While working through level four, the opportunity for many performance responsibilities should emerge: auditions for solo chair positions at school, solo and ensemble contests, scholarship auditions, talent shows, and solos in band and orchestra concerts. Summer enrichment programs, music festivals and regional band-orchestra chairs should be pursued.

Continuation of private study is important to effectively focus on detailed preparations for solo appearances, contests and auditions. If possible, a professional level instrument should be obtained to attain the best in sound, intonation and technique. An interest in mouthpieces, better reeds and the skill of adjusting reeds should continue to evolve.

More extensive listening habits should be developed. Following good music radio stations, learning the classical orchestral repertoire, learning about great composers, and identifying music periods and jazz styles will cultivate high performance standards and ambitions.

Technique basics

1. Develop more sophisticated tonal concepts and control: a vibrato that is a natural part of the tone, not an addition to it, natural use of dynamic flexibility, and awareness of perfect intonation. Observe the effects of mouthpieces, instruments, reeds, rooms, halls, recording techniques and geographic location on tonal voicing.
2. Use acquired techniques to create a mood experience for the listener. Avoid lackluster mechanical playing.
3. Sight-read music of an appropriate level with fluency.
4. Prepare and maintain good reeds.
5. Perform major solo works by memory.
6. Begin study of extended pitch range above high F.

Theory basics

1. Understand the cycle of major and minor scales.
2. Know and perform the chromatic, diminished and whole-tone scales. Begin work on performing scales in intervals.
3. Aurally and visually identify all intervals within the octave, and learn to sing these intervals from a given pitch.
4. Sight sing unfamiliar melodies.
5. Routinely study assignments without the instrument before practice, analyzing each etude as to key, scale and chord patterns, phrases, tempos rhythms, alternate fingerings, etc.
   
   

LEVEL 4 STUDY MATERIAL

Hite, David: Foundation Studies
Contents:
Baermann Method, Part III

Practice should extend into the intervals of thirds, fourths and fifths. Work on the scales, chords, interrupted scales and returning scales in five and six sharps and flats, as well as chromatic scales and diminished chords should be in progress. Keys of four sharps and four flats should now be well routined.

Hite, David: Melodious and Progressive Studies, Book 2
Contents:

Continuing study should encompass all the Gambaro studies in advanced speeds. The Dont etudes develop dexterity in larger intervals requiring not only finger coordination, but also eye and ear coordination for tonal consistency. The expressive etudes should be analyzed so that they can be played with consummate style. The tonguing exercises strengthen the tongue and increase staccato speed and clarity, while the trill and chromatic studies promote finger dexterity.

Hite, David: Four Sonatas by A.M.R. Barret and Five Melodious Studies by D. Alard

Study of these three movement Barret Sonatas focuses on refinement of musicianship, accuracy of reading and stability of performance. Intermediate in difficulty, they can supplement the Melodious and Progressive Studies, Book 2, and are also appropriate for concert performance. The Alard studies provide a solid review of technique and articulation.

Rossari-Iasilli: 53 Melodious Etudes, Book 1, No. 1-25

These supplementary studies develop routine, accurate reading in major and minor keys up to four sharps and four flats.

Gee, Harry: Progressive and Varied Etudes
Contents:

This volume broadens and varies the practice options. Scales and chords are classified and drilled, and practice routines are suggested. Jazz style etudes are introduced.

LEVEL 4 REPERTOIRE

FOR ALTO SAXOPHONE ALONE

Kawarsky, J.: Te' Amim

FOR ALTO SAXOPHONE WITH PIANO

Anderson-Leeson: Sonata, No. 1
Bozza-Hite: Divertissement
Colin-Cailliet: Eighth Solo
George, T.R.: Introduction and Dance
Von Kreisler, A.: Two Impressions
Leclair-Gorner- Hemke: Sonata in G Minor
Lefebvre-Cailliet: Andante and Allegro
Senaille-Gee: Allegro Spiritoso
Walters, David: Andante and Scherzo
Ward-Hemke: An Abstract
Wetzel, Richard: Vignettes of a Fable Land

FOR TENOR SAXOPHONE WITH PIANO

Anderson-Leeson: Sonata
Bach-Gee: Sonata IV
Devienne-Jaeckel: Largo and Allegretto (Sonata No. 2)
Handel-Gee: Andante and Allegro
Handel-Ephross: Sonata No. 5
Senaille-Ephross: Allegro Spiritoso
Spohr-Gee: Adagio
Walters, David: Andante and Scherzo

FOR BARITONE SAXOPHONE WITH PIANO

Senaille-Gee: Allegro Spiritoso
Spears, Jared: Ritual and Celebration

DUET FOR ALTO AND TENOR SAXOPHONES

Tull, Fisher: Dialogue

DUETS FOR ALTO OR TENOR SAXOPHONES

Hite, David: Four Sonatas by A.M.R. Barret and Five Melodious Studies by D. Alard

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