ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œœ œœ œœ œœ œ œ œ œ Œ
109

### œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

111

&
6

### œ œœ œ nnn
Continue, throughout the registers . . .
œ œ œ œ œ œ œ œ œ œ
& œœœœœœœœœœœœœœœœœœ œœ œœ œœ œœœœœœœœœœœ Œ

VIII. ~~~~~~~~~~~~~~~~~~~~~
Doodle Bisbigliando ("Whisper Tongue")
~~~~~~~~~~~~~~~~~~~~~ ,
œ œ ˙ w œ œ ˙ w
œ œ
bis. bis.

&œ œ
p decrescendo . . .
π decrescendo . . .

~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~ ,
œ œ œ
bis.
œ œ œ
œ œ
bis.

& ˙ w ˙ w
p π
bis.~~~~~~~~~~~~~~~~~~~ , bis. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
decrescendo . . . decrescendo . . .

U
œ œ œ œ
&œ œ ˙ w œ œ ˙ ˙. œ
freely

P decrescendo . . .
∏
U ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ flz
IX. Doodle Bisbigliando–Flutter Tongue Transitions

&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w
bis.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~ U , U bis. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ flz

(bis should be unmeasured, starting as a slow doodle, accelerating into the flz, and then reversing back to stillness)

& œœœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœ œ œœœ œœ w

bis.

æ
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
U U
bis. bis.

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
U
flz bis.

&w œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
æ
Continue, throughout the registers . . .
CIRCULAR BREATHING

Wind Bags is a circular breathing etude. It is intended to assist the saxophonist who
already has some familiarity with the technique, but needs refinement in musical settings.
Part I of this text is intended for those that are beginners. More experienced musicians
may skip ahead to Part II, and then to the performance notes on the etude itself.

Part I

Circular breathing is not new. The technique is used on many instruments, some ancient,
from all over the world – Australian didgeridoo, Egyptian arghul, and Armenian duduk,
to name a few. The basic idea is to use the oral cavity as a sack of air, and to squeeze out
this reserve to sustain the tone, while sneaking an inhalation through the nose.

From a glass of water, hold a generous sip in your mouth. With the water in your mouth,
breathe through your nose. Notice that the back of your tongue closes upward, like a
gate, preventing the water from entering your throat. This is the precise technique
required for circular breathing. Now, repeat the exercise without the water, but by
puffing your cheeks up with air. Keep the cheeks inflated while breathing through the
nose. Be as relaxed as possible. Finally, while inhaling through the nose, squeeze the air
out of your cheeks through slightly opened lips. If you are able to exhale, using your
cheeks as bellows, while inhaling through your mouth, you are circular breathing.

Some students will find it helpful to practice blowing bubbles into a glass of water with a
straw. Keep the air stream continuous, alternating between normal exhales and cheek
puffs, while sneaking inhalations through the nose. Stay relaxed and try to make the nose
inhalations as silent as possible. Perfection of the technique is important, as we have yet
to introduce the far greater challenge of breathing while maintaining an embouchure and
sustaining a tone.

Part II

Circular breathing is a very useful technique. When used properly, it can greatly enhance
ones ability to execute convincing musical phrases. Unfortunately, the technique can also
become a flashy gimmick, drawing attention to itself, and away from the music. Good
circular breathing should be used inconspicuously, hopefully to the point of going
unnoticed by the audience. While the basic technique is not terribly difficult, there are a
few important areas that must be addressed.

1. Tone Quality

The embouchure is normally assisted with the generous support of an air stream that
comes from the diaphragm. By contrast, the brief puff of air support by the cheeks is
extremely weak. This requires the muscles of the embouchure to almost entirely support
the tone while the diaphragm resets for the next inhalation. Practice squeezing the
muscles of the embouchure while you work you cheeks like bellows. This can be done as
an isometric exercise (without a saxophone), or while playing the saxophone. The ideal
amount of embouchure support will minimize changes in tone quality between the two
modes of exhalation. Let your ears be your teacher, and use a mirror to observe your
embouchure. The key is to firm the embouchure when puffing the cheeks.

