Saxophone Methods and Pedagogical Materials

Please do not remove this page
Saxophone Methods and Pedagogical Materials:

A Literature Review
Morris, Benjamin C.
https://scholarship.miami.edu/esploro/outputs/doctoral/Saxophone-Methods-and-Pedagogical-Materials-A/991031686302302976/filesAndLinks?index
=0
Morris, B. C. (2022). Saxophone Methods and Pedagogical Materials: A Literature Review [University of
Miami].
https://scholarship.miami.edu/esploro/outputs/doctoral/Saxophone-Methods-and-Pedagogical-Materia
ls-A/991031686302302976
Open
Downloaded On 2024/05/07 07:00:59 -0400
Please do not remove this page

UNIVERSITY OF MIAMI
SAXOPHONE METHODS AND PEDAGOGICAL MATERIALS: A LITERATURE

REVIEW
By
Benjamin C. Morris
A DOCTORAL ESSAY
Submitted to the Faculty

of the University of Miami
in partial fulfillment of the requirements for
the degree of Doctor of Musical Arts
Coral Gables, Florida
May 2022
©2022
Benjamin C. Morris
All Rights Reserved
UNIVERSITY OF MIAMI
A doctoral essay submitted in partial fulfillment of

the requirements for the degree of
Doctor of Musical Arts
SAXOPHONE METHODS AND PEDAGOGICAL MATERIALS: A LITERATURE

REVIEW
Benjamin C. Morris
Approved:
________________ ________________
Margaret Donaghue, D.M.A. Dale Underwood
Associate Professor of Instrumental Lecturer of Saxophone
Performance
________________ _________________
Gabriel Beavers, M.M. Guillermo Prado, Ph.D.
Associate Professor of Instrumental Dean of the Graduate School
Performance
________________
Don D. Coffman, Ph.D.
Chair of Music Education and Music Therapy
MORRIS, BENJAMIN C. (D.M.A., Instrumental Performance)
(May 2022)
Saxophone Methods and Pedagogical Materials:

A Literature Review.
Abstract of a doctoral essay at the University of Miami.
Doctoral essay supervised by Dr. Margaret Donaghue.

No. of pages in text. (82)
This literature review investigates a total of 46 sources pertaining to the teaching of
three saxophone fundamentals: embouchure formation, articulation, and voicing/vocal
tract manipulation. The goals of this review are to discover what texts exist for these
fundamentals, what ability levels are targeted by the literature, and what gaps might exist
in the current materials. The most covered fundamental is embouchure formation, with
85% of the sources offering an explanation of this fundamental. 68% of the sources covered
articulation and 56% addressed voicing. Four audience designations are determined to aid
in gauging the distribution of literature across ability levels: beginner, intermediate,
advanced, and band directors/instructors. The most targeted group is a combination of the
intermediate and advanced audiences. Band directors/instructors are the next most
frequently targeted audience and are the intended audience in 14 sources. Only 24% of the
sources address beginning saxophonists making them the least targeted audience. The
combination of findings for the coverage and intended audience of these sources exposes
a gap in the literature pertaining to voicing explanations intended for beginners. The
development of a method that targets these underserved areas is encouraged with the
evidence provided by this literature review.

To Jennifer, my constant inspiration.
iii
Acknowledgements
I wish to thank my parents for their unending support of my musical pursuits
which have led me to this point. I could never have gotten this far without their nurturing
and willingness to endure some truly terrible saxophone playing in the early years. I
would also like to thank my fiancée, Jennifer, who throughout this process, and this
degree, has been a wellspring of solace and encouragement. Lastly, I owe an unpayable
debt of gratitude to my mentors both past and present. Dr. Matthew Taylor and Dr. Jason
Kush equipped me with the ability and knowledge to pursue my dreams. I wouldn’t be
half the musician I am today without their herculean efforts early on in my development.
Dale Underwood’s guidance over the past three years has been invaluable, and I am truly
lucky to be able to call him my friend.
iv
Table of Contents
LIST OF FIGURES .......................................................................................................... vi
LIST OF TABLES ........................................................................................................... vii
CHAPTER
1 INTRODUCTION ...............................................................................................1
Explanation of Fundamental Terms .............................................................4
Explanation of Audience Designation .........................................................5
2 METHODS ...........................................................................................................7
Level 1 Inclusion Criteria ............................................................................8
Level 2 Inclusion Criteria and Data Extraction ...........................................9
3 LITERATURE REVIEW ..................................................................................13
Pedagogical Materials ................................................................................19
Annotated Bibliographies ..........................................................................54
4 RESULTS AND DISCUSSION .........................................................................58
5 CONCLUSION ...................................................................................................77
BIBLIOGRAPHY ..............................................................................................................79
v
List of Figures
FIGURE 2.1 ................................................................................................................................... 12
FIGURE 4.1 ................................................................................................................................... 59
FIGURE 4.2 ................................................................................................................................... 61
FIGURE 4.3 ................................................................................................................................... 63
FIGURE 4.4 ................................................................................................................................... 66
FIGURE 4.5 ................................................................................................................................... 69
vi
List of Tables
TABLE 3.1..................................................................................................................................... 14
TABLE 3.2..................................................................................................................................... 14
TABLE 3.3..................................................................................................................................... 16
TABLE 3.4..................................................................................................................................... 18
TABLE 3.5..................................................................................................................................... 18
TABLE 3.6..................................................................................................................................... 18
TABLE 3.7..................................................................................................................................... 19
vii
Chapter 1: Introduction
It is unnecessary to lament the plight of the saxophone and its gross misuse. It is
necessary to recognize that the instrument can be successfully taught with as high a
degree of seriousness as any other concert instrument. – Frederick Hemke 1
The Saxophone has existed for a mere 178 years, a relatively short lifespan for a
musical instrument. Made of a brass cone with a mouthpiece and keywork similar to the
clarinet, it was intended to bridge the gap between the brass instruments and the
woodwinds. The inventor, a Belgian man named Adolphe Sax, developed an entire
family of saxophones in the 1840s and set his sights on revamping the French military
bands of the time with instruments that could actually be heard outside, unlike the other
woodwinds of the time. This garnered him the attention and resentment of current
instrument makers in and around Paris and would lead to a difficult and interesting
beginning for the saxophone. Though in modern times we know the saxophone to be one
of the preeminent instruments of jazz, Mr. Sax intended for the saxophone to be a
mainstay of the orchestra as well as the military band. He envisioned two sets of
saxophones, one keyed in F and C and one keyed in Eb and Bb. 2 Though the F and C
saxophones never really caught on, the Eb and Bb instruments are the same that we use in
modern bands and orchestras, though the instrument has undergone many changes in the
two centuries. Sax faced many hardships: corporate espionage, patent fraud, and even a
failed assassination attempt, all in an effort to silence the saxophone before it could really
1
Hemke, “Teacher’s Guide,” 1977.
2
Segell, The Devil’s Horn.
1
2
begin to make waves. True to the nature of the instrument, and despite many naysayers’
best efforts, the saxophone survived.
After including the saxophone into their military bands, the French government
now had to solve the issue of how to teach musicians to play it. They commissioned a
clarinetist and composer named George Kastner to write what would become the very
first method for the saxophone. 3 This method was published in 1846 and serves as the
earliest source of pedagogical material present in this paper. Kastner worked with Sax
himself to develop an approach that would steer beginning saxophonists in the right
direction. It is in this spirit, the spirit of pedagogical advancement, that this essay exists.
It is the my hope that the materials presented in this paper serve to advance the teaching
of this beautiful and often maligned instrument.
Despite its brief existence, the saxophone has amassed a plethora of pedagogical
materials aimed at explaining the minutiae of the instrument. But like many writings
pertaining to the arts, these sources vary in content covered, time written, and in the
targeted audience. This literature review serves to bring these sources of saxophone
pedagogy and clinical study together, organized by topic. The focus of this review is on
key saxophone fundamentals that form the basis of facility on the instrument. These
fundamentals include embouchure formation, articulation, and voicing/tongue position. It
has proven prudent to focus the breadth of this research on these three fundamentals in
order to achieve the most usable results. From this focus has come several research
questions to further guide the acquisition, absorption, and dissemination of this
information. The questions are as follows:
3
Levinsky, An Analysis and Comparison of Early Saxophone Methods Published between 1846-1946,
1997.
3
What sources exist for the fundamentals of embouchure formation, articulation, and
voicing and how do they describe the application of these fundamentals?
The way a topic is written about and described has an impact on the reader’s
ability to process the information presented. This question helps to focus this literature
review because a collection of texts utilizing conflicting information would likely not
prove useful to the reader. If it is found that methods from different time periods,
different geographical locations, or school of thought differ from each other in their
approach of the same fundamental, it is important that this difference be explicitly
covered in the review.
What age groups and ability levels are targeted by the existing sources on these
fundamentals?
By focusing on the intended audience of each of the sources used in this literature
review, we can paint a clearer picture of who is included in the pedagogical discussions
of these fundamentals. Exposing an obvious gap in targeted audience would prove to be
valuable insight as to how to proceed from this point forward.
Are there any gaps in the coverage of these fundamentals, or are any of these
fundamentals covered more than the others?
Does there appear to be any of these targeted fundamentals left out of existing
sources, or does there appear to be a pattern of favoritism when it comes to texts written
about the different subjects? It is incredibly important to not just look at what is being
said and researched, but also to look at what is left out or under-researched. This
awareness can provide further direction to any future studies that might be necessary. It is
not under the purview of this paper to ask why a fundamental was not included; it is the
4
mission of this literature review to observe the catalog of saxophone pedagogy, study the
existing literature, and make fact-based statements from the findings.
To answer these questions, a literature review of the methods, studies, and papers
written to date and found through the specific search terms has been completed. Using
both relevant keyword combinations and references from my existing library of sources, I
have built a library of documents that deal with these identified fundamentals and the
saxophone. The inclusion criteria and further information about the methods used to
locate and sort the sources included in this paper can be found in Chapter 2, titled
“Methods.”
Explanation of Fundamental Terms
Embouchure formation refers to the flexing of muscles in one’s face to facilitate tone
production on the saxophone. While the word embouchure refers to the interaction of the
face and the instrument with regards to every wind instrument, it remains the most
specific and relevant term when describing this action.
Articulation/Tonguing refers to the use of one’s tongue to start and stop the reed in
order to make sound on the saxophone. Many of the sources used in this review refer to
the saxophone and clarinet synonymously due to the similarities of the two single reed
instruments. However, documents referring only to the clarinet with regards to
articulation were not considered, as the difference between the instruments is large
enough to exclude clarinet specific studies from saxophone pedagogy.
Voicing refers to the manipulation of the tongue and vocal tract during the playing of the
saxophone to achieve better intonation and tone, as well as accessing the extended ranges
5
of the instrument. It is important to note that this term is also occasionally referred to as
tongue position and is utilized by several instruments other than the saxophone.
Explanation of Audience Designation
Beginner – This designation describes saxophonists that have either just begun their
study of the saxophone or are still new to the instrument. These students might not know
all the fingerings of the instrument yet and will likely be unable to produce tones in the
lower and higher ranges of the saxophone.
Intermediate – Intermediate saxophonists have a functional understanding of the
instrument, meaning they know all the fingerings and have access to the lower and higher
ranges. These students likely have not yet developed a deep understanding of intonation
and might suffer from tone production issues such as squeaking.
Advanced – Advanced saxophonists have command over the entire range of the
instrument including at least the first several pitches in the altissimo range. These
students have an intimate understanding of intonation and rarely suffer from tone
production issues. These students are often in college, but this is not a requirement to be
included in this designation.
Band Director/Instructor – This designation belongs to current band directors and
collegiate students studying to become music educators.
The saxophone is often regarded as the easiest instrument to make a sound on,
which is normally where the familiar quote stops, poking fun at the saxophone’s
intelligent design which enables the player to make sound in mere seconds with little or
no instruction. This is quite different from its woodwind cousins which take hours and
meticulous guidance to produce characteristic sounds. However, if we include the second

6
half of this quote, a different picture is painted. The saxophone is the easiest instrument
to make a sound on, but the hardest to master. It is the my hope that this literature review
will serve as a jumping point for saxophonists looking to continue the push towards this
fabled mastery.
Chapter 2: Methods
The search terms used to locate the sources included in this review are listed
below and separated by the fundamental that they target and the origin of the keyword.
Several of these terms were determined based on the existing library of literature in my
possession.
Search terms based on pre-existing library:
(Saxophone OR Sax) AND (Teaching OR Pedagogy OR Fundamentals OR Methods)
Search terms identified for Embouchure:
(Embouchure OR Mouthpiece OR (mouth position))
Search terms identified for Articulation:
(Articulation OR Tonguing)
Search terms identified for Voicing:
(Voicing OR (Tongue Position) OR Overtones OR Altissimo)
Method of searching for sources
I utilized Harzing’s Publish or Perish (version 7) to search Google Scholar for
documents using the search terms listed above. This primary search was limited to 500
sources using the “maximum number of results” function in the program. 500 sources
were identified by Publish or Perish as being research relevant, with high numbers of
citations, and as a result were included in the level 1 inclusion/exclusion screening based
on the criteria described below. Following the conclusion of this search, the results were
7
8
imported and saved in Zotero (version 5), where the first level of screening will take
place. This way the results are saved in both programs should the need arise to backtrack
for a source.
Once in Zotero, three folders were created. The first folder included all of the
results before screening. This folder was labeled “Results – Unfiltered.” The second
folder was labeled “Include,” and served as the depository for all sources that passed the
first level of screening. The final folder was labeled “Exclude,” and housed the sources
that were determined to be irrelevant to this literature review based on the criteria
delineated below.
Level 1 Inclusion Criteria
Inclusion criteria for level 1 consisted of a broad assessment of the source’s
perceived relevance to the literature review based on the title, and in some more difficult
to ascertain cases, the abstract was also consulted. Sources were included if the title
and/or the abstract was related to the saxophone and included any of the following terms:
embouchure; mouthpiece; mouthpiece-only playing; articulation; tonguing; voicing;
overtones; overtone production; altissimo; pedagogy; methods, or fundamentals.
Level 1 Exclusion Criteria
Sources were excluded from the first level of document screening if they:
• did not include the search terms listed above in either the title or the abstract.
• focused on an instrument other than the saxophone.
• discussed topics outside of the purview of this literature review.
• were in a language other than English without a reliable translation in existence.

