1

The

ABC

SAXOPHONE TUTOR
By

Alun Cook

Guidance for teachers and pupils

This book is designed for use WITH help from a teacher. It is not a "teach-yourself" book. You could probably
do quite well under your own steam, and although I have put in many explanations, there are lots of things left
unsaid which would be covered by an expert tutor. Nothing (as all teachers know!) beats a good teacher.
+ This is purely a Saxophone Tutor and is not compromised by trying to fit in with teaching other instruments
at the same time. It goes at a gentle pace and uses the easiest path to the fastest progress.
+ There is masses of material - your average student may miss out some of the early material - the
high flyer will rattle through at a great rate. The students who struggles in the early stages should have plenty
of progressive work to help them.
+ The book is designed to produce good sight-readers. There are some tutor books which are so full of familiar
tunes that many students who complete the book can hardly read at all, relying on their ears and guesswork.
There are many familiar tunes in this book, but they need to be discovered - rarely do they have obvious titles.
+ There are plenty of duets, trios and clapping games to keep groups interested.
+ The more complex rhythms at the end of the book use a limited range of notes in case these sections need to be
covered early for ensemble work.
+ There are not many dynamics marked, and in general everything should be played loudly to help develop a
strong tone (unless it is a lullaby or similar).
Pupils need to know that the magic ingredient to succeed on any instrument is PRACTICE - and that means playing
every day, but more importantly, "playing" is not necessarily "practising". Practice is about understanding
why you can't play something and getting to the root of the problem. Playing a whole piece through several times
probably means that you are "practising" your mistakes (i.e. getting better at playing it wrongly). Work out where
the problem is (it is usually just moving between 2 notes) and try to master the change.
Clapping is essential! Most students find interpreting rhythms to be the hardest aspect of reading music. Clap
every piece through before trying to play it until you are thoroughly confident that you have mastered the rhythm.

ALUN COOK - This revision October 2009 - www.aluncookmusic.com

& w

Good

Boy

Deserves

Favour

SEMIBREVE = 4 Beats

MINIM = 2 Beats

(half note)

CROTCHET = 1 Beat

(quarter note)

QUAVER = Beat

(eighth note)

SEMIQUAVER = Beat

(sixteenth note)

SEMIBREVE
or a whole bar rest

RESTS:

THE NOTES IN THE SPACES

THE NOTES ON THE LINES

&

Every

& w

MINIM

CROTCHET

(whole note)

QUAVER

SEMIQUAVER

It is really useful to understand the piano keyboard. If you are new to this and do not know the note names,
look for the "Dog in the Kennel". To explain, the black notes go in a series of 2 then 3 then 2 then 3 etc.
Find a group of 2 (that's the "Kennel") and the note in the Kennel is D (for Dog!)

&

= CROTCHET

= 1 beat

= MINIM

= 2 beats

w = SEMIBREVE = 4 beats

4
&4

& 44
&
3

& 44

&

The curved lines over or under

the notes are called "slurs".
They ask you to play the notes
smoothly (all in one breath).

4
&4
&

& 44
&

& 44

&

w
When you have several quavers together
they are usually joined with a line
at the top or bottom called a beam.

j
= QUAVER worth half a beat - (half a crotchet)
7

4
&4

j j j j

&
8

4
&4 w

&
9

& 44
&

10

4
&4
11

& 44

. = DOTTED MINIM = 3 Beats

3
4

TAKE YOUR PICK FROM THESE EXPLANATIONS

* The dot makes the note 50% longer
* The dot increases the length of the note by half its original value
* Cut the note in half - add the half on
* 2 + half of 2 = 3

12

3
& 4 .

13

3
& 4 .
&

14

2
&4

15

NEW TIME SIGNATURE

The top number tells you how
many beats there are in every bar
The bottom number tells you
which type of beats are being
used - i.e. 4 at the bottom means
count in crotchets

.
.

T-T-T-TONGUING

4
&4

16

4
&4

&
17

Staccato - the dots under or

above the notes mean that
they are to be played short

. .
4
& 4 . . . . .

