State Classical Solo Contest Repertoire Lists - An Exploratory Stu

University of Iowa
Iowa Research Online

Theses and Dissertations
Fall 2011
State classical solo contest repertoire lists: an

exploratory study and comprehensive list of
recommended intermediate alto saxophone
compositions
Jane Rochelle Williams
University of Iowa
Copyright 2011 Jane Rochelle Williams
This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/2790
Recommended Citation
Williams, Jane Rochelle. "State classical solo contest repertoire lists: an exploratory study and comprehensive list of recommended
intermediate alto saxophone compositions." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2011.
http://ir.uiowa.edu/etd/2790.
Follow this and additional works at: http://ir.uiowa.edu/etd
Part of the Music Commons

STATE CLASSICAL SOLO CONTEST REPERTOIRE LISTS: AN EXPLORATORY
STUDY AND COMPREHENSIVE LIST OF RECOMMENDED INTERMEDIATE
ALTO SAXOPHONE COMPOSITIONS
by
An essay submitted in partial fulfillment

of the requirements for the
Doctor of Musical Arts degree
in the Graduate College of
The University of Iowa
December 2011
Essay Supervisor: Assistant Professor Mary Cohen

Copyright by
JANE ROCHELLE WILLIAMS
2011
All Rights Reserved

Graduate College
The University of Iowa
Iowa City, Iowa
CERTIFICATE OF APPROVAL
___________________________
D.M.A. ESSAY
_____________
This is to certify that the D.M.A. essay of
has been approved by the Examining Committee

for the essay requirement for the Doctor of
Musical Arts degree at the December 2011 graduation.
Essay Committee: _____________________________

Mary Cohen, Essay Supervisor
_____________________________
Lyombe Eko
_____________________________
Andrew Parker
_____________________________
Benjamin Coelho
_____________________________
Nicole Esposito

ACKNOWLEDGEMENTS
I would like to thank all of the following individuals without whom this project
could not have been completed: Dr. Mary Cohen for her advising excellence; Dr. Bruce
Gleason for his academic expertise; Dr. Christine Getz for moving mountains; Dr.
Lyombe Eko for his encouragement and advice; David Droge for his expert coaching and
instruction with the Excel database; Professor Benjamin Coelho for his encouragement to
take another step and get this degree; Professor Nicole Esposito and Dr. Andrew Parker
for their support by being part of the committee; Dr. Kenneth Tse for the idea that led to
the growth of this topic; Dr. Scott Muntefering for his direction; Dr. Gary Behm for his
encouragement; and all of the respondents to the questionnaire for their willingness to
make this study work.
I will be forever grateful and indebted to all of the following: My husband Adil
and son Youssef; my mother Debbie and her husband Randy for three weeks of
grandchild rearing; my father Craig, sister Kathryn, and brother Scott for their support;
and my in-laws Zineb, Chrif, Amal, and Hanane.
I would like to thank Jill, Derrica, and Elizabeth for their numerous hours of
childcare expertise while I pounded away at my computer in a corner office. I need to
thank all of the many students and parents from the J. Williams Saxophone Studio for
their patience, understanding, support and flexibility while this project was in full swing.
Finally, I want to thank Rebekah, Jen, Chris, Brandy, Andy, Grandma June, Boots,
Janice, Dan, and so many others for their support and encouragement.

ii

TABLE OF CONTENTS
LIST OF TABLES v
LIST OF ABBREVIATIONS vi
CHAPTER
I. INTRODUCTION 1
Historical Background 2
Purpose of the Study 7
Delimitations 7
Applications of the Study 8
II. REVIEW OF RELATED LITERATURE 9
Saxophone Development and Performance Techniques 9

Saxophone Pedagogy Research 11
Saxophone Repertoire Research 14
Summary of Research Related to the Design of the Study 15
Need for the Study 17
III. METHODOLOGY 19
Introduction 19
State Repertoire List Procedures 20
Data Analysis of the Completed Questionnaires 21
Master List Compilation and Reduction 21
Normalization of Suggested Grade Levels 22
Summary 23
IV. CONSTRUCTION OF THE QUESTIONNAIRE 24
Questionnaire 25
V. QUESTIONNAIRE RESULTS 29
Results of Questionnaire and Analysis 31
VI. ALTO SAXOPHONE REPERTOIRE MASTER LIST ANALYSIS 49
Value Assigning Procedure 51

State Graded Systems and Value Assignations 52

iii

Report 53
VII. SUMMARY AND CONCLUSIONS 61
The Problem 61
Methodology 61
Findings 62
Representative Compositions and Descriptions 63
Conclusions 67
Suggestions for Reform 68
Suggestions for Further Study 69
APPENDIX A. RECOMMENDED LIST OF INTERMEDIATE IDIOMATIC

REPERTOIRE 72
APPENDIX B. NON-INTERMEDIATE IDIOMATIC REPERTOIRE 80
APPENDIX C. TRANSCRIPTION RECOMMENDATIONS 102
APPENDIX D. RECOMMENDED COLLECTIONS 124
APPENDIX E. IRB REQUEST AND EXEMPTION 151
APPENDIX F. LETTER OF INVITATION TO PARTICIPATE AND

QUESTIONNAIRE 153
APPENDIX G. ADDITIONAL QUESTIONNAIRE COMMENTS 158
BIBLIOGRAPHY 165

iv

LIST OF TABLES
Table
1. Breakdown of Required and Recommended Lists 31
2. Who Compiles List 32
3. How Solo List Committee is Formed 34
4. Effect of Publisher Recommendations 36
5. Review of Individual Submissions 38
6. States that Encourage Composer Submissions 39
7. Lists With Graded Systems 40
8. Frequency of List Updates 42
9. Procedure for List Updates 43
10. Reviews for Print Status 44
11. Removal of Compositions 45
12. Data Collection Referring to Performance Frequency 46
13. Whether Time Limits are Considered for List Selections 47
14. State List Data 57
15. Idiomatic Compositions in Comparison to List Totals 58
16. Intermediate Idiomatic Compositions in Comparison to Total Idiomatic
Repertoire 59
17. Transcriptions (with Collections) in Comparison to List Total 60
18. Intermediate Transcriptions in Comparison to Total Transcriptions 60

v

LIST OF ABBREVIATIONS
E Easy
I Intermediate
AI Advanced Intermediate
A Advanced
VA Very Advanced

vi

1
CHAPTER I
INTRODUCTION
Beginning in the 1920s, U.S. high school music students have participated in solo
and ensemble contests at the local, regional, and state levels under the premise that these
activities further their musical and social development, and in turn increase the quality of
high school band, choir, and orchestra programs. 1 Many states have district-level
competitions that high school music students must pass in order to proceed to state-level
contests, which, as high-profile events, are often one of the few times students are able to
play in a formalized setting. All levels of these contests are intended to inspire and
challenge students, and along with providing good examples of performance practices
and pedagogical influences, these events serve as a collection point of appropriate music
that can best demonstrate students’ abilities, and further them on towards the next
development levels.
However, while a cursory review indicates that state repertoire lists exist for some
instrumental solo contests, lists do not exist for all states—and the lists that do exist are at
different stages of development and organizational structure. The intent of this study is
to focus on clarifying the current trends in recommended intermediate saxophone
repertoire in the U.S. through an analysis of the assembly, use, and the updating of
repertoire lists. Because music organizations in different states have widely varying
systems for assigning difficulty grades to the repertoire, I created a normalized list
accounting for these variations through the use of an Excel database in order to provide a
1
Michael L. Mark and Charles L. Gary, A History of American Music Education (New York:
Rowman & Littlefield Education, 2007), 306 – 307.

2
stable grading system of the saxophone repertoire that appeared on these lists. This study
subsequently provides a comprehensive list of recommended intermediate compositions
written for the saxophone with recommendations for its use.
Historical Background
When compared to traditional orchestral and band instruments, the saxophone,
invented by Adolphe Sax in the early 1840s, is considered to be relatively young. While
there were early prominent soloists such as Sigurd Rascher, Edward (Edouard) Lefebre
(of the Gilmore and John Philip Sousa bands) and others, it took almost a century of
experimentation and innovation before the saxophone began to gain an identity as a
legitimate classical solo instrument.
The Paris Conservatory had an indisputable role in the development of the
classical saxophone repertory and pedagogy due to the arrival of Marcel Mule, who,
because of his unparalleled artistry was appointed Professor of Saxophone in 1942.2 As
Mule was only the second saxophone teacher in the history of the Paris Conservatory,
and as the position had been vacant for seventy-two years since Adolphe Sax left in 1870,
Mule had considerable work ahead of him developing a pedagogy for classical
saxophone, and bringing attention to the instrument as a classical instrument. Drawing on
the experiences of his career as a saxophonist in French military bands where he
developed extraordinary technique, Mule taught generations of saxophonists, and
continued to perform frequently as a soloist and inspired composers to write classical
compositions for the instrument. As a pioneer in using vibrato for the classical saxophone
2
Thomas Dryer-Beers, “Influential Soloists,” The Cambridge Companion to the Saxophone, ed.
Richard Ingham (Cambridge, UK: Cambridge University Press, 1998), 44.

3
sound, and in developing teaching techniques for the classical style, many saxophonists
refer to Mule as “Le Patron” of classical saxophone.
When Marcel Mule began teaching at the Paris Conservatory in 1942, only a few
saxophone pieces were in existence that were considered “standard” repertoire. The
saxophone was seen as an oddity for decades, and because of this, it took a great deal of
effort by classical soloists to have compositions written that were not in the “pop” style
of the time. By the 1950s, many more serious works had been written thanks to the
efforts of Mule, English saxophonist Michael Krein (1908 – 1966), German-American
virtuoso Sigurd Rascher (1907 – 2001), and other renowned soloists who did stints with
the John Philip Sousa Band including Jean H.B. Moeremans, H. Benne Henton (1867 –
1938), Jascha Gurewich (1896 – 1938), and already mentioned, Edward Lefebre (1834 –
1911). Of these latter artists, Michael Hester concluded in his 1995 dissertation that
“Sousa’s saxophone soloists had an opportunity to influence untold numbers of
saxophonists across the United States and around the world.”3
While classical saxophone study was possible in Europe during the first half of
the twentieth century, the possibility of pursuing a college degree in saxophone
performance was not realized until the 1950s in the United States. This late inclusion
into the collegiate level was due in part to a lack of saxophone instructors, existing
repertoire, and pedagogical tools that would have strengthened a perception of the
saxophone as a serious classical instrument. Because of these shortages, most potential
saxophone majors would not have had the opportunity to develop skills comparable to
other instrumental requirements before arriving at higher educational institutions.
3
Michael Eric Hester, “A Study of the Saxophone Soloists Performing with the John Philip Sousa
Band, 1893 – 1930” (DMA diss., University of Arizona, 1995), 104.

4
In the past decades, several studies have been done in an effort to assess
saxophone pedagogy across the country, including one by Cecil Gold. This study,
conducted in 1977, surveyed college saxophone instructors in the United States and
Canada. Gold found that out of sixty-three survey respondents, only ten (15.87%) stated
that their main responsibility in their present position was teaching the saxophone, and
that eighteen of the respondents (28.57%) were self-taught on the saxophone. 4 While the
Gold survey did not specify if another woodwind instrument or the saxophone was the
primary instrument for the teachers he surveyed, it is likely that the saxophone was a
secondary instrument for most of them.
This deficiency of specialists helped perpetuate a series of misconceptions
regarding the possibilities of the instrument, and resulted in a general wariness towards
using the saxophone as an ensemble instrument—and in turn continued to limit the
instrument’s use in classical arenas and thereby limiting pedagogical development in that
area. In 1954, L.W. Chidester observed that:
Speaking generally, a good saxophone tone is rarely heard in the United

States.... It is for this reason that some highly successful directors in the United
States take the view that saxophones should not be included in the band….
Until a generation of saxophone players in this country has been trained to
produce the beautiful tone of which the instrument is capable… we cannot
subscribe to any theory which gives the saxophone a role equal to the clarinet.
The fundamental quintet must dominate if the band is to achieve any degree of
individuality. To supplement with saxophones, as the instrument is now played in
the United States, will destroy this ideal….5
4
Cecil Gold, Saxophone Performance Practices and Teaching in the United States and Canada.
(Moscow, Idaho: School of Music Publications, 1973), 1.
5
L.W. Chidester, “The Saxophone—Does it have possibilities for American Bands?” The
Instrumentalist (February 1954) reprinted in Woodwind Anthology (Northfield, Illinois: The Instrumentalist
Company, 1986), 1046.

5
In consequence, young players were often obliged to learn saxophone as a secondary
instrument after the clarinet or flute—just as their instructors did. James Houlik noted in
1968 that, “the development and advancement of the saxophone has been greatly retarded
by the idea that it is a secondary instrument, and that it should be one of several played
by a single performer.”6 Because of the prevailing skeptical attitudes toward the
instrument at the time, numerous college instructors and band directors were sent out to
teach the saxophone with minimal specialized training in tone development and technical
solutions. It was erroneously assumed that instructor excellence on clarinet or flute would
transfer seamlessly to saxophone pedagogy. In 1965, Sigurd Rascher observed that:
The greatest difficulty today is the serious shortage of good teachers. Therefore,
clarinet players, flute players, etc. are often drafted to teach saxophone at schools
that rightfully boast the finest specialists for all other instruments…. Among the
many aspects of our task is one that must be tackled immediately: though we take
certain standards of achievement, and excellence of performance for granted on
any other instrument, we do not yet expect such from a saxophone player.7
Consequently, because of inaccurate and/or limited teaching, the saxophone
subsequently developed a notorious reputation in musical circles for bad tone and a
general lack of control on the part of the performer—and resulted in the publication of
methods and solo literature that lacked technical progression and development.
Unfortunately, these sources are still considered the main foundation from which to teach
the instrument, though many of them were published more than thirty years ago. While
these materials are still considered relevant, they are in need of updates. For example,
6
James Houlik, “The Bray of the Saxophone,” The Instrumentalist (June 1968) reprinted in
Woodwind Anthology (Northfield, Illinois: The Instrumentalist Company, 1986), 1076.
7
Sigurd Rascher, “The Saxophone Goes to College,” The Instrumentalist (April 1965) reprinted in
Woodwind Anthology (Northfield, Illinois: The Instrumentalist Company, 1986), 1065.

6
none of them introduce the high F# key, though it is has been included on most new
student model instruments for the last ten to fifteen years. In addition, some fingering
suggestions that are regularly published in these manuals are no longer used in the
professional teaching world because they often create greater problems with intonation
and technique. To further complicate the problems in effective saxophone instruction,
junior high and high school band arrangements developed a tendency to “hide” the
saxophone amongst the lower voices and rhythmic parts, rather than treating it as a
member of the woodwind family. Such instrumentation could greatly slow the
development of a young saxophonist who does not have an opportunity to take private
lessons. Addressing this issue, Chidester stated:
The scoring [for saxophone], however, must always be very judicious. The best
efforts are sustained chords as background or support of woodwinds and brass.
Fast running passages doubling the clarinets, as found in many French, English
and American orchestrations, should be avoided; they destroy any semblance of
clarity. Likewise, the extreme low register should be omitted as it is difficult to
play softly.8
On the upper end of the performance scale however, famed saxophone pedagogue
Frederick Hemke indicated in 1985 that, “both the composer and publisher correctly
assume that the overall level of saxophone performance has risen over the years.”9
Moreover, as he and other famous soloists, including Marcel Mule, Sigurd Rascher, Cecil
Leeson, Larry Teal, and Eugene Rousseau, have inspired composers to write much of the
now standard saxophone repertoire for advanced soloists, the result has been that the
8
L.W. Chidester, “The Saxophone—-Does it have possibilities for American Bands?” The
Instrumentalist (February 1954) reprinted in Woodwind Anthology (Northfield, Illinois: The Instrumentalist
Company, 1986), 1046.
9
Frederick L. Hemke “Solo and Study,” The Instrumentalist (January 1985) reprinted in
Woodwind Anthology (Northfield, Illinois: The Instrumentalist Company, 1986), 1176, 1177.

7
repertoire for professional performance has grown exponentially since the 1940s.
Unfortunately, it has become clear to saxophone instructors that the development of
saxophone-specific compositions at the intermediate levels has not kept up with the rapid
output of compositions written for professionals, and in fact, has been severely limited
and even neglected.
Purpose of the Study
Following the premise of the preceding sections, the purpose of this study was to
analyze the recommended alto saxophone literature currently appearing on high school
solo and ensemble contest repertoire lists around the United States in order to determine:
1. The trends in alto saxophone literature used in state solo contest repertoire lists.
2. The criteria used for assembling the solo contest repertoire lists across the U.S.
3. A classification of the repertoire contest lists through a comparative study in
order to provide a stable grading system for saxophone repertoire.
4. Repertoire needs with respect to the possibilities for a broader spectrum of
intermediate compositions that are idiomatic to the saxophone.
5. Recommendations on appropriate solo literature for those age groups.
Delimitations
1. This study did not focus on transcribed works, although they are included in a
separate list in the appendix.

8
2. Alto saxophone repertoire is the primary focus of this study because most
students begin with this instrument. Tenor and baritone saxophones are generally
learned as secondary instruments to the alto. The repertoire for tenor and baritone
saxophones at this level consists mostly of transcriptions and was not included.
3. Questionnaires were not sent to states that did not have repertoire lists.10 While
it would be interesting to learn reasons for not providing such a list, that subject
was not within the scope of this essay.
Applications of the Study
The outcomes of the present study could be several-fold. It is hoped that the
information gathered will encourage young saxophonists, as well as the teachers who
guide them, to have higher expectations in terms of repertoire selections, technique
development and performance standards. Moreover, the research could inspire
composers to write more challenging band parts along with new solo literature that would
help foster a desire among young saxophonists to become refined and accomplished
musicians. As well, the resultant compiled list can be invaluable for state solo and
ensemble contest coordinators and band directors, and provides a useful guide from
which to choose instrument-appropriate repertoire.
10
See Chapter V, page 29 for a list of states that received the questionnaire.