9
After completing the first level of source screening, the number of sources included in
the review had dropped from 500 to 44. It should be noted at this time that few of these
sources were excluded based on the presence of a language other than English. The bulk
of these exclusions were due to general irrelevance to the topic and scope of this paper.
These 44 sources do not include sources that I already determined to be relevant and
included in the existing library of materials.
Level 2 Inclusion Criteria and Data Extraction
For the second level of screening, NVivo (version 12) was used to both store and
access the full-text versions of the digital sources and to extract relevant data from the
sources that were chosen to be included. First, the inclusion criteria should be described
for this level of screening. Inclusion criteria for level 2 consisted of more in-depth
assessments of the contents of each of the sources that passed through the first level of
screening. Sources from this second round were included if they described the processes
necessary to execute the targeted fundamentals. Some sources went into great detail
about the method used to achieve consistent access of the fundamentals while others were
more vague, relying on individual trial and error more than a breakdown of the steps
needed. Both categories of sources were included as they both address the topic of this
review.
Data extraction included using a feature of NVivo that allows the reader to
highlight certain text in the documents displayed and code them to a node which is the
gathering place for all citations specific to a certain fundamental. I chose to include three
main nodes in NVivo, “Embouchure,” “Articulation,” and “Voicing/Tongue Position.”
Since NVivo can only be used with digitized sources, several of the physical documents
10
used were first scanned into the program so that the text could be coded to the relevant
node. This allows all the information from these sources to be collated in an easy to
digest way, leading to a faster analysis of the materials included in the review. Of note,
not all of the sources were scanned and coded in this way; the format of several physical
sources did not lend themselves to being digitized with the equipment available. Data
extraction for these sources was done using the tried-and-true post card method. Page
numbers and summaries of the important text from each physical source were recorded in
order to facilitate faster recall during the analysis.
I elected to include two additional sub-nodes titled “Snowball Sourcing,” and
“Popular Resources.” The “Snowball Sourcing” node served as a depository for sources
that were not identified in the search of 500 results originally conducted. This indicated
to the me that they were relevant but they were either inaccessible or not specific enough
to be included. The “Popular Resources” node is where mentions of frequently cited
sources were placed in order to see how many times each of these most popular sources
were cited in scholarly research and pedagogical methods about the saxophone. Many of
the materials included in the existing library of sources for this review were cited by the
sources that made it through the second level of screening. This indicates that these
sources are not only relevant, but that they are also frequently used and have helped to
form the basis of modern saxophone pedagogy.
Level 2 Exclusion Criteria
Sources were excluded from the second level of document screening if they:
• were found to address topics not included in the focus of this review.
11
• were comprised entirely or mostly of music notation as a way to delineate
fundamental instruction.
o This literature review is focused on sources that discuss the methods
needed to achieve the three targeted fundamentals via description rather
than the “learn by doing” approach.
• Sources were inaccessible.
o Behind paywall
o Out of print
After the conclusion of this second screening, 31 of the first level of screening’s
44 sources remained. It is important to remember that this number only reflect sources
that are both digitized and not included in the existing library of sources. To these 31
sources, there were 7 non-digitized sources added and 8 from the existing library. This
totals 46 sources that were determined to be relevant to this literature review as
summarized in Figure 1.
12
Figure 2.1
There were two categories of documents included in this review that could be
judged as irrelevant to the topics covered by this review, but relevant to saxophone
pedagogy as a whole. The first category was papers of a scientific nature. I chose to
include one paper that described in great detail the pressures used to manipulate the vocal
tract, thereby executing the fundamental of voicing. This source provided much needed
depth to the exploration of pedagogical methods and will be described in greater detail in
the analysis section of this paper. The second category was annotated bibliographies
about topics that follow under the purview of this literature review. These sources proved
themselves to be useful in establishing the most in-depth review of available materials as
they often included annotations about the sources that are included in this review as well.
A better picture of what these documents say and how they are used is provided in the
annotated bibliography section at the end of Chapter 3.

Chapter 3: Literature Review
This chapter will be comprised of the sources gathered through the methods
mentioned in the previous chapter. In many cases, the sources contained in this paper
cover all three of the chosen basic techniques. To assist the reader in finding the most
relevant information as quickly as possible, these sources will be divided into sub-
categories for each entry, one for each of the individual fundamentals covered.
Formatting the paper in this way will aid the reader but will also showcase the differences
present in the materials that cover the exact same concepts. A secondary goal of this
review is to identify the intended audiences for each source so that any gaps in
pedagogical coverage can be determined and a recommendation for further study can be
made.
The following section contains annotations for each of the sources that were
included in this review. The entries occur in alphabetical order according to author last
name. Each entry was assigned a number, 1 through 46, that is used in the tables below to
index the sources and the specific topics they cover. These indexes also indicate which of
the audience designations each source targets for each fundamental.
Tables 3.1-3.3 group the sources by primary audience type. Though there is
significant overlap in the intended audiences, I have designated sources as being
primarily for one of three groups; beginners, intermediate to advanced, and band
directors/instructors. These tables are intended to help the reader quickly reference
sources by audience, instead of by fundamental.
13
14
Table 3.1 – Sources primarily for beginners
Item Author Title of Book Embouchure Articulation Voicing

Number Name
7 Denis Gabel Saxophone for Dummies Yes Yes Yes
and Michael
Villmow
14 James Houlik The Complete Saxophonist Yes Yes Yes
and Eric
Lauver
16 Lautzenheiser Essential Elements for Yes Yes
et al Band: Alto Saxophone
Book 1
19 Henry Henry Lindeman Method Yes Yes Yes
Lindeman
26 Bruce Standard of Excellence Yes Yes
Pearson
28* Debra The Richtmeyer Method Yes Yes Yes
Richtmeyer for Saxophone Mastery
Vol. 1
29 Eugene Practical Hints on Playing Yes Yes
Rousseau the Alto Saxophone
30 Eugene The Eugene Rousseau Yes Yes
Rousseau Saxophone Methods Vol.
1
37 Ben Foundation to Saxophone Yes Yes
Vereecken Playing: An Elementary
Method
38 Paul De Ville The Universal Method for Yes Yes
Saxophone
Table 3.2 – Sources primarily for intermediate to advanced
Item Author Name Title of Book Embouchure Articulation Voicing

Number
3 John Brown How to Play Saxophone: Yes Yes
Everything You Need to
Know to Play the
Saxophone
15
4 Chen, Yiqun An introduction and Yes Yes Yes

analysis of Henry
Lindeman’s Method for
saxophone
6 Feldkamp Developing the altissimo Yes Yes Yes
register of the soprano,
alto, and tenor saxophones
11 Hasbrook Alto saxophone Yes Yes
mouthpiece pitch and its
relation to jazz and
classical tone qualities
12 Tracy Saxophone secrets: 60 Yes Yes Yes
Heavner performance strategies for
the advanced saxophonist
17 Liebman Developing a personal Yes Yes Yes
saxophone sound
18 Liley et al. The Cambridge Yes Yes Yes
companion to the
saxophone
21 López Saxophone mini-treatise Yes Yes
22 McKim Joseph Allard: His Yes Yes Yes
contributions to saxophone
pedagogy and performance
27 Rascher Top Tones for the Yes Yes
Saxophone
28 Richtmeyer The Richtmeyer Method Yes Yes Yes
for Saxophone Mastery
Vol. 1: Unlocking Artistry
through Fundamentals &
Pedagogy
31 Rousseau Saxophone High Tones: A Yes Yes
Systematic Approach to
the Extension of the Range
of All the Saxophones
33 Sinta Voicing: An Approach to Yes Yes
the Saxophone’s Third
Register
34 Teal The Art of Saxophone Yes Yes Yes
Playing
35 Teal The Saxophonists Yes Yes
Workbook
36 Vanderheyden Approaching the classical Yes Yes Yes
style: a resource for jazz
saxophonists
16
39 Weinstein The Master Speaks: Joe Yes Yes Yes

Allard’s Saxophone and
Clarinet Principles
41 Wolkowski Saxophone Technique Yes Yes
44 Levinsky An Analysis and N/A N/A N/A
Comparison of Early
Saxophone Methods
Published Between 1846-
1946
45 Logsdon An Annotated N/A N/A N/A
Bibliography of Selected
Pedagogical Materials for
the Saxophone Published
Between 1969-1992
Table 3.3 – Sources primarily for band directors/instructors
Item Author Title of Source Embouchure Articulation Voicing

Number Name
1 Jennifer Common Problems (and Yes Yes Yes
Blackwell solutions) for Developing
Saxophonists
5 Ely and Wind talk for woodwinds: Yes Yes Yes
Deuren A practical guide to
understanding and
teaching woodwind
instruments
8 Glen Gillis Sound Concepts for the Yes Yes Yes
Saxophonist (Part I)
9 Glen Gillis Sound Concepts for the Yes Yes Yes
Saxophonist (Part II)
10 Harold Teaching Woodwinds Yes Yes Yes
Griswold
11 Hasbrook Alto saxophone Yes
mouthpiece pitch and its
relation to jazz and
classical tone qualities
13 Frederick Teacher's Guide Yes Yes Yes
Hemke
23 Moore Instrumental Music Yes Yes Yes
Teaching Techniques for
College Methods Classes
24 Palmer Teaching Techniques of Yes Yes Yes
the Woodwinds: A
17
Textbook for the

Instrumental Teacher and
the Teacher in Training
32 Saucier Woodwinds: Fundamental Yes Yes Yes
Performance Techniques
40 Westphal Guide to Teaching Yes Yes Yes
Woodwinds
42 Budde An Analysis of Methods N/A N/A N/A
for Teaching Middle
School Band Students to
Articulate
43 Gora An Annontated N/A N/A N/A
Bibliography of Selected
Materials Relative to the
History, Repertoire,
Acoustics, and Pedagogy
of the Saxophone
46 Wallace An Annotated N/A N/A N/A
Bibliography of
Pedagogical Resources for
the Pre-College
Saxophonist
Additionally, another set of tables is included to help readers digest the
information contained in the literature review portion of this paper from the perspective
of fundamental coverage. Each entry’s assigned number has been put into the column
labeled with the audience it addresses. Each table covers a specific fundamental.
Numbers that are bolded indicate that a syllabic approach was utilized when explaining
the process of executing the fundamental. An asterisk next to a number designates the
corresponding source as one of my personal favorites.

18
Table 3.4 – Sources addressing Embouchure Formation
Beginner Intermediate Advanced Band

Director/Instructor
7, 14, 16, 3, 4, 6, 7, 12, 14, 3, 4, 6, 11, 12, 1, 5, 8, 9, 10, 11,
19, 26, 28*, 17, 18, 19, 21, 14, 15, 17, 18, 13, 23, 24, 32, 40
Embouchure
29, 30, 37, 27, 28*, 29, 33*, 21, 22, 27, 28*,
Formation
38, 41 34, 35, 38, 39, 41 31*, 33*, 34,
35, 36, 39, 41
Table 3.5 – Sources addressing Articulation

Director/Instructor
7, 14, 16, 19, 3, 4, 6, 7, 12, 3, 4, 6, 12, 14, 1, 5, 8, 9, 10, 13,
28*, 29, 30, 14, 17, 18, 28*, 17, 18, 22, 23, 24, 32, 40
Articulation
37, 38, 41 29, 34, 35, 38, 28*, 34, 35,
39, 41 36, 39, 41
Table 3.6 – Sources addressing Voicing

Director/Instructor
7, 14, 19, 2, 4, 6, 7, 12, 2, 4, 6, 11, 12, 1, 5, 8, 9, 10, 13,
28*, 29, 33* 14, 17, 18, 21, 14, 15, 17, 18, 23, 24, 32, 40
Voicing 27, 28*, 29, 20, 21, 22, 25,
33*, 34, 39 27, 28*, 31*,
33*, 34, 36, 39
Sources that fall into the category of annotated bibliography will be separated and
discussed by themselves at the end of this literature review chapter. This is because these
texts function differently from the ones listed below and their purpose was not
necessarily to aid in the formation or execution of the targeted fundamentals. Rather,
these sources provide a deeper understanding of the research that has already been done
in this field. The table below indicates the intended audience of the annotated
bibliographies which were included in this review.