2. Over-inhalation

Over long periods of continuous circular breathing, it is very possible to become

overwhelmed with too much air in the lungs, especially as that air becomes stale. This
feeling is familiar to anyone that plays an instrument that plays with significant
resistance, such as soprano saxophone or oboe. For this reason, it is important to
carefully regulate the reserve of air. It is better to start with less air than in a normal
performance setting. The initial inhalation should still be strong and supported by the
diaphragm, but it is preferable to begin with less air, and to initiate the circular breathing
sooner than what feels necessary. Over long periods, it will become obvious that it is
easier to maintain good tone and oxygen levels by avoiding any situation where you feel
the need to “gasp” for air.

It is also useful to practice emergency exhalations, by allowing air to “squirt” out.

Practice slightly releasing embouchure pressure, just enough to allow air to leak out
between your lip and the mouthpiece. Although this is not ideal, and likely to make some
extraneous noise, there are times when this might be necessary, to get rid of stale air in
the lungs.

3. Range

As mentioned in the section on tone, there is a much greater demand on the embouchure
during a circular breathing cycle. These demands increase exponentially in any
circumstance that already requires extra support, such as the extreme upper and lower
registers. For this reason, it is smart to plan ahead, rather than to just steal breaths at
random. Just as we plan our breathes in conventional playing, we should have a strategy
for circular breathing in places that make the most sense. Typically, this means targeting
notes in the middle register for breathing, as they are less resistant and easier to support
without the diaphragm. Of course, this will not always be possible. It is equally
important to practice circular breathing in the extremes of register. This will be rather
difficult at first, but will become easier as the muscles of the embouchure continue to
develop.

Performance notes

Wind Bags is a short study that addresses everything mentioned in the previous two
sections on circular breathing. The cheeks should be filled with air wherever the
parentheses appear above a certain note. The notation >in< indicates a circular breath,
where the puffed cheeks squeeze out air, while the player simultaneously inhales through
the nose. At the end of the etude, inhale as needed. Remember to begin by emptying the
lungs with a sigh, so that there is very little air in reserve. Also take note of the
instructions to not breathe in the rests in the penultimate measure.
 Wind Bags
for alto/tenor saxophone
Begin with a full exhale David Pope
(do NOT inhale until beat three!)
for
q = c 72 ( ) > in <
( )

w
> in <

œ œ œ œ œ œ
&c œ œ œ œ ˙

˙ œ œ ˙ ˙ œ- ˙
œ œ œ
5 ( ) > in <

& ˙

œ œ œ œ
( ) > in <

œ œ w
&w ˙
9

œ œ œ
( ) > in <

œ œ œ œ
13

& œ œ œ œ œ w

œ œ œ œ œ œ #œ œ œ
( )

œ œ œ œ œ œ œ
( )

œ œ
> in < > in <

œ œ
3

# œ
17

& œ #œ œ œ œ œ œ
3

3 3
3 3
( )

œ#œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ
( )

œ#œ œ
> in <

& œ#œ œ œ œ œ œ œ œ œ
21 3 > in <

œ#œ œ
3 3 3

3 3 3 3 3
3 3 3 3
3

œ#œ œ œ#œ œ œ œ œœœ œœœœœœ

( )

œ œ
( )

œ œ # œ œ œ œ # œ œ
> in <

œ œ œ œ œ
25 3 > in <

& œ#œ œ œ œ#œ œ #œ œ œ

3 3

œ
3

œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3
3 3

œ # œ
3 3 3

œ œ œ
& œ œ œ œ œ œ œ œ #œ œ œ œ œ
29

Keep cheeks puffed throughout, inhale as needed

œ œ œ œ #œ œ œ œ.
œ œ
& œ #œ œ œ œ #œ œ
no breathing in rests!
Œ œ. Œ
31

w
normal cheeks >
SUBTONE

Saxophone subtone is synonymous with jazz, bringing to mind the smooth, warm sounds
of Coleman Hawkins, Ben Webster, and Sonny Rollins. This jazz technique is executed
by drawing the lower jaw inward, allowing more bottom lip to roll out, muting the upper
harmonics by dampening the reed. In this section, we are talking about a slightly
different technique. The contemporary classical subtone is actually an extreme version of
pianissimo, performed with a slightly open jaw, a firm embouchure, and the slowest
possible stream of air. The tone should be as quiet as possible, barely audible, in fact.