9
CHAPTER II
REVIEW OF RELATED LITERATURE
The previous chapter reported that while professional saxophone literature has
made considerable advancements over the last century, the development of saxophone-
specific compositions at the intermediate levels has lagged behind. Various reasons,
including skeptical attitudes towards the instrument, late inclusion into collegiate-level
study, teachers whose initial instrument was not the saxophone, and outdated method
books were used. Therefore the intent of the present study was to analyze the
recommended alto saxophone literature currently appearing on solo and ensemble contest
repertoire lists around the United States and in order to provide a comprehensive list of
idiomatic, intermediate saxophone repertoire. This chapter contains a review of research
literature relating to saxophone development and performance techniques, pedagogy, and
repertoire for the purpose of revealing a need for the present study.
Saxophone Development and Performance Techniques
Several approaches in conducting saxophone research have transpired in terms of
focusing on the development of the instrument culturally as well as mechanically. From
general and specific stances, Fred Hemke studied the early history of the saxophone,11
and Joseph Murphy furthered this research by studying early saxophone instruction in
American educational institutions,12 while Harry Hindson studied aspects of the
11
Fred L. Hemke, “The Early History of the Saxophone” (DMA diss., University of Wisconsin,
1975).
12
Joseph McNeil Murphy, “Early Saxophone Instruction in American Educational Institutions”
(DMA diss., Northwestern University, 1994).

10
saxophone specifically in American musical culture from 1850 to 1980.13 As historical
studies, these works have provided an invaluable basis for our understanding of the birth
and development of the saxophone with some pedagogical research, but the intent of the
authors was not to investigate intermediate repertoire.
Furthering the work of Hemke, Murphy, and Hindson, in the 1970s Cecil Gold
uncovered valuable information about the saxophone itself by identifying improvements
in the construction of the instrument, finding that most of the teachers surveyed used the
Selmer Mark VI for their alto choices by a large margin over other brands.14 Since that
time, Selmer, Yamaha and Yanagisawa (and other companies) have developed an array
of different types of saxophones, including student, intermediate and professional
instruments to fit many different players, creating greater accessibility to good
equipment. At the time of Gold’s study, the overwhelming mouthpiece choice was also
Selmer—however, again, many other brands effectively compete with Selmer today.
More saxophone specialists, more types of equipment, and even accessibility to
recordings within many media outlets allow young saxophonists to study prime examples
of musicianship, good tone, technique, and intonation.
In terms of actual saxophone playing, the Gold survey shows that there was still
some debate regarding certain playing techniques in 1973. Three players in the study still
used a double-lip embouchure, which is no longer considered a possibility to create the
best sound. Most players in the study used the standard tip-to-tip tonguing technique,
however twelve of them used mid-tonguing or anchor tonguing, and seven of them used
13
Harry Burdette Hindson, “Aspects of the Saxophone in American Musical Culture, 1850 –
1980” (DMA diss., University of Wisconsin, 1992).
14
(Moscow, Idaho: School of Music Publications,1973), i.

11
double tonguing as their normal technique. While most of the respondents used vibrato,
the technique of vibrato had several types of variation besides jaw vibrato. Thirteen used
throat; fourteen used lip; five used intensity; and nine used diaphragm vibrato. Today, the
standard teaching technique for vibrato is jaw vibrato, which is what Cecil Leeson had
recommended in 1955.15 Since the time of Gold’s study, other researchers have
investigated these performance elements including Jacquelyn Lamar16 and Herman
Burnette.17 While Gold uncovered important information in his survey, intermediate
saxophone repertoire was not part of the data.
Saxophone Pedagogy Research
Within saxophone pedagogical research, several investigative avenues have been
examined including historical, bibliographic, case study, survey, and descriptive models.
From a historical-biographical stance, John Bristow documented the saxophone repertoire
contributions of Donald Sinta.18 Ruth Colgrove investigated Larry Teal’s influence on
saxophone pedagogy,19 and Debra McKim did the same for the work of Joseph Allard.20
15
Cecil Leeson, “The Basis of Saxophone Tone Production: A Critical and Analytical Study”
(DFA diss., Chicago Musical College, 1955), published under the same title (Muncie, Indiana: Enchanté
Enterprises, 1978), 76.
16
Jacquelyn Brown Lamar, “The History and Development of Vibrato Among Classical
Saxophonists, A Lecture Recital Together with Three Recitals of Selected Works of A. Desenclos, L.
Robert, J. Ibert, K. Husa, B. Heiden, R. Schumann and Others” (DMA diss., University of North Texas,
1986).
17
Herman H. Burnette, “Saxophone Performance Problems: Causes and Solutions” (DA diss., Ball
State University, 1985).
18
John Brent Bristow, “Donald Sinta: A Biographical Look at His Contributions to the Saxophone
Repertoire Through Commissions, Recordings, and Major Performances” (DMA diss., University of
Memphis, 2008).
19
Ruth Lucile Calder Colegrove, “A Study of Larry Teal’s Influence on Saxophone Pedagogy in
the United States” (DMA diss., University of Georgia, 2001).

12
Similarly, Thomas Smialek investigated the role that Clay Smith and G.E. Holmes played
in the development of saxophone performance and pedagogy.21 These studies have
provided crucial information to saxophone scholarship, but again, they did not investigate
high school saxophone repertoire.
In general music educational terms, Peter Miksza studied relationships among
impulsivity, achievement goal motivation, practice behavior, and the performance
achievement of high school wind players including saxophonists.22 Steven Oare studied
music practice habits of middle school students including saxophonists,23 and Timothy
Owen studied the integration of Edwin Gordon’s Music Learning Theory with a
beginning saxophone curriculum.24 Rather than investigating published methods,
Shannon Williams25 wrote a comprehensive musical approach for the intermediate
saxophonist. While her approach is an excellent idea for introducing numerous aspects of
musical study, it is not progressive, and the exercises do not focus on building technique.
Moreover, the approach appears to be too easy for an intermediate student who practices
20
Debra Jean McKim, “Joseph Allard: His Contributions to Saxophone Pedagogy and
Performance” (DA diss., University of Northern Colorado, 2000).
21
Thomas W. Smialek, “Clay Smith and G.E. Holmes: Their Role in the Development of
Saxophone Performance and Pedagogy in the United States, 1905 – 1930” (DMA diss., University of
Georgia, 1991).
22
Peter Miksza, “Relationships Among Impulsivity, Achievement Goal Motivation, Practice
Behavior, and the Performance Achievement of High School Wind Players” (PhD diss., Indiana University,
2007).
23
Steven Rex Oare, “Goals and Self-Assessment in the Middle School learner: A Study of Music
Practice Habits” (PhD diss., Michigan State University, 2007).
24
Timothy James Owen, “Integrating the Music Learning Theory of Edwin E. Gordon with a
Beginning Saxophone Curriculum” (DMA diss., University of Iowa, 2005).
25
Shannon Williams, “A Comprehensive Approach to the Study of the Saxophone Intermediate
Level” (MM thesis Bowling Green State University, 2001).

13
regularly. While the studies in this category focused on intermediate-level saxophone
education, they did not focus on collected solo repertoire.
Within the repertoire sphere, several studies have been done on some aspect of
saxophone repertoire. Gail Levinsky analyzed and compared early saxophone method
books.26 John Logsdon annotated a bibliography of saxophone pedagogical materials
published from 1969 to 1992,27 and Brian Trittin did the same for selected
unaccompanied alto saxophone literature.28 Christopher Ford collected and discussed
eleven jazz-influenced works for concert saxophone.29 Erik Steighner studied altissimo
passages in alto saxophone solo literature resulting in a compilation of fourteen etudes,30
and Samuel Fagaly compiled a catalog of college-level tenor saxophone literature
resulting in a body of thirty-five works.31 Similarly, with the intent of furthering college
saxophone curricula, Scott Kallestad compiled a bibliography of selected repertoire for
alto saxophone and piano resulting in a list of 180 pieces—twenty-four of which he
annotated.32 The studies in this section focused on saxophone repertoire, but missing
26
Gail Beth Levinsky, “An Analysis and Comparison of Early Saxophone Methods Published
Between 1846 – 1946” (DM diss., Northwestern University, 1997).
27
John Anthony Logsdon, “An Annotated Bibliography of Selected Pedagogical Materials for the
Saxophone Published Between 1969 – 1992” (DMA diss., University of Georgia, 1996).
28
Brian Lynn Trittin, “Annotated Bibliography of Selected Unaccompanied Alto Saxophone
Literature” (DMA diss., University of Arizona, 1993).
29
Christopher John Ford, “Eleven Jazz-Influenced Works for Concert Saxophone” (DMA diss.,
University of Maryland, 1991).
30
Erik Vincent Steighner, “A Collection of Etudes Targeting Altissimo Passages in Alto
Saxophone Solo Literature” (DMA diss., University of Texas at Austin, 2008).
31
Samuel Wilson Fagaly, “A Pedagogical, Descriptive Catalog of Recommended Literature at the
College Level for the Tenor Saxophone” (DA diss., University of Northern Colorado, 1998).
32
Scott D. Kallestad, “An Annotated Bibliography of Selected Repertoire for Alto Saxophone and
Piano for Developing College-Level Alto Saxophonists, with an Analysis of Yvon Bourrel's Sonate Pour
Alto Saxophone et Piano” (DMA diss., University of North Texas, 2005).

14
again from this group of research was a compilation of intermediate-level alto saxophone
solo repertoire.
Saxophone Repertoire Research
Several articles in periodical sources have been written expressly in order to
address saxophone repertoire needs. In “Solo Literature for the Saxophone,” Eugene
Rousseau includes a brief list of graded solo suggestions (I – V). Of the thirteen
suggested pieces for alto saxophone for levels I – IV (excluding level V for difficulty),
seven are transcriptions.33 James Houlik, in his 1968 Instrumentalist article, “Beginning
and Intermediate Saxophone Solos,” suggests two collections of transcriptions, five
additional solo transcriptions for alto saxophone, and only five pieces written for alto
saxophone.34 In an article titled “Contest Music for Saxophone,” Walker Smith includes
a briefly annotated and graded list (I – V) of 41 alto saxophone solos.35 Ten of these are
transcriptions. In “Alto Saxophone Solos for the High School Performer,” James Hill lists
seventeen alto saxophone solos, eight of which are transcriptions.36 While the studies in
this category include intermediate solo repertoire, many of the pieces are transcriptions
and the lists are limited.
33
Eugene Rousseau, “Solo Literature for the Saxophone,” The Instrumentalist 15 no. 8 (April
1961): 72 – 74.
34
Jame Houlik, “Beginning and Intermediate Saxophone Solos,” The Instrumentalist 23 no. 5
(December 1968): 68 – 69.
35
Walker Smith, “Contest Music for Saxophone,” The Instrumentalist (March 1975) reprinted in
Woodwind Anthology (Northfield, Illinois: The Instrumentalist Company, 1986), 1106 – 1107.
36
James Hill, “Alto Saxophone Solos for the High School Performer,” The Instrumentalist (April
1978) reprinted in Woodwind Anthology (Northfield, Illinois: The Instrumentalist Company, 1986), 1128.

15
Commercially available saxophone repertoire compilations are available as well,
including Jean-Marie Londeix’s A Comprehensive Guide to the Saxophone Repertoire
1844 – 2003, which is an anthology of titles of almost all of the saxophone pieces written
between these years. 37 While this list is useful because of the broad scope of music and
composers listed, the pieces are not graded or annotated. It is also not useful for teachers
who are searching for a specific level of repertoire for themselves or for their students.
Summary of Research Related to the Design of the Study
The review of literature presented in this chapter has discussed several studies
within saxophone development and performance techniques, saxophone pedagogy
research, and saxophone repertoire research. Hemke,38 Murphy,39 and Hindson studied
various aspects of historical development.40 Gold studied 1970s’ performance and
pedagogic practices.41 Bristow,42 Colgrove,43 McKim,44 and Smialek45 investigated the
37
Jean-Marie Londeix, A Comprehensive Guide to the Saxophone Repertoire 1844 – 2003, ed.
Bruce Ronkin (Cherry Hill, NJ: Roncorp Publications, 2003).
38
Fred L. Hemke, “The Early History of the Saxophone” (DMA diss., University of Wisconsin,
1975).
39
Joseph McNeil Murphy, “Early Saxophone Instruction in American Educational Institutions”
(DMA, diss., Northwestern University, 1994).
40
Harry Burdette Hindson, “Aspects of the Saxophone in American Musical Culture, 1850 –
1980” (DMA diss., University of Wisconsin, 1992).
41
(Moscow, Idaho: School of Music Publications,1973), i.
42
John Brent Bristow, “A Biographical Look at His Contributions to the Saxophone Repertoire
Through Commissions, Recordings, and Major Performances” (DMA diss., University of Memphis, 2008).
43
Ruth Lucile Calder Colegrove, “A Study of Larry Teal’s Influence on Saxophone Pedagogy in
the United States” (DMA diss., University of Georgia, 2001).
44
Debra Jean McKim, “Joseph Allard: His Contributions to Saxophone Pedagogy and
Performance” (DA diss., University of Northern Colorado, 2000).

16
role of key performer-pedagogues. Miksza,46 Oare,47 and Owen,48 studied various aspects
of intermediate instruction. Williams49 has written a comprehensive musical approach for
the intermediate saxophonist. Levinsky,50 Logsdon,51 Trittin,52 Ford,53 Steighner,54
Fagaly,55 and Kallestad56 did various bibliographic studies. Rousseau,57 Houlik,58
45
Thomas W. Smialek, “Clay Smith and G.E. Holmes: Their Role in the Development of
Saxophone Performance and Pedagogy in the United States, 1905 – 1930” (DMA diss., University of
Georgia, 1991).
46
Peter Miksza, “Relationships Among Impulsivity, Achievement Goal Motivation, Practice
Behavior, and the Performance Achievement of High School Wind Players” (PhD diss., Indiana University,
2007).
47
Steven Rex Oare, “Goals and Self-Assessment in the Middle School learner: A Study of Music
Practice Habits” (PhD diss., Michigan State University, 2007).
48
Timothy James Owen, “Integrating the Music Learning Theory of Edwin E. Gordon with a
Beginning Saxophone Curriculum” (DMA diss., University of Iowa, 2005).
49
Shannon Williams, “A Comprehensive Approach to the Study of the Saxophone Intermediate
Level” (MM thesis, Bowling Green State University, 2001).
50
Gail Beth Levinsky, “An Analysis and Comparison of Early Saxophone Methods Published
Between 1846 – 1946” (DM diss., Northwestern University, 1997).
51
John Anthony Logsdon, “An Annotated Bibliography of Selected Pedagogical Materials for the
Saxophone Published Between 1969 – 1992” (DMA diss., University of Georgia, 1996).
52
Brian Lynn Trittin, “Annotated Bibliography of Selected Unaccompanied Alto Saxophone
Literature” (DMA diss., University of Arizona, 1993).
53
Christopher John Ford, “Eleven Jazz-Influenced Works for Concert Saxophone” (DMA diss.,
University of Maryland, 1991).
54
Erik Vincent Steighner, “A Collection of Etudes Targeting Altissimo Passages in Alto
Saxophone Solo Literature” (DMA diss., University of Texas at Austin, 2008).
55
Samuel Wilson Fagaly, “A Pedagogical, Descriptive Catalog of Recommended Literature at the
College Level for the Tenor Saxophone” (DA diss., University of Northern Colorado, 1998).
56
Scott D. Kallestad, “An Annotated Bibliography of Selected Repertoire for Alto Saxophone and
Piano for Developing College-Level Alto Saxophonists, with an Analysis of Yvon Bourrel's Sonate Pour
Alto Saxophone et Piano” (DMA diss., University of North Texas, 2005).
57
Eugene Rousseau, “Solo Literature for the Saxophone,” The Instrumentalist 15 no. 8 (April
1961): 72 – 74.
58
Jame Houlik, “Beginning and Intermediate Saxophone Solos,” The Instrumentalist 23 no. 5
(December 1968): 68 – 69.

17
Smith,59 and Hill60 compiled various lists of saxophone solos. Londeix compiled and
published an extensive anthology of saxophone solo titles. 61
Need for the Study
As the preceding review of literature reveals that there are no extant studies that
have resulted in a comprehensive intermediate alto saxophone solo repertoire list, and a
keen need for the present investigation exists. While beginning method books and
literature have become more homogenized, the saxophone world continues to rely heavily
on transcriptions and older or outdated materials in order to advance students through the
intermediate stages of their education. However, many of the teaching methods and
materials intended for these stages fail to address the changing trends in saxophone
education. Also, while young flute or clarinet players are frequently expected to produce
fast and intricate musical passages in a band setting, the saxophonist is instead
consistently relegated to mere accompanimental status. Because the saxophone has a
similar keyboard and air support requirements as the flute and clarinet and should be able
to achieve similar technical accomplishments, the solos and methods studied should
ideally reflect this potential in a more progressive manner. As solo contest repertoire lists
are the most logical resource from which to compare what is currently considered
59
Walker Smith, “Contest Music for Saxophone,” The Instrumentalist (March 1975) reprinted in
Woodwind Anthology (Northfield, Illinois: the Instrumentalist Company, 1986), 1106 – 1107.
60
James Hill, “Alto Saxophone for the High School Performer,” The Instrumentalist (April 1978)
reprinted in Woodwind Anthology (Northfield, Illinois: The Instrumentalist Company, 1986), 1128.
61
Jean-Marie Londeix, A Comprehensive Guide to the Saxophone Repertoire 1844 – 2003, ed.

18
appropriate repertoire for the alto saxophone, the intent of the present study is to compile
this list and to make recommendations for its use.

19
CHAPTER III
METHODOLOGY
Introduction
The purpose of this study is to analyze the recommended alto saxophone literature
currently appearing on high school solo and ensemble contest repertoire lists around the
United States. After evaluating the trends in compilation, another aspect of this study is
to compile a finalized list of recommended alto saxophone-specific repertoire by
normalizing the varying grading systems, and providing an updated list of idiomatic
intermediate repertoire—an area that has been neglected in saxophone repertoire in
comparison to the large number of transcriptions in existence for that level.
State solo contests vary in procedures across the United States, but they are
generally considered to be high-profile events in which students are allowed to perform
solos in front of a judge. These contests usually involve an ensemble component, though
this study only focuses on the alto saxophone solo repertoire suggested for these contests.
Many states have a two-tiered system in which students must first receive a top rating at a
district contest before they can move on to the state level. Because there is a process that
requires a high-level of performance for these state-run events, the solo repertoire lists
provided in some states offer examples of what is deemed to be acceptable performance
levels for students who participate in these contests. Not all states provide a repertoire
list (either recommended or required). As stated previously, while it would be interesting
to know why many do not have a list, it was beyond the scope of this paper to determine

20
the reasons. Chapter five lists the different organizations that were found to be involved
in the organization of these events.
State Repertoire List Procedures
In order to assemble a comprehensive listing of intermediate alto-saxophone-
specific repertoire that appears on state solo repertoire lists, it was important to determine
the trends that appeared in state compilation procedures. In order to identify these
procedures, I constructed a brief email questionnaire with 20 inquiries that would trace
these methods. I first sent a letter to the University of Iowa Institutional Review Board in
order to determine whether or not this study would be considered a human subjects study;
however the questionnaire was exempted once the department determined that the
questionnaire would not have adverse effects on the individuals to whom I sent the
questions.
While members of the dissertation committee read the questionnaire items and
edited them for clarity, I did not pilot the questionnaire because the subject matter was so
specific as to make it impossible for anyone to answer but those who were involved in the
compilation procedures. I subsequently sent the finalized questionnaire to the organizers
of state solo and ensemble contests in the states that provided their own repertoire lists. I
found the individuals who were involved with the lists by conducting an extensive
internet search in order to determine which states held solo and ensemble contests, which
organizations hosted the solo and ensemble contests in each state, and which organization
provided a recommended or required list. I then contacted the organizations through
email and telephone calls to ascertain who would be in a position to answer the questions.