19
Table 3.7 – Intended audiences for annotated bibliographies

Director/Instructor
Annotated 46 43, 44, 45, 42, 43, 46
Bibliographies 46
Pedagogical Materials
Common Problems (and solutions) for Developing

Title
Saxophonists (2015)
1 Author Jennifer Blackwell
Intended Band Directors/Instructors
Audience
Blackwell wrote this article for the Canadian Music Educators Association with
the goal of addressing saxophone specific problems many beginners and band directors
will face. Since common problems with beginning saxophone encompass virtually all the
basic saxophone fundamentals, Blackwell offers guidance on all of the targeted
fundamentals, but does go more in-depth on the topics of embouchure formation and
articulation. 4
Embouchure
• Place thumb in the mouth as a surrogate mouthpiece
• Teeth contact the top of the thumb applying moderate downward pressure
• More corners of the mouth forward as if saying “ooo”
• Roll about half of the bottom lip over the bottom teeth
• Replace the thumb with the mouthpiece and repeat steps
• Consistent reminders are the key to student success
Articulation
• Disputes the use of syllables “ta” and “da”
• Encourages the use of “la”
4
Blackwell, “Common Problems (and Solutions) for Developing Saxophonists.”
20
• Several exercises to diagnose tongue and jaw issues are present in this source
Voicing
• Mouthpiece-only playing is encouraged and a concert “A” is considered to be
correct
• No other explanation of voicing is present
Improved Saxophone Intonation Through Altissimo

Title
Exercises (2003)
2 Author Jeremy Brown
Intended Intermediate to Advanced Saxophonists and Band
Audience Directors
Brown focused on the development of better intonation via altissimo in his article
published in Canadian Winds. While this review is not focused on the technique of
altissimo, it is impossible to access this range correctly without an intimate knowledge of
voicing. 5
Embouchure
• No explanation is present
Articulation
• Explanation is present
Voicing
• Executed by overblowing lower notes with adjusted embouchure and air stream
• Tongue should be arched and close to the top of the mouth cavity
• Exercises are provided for development of this fundamental
How to Play Saxophone: Everything You Need to Know

Title
to Play the Saxophone (1982)
3 Author John R. Brown
Intended Intermediate to Advanced Saxophonists
Audience
5
Brown, “Improved Saxophone Intonation Through Altissimo Exercises.”
21
John Robert Brown published a book titled “How to Play Saxophone” in which he
covered many of the topics pertinent to the study of the instrument. 6
Embouchure
• Teeth contact the top of the mouthpiece
• Lips are slightly rolled out, bottom lip is placed into a slight pout
• Bottom lip becomes a cushion for the reed
• Student is instructed not to puff their cheeks
• Student is instructed to have an open throat
Articulation
• No syllables are mentioned in this source
• Student is instructed to use the front portion of their tongue to achieve fast and
clean articulations
Voicing
An Introduction and Analysis of Henry Lindeman’s

Title
Method for Saxophone (2017)
4 Author Chen, Yiqun
Audience
Chen offers an analysis of an early saxophone method by Henry Lindeman
(1934), a prominent American saxophonist in the early twentieth century. Lindeman’s
method is also included in this review, but it seemed valuable to include this analysis as
well as it provides more context that the method alone. 7
Embouchure
• Lips should be forward as is saying the syllable “O”
6
Brown, How to Play Saxophone: Everything You Need to Know to Play the Saxophone.
7
Chen, “An Introduction and Analysis of Henry Lindeman’s Method for Saxophone,” 2017.
22
• Corners of the mouth support the reed and embouchure

• Bottom lip creates a cushion for the reed to rest on
Articulation
• Advocates for the usage of “Tu” as the syllable of tonguing
• “T” for staccato attacks and “D” for legato passages
Voicing
• Describes the larynx movement and prompts student to achieve a stable larynx
while executing intervallic passages
• No further explanation is present
Wind Talk for Woodwinds: A Practical Guide to

Title Understanding and Teaching Woodwind Instruments
(2009)
5
Author Mark Ely and Amy Van Deuren
Intended Band Directors/ Instructors
Audience
Mark Ely and Amy Van Deuren published a book addressing many of the issue
that instructors run into when trying to teach beginning students about the woodwind
family of instruments. This source is quite meticulous and includes many observations
from the authors’ hands on experience. 8
Embouchure
• Advocates for the “drawstring” or “wheel” method
• Equal pressure applied around entire mouthpiece
• Chin is flat but not flexed
Articulation
• “T” syllable is assigned for tonguing
• Tip of the tongue should touch the tip of the reed
• As student progress they should opt for a “d” or “doh” syllable
8
Ely and Deuren, Wind Talk for Woodwinds: A Practical Guide to Understanding and Teaching
Woodwind Instruments.
23
Voicing
• Increase air speed
• Firm up embouchure
• Take more mouthpiece in the mouth
• No mention of vocal tract manipulation
Developing the Altissimo Register of the Soprano,

Title
Alto, and Tenor Saxophones (1990)
6 Author Timothy Feldkamp
Audience
Feldkamp presents a dissertation focused on the cultivation of the altissimo
register for soprano, alto, and tenor saxophones. Though this document is focused on a
technique that is not the topic of this review, Feldkamp still explains many fundamentals
as background information for accessing the extended range of the instrument. 9
Embouchure
• Cover bottom teeth with the bottom lip
• Flatten the chin
• Move upper lip forward as if saying “Do”
• Wet lips and put teeth on top of the mouthpiece
• More pressure is required to play in the high register
Articulation
• Top side of the tongue must contact the tip of the reed
Voicing
• The direction of the airstream must be manipulated without changing the
fundamental embouchure
• Instructions include the prompt to blow either warm or cool air
• In registers one and two, the back of the tongue rest against the bottom of the
molars
• Register three requires the syllable “hee” to be utilized, air is directed upwards
9
Feldkamp, Developing the Altissimo Register of the Soprano, Alto, and Tenor Saxophones, 1990.
24
• Register four requires the tongue to move down and back, as if swallowing the
tongue
Title Saxophone for Dummies (2011)

Author Denis Gabel and Michael Villmow
7
Intended Beginning to Intermediate Saxophonists
Audience
Denis Gabel and Michael Villmow are the authors behind “Saxophone for
Dummies” an installment in the long running “For Dummies” series that covers an
abundance of topics. Though the inclusion of this source may seem less than scholarly, it
is likely that a beginning saxophonist would happen across this book and might even
receive it as a gift from a family member. For these this reason it is included in this
review. 10
Embouchure
• Form a “W” with the mouth
• Place top teeth on the mouthpiece
• Rest reed on the bottom lip
Articulation
• The syllables “ta” and “da” are prescribed
• Experimentation is encouraged for the student to find the best syllable for them
Voicing
• The vowels “A” and “O” are presented as shapes for the oral cavity
Title Sound Concepts for the Saxophonist, Part 1&2 (2008)

Author Glen Gillis
8&9
Audience
10
Gabel and Villmow, Saxophone for Dummies.
25
Gillis published two articles in Canadian Winds dealing with the basics of playing
the saxophone. Both are good resources for basic information and are geared toward band
directors and instructors with beginning saxophonists. 11
Embouchure
• Method aligns with Larry Teal
• The “wheel” is prescribed for embouchure formation
• Equal pressure is exerted around entire mouthpiece
• Bottom lip cushion should be harder than what is described in Teal’s writings
• Too much bottom lip curled over bottom teeth is a common issue with students
Articulation
• Tongue position should not be too high
• Oral cavity should be shaped as though saying “Ah”
• “Tu” is offered as the syllable of articulation
Voicing
• “the oral cavity can subtly affect pitch but should be an alternative only for
advanced players.”
Title Teaching Woodwinds (2015)

Author Harold Griswold
10
Audience
This source is a manual intended to offer instruction on the teaching of
woodwinds for the music education student and current band directors. Griswold
delineates basic woodwinds techniques as well as writing for each instrument
Gillis, “Sound Concepts for the Saxophonist (Part I),” 2008; Gillis, “Spotlight on Woodwinds: Sound
11
Concepts for the Saxophonist (Part 2).”

26
specifically. 12 The information on the saxophone specifically for each of the targeted
fundamentals is as follows:
Embouchure
• Lower lip turned back over bottom teeth; half of the lip should be showing.
• Think syllable “emm”
• Keep chin flat and flexed
Articulation
• In general, the tip of the tongue touches the tip of the reed
• Motion should be up and down, not back and forth
• Syllable should be “duh” when articulating
• Modifications include “tut” for staccato tonguing, and “huh” for breath attacks
Voicing
• Voicing on the saxophone is not specifically addressed in this source.
Alto Saxophone Mouthpiece Pitch and its Relation to

Title
Jazz and Classical Tone Qualities (2005)
11 Author Vanessa Hasbrook
Intended Advanced Saxophonists and Instructors
Audience
Hasbrook’s research on the writings pertaining to saxophone embouchure
formation and voicing includes many of the sources found in this review. Therefore,
much of the information in Hasbrook’s dissertation is the same or similar to other
sources. In the interest of being thorough, this information has been included here despite
its redundancy. 13
Embouchure
• References the Larry Teal “wheel” visualization for embouchure
• Includes syllabic formations “o” and “oo” from various saxophone pedagogues
12
Griswold, Teaching Woodwinds, 2015.
13
Hasbrook, “Alto Saxophone Mouthpiece Pitch and Its Relation to Jazz and Classical Tone Qualities,”
2005.
27
• Teeth should contact the top of the mouthpiece, amount of pressure is disputed
• “3/8” to “1/2” of mouthpiece should be taken into the mouth
• Disputed whether embouchure is manipulated throughout the range of the
instrument or not
Articulation
• Articulation is not addressed in this source
Voicing
• Addresses many landmark methods for the development of voicing
• Describes voicing as mouth, tongue, and throat manipulation
• Methods dispute whether a syllabic approach to voicing is useful due to language
and dialect barriers
• Idea of an “open throat” is addressed as being problematic and confusing to
saxophonists
• Voicing is identified as not only the mechanic that allows access to altissimo, but
also one that improves tone and intonation
Saxophone Secrets: 60 Performance Strategies for the

Title
Advanced Saxophonist (2013)
12 Author Tracy Lee Heavner
Audience
Heavner has put together a quick reference style source for saxophonists who
already know their way around the instrument. This book assumes a certain level of
facility and knowledge from the reader but still addresses the fundamentals covered in
this review. 14
Embouchure
• References “O” shape for the embouchure as well as the resulting shape from
whistling
• Mouthpiece is inserted approximately ½ inch
• About half of the pink part of the bottom lip should be curled over the teeth
14
Heavner, Saxophone Secrets: 60 Performance Strategies for the Advanced Saxophonist.
28
• Heavner states that “using proper breath support, the correct amount of
embouchure pressure should occur naturally.
• Mouthpiece pitch should be an Ab
Articulation
• Though articulation is addressed, Heavner provides exercises aimed at increasing
the speed of articulation, not the development of the fundamental in the first
place.
Voicing
• Referred to as “Throat flexibility”
• The best tongue position is when the tongue is high in the back of the mouth
• Oral cavity should be made smaller and therefore keep the airstream narrow and
focused
• This position will assist with tone production, response, articulation, overtones,
and altissimo.
Title Teachers Guide: Saxophone (1977)

Author Frederick Hemke
13
Intended Band Directors, Saxophone Instructors
Audience
This pamphlet was sponsored by the Selmer company and written by one of the
American saxophone’s greatest pedagogues, Frederick Hemke. Hemke was the first
American to win first prize in saxophone at the Paris Conservatory and studied with
Marcel Mule, another figurehead of the instrument. This resource covers a multitude of
things, including selecting equipment, vibrato, and the three fundamentals that serve as
the focus of this review. 15
Embouchure
• Cover bottom teeth with only the necessary amount of lip
• Do not draw the lip across tightly, rather it should provide a cushion for the reed
• Top teeth rest on the mouthpiece
• “rubber band” analogy used, equal pressure used around the entire embouchure
15
29
• Jaw should remain natural, not pointed or tightened

Articulation
• Advocates that a spot behind the tip of the tongue should be used
• Tongue is forward and downward arching to allow access to the area behind the
tongue
• The tongue is then flexed with the tip being used as a pivot point
Voicing
• Voicing is not specifically addressed in this source
Title The Complete Saxophonist (2007)

Author James Houlik and Eric Lauver
14
Intended Beginner to Advanced Saxophonists
Audience
Houlik and Lauvner collaborated to create this resource which addresses many of
the finer points of learning the saxophone. This source is set apart because it presents the
information in a way that is much more digestible to young and beginning players. 16
Embouchure
• Lower and relax the jaw
• Use one hand to push the sides of the mouth forward
• Speak syllable “ooh”, remember this open setting
• Cover bottom teeth with bottom lip to form a cushion for the reed, insert
mouthpiece
• Apply equal pressure around the entire mouthpiece
Articulation
• “T” syllable for clean articulation
• As little tongue as possible should contact the reed
• Contact the underside of the tip of the reed with a spot on the tongue behind the
tip
• Try to keep the tongue curved in order to avoid to much contact with the reed
Voicing
16
Houlik, Lauver, and Sinta, The Complete Saxophonist.
30
• Vowel shape method is present

• Advocates for mouthpiece-only playing
• Attempt to play an A concert on the mouthpiece alone and then manipulate it by
changing the vowel shape in the mouth
• Do not shift the embouchure while performing this task
Title Virginia Tech Saxophone Handbook (2019)

Author Kyle Hutchins
15
Intended Advanced Saxophonists
Audience
This handbook serves as a syllabus and a guide for the saxophone studio at
Virginia Tech and contains a plethora of information about the study of saxophone and
execution of techniques. 17
Embouchure
• Top teeth on the mouthpiece
• Form cushion for reed with bottom lip
• Corners flexed in
• Chin flat
Articulation
• Though articulation is addressed with exercises, no description of the fundamental
is provided
Voicing
• Described as “the position of the tongue and manipulation of the oral cavity.”
• Process of changing whistle pitch is the same as changing pitch on the saxophone
• Play on mouthpiece alone and bend pitch down
• “Siren Call” the pitch, raising and lowering it in succession
• Emphasis on overtone exercises
Title Essential Elements for Band: Alto Saxophone Book 1