Sometimes I Feel Like a Motherless Child is one of the great traditional melodies from
the African American tradition. In this etude, the sound should be continuous and
smooth, all in the classical subtone. The grace notes surrounding the written A drone are
meant to be played by gently flicking open palm keys, or the high E and F# keys. These
keys behave differently from one horn to the next, so I have left out specific fingerings.
Do not use the octave key! The entire etude should be played in the natural register of the
saxophone, using short fingerings to obtain pitches above the break. Below are some
fingering suggestions, which can at least serve as a launching point.

A to E: normal A fingering, flick the high F# key (for horns without high F#, try
the F palm key with the high E key of the right hand)

A to D: normal A fingering, flick the palm E-flat key OR the high E key of the
right hand

The D in measure 26 should be fingered like a middle C with the Eb palm key, or
some other variation that does not require the octave key.

It is of extreme importance to be gentle and smooth with the keys, and to not disrupt the
extremely soft dynamic by “slamming” the grace notes. There should be an overall
illusion of a constant drone. Circular breathing is preferable, and especially desirable on
the notes marked with a fermata. A successful performance will sound distant, almost
like a mournful echo.
 Sometimes I Feel Like a Motherless Child
for alto or tenor saxophone
David Pope
for
Freely, subtone throughout
Grace notes should be smooth and without accent

U
œ œ œ- w
r r r j r r j r
&c w
œ œr
œ
œ œ œ
œ
œ œ œ œ œ
˙. œ œ œœ œ œ
˙. œ

∏
U
œ œ œ- 45 ˙
r r j r r j r
c
r
& œ œ œ œ œ œ ˙. œ œ œ ˙. œ œ œ œ œ- œ œ œ
6
œ œ œ œ œ œ œ œ
-

r r j j
-
œ œ œ
r r r r
&c œ œ œ œ œr
10

œ œ œ œ ˙. œ œ œ ˙. w
œ œ œ œ œ œ œ

- U
&œ œ- 5 œ
œ. œ œ œ #œ œ. œ œ œ œ œ œ œ c œ w
14
r r r
œ œr
œ
r r
œ œ 4 œ. œ œ œ #œ œ. œ œ œ nœ - œ
œ œ
-
œ

œ œ œ-
r r r j r j r
œ œr r
& œ œ œ œ œ œ œ ˙. œ œ œ ˙. w
18
œ œ œ œ œ œ œ

U
-
œ œ œ 45 ˙
r r j r r j r
c
r
22

& œ œ œ œ œ œ ˙. œ œ œ ˙. œ œ œ œ œ- œ œ œ
œ œ œ œ œ œ œ œ
-

œ œ œ œ œ- w
j
& c œ œ œ œJ œ œ œ
r
˙.
26
œ r
œ. œ œ œ #œ œ. œ œ œœ œ
œ œr
œ r r

- U
&œ œ- 54 œ c
30

œ . œ œ œ œ . œ œ- œ n œ œ- œ œ œw
r
œ œr # œ
œ
œ
œ
Prelude (from Prelude, Mystery and Ecstasy, Dorn Publications) is
in homage to J. S. Bach, with a nod to the first cello suite. The
special fingerings required are as follows:

F l 1 2 3/ 5 side F# [octave key]

C L 2 / side C
D – F# multiphonic (m. 29): 1 (bis) / high E, side Bb [octave key]
Db – F multiphonic (m. 30): 1 (bis) / high E [octave key]
!
 Prelude, Mystery and Ecstasy
for solo tenor saxophone
David Pope

I. Prelude
Rubato

# œ lœ œl œ #œ œ nœL œ #œ œ lœ œl œ #œ œ nœL œ #œ
& #c œ-
œ œœœœœ
œ-
œ œœœœœ
F accel. rit. accel. rit.

## œ lœ œ l œ #œ œ nœ L œ #œ Lœ nœ œ lœ œ l œ #œ œ nœ L œ #œ Lœ nœ
œ- œ œ œ œ œ œ œ œ
5

&
- - œ-
P accel. rit. crescendo . . . accel. molto rit.

## œ lœ œ l œ # œ œ œ lœ œ l œ # œ œ œ lœ œ l œ #œ œ nœ L œ #œ ,
œ œ œ œ Œ
9

& œ- œ- œ-
œ-
F decrescendo . . . P rit.