21
After inviting the individuals to participate in the questionnaire via email and telephone
calls, I sent the questionnaire via email attachment in a downloadable Microsoft Office
Word document in order to allow ease in answering the questions. After each person
completed the questionnaire they simply returned it to me as an email attachment. Of the
representatives from sixteen states to whom I sent a questionnaire, I received twelve
responses for a total response rate of seventy-five percent. If there was a need for
clarification, I sent either a follow-up email, or placed a phone call in order to verify that
the answer was accurate. I made three follow-up emails and two phone calls.
Considerations about each question are detailed in chapter four.
Data Analysis of the Completed Questionnaires
The questionnaire results are reported through a combination of the use of tables
and narrative commentary. The tables list percentages and the narrative includes a verbal
report with additional comments provided by the research participants.
Master List Compilation and Reduction
Because I also wanted to provide a recommended list of alto saxophone-specific
repertoire at the intermediate and advanced-intermediate repertoire levels, another aspect
to this study required that I create a comparative master list of alto saxophone repertoire.
I researched the lists provided by the states extensively both on the internet and by calling
the various music organizations that were most likely to be knowledgeable about whether
or not the lists existed for their state, or even if the state held a state solo and ensemble

22
contest. Some lists appeared online, some were published in manuals, and one state
(Virginia) had published the list on a computer disc for purchase.
Once all of the lists were collected, a master list of the suggested alto saxophone
repertoire on each list was compiled, including the collections and the transcriptions. I
entered all of this information into a database and then began to research any missing or
questionable information in order to insure accuracy in the final lists. The types of
information that were considered included verifying what repertoire selections were
transcriptions, what pieces were idiomatic, filling in missing publisher information,
removing pieces with unclear or incorrect instrumentation (for example, some pieces
were actually written for tenor or baritone saxophones and not for alto saxophone)
verifying and correcting inaccurate composer information, print status (of which out of
print works were removed and listed separately), misspellings, and finally extracting the
idiomatic compositions from the master list for the final recommended list.
Normalization of Suggested Grade Levels
The original intent in regard to determining grading criteria was to compare each
state’s criteria used for grading, but I discovered that there were no specific criteria used
at each grade level for assigning a grade to selected literature for each state musical
organization. I also learned that the grading systems varied widely from one state
organization to another. In order to stabilize the large amount of grading data that I
collected, I decided instead to create a codified system by normalizing the grading data
provided by assigning values to each state in order to end with a list that would provide
“Easy,” “Intermediate,” “Advanced Intermediate,” “Advanced,” and “Very Advanced”

23
repertoire. I documented these values in an Excel spreadsheet. Once I programmed
Excel to label each piece accordingly, I also had it apply a final value based on averages.
For example, if a piece received four labels of “Intermediate” from different states, and
one of “Advanced-Intermediate,” the final applied value was “Intermediate.”
Through this normalization process, I was able to assemble a concrete list of
saxophone-specific literature that could be considered intermediate or intermediate-
advanced. Because the list was small in comparison to the number of pieces collected, I
applied the same system to the transcribed works and the other idiomatic works and
placed them in a separate list in the appendix, in order to maintain the focus of the paper
and highlight the lack of intermediate-level music in comparison to not only the number
of suggested pieces, but the number of pieces that were determined to be intermediate as
a whole.
Other data that I was able to determine from the Excel analysis included how
many pieces each state recommended, and the percentage of saxophone-specific
intermediate repertoire they included on these lists.
Summary
Through the answers received via the questionnaire, and the data determined on
the Excel spreadsheet analysis, it was possible to provide a comprehensive listing of
approved saxophone-specific repertoire at the intermediate levels.

24
CHAPTER IV
CONSTRUCTION OF THE QUESTIONNAIRE
As stated in the aforementioned chapters, the problem of this study was to analyze
the recommended alto saxophone literature currently appearing on solo contest repertoire
lists around the United States. It can be assumed that these repertoire lists influence
students, band directors, and teachers making literature choices—especially if selecting
repertoire from respective lists is required for contest participation. Because of this
influence, it was important to study the processes used in compiling the lists in order to
determine if a means for the introduction of new repertoire was included.
The basic process in disseminating new sheet music begins when publishers send
a certain number of copies to various pre-determined locations. If the piece sells enough
copies, the publishing company will print more, but otherwise, once the copies are gone,
the piece will go out of print. Some pieces will stay in print despite few sold copies if the
composer is particularly well known, however, compositions by lesser known composers
will eventually go out of print. A representative from the Neil A. Kjos Music Company
said that they are able to have fewer publications go permanently out of print by
archiving certain works since they now have an option to print on demand. Print status is
important because when publishing companies are sold, copyright issues such as
ownership rights can cause pieces to go out of print as well. This process leads to the
question of how many good pieces, including intermediate repertoire, have been lost or
forgotten through this way of disseminating new compositions. Without a certain level of

25
exposure, it stands to reason that people would rarely buy musical scores that are not
deemed “standard” or were not written by a famous composer.
As long as instrumentalists continue to play (and teach) only pieces familiar to
them, fewer musical selections will become available because musical scores end up out
of print. This limited choice of musical compositions can seriously hinder or prevent the
composition of new pieces if there is no clear way to attempt to create an interest in
works or methods that are not already considered “standard.” New pieces need
performances and exposure. Therefore, a high profile event such as a solo contest, which
has a predetermined required repertoire list could be one of the few major places in which
to present these works. Of additional interest, the unique considerations applied when
assembling the list in each state may uncover other opportunities for new pieces to be
introduced. The following section is a discussion related to the construction of the
questionnaire that was sent to the states that provided repertoire lists.
Questionnaire
A questionnaire was sent to individuals who were knowledgeable of their state
solo ensemble lists in order to identify the procedures used for compiling the extant lists.
Several factors were considered for the construction of this questionnaire and are
delineated below:

26
Is the List Recommended or Required?
Determining whether or not a provided state solo list is required by the organizers
of the contest demonstrates what significance is put on the list—as this defines what
types of expectations are preferred at the solo and ensemble event. A required list should
be assumed to have a set of musical compositions that are considered appropriate to the
festival through a careful selection process. If, however, the list is only recommended
and not required, students and teachers have a greater role in selecting pieces that do not
appear on a list. This procedure could lead to teachers picking compositions that may or
may not challenge the abilities of the young musician. Conversely, a required list can
allow the introduction of newer pieces that may be of high quality, but are lesser known.
Is the list compiled by A) committee, B) through publisher recommendations, C)
individual suggestions, D) other
The way state solo lists are assembled impacts what pieces are included in these
lists. Is it put together by a committee? If committees are involved, how are the
members appointed? Do committee members play the instrument for which they are
recommending the repertoire? These questions will make apparent whether or not
professionals are consulted in order to provide repertoire that is idiomatic and interesting
to young students.

27
Publisher Recommendations
Another factor to be considered is whether or not publisher recommendations are
considered, and how influential any publisher submissions are in determining what ends
up on the state solo list. If they are considered, do the recommendations affect the list?
Individual Suggestions
Are individuals encouraged to submit suggestions for inclusion on the state solo
lists? How are individual submissions reviewed before appearing on the list? Individual
submissions might be able to provide knowledge of new or obscure pieces, which may
have been lost or gone out of print. It is very likely that there are several pieces of quality
repertoire that could be reprinted or resurrected for the state contests if demand was
created for them.
Use of Composers
Are composers sought after to provide compositions for these solo events?
Seeking composer submissions could encourage a greater proliferation of idiomatic
music and perhaps a much wider selection such as that of the current band repertoire
expansions. If a talented composer cannot be guaranteed exposure for their pieces, they
are probably less likely to write solo repertoire for the intermediate levels. It would be
difficult to get new musical compositions noticed if it is not used or premiered for events
such as solo and ensemble contest.

28
Frequency of Repertoire List Updates
Some states provide a published version of their list, which is updated every few
years. Others have online searchable lists in which updates are not clear. The length of
time between updates is important because it should be known if efforts are made to
include new pieces, or if the list is cyclical, or if it ever changes. Are pieces removed for
certain reasons? For example, if data are collected about how often works are performed,
do certain pieces get dropped from the state solo list if they are not selected often
enough? Another essential factor about the list was to ask whether or not the list is ever
updated or reviewed to determine print status. This question helps determine whether or
not the list can be considered reliable when choosing repertoire. Finally, is availability of
the published piece a consideration? Availability of a piece can affect the likelihood of
choosing it for performance. Some pieces that are published in other countries may only
be available from stores that are not in the United States, and therefore possibly more
difficult to obtain depending on the time it takes to receive the scores.
Time Limit Considerations
Are time limits of the performed composition considered? If time limits are
crucial in piece selection, good repertoire might not be included if they are too long for
the event time limits. One aspect to consider is whether or not students are allowed to
make time limit cuts when restrictions are in place with respect to the duration of the
performance. Finally, the questionnaire left space available for any other comments or
information that respondents wanted to include about their respective lists. The
following chapter analyzes the results of the questionnaire.

29
CHAPTER V
QUESTIONNAIRE RESULTS
The intent of this study is to analyze the recommended alto saxophone literature
currently appearing on solo and ensemble contest repertoire lists around the United States
and create a codified list of idiomatic, intermediate repertoire. Chapter one introduced
the topic and provided a historical background, and chapter two provided a review of
literature and a need for the study. Chapter three defined and designated the research
methodology, and chapter four listed the questionnaire responses. Chapter five is a
discussion of these questionnaire results.
After determining which states maintained repertoire lists, the researcher made a
list of who was in charge of the lists or at least who was knowledgeable about them, and
sent letters of invitation by email asking these individuals to participate in a
questionnaire. It was discovered that solo contests were organized by different
organizations including music educators’ associations, band and orchestra associations,
bandmaster’s associations, high school music associations, and high school activities
associations. After sending the letter of invitation to the representatives of the sixteen
states that had repertoire lists, twelve individuals responded from Alabama, Florida,
Idaho, Indiana, Maryland, Michigan, Missouri, New York, Ohio, Texas, Virginia, and
Wisconsin providing a seventy-five percent response rate.62
62
Responses were not received from Hawaii, South Carolina, North Dakota, and Arkansas.

30
1. John Cooper, president of the Alabama Bandmasters Association
2. K. S., chairman of the solo and ensemble music list committee, Florida
Bandmasters Association
3. R. B., state solo chair for Idaho, Idaho Music Educators Association
4. Rusty Briel, executive director of the Indiana State School Music Association
5. Mary Ellen Cohn, executive director of the Maryland Music Education
Association
6. Paul Lichau, executive director of the Michigan School Band and Orchestra
Association
7. Davine Davis, assistant executive director of the Missouri State High School
Activities Association
8. Kathryn Struzik, chairperson of the manual of the New York State School Music
Association (NYSSMA)
9. Patricia Meeks, president elect of the Ohio Music Education Association
(previously revision chair for Ohio’s high school required solo and ensemble list
for the past two revisions)
10. Richard Floyd, director of music, University Interscholastic League, University of
Texas, Austin
11. Daniel Kosko, editor of selective music list for Virginia Band and Orchestra
Director’s Association
12. Theresa McKinley, director of technology services, Wisconsin School Music
Association

31
Results of Questionnaire and Analysis
Once the respondents returned their questionnaires, the next step required the
compilation of an examination report of the answers through tables and narrative.
Percentage results are reported in tables with figured percentages in order to easily
determine the trends in list assembly. Questions 1 and 2 are not addressed through a table
because the first question asked the job title of the respondent, and the second asked what
state they were representing. Therefore, results begin at Question 3.
Question 3
Would you say that your repertoire list is recommended or required?
Table 1: Breakdown of Required and Recommended Lists

State Required Recommended
Alabama X
Florida X
Idaho X
Indiana X
Maryland X
Michigan X
Missouri X
New York X
Ohio X
Texas X
Virginia X
Wisconsin X
Total 83.33% 16.67%
Results: A majority of the states (83.33%) that have repertoire lists require their
students to choose repertoire from the lists for participation in their state solo contests.

32
Question 4
Would you say your list is compiled by a committee, through publisher

recommendations, individual suggestion, or other?
Table 2: Who Compiles List

State Committee Publisher Individual Other
Recommendations Suggestions
Alabama* X
Florida* X X
Idaho* X X
Indiana* X X X
Maryland* X
Michigan* X
Missouri X X X
New York X X X
Ohio* X X X X
Texas X X
Virginia* X X X
Wisconsin* X X
Total 83.33% 33.33% 66.67% 41.67%
*see additional commentary
Results: The results of this question indicate that the responding organizations
have several methods of compiling repertoire lists. 83.33% of the respondents indicate
that their organizations utilize more than one method for compiling their lists. Ten of
twelve states (83.33%) use some type of committee for the list recommendations and
final inclusions. John Cooper indicated that Alabama, the one state not utilizing a
committee, bases their list on other state lists,63 thus Alabama’s list is essentially
63
John Cooper, Alabama questionnaire. Mr. Cooper marked “other” and stated that the list was
“compiled by using other state’s list[s].”

33
compiled by other state committees.64 Four of the twelve states (33.33%) partially rely on
publisher recommendations. 66.67% of the responses indicated that individual
suggestions are considered for inclusion on the final list. Of these, Florida and Ohio both
specified that titles may be submitted by members of their respective organizations.
Members of the Florida Bandmaster’s Association are allowed to submit titles that may
or may not ultimately end up on the final list, while Ohio allows suggestions from
members of the Ohio Music Educators Association. In Idaho, band directors can make
changes to the list pending approval by the committee.
Five of the twelve respondents (41.66%) indicate that their states also use other
methods for assembling lists, including Maryland and Wisconsin, which have two-stage
processes. Maryland uses teacher-recommended submissions that are then sent to a
literature review committee for approval. Wisconsin has two panels, the first of which is
a selection panel that handles the initial music selection, who then forward the results to a
review panel that examines the recommendations and makes any necessary final
changes.65
64
It appears that the Alabama list uses a lot of pieces from the Virginia and Maryland lists
especially.
65
See appendix for verbatim comments that were included with each response.

34
Question 5
If there is a committee, how is the committee put together?
Table 3: How List Committee is Formed

State Appointed Voted Made up of Other
Volunteers
Alabama NA
Florida X
Idaho X X
Indiana* X X
Maryland* X
Michigan* X
Missouri* X X
New York X
Ohio* X X
Texas X X
Virginia X
Wisconsin* X
Total 75% 0.0% 50% 16.67%
Results: The results of this section indicate that repertoire list committees are
compiled in several ways. 75% of the committees are comprised of appointed members
and none of the states have a voting process for their list committees. Idaho, Indiana,
Missouri, Ohio, Texas and Wisconsin select their appointed members from pools of
volunteers. Indiana and Ohio use additional components for the selection of their
committee members. According to Rusty Briel from Indiana, “the committee is
developed from the adjudicator database of those that adjudicate solo and ensemble
events for the specific area that is under revision for that year. Those that are
knowledgeable about the literature for each category are contacted. Volunteers are also

35
invited to assist in the process.”66 Patricia Meeks of Ohio indicates that, “selection
committee chairs are appointed by a member of the Ohio Adjudicated Events Committee
who serves as the overall Revision Chair. Volunteers are utilized in the final decisions
for repertoire added or removed from our list.”67
According to Paul Lichau, the list that appears on the Michigan Band and
Orchestra Director’s website was compiled over a decade ago, and has not been
addressed since then. He said that professors of each instrument from all of the
universities and colleges and Michigan were contacted in order to provide selections for a
recommended list. In addition to these individuals, band directors were also asked to
include submissions, and the list was then compiled and graded with a 1 – 6 grading
system provided by publisher recommendations. The list was subsequently entered into a
database where all of the recommendations were merged, and was later placed on the
Michigan Band and Orchestra Directors Association website.
Question 6
Would you say that committee members play the instruments for which they make
recommendations?
Alabama: NA Maryland: Yes Ohio: Yes

Florida: Yes Michigan: NA Texas: Yes
Idaho: Yes Missouri: Yes Virginia: Yes
Indiana Yes New York: Yes Wisconsin: Yes
66
Rusty Briel: Indiana questionnaire response.
67
See appendix for other appointment processes.

36
Results: Respondents from ten of the twelve states indicate that committee
members play the instruments for which they recommend literature. However, because
the Michigan list is compiled partially by recommendations from professors of each
instrument in addition to band directors, it is likely that the selections on their provided
list were chosen at least partially by professionals for each instrument. Because Alabama
uses other state lists, it can also be assumed that their list has been compiled by
committee members who play the instruments for which they are recommending
literature.
Question 7
If publisher recommendations are considered, how does it affect which musical

selections appear on the list?
Table 4: Effect of Publisher Recommendations**

State Does Not Affect Does Affect Not Applicable
Alabama X
Florida X
Idaho X
Indiana* X
Maryland* X
Michigan X
Missouri X
New York* X
Ohio * X
Texas X
Virginia X
Wisconsin X
Total 71.43% 28.57%
*see additional commentary **States that marked Not Applicable are not figured into percentages for this
table

37
Results: The effect of publisher recommendation applied to seven of the twelve
state representatives. 71.43% stated that publisher recommendations did not affect the
music on the list, while 28.57% stated that publisher recommendations did affect the
music that appeared on their lists. Maryland, Ohio, Indiana, and New York included
additional comments that were similar in that no matter what the publishers submit for
recommendation, pieces are still committee-reviewed before they can be included on the
list. See the appendix for their exact comments on this procedure.
Question 8
Are individuals encouraged to submit inclusions to the list?
YES: 91.67%
NA: 8.33%
Results: All of the states (91.67%) indicated that individuals are encouraged to
submit inclusions to their lists except for Michigan. Florida specified that only members
of the Florida Bandmaster’s Association are allowed to submit titles for special
permission, but these submissions are not necessarily permanently included on the
existing list. Maryland provides an on-line submission form.68
68
See appendix.