16
Author Lautzenheiser et al.
17
Hutchins, “VIRGINIA TECH SAXOPHONE HANDBOOK.”
31
Intended Beginning saxophonists

Audience
Essential Elements is a beginning band method book that introduces students to
the saxophone in a band setting, allowing them to play in a group. Topics covered include
posture, fingerings, and the rudiments of music. 18
Embouchure
• Moisten lips and roll lower lip over bottom teeth
• Center the mouthpiece on the bottom lip and place it in the mouth about ½ inch
• Close mouth around the mouthpiece like a rubber band
• Equal pressure from all sides towards the mouthpiece
• Chin is down and relaxed
Articulation
• Syllable “too” is prescribed for articulation
Voicing
Title Developing a Personal Saxophone Sound

Author David Liebman
17
Audience
David Liebman is a world-renowned jazz saxophonist and teacher. Though very
few sources that focused on jazz have been admitted to this review, Liebman addresses
topics and fundamentals that are useful to both jazz and classical saxophonists. 19
Embouchure
• Top teeth should contact the mouthpiece and carry the weight of the head
• Pressure from bottom jaw should be equal to the weight of the head
18
Lautzenheiser et al., Essential Elements for Band.
19
Liebman, “Developing a Personal Saxophone Sound,” 1994.
32
• Little jaw pressure is needed

• Top lip does not exert pressure
• Lower lip acts as a buffer between reed and teeth
• Lower lip should move to obtain optimum vibrational spot for each note
Articulation
• Separates tongue and reed into three areas
• Area two, about ¼ inch is a good starting place and is achieved by having an
“EE” shaped tongue
Voicing
• Mouthpiece alone playing is prescribed
• Voicing resides in the larynx and is assisted by the tongue
• Adjustments are made with the larynx and the back of the tongue which changes
the shape of the oral cavity
• Notes the issues with syllabic based instruction due to dialect
Title The Cambridge Companion to the Saxophone (1998)

Author Liley et al.
18
Audience
The Cambridge Companion to the Saxophone is a thorough guide that addresses
many of the challenges facing saxophonist of every level. 20
Embouchure
• Top teeth placed on the mouthpiece
• Lower teeth are covered by bottom lip and press gently upward
• Lips seal around the mouthpiece
• Facial muscles hold firm and cheeks do not puff
Articulation
• Little information is offered about executing the fundamental of articulation
Voicing
• Emphasis is placed on having an open throat
20
Liley et al., The Cambridge Companion to the Saxophone, 1998.
33
• Tongue position is taught via syllables

• “AH” and “OO” are suggested while “EE” and “IH” are avoided due to a
restricted air stream
• Tongue should be long and low in the mouth
Title Henry Lindeman Method (1934)

Author Henry Lindeman
19
Intended Beginner to Intermediate saxophonists
Audience
Henry Lindeman was one of the great American virtuosos in the early twentieth
century and developed this method after speaking with physicians in order to better
understand the mechanisms present in the human body that effect saxophone playing. 21
Embouchure
• Lips should be drawn together so that a cushion forms and should not be “flabby”
• The upper lip does not press down
• The correct shape can be obtained by forming a slight smile
• They should not be tense
Articulation
• An analogy is drawn between the bouncing of a ball and the attack of the reed
• Verbal practice is encouraged with the syllables “d” and “t” for long and short
attacks
• The syllable is used is intended to change to place on the tongue where the reed
contacts
• Tongue should drop to the bottom of the mouth
Voicing
• The larynx should not move when playing intervals either close or distant
• No further discussion of voicing is present
An Analysis of Overtone Production Techniques in

Title
Saxophone Teaching Methods (2018)
20 Author Emily Loboda
Audience
21
Lindeman, The Henry Lindeman Method for Saxophone.
34
Loboda’s research centers around the existing literature for overtone pedagogy
and includes a method presented by the author. As such it does not include information
on articulation or embouchure formation. 22
Embouchure
Articulation
Voicing
• Student should whistle pitches up an down to understand the tongue movement
necessary to change pitch on the mouthpiece
• Mouthpiece-only playing is the starting point for preliminary exercises
• Emphasis on overtone exercises
• Student is instructed to “focus on how the oral cavity, throat, and tongue feel in
order to reproduce the overtone later.”
• Emphasis is placed on “self-discovery”
• Student is instructed to push air into different parts of the mouth and to visualize
the airstream
• Vowel shape is noted as a pathway to overtone production
Title Saxophone Mini-Treatise (2018)

Author María López
21
Audience
This treatise is comprised of topics selected by saxophonists at the Royal College
of Music. Students were also asked to identify topics they find to be the most
22
Loboda, An Analysis of Overtone Production Techniques in Saxophone Teaching Methods, 2018.
35
challenging. This source is written from the point of view of the Alexander technique and
therefore involves many diagrams of the human anatomy relevant to the saxophones. 23
Embouchure
• Teeth are placed on top of the mouthpiece and bear the weight of the head
• Lower teeth are covered by the bottom lip
• Corners move forward towards the mouthpiece as if saying “u”
Articulation
• Articulation is covered, but no explanation of this fundamental is present
Voicing
• A comparison is drawn between whistling and playing in the altissimo range
• The tongue moves upward in the mouth to facilitate access to altissimo and
overtones
Joseph Allard: His Contributions to Saxophone

Title
Pedagogy and Performance (2000)
22 Author Debra McKim
Audience
McKim’s dissertation examines the teachings of the famous American saxophone
pedagogue, Joseph Allard. Allard’s teachings have shaped countless saxophonists and his
work is cited in many of the sources covered in this review. This source is included due
to its
explanation and analysis of Allard’s teachings offering not only the relevant information,
but also some insight into its usage. 24
Embouchure
• Upper teeth and lip oppose the pressure exerted by the lower lip and lower teeth
(jaw)
23
López, “Saxophone Mini-Treatise,” n.d.
24
McKim, Joseph Allard: His Contributions to Saxophone Pedagogy and Performance.
36
• Disputes the equal all-around pressure model of Teal and Kynaston

• Pressure should be applied to the center of the reed disproportionately
• Students instructed to form lips as though putting on ChapStick, leading to
forward lip motion rather than the “smile” embouchure
• Embouchure is formed around the beginning of the facing curve of the
mouthpiece
• Enough pressure to hold the reed
Articulation
• Disagrees with “tip of the tongue to tip of the reed”
• The term edge is used instead of tip because “tip means an extreme point”
• By forming the proper “ee” syllable the edge is put in the correct position for
articulation
• Use of “d” or “t” once the tongue is in the correct position
Voicing
• Back of the tongue touches upper molars
• Back of oral cavity remains large
• Front of oral cavity is narrow
• Explanation and usage of “q” position of the tongue
• Mouthpiece-only playing
• Prescribes the “front F trick” and indicates the larynx as the vehicle of change for
this task
• Overtones ae used for intonation and tone development as well as altissimo access
Instrumental Music Teaching Techniques for College

Title
Methods Classes (1963)
23 Author Paul Moore
Intended Music Education Students and Band Directors
Audience
Moore offers a dissertation that addresses fundamentals in broad, general terms as
well as in specific chapters for each instrument. This source provides some good insight
into the teaching of the saxophone at a time when it was not offered at the collegiate level
in most institutions.25
25
Moore, Instrumental Music Teaching Techniques for College Methods Classes.
37
Embouchure
• Mouthpiece enters mouth at nearly a right angle
• Embouchure is the same as clarinet
• Smile slightly and curl lower lip over teeth
• Bite lightly
• Apply equal pressure around entire mouthpiece
• Blow from diaphragm
Articulation
• Addressed as a general topic for all wind instruments
• The syllable “T” is prescribed as a baseline for articulation, but “d” is mentioned
as a popular alternative
• Do not move the jaw when articulating
Voicing
Teaching Techniques of the Woodwinds: A Textbook

Title for the Instrumental Teacher and the Teacher in
Training (1952)
24
Author Harold Palmer
Audience
Palmer’s guide includes information on all of the woodwind instruments. For the
time that this source was written, the saxophone was not being widely taught at the
collegiate level. This context means that this document, and others like it, would likely be
the best source for information on the teaching of the saxophone and the execution of the
fundamentals of the instrument. This source includes a fingering chart, guidance on the
maintenance of the instrument, as well as pictures of the correct embouchure described in
the text. 26
26
Palmer, Teaching Techniques of the Woodwinds.
38
Embouchure
• Chin should be pointed down
• Lower lip drawn over lower teeth slightly
• Top teeth contact the top of the mouthpiece
• Facial muscles should be pushed forward as though saying “O”
• Equal pressure around mouthpiece
• “Smile” embouchure is discouraged
• Do not puff cheeks
Articulation
• Students are often able to naturally articulate on the saxophone
• Tongue and throat should be relaxed
• Emphasis is placed on touching the reed lightly with the tongue
• Articulation is the same as clarinet, either “ta” or “da” syllable used
Voicing
Investigating Vocal Tract Modifications during

Title
Saxophone Performance (2017)
25 Author Pàmies-Vilà et al.
Audience
Pàmies-Vilà has produced a study of the movement present in the saxophonist’s
throat as they execute many voicing related exercises. This study is not explicitly a
pedagogical source, but it offers incredibly useful information as to the physics behind
the production of overtones and pitch bends which are commonly used as a litmus test for
students’ ability to manipulate voicing. It is my belief that this document should be
included due to its ability to better inform instructors and their methods dealing with
achieving mastery of the fundamental voicing. 27
27
Pàmies-Vilà et al., “Investigating Vocal Tract Modifications during Saxophone Performance.”
39
Embouchure
Articulation
Voicing
• “When the RMS difference is positive (˜pm − ˜p > 0; in red in Fig. 2), the pitch of
the reed vibration deviates from the pitch ﬁngered at the instrument bore,
indicating that the mouth oscillation drives the behavior of the reed.”
• Inability to control the vocal tract resonances results in only achieving up to the
fourth harmonic of the overtone series
• Difference in pressure drives the ability to manipulate pitch and partial
Title Standard of Excellence

Author Bruce Pearson
26
Intended Beginning Saxophonists
Audience
Standard of Excellence is a method book commonly used in band rooms around
the nation. It addresses the rudiments of music, fingerings for saxophone, and basic topics
related to reading music. 28
Embouchure
• Position lips as if saying “oh”
• Cover your bottom teeth with your lower lip
• Place mouthpiece in your mouthpiece where the reed and mouthpiece touch
• Top teeth contact the mouthpiece
• Equal pressure is applied all around the mouthpiece
• Chin is flat and pointed
Articulation
Voicing
28
Pearson, Standard of Excellence.
40
Title Top Tones for the Saxophone (1962)

Author Sigurd Rascher
27
Audience
Top Tones has been cited in many of the sources included in this literature review.
It remains a salient work in the saxophone’s pedagogical repertoire and continues to be
used in the modern day. Sigurd Rascher was a German saxophonist who was one of the
first to embrace the usage of the altissimo range. Many of the saxophone’s core repertoire
is dedicated to Rascher and indeed the proliferation of altissimo in the modern repertoire
can be traced back to Rascher’s influence. 29
Embouchure
Articulation
Voicing
• Play the C major scale on the saxophone
• Sing up to the fourth of the Scale, F
• Finger low Bb and produce this same pitch
• Repeat as many times as is necessary, allowing the ear to lead the vocal tract
• Emphasis is placed on aural skills and their relation to producing the correct
pitches
The Richtmeyer Method for Saxophone Mastery Vol.