First Fanfare

. . . . . . .

. . .
& . . . . . . . . . . .

. . . . .

18

4
&4

Aim to produce long

smooth notes with small
spaces inbetween, so
use light tonguing

Gentle Tonguing

4
&4

&

19

20

(Stamp in the rests)

SLURS AND TONGUING

21

4
&4
&
22

3
&4
4
&4

Stamping Dance

& 44

23

This is a crotchet
(one beat) rest

&

&

.
Waltz

. .

. .

NEW NOTE

&

24

4
&4
&

& 43

&

27 Fast

& 42 . . . .
& . .

How many
beats in the bar?

Where to?

4
&4
&

25

26

On which beat of the bar

do you start playing?

.
.

. . . .

How many beats in the

last bar and why?

Get a move on!

.
.
.
.

. .
.
.

NEW NOTE

&

28

& 44
&
29

&

4
&4

&

31

30

4
&4

Strolling

Gently

& 44

32

4
&4
& .

Smooth Twos

Smooth Twos Two

&

Smooth Twos Too

33

4
&4

&

Twos into Three

34

3
& 4 .

&

NEW NOTE

& w

35

& 44

. . .

Fourth Fanfare

.
.
. . .
& . . . . . .
36

3
&4

. . .

. .
. .
.

Lullaby

&

10

Swaps

37

& 44
&

38

4
&4

Mr Jones

Repeat marks

.. . . . . . . . .

Four-Step

39

4
&4

&
40

4
&4

&

Can I play?

Five-Step

41

& 44
&

R
42

= SEMIQUAVER worth a quarter of a beat - (half a quaver)

2
&4

=
R R R R

&

..

QUIZ TIME

11

Can you add the time signature to each of these pieces

&

&

&

You'll know this piece! Try to sing it and fill in the empty bar (you don't yet know all the notes to play it).

& 44

&

CLAP TRAPS 1

Clap

Trap 1

2
&4

Knees

(clap)

Feet

(knees)

No need for the saxophone for this, and it is

best to sit down. Clap your hands, slap
your knees and use your feet (no need
to stamp - just use your heels or toes).

Trap 2

& 42

(clap)

(knees)

&

Trap 3

3
&4

&

&

(feet)

(clap)

(feet)

(knees)

12

43

4
&4
&

Fourty Three

Walkabout

44

4
& 4 .
& .
& .

Duet

45

2
&4
& 42

&

&

46 Fast

Tonguing Practice

4
&4
& .

13

NEW NOTE

&

47

3
& 4 .
48

4
&4

49

& 42
50

4
&4
&

Russian Around

This is a quaver
(half-beat) rest

Rockette

j j
j j
4

& 4 . . .
. . .
j j
j

& . . . . j
51

52

Restful Rock

4
j
& 4 j .
j
.
.

& j j .
.
.

j
.

NEW NOTE

14

53

4
&4

54

& 44

55

& 44
&

&

56

& 44

&

&

4
w
&4
w

57

&

This is the first note you will have

played in the upper register. As you
will see, this note shares it's name
with the D in the lower register.

Who's coming?

58

& 4 .

& .

4

&4

&4

60

Stepping out

.
&

61

3

&4

Quick March

59

&

15

Katie's Waltz

Sliding out

& .
62

& 44

&

Turning out

16

Vitamin 'C'?

63

3
&4
64

& 43
& 43

Thin Ice

&

&

65

& 43

3
&4

&

&

66

Lullaby

Mind Your Feet!

2

& 4 J J
J
j
& 42 J J

STAMP J
J
J
J

67

& 43

Going Dotty!

68

& 43

17

69

& 43 .
.

= DOTTED CROTCHET = 3 Quaver Beats (one and a half crotchets)

THE GOLDEN RULE

Always count 3 on a
dotted note.

TAKE YOUR PICK FROM THESE EXPLANATIONS

* The dot makes the note 50% longer
* The dot increases the length of the note by half its original value
* Cut the note in half - add the half on
* 2 + half of 2 = 3

70

& 43 .