38
Question 9
If individual submissions are considered, how are they reviewed?
Table 5: Review of Individual Submissions

State Committee Band Other NA
Directors/Teachers
Alabama* X
Florida X
Idaho X
Indiana* X
Maryland X
Michigan X
Missouri X
New York* X
Ohio X X
Texas X X
Virginia X
Wisconsin X
Total 83.33% 16.67% 8.33% 8.33%
Results: While respondents indicated that individual submissions are reviewed in
several ways, the majority (83.33%) of the states use committees to review individual
submissions before inclusion on their lists. Ohio and Texas utilize an extra component
by involving band directors and teachers. According to Rusty Briel, from Indiana, “each
recommendation is shared with the specific committee members that have been
designated for that particular area of specialty.” John Cooper indicated that these
submissions are approved or rejected by the Vice-President of the Alabama Music
Educator’s Association and Kathryn Struzik of New York said that “in general one person

39
edits a section of the Manual—often these committee members form subcommittees to
help them.”
Question 10
Are composers encouraged to provide compositions for these events?
Table 6: States that Encourage Composer Submissions

State Yes No Not Applicable
Alabama X
Florida* X
Idaho * X
Indiana X
Maryland* X
Michigan X
Missouri X
New York X
Ohio* X
Texas X
Virginia X
Wisconsin X
Total 66.67% 25% 8.33%
Results: 66.67% of the responses indicated that composers are encouraged to
provide submissions to their lists, although of these, additional comments indicate that it
would be more correct to state that composers are allowed to submit compositions rather
than encouraged to do so. Keith Stark of Florida said “allowed, not necessarily
encouraged.” Mary Cohn of Wisconsin said “we sometimes invite a composer to submit.
That does not guarantee acceptance.” On the other hand, Theresa McKinley of
Wisconsin clarified that submitted pieces “must be able to be purchased/acquired by our

40
members. A composer is welcome to submit a piece to be placed on the list as long as it
is accessible for purchase.” Ms. McKinley also added that Wisconsin does include an
option specifically for student composers in which their submissions can be considered
for permission to be performed at the festival and that “this option is available in every
list we offer in an effort to encourage students to write music.”
Patricia Meeks indicates that Ohio does not contact composers, although the Ohio
Music Educators Association has a website through which compositions can be submitted
for review. Ralph Bennett said that composers may submit works for the Idaho review as
long as they use established guidelines.69
Question 11
Does the list include grades indicating the difficulty level?
Table 7: Lists With Graded Systems

Alabama X
Florida X
Idaho X
Indiana* X
Maryland X
Michigan X
Missouri X
Ohio X
New York X
Texas X
Virginia X
Wisconsin X
Total 83.33% 16.67% 0.00%
69
Specific guidelines were not included in the questionnaire response.

41
Results: Organizations of 83.33% of the states surveyed use some kind of
grading process to indicate the difficulty level of the pieces they recommend. Rusty Briel
added further clarification to the Indiana list by stating that, “our list is only for our most
difficult performance level, although there is a wide variety of literature that would
generally span the difficulty grades of 4 to 6.” Michigan uses a grading system that
matched publisher recommendations at the time that the list was assembled.
Question 12
If the list is not graded, is there a specific reason grades are not included?
Results: Representatives of the Alabama, Indiana, and Idaho organizations
marked that they did not have a graded system included on their repertoire list with the
reasoning that their state level competitions require a high level of performance.
Therefore, their lists only include pieces considered to have the appropriate difficulty
level for the state level. Rusty Briel further clarified the answer: “The [Indiana] list is
developed for only our ‘Group I’ solos and ensembles, which is the level that is necessary
to perform to qualify for state level performance past the district level. We use a Group V
to Group I designation with Group V designed for young/first time performers and Group
I designated for the most advanced students.” Ralph Bennett’s comment about Idaho
procedures follows in the same vein: “This is a contest and as such, all of the selections
are to be about the same difficulty level.” Likewise, referring to Alabama contests John
Cooper said that “because this is the State Solo List, all solos must be Grade 5 or above.”

42
Question 1470
How often is the list updated?
Table 8: Frequency of List Updates

State Annually Every 2 or 3 Every 5 years Not applicable
years or more
Alabama* X
Florida* X
Idaho X
Indiana* X
Maryland* X
Michigan X
Missouri X
Ohio * X
New York X
Texas X
Virginia X
Wisconsin X
Total 50% 25% 16.67% 8.33%
*indicates additional commentary
Results: There was considerable variation in the responses concerning the
frequency of list updates. Fifty percent of the respondents answered that their list is
updated annually. Cohn of Maryland added that “if the submissions warrant, twice a
year.” Floyd said that Texas updates its prescribed music list every four years, although
as of 2011, they will be updating the list annually since the list is now in an on-line
electronic database. Meeks indicates that Ohio currently updates each section of its list
every four years.71 Stark from Florida said that, “historically we have reviewed solos and
ensembles at the same time. In the future we are planning to do the ensembles separate
70
Responses to Question 13, “What criteria are used in order to assign grade difficulties to the
music?” were problematic in that all of the state organizations did not have information to indicate specific
sets of criteria for each difficulty level. It was therefore omitted. See page 49 for further commentary.
71
See appendix for a more in-depth commentary on previous practices and the current practice.

43
from the solos and do the revisions every two years putting a four-year period between
the revisions.” Briel indicates that Indiana updates its list so that each section is reviewed
on a rotating basis every five years with a different list being revised each year.72 Cooper
indicates that the Alabama list has not been updated in seven years, but are looking to do
so in the future. Lichau said that the Michigan list has not been reviewed since it was
originally compiled.
Question 15
If the list is updated, the following procedure is followed:
Table 9: Procedure for List Updates

State Different Different Pieces are Other Not
Pieces Used Pieces Added Rotated Applicable
Each Time to Existing
Lists
Alabama* X
Florida X
Idaho * X
Indiana* X
Maryland* X
Michigan X
Missouri X
New York X
Ohio* X
Texas X
Virginia X
Wisconsin* X
Total 0.0% 66.67% 8.33% 8.33% 8.33%
Results: Several procedures are used in updating lists, with the one constant
being that no state makes updates by replacing all entries completely with new pieces.
72
See appendix.

44
The majority of the states (66.67%) add pieces to their existing lists so it can be assumed
that aside from various deletions, the lists continually get larger—except for the Idaho
list, which, as Bennett indicates, includes just twenty-five pieces each year, so “if one is
added, one must also be dropped to maintain the twenty-five.” Along similar lines,
McKinley indicates that Wisconsin has a four-year rotation procedure wherein
“approximately half of its selections [are] replaced.” While Alabama does not currently
have an update procedure, Cooper indicated this is on their list of future pursuits.73
Question 16
Are there reviews to determine if specific music is still in print?
Table 10: Reviews for Print Status

Alabama X
Florida X
Idaho X
Indiana X
Maryland X
Michigan X
Missouri* X
New York X
Ohio X
Texas* X
Virginia X
Wisconsin X
Total 58.33% 33.33% 8.33%
Results: 58.33% of the states conduct reviews to determine if literature is still in
print. Davine Davis further clarified that the pieces are withdrawn from the Missouri list
only if the committee is made aware of pieces being permanently out of print, while
73
See appendix.

45
Richard Floyd indicated that selections are not removed from the Texas list simply
because of being out of print.
Question 17
Are pieces ever removed from the list?
Table 11: Removal of Compositions

Alabama X
Florida* X
Idaho * X
Indiana X
Maryland X
Michigan X
Missouri* X
New York* X
Ohio X
Texas X
Virginia X
Wisconsin X
Total 83.33% 8.33% 8.33%
Results: 83.33% of the respondents said that they remove pieces from the list for
various reasons. A commonality between Florida and Missouri exists in that
organizations of both states are beginning to remove pieces based on the number of times
the piece has been played. Keith Stark noted that these attempts in Florida using this type
of criteria are recent: “We are in the process of tracking the titles that are played. Any
title not played within a five-year period will be removed.”74 Similarly, Davine Davis
said that Missouri is working towards a process of removing pieces under the same
74
The first round of title deletion began in the summer of 2011.

46
circumstances as Florida, but it has not yet been implemented. Kathryn Struzik said that
at least 90% of the deletions that occur in the New York State School Music Association
(NYSSMA) Manual occur because pieces are found to be permanently out of print.
Finally, as indicated in the Question 15 results above, Idaho deletions do occur, but they
must be replaced in order to maintain twenty-five pieces in each category.
Question 18
If a list is required, are data collected to determine which pieces are performed the
most often for future lists?
Table 12: Data collection Referring to Performance Frequency

Alabama X
Florida X
Idaho X
Indiana X
Maryland X
Michigan X
Missouri X
New York* X
Ohio* X
Texas X
Virginia X
Wisconsin X
Total 58.33% 25% 16.67%
Results: Over half (58.33%) of the states collect performance frequency data for
the pieces on their lists. This trend seems to be growing because while musical
organizations from New York do not currently have this process, Kathryn Struzik said
that it is part of a future set of goals that they would like to implement, and in fact will

47
coincide with similar data collection already in place for the large group performances.
Patricia Meeks indicates that Ohio performance data are given to “each selection
committee chair for review.”
Question 19
Are time limits considered when choosing selections for the list?
Table 13: Whether Time Limits are Considered for List Selections
Alabama X
Florida X
Idaho* X
Indiana* X
Maryland* X
Michigan X
Missouri* X
New York X
Ohio* X
Texas X
Virginia* X
Wisconsin X
Total 66.67% 25% 8.33%
*See additional commentary
Results: Responses to this question indicate that 66.67% of the responding state
music organizations take time limits into consideration with students’ contest
performances. Additional respondent comments helped to clarify how time limits might
affect which pieces are on respective lists. Rusty Briel said that time considerations are
applied to individual movements at Indiana contests, with cut decisions being left up to
the student in consultation with the teacher. Ohio is unique in that the organization

48
committee members, rather than students or instructors, provide suggested cuts with
Patricia Meeks indicating that “we try to list ‘judicious’ cuts to solos whenever possible
to try to maintain the six-minute limit.” Mary Cohn said that selected works at Maryland
contests cannot exceed eight minutes. Bennett and Davis indicate that organizers of
Idaho and Missouri contests require that the integrity of the piece be preserved, but that
cuts should be made to meet the time limit. Virginia has the longest list of all the states,
so while they do not list pieces specifically due to their lengths, the performance time is
six minutes, in which instance judicious cuts are probably also acceptable, though it was
not specifically stated.
Question 20
Please add any other comments/information regarding list compilation that you may
have.
The purpose of this question was to leave space for the respondents to include any
additional information that they thought would be relevant to the topic of literature lists in
their states. Answers pertained to different individual aspects of the list and the contests
themselves. Their comments are included in Appendix G.

49
CHAPTER VI
ALTO SAXOPHONE REPERTOIRE MASTER LIST ANALYSIS
As indicated in the previous chapter, music representatives from twelve states
responded to a questionnaire regarding the procedures they follow in compiling their solo
repertoire lists for high school instrumental contests. The results indicate a large range of
variation in how committees are assembled, how compositions are submitted and decided
upon, and what grading systems they used for assigning particular difficulty ratings to the
suggested pieces.
Responses to Question 13, “What criteria are used in order to assign grade
difficulties to the music?” were problematic in that all of the state organizations did not
have information to indicate specific sets of criteria for each difficulty level they
assigned. While this finding is perhaps not surprising because compositions are difficult
to quantify without some subjectivity, I decided that more specificity could be
determined by codifying the extant systems in order to arrive at an even more concrete
assignation value to better direct a student and/or teacher to pieces that would best suit
the abilities of the student. Therefore, this chapter is a codification of the representative
systems.
List grading systems varied widely, and no specific criteria were used, so I
decided instead to “normalize” the existing data by assigning values to each state system
in order to see in a more concrete manner which pieces could be categorized into the
following levels of “easy,” “intermediate,” “advanced intermediate,” “advanced,” and/or
“very advanced.” In this way, a clear model shows the lack of idiomatic intermediate and

50
advanced intermediate repertoire that appeared on these lists. A committee determined
all of the lists so I assumed that a level of agreement occurred on assigned grades, which
validated the grades given for each grading system. I decided to title one level “advanced
intermediate” in order to help clarify the wide range that intermediate repertoire can
represent. I also included a “very advanced” level in order to account for the steep range
of difficulty in advanced saxophone repertoire. The repertoire list from Florida has
pieces categorized between levels 1 – 7 where 7 could be termed “very advanced.” So
for example, if a piece appeared on other state lists with advanced ratings, but also
included a Florida level 7, it was assigned the value of “very advanced.”75
A master list of the alto saxophone repertoire that appeared on each repertoire list
was compiled in an Excel Spreadsheet.76 Because the goal of the final intermediate list
for this study was to provide a list of accessible, intermediate repertoire, several works
had no readily available information about their existence or publishing status and were
therefore removed from the list. In addition several works were removed in which it was
discovered that they were written for a different instrument such as soprano or tenor
saxophones, or a different instrument altogether, or were actually ensembles. Errors such
as misspellings and duplicates were corrected as they were entered into the list. Also,
pieces that were found to be out of print were removed. These data were confirmed by
using A Comprehensive Guide to the Saxophone Repertoire 1844 – 2003,77 and extensive
75
It should be noted that many level 6 pieces would probably also fall under “very advanced,” but
these were not in the Florida level 7 category.
76
Lists for Hawaii, South Carolina, Arkansas and North Dakota were not included because the
questionnaire was not returned.
77
Jean-Marie Londeix. A Comprehensive Guide to the Saxophone Repertoire 1844 – 2003, ed.

51
Internet searches. These corrections left a total number of 1,263 compositions from
which to extract various data relevant to this study. In addition, the lists for Hawaii,
South Carolina, Arkansas and North Dakota were not included because the questionnaire
was not returned.
Value Assigning Procedure
This commentary describes the procedures that were followed in order to assign
values to the varying graded lists so that a final and accurate listing could be obtained.
The grading system of 1 – 6 was chosen as a standard from which to base the values
because more than 50 percent of the lists were based on a 1 – 6 value system. In addition
to this, many state organizations who do not have their own repertoire lists recommend
the New York State School Music Association (NYSSMA) and other 1 – 6 value lists
such as Virginia. States that did not have a graded system on their repertoire lists
(Indiana, Idaho, and Alabama) were assigned a value based on how the pieces were
chosen for those states. For example, Indiana chooses piece from a 1-6 graded lists, but
includes only works in the grade range from 4 – 6. Subsequently, if other states had a 1 –
6 value assigned to a piece that also included Indiana that number was also assigned to
the same piece listed by Indiana. For example, where a Virginia rating of 5 appeared
with Indiana, then Indiana would also equal a 5 rating for a titled value of “advanced
intermediate.” If Indiana was the only state to list a specific piece, the value chosen was
a 5 because that was the average of the 4 – 6 range that the list encompassed. If 1 – 6
ratings were different for the same piece, the average was assigned.

52
Another component of consideration was the states with only three levels in their
systems such as 1 – 3 (Texas Prescribed Music List) or A, B, C (Wisconsin, Missouri). In
these instances, 1 or A was marked “advanced,” but if another state organization also
listed a value of 5 for that piece, the 5 would override it by giving it a more specific
“advanced intermediate” value. This process was done because the difficulty range in
saxophone repertoire is wide enough that by only giving a piece a grade of A or 1, a piece
could be anything from advanced intermediate to very advanced, and the integrity of the
assigned difficulty levels can become blurred.
Once the master list was programmed to assign a value to each piece (E, I, AI, A,
VA) it was possible to see a normalized grading system and make comparisons. Final
assignations were settled through averages.
State Graded Systems and Value Assignations
Maryland, Michigan, Virginia, New York, (Florida)
1 = Easy
2 = Easy
3 = Intermediate
4 = Intermediate
5 = Advanced Intermediate
6 = Advanced
7 = Very Advanced (Florida)
Texas: Grading system is 1 – 3, 1 being advanced. Values were assigned as
follows, though the final result could be overridden if another 1 – 6 system had a more
specific value such as 5 (Advanced Intermediate) or 7 (Very Advanced):
1 = Advanced
2 = Intermediate
3 = Easy

53
Idaho: No grading system, but pieces must be in an acceptable range of difficulty.
Values assigned as follows:
X = Advanced intermediate: where another state’s 1 – 6 system assigns a grade 5.

X = Advanced: where another state’s 1 – 6 system assigns a grade 6.
X = Very Advanced: where Florida assigns a grade 7.
Alabama: Uses other lists at grade 5 and above: Values assigned as follows:
X = Advanced intermediate: where another state’s 1 – 6 system assigns a grade 5.

X = Advanced: where another state’s 1 – 6 system assigns a grade 6
X = Advanced: where no other states list the piece.
X = Very Advanced: where Florida is included at grade 7.
Indiana (ranges between 4 – 6)
X = intermediate: where another 1 – 6 state system assigns a grade 4 or letter B.

X = advanced intermediate: where another 1 – 6 state system assigns a grade 5
X = advanced: where another 1 – 6 state system assigns a grade 6.
X = very advanced: where Florida assigns a grade 7.
Ohio, Missouri, Wisconsin: Grading system is A, B, C, where A is Advanced. Values
were assigned as follows, though these could also be overridden if another state value
equaled advanced intermediate or very advanced.
A = Advanced
B = Intermediate
C = Easy
Report
Once values were assigned, and all of the information was corrected to account
for the various states without grading systems, the following information was extracted
for comparison.

54
Data from Entire List
Total number of pieces on master list 1263

Total number of idiomatic works 579
Total number of intermediate idiomatic works 145
Total number of individual transcriptions 377
Total number of intermediate transcriptions 176
Total number of collections (includes book titles
because some states only list the book rather than
individual pieces) 295
Total number of transcriptions within the collections 265
Total number of idiomatic works within the collections 30
Several pieces of important data are represented above in regard to the entire
master list. The data show that there are a total of 145 intermediate, idiomatic works.
This is a small number in proportion to the entire list, especially since these lists are
compiled for the high school level, and it stands to reason that many students would be
playing at that level. This can be evidenced by the number of transcribed
recommendations which is 411 (including those from collections). By applying a further
breakdown of this data, the evidence becomes even more pointed for showing a lack of
intermediate repertoire in that simple exposure to composition titles is severely limited by
observing the number of lists on which these idiomatic, intermediate works appear. In
examining the intermediate, idiomatic list of compositions in Appendix A, it is evident
that of the 145 pieces listed, 92 of these works only appear on one list. The following
data list breaks the intermediate, idiomatic list down by the number of times works are
listed on separate lists.