Title 1: Unlocking Artistry through Fundamentals &
28
Pedagogy (2021)
Author Debra Richtmeyer
29
Rascher, Top-Tones for the Saxophone.
41
Intended Beginning to Advanced Saxophonists

Audience
Debra Richtmeyer has produced, along with Connie Frigo, a flagship method
modeled after the years of pedagogical development Richtmeyer has enjoyed. There are
two volumes to this method, though the first volume has proven to be the most relevant to
this review and therefore was included alone. This source also serves as the most recent
in this literature review, being published in late 2021. Virtually all topics pertaining to the
saxophone and its study are covered in some degree by this text, including steps for
teaching beginning, intermediate, and college level saxophonists. 30
Embouchure
• Top teeth contact the top of the mouthpiece directly
• Roll bottom lip of the bottom teeth, far enough that the lip is not visible
• Top lip is firm enough to seal in the air, but should not be curled
• Top and bottom teeth should be aligned with a slight overbite, this should happen
naturally
• Insert mouthpiece in mouth to the start of the facing curve, or break point
• Mouthpiece should enter mouth at 75 to 80 degree angle
• The shape of the embouchure is that of the syllable “O” with all the muscles
supporting the embouchure
• Chin should be flat but not bunched
• Practicing in front of a mirror is recommended
Articulation
• Oral cavity should be shaped in the “Aw” syllable
• Middle of the tongue slightly arched
• Sides of the back of the tongue lifted and spread
• Tip of tongue near but not touching lower teeth
• Throat opening lifted and back
• Use the “dah” syllable to touch the reed about ¼ inch to ½ inch back from the tip
of the tongue
• Do not use the syllable “ta”
30
Richtmeyer, The Richtmeyer Method for Saxophone Mastery, Vol. 1.
42
• Tongue should touch the tip of the reed

Voicing
• Front of tongue should be lower than the back of the tongue
• Sides of the back of the tongue are spread past and possibly touching the molars
• Throat is relaxed and open with soft palate lifted and back
• Several exercises are delineated for the development of altissimo and oral cavity
manipulation
Title Practical Hints on Playing the Alto Saxophone (1983)

Author Eugene Rousseau
29
Intended Beginning to Intermediate Saxophonists
Audience
This publication is part of a series done by Rousseau in the 1980s to assist in the
education of young saxophonists. A version of this book exists for alto, tenor, and
baritone saxophone and they cover everything from the parts of the instrument to
explanations of the fundamentals of producing sound. 31
Embouchure
• Photos of correct and incorrect embouchure is included in this source
• Embouchure should feel round
• Equal pressure around the mouthpiece to support the reed
Articulation
• Syllable “DAH” is prescribed for tonguing
• Say syllable without the mouthpiece
• Form embouchure on mouthpiece and say syllable
• Brief explanation of legato tonguing is present
Voicing
• Mouthpiece-only exercises are present
31
Rousseau, Practical Hints on Playing the Alto Saxophone, 1983.
43
• No discussion of the mechanics of voicing

• Students should not manipulate pitch with their jaw, embouchure remains firm
The Eugene Rousseau Saxophone Methods Vol. 1

Title
(1973)
30 Author Eugene Rousseau
Audience
This is Rousseau’s book for beginners and goes step-by-step through the
fundamentals of the saxophone and the fundamentals of music. Topics such as the
elements of music, fundamentals of playing the saxophone, and the fingerings of the
saxophone are presented in one at a time to the reader. 32
Embouchure
• Curve lip over lower teeth
• Keep chin natural, not pointed or rigid
• Place mouthpiece on the bottom lip
• Set teeth on top of the mouthpiece
• Seal embouchure as though pronouncing the syllables “V” and “OO”
Articulation
• Form embouchure
• Blow air and begin with the syllable “tAW” keeping the “t” very quiet
Voicing
• No Explanation is present
Saxophone High Tones: A Systematic Approach to

Title the Extension of the Range of All the Saxophones
(1978)
31
Author Eugene Rousseau
Audience
32
The Eugene Rousseau saxophone methods.
44
Rousseau’s book High Tones has served as one of the most cited and utilized texts
for teaching overtones and the altissimo range since its first publication in 1978. This
resource includes step-by-step instruction for the development of overtones and an
extensive bank of altissimo fingerings for the soprano, alto, tenor, and baritone
saxophones. 33
Embouchure
• Curl lower lip slightly over teeth
• Keep chin in natural position
• Form an “oo” shape with the mouth and lips
• Top teeth should contact the top of the mouthpiece
Articulation
Voicing
• Embouchure must be firmer and more mouthpiece should be taken in the mouth
• Air pressure must be increased as the higher overtones are attempted
• Many exercises are present to assist in mastering this fundamental
Woodwinds: Fundamental Performance Techniques

Title
(1981)
32 Author Gene Saucier
Audience
Saucier’s book offers instruction on each of the woodwind instruments without
being overly technical and with a focus on sound production above all else. Many
secondary factors are addressed for each of the instruments including selected literature
33
Rousseau, Saxophone High Tones.
45
for each instrument, teaching aids, and special fingerings commonly used. It is clear that
Saucier produced this book to be a one-stop source for the developing instructor. 34
Embouchure
• Lip goes over bottom teeth, use caution to not turn lip inward too much
• Lips flexed forward; circular grip used
• Chin area smooth, not bunched
• Pressure from bottom teeth should only ensure stability of control and pitch while
allowing complete reed vibration
Articulation
• Tip of tongue should be placed at tip of the reed
• Syllable “dah” is used for articulation
• Area behind the tip of the tongue and tip of the reed may be used
• Initial tongue placement is important to success
Voicing
Voicing: An Approach to the Saxophone’s Third

Title
Register (2008)
33 Author Donald Sinta
Audience
Donald Sinta is an American saxophonist that has help to shape much of the
modern saxophone world through his dedication to saxophone pedagogy. His book
Voicing addresses, in no uncertain terms, the application of voicing and how to develop
this skill. Not only does his process aid the reader in access the saxophone’s third octave,
34
Saucier, Woodwinds.
46
it also helps to form a better understanding of how oral cavity manipulation improves
tone and intonation on the saxophone. 35
Embouchure
Articulation
Voicing
• Defined as “an awareness and control of the muscles and soft flexible tissue in the
oral cavity and vocal tract.”
• Several exercises are offered to make the student familiar with the movement of
the vocal tract before attempting to produce overtones on the instrument
• Pitch can be raised and lowered with oral muscle adjustment
Title The Art of Saxophone Playing (1963)

Author Larry Teal
34
Audience
The Art of Saxophone Playing is one of a bigger The Art series which included
publications for several instruments. Each of these books followed similar formats and
included information from leading pedagogues of the day on topics like instrument
assembly, sound production, and development of facility on the instrument. 36
Embouchure
• Responsible for coining the concept of “the wheel”
• Equal force is exerted all around the mouthpiece
• Corners come forward towards the mouthpiece
• Cheeks do not puff
• Tongue rests at the bottom of the oral cavity
35
Sinta, Voicing.
36
Teal, The Art of Saxophone Playing.
47
• Teeth contact the top of the mouthpiece and carry the weight of the head
Articulation
• Three models of tonguing are presented
o Tip of the tongue to the tip of the reed
o Behind tip of the tongue to the tip of the reed
o Anchoring the tip of the tongue to the bottom teeth and bending tongue to
the tip of the reed
• Syllables prescribed are “too”, “doo”, and “la”
Voicing
• Throat position should be “ee”
• This topic is approached through an explanation of the lips and the pressure they
exert, no explanation of voicing manipulation is present
Title The Saxophonist’s Workbook (1958)

Author Larry Teal
35
Audience
This source is Teal’s first major publication in the realm of saxophone pedagogy
and its aims to collect all the most important technical considerations of the saxophone in
one place for the reader. Teal warns that this method is not intended to be used by
beginners, nor is it intended to replace lessons and schooling of the subject of saxophone.
Rather, this source is meant to supplement the methods that were available at the time of
it publishing.37
Embouchure
• Place upper teeth on the mouthpiece, the weight of the head should rest there
• Bring the corners of the mouth forward towards the mouthpiece
• Bottom lip, supported by the chin, pushes up to the reed
37
Teal, The Saxophonist’s Workbook.
48
• Do not allow the teeth to bite into the bottom lip

Articulation
• Touch the tip of the reed
• Make the stroke short and light
• Maintain normal embouchure
• Throat should stay relaxed
Voicing
Approaching the Classical Style: A Resource for Jazz

Title
Saxophonists (2010)
36 Author Joel Vanderheyden
Audience
This doctoral essay is aimed at providing information to saxophonists who
specialize in jazz performance on how to become more fluent in the classical style.
Though this review did exclude sources that dealt to heavily with topics relating to jazz,
this source was determined to be useful because of its explanation of the targeted
fundamentals. Also, it should be noted, that even though jazz and classical styles are
quite different in their execution, the saxophone is still the same instrument in both
genres. 38
Embouchure
• Prescribes the “wheel” approach
• Use the syllable “oo” or “w” to form embouchure
• Jaw should not move
Articulation
• Portion behind tip of the tongue touches very tip of the reed
38
Vanderheyden, Approaching the Classical Style: A Resource for Jazz Saxophonists.
49
• Use little pressure when articulating

• Analogy of spitting watermelon seeds is used to describe the brief interruption of
air
Voicing
• Tongue should form a higher “ee” syllable for classical playing and “ahh” for jazz
• Mouthpiece pitch should be higher in classical performance
Foundation to Saxophone Playing: An Elementary

Title Method: Simple, Melodious, Interesting, Complete
(1917)
37
Author Ben Vereecken
Audience
Vereecken’s method is one of the first to be published in the USA and includes a
methodical approach to learn music and the saxophone congruently. The book is one-
hundred seven pages long and progresses slowly in order to aid the student in retention.
Everything from technique explanations, descriptions of the rudiments of music, and a
dictionary of musical terms are included. This book has been in circulation and use since
its original publishing in 1917. It is interesting to note that the section of this book that
contains directions for the formation of embouchure and the execution of articulation are
direct copy of The Universal Method for Saxophone by Ville. There is no citation or
attempt to credit Paul De Ville with the synthesis of this information originally. 39
Embouchure
• Lower lip is drawn over lower teeth to keep teeth from touching the reed
• Upper teeth contact the mouthpiece
• Lips are drawn in to keep air from escaping
Vereecken, Foundation to Saxophone Playing: An Elementary Method: Simple, Melodious, Interesting,

39
Complete.
50
Articulation
• Bring the point of the tongue to the tip of the reed
• Draw tongue back sharply while breathing out with the syllable “T”
Voicing
Title The Universal Method for Saxophone (1908)

Author Paul De Ville
38
Intended Beginner to Intermediate Saxophonists
Audience
Ville touts his publication as “The largest and most complete method ever written
for the saxophone.” Indeed, it does include extensive explanations of the rudiments of
music, making reeds, and understanding subdivision. This source also includes
information on embouchure formation and articulation. 40
Embouchure
• Lower lip is drawn over lower teeth to keep teeth from touching the reed
• Upper teeth contact the mouthpiece
• Lips are drawn in to keep air from escaping
Articulation
• Bring the point of the tongue to the tip of the reed
• Draw tongue back sharply while breathing out with the syllable “T”
Voicing
The Master Speaks: Joe Allard’s Saxophone and

Title
Clarinet Principles (1988)
39 Author Jay Weinstein
Audience
40
Ville, Universal Method for Saxophone.
51
As mentioned previously, Joe Allard was an American saxophonist and
pedagogue from the mid-twentieth century. Allard’s teachings have found a home with
many students and are still taught to this day. In this source, Weinstein interviews Allard
and organizes his responses into section to aid the reader in accessing the information. 41
Embouchure
• Disputes equal pressure model
• Exercises to develop a flat bottom lip
• Exercises to develop independence between the jaw and the tongue
Articulation
• “tee” instead of “ta”
Voicing
• Overtones prescribed as a way to develop tone and intonation as well as altissimo
access
• Movement of the mouthpiece in the student’s mouth is acceptable, but the jaw
should remain stable
• Recommends Sigurd Rascher’s Top Tones for further overtone study
Title Guide to Teaching Woodwinds (1962)

Author Frederick Westphal
40
Audience
Westphal presents a self-designated “comprehensive treatment of all aspects of
teaching woodwinds from the very beginning of study to the most advanced.” A
41
Weinstein, The Master Speaks.
52
multitude of useful topics are covered in great depth in this book including an explanation
of two different embouchure formations for the saxophone. 42
Embouchure
Soft Cushion Embouchure
• Shape lips as if saying “O”
• Insert mouthpiece into mouth allowing bottom lip to curl over bottom teeth
• Contract lips so no air can escape
• Upper teeth contact the top of the mouthpiece, but do not press on it
• Do not bite
• Practice with a mirror is advised
Hard Cushion Embouchure
• First several steps are the same
• Student should smile, pulling the corners of the mouth back
• Chin should be held firm and flat
• Pressure should support the reed from both the bottom and top lips
Articulation
First Method
• Feel the junction of the reed and bottom lip
• Curl the tip of the tongue up towards the reed and lightly touching ½ inch from
the tip
• The syllable used is “Too”
Second Method
• Tongue is back and centered in the mouth
• The tongue moves forward to contact the reed ¼ inch behind the tip with a spot
1/8 behind the tip of the tongue
• The syllable used is “Du”
Third Method
• Anchor the tip of the tongue against the bottom of the lower teeth
• Tongue moves up and forward to contact the reed ¼ inch behind the tip
Voicing
• Manipulation of overtones via embouchure and breath support
42
Westphal, Guide to Teaching Woodwinds.
53
• Only students who have mastered the basic techniques of the saxophone should
pursue the extended range
• Advises the use of Sigurd Rascher’s Top Tones
Title Saxophone Technique (2017)

Author Sara Anne Wolkowski
41
Audience
Sara Anne Wolkowski’s book, Saxophone Technique is a playfully written guide
to the fundamentals of the instrument. The information is often organized by first a fun
introduction, followed by a succinct list of objectives. The list of objectives is then
described in detail to aid in the reader’s understanding. 43
Embouchure
• Roll bottom lip over bottom teeth so that the teeth do not contact the reed
• Place top teeth on top of the mouthpiece and apply pressure so that the instrument
does not move
• Draw corners in to form circular shape as if whistling and relax the upper and
lower lips
• Keep in a natural state, do not flatten or pull down
• Take 1 ½-2 centimeters of mouthpiece into the mouth
Articulation
• Use tip of the tongue to put the tip of the reed against the tip of the mouthpiece
• Release the tongue and create sound
• Say “ta” or “too” while maintaining an active airstream
Voicing
43
Wolkowski, Saxophone Technique.
54
Annotated Bibliographies
The sources contained in this section were used to support and guide the
development of this literature review by offering compilations of relevant sources. They
differ from the sources listed above in that their primary goal is not to cover and explain
the execution of fundamentals, and therefore the I decided they should be included, but in
a category of their own.
An Analysis of Methods for Teaching Middle School