It may be 3 quavers or
3 crotchets, but it will
always be divisible by 3.

j . j .
3
.
&4
J
71

72

& 44 .
& .

j
.

j
.

73

4
& 4 .
& .

74

& 44 . J
& .

Join the Dots

j

.

. j
.

j
.

j
. .

.
J

.
J

j

j

. . .
J
J
j

. J

18

NEW NOTE

F#

& #w

nw

The SHARP sign raises the sound

of a note by the smallest amount
possible (which is called a semitone).
Sharps sound higher than ordinary
notes (naturals). Compare the sound
of the old F with the new F#

#w

Original note
(F natural)

New note
(F sharp)

The NATURAL sign returns a

sharpened note back to normal
All signs continue their effect until the
end of the bar.

75

4
& 4 #

76

4
& 4 #
& #
77

& 44

w
#

# #

Extra sharps, naturals (or Flats) added in a piece are known as ACCIDENTALS.
Their effect lasts until the end of the bar, but no further.

& 44 #

<n> .

& .
78

Hansel & Gretel - Prayer

# #

Engelbert Humperdinck
(1854 - 1921)

& # #
Stand Up!

79
j . j
3

&4
#
#.

.
& J . J . J
.
New note!

KEY SIGNATURE
G major

KEY SIGNATURE - If a piece (a tune) is based around a set of notes

which repeated use the same sharps (or flats) they are placed at the
beginning of each line, to save having to write them in all the time.
This is called a Key Signature.

19

G major is the name of the KEY which has an F#. The sharp sign
at the beginning of each line effects every F, no matter how high of low.

As With Gladness

#
& 44
80

. J

&

Beethoven

#4
j
.

& 4

81

j
& .
#

&

j

So what was strange
.
about that key signature?
FESTIVE CHEER

#4
& 4
82

#
&
#
&

Adeste Fidelis

j
. .

#4
& 4
83

#
&

Feast Time

j
. .

..

20

84

#4
& 4 .
#

& .
#

&
#3
& 4
85

Can you guess what is is?

# 486
& 4 .
#
& .

.
J

#2
& 4

87

#
&

&
#
&

&

21

#3

& 4
88

&
#
&

All Through the Night - Lullaby

# 489
j
& 4 . j .
#
&

j
. .

. j

#
j
& . j .
#4
j.
w

.
& 4
.
90

& . .
&

#w

. j . j

j
. .

j
. .

Earl of Oxford's March

j.
w

j
.
.

j .
j.

.
.
.

William Byrd (1543 - 1623)

j .
j .

. j j
.
.
.
>
William

#4

& 4
91

#
&

j
.
.

22

Bb

bw

&

nw

bw

Original note
(B natural)

New note
(B flat)

The FLAT sign lowers the sound of

the note (by the smallest amount
possible which is called a semitone).
Flats sound lower than ordinary
notes. Compare the sound of the old
B with the new Bb
The NATURAL sign returns a
flattened note back to normal

92

& 44 b
93

4

&4
94

& 43

b
b
b .

GB Rules OK

95

4
& 4 .

b b .

&

KEY SIGNATURE
F major is the name of the KEY which has a Bb. The flat sign
at the beginning of each line effects every B, no matter how high of low.

Who's still coming?

96

& b 44

KEY SIGNATURE
F major

&b

b .

w
.

&b

97

23

Spot the difference

2
& 4 . . . . . . b . . . . . . .
.
.
.
. .
& . . b
98

& b 42 . . . . . . . . . . . . .
.
.
.
. .
& b . .
Still Standing?

99

j
3
j
& b 4 . .
j
j
.
.
b

.
&
J
100

Sleepy Sarah

& b 44

&b

101

& b 44

Rock Blues

> >
n

> > > > > > > >

> >
>
>

& >
>

>
>>
>
> >

b
n

&

>
>
>
>

24

&b

wF

G
w

F#
#w

4
&4
.
&

3
. .