55
Number of Lists on Which Number of Compositions

Recommended Compositions
Appear
1 92
2 26
3 13
4 7
5 2
6 1
7 1
8 0
9 1
10 2
In noting that only five idiomatic, intermediate compositions appear on six or
more lists, it becomes patently obvious that wide exposure to recommended idiomatic
titles on the required state lists is limited.
The following data set shows the same breakdown for transcribed works
(including the collections).
Number of Lists on Which Number of Compositions

Recommended Compositions
Appear
1 155
2 107
3 43
4 21
5 12
Out of 340 total intermediate transcriptions, none of the works that were
recommended appeared on more than five state lists, although there were significantly

56
more pieces that were distributed among the lists. By comparing both sets of data,
intermediate compositions receive little exposure through the solo repertoire lists—
especially intermediate, idiomatic works.
Tables 14 – 17 are analyses of the information provided in Table 13.

Table 14: State List Data
DATA AL FL ID IN MD MI MO NY OH TX VA WI
Total Works on List 124 345 19 129 198 113 199 221 120 173 729 37
Total Intermediate 2 139 7 22 87 63 69 83 38 62 339 10
Total Idiomatic 103 135 12 97 93 49 108 97 47 78 336 14
Total Intermediate-Idiomatic 1 37 1 10 21 19 25 17 14 15 98 5
Total Transcriptions 16 160 6 26 45 45 71 51 51 62 223 14
Total Intermediate Transcriptions 0 78 3 2 20 17 34 18 24 27 114 4
Total Collections Transcriptions* 3 44 1 4 54 17 18 72 19 33 134 9
Total Collections Idiomatic* 0 5 0 0 4 2 1 1 2 0 27 0
Total Collections* 3 49 1 6 58 19 19 73 21 33 161 9
Total Collections Intermediate* 0 4 0 0 0 1 0 0 1 0 12 0
Idiomatic
Total Collections Intermediate* 0 25 1 2 36 12 10 43 16 24 89 6
Transcription
*Collection Book Titles Included Because Some States List Only the Book
57

58
Tables 14 – 17 are an analysis of the information provided in Table 13. As can be
seen in Table 14, individual states recommend a large number of idiomatic works for the
alto saxophone with nothing less than 37.84% of the works, andup to 83.06% from the
Alabama list. In Table 15, the percentages of intermediate repertoire in comparison to the
number of recommended idiomatic pieces show that there is a clear lack of intermediate
repertoire written specifically for the saxophone.
Table 15: Idiomatic Compositions in Comparison to List Totals
State Recommended Total Works on Percentage of

Total Idiomatic List Idiomatic Works
Works for Alto to Total List
Saxophone
Alabama 103 124 83.06%
Florida 135 345 39.13%
Idaho 12 19 63.16%
Indiana 97 129 75.19%
Maryland 93 98 46.97%
Michigan 49 113 43.36%
Missouri 108 199 54.27%
New York 97 221 43.89%
Ohio 47 120 39.17%
Texas 78 173 45.09%
Virginia 336 729 46.09%
Wisconsin 14 37 37.84%

59
Table 16 shows that individual states include a similar set of averages with their
individually published transcribed recommendations along with transcriptions contained
in collections.
Table 16: Intermediate Idiomatic Compositions in Comparison to Total Idiomatic

Repertoire
State Intermediate Idiomatic Percentage of

Idiomatic Repertoire Intermediate
Repertoire Idiomatic
Repertoire
Alabama 1 103 00.97%
Florida 37 345 10.72%
Idaho 1 12 08.33%
Indiana 10 97 10.31%
Maryland 21 93 22.58%
Michigan 19 49 38.77%
Missouri 25 108 23.15%
New York 17 97 17.53%
Ohio 14 47 29.79%
Texas 15 78 19.23%
Virginia 98 336 29.17%
Table 17 shows that within the number of transcriptions recommended by each
state, about half of them are considered intermediate for most lists.

60
Table 17: Transcriptions (with Collections) in Comparison to List Total
State Transcriptions List Total Percentage of

Transcriptions in
list Total
Alabama 19 124 15.32%
Florida 204 345 59.13%
Idaho 7 19 36.84%
Indiana 30 129 23.26%
Maryland 99 198 50.00%
Michigan 62 113 54.87%
Missouri 89 199 55.66%
New York 123 221 55.67%
Ohio 70 120 58.33%
Texas 95 173 54.91%
Virginia 357 729 48.97%
Table 18 indicates a comparison between intermediate transcriptions and total

transcriptions.
Table 18: Intermediate Transcriptions in Comparison to Total Transcriptions
State Intermediate Total Percentage of

Transcriptions Transcriptions Intermediate
Transcriptions
Alabama 0 16 00.00%
Florida 103 209 49.28%
Idaho 4 7 57.14%
Indiana 4 32 12.50%
Maryland 56 103 54.37%
Michigan 29 64 45.31%
Missouri 44 90 48.89%
New York 61 124 49.19%
Ohio 40 72 23.26%
Texas 51 95 53.68%
Virginia 203 384 502.86%

61
CHAPTER VII
SUMMARY AND CONCLUSIONS
The Problem
This study opened with a brief historical introduction that illustrated the reasons
for a lack of intermediate, saxophone-specific repertoire. The purpose was to show that a
heavy reliance on transcribed works has led to a significantly smaller number of
idiomatic compositions having been written for the alto saxophone. The research goals
of the present study were meant to: 1) identify the compilation procedures for state solo
repertoire lists through a questionnaire; 2) compile a master list of all of the
recommended alto saxophone repertoire that appeared on these lists; 3) establish a
stabilized grading system of difficulty levels due to the variations found in each
organization list; and 4) extract a comprehensive list of intermediate saxophone-specific
repertoire from the final master list.
Methodology
Research was carried out in order to determine which of the fifty United States
have organizations that conduct a state solo contest, and of these, which states have a
required or recommended list of suggested repertoire. A letter of invitation, followed by
a brief questionnaire was then sent to sixteen individuals who represented each state
organization and were knowledgeable of the list compilation procedures, and twelve
responses were received. The results revealed numerous trends in compiling and

62
administrating lists, including a wide variation of grading systems for determining the
difficulty levels of compositions.
Though these grading systems could be considered valid since each list was
compiled by a committee, a variety of systems were represented, so it was deemed
necessary to normalize these systems in order to end up with a concrete body of
intermediate repertoire. By using the more standard 1 – 6 grading system, values of
“Easy,” “Intermediate,” “Advanced Intermediate,” “Advanced,” and “Very Advanced (to
account for Florida including a grade 7) were assigned to each system.78 These new
values were applied to a master list of alto saxophone repertoire that was compiled from
all of the lists for which the questionnaire was returned—meaning that four lists (South
Carolina, North Dakota, Hawaii and Arkansas) were not included in the results. Once
the list was completed, it was possible to extract a set of intermediate level repertoire and
make a new list containing this information.
Findings
The purpose of this examination was to determine a body of idiomatic,
intermediate saxophone repertoire from a master list comprised the alto saxophone
repertoire that appeared on twelve required or recommended state contest repertoire lists.
The final results from the normalized master list showed that while there are over 1,263
compositions listed for alto saxophone repertoire, 579 of these recommended pieces were
written specifically for the saxophone. Of the 579 idiomatic pieces, only 145 (25%) of
them were written for the saxophone at the intermediate level. In addition, by looking at
78
Please see Chapter Six for exact designations.

63
the number of lists on which these pieces appeared, 92 of the 145 compositions appeared
on one list, 26 on two lists, 13 on three lists, 7 on four lists, 2 on five lists, 1 on six, seven
and nine lists, and only 2 on ten lists, which demonstrated a lack of exposure to idiomatic
titles. While students could investigate other lists, most of the provided lists are required,
and therefore, title exposure is a major issue. In comparison, there were 622
recommended transcribed works, of which 340 (54.66%) were considered intermediate.
These 340 works (more than double the idiomatic pieces) were distributed between five
lists maximum.
Because the purpose of this study was to not only provide a list of intermediate
repertoire, but to show the lack of such repertoire, one aspect of the questionnaire asked
whether or not states welcomed composer submissions and/or whether or not composers
were specifically sought out to write solo works. While states did welcome submissions,
it was disappointing to find that composers were not specifically sought out to provide
works for the state solo events. This can be explained by the fact that a composer has no
guarantee that the music will be introduced in a way that could spur interest and sales of a
new composition at this time.
Representative Compositions and Descriptions
The following representative compositions and descriptions gathered through the
course of this study allow students and teachers to examine a unified body of idiomatic
saxophone repertoire. In order to illustrate the characteristics that currently represent each
level, I have provided one annotated example from each category generated from the
master list (easy, intermediate, advanced intermediate, advanced and very advanced).

64
Easy: Flowers Lullaby by Sigurd Rascher
Flowers Lullaby is of short length in order to account for young students who are
still developing their embouchures and endurance. The rhythms are simple, with
repeated phrases.
Intermediate: Chanson et Passepied by Jeanine Rueff
Chanson et Passepied appeared on ten state lists and received a value of
“intermediate.” Though there is no specific key signature indicated, this piece is useful
for practicing reading numerous accidentals, which is ideal for moving up into more
advanced repertoire. The “chanson” and the “passepied” are independent sections, but
not separate movements. The chanson is through-composed with some syncopation in
the form of dotted-quarter, eighth-note rhythms and some ties that carry over the bar line.
The primary focus in this section is playing musically and either using or learning how to
use vibrato artistically. Also, this section is excellent for practicing intonation on
typically out-of-tune notes such as the middle D and the high B (usually sharp) and the
probable flatness of the middle C-sharp. The passepied is written in ABA’ form and ends
with a short codetta. This section is marked at dotted quarter = 60. Rhythmic values are
consistent throughout the piece and fast passages are scalar, making them easier to put
together. Use of subdivision will help a student learn the proper counting efficiently.
Challenges lie in counting the 3/8 time signature properly and also putting the piece
together with accompaniment, as the two parts are written with a lot of independence to
the opposite part.

65
Advanced Intermediate: Sonatine Sportive by Alexander Tcherepnine
This piece is a short three-movement work. The first movement is Allegro and
marked at quarter equals 116. It has two sharps in the key signature, but it also includes
heavy use of accidentals and chromaticism. The melodic line uses accents, offbeats, and
interval jumps in order to create a sense of rhythmic displacement. Challenges in this
movement are accurate counting and entrances. The second movement is a larghetto at
quarter note equals 60. The key signature of five flats moving to four sharps and then
returning to five flats provides an initial challenge to young players, but will result in a
strong experience in reading. The movement has two short cadenza sections, allowing a
student to learn about interpreting unaccompanied passages with freedom and musicality.
The third movement is marked vivace at dotted quarter equals 116. This movement is in
6/8 time and has five sharps. Again, if the student does not have much experience with
numerous accidentals, this movement will strengthen that skill through the process of
studying this work. Accents and changes in the musical line on offbeats are also meant to
create a sense of rhythmic instability just as the first movement does by displacing the
sense of time. Articulation is mostly staccato so that the student can practice accuracy in
tonguing and matching note-lengths. A very fast, three-measure sixteenth note passage is
accessible because it is scalar in nature. A student can greatly improve their musical
tools through the study of this piece.

66
Advanced: Sonata by Paul Creston
This three-movement work is considered to be part of the standard core repertoire
for advanced saxophonists. The composition encompasses the full normal range of the
saxophone and also includes an altissimo G in the first movement. The first movement
tempo is marked at quarter note equals 126. Like many advanced saxophone works, this
piece uses accidentals rather than a key signature because of an extensive use of
chromaticism and altered scale patterns. The second movement, in 5/4 time, is marked
“with tranquility” at quarter note equals 66. The focus on the second movement lies in
the expressive interpretation of the performer, and the attention to intonation at softer
dynamics, especially in the upper register. The third movement is marked “with gaiety”
at quarter note equals 160. Creston creates a sense of excitement by rhythmically
displacing both accents and the rhythm. The tempo is very fast, but the sixteenth passages
are scalar. This is a challenging piece for any player, but at the high school level, an
additional consideration would be access to an excellent accompanist as the piano
accompaniment for this piece is significantly more difficult than the saxophone part.
Very Advanced: Sonate by Edison Denisov
This piece is comprised of three movements and uses extended techniques
including multiphonics, flutter tonguing, glisses, and quarter tones. All aspects of this
piece can be considered difficult. In the first movement, the time signature changes in
almost every measure and uses such signatures as 7/16, 3/16, 6/16, 5/16, 14/32, and
others. Denisov also uses complex rhythmic structures with these measures such as a
measure of 7/16 time with groups of 3:1, 5:4, and 9:3. In addition, the piano

67
accompaniment does not play the same structures with the saxophonist. The second
movement is marked “lento” at quarter equals 40. This movement includes wide-interval
tremolos, multiphonics and quarter tones at a pianissimo dynamic. It is unaccompanied
until almost the very end of the movement. The third movement is marked “allegro
moderato” at quarter equals 126 – 132. It has very fast sixteenth passages, flutter
tonguing, slap tonguing, and glissandos throughout the movement. While this piece is
more typically played at the college level, it is still within reach for advanced high school
students, and is representative of the types of compositions in the Very Advanced
category.
Conclusions
One of the first aspects of this study was to determine the methods of list
compilation used by each state organization through a questionnaire. The responses
received from the questionnaire helped to verify that the construction of these lists varied
widely, in addition to the grading systems that they used. Despite the differences, the
main commonality that held the processes together was that each state list was compiled
with the expertise of a committee of selected, professional individuals. Noting that the
state organizations require a committee in creating these lists leads to some speculation
that these organizations could also be vessels for bringing attention to new compositions
through their efforts to make sure that quality literature appears on the lists.
The master list of the alto saxophone repertoire is a result of a compilation of all
of the suggested difficulty grades and a normalization of these results into a more
concrete grading system. Once the system was in place it became clear that these lists

68
ultimately included several works that were idiomatic to the saxophone. However, the
number of intermediate works was small in proportion to the total number of works, and
even in proportion to the number of idiomatic works. It is clear that the intermediate
levels of saxophone music have been neglected in terms of works written specifically for
the instrument, while the number of transcribed recommendations is significantly more
abundant. This information is invaluable in that it can be used to solicit new works from
composers.
Finally, a list of recommended, intermediate repertoire was compiled through the
normalized system. With the resulting list, it is possible to analyze various trends and
commonalities among the pieces that are listed the most frequently, and subsequently
provide a set of guidelines to writing more music at this level.
Suggestions for Use
In offering suggestions for improving the situation in regard to the alto saxophone
intermediate level (and perhaps even other instruments), it would be useful to use the
state lists as a means of disseminating information about new works. New compositions
could be specifically marked and annotated during list review processes, and recordings
could be provided or referenced so that students and/or teachers can confidently choose
during the solo selection process. If composers knew that not only are submissions
welcome, but also that if chosen, attention would be brought to the new compositions,
then they might be more likely to write for the instrument.
Because only sixteen states provided a list, this means that thirty-four states did
not have their own (though a few recommend other state lists). If state organizations

69
were made aware of the benefits of a list, including access to otherwise unknown titles,
new compositions, difficulty grade levels, and other pertinent information, students
across the United States could have access to a much wider range of possibilities. In fact,
one wonders if students and their instructors might have more limitations without a list.
This author has seen this very phenomenon frequently as an adjudicator at solo contests
in which generations of students often perform the same transcriptions from the same few
collections every year. Access to a required list would hopefully expand their options
and encourage the use of other works.
Another consideration came from the representative from Michigan (where the
list is only recommended) who has noticed that a growing problem is occurring where
students arrive at solo contests with music printed from the Internet. This problem leads
to numerous questions such as whether or not the student paid for the music, and if the
copy was legal. Using a required list would limit the possibilities of breaking copyright
laws, in addition to virtually guaranteeing that the work is easy to obtain.
Suggestions for Further Study
The results of the present study indicate several areas where further research
could be done:
1. A further study of quality intermediate works based on artistic merit would be
valuable. For his 1998 PhD dissertation “An Evaluation of Compositions for Wind Band,
grades III and IV, According to Specific Criteria of Artistic Merit,”79 Raymond Thomas
79
Raymond Thomas, “An Evaluation of Compositions for Wind Band, grades III and IV,
According to Specific Criteria of Artistic Merit” (PhD diss., University of Minnesota, 1998).

70
sent specific criteria based on another dissertation to selected evaluators who conducted
an examination of over one thousand intermediate band works in order to determine
which compositions had artistic merit. This type of research based on the present study
could lead to even more changes in the intermediate list, and also a prescription for new
works by composers.
2. As stated previously, the book, A Comprehensive Guide to the Saxophone
Repertoire (1844 – 2003) by Jean-Marie Londeix is an invaluable resource, however
none of the exhaustive lists of compositions are given difficulty grades, making it
difficult to use unless one already knows what they want to select. It would be useful to
design a way to examine several works from the list and assign grades to these
compositions.
3. A study in creating a set of normalized grading criteria would be valuable.
These criteria could be created by carrying out research on the current graded systems
and determining trends and commonalities in the compositions that fall under certain
categories. Possible categories could include range, key, form, length of the piece,
rhythmic variation, tempo, extended range (altissimo), and other musical characteristics
that the compositions share. While there will always be a level of subjectivity in music
performance and pedagogy, criteria guidelines could be invaluable when settling on a
difficulty grade for a piece of music. Such a system should allow for subjectivity in
music, so while it would not be inflexible or perfect, it would still be useful for directing
students and teachers to specific pieces. And finally, the criteria would be more effective
than assigning a piece based on the number of years a student has been playing their
instrument, because students vary greatly in their abilities. While one student might need

71
an intermediate piece in ninth grade, still another ninth-grader may need an advanced
intermediate or even advanced level composition instead.