Title
Band Students to Articulate (2011)
42 Author Paul Budde
Intended Band Directors/ Instructors
Audience
Paul Budde’s dissertation on methods for teaching middle school students to
articulate is incredibly in-depth and has provided this review with a survey of beginning
band method books that help to paint a more detailed picture of how this fundamental is
addressed on a large scale for beginning saxophonists. Budde’s research does not target
the saxophone specifically, but a large amount of information that is relevant to the
saxophone is presented in a methodical and easy to follow way. Budde includes an
explanation of teaching articulation via syllable as well as offer a brief explanation of
phonetics and how they function in wind pedagogy. These topics are relevant to the
saxophone for several reasons. First, syllables were a primary vehicle for discussing
articulation and voicing in the saxophone specific sources listed above. Second,
articulation on the saxophone is directly addressed with considerable citations to back up
the statements that are present. Finally, this bibliography includes a survey of twenty-one
55
full band method books and how they address and explain articulation for each
instrument. 44
An Annontated Bibliography of Selected Materials

Title Relative to the History, Repertoire, Acoustics, and
Pedagogy of the Saxophone (1975)
43
Author William Gora
Intended Advanced Saxophonists and Band Directors
Audience
William Gora’s paper is used in this review to provide context as to the sources
that were being used to teach saxophone at the time of its publication. Gora states that
“The majority of schools of music and departments of music in the United States are
without the services of a full-time specialist in saxophone for applied instruction.” The
purpose of Gora’s dissertation is to provide a service to these school and departments by
gathering materials relevant to the teaching of saxophone and putting them in one place.
It is worth noting that many of the sources included in this literature review appear in
Gora’s bibliography, which speaks to the validity of their inclusion. Sources that have
enjoyed a long life and that have been cited many times have formed the basis of
saxophone pedagogy in the modern day. This is evidenced by the common threads that
can be found throughout the explanations of this review’s targeted fundamentals. 45
An Analysis and Comparison of Early Saxophone

Title
Methods Published Between 1846-1946 (1997)
44 Author Gail Levinsky
Audience
44
Budde, An Analysis of Methods for Teaching Middle School Band Students to Articulate.
45
Gora, An Annotated Bibliography of Selected Materials Relative to the History, Repertoire, Acoustics
and Pedagogy of the Saxophone.
56
Gail Levinsky’s analysis of early saxophone methods provided two necessary things
to this literature review:
• Specific material from the early methods included, pertaining to the three targeted
fundamentals (e.g. common practice of the time)
• A deeper foundation on which saxophone pedagogy has been built
Several early saxophone methods are already included in this review, but with the
addition of Levinsky’s research, a better understanding of the teachings that saxophonists
were using during one of its most popular periods is achieved. One of the most important
offerings from this source is the description and partial translation of the first saxophone
method book by George Kastner which was commissioned by the French government
and published in 1846. 46
An Annotated Bibliography of Selected Pedagogical

Title Materials for the Saxophone Published Between 1969-
1992 (1996)
45
Author John Logsdon
Audience
John Logsdon’s paper serves much the same purpose for this review as
Levinsky’s, to provide a deeper understanding of the materials that were present during a
given time and to provide context into how widely used they were. Logsdon provides
extensive annotations for each of the sources included and also explains the process for
46
1997.
57
forming these annotations. No explanations of the targeted fundamentals are present in
this source, but it does contain useful information on the documents that existed at this
time and what they covered. 47
An Annotated Bibliography of Pedagogical Resources

Title
for the Pre-College Saxophonist (2015)
46 Author Jason Wallace
Intended Intermediate to Advanced Saxophonists/ Band
Audience Directors
Jason Wallace has produced a useful resource that is aimed at pre-college
saxophonists. This is not traditionally the case and is a welcome addition to this review.
Perhaps the most important reason this document was included is the presence of many of
the same sources in its bibliography. Wallace does include may documents that were
excluded in this review due to the absence of explanations for the targeted fundamentals.
Many sources were also excluded because they were primarily etude books and not
methods of instruction. 48
47
Logsdon, An Annotated Bibliography of Selected Pedagogical Materials for the Saxophone Published
between 1969-1992.
48
Wallace, “An Annotated Bibliography of Pedagogical Resources for the Pre-College Saxophonist.”
Chapter 4: Results and Discussion
Through the analysis of all the materials included in this review, I have made
several observations with regards to the information contained by the sources. This
chapter will be organized using the research questions introduced in the introduction of
this review.
What texts exist for these three fundamentals, pedagogical or otherwise, and how do
they describe the application of these fundamentals?
Perhaps the most important question for any literature review or annotated
bibliography is “what is out there?” This question is often the catalyst for extensive
research into a field of interest, and this paper is no exception. It has become increasingly
clear to me that even though the saxophone has only been in existence since the 1840s, a
staggering amount of literature has been written for the instrument. Perhaps this is due to
the popularity of the saxophone, or the lack of institutional instruction for nearly one
hundred years after its invention.
The initial search for relevant sources returned 500 entries from Google Scholar
through Publish or Perish (version 7). From these original 500, 38 remained after the
level one and level two screening process had been completed (including the non-
digitized sources) in Zotero (version 5) and NVivo (version 12). Added to these 38 were
8 sources from my pre-existing library to give this review a total of 46 sources covering
the three targeted fundamentals (see Figure 1). If the 5 annotated bibliographies are
removed, that leaves 41 documents that explain or discuss the execution of one or more
of the fundamentals. The rest of this chapter will be segmented into the results and
58
59
discussions of each specific fundamental and how it was covered in the literature (see
Figure 2).
Coverage of Fundamentals
40
35
35
30 28
25 23
20
15
10
0
Embouchure formation Articulation Voicing
Figure 4.1
Embouchure formation proved to be the most addressed fundamental with 35
sources offering an approach to forming the embouchure correctly. This is not surprising,
as tone production starts, first and foremost, with the way a student grasps the instrument
with their embouchure. Three methods of embouchure formation are recurring in this
literature review. The most popular proved to be the teachings of Larry Teal and his
explanation of the “wheel” or “rubber band.” In this method the student is instructed to
form their embouchure around the mouthpiece and exert equal pressure around its entire
circumference. 49 In several sources Teal was cited directly as having coined the “wheel”
terminology. In other sources, this same embouchure shape was approached with the use
of syllables. 16 total sources chose to use syllables as a vehicle for embouchure formation
49
60
(see Figure 3). Richtmeyer’s recent publication is one such source and offers the syllable
“O” as a way to form a correctly shaped embouchure. 50 This is a common pedagogical
tactic as it relates something foreign (playing the saxophone) with something familiar
(speech and language). Another common approach to saxophone embouchure includes
relating its formation to the saxophone’s single reed compatriot, the clarinet. This method
is especially prevalent in early method books and likely stems from the lack of
institutional instruction for saxophone or the common occurrence of clarinetists doubling
on the instrument. One instance of this explanation can be found in Moore’s publication
addressing college method courses. 51 This approach is found more commonly in writings
from the early twentieth century, like the methods covered in Levinsky’s Comparison of
Early Methods. 52 It is generally accepted that the saxophone embouchure differs from the
clarinet in more ways than just overall pressure in present day pedagogy. The final
approach covered belongs to the esteemed American pedagogue Joe Allard. Allard
advocates against the “O” or “rubber band” shape of the embouchure, explaining that it
restricts the vibration of the reed at its edges. 53 This restriction is said to dampen the
sound and cause other issues with tone production and facility. Instead, Allard offers an
embouchure technique in which the lower lip is trained to be flat, forming a cushion for
the reed that does not restrict its vibrations.
50
51
Moore, Instrumental Music Teaching Techniques for College Methods Classes.
52
1997.
53
Weinstein, The Master Speaks.
61
Embouchure Formation via Syllables
46%
54%
Non Syllable Method Syllable Method
Figure 4.2
In my opinion, the embouchure should be explained in a four-step process. First,
the bottom lip should cover the bottom teeth. This is a common first step in many of the
sources covered in this review, however, one salient qualifier is missing from many of
these explanations. The bottom lip should only cover the bottom teeth enough to keep
them from touching the reed and no more. This small delineation can save students from
developing the bad habit of using too much bottom lip and dampening the reed’s
vibrations. Second, the top teeth should contact the top of the mouthpiece and should
carry the weight of the student’s head. This specific instruction was commonly offered in
the sources listed above. Third, and possibly most important, the corners of the mouth
should move forward towards the mouthpiece to support the embouchure and the reed.
This step was often explained, but seldom given the gravitas it deserves. The corners of
the mouth aid in keeping the bottom jaw from rising and biting into the reed, thus
creating a shrill and often sharp sound. Rather than the imagery of a “wheel” the student
should consider their embouchure an oval, letting the bulk of the perceived pressure come
62
from the corners of the mouth. Finally, the chin should be kept flat and either in a natural
state or pointed. Some of the sources in this review cautioned against pointing or flexing
the chin due to the possibility of tension being created. 54 However, it is possible that the
student will not be able to keep their chin in a natural state until after they have
developed the musculature to support the embouchure without flexing the chin.
Articulation, or tonguing, garnered the second most explanations of the three
fundamentals targeted in this literature review with 28 sources offering an approach to
articulation. It proved to be very common for sources to explain articulation with a
syllable recommendation. The most common syllables used were variations of “t” and
“d.” Often the syllable “t” was prescribed for staccato or marcato passages and the
syllable “d” was offered for legato passages. Of these 28 sources that addressed
articulation, 23 of them chose to go this route and included a syllable recommendation
(See Figure 4). One source notes the issues with the use of syllables as a way to develop
correct tongue position for articulation. David Liebman mentions in his book Developing
a Personal Saxophone Sound that differences in native language and even dialect can
have a direct and adverse effect on students trying to learn via a syllabic approach. 55 This
issue is also recognized by Paul Budde and it has prompted him to include a section in his
dissertation dealing with phonetics to help alleviate some of the problems that arise from
different languages and dialects when discussing articulation. 56 Several sources offered
explanations of a technique called “anchor tonguing.” Teal describes this as, “Anchoring
54
The Eugene Rousseau saxophone methods.
55
56
63
the tip of the tongue to the bottom teeth and bending tongue to the tip of the reed.” 57
Sources as recent as Westphal’s Guide to Teaching Woodwinds offer this as an option as
well. 58 This method is not advisable due to its inefficacy throughout the entire range of
the saxophone.
Articulation via Syllables
18%
82%
Figure 4.3
I would like to offer some guidance with regards to articulation instruction that
does not rely on syllable formation. Place in the student’s mind the imagery of them
touching the reed with just one taste bud directly behind the tip of their tongue. This
requires the student to be judicious with the placement and force with which they attack
the reed. It is important that they begin to understand that the reed will cease to vibrate at
the slightest touch of the tongue. It is unnecessary to push against the reed with the entire
tongue, in fact, that causes more issues than it solves. The “tip to tip” method has a
tendency to cause students to use their tongue more like a hammer when articulating. It is
57
58
64
my opinion that the tongue should function more like a lever, with a fulcrum somewhere
near the middle to front of the tongue where the front of the tongue can pivot towards the
reed. Since students’ tongue lengths and shapes can vary greatly, encourage them to find
the position that allows them to touch the reed in this manner. Prescribing a shape for the
back of the tongue before the student has attempted to touch the reed can lead to some
peculiar adaptations such as slap tonguing or touching the reed with the underside of the
tongue. However, establishing an arched position for the back of the tongue is usually
correct and can help form the foundation of the next fundamental covered by this review,
voicing.
Voicing was the least represented fundamental from the sources reviewed. Of the
41 sources, 23 offered some explanation of this fundamental and 8 of those used a
syllabic approach (see figure 5). These numbers do not tell the whole story, however.
Several of the sources that were included in this category did not really address the
fundamental specifically. Rather, they offered some exercises that advanced saxophonists
and teachers understand are only possible with a command of the vocal tract and tongue.
I chose to designate them as having discussed voicing because so many of the materials
covered did not even include this level of explanation. It is also important to note that
many of these sources only included an explanation of voicing as a way to develop the
altissimo register. However, this fundamental aids in intonation, tonal manipulation, as
well as the altissimo register. Voicing is difficult to teach and is often approached with a
trial-and-error mentality due to the varying shapes of students’ vocal tracts and tongues
and the instructor’s inability to see what exactly is happening. This fundamental is often
described as a feeling, not necessarily an absolute. A paper by Mathew Patnode found