# œ lœ œ l œ #œ œ œ lœ œ l œ #œ œ œ lœ œ l œ #œ œ œ l œ œ l œ # œ-
&#
13

œ œ œ œ
b œ- b œ- n œ- n œ-
f subito p f subito p

## œ lœ œ l œ #œ œ œ lœ œ l œ #œ œ œ lœ œ l œ #œ œ œ lœ œ l œ # œ œ
œ œ œ
17

& œ
b œ- b œ- # œ- # œ-
f subito p crescendo . . . accel.

## œ lœ œ l œ #œ œ nœ L œ #œ œ lœ œ l œ #œ œ nœ L œ #œ
a tempo

œ œ œ œ œ œ œ œ œ œ œ œ
21

& œ- œ
f

# œ lœ œ l œ # œ œ nœ L œ # œ Lœ nœ œ l œ œ l œ # œ œ n œ L œ # œ œ- Œ ,
&#
25

œ- œ œ œ œ œ œ
-
œ
P
- n œœ-
decrescendo . . . rit.

freely œ U̇
˙
œ œ b œ
slowly
œ œ
# œ œ œ #œ œ b œ œ œ œ # œ œ .. œ œ œ œ # œ œ b œ œ œ
& # .. œ
29
l l l l l l
œ-
P p π
 Lip Shakes
for alto/tenor saxophone
David Pope
for

& c bw w w
b¿ ¿ ¿
vent = 3 vent = side Bb vent = 1

w #w
& ## w¿
4

¿ #¿
vent = 1 vent = palm D vent = palm D#

7
w w #w
& ¿
b¿ ¿
vent = high E vent = 6 vent = 5

10
w *#w w¿
& ¿
*Due to the articulated G# key, vent = 3
vent = 4 there is no venting for this note.

13 bb w¿ w w
& ¿
¿
vent = 3 vent = slightly open 2 vent = side C (with thumb)

16 #w w #w
& #¿
b¿ ¿

w w #w
vent = 1 vent = palm D vent = palm D#
19

&¿ ¿
finger as a "front F"
vent = high E vent = high F# (with thumb)
vent = side Bb
 Shake the Hive David Pope
for solo tenor saxophone
Premiered at the World Saxophone Congress, St. Andrews, Scotland, 2012

w~~~~~ K œ- ~~~~~ K œ-
Quickly {q = c 200} slightly uneven eighths

b œ rpt ad lib. w bœ
lip shake simile . . .

&c .. œ ‹ œ ‹ œ œ œ ‹ .. .. œ ‹ œ ‹ œ œ œ ‹ ..
f palm D
1
2 ∏ 12
1
2 1 1 f π
2
low B-flat3 44 2

# w~~~~ K œ- 6 6 E-flat # w~~~~ L œ-

4 5 5 4 4

bœ œ
5 5 5
6 low C

.. œ ‹ œ ‹ œ œ œ ‹ .. 5 ..J œ ‹ œ ‹ œ ‹ œ œ œ ‹ .. c
5

& 4
ƒ low B 23
palm E-flat 1
p ƒ P 13 13 1
3 1
3
1
3
1
3
4

K œ- L œ-
4 4 4
4 5 4

# w ~~~~~
5 5

bœ œ
6 low C

&c .. œ ‹ œ ‹ œ œ œ ‹ .. 45 .. J œ ‹ œ ‹ œ ‹ œ œ œ ‹ .. c
9

ƒ p F

w ~~~~ # œ- w ~~~~ # œ-
# œ #œ
5 5
&c 4 .. œ ‹ œ ‹ œ ‹ œ œ œ ‹ .. c 4 .. œ ‹ œ ‹ œ ‹ œ œ œ ‹ .. c
12

ƒ 23 F 23 23 23 23 23 ƒ f
1

U
w , ~~~~~~~~~ U
w ,
4 high E 5 5

w ~~~~~~~~~ J w w J w
5
6 low C

&c lw lw
16

ƒ D palm 1
2

, ,
3

bb ww ww w
w ~~~~~~~~ J ww w ~~~~~~~~ Lw
lw w w w
20

&
trill G# E-flat palm 1 trill G#
2

U
w
w ~~~~~~~~~ L w (as long as possible) K œ- # w ~~~~~~~
bœ
w " .. œ ‹ œ ‹ œ œ œ ‹ " ..