72
APPENDIX A
RECOMMENDED LIST OF IDIOMATIC INTERMEDIATE REPERTOIRE

Composer Piece Appearance on State Publisher Count Score
Lists
Albeniz, Isaac Chant D'Amour MD Alphonse Leduc 1 I
Ameller, Andre Belle Province VA-FL Alphonse Leduc 2 I
Baieomeau
Amiot, Claude Erato VA Editions Robert Martin 1 I
Antonini, Felix Divertissement FL Editions Billaudot 1 I
Tzigane
Beck, Conrad Nocturne VA United Music Publishers 1 I
Bedford, David Five Easy Pieces VA Universal Editions 1 I
Bennett Modern MI-FL-MI-VA Carl Fischer 3 I
Benson, Warren Cantilena MI-ND-AR-FL-MO- Boosey & Hawkes 6 I
SC-OH-MD-VA
Benson, Warren Farewell MO-MD-VA MCA Music Publishing 3 I
Berthelot, Rene Siciliana MD Editions Lemoine 1 I
Malinconica
Bialosky, Marshall Fantasy Scherzo VA Sanjo Music Co 1 I
Bitsch, Marcel Villageoise MO-OH-AR-MD Alphonse Leduc 3 I
Blaauw, L. Ballade VA Tierolff Muziekcentrale 1 I
Boerlin, Richard Elegy MO Shawnee Music Press 1 I
Bozza, Eugene Aria MI-ND-AR-FL-IN-MO- MBC/Leduc 9 I
SC-TX-OH-WI-MD-
VA
Bozza, Eugene Le Campanile VA Alphonse Leduc 1 I
Bozza, Eugene Petite Gavotte NY-VA Alphonse Leduc 2 I
Bozza, Eugene Tarantelle MI-IN-AL MBC 3 I
73

Brom, Roland Ballade, Minuet VA C. L. Barnhouse Co. 1 I
and Caprice
Brom, Roland Introduction and VA C. L. Barnhouse Co. 1 I
Fantasy
Brouquieres, J. Cotes-d'Armor VA Editions Robert Martin 1 I
Buchtel, Forrest Gobbly Gook VA Neil A. Kjos Music Co. 1 I
Buchtel, Forrest Hippity Hop VA Neil A. Kjos Music Co. 1 I
Buchtel, Forrest Hokus Pokus VA Neil A. Kjos Music Co. 1 I
Buchtel¸ Forrest Intermezzo VA Neil A. Kjos Music Co. 1 I
Buchtel¸ Forrest Jogging Along VA Neil A. Kjos Music Co. 1 I
Buchtel, Forrest Jumpin Jack VA Neil A. Kjos Music Co. 1 I
Buchtel, Forrest Jumpin Jericho VA Neil A. Kjos Music Co. 1 I
Buchtel, Forrest Mumbo Jumbo VA Neil A. Kjos Music Co. 1 I
Buchtel, Forrest Razz Ma Tazz VA Neil A. Kjos Music Co. 1 I
Bullard, Alan Weekend VA Associated Board of the Royal 1 I
Schools of Music
Burkhardt, Joel Chanson TX-VA Southern Music Company 2 I
Cailliet, Lucien Theme and MO-MD Southern Music Company 2 I
Variations
Carles Marc Cantilene MO-VA Alphonse Leduc 2 I
Classens, Henri Introduction et MI-FL Editions Combre 2 I
Scherzo
Coiteux, Francis Delta-plane VA Editions Robert Martin 1 I
Crepin, Alain Celine Mandarine VA Editions Billaudot 1 I
Damase, Jean-Michel Note A Note MD Editions Billaudot 1 I
Damase, Jean-Michel Vacances TX Editions Billaudot 1 I
Dautremer, Marcel Emotion AR-FL-TX Editions Henry Lemoine 2 I
74

De Coriolis, Barcarolle VA Editions Billaudot 1 I
Emmanuel
Delgiudice, Michel Badinage VA Alphonse Leduc 1 I
Delgiudice, Michel Jeune Sax VA Editions Billaudot 1 I
Dervaux, Andre Jean Saxophonissimo VA Editions Billaudot 1 I
Dorff, Daniel Summer Strut VA Presser/Composers Library 1 I
Editions
Dubois, Pierre-Max A La Francaise FL-MI Alphonse Leduc 2 I
(pieces
Characteristiques
en Forme De
Suite No. 3)
Dubois, Pierre-Max A La Hongroise FL-MI-IN Alphonse Leduc 3 I
(pieces
Characteristiques
En Forme De
Suite No.4)
Dubois, Pierre-Max A La Russe FL-MI-IN Alphonse Leduc 3 I
(Pieces
Characteristiques
En Forme De
Suite No.2)
Dubois, Pierre-Max Les Ecureuils MI-FL-MD Durand 3 I
Edelson, Edward Tango Anyone? TX-VA C and E Enterprises 2 I
Edmondson, John Essay in Blue WI-AR-SC-VA Kendor Music 2 I
Faillenot, Maurice Rapsodie Occitane VA Editions Robert Martin 1 I
Fiche, Michel Retour D'un VA Editions Billaudot 1 I
Cosmonaute
75

Frackenpohl, Arthur Air for Alto AR-FL-IN-TX-NY-VA- Kendor Music 7 I
Saxophone MI-MD
Fricker, Peter Racine Aubade FL-MO-ND Schott & Co. 2 I
Gabelles, Gustave Andante FL Editions Billaudot 1 I
Appassionato
Gallet, Jean Berceuse et FL Editions Billaudot 1 I
Promenade
Gallois-Montbrun, Intermezzo MD United Music Publishers 1 I
Raymond
Gee, Harry First Ballade NY-VA Kendor Music 2 I
Genin, Pierre- Fantasie sur ' il NY Editions Billaudot 1 I
Agricole pleut bergere', op.
15 no. 5
George, Thom Ritter Introduction and FL-MO-OH-NY Southern Music Company 4 I
Dance (mvt2)
Giovannini, Caesar Romance TX-NY Southern Music Company 2 I
Gray, Robert Contest Solo For MO Robert Gray Publications 1 I
Alto Saxophone
Guicherd, Yves Asphodele VA Editions Billaudot 1 I
Guicherd, Yves Chanson Pour VA Editions Billaudot 1 I
Maman
Guillonneau, Christian Evocation et VA Editions Robert Martin 1 I
Danse
Harris, Floyd O. Fairy Princess VA Ludwig Music Publishing 1 I
Harris, Floyd O. Sax Caprice VA Ludwig Music Publishing 1 I
Harris, Floyd O. Sax Caprice MI-FL-MD-VA Ludwig Music Publishing 4 I
Hartley, Walter Song From FL-MI Tenuto Publications 2 I
Southern Tier
Suite
76

Hartzell, Doug Saxophone VA Shawnee Music Press 1 I
Symbol
Haspiel, Franklin Allegretto MO JPM Music Publications 1 I
Hody, Jean Bios VA United Music Publishers 1 I
Holmes, G.E. Zayda FL C. L. Barnhouse Co. 1 I
Hubbell, Fred Chromatic Caper VA MSB Publishing 1 I
Hubbell, Fred Maypole Dance VA MSB Publishing 1 I
Ibert, Jacques Aria IN-MO-OH-MD-VA Alphonse Leduc 5 I
Hoffman, Earl In Modo di VA Southern Music Company 1 I
Trentotto
Jones, Martin Three Light VA Emerson Edition 1 I
Motifs
Lacour, Guy Chanson Modale VA Editions Billaudot 1 I
Lacour, Guy Prelodie VA Editions Billaudot 1 I
Lane, Richard Suite NY-AR-MD Schott & Co. 2 I
Lantier, Pierre Euskaldunak MI-FL-IN Editions Billaudot 3 I
Lantier, Pierre Sicilienne MI-ID-FL-IN-MO-TX- Alphonse Leduc 10 I
OH-NY-AR-MD-VA
Lemaire, Felix Ballade No. 2 FL Alphonse Leduc 1 I
Lesieur, Emile Prelude et Rondo FL Editions Billaudot 1 I
Maltby, Richard Heather on the MI-NY-MD-VA Kendor Music 4 I
Hill
McGrath, F.T. / A Breezin' WI PEL 1 I
Luhring, Paul Cakewalk
Milhaud, Darius Danse VA-NY Interlochen Press 2 I
Mimet, Anne-Marie Le Depart Du Roi VA United Music Publishers 1 I
Mindlin, Adolfo Le Petit Soldat VA Alphonse Leduc 1 I
Niehaus, Lennie Emily's Caprice TX-OH Kendor Music 2 I
77

Niehaus, Lennie Harlequinade TX Kendor Music 1 I
Niehaus, Lennie Palo Alto FL-MO-OH-VA RBC Music 4 I
Niehaus, Lennie Seaside Images TX Kendor Music 1 I
Oromszegi, Otto Variations & VA De Haske Publications 1 I
Imitations
Ostransky, Leroy Suite for Alto FL-FL-MO-VA-MI Rubank Inc. 4 I
Saxophone
Oswald, James Lento Affettuoso FL-NY Ethos Publications 2 I
& Giga
Pares,G. Solo No.1 FL-MD Editions Billaudot 2 I
(premier Solo)
Perrin, Marcel Mirage MO-MD United Music Publishers 2 I
Perrin, Marcel Poeme MO-MD Alphonse Leduc 2 I
Pierne, Gabriel Le Vol De La MO United Music Publishers 1 I
Mouche
Pierne, Gabriel/Gee, Serenade MI-FL-VA Southern Music Company 3 I
Harry
Porret, Julien 17th Solo de VA Molenaar Edition 1 I
Concours
Porret, Julien 18th Solo de VA Molenaar Edition 1 I
Concours
Presser, Theodore Eight Brevities VA Tritone Press 1 I
Proust, Pascal Petit Nocturne VA Editions Billaudot 1 I
Proust,Pascal Romance et NY-VA Editions Billaudot 2 I
Badinerie
Proust, Pascal Petite Romance VA Editions Billaudot 1 I
Reed, Alfred Siciliana Notturno NY EBM 1 I
Ribault, Andre Barcarolle VA Editions Robert Martin 1 I
78

Ridout, Alan Snow Scenes NY-VA Associated Board of the Royal 2 I
Schools of Music
Rimmer, William Saxonia VA Molenaar Edition 1 I
Roger, Denise Chanson Douce VA Editions Robert Martin 1 I
Rogers, B. Modern Air AR-MO Alfred Music Publishing 1 I
Rogers, B. Modern Air AR-MO Millereau 1 I
Roizenblat, Alain Danse Lointaine VA United Music Publishers 1 I
Rueff, Jeanine Chanson et MI-WI-AR-FL-IN-MO- Alphonse Leduc 10 I
Passepied SC-TX-OH-NY-MD-
VA
Sauguet, Henri Une Fleur VA Editions Billaudot 1 I
Schmidt, William Variations on a NY Western International Music 1 I
Whaling Song
Schmutz, Albert Divertimento FL-OH-VA-MI Ludwig Music Publishing 4 I
Schneider, Catherine Le Promeneur VA United Music Publishers 1 I
Schoonenbeek, Kees Aria & Danza VA Boosey & Hawkes 1 I
Schudel, Thomas Intrada FL-TX Southern Music Company 2 I
Senon, Gilles Le Chant VA Editions Billaudot 1 I
D'euterpe
Sichler, Jean La Memoire De VA Alphonse Leduc 1 I
L'onde
Skolnik, Walter Lullaby for Doria VA Tritone Press 1 I
Skolnik,Walter Sonatina FL Theodore Presser Company 1 I
Soldh, Anders Depart VA Editions Billaudot 1 I
Soldh, Anders Sax-saut VA Editions Billaudot 1 I
Still, William Grant Romance FL-TX-VA Bourne Co. 3 I
Toulon, Jacques Trois Opuscules VA Editions Robert Martin 1 I
Vadala, Kathleen Sea Change VA Southern Music Company 1 I
79

Waignein, Andre Feelings VA De Haske Publications 1 I
Walker, R. Ballade MO-VA Kendor Music 2 I
Ward, David An Abstract WI-FL-OH-NY-MD Southern Music Company 5 I
Warren, David Chorale Fantasy FL-MO-VA Ludwig Music Publishing 3 I
Webb, Louis Remembrances FL-OH-VA RBC Music 3 I
Weirich, David Sonatina OH Grandm 1 I
Whitney Melancholy FL-VA Jack Spratt Music Publishers 2 I
Wilson, Dana The Dream of MO-TX-VA Kendor Music 3 I
Icarus
Wilson, Jeffery Day VA Camden Music 1 I
Zambarano, Alfred P. Neapolitan IN-MO-OH-AR-VA Shelan Publications 4 I
Tarantella
80

81
APPENDIX B
NON-INTERMEDIATE IDIOMATIC REPERTOIRE

Composer Piece Appearance Publisher Count Score
on State
Lists
Absil, Jean Etude VA-AL Editions Billaudot 2 A
Absil, Jean Fantaisie FL-IN Editions Henry Lemoine 2 A
Caprice, Op.
152
Absil, Jean Sonate pour FL-MO-MD Editions Henry Lemoine 3 A
Saxophone Alto
(op. 115)
Adler, Samuel Soundings VA-AL Southern Music Company 2 A
Anderson, Garland Adagio VA-AL Southern Music Company 2 A
Anderson, Garland Sonata No. 2 VA-AL Southern Music Company 2 A
Anderson, Tommy Sonata No. 1 VA-AL Southern Music Company 2 A
Arban, Joseph Caprice et VA Editions Fuzeau 1 A
Variations
Asia, Daniel Alex Set, The VA Merion Music 1 A
Asia, Daniel The Alex Set VA United Music Publishers 1 A
Baksa, Robert Alto Sax Sonata VA-MD Presser/Composers 2 A
Library Editions
Bariller, Robert Rapsodie MO-VA-AL Alphonse Leduc 3 A
Bretonne, 1950
Barraine, Elsa Improvisation MO- United Music Publishers 1 A
Beall, John Sonata FL Southern Music Company 1 A
Beaucamp, Albert Tarantelle IN Alphonse Leduc 1 A
Bedard, Denis Sonata TX Dobberman-Yppan 1 A
82

Bencriscutto, Frank Serenade for WI-ID-IN- Shawnee Music Press 5 A
Solo Alto TX-OH
Saxophone and
Piano
Benson, Warren Aeolian Song IN TPC 1 A
Benson, Warren Concertino NY-VA-AL Editions Billaudot 3 A
Berneir, Rene Hommage A VA-AL Alphonse Leduc 2 A
Sax
Bilik, Jerry Concertino IN-TX-MD- RBC Music 4 A
VA
Bitsch, Marcel Aubade VA-AL Alphonse Leduc 2 A
Bonneau, Paul Caprice en IN-MO-TX- Alphonse Leduc 8 A
forme de valse OH-NY-
MD-VA-AL
Bonneau, Paul Concerto IN-TX-NY Alphonse Leduc 3 A
Borsari, Amedee Blues VA-AL Editions Billaudot 2 A
Boutry, Roger Divertimento MO-TX-NY- Alphonse Leduc 5 A
VA-AL
Bouvard, Jean Sonatine VA Editions Henry Lemoine 1 A
Bozza, Eugene Concertino IN-MO-TX- Alphonse Leduc 4 A
OH
Bozza, Eugene Improvisation et ID-IN-MO- Alphonse Leduc 9 A
Caprice TX-OH-NY-
MD-AL-VA
Bozza, Eugene Piece Breve IN-MO-MD MBC 3 A
Bozza, Eugene Prelude et MI-FL Alphonse Leduc 2 A
Divertissement
Bozza, Eugene Pulcinella et IN-MO-OH- Alphonse Leduc 4 A
Scaramouche NY
83

Bozza, Eugene Scaramouche, MO-MD Alphonse Leduc 2 A
Op. 53, No. 2
Bozza, Eugene/Hite, Divertissement IN-MD-AL Southern Music Company 3 A
David
Breard Premiere Suite IN-MO Southern Music Company 2 A
Brenet, Therese Incandescence VA-AL Editions Henry Lemoine 2 A
Buss, Howard Novella MI-FL Briston Publications 2 A
Busser, Henri Aragon VA-AL United Music Publishers 2 A
Carpenter, Gary Sonata VA Spartan Press 1 A
Carvalho, Urban Song and Dance MD Presser/Composers 1 A
Library Editions
Casterede, Jacques Scherzo VA-AL Alphonse Leduc 2 A
Challan, Rene Concerto MD Alphonse Leduc 1 A
Charpentier, Jacques Gavambodi 2 IN Alphonse Leduc 1 A
Childs, Barney Sonatina MO-VA-AL Tritone Press 3 A
Cho, Gene J. Sonata MO Southern Music Company 1 A
Colin, C./Cailliet, Eighth Solo VA-AL Southern Music Company 2 A
Lucien
Colin, J. Fantaisie Pour VA-AL Dorn Publications 2 A
Saxophone
Constant, Maurice Musique de VA-MO-AL Alphonse Leduc 3 A
Concert
Couf, Herbert Introduction TX-OH-MD- Belwin 5 A
Dance and VA-AL
Furioso
Crepin, Alain A Tribute to Sax VA Editions Henry Lemoine 1 A
Creston, Paul Concerto ID-IN-TX- HLN/G.Schirmer 7 A
NY-MD-
VA-AL
84

Creston, Paul Sonata Op. 19 MI-WI-ID- Shelan Publications 11 A
FL-IN-NY-
VA-TX-OH-
MD-AL
Creston, Paul Suite VA-AL Shawnee Music Press 2 A
Dahl, Ingolf/Pittel, Concerto MO-MD- Schott Music 4 A
Harvey VA-AL
Damase, Jean-Michel Concertstuck, MO-VA-AL Alphonse Leduc 3 A
1950
Daneels, Francois Suite for MO European American Music 1 A
Saxophone Solo
Dautremer, Marcel Concerto MO Editions Henry Lemoine 1 A
Dautremer, Marcel Tango et MO-VA-AL Alphonse Leduc 3 A
Tarantelle, 1946
Debussy, Rhapsodie Pour VA Durand 1 A
Claude/David Saxophone
Defaye, Jean-Michel Ampelopsis VA-AL Alphonse Leduc 2 A
Defaye, Jean-Michel Morceau De VA Alphonse Leduc 1 A
Concours III
Del Borgo, Elliot Sonata No. 1 MI-FL-IN ASE/SHP 3 A
Del Borgo, Elliot Sonata No. 2 VA-NY-AL GMC 3 A
Del Borgo, Elliot Sonata for Alto NY-VA Dorn Publications 2 A
Saxophone
Demersseman, Jules Fantasie sur un MI-FL Anne Fuzeau Productions 2 A
theme original
Denisov, Edison Deux Pieces VA Alphonse Leduc 1 A
Deom Fantaisie Pour VA Editions Billaudot 1 A
Saxophone
Diamond, David Sonata VA-NY-AL Schott & Co. 3 A
85

Dougherty, William Seven VA Heilman Music 1 A
Bagatelles
Dubois, Pierre-Max Concerto FL-IN-MO- Alphonse Leduc 6 A
MD-MI-TX
Dubois, Pierre-Max Concertstuck IN-TX-MD- Alphonse Leduc 5 A
VA-AL
Dubois, Pierre-Max Divertissement IN-TX Alphonse Leduc 2 A
Dubois, Pierre-Max Sonata MO-MD Alphonse Leduc 2 A
Dubois, Pierre-Max Suite Francaise OH-NY-VA- Alphonse Leduc/Durand 4 A
AL
Dubois, Pierre-Max Mominettes VA Editions Billaudot 1 A
Eisenmann, Will Duo MI-FL-VA- Carl Fischer 4 A
Concertante AL
Escaich, Thierry Lutte VA United Music Publishers 1 A
Eychenne, Marc Sonate MI-FL-IN- Editions Billaudot 6 A
TX-NY-MD
Frackenpohl, Arthur Rhapsody For FL-IN-MO- KM 5 A
Solo Saxophone TX-NY
Gabaye, Pierre Printemps MO--M-VA- Alphonse Leduc 3 A
AL
Gastinel, Gerard 10 Pieces VA Editions Henry Lemoine 1 A
Ghidoni, Armando Concerto VA Alphonse Leduc 1 A
Glazounov, Concerto WI-ID-FL- Alphonse Leduc 11 A
Alexander/Petiot IN-MO-TX-
OH-NY-
MD-VA-AL
Gotkovsky, Ida Brillance IN Editions Billaudot 1 A
Grundman, Clare Concertante NY-MD-VA Boosey & Hawkes 3 A
86