65
that advanced saxophonists were unable to perceive tongue motions accurately when
executing chromatic passages or when playing in the extreme altissimo range. 59 If
advanced saxophonists were unable to correctly describe what they were doing to achieve
these techniques, it stands to reason that beginning to intermediate students and band
directors might be unable to accurately describe the motion of the tongue as well. Perhaps
this is the reason that so few sources offer detailed explanations of voicing and its
development. The closest that any document comes to offering a concrete method for this
fundamental is Donald Sinta’s Voicing. The beginning chapters of Sinta’s book present
exercises that can be done away from the saxophone in order to help the student
familiarize themselves with the motions necessary to achieve overtones and pitch
manipulation. 60 Another useful source is Eugene Rousseau’s Saxophone High Tones
which offers useful exercises but refers to the manipulation of the embouchure as a
pathway to executing overtones and altissimo passages. 61 While this may be true, when
explaining this technique to students who are unfamiliar with the incremental change in
embouchure pressure needed, they will likely interpret this as an invitation to apply too
much vertical pressure (bite). Many of the introductory exercises presented in these
sources are achievable by biting down on the mouthpiece. If the student is allowed to
continue this bad habit for too long, embouchure issues will persist in virtually every
facet of their playing. For instance, the mouthpiece-only exercises that are presented in
sources such as Liebman’s Developing a Personal Saxophone Sound 62 and Houlik’s The
59
Patnode, A Fiber-Optic Study Comparing Perceived and Actual Tongue Positions of Saxophonists
Successfully Producing Tones in the Altissimo Register, 1999.
60
Sinta, Voicing.
61
62
66
Complete Saxophonist 63 are possible through embouchure manipulation alone. This puts
the onus of responsibility on the instructor to make sure that the student does not “cheat”
by using only their embouchure.
Voicing via Syllables
35%
65%
Figure 4.4
I recommend that instructors and students new to this fundamental first establish
an understanding of tongue movement that is independent from the jaw. Some exercises
include whistling siren calls, mimicking radio white noise, and imitating a car speeding
past. The main caveat of these exercises is that the student does not use their jaw to
change pitch of the sound produced. Have the student take a free hand and place an index
finger on their chin while that do these exercises. This should enable them to feel any
movements of the jaw. Once the student exhibits the ability to change pitch during these
exercises move on to the mouthpiece. Students should begin by establishing a stable pitch
first. Rousseau states that the correct mouthpiece pitch for alto saxophone should be a
63
Houlik, Lauver, and Sinta, The Complete Saxophonist.
67
concert A above the staff. 64 This is not necessarily all important in the beginning stages.
It is more important that the student be able to produce a consistent and stable pitch on
the mouthpiece. Once a stable pitch is produced repeatedly, have the student begin to
bend the pitch down by moving the middle of the tongue down and back slightly. The air
pressure should never change during this exercise and a loud dynamic is encouraged
when starting out. As the student becomes successful with this exercise, gradually
increase the downward interval, and make sure that the student is able to arrive at the
desired pitch smoothly. After the student can smoothly execute the interval of a fifth
downward from the starting pitch, or the prescribed concert A, have them do “siren calls”
or smooth downward motions followed by a return to the starting pitch. These are the
beginning stages of an understanding of voicing and its uses. As with most fundamentals,
have the student practice this exercise in front of a mirror periodically to diagnose any
visible issues.
What age groups and ability levels are targeted by the existing methods and texts on
these fundamentals?
Included in the headings for each entry above is a designation of the intended
audience for each source. Some of the sources identified the intended audience in the
text, I assigned an intended audience to the others based on these criteria:
• Topics covered
• Language used
• Ability assumed
64
68
For instance, Sigurd Rascher’s Top Tones for the Saxophone is indicated as being for
intermediate to advanced saxophonists. While this source does start at the very beginning
of the study of voicing, it assumes that students have developed a command of the entire
standard range, including the ability to play each tone at all dynamics and with all
articulations. 65 A similar process of analysis was applied to each source and rendered four
main categories of intended audiences (see Figure 6):
1. Beginning Saxophonists
2. Intermediate Saxophonists
3. Advanced Saxophonists
4. Band Directors/Instructors
By sorting all the included materials into these categories, a better idea can be gained
of who the bulk of this literature is for. Since there are no defined lines between the levels
of saxophonists, some overlap is present in the audience designations of these sources.
Several of the entries above indicate that all three levels of saxophonists are targeted, as
is the case for Sarah Wolkowski’s Saxophone Technique. 66 This is due to the fact that a
myriad of topics are covered that would apply to all levels of saxophonists and the text is
written in a way that would be easily digestible for the beginning student should they
happen to obtain this book.
65
66
Wolkowski, Saxophone Technique.
69
Intended Audiences
45
40
35
30 27
25 21
20
14
15 12
10
5
0
Directors/Instructors
Figure 4.5
The most targeted audience of the 46 total sources was a combination of
intermediate and advanced saxophonists. Intermediate saxophonists were the intended
audience 21 times and advanced saxophonists were the audience 27 times. Many of these
were from the same sources. It is likely that this was the case because methods are
normally intended for students who are interested in continuing their saxophone studies
or students that are studying privately with an instructor. This outcome is not surprising
as it makes sense that the main consumers of both method book and academic papers
written on these subjects would be intermediate to advanced saxophonists.
The second most intended audience belongs to band directors or collegiate music
education students with 14 of the total sources. This is largely due to the inclusion of
several teacher’s manuals in this literature review. It is important that this review
provides information on how non-saxophonists are taught to teach the saxophone.
Without the benefit of intense saxophone study, the language and process used becomes
70
even more important, especially when considering these people will be providing
foundational instruction to the next generation of saxophonists. The sources that are
intended for band directors often contained some controversial information. For instance,
Westphal offers two options for embouchure formation in his book. One is called the
“soft cushion” and the other is called the “hard cushion.” 67 While it is true that
saxophonists’ embouchure can vary from one individual to another, a singular approach
is normally recommended in order to eliminate any unnecessary confusion. This
explanation of embouchure also takes away from the importance of the corners of the
mouth which, in my opinion, are the most important aspect. The “cushion” should result
from a correctly shaped embouchure where the corners of the mouth come forward
towards the mouthpiece. Frederick Hemke’s Teacher’s Guide provides useful
information on the formation of the embouchure and the execution of articulation. 68 This
may be due to Hemke being a saxophone virtuoso with many years of teaching at the
collegiate level.
The least addressed audience proved to be the beginning saxophone student. Out
of the 46 total sources, 12 were identified as pertaining to beginning saxophonists. One
reason this might be the case is the age that students begin their musical studies. It is
common for students to begin instrumental instruction in late elementary school or early
middle school. It is unlikely that either the students or their band director will purchase
and distribute pedagogical texts other than the full band method books that are often used
in the band setting. For this reason, two full band method books were included in this
67
68
71
review. Bruce Pearson’s Standard of Excellence 69and Essential Elements 70 by
Lautzenheiser et al, were used to provide context on what a beginning saxophonists could
expect to see during their in-school instruction. Also present in this review is Budde’s
dissertation which covers the topic of articulation and includes a survey of 21 full band
method books’ approach to this fundamental. 71 Perhaps another reason that more sources
do not exist for the beginning student is that it is assumed instruction past the beginning
band book is not necessary. Afterall, the beginning books do include brief explanations of
body position and posture, breathing, and embouchure formation. Coupled with
instruction from the director this could lead to a well-developed foundation for the
student to then progress into intermediate literature. This would lead to a sufficient
saxophone education if these sources included more information about voicing, a topic
that is commonly excluded from pedagogical saxophone literature.
Are there any gaps in the coverage of these fundamentals, or are any of these
As noted in the section following the first research question, embouchure was the
most addressed fundamental, followed by articulation, and then voicing. The coverage of
voicing stands out to me as being especially sparse given that many of the sources
indicated as having addressed voicing did not go into any detail about the mechanics of
performing the fundamental. This, coupled with the fact that beginning saxophonists
were the most underserved audience, leads to an absolute dearth of information
pertaining to voicing that is geared towards the beginning saxophonist. Voicing is one of
69
Pearson, Standard of Excellence.
70
Lautzenheiser et al., Essential Elements for Band.
71
72
the core tenets of the saxophone. The application of voicing helps student to develop
better intonation and more tonal brilliance as evidenced by Gary Scavone in his
publication Measurement of Vocal Tract Influence During Saxophone Performance
which states that the spectral content of notes in the normal saxophone range can be
changed via tongue position and vocal tract manipulation. 72 In many of the reviewed
sources, voicing is only addressed as a way to access the altissimo range which is perhaps
a reason it is not addressed as much as the other fundamentals. I advocate for the
development and dissemination of an elementary method that focuses on introducing
voicing as a concept to beginning saxophonists at the earliest possible moment. An
understanding of how to change tongue positions and direct airstream from an early age
is essential to obtaining the highest level of mastery in the shortest amount of time.
Below are my brief thoughts on what would need to be included in a method in order to
fill the gap identified by this literature review.
A method that starts with similar exercises to those mentioned above would prime
the student to the sensation of moving their tongue independently from their jaw. The
next step would be to have the student play on the mouthpiece alone. Students should be
told that their tongue is allowed to move in their mouth while they play. Experiment by
having the students raise and lower their tongue as well as move it forward and back.
This would be a good time to start discussing embouchure formation with the student, as
these two fundamentals will need to be mastered in tandem for the student to execute
mouthpiece-only playing. From here the student should be instructed to assemble the
72
Scavone, Lefebvre, and ..., “Measurement of Vocal-Tract Influence during Saxophone Performance,”
2008.
73
neck and spend time playing on the neck alone to develop a better concept of
embouchure and tone production. Often the student will be unable to produce a sound on
the mouthpiece alone, below I have provided some basic troubleshooting steps to assist in
determining the issue facing the student.
If a student is unable to create a sustained pitch on the mouthpiece, there are
several things to check. First, ensure that the student is not biting, as this seals the reed
against the rails of the mouthpiece, preventing it from vibrating and rendering it useless.
Next, ensure that the student is blowing a steady stream of air that is supported with a
good, deep breath. It helps to tell the students to imagine they are blowing up a balloon.
Breathing is not under the purview of this paper, but a good, supported breath is always
essential to playing a wind instrument. If the problem persists, encourage the student to
think higher and make a higher “ee” syllable with their tongue while blowing with a
supported breath. It is incredibly important that the instructor take the time to remind the
student that the exercises they are doing are applicable to playing the saxophone. The
lower register of the instrument utilizes a similar voicing to the lower sounds on the
mouthpiece, and the higher registers uses a similar voicing to the higher pitches on the
mouthpiece. This way students begin to realize that they don’t need to move their jaw to
be able to produce the low pitches and high pitches on the saxophone.
Once the student has moved on to the fully assembled saxophone an introduction
to basic overtone production can begin. The “closed tube” exercises 73 present in
Rousseau’s book would be quite useful for helping the student to understand how each
73
74
range of the saxophone is connected via voicing. From there, the student should continue
to pursue overtone exercises while always returning to the mouthpiece and neck to ensure
that the primary fundamentals are not forgotten.
A method that includes these exercises and provides additional approaches for
students who do not understand the presented material would go a long way towards
filling the gap left by the sources covered in this review. Instruction in voicing can, and
should, be coupled with the other two fundamentals that were targeted in this paper. By
addressing these fundamentals in the very earliest stages of saxophone education, the
instructor can help to create a more informed, inspired, and in tune generation of
saxophonists.
At this point I would like to include a more in-depth look at the three sources I
indicated as being my favorite. The sources I picked were Rascher’s Top Tones, Sinta’s
Voicing, and Richtmeyer’s The Richtmeyer Method. First, Top Tones has served as the
foundation of third register and overtone study on the saxophone since its first
publication. At that time, it was the first and only of its kind, as mentioned in the
foreword to the first edition. 74 An abundance of resources have been created based on the
information contained in Rascher’s writings. This is evidenced by the high number of
citations it has received, even in the sources included in this review. Rascher addressed a
deficit in the saxophone pedagogy world well before incorporating altissimo was
common practice. His methodical approach to the cultivation of this technique informs
74
75
modern day saxophonists as though it was a modern method. Having studied from this
resource extensively, I can say that it is a staple in saxophone pedagogy for a reason.
The next source that I indicated as particularly useful is Donald Sinta’s Voicing.
Voicing offer perhaps the most complete guide to developing access to the third register
and an understanding of vocal tract manipulation. The exercises contained in this source
progress methodically and offer exercises that were uncommon or totally new to
saxophone pedagogy. It should be mentioned that this text’s incredible popularity likely
has a lot to do with the large number of Sinta’s students currently teaching saxophone
across the nation. My personal favorite part of this method book is the inclusion of
exercises to develop voicing that do not require the saxophone. This means that a small
portion of this book could be taught to any level of student, regardless of their mastery of
the instrument.
Finally, the third source I have chosen is Debra Richtmeyer’s The Richtmeyer
Method. This book is relatively new, having just been published in late 2021. I was
astonished to see what was included in this source. It is incredibly detailed and covers
topics well beyond the three fundamentals targeted by this review. But when discussing
the targeted fundamentals specifically, it does a wonderful job explaining them. There is
a technique that Richtmeyer describes as the “The Ideal Oral Cavity.” 75 Richtmeyer goes
on to explain that if the ideal cavity is achieved, many of the fundamentals needed to
produce a good saxophone sound will becoming better immediately. I really like that she
addressed this concept and linked it to all the other fundamentals that aren’t always
75
76
associated with what is essentially voicing. Because of the comprehensive nature of this
text, it might be my new favorite pedagogical resource for saxophone. Topics such as
reed adjustment, instrument care, articulation instruction, and even basic information
about starting and maintaining a private studio are included in this method. I am thrilled
that this resource has been added to the canon of saxophone pedagogy and I can’t wait to
see how it will be used in the years to come.

