SaxophonesBook- Editor Title Publisheÿ" Edition

W. Ferling, Revised by Andraud 48 Famous Studies for Oboe or Southern Music Company B103Saxophone

SeWection 1Page(s): 5Key:Etude Title: No. 10

Tempo: Quarter Note = 100-116

Play from Beginning to end.Errata:

none

Performance Guide:

This piece (in F-major) greatest challenge is maintaining consistent finger/tongue (articulation)coordination throughout its entirety, Players should be cautious to not play this etude too fast ortechnique/articulation clarity and style will get inconsistent or lost. Properly clipping the lastslurred sixteenth note before consecutive staccatos or lifting off of the dotted eighth/sixteenthnotes to set up a light articulated staccato note will add clarity and a finesse style to this etude.Accents should be played to bring out arrival notes within a phrase or syncopation without beingtoo harsh. It is worth noting that the places in this etude that involve trills are places wheretempo/rhythm will tend to get lost and practicing subdivision with a metronome will help keepconsistency in both areas. It is recommended that Bis B-Flat fingering be used throughout mostof this piece unless going to a B-Natural in which Side B-Flat fingering may be the better choice.Middle C-Sharps can be played using the "Covered C-Sharp" fingering for better tuning andtechnical purposes -- although certain places playing "Open C-Sharp" may be a better optiondue to smaller intervals and/or faster note values involved. From a dynamics perspective -- thispiece has clear dynamic markings throughout but performers should be careful not to use toomuch contour dynamics where there are long phrases that start at "p" and sustains suchdynamic level until crescendos are marked. Although this etude is upbeat and has its technicalpassages --it lends itself to being very musical with the use of vibrato on longer value notes.

Selection 2Page(s): 2Key:Etude Title: No. 3Tempo: Eighth Note = 88-100

Play from Beginning to end,Errata:

m. 19-G at the end of the measure should be a G natural (not a G# from the accidental on thegrace note earlier in the measure),

Performance Guide:

Executing a wide range of dynamics combine with changing the intensity (width and speed) ofvibrato from the beginning to the end of phrases (including the choice to not use vibrato whenphrases end softly) L._ can make this piece, in the key of A minor, very dramatic throughout. Allof the grace notes in this piece should be played before the beat and trills should be played withlittle to no rubato oÿ otherwise, the piece can lose its melodic direction. Staccato notes should beplayed lightly and detached. Side C key can be used in mm. !--2, m.::[1, m.15 (High D to C =- notMiddle D to C), m. 21 (grace note), m.25 and mm.26°27. Using the Side C key can make iteasier to play these passages more smooth and connected o-o avoiding "flip-ÿflop' from regular Cto B and vice versa. In m.16, one can explore using alternate fingerings == such as the left handpalm key(s), top side key in the right hand and/or High F-Sharp key (with intermediate/promodel instruments) without the octave key as a substitution for notes "D# and E" to achieve thedynamic level and timbre of a true "pp." In m.20, the performer can explore using a left handpalm key (again = without the octave key) while keeping the middle C key down to achieve amore effortless sounding C to D trill. In both cases =- using palm, top side and/or High Fosharpkeys as a substitute fingering for playing middle register notes (D,D# or E) o- the challenge is tomake sure the alternate fingering notes are the correct pitches, in tune and with a good qualitysound. Consistency of maintaining a good quality sound can be challenging with this etude --esp. when either going from the Low B to the High F in m. 14 or trying to execute a bigcrescendo and immediately going to subito "pp" in mm. 24 and 25.

Selection 3Page(s): 6Key:Etude Title: No. 12Tempo: Quarter note 112-132

Play from Beginning to end,Errata:

none

Performance Guide:

From an articulation perspective - this etude, in D minor, uses two articulations which areinversions of each other: tongue one/slur three sixteenths or slur three/tongue one (which, ineither case, the performer is tonguing two notes per repeated pattern). Otherwise, the rest ofthe etude is mostly slurred arpeggios and chromatic scale passages. Make sure to keepstaccatos light and separated -- showing the slight change in dynamics when enteringaftertaking a breath from the quarter/sixteenth ties to allow for more dramatic crescendos inascending patterns. Suggested fingers to use would be Chromatic F-Sharp and Side B-Flat keyswith long chromatic passages (mm.ll, 17, 18 and 19). Otherwise, Bis B-Flat is recommendedfor passages that are arpeggios (mm. 9, 10 and 21) or uses the note B-Flat as an upperneighbor tone (mm. 19, 22, 25 and 27).

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