Gurewich, Jascha Concerto in E FL-IN-MO- Rubank Inc. 7 A
minor NY-VA-MI-
AL
Handel/Mule Quatrieme MO-TX- Alphonse Leduc 5 A
Sonata MD-VA-AL
Hartley, Walter Concerto FL-MO-NY- Alphonse Leduc 6 A
MD-VA-AL
Hartley, Walter Concerto for VA Tenuto Publications 1 A
Saxophone &
Band
Hartley, Walter Duo for Alto WI-MD Tritone Press 2 A
Saxophone and
Piano
Hartley, Walter Petite Suite MI-WI-FL- FMA 11 A
IN-MO-TX-
OH-NY-
MD-VA-AL
Heiden, Bernhard Diversion IN-TX-OH- Etoile Music 4 A
NY
Heiden, Bernhard Fantasia IN-TX HLN 2 A
Concertante
Heiden, Bernhard Solo for Alto MI-FL-IN- Associated Music 8 A
Saxophone and MO-TX-OH- Publishers
Piano VA-MD
Heiden, Bernhard Sonata MI-OH-NY- Schott & Co. 10 A
MD-VA-ID-
FL-TX-IN-
AL
Hindemith, Paul Sonata (1943) VA-AL Schott & Co. 2 A
87

Hindemith, Paul Sonate IN-MO-OH- Schott & Co. 6 A
MD-VA-AL
Holcombe, Bill Rhapsody for FL-MI Edition Musicus 2 A
Alto Saxophone
and Piano
Hurel, Phillippe Bacasax VA-AL Editions Billaudot 2 A
Husa, Karel Concerto MD Alphonse Leduc 1 A
Husa, Karel Elegie et MI-FL-IN- Alphonse Leduc 7 A
Rondeau NY-MD-
VA-AL
Ibert, Jacques Concertino da WI-ID-FL- Alphonse Leduc 11 A
Camera IN-MO-TX-
OH-NY-
MD-VA-AL
Jollet, Jean-Clement Saxoballade VA United Music Publishers 1 A
Kabelac, Miloslav Suite Op. 39 TX Tonger 1 A
Kanitz, Ernest Little Concerto FL-MI AMS 2 A
Karlins, William Seasons VA-AL Tritone Press 2 A
Kaufmann, Walter Meditation TX Etoile Music 1 A
Koch, Frederick Three Latin TX Southern Music Company 1 A
Moods
Koechlin, Etudes pour FL-IN-VA- E.F.M. Technisonor 4 A
Charles/Londeix, Saxophone Alto AL
Jean-Marie et Piano
Krol, Bernhard Sonata MO-VA Hofmeister Musikverlag 2 A
Kynaston, Trent Deux Ombres VA Alphonse Leduc 1 A
De Jade
Lacour, Guy Etude de VA-AL United Music Publishers 2 A
Concert
88

Lazarus, Daniel Sonata VA-AL Durand 2 A
Leeson, Cecil Concertino VA-AL Southern Music Company 2 A
Lemaire, Jean Musiques VA-AL Alphonse Leduc 2 A
Legeres
Leonard, Clair Recitativo and MD Bourne Co. 1 A
Abracadabra
Levaillant, Denis Figures VA Durand 1 A
Lunde, Lawson Sonata No. 1 FL-IN-MO- Southern Music Company 8 A
TX-NY-MD-
VA-AL
Lunde, Lawson Sonata VA-AL Southern Music Company 2 A
Makris, Andreas Fantasy and MD Southern Music Company 1 A
Dance
Margoni, Alain Promenades VA United Music Publishers 1 A
Romaines (vol 2
and 3)
Martin, Frank Ballade Pour VA-NY-AL Universal Editions 3 A
Saxophone
Martino, Donald Concerto VA-AL Dantalian Music 2 A
Mason, Thom David Canzone da VA-AL Southern Music Company 2 A
Sonar
Maurice, Paule Tableaux de MI-FL-IN- Editions Henry Lemoine 10 A
Provence MO-TX-OH-
NY-MD-
VA-AL
Maurice, Paule Volio VA-AL Editions Billaudot 2 A
Milhaud, Darius Scaramouche ID-FL-IN- Editions Salabert 9 A
TX-OH-NY-
MD-VA-AL
89

Muczynski, Robert Concerto IN-TX Theodore Presser 2 A
Company
Muczynski, Robert Sonata ID-IN-TX- G. Schirmer Inc. 6 A
NY-MD-AL
Muczynski, Robert Sonata Op. 29 VA G. Schirmer Inc. 1 A
Muldowney, Dominic In a Hall of VA-AL Universal Editions 2 A
Mirrors
Niehaus, Lennie Two Hues of OH Kendor Music 1 A
Blues
Noda, Ryo "Gen" Concerto VA-AL Alphonse Leduc 2 A
Pour Saxophone
et Orchestra
Noda, Ryo Fantaisie et VA Alphonse Leduc 1 A
Danse
Noda, Ryo Improvisation IN-MD Alphonse Leduc 2 A
I,II,III
Nott Rhapsodic Song MI-FL Shawnee Press 2 A
Orrego-Salas, Juan Quattro Lirich IN-TX-VA- Peer International Corp. 4 A
brevi, op. 61 AL
Pascal, Claude Sonatine FL-IN-MO- Editions Henry 7 A
NY-MD- Lemoine/Durand
VA-AL
Petit, Pierre Andante et VA-AL Alphonse Leduc 2 A
Fileuse
Pieper, Rene Concerto VA-AL Editions Billaudot 2 A
Planel, Robert Suite MO Alphonse Leduc 1 A
Romantique
(Chanson
Triste)
90

Romantique
(Conte de Noel)
Romantique
(Danseuses)
Romantique
(Valse
Sentimentale)
Planel, Robert Prelude et VA-AL Alphonse Leduc 2 A
Saltarelle
Pommier, Jean Pierre Intermezzo VA Editions Billaudot 1 A
Prati, Hubert Suite VA Editions Billaudot 1 A
Queyroux, Yves Ellipse VA-AL United Music Publishers 2 A
Rasquier, Helene Obsession VA-AL United Music Publishers 2 A
Resnick, David A Novel Idea WI Alliance Publications 1 A
Robert, Lucie Cadenze IN-NY Editions Billaudot 2 A
Robert, Lucie Perpetuum VA-AL United Music Publishers 2 A
Mobile
Rossignol, Bruno Rhapsodie-jeu VA United Music Publishers 1 A
Rueff, Jeanine Concertino Op. IN-TX Alphonse Leduc 2 A
17
Rueff, Jeanine Sonata VA-IN-AL Alphonse Leduc 3 A
Sancan, Pierre Lamento et TX Durand 1 A
Rondo
Sasamori, Takefusa Variations on MO-NY Peermusic Classical 2 A
"Taki's Kojo No
Tsuki"
91

Sauguet, Henri Sonatina MD Alphonse Leduc 1 A
Bucolique
Sauter, J. Chanson MO Neil A. Kjos Music Co. 1 A
Joyeuse
Savari, Jerome Fantaisie sur des VA United Music Publishers 1 A
motifs du
"Freischutz" de
Weber
Savari, Fantasie sur des TX-NY Roncorp Inc. 2 A
Jerome/Ronkin, Bruce Motifs du
Freischutz
Schmitt, Florent Legende MO Durand 1 A
Sciortino, Patrice Sonances VA United Music Publishers 1 A
Sclater, James Suite for VA-AL Tritone Press 2 A
Saxophone
Smith, Charles W. Sonata No. 1 MO-TX-AL- Southern Music Company 4 A
VA
Smith, Claude T. Fantasia for FL-NY-MD Walter Jacob 3 A
Alto Saxophone
Snyder, Randall Seven Epigrams VA-AL Southern Music Company 2 A
Stewart, Don Short Sonata VA-AL Editions Salabert 2 A
Stucky, Steven Notturno VA-AL Theodore Presser 2 A
Company
Succari, Dia Fleurs D'un VA-TX Alphonse Leduc 2 A
Songe
Succari, Dia Il Est Raconte VA-AL Alphonse Leduc 2 A
Takacs, Jeno Two Fantastics TX Doblinger Music 1 A
Tate, Phyllis Concerto MO-TX- Oxford University Press 5 A
MD-VA-AL
92

Thomys, Alojzy Miniatures in VA-AL Polskie Wydawnictwo 2 A
Various Styles Muzyczne
Thornton, William Sonata VA-AL Southern Music Company 2 A
Tomasi, Henri Ballade IN-TX-NY Alphonse Leduc 3 A
Tomasi, Henri Concerto FL-IN-MO- Alphonse Leduc 7 A
TX-MD-VA-
AL
Tomasi, Henri Evocations NY-VA-AL Alphonse Leduc 3 A
Tourneur, Georges Concerto MO-MD Alphonse Leduc 2 A
Tourneur, Georges Concerto MO-MD-VA United Music Publishers 3 A
Tremblay, Sebastien Sonate en Mib VA United Music Publishers 1 A
Tull, Fisher Sarabande & FL-IN-TX- Boosey & Hawkes 8 A
Gigue OH-NY-
MD-VA-AL
Tuthill, Burnet Sonata IN-OH Southern Music Company 2 A
Van Delden, Lex Sonatina, Op. MI-FL-IN- Donemus 6 A
36 TX-NY-MD
Vellones/Mule Rapsodie OH-MD Edlemo 2 A
Visvikis, Demis Cercles VA-AL United Music Publishers 2 A
Von Koch, Erland Concerto MO Music Minus One 1 A
Whitney, Maurice Introduction and MI-FL-IN- Bourne Co. 9 A
Samba MO-TX-NY-
MD-VA-AL
Wildberger, Portrait VA-AL Universal Editions 2 A
Jacques/Roth, Ivan
Wilder, Alec Concerto for NY-VA-AL Editions Robert Martin 3 A
Alto Saxophone
and Wind
Ensemble
93

Wilder, Alec Sonata for Alto MI-FL-MO- Editions Robert Martin 5 A
Saxophone and NY-MD
Piano
Wilson, Dana Time Cries, MD Ludwig Music Publishing 1 A
Hoping
Otherwise
Wilson, Jeffrey Monody VA Camden Music 1 A
Woods, Phil Sonata for Alto MI-FL-VA- Advance Music 4 A
Saxophone and AL
Piano
Adler, Samuel Pensive NY Tritone Press 1 AI
Soliloquy
Agay, Denes Rhapsody in VA Presser/Composers 1 AI
Waltz Time Library Editions
Ameller, Andre Suite D'apres FL EMT 1 AI
Rameau
Anderson, Garland Sonata IN-MO-VA Southern Music Company 3 AI
Barat, Jacques Nostalgie MO-VA Alphonse Leduc 2 AI
Barnes, James Arioso and IN Southern Music Company 1 AI
Presto
Ben-Haim, Paul Three Songs NY-MD-MO Theodore Presser 3 AI
Without Words Company
Berthelot, Rene Adage Et FL Alphonse Leduc 1 AI
Arabesque
Beytelman, Gustavo 8 Petites Etudes VA United Music Publishers 1 AI
Autour Du
Tango
Bilotti, Anton Sonata FL-MO-MD Tritone Press 3 AI
Binge, Ronald Concerto NY Josef Weinberger 1 AI
94

Blaauw, L. Nocturne and VA Dorn Publications 1 AI
Humoresque
Bonneau, Paul Suite (any 2 FL-IN-MO- Alphonse Leduc 6 AI
mvts) TX-NY-MD
Bourrel, Yvon Sonate FL-TX-NY Editions Billaudot 3 AI
Bozza, Eugene Impromptu et MI-MO-TX Alphonse Leduc 3 AI
Danse
Brouquieres, Jean Lamentation et FL Editions Billaudot 1 AI
Danse
Cesarini, Franco Fantaisie VA Boosey & Hawkes 1 AI
Colin/Cailliet, Lucien The Eighth Solo FL-VA-AL Southern Music Company 3 AI
Combes-Damiens, Fable Du VA Alphonse Leduc 1 AI
Jean-Rene Souffle
Corigliano, James Serenade and MO-OH-NY Studio PR Inc 3 AI
Rondo
Crepin, Alain Saxflight VA De Haske Publications 1 AI
Cunningham, Michael Rara Avis VA Etoile Music 1 AI
De Luca, Joseph Beautiful MO-MD Carl Fischer 2 AI
Colorado
De Schrijver, Karel Scherzo VA De Haske Publications 1 AI
Debussy, Rhapsodie MI-FL-IN- Etoile Music/Durand 7 AI
Claude/David or TX-MD-VA-
Rousseau, Eugene AL
Defaye, Jean-Michel Morceau de VA Alphonse Leduc 1 AI
Concours II
Delage, Jean/Louis Illusions Reves VA Editions Billaudot 1 AI
et Caprices
Demillac, Francis- Jeux de Vagues VA Editions Combre 1 AI
Paul
95

Depelsenaire, Jean- Suite FL EMT 1 AI
Marie Concertante
Descamps, J. H. Danse Arabe FL Editions Billaudot 1 AI
/Grant, J.
Diercks, John Suite FL Tritone Press 1 AI
D'indy, Vincent Choral Variee FL Durand 1 AI
Dressel, Erwin Partita NY Southern Music Company 1 AI
Dubois, Pierre-Max A la Espagnole MI-FL-IN Alphonse Leduc 3 AI
Dubois, Pierre-Max A La Parisienne MI-FL-IN Alphonse Leduc 3 AI
Dubois, Pierre-Max Bouquet VA United Music Publishers 1 AI
D'hommages
Dubois, Pierre-Max Dix Figures a IN Alphonse Leduc 1 AI
danser-petit
ballet
Dubois, Pierre-Max La Gremellite VA Editions Billaudot 1 AI
Escaich, Thierry Amelie's Dream VA Editions Henry Lemoine 1 AI
Faith, Richard Phantasies VA-FL Southern Music Company 2 AI
Frackenpohl, Arthur Dorian Elegy WI-FL-TX- Kendor Music 4 AI
VA
Frackenpohl, Arthur Sonata NY Dorn Publications 1 AI
Frackenpohl, Arthur Sonata NY Editions Peters 1 AI
Frackenpohl, Arthur Variations for MI-FL-MO Shawnee Press 3 AI
Alto Saxophone
and Piano
Francaix, Jean Cinq Danses IN-OH-VA Schott & Co. 3 AI
Exotiques
Gasparian, Gerard Intermede VA Editions Billaudot 1 AI
Gates, Philip Mood Music VA Camden Music 1 AI
96
Ghidoni, Armando Scherzettino VA Alphonse Leduc 1 AI

Girard, Anthony Eloge De La VA Editions Billaudot 1 AI
Folie
Guicherd,Yves Ballade VA Editions Billaudot 1 AI
Guillonneau, Christian Bal Pour VA Editions Robert Martin 1 AI
Baptiste
Gurewich, Jascha Fantasia in F FL-IN-MO Franco Columbo 3 AI
Minor
Hoffman, A. G. Serenade VA-MD Alfred Music Publishing 2 AI
Basque
Hovhaness, Alan Suite Op. 291 VA Peermusic Classical 1 AI
Husa, Karel Postcard from FL Alphonse Leduc 1 AI
Home
Iannaccone, Anthony Remembrance VA Tritone Press 1 AI
Ibert, Jacques Histoires IN-MO-OH- Alphonse Leduc 5 AI
MD-VA
Ibert, Jacques L'age d'or IN Alphonse Leduc 1 AI
Iturralde, Pedro Suite Hellenique VA-IN HLM 2 AI
Jacob, Gordon Miscellanies VA Emerson Edition 1 AI
Jacob, Gordon Rhapsody IN-MO-MD- Galaxy 5 AI
NY-VA
Jacob, Gordon Rhapsody for NY-MD- GMC 5 AI
English Horn or VA-IN-MO
Alto Saxophone
Jacobi, Wolfgang Sonata for Eb MI-FL-IN- Bourne Co. 9 AI
Alto Saxophone TX-OH-NY-
MD-VA-AL
Jolivet, Andre Fantaisie ID-IN-MO- Alphonse Leduc 5 AI
Impromptu OH-NY
Joly, Denis Cantilene et IN-MO-NY Alphonse Leduc 3 AI
97
Dance

Karlins, William Music for Alto NY Southern Music Company 1 AI
Saxophone
Kawarsky, Jay Te'amim VA Southern Music Company 1 AI
Koch, Frederick Apocalyptic VA Southern Music Company 1 AI
Lantier, Pierre Allegro,Arioso, IN Editions Henry Lemoine 1 AI
et Final
Leeson, Cecil Sonata VA Southern Music Company 1 AI
Mabry, Drake Ceremony I VA Editions Henry Lemoine 1 AI
Martin, Gilles 12 Mini- VA Editions Billaudot 1 AI
caprices
Matitia, Jean The Devil's Rag VA Editions Henry Lemoine 1 AI
Meriot, Michel Romance VA Editions Combre 1 AI
Meriot, Michel Valse VA Editions Billaudot 1 AI
Romantique
Milhaud, Darius Dance IN-OH Interlochen Press 2 AI
Moritz, Edvard Sonata No. 2 op VA Southern Music Company 1 AI
103
Moritz, Edvard Sonata No. 2 VA Southern Music Company 1 AI
Moritz, Sonata Op. 96 VA Southern Music Company 1 AI
Edvard./Leeson, Cecil
Muldermans, J. Fantaisie Varie VA-FL Ludwig Music Publishing 2 AI
Naulais, Jerome Vacances en VA Editions Robert Martin 1 AI
Bourgogne
Nestico, Sammy Persuasion MI-FL Jack Spratt Music 2 AI
Publishers
Presser, William Tarantella VA Tritone Press 1 AI
Proust, Pascal Soir VA Editions Billaudot 1 AI
Quate, Amy Light of Sothis VA Alphonse Leduc 1 AI
98