Chapter 5: Conclusion
This literature review investigated a total of 46 sources pertaining to the teaching of
three saxophone fundamentals: embouchure formation, articulation, and voicing/ vocal
tract manipulation. Three research questions were developed to help guide the direction
of this paper:
1.) What texts exist for these three fundamentals, pedagogical or otherwise, and
how do they describe the application of these fundamentals?
2.) What age groups and ability levels are targeted by the existing methods and
texts on these fundamentals?
3.) Are there any gaps in the coverage of these fundamentals, or are any of these
An annotated bibliography was developed for the included sources and information
pertaining to the questions listed above was gathered. The title, author, and intended
audience was determined for each source and brief explanations of the coverage of the
specific fundamentals were noted for each entry. Of the sources that provide explanations
of these fundamentals, 85% include an explanation of embouchure formation with 46%
of these sources using a syllabic approach. 68% of these sources offer some explanation
of articulation, with 82% of those explanations using a syllable-based method. 56% of the
sources covered addressed voicing in some manner with 35% of those explanations
opting to use a syllabic approach. The reality of this statistic is that many of the sources
designated as having addressed voicing did not offer a detailed approach to the
fundamental. For the purposes of this review four audiences were designated: Beginning
77
78
saxophonists, Intermediate saxophonists, Advanced saxophonists, Band
Directors/Instructors.
Results show that all the audiences were targeted by the sources included with the
largest portion going to both the intermediate and advanced saxophonists categories. The
next most frequently targeted audience was that of the band directors/instructors who
were the intended audience in 14 sources. Finally, the least targeted audience was that of
the beginning saxophonists, who were addressed 12 times over 46 total sources to equal
26%. Given these findings, a coverage gap was identified. Beginning saxophonists are
markedly underserved in the area of voicing development. As a result, the basis of a
method that could help to fill the gap discovered in this literature review was formulated.
It is my suggestion that this basis be expanded to include all areas of concern for
beginning saxophonists in the interest of creating the most well-rounded method possible.
Bibliography
Blackwell, J. “Common Problems (and Solutions) for Developing Saxophonists.”

Canadian Music Educator, 2015.
https://search.proquest.com/openview/1da06389dbc87a059c888167342333fc/1.pdf?pq-
origsite=gscholar&cbl=9510.
Brown, J. “Improved Saxophone Intonation Through Altissimo Exercises.” Canadian
Winds: The Journal of the Canadian Band …, 2003.
https://search.proquest.com/openview/1617020111943d0f025cfa3c3ce5d5ad/1?pq-
Brown, JR. How to Play Saxophone: Everything You Need to Know to Play the
Saxophone. St. Martin’s Press, 2002.
Budde, PJ. An Analysis of Methods for Teaching Middle School Band Students to
Articulate. search.proquest.com, 2011.
https://search.proquest.com/openview/f57e7c8c63a46e4923a1b9bf1272d7d2/1?pq-
Chen, Yiqun. “An Introduction and Analysis of Henry Lindeman’s Method for
Saxophone.” Doctor of Musical Arts, University of Iowa, 2017.
https://doi.org/10.17077/etd.fryagx77.
Ely, MC, and AE Van Deuren. Wind Talk for Woodwinds: A Practical Guide to
Understanding and Teaching Woodwind Instruments. Oxford University Press, USA,
2009.
Feldkamp, Timothy. Developing the Altissimo Register of the Soprano, Alto, and Tenor
Saxophones. search.proquest.com, 1990.
https://search.proquest.com/openview/0c321ff1adf19cf8b69d4dc1f37938b0/1?pq-
origsite=gscholar&cbl=18750&diss=y.
Gabel, D, and M Villmow. Saxophone for Dummies. Wiley, 2011.
Gillis, Glen. “Sound Concepts for the Saxophonist (Part I).” Canadian Winds: The
Journal of the Canadian Band …, 2008.
https://search.proquest.com/openview/8e504b04a68dcc057e627313fd740e5b/1?pq-
Gillis, G. “Spotlight on Woodwinds: Sound Concepts for the Saxophonist (Part 2).”
Canadian Winds: The Journal of the Canadian Band …, 2008.
https://search.proquest.com/openview/4648b44ef9f96973e67f16f797c496c0/1.pdf?pq-
79
80
Gora, WA. An Annotated Bibliography of Selected Materials Relative to the History,

Repertoire, Acoustics and Pedagogy of the Saxophone. search.proquest.com, 1975.
https://search.proquest.com/openview/3eb3c1b4f15e99d80bb2af39e77f98e5/1?pq-
Griswold, H. Gene. Teaching Woodwinds, 2016.
http://public.ebookcentral.proquest.com/choice/publicfullrecord.aspx?p=2122459.
Hasbrook, Vanessa. “Alto Saxophone Mouthpiece Pitch and Its Relation to Jazz and
Classical Tone Qualities,” 2005.
Heavner, Tracy Lee. Saxophone Secrets: 60 Performance Strategies for the Advanced
Saxophonist. Music Secrets for the Advanced Musician. Lanham, Md: Scarecrow Press,
2013.
Hemke, F. “Teacher’s Guide.” USA: Selmer, no. Query date: 2022-02-01 11:53:55
(1977). https://www.johanvanderlinden.com/teachers-guide-hemke.pdf.
Hemke, Frederick. “Teacher’s Guide.” USA: Selmer, 1977.
https://www.johanvanderlinden.com/teachers-guide-hemke.pdf.
Houlik, James, Eric Lauver, and Donald Sinta. The Complete Saxophonist, 2007.
Hutchins, Dr Kyle. “Virginia Tech Saxophone Handbook,” 2019.
Lautzenheiser, Tim, John Higgins, Meghini Charles, Paul Lavender, Tom Rhodes, and
Don Bierschenk. Essential Elements for Band. Milwaukee, WI: Hal Leonard Coporation,
2004.
Levinsky, Gail. An Analysis and Comparison of Early Saxophone Methods Published
between 1846-1946. search.proquest.com, 1997.
https://search.proquest.com/openview/346d1f72a8d3f5aac3f3c36323a7ce44/1?pq-
Liebman, David. Developing a Personal Saxophone Sound. Dorn Publications, 1994.
Liley et al. The Cambridge Companion to the Saxophone. Cambridge University Press,
1998.
Lindeman. The Henry Lindeman Method for Saxophone: The Physical Factors, the
Musical Factors. Text, Studies, Illustrations. Mills Music, 1934.
Loboda, Emily. An Analysis of Overtone Production Techniques in Saxophone Teaching
Methods. search.proquest.com, 2018.
https://search.proquest.com/openview/d367bd1523e175c9ae55701604162926/1?pq-
81
Logsdon, JA. An Annotated Bibliography of Selected Pedagogical Materials for the

Saxophone Published between 1969-1992. search.proquest.com, 1996.
https://search.proquest.com/openview/2c87b85774666994a195fe53011b7c5a/1?pq-
Lopez, Maria. “Saxophone Mini-Treatise.” Alexandernow.Org, n.d.
https://www.alexandernow.org/s/Maria-Lopez-Sax-Treatise.pdf.
McKim, DJ. Joseph Allard: His Contributions to Saxophone Pedagogy and Performance.
search.proquest.com, 2000.
https://search.proquest.com/openview/ea58ec2683805d7114f2ec40045ce1c9/1?pq-
Moore, PB. Instrumental Music Teaching Techniques for College Methods Classes.
https://search.proquest.com/openview/ea354f40d03e37ce940f0fd151bd4082/1?pq-
Palmer, Harold G. Teaching Techniques of the Woodwinds: A Textbook for the
Instrumental Teacher and the Teacher in Training. Belwin Incorporated, 1952.
Pàmies-Vilà, M, G Scavone, A Hofmann, and ... “Investigating Vocal Tract
Modifications during Saxophone Performance.” Proceedings of Meetings on Acoustics,
2017. https://doi.org/10.1121/2.0000758.
Patnode, M. A Fiber-Optic Study Comparing Perceived and Actual Tongue Positions of
Saxophonists Successfully Producing Tones in the Altissimo Register.
https://search.proquest.com/openview/154c3d9382f744d4126092d046379f09/1?pq-
Pearson, Bruce. Standard of Excellence. San Diego, CA: Neil A. Kjos Music Company,
2004.
Rascher, Sigurd. Top-Tones for the Saxophone. Third. New York, NY: Carl Fischer,
1962.
Richtmeyer, Debra. The Richtmeyer Method for Saxophone Mastery, Vol. 1. Theodore
Presser Company, 2021.
Rousseau, Eugene. Practical Hints on Playing the Alto Saxophone. Belwin Mills, 1983.
Rousseau, Eugene. Saxophone High Tones - A Systematic Approach to the Extension of
the Range of All the Saxophones. Second. Maryland Heights, MO: Lauren Keiser Music
Publishing, 2008.
Saucier, Gene A. Woodwinds: Fundamental Performance Techniques. New York :
London: Schirmer Books ; Collier Macmillan, 1981.
82
Scavone, GP, A Lefebvre, and ... “Measurement of Vocal-Tract Influence during

Saxophone Performance.” The Journal of the …, no. Query date: 2022-02-01 11:53:55
(2008). https://doi.org/10.1121/1.2839900.
Scavone et al. “Measurement of Vocal-Tract Influence during Saxophone Performance.”
The Journal of the Acoustical Society of America, 2008.
https://doi.org/10.1121/1.2839900.
Segell, Michael. The Devil’s Horn. New York, NY: Picador, 2006.
Sinta, Donald. Voicing: An Approach to the Saxophone’s Third Register. Blaris
Publications, 2008.
Teal, Larry. The Art of Saxophone Playing. Alfred Publishing, 1963.
Teal, Larry. The Saxophonist’s Workbook. Second. Ann Arbor, MI: Encore Publications,
1988.
Rousseau, Eugene. The Eugene Rousseau saxophone methods. Park Ridge, Ill.: Neil A.
Kjos, 1973.
Vanderheyden, JP. Approaching the Classical Style: A Resource for Jazz Saxophonists.
https://search.proquest.com/openview/9be4e56600c73d2b3e66c93638a0d524/1?pq-
Vereecken, B. Foundation to Saxophone Playing: An Elementary Method: Simple,
Melodious, Interesting, Complete. New York, NY: Carl Fischer, 1917.
Ville, P De. Universal Method for Saxophone. New York, NY: Carl Fischer, 1908.
Wallace, Jason N. “An Annotated Bibliography of Pedagogical Resources for the Pre-
College Saxophonist.” D.M.A., The University of North Carolina at Greensboro.
Accessed February 11, 2022.
https://www.proquest.com/docview/1697922456/abstract/DFD569B3730F49ECPQ/1.
Weinstein, Ira Jay. The Master Speaks: Joe Allard’s Saxophone and Clarinet Principles.
RIA Business Concepts, 1988.
Westphal, Frederick William. Guide to Teaching Woodwinds. 2d ed. College
Instrumental Technique Series. Dubuque, Iowa: W. C. Brown Co, 1974.
Wolkowski, SA. Saxophone Technique. Friesen Press, 2017.

Saxophone Methods and Pedagogical Materials

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Saxophone Methods and Pedagogical Materials

Uploaded by

Copyright:

Available Formats

Please do not remove this page

Saxophone Methods and Pedagogical Materials:

Please do not remove this page

SAXOPHONE METHODS AND PEDAGOGICAL MATERIALS: A LITERATURE

Submitted to the Faculty

Coral Gables, Florida

A doctoral essay submitted in partial fulfillment of

SAXOPHONE METHODS AND PEDAGOGICAL MATERIALS: A LITERATURE

Saxophone Methods and Pedagogical Materials:

Abstract of a doctoral essay at the University of Miami.

Doctoral essay supervised by Dr. Margaret Donaghue.

This literature review investigates a total of 46 sources pertaining to the teaching of

three saxophone fundamentals: embouchure formation, articulation, and voicing/vocal

in gauging the distribution of literature across ability levels: beginner, intermediate,

evidence provided by this literature review.

I wish to thank my parents for their unending support of my musical pursuits

lucky to be able to call him my friend.

LIST OF FIGURES .......................................................................................................... vi

LIST OF TABLES ........................................................................................................... vii

Explanation of Fundamental Terms .............................................................4

Explanation of Audience Designation .........................................................5

Level 1 Inclusion Criteria ............................................................................8

Level 2 Inclusion Criteria and Data Extraction ...........................................9

3 LITERATURE REVIEW ..................................................................................13

Pedagogical Materials ................................................................................19

Annotated Bibliographies ..........................................................................54

4 RESULTS AND DISCUSSION .........................................................................58

FIGURE 2.1 ................................................................................................................................... 12

FIGURE 4.1 ................................................................................................................................... 59

FIGURE 4.2 ................................................................................................................................... 61

FIGURE 4.3 ................................................................................................................................... 63

FIGURE 4.4 ................................................................................................................................... 66

FIGURE 4.5 ................................................................................................................................... 69

best efforts, the saxophone survived.

of this beautiful and often maligned instrument.

fundamentals include embouchure formation, articulation, and voicing/tongue position. It

questions to further guide the acquisition, absorption, and dissemination of this

information. The questions are as follows:

voicing and how do they describe the application of these fundamentals?

approach of the same fundamental, it is important that this difference be explicitly

covered in the review.

of these fundamentals. Exposing an obvious gap in targeted audience would prove to be

valuable insight as to how to proceed from this point forward.

fundamentals covered more than the others?

existing literature, and make fact-based statements from the findings.

Explanation of Fundamental Terms

specific and relevant term when describing this action.

instruments. However, documents referring only to the clarinet with regards to

enough to exclude clarinet specific studies from saxophone pedagogy.

Explanation of Audience Designation

lower and higher ranges of the saxophone.

Intermediate – Intermediate saxophonists have a functional understanding of the

and might suffer from tone production issues such as squeaking.

included in this designation.

Band Director/Instructor – This designation belongs to current band directors and

collegiate students studying to become music educators.

meticulous guidance to produce characteristic sounds. However, if we include the second

Search terms based on pre-existing library:

(Saxophone OR Sax) AND (Teaching OR Pedagogy OR Fundamentals OR Methods)

Search terms identified for Embouchure:

(Embouchure OR Mouthpiece OR (mouth position))

Search terms identified for Articulation:

Search terms identified for Voicing:

(Voicing OR (Tongue Position) OR Overtones OR Altissimo)