&4
J
103

&
104

& 44

.
J

. .

&
J
.
J
&
105

3
&4

. J .

.
.
J

.
J

.
J

102

j
.

Golden Slumbers

.
J

&

Traditional

106

& 44 . J
j
4

& 4 .

&

&
&

& 43

3
&4
&

.
J

Which beat of the bar

do you start on?

.

J

&
107

25

Cwm Rhondda

&

. J

. . J . J
J
. . J . J
J
NEW NOTE

John Hughes

Crimond

Top A

Jessie Irvine

How many beats

in the last bar?

All Fall Down

#4
& 4
108

&

&

26

Men of Harlech

109

& 42 .
f

2
& 4 .
f

& .

j
.

J
j

& .

j
.

J
j

.
J
j
.

> >

J
j > >

&

& .

. . .
J
J
&
. . .
&
J
J
&

. >.
J

. >.
J

. .

Welsh Traditional

.
.

& . j . j

.
J

> >
J

.
J

> >
J

..
.
.

.
.

. > >
J
J
. > >
J
J

. >.
J

> >

&

& . J . J

# # n

j

.

. J

27
NEW NOTE

#w
C#

Scale of D major

110

4
#
& 4 # #
#
#
& # 44

111

Key Signature of D major

## 4
& 4

#
&#
112

##

&

# 4
& #4

113

##
&

Floral Dance

.
j

.
. . .
. .

. .

. .
.
.
. . .
Four-step

.
.
## 4 . . . . . . . . . . .

& 4
## . . . .
. . . . . . .

&
114

28

NEW NOTES

&

116

117

4
&4
4
&4

&4
118

115

& 44

&

Top C is usually best played using the middle side key,

but sometimes it may be played using the same fingering
as in the lower octave (L.H. middle finger and octave key)

.
. J

J
&4
J



&
119

All at C?

#2
& 4

120

&

. .

. .

Time for you to choose which is the best

fingering to use for top C. You may use
the side key C or the C fingering used in the
low register with the speaker key added

. . <#> .

. .

.
J

.
.

29

&

C (known as middle C)

121

4
&4 w
122

4
&4

Scale of C major

&4

123

124

2
& 4 .
.

Delving the depths

.
.

& . .

Reluctant Play

125

& 44
&

Extreme Sport

.
. . j

J
& 43

. j
J

.
.

.
J
& . . J J

.
126

30

DYNAMICS
pp

mp

mf

pianissimo
very quiet

piano
quiet

mezzo - piano
moderately quiet

mezzo -forte
moderately loud

4
& 4 . J
p

&

# .

pp

mp

fortissimo
very loud

.
. J
J

> > >

This is a pause

. J

&

forte
loud

> > >

ff

The Mystery of Doone

127

mp

. U
.
J

pp

Waves

128

3
& 4 # n # n
p

& # # n
p

&

# n
p

#
p

n
#

# j j
J # .
p

Stealth

. . .
. This is an accent
. . . .

J J J
&4 J J J J J
J
>
pp
pp
ff
.
.
.
. . . #.
. . J J J
J J J J
& J J
129.

mf

pp

. #.
J
. . .

U
.
J
>
ff

31

bw

&

Bb

130

4
&4

b
b

b
2
&4
131

b b .

b n b n b n b . .

&
Another fingering for Bb
known as "the Long Fingering

Who's Guide?

132 Boldy

3
&b 2
&b

<b>

long fingering

Henry Purcell (1659-1695)

Rit.

#
#
&b
Twister 2

133

4
& b 4 . J

&b

Long fingering

32

&

bw

134

b
& 44

bw
Eb

b .

b .
&

b
b

b 4 . . J
b
& 4
J
135

Home Sweet Home

.
J

. J . J

. .

b
.

. .

J
&b
J
J
b
&b
b
&b

.
J

. J .
J

b2
&b 2

U
. w
J

Key Signature !

136 Fast - Allegro

Mozart 40

#
b

&b
# w
b
&b

#


#

etc.

