The student advancing through level five is seriously dedicated to the saxophone. In many high schools there is very little competition on this level. However, all-city and all-state ensembles offer unique learning and performance experiences that provide lifelong memories. College music students on this level will find new motivation by associating with capable colleagues and participating in more mature performing groups. Soloing in recitals and with ensembles brings special artistic self identity. Opportunities for professional work in the locale should be sought.

Career plans should be contemplated at this level in order to give more specific direction to immediate goals. Consideration should be given to opportunities in commercial studios, service bands and educational institutions. Professional engagements should be sought. Depending on individual interests, study of other woodwind doubles might be pursued at this point.

Subscriptions to the North American Saxophone Alliance periodical (c/o David Lovrien, 2232 Bowie Dr., Carrollton, TX 75006) and the Saxophone Journal (P.O. Box 206, Medfield, MA 02052) provide additional insight into the saxophone world.

Technique basics

1. Develop a personal performance repertoire in two categories: prepared and rehearsed solos with piano ready to be performed on short notice, and memorized solos to play with band or orchestra.
2. Establish memorized daily practice routines for the maintenance of basic techniques including tonal inflection, finger control and speed, and tonguing skill.
3. Organize daily practice to include a well rounded balance of mechanics, etudes and repertoire.
4. Observe important support activities: selection, adjustment and maintenance of reeds; instrument care; music storage; and selection of a practice area with good acoustics, lighting, air and temperature.

Theory basics

1. Understand and perform: major and minor scales in all keys in the order of the cycle of fifths or fourths and chromatic order; the chromatic scale (over the entire range); whole tone scales; diminished scales; modal scales.
2. Recognize and perform: major and minor chords, primary and secondary chords, and chord progressions; diminished, augmented, seventh and other added note chords.
3. Study and recognize musical forms: aria form, sonata form, dance forms, theme and variations, jazz forms, etc. Analyze music as to form and style.
4. Learn to take musical dictation, first melodic, then harmonic.
   
   

LEVEL 5 STUDY MATERIAL

Ferling-Andraud: 48 Famous Studies and 3 Duo Concertants

Standard in most teaching curriculums, these studies are excellent for refinement of style and technique. To play the duets and the Trio, Op. 87, by Beethoven included in this volume, it is necessary to buy a separate book for the second part.

Rossari-Iasilli: 53 Melodious Etudes, Book II, No. 26-53

Like the first volume, these etudes are excellent reading material providing the opportunity to digress from usual practice fare and to self examine accuracy and impromptu style.

LEVEL 5 REPERTOIRE

FOR SOPRANO SAXOPHONE ALONE

Kawarsky,J: Awake, North Wind

FOR ALTO SAXOPHONE WITH PIANO

Anderson, Garland: Sonata, No. 2
Anderson, T.J.: Sonata, No. 1
George, T.R.: Suite
Knight-Leeson: Sonata
Lacome-Andraud: Rigaudon
Leeson, Cecil: Concertino
Leeson, Cecil: Sonata, No. 1
Lunde-Leeson: Sonata
Moritz-Leeson: Sonata, No. 1, Opus 96
Pierne-Gee: Canzonetta
Rabuad-Gee: Solo de Concours
R.-Korsakoff-Leeson: Flight of the Bumble Bee
Schubert-Leeson: L'Abeille (The Bee)
Schumann-Hemke: Three Romances
Snyder-Hemke: Seven Epigrams
Tuthill-Leeson: Sonata, Opus 20

FOR TENOR SAXOPHONE WITH PIANO

Devienne-Jaeckel: Adagio and Rondo
Lacome-Andraud: Rigaudon
Pasquale-Hemke: Sonata
Pierne-Gee: Canzonetta
Sherman-Leeson: Sonata
Stein-Leeson: Sonata
Tuthill-Leeson: Concerto, Opus 50
Tuthill-Leeson: Sonata, Opus 56 (1968)
Weiner, Lawrence: Etude

FOR BARITONE SAXOPHONE WITH PIANO

Bach-Kasprzyk: Suite, No. 1
Bach-Kasprzyk: Suite, No. 3
Bach-Kasprzyk: Suite, No. 4

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