Book Title: 48 Famous Studies for Oboe or Saxophone
Editor: W. Ferling, Revised by Andraud
Publisher: Southern Music Company
Edition: B103

Saxophones Selection 1

Etude Title: No. 28
Page(s): 14
Tempo: Quarter Note = 112–126

Play from Beginning to end.

Errata:
There should be two diminished 7th arpeggios in measure 13. The last sixteenth of the third beat should be an F-natural, and the third sixteenth of the fourth beat should be an A-flat.

Performance Guide:
Marked “Allegro spiritoso”, this etude should be played in a spirited or upbeat fashion. Much of the contrasts and interest in this etude arise from shifting articulations. As you encounter new melodic ideas, you’ll notice corresponding changes in the articulations. These shifts can guide your musical phrasing and emphasize the importance of these contrasts.

To enhance your fundamentals on the saxophone and tackle this etude effectively, consider practicing the most common articulation patterns found within it (4-note groupings):
Slur 2 Slur 2
Tongue 1 Slur 3

Additionally, work on these articulation combinations using the C minor scale and arpeggios. For overall improvement, explore applying these articulations to all major and minor scales to familiarize yourself with these patterns.

When practicing, employ general techniques for faster etudes: start with slow practice using a metronome to absorb all the details and contours of the music. Gradually increase the tempo over time, and have the metronome subdivide either eighth or sixteenth notes. This will help you perform the varied articulations evenly while maintaining a sense of musical line.

Saxophones Selection 2

Etude Title: No. 31
Page(s): 16
Tempo: Eighth Note = 52–59

Play from Beginning to End.

Errata:
None at this time.

Performance Guide:
Marked ‘Adagio pietoso,’ this etude should be performed with tenderness and compassion. The performer should aim for maximum connection and fluidity across the larger intervals in the melodies. Many of the articulations, primarily accents, should be interpreted in the context of their given dynamics. In passages marked ‘piano,’ the accents should be subtle and not overly prominent within the texture.

The original tempo marking suggests feeling the 16th-note pulse, but adopting a slower tempo with an eighth-note pulse makes it easier to find the desired connection between phrases. Initially, this slower beat may pose a challenge, so using a metronome to subdivide eighth notes can help maintain a steady pulse for the player.

Tuning across larger intervals can be challenging. To address this, practice these notes (such as those in measure 5) out of time, focusing on holding each pitch, developing a crescendo, and tuning each pitch. Additionally, practicing vibrato with a drone can help the student develop a keen musical ear for hearing these larger intervals.

Fingering suggestions include: last note of measure 33 going into measure 34 - that G# should be fingered using the low C# key. The last note of measure 35 going into measure 36 is a G# and should also be fingered using the low C# key.

Saxophones Selection 3

Etude Title: No. 10
Page(s): 5
Tempo: Quarter Note = 96–108

Play from Beginning to end.

Errata:
-Meas. 10 - there should be a slur over the half note on beat 2 (with the trill) until the end of the bar (over the grace notes). This will make the slur in measure 10 match the slur in measure 12.

Performance Guide:
Marked ‘Tempo di Polacca,’ this etude should capture the spirit of a Polish dance, also known as a Polonaise. Therefore, the player should strive to deliver an upbeat and playful performance. Emphasize the varied accents within the phrases and maintain a sense of forward momentum throughout the etude.

The most challenging sections of this etude involve the articulations at the faster tempo. Begin by practicing at a slow tempo, using a metronome to focus on rhythmic steadiness and accuracy of the given articulations. Strive to make sure you fingers and tongue line up. Note that the melody often repeats but with different articulations (for example, compare measure 1 to measure 32). Pay close attention to these subtle changes.

To enhance your fundamentals on the saxophone and tackle this etude effectively, consider practicing the most common articulation patterns found within this study (4-note groupings):
Slur 2 Tongue 2
Slur 3 Tongue 1
Tongue 1 Slur 2 Tongue 1

In measures with extended staccato articulations (such as measure 25 and measure 38), focus on your airstream and maintain a lighter tongue. Make sure your tongue is positioned closer to the reed for maximum efficiency.

The etude also includes several ornaments, such trills and grace notes, which can make feeling the rhythm challenging. Initially, play the baseline melody without these ornaments to understand the underlying music. Then gradually add the ornaments (one at a time) repeating until you fully understand how the music fits together.