33

& #w

#w

This is played the same

way as Eb

D#

#137
# . # #
4
& 4
J
.
# J . J #
&
#4
& 4 . .
138

#
& . #

<n>. .

Dotted March

. n #

# . n .

Smooth Fingers

& 43 . . . . # n
139

# . #. .
. .
&

140

4
& b 4 .

How's Your Counting?

j
j
. .

& b . J . J
. .
& b . . #J
J

. . . j

J
J

. . .
.

. .

Clap Traps 2

34

Finger
Click

Hand
Clap

Knees

Feet

Fast

4
/ 4
/ 44

j j

.
.
/ ..

.
/ ..

/
/

J J J
J J J J
J
j




/

#w

&

& 44
&

141

35

# .

# w

D Major Scale - 2 Octaves

##142

& 44

143

## 4
& 4
##
&

144

.
## 3

J
& 4
Landler

Mahler 1

. . .

##

&
#
& # .

Gustav Mahler (1860-1911)

36

## 3
& 4
145

Farewell and Adieu

##
&
##
&
#w

Traditional

#w
G#

146

## 3
& 4

##
&

##

&

Abide with Me

Traditional

## #
&
# .
&#

..

##
&

##147

4
& 4

The Ash Grove

COMPOUND TIME SIGNATURES

37

Compound means a mixture. In 6/8, 9/8, 12/8 time signatures you need to count in multiples of 3 quavers,
for example if there are six quavers in a bar (6/8) that is 2 lots of 3 quavers, so in 6/8 there are 2 "big" beats,
each of which can be divided into 3 little ones.

#148
& 43

. J .

#149
3 .
& 8
J
#6
.
& 8
J
150

. .

To

. .

#3
& 8 .

.
..
.

These are the most common rhythms that you will find in compound times - try clapping each bar several times

.
6

&8
J
J
151

Fast

.
J

.
& J
J
J
Fast

#6
& 8 J J
# .
J
& J
#

& J J
152

153 Slow (in 6)

6
& b 8 . .

.
. .

.
J

Traditional

J J . . J J .
. . .
J
J
J

Traditional

.
J . .
J

. .

. . .
b
&
J

j
.

.
J

.
J

<b> . . .
J

. . .
J

Gruber

.
j

38

Heavy Cold?

154 Steady

6 j
. . j . j j .
&8 J

J
J
. . #
. . .

.
&
# # .
J
J
. .#
j
j

. . #.# .
& .
.
J
King Henry VIII

Swing Tempo
In Swing (or Jazzy) music, every pair of quavers is played with the first quaver lengthened and the second one
shortened, so that the ratio between them is 2/3 to 1/3 rather than and . The quavers that falls on the
main beats of the bar are always the longer ones. To get a feel for the style, think of the Pink Panther theme.

Blowaway Blues

155 Swing Tempo

b
& b 44 #

#
#
n

. #.
j
j

&

# J
b
&b
n # b
.

TRIPLETS: Golden Rule is: 3 in the space of 2

No Holds Barred!

It might be 3 quavers inmthe space of 2 quavers, or

3 semiquavers in the space of 2 semiquavers etc.

# <n> #
<n> # #
4

&4
f

&

# #

j # . .
& J
&

# . . .

>
J . .

ff

. b

J
# #
J
J n w
3

# # # j

J J J J J .
&
>

39

Finger
Click

Hand
Clap

Left
Knee

Right
Knee

Left
Foot

Right
Foot

/
/

/
/

Wo Sind Mein Lederhosen?

/ 43

3
/ 4

CLAP-TRAPS 4

40

KIT-CLAPS

Clap

/ .. 44

Knee
or
Knees

/ ..

/ ..

.. ..

/ ..

Foot
or
Feet

.. ..

..

. .
. .

. .
. .

Clap

. .
. .

..

Knee

other
Knee

.
.

j
..

. . .
. .

Using Both Knees

/ ..

..

Foot
or
Feet

. . .
. .
.

.
/ .. .. .. .. ..
.
Three against Two

/ .. .. .. .. ..
3