Beginner - Introductory Level | ||||
Title |
Composer |
Type of piece, Instrument |
Link |
Information |
Rubank Elementary Method |
N.W. Hovey |
Method book |
Provides a beginning understanding to music for the beginning section (How to count, clefs, etc.) then moves to the application of saxophone. I prefer this book over the essential elements because it begins incorporating technique and scales earlier on. I would use this book for a private studio. The duets are great for a teacher to play with a student. |
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Essential Elements Book 1 |
Multiple |
Method book |
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While I prefer the pace of the Rubank Method books, I believe this book is better suited for a band setting. The pieces (exercises) are built more for band compared to the Rubank book which I believe is arguably better for smaller groups. The book also contains a CD called EEi. This allows for play alongs for the student. |
Essential Elements Book 2 |
Multiple |
Method Book |
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This is a continuation of the first book. The book has a review of the first book at the beginning. I find that both books combined move at the same pace as a beginner. I appreciate the in depth exercises of this book. If you want to save money and want the same quality of book, I suggest using the Rubank Method Elementary Method book. |
The Yamaha Advantage |
Sandy Feldstein and Larry Clark |
Method Book |
I believe that the exercises used in this book would be great if applied to all types of saxophones. Early on the book introduces fingering passages that are more difficult such as B to C and C to D. The unfortunate aspect of this book is it only applies to Eb saxophones. Because it is typically used in a band context, those playing on tenor saxophone will not have the same introduction. I also disagree highly with the saxophone posture provided and described in the beginning of the book. |
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Standard of Excellence |
Bruce Pearson |
Method Book |
Another beginning band book. I believe this book does a better job at teaching how to but the saxophone together. One notable thing I think serves students is teaching them to put the ligature on first then the reed to prevent chipping the reed. I think this book is interesting because it begins on the note B natural, sounding a concert D - not a typical note to begin on. At the top of the pages is a short description of how to read music. Personally I think it is not descriptive enough - but could be useful for a younger student. |
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Flowers Lullaby |
Sigurd Raschèr |
Repertoire, Alto Saxophone |
I added this link because I believe Matthew Nordhausen does an excellent job on teaching how to play this rather than just performing it. In the age of newer technology, I want to see more videos teaching students how to play these lower-level pieces. I love that he delves into the hardest parts for a student to learn. He addresses technique issues as well. I believe students can work on these fundamental problems at an early age if teachers make notes of it such as him. Flowers Lullaby (alto saxophone solo) - Instructional & Performance Videos The piece itself is written to stray away from harder intervals or techniques for younger students. The harder intervals, for early students, written throughout the piece are important ones. The piece focuses on intervals such as seconds and thirds. |
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Tableaux Aquitains no 4 - Le Raconteur |
Jean-Marie Londeix |
Repertoire, Alto Saxophone |
This piece is a step above the previous due to the time signature and rhythms. The piece is in 6/8 which will challenge students to think in a triple meter rather than the consistent duple. Depending on the student, I believe this would be a great next step piece. It is in G major, staying in a key they are familiar with, but extends the range and has students use palm keys with just the addition of a D6. It also adds an occasional Bb so students can be introduced to accidentals. |
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Various Alto Saxophone Solos V1 |
Paule Harvey |
Repertoire, Alto Saxophone |
This book contains multiple solos for saxophones. It stays within ‘relatively’ easy keys such as G, F, Bb, and D major. The pieces increase in difficulty as you progress through the book. What I liked was the minuet and trio. This will train students to change keys and pay attention to key signatures rather than living in one tonal center. |
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Various Classic Festival Solos |
Jack Lamb |
Repertoire, Tenor Saxophone |
This one is aimed at more of the 7-8th graders who may be picking up tenor saxophone. Tenor saxophone has its own issues when learning. This book is an easy step into playing classical tenor. The level may not be as difficult as the William Schmidt solos, but I believe it is an adjusted step for learning the tenor saxophone. |
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Aria and Rondo |
Arthur Frankenpohl |
Repertoire, Tenor Saxophone |
This is a solo I personally performed in 9th grade. The aria is beautiful and gives the saxophonist a chance to make the horn sing. The piece does have several Ds to the student can use this as an opportunity to work on intonation. Something that makes it easier is the fact that the piece only uses G and G#/Ab in passing. This is great for tenor saxophone because the second octave opens on G#/Ab and can cause squeaks. While the student should not avoid these notes, I believe that the lack of these notes can help create a solid performance while challenging the student in other aspects. I suggest using the Rondo for higher level students, as it has more articulated passages. This movement also uses many slur two tongue two articulations as well as slur 4, this would be great for introducing students to different types of articulation patterns that they may not see in other music. This is a piece that I would use to introduce mixed rhythm and articulation practice to learn hard passages. |
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50 Etudes v1 |
Guy Lacour |
Etude |
The wonderful part of this book is that Guy Lacour wrote it to start easier and move up in difficulty as you go. The first four pieces begin in C major and move to adding one sharp and one flat as the book further helps teach students key signatures. The first four pieces also move up in tempo with each piece, while they all stay in 4/4. Once the student moves on from the first four pieces, it moves to ¾ and is in G major. Up until #11, the pieces stay in the range of F4-D2, but in 311 we move to a range of D4-D2. I think it is smart to have the lowest note students start on be a G or F, as is can be frustrating to play notes below an F as students are learning to push more air through the horn. |
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Solos for the Alto Saxophone Player |
Larry Teal |
Repertoire, Alto Saxophone |
Some of the pieces are more difficult than others. In The Old Castle, students are introduced to the key of Ab major, a slow piece, as well as 6/8. I believe this piece can be challenging for a freshmen, like Eugene Bozza’s Aria due to the musicality involved. I also appreciate this piece because students will work through rhythms in 6/8 that they most likely haven’t seen such as a dotted 8th note to a 16th note (Also little do they know they are playing a piece from an orchestra piece!). In another piece in the book, Minuet, is a faster piece with 16th notes and grace notes. The great thing about playing a minuet is the change of styles and keys. In the trio section we move from A major to C major, a change of three sharps. Also in the trio section, the piece becomes more lyrical. This is a great piece to introduce students to other pieces like a minuet and trio, such as a march which follows the same form. |
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