24

&
Ï subito p ƒ
1 + bis
high E
 Exsequiae
B-flat tenor saxophone duet David Pope

q»¶º
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Calmly

& b 44
p
Tenor Sax. 1

4 ww ww ww ww
&b 4 ∑ ∑ ∑ ∑
p ok123/4
Tenor Sax. 2

high E

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ww ww
&b
9

ok
12 /456 low C

w ww ww # ww ww ww
low Bb side Bb

& b #w
ok
123/45
high E

ww ww
&b ∑ ∑ ∑ ∑
15

,
b ww ww ww ww ww ww
&

œ œ œ
1st x: state plainly

œ œ œ œ œ œ œ œ œ œ œ œ
2nd x: ad lib

œ
& b .. œ œ
21

F
w
b . ww w ww # ww
& .
P ok
123/45 low C
© 2007, used by permission
 œ œ œ
œ œ œ œœ œ œ œ œ -̇
&b œ ˙ .. ∑
25

w
& b
ww w ˙˙ # ˙˙ ww .. ˙˙ .. Œ

œ ˙ œ œœœ œ ˙ œ œœ œ œ œ œ
œ ‰ œ œ ‰ œ œ bœ œ œ œ
&b Œ Œ Œ
30

p ok

œ ˙. œ ˙. œ ˙. œ ˙. œ. œ.
1bis
high E

œ œ œ œ œ œ
&b J J
p
œœ b œœ ˙˙ œ œœ œ
œ œ œœ b œ œ œ œœ
.. œ
4X

&b .. ∑
35

ok
F ok

œ. œ œœ ˙˙ œ œœ ˙˙
12 12 /456 low C

˙
palm Eb low Bb side Bb

& b œJ .. œ .. œ
4X

J J ‘
J J
ok
12 /456 low C

œ œ
œ œœ b œ œ œ œ œ œœ œ œ
low Bb side Bb

œ œ œœ œ œ ˙ -̇
˙
&b œ œ œ œ œ œ œ œ œ ˙
39

&b ‘ ‘ ‘ ‘ ‘ ‘

>œœ ˙˙ >œ ˙ >œ ˙

>
b Œ ‰ Œ ‰ # œœJ ˙˙ Œ ‰ œJ ˙ Œ ‰ œJ ˙
45

& J
p
œ œœ ˙˙ œ œœ ˙˙ œ œœ ˙˙ œ œœ ˙˙
œ J œ J œ J œ J
&b J J J J

2
 ,
& b .. ’ ’ ’ .. Ó Œ # œœ ww
49 Solo: D minor (rpt. 16 times)
’ ’ ’ ’ ’
(slowly rise and fall in intensity)
π
œ œœ ˙˙ œ œœ ˙˙
& b .. œJ J œ J .. ww œœ
Œ Ó
J
π
w w
w w
& b .. w w w w .. 43
53

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

12/456 low Eb

œ œ œ œ œ œ œ œ .. 43
& b ..
steadily, breathe when necessary
˙. ˙.
˙. ˙.
3
& b 4 ˙. ˙. ˙. ˙.
57

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

& b 43 œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
& b ˙. ˙. œ œœœ œ œœœ œ œœœ œ œœœ
61

œ œ œ œ œ œ œ œ œœœ œœœ œœœ œœœ

œ œ œ œ œ œ œ œ œ œ œ œ
&b

œ b ˙˙ œœ
œ b ˙˙
>œ œ >œ œ
&b ∑ Œ Œ
65

>œ œ œ ˙˙ œœ >œ œ œ ˙˙ œœ
& b Œ Œ Œ Œ

3
 œ œœ œ œœ œ œœ œ œœ
œ œ œ œ
&b ∑
69

F
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
With drive!

&b œ œ œ œ œ œ
F
œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ
œ œ œ œ œ œ œ œ
&b
71

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
&b

œ œ œ œ œ œ œ œ œ œ œ œ , ˙˙ .
œ œ œ œ .
b
73

&

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œ œ œ œ œ œ

˙˙ .. ˙˙ ..
&b
75

œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ œ œ œ
&b

˙˙ .. ˙˙ .. ˙U˙ ..
&b
77

œ œ œ œ œ œ œ œ œ ˙˙
œ œ œ
&b Œ ∑