Ramehda, Emile Pathetico, VA De Haske Publications 1 AI
Adagio &
Polacca
Rarig, John Dance Episode MO-MD-VA JTL Publications 3 AI
Reed, Alfred Ballade MI-FL-TX- Southern Music Company 5 AI
MD-VA
Rorem, Ned Picnic on the IN Boosey & Hawkes 1 AI
Marne
Russell, Armand Particles FL-OH-NY- Bourne Co. 4 AI
VA
Schmidt, William A Little MO-TX-VA Avant Music Company 3 AI
Midnight Music
Schmidt, William Music for VA Western International 1 AI
Unaccompanied Music
Saxophone
Scriabin/Diercks Prelude, Op. 9, MO-VA Dorn Publications 2 AI
No. 1, Or Etude
Op. 8 No. 2
Senon, Gilles La Tragedie de VA Editions Billaudot 1 AI
Melpomene
Singelee, Jean- Solo de Concert VA Editions Henry Lemoine 1 AI
Baptiste et Fantaisie
Brillante
Singelee, Jean- Concertino, 3e VA Anne Fuzeau Productions 1 AI
Baptiste Solo De Concert
et 5e Solo
Soule, E. Serenade For FL Studio PR Inc 1 AI
Alto Sax
Succari, Dia Legende Slave VA Editions Billaudot 1 AI
99

Tcherepnine, Sonatine FL-IN-MO- Alphonse Leduc 8 AI
Alexander Sportive OH-NY-
MD-VA-AL
Tomasi, Henri Introduction et IN-MO-MD Southern Music Company 3 AI
Dance
Tournier, Franz Prelude et FL Editions Henry Lemoine 1 AI
Scherzo
Tuthill, Burnet Sonata Op. 20 VA-IN-OH Southern Music Company 3 AI
Vehar,Persis Four Pieces FL TTO 1 AI
Vogel, Roger C. Sonata FL Brixton Publications 1 AI
Von Kreisler, Two WI-IN-MO Southern Music Company 3 AI
Alexander Impressions
Waignein, Andre Evasion VA De Haske Publications 1 AI
Waignein, Andre Deux VA De Haske Publications 1 AI
Mouvements
Walters, David Episode FL-IN-MO- Southern Music Company 4 AI
VA
Walters, David Andante and VA Southern Music Company 1 AI
Scherzo
Whitney, Maurice Rumba MI-FL-ID- Bourne Co. 9 AI
IN-MO-TX-
NY-MD-VA
Wiggins, Art Conversation VA Kendor Music 1 AI
Williams,John Escapades IN HLN 1 AI
Worley, John/Rascher, Sonata IN-MD-VA- Carl Fischer 3 AI
Sigurd AL
Yasinitsky, Gregory Sixth Sense NY Dorn Publications 1 AI
Ameller, Andre Lirico FL EPC 1 E
100
Bataille, Prudent Badine FL Editions Billaudot 1 E

Beaucamp, Albert Chant Elegiaque MO Alphonse Leduc 1 E
Bouvard, Jean Chant Elegiaque NY Editions Billaudot 1 E
et Final
Bozza, Eugene Chanson a NY Alphonse Leduc 1 E
Bercer
Bozza, Eugene La Campanile NY Alphonse Leduc 1 E
Brouquieres, Jean Songes NY ERM/Mar 1 E
Buchtel, Forrest Cielito Lindo FL-VA Neil A. Kjos Music Co. 2 E
Buchtel, Forrest Fandango FL-TX Neil A. Kjos Music Co. 2 E
Buchtel, Forrest Happy Bugler VA Neil A. Kjos Music Co. 1 E
Buchtel, Forrest Harlequin FL Neil A. Kjos Music Co. 1 E
Buchtel, Forrest Jiggle A Bit VA Neil A. Kjos Music Co. 1 E
Buchtel, Forrest Pied Piper FL Neil A. Kjos Music Co. 1 E
Buchtel, Forrest Serenade VA Neil A. Kjos Music Co. 1 E
Cofield, Frank D. Chartreuse FL-TX-VA Rubank Inc. 3 E
Compello, Joseph Cantilena VA MSB Publishing 1 E
Compello, Joseph Chromatic VA MSB Publishing 1 E
Conquest
Compello, Joseph Fantasia VA MSB Publishing 1 E
Cowan, Don Impressions MO Boosey & Hawkes 1 E
Dachez, Christian Melodi-lene VA Alphonse Leduc 1 E
Dachez, Christian Saxorama NY Alphonse Leduc 1 E
Damase, Jean-Michel Azur TX-NY Editions Billaudot 2 E
Datshkovsky, Yasha Pensamiento VA Southern Music Company 1 E
Dedrick, Chris A Tune For VA Kendor Music 1 E
Christopher
Depelsenaire, Jean- Pour Une Nuit FL EPC 1 E
Marie De Printemps
101

Dervaux, Andre Jean Petite Suite en FL Editions Billaudot 1 E
Saxe
Desloges, Jacques Fabliau NY ERM 1 E
Dorsselaer, Willy Van Conte de FL Editions Billaudot 1 E
Versailles
Dorsselaer, Willy Van Musicolor FL Editions Billaudot 1 E
Dubois, Pierre-Max Olga-Valse NY Editions Billaudot 1 E
Ghidoni, Armando Douce VA Alphonse Leduc 1 E
Chansonnette
Goepp, Rene Manivelle VA Editions Billaudot 1 E
Harris, Floyd O. Ballroom VA Ludwig Music Publishing 1 E
Echoes
Harris, Floyd O. Ocean Beach TX Ludwig Music Publishing 1 E
Harris, Floyd O. Ocean Beach VA Ludwig Music Publishing 1 E
Valse
Hill, William Indian Harvest VA Neil A. Kjos Music Co. 1 E
Song
Kastel, Fabrice La Boite A VA Editions Billaudot 1 E
Malice
Londeix, Jean-Marie Tableaux NY Alphonse Leduc 1 E
Aquitains
Migmon,Rene Elegie and FL Editions 1 E
Pastorale Billaudot/Theodore
Presser Company
Mindlin, Adolfo Blues Song VA Alphonse Leduc 1 E
Naulais, Jerome Coconotes VA Editions Billaudot 1 E
Niehaus, Lennie Fanflairs NY-VA Kendor Music 2 E
Niehaus, Lennie Great Scott NY Kendor Music 1 E
102
Niehaus, Lennie Turnabout NY-VA Kendor Music 2 E

Niehaus, Lennie Brattleboro VA Kendor Music 1 E
Anthem
Niehaus,Lennie Timepiece NY-VA Kendor Music 2 E
Perrin, Marcel Berceuse MO-OH-MD Alphonse Leduc 3 E
Phillips, H. Eight Bel Canto FL Shawnee Music Press 1 E
Songs
Pichaureau, Claude Saximini TX Editions Billaudot 1 E
Planel, Robert Chanson Du MO Alphonse Leduc 1 E
Muletier
Rascher, Sigurd Flowers Lullaby NY-VA Warner Brothers 2 E
Publications
Roger, Denise Conversation VA United Music Publishers 1 E
Rougeron, Philippe Melodie NY-VA Editions Billaudot 2 E
Rousseau, Eugene Alto FL-VA Belwin 2 E
Affirmation
Rousseau,Eugene Ambling Alto FL-NY-VA Belwin 3 E
Samyn, Gino Au Fil du NY Editions Billaudot 1 E
Temps
Schudel, Thomas An Evening TX-VA Southern Music Company 2 E
Stroll
Semler-Collery Lied FL Editions Billaudot 1 E
Siennicki, Edmund Harvest Waltz VA Ludwig Music Publishing 1 E
Solomon, Edward The Dancer FL-VA Southern Music Company 2 E
Thiriet, Maurice Adagio MO United Music Publishers 1 E
Tomasi, Henri Chant Corse MO-MD Alphonse Leduc 2 E
Vandercook H. A. / Columbine VA Neil A. Kjos Music Co. 1 E
Buchtel, Forrest
Vandercook, H. A. Marigold VA Neil A. Kjos Music Co. 1 E
103
/Buchtel, Forrest

Voxman, Himie Lament and MO char 1 E
Tarantella
Warren, David Cumberland FL-MO-OH Ludwig Music Publishing 3 E
Warren, David Danish Dance FL-MO-OH Ludwig Music Publishing 3 E
Bassett, Leslie Music For FL Carl Fischer 1 VA
Saxophone and
Piano
Cowell, Henry Air & Scherzo FL Associated Music 1 VA
Publishers
Denisov, Edison Sonate FL-IN-MD- Alphonse Leduc 5 VA
VA-AL
Desenclos, Alfred Prelude,Cadenc FL-IN-NY- Alphonse Leduc 5 VA
e et Finale VA-AL
Despalj, Valter Concerto FL-NY Southern Music Company 2 VA
Erickson, Frank Concerto For FL-NY Bourne Co. 2 VA
Alto Saxophone
and Piano
Feld, Jindrich Sonate VA-AL United Music Publishers 2 VA
Harbison, John San Antonio IN HLN 1 VA
Larsen, Libby Holy Roller IN Oxford University Press 1 VA
Larsson, Lars-Erik Concerto IN Gehrmans Musikforlag 1 VA
Latham, William Sisyphus 1971 FL Editions Billaudot 1 VA
Massias, Gerard Suite FL Editions Billaudot 1 VA
Monodique
Noda, Ryo Mai IN Alphonse Leduc 1 VA
Persichetti, Vincent Parable XI, Op. FL-IN-TX- Tritone Press/Elkan Vogel 6 VA
123 MD-VA-AL
Pierne, Paul Prelude et FL Editions Billaudot 1 VA
104
Scherzo

Snyder, Randall Sonata FL Tritone Press 1 VA
Weinberger, Josef Concerto FL Southern Music Company 1 VA
Yoshimatsu, Takashi Fuzzy Bird IN Editions Billaudot 1 VA
Sonata
105

106
APPENDIX C
TRANSCRIPTION RECOMMENDATIONS

Composer Piece Appearance on Publisher Count Score
State Lists
Albeniz, Isaac Tango Op. 165 FL-MO-OH-VA CB 4 I
No. 2
Albinoni, Tomaso/Dishinger, Sonata For Violin FL-VA Medici Music 2 I
Ronald and Bass Press
Bach, J.S Adagio et MI United Music 1 I
Andante Publishers
Bach, J.S. Bourree MD Southern Music 1 I
Company
Bach, J.S./Dishinger, Ronald Sinfonia (cantata VA-FL Medici Music 2 I
no. 156) Press
Bach,Tartini,Corelli/Dishinger, Baroque Suite No. FL-VA Medici Music 2 I
Ronald 3 Press
Bach, J. S./Dishinger, Ronald Badinerie FL-VA Medici Music 2 I
Press
Bach, J.S./Dishinger, Ronald Bourree MD-VA Southern Music 2 I
Company
Bach, J.S./Dishinger, Ronald Fugue No. 10 FL-VA Medici Music 2 I
Press
Bach, J.S./Dishinger, Ronald Gavotte in G VA Medici Music 1 I
Minor Press
Bach, J. S./Dishinger, Ronald Polonaise FL-VA Medici Music 2 I
Press
Bach, J. S./Dishinger, Ronald Ave maria FL-VA Medici Music 2 I
Press
Bach, J. S./Kent, H. R. Arioso From TX-OH-VA-MD Carl Fischer 4 I
107
Cantata No 156

Bach, J. S./Leeson, Cecil Air MD Baron 1 I
Bach, J. C./Marteau, Henri Andante Cantabile OH-MO-MI-FL- Ludwig Music 5 I
VA Publishing
Bach, J. S./Mule, Marcel Adagio MD-VA Southern Music 2 I
Company
Bach, J. S./Mule, Marcel Andante & ID-MO-VA Alphonse Leduc 3 I
Allegro from 1st
Sonata for Violin
Bach, J. S./Mule, Marcel Aria VA Alphonse Leduc 1 I
Bach, J. S./Mule, Marcel Gavotte et VA Alphonse Leduc 1 I
Musette
Bach, J. S. /Ramsay, Neal Sinfonia From FL-VA Medici Music 2 I
Cantata 156 Press
Bartok, Bela/Harris, Floyd O. Evening in the TX-OH-VA Ludwig Music 3 I
Country Publishing
Beethoven, Ludwig Adagio from FL-MO-VA CB 3 I
Van/Bettoney, Harry Sonata Pathetique
Op.13
Beethoven, Ludwig Van /Davis, Adagio from OH Western 1 I
Sharon Sonata Pathetique International
Music
Beethoven, Ludwig Beloved From VA-FL Medici Music 2 I
Van/Dishinger, Ronald Afar, Op. 98, No. Press
6
Beethoven, Ludwig Minuet and Trio FL Neil A. Kjos 1 I
Van/Pearson, Bruce Music Co.
Bell, A./Dishinger, Ronald Sonatine in Four FL-VA Medici Music 2 I
Mvts Press
Bergson, Michael Scene and Air MO Molenaar Edition 1 I
108

Berlioz, Hector/Dishinger, Bolero FL-VA Medici Music 2 I
Ronald Press
Bizet, Georges/Buchtel, Forrest Minuet from TX Neil A. Kjos 1 I
L'Arlesienne Music Co.
Bizet, Georges/Gee, Harry Intermezzo MI-TX-OH-VA Carl Fischer 4 I
Bizet, Georges/Molenaar Agnus Dei VA Molenaar Edition 1 I
Boccherini, Luigi/Dishinger, Minuet VA Medici Music 1 I
Ronald Press
Bolzoni, Giovanni/Buchtel, Minuet from OH-FL-VA Neil A. Kjos 3 I
Forrest Sonata Op. 49,no. Music Co.
2
Bournonville, Armand/Gee, Danse Pour Katia VA-MI Southern Music 2 I
Harry Company
Brahms, Johannes/Davis, Henry Hungarian Dance MI-FL Rubank Inc. 2 I
No. 5
Buchtel, Forrest Minuet MI-VA Rubank Inc. 2 I
Byrd/Davis Pavana and TX Western 1 I
Galiando International
Music
Byrd/Dishinger Earle of Oxford's VA Medici Music 1 I
Marche Press
Carr, Paul Habanera (from 4 FL Kendor Music 1 I
Comedy Dances)
Chaminade, Cecile/Dishinger, Rigaudon & FL-VA Medici Music 2 I
Ronald Novelette Press
Chopin/Ramsey Largo FromSonata FL Medici Music 1 I
for Cello in G Press
minor
Chopin, Frederic/Rousseau, Largo Op. 65 TX-VA Etoile Music 2 I
109
Eugnene

Corelli, Arcangelo/Coggins, Gigue MD-VA-FL-TX Belwin 4 I
Willis
Corelli, Arcangelo/Dishinger, Suite No. 1 VA Medici Music 1 I
Ronald Press
Corelli, Arcangelo/Dishinger, Suite No. 1 in FL-VA Medici Music 2 I
Ronald Three Movements Press
Corelli, Arcangelo/Dishinger, Suite No. 2 VA-OH-FL Medici Music 3 I
Ronald Press
Corelli, Arcangelo/Felix, Clyde Sonata in F Major MO-OH-MD-VA Edition Musicus 4 I
Corelli, Arcangelo/Gee, Harry Adagio in G NY-FL-MO Kendor Music 3 I
Minor
Corelli, Arcangelo/Maganini, Air and Dance MO-TX-OH Edition Musicus 3 I
Quinto
Corelli, Arcangelo/Maganini, Suite in B Flat IN-OH-MO Edition Muzicala 3 I
Quinto
Corelli, Arcangelo/Mule, Adagio MI-FL-TX-MD- Alphonse Leduc 5 I
Marcel VA
Corelli, Arcangelo/Voxman, Sarabande & MO Rubank Inc. 1 I
Himie Gigue
Couperin, Francois/Dishinger, Bacchanale From FL-VA Medici Music 2 I
Ronald Book IV for Press
Clavier
Couperin, Francois/Dishinger, Marche from FL-VA Medici Music 2 I
Ronald Book IV for Press
Clavier
d'Ambrosio, Alfred/Hummel, Canzonetta, Op.6 FL-TX-VA Rubank Inc. 3 I
Herman
De Fesch, Willem/Kaplan, Canzonetta MO-VA Southern Music 2 I
David Company
110

Debussy, Claude/Branga R. Golliwog's VA Durand 1 I
Cakewalk
Debussy, Claude/Cazden, Clair de Lune VA Jack Spratt Music 1 I
Norman Publishers
Debussy, Claude/Davis, Sharon Golliwog's OH-VA Western 2 I
Cakewalk International
Music
Debussy, Claude/Dishinger, Call to Angelus FL-VA Medici Music 2 I
Ronald (les Angelus) Press
Debussy, Claude/Dishinger, Reverie MO-VA Jack Spratt Music 2 I
Ronald Publishers
Debussy, Claude/Ramsay, Neal Girl with the WI-FL Medici Music 2 I
Flaxen Hair Press
Debussy, Claude/Ramsay, Neal Clair de Lune MO-TX Medici Music 2 I
Press
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Brahms, Johannes/Rousseau, Sonata In F Minor VA-AL Etoile Music 2 A
Eugene Op 120 No 1
Carter, Elliot Pastoral VA-AL Theodore Presser 2 A
Company
Debussy, Claude/Londeix, Jean- Syrinx MI-FL-MO-TX- Editions Jobert 6 A
Marie OH-MD
Demersseman, Jules/Hemke, The Carnival of IN-VA-AL Southern Music 3 A
Frederick Venice Company
Devienne, Francois/Andraud, Six Sonatas OH Sotex 1 A
Albert
Dukas, Paul/Mule, Marcel Alla Gitana MO-TX Alphonse Leduc 2 A
Fasch, Friedrich/Rascher, Sonata MI-FL-MO,B- Dorn Publications 5 A
Sigurd TX-NY / Mcginnis &
Marx
Fasch, Friedrich/Rascher, Sonata in C Major MI-FL-NY Dorn Publications 3 A
Sigurd
Faure, Gabriel/Deffayet, Daniel Elegie, Op. 24 VA Thompson 1 A
Editions
Faure, Gabriel/Deffayet, Daniel Fantaisie, Op. 79 VA Dorn Publications/ 1 A
Thompson Edition
Gaubert, Philippe/Mule, Marcel Intermede VA-AL Dorn Publications 2 A
129
Champetre

Glaser/Rascher, Sigurd Variations on a MO-NY Chappell & Co. 2 A
Gavotte by Corelli
Gossec, Franz Joseph/Mule, La Fete Du IN Alphonse Leduc 1 A
Marcel Village
Grainger, Percy/Greenberg, Arrival Platform OH Southern Music 1 A
Roger Humlet Company
Handel, G.F./Mule, Marcel 1st Sonata VA Alphonse Leduc 1 A
Handel, G.F./Mule, Marcel First Sonate OH-VA Alphonse Leduc 2 A
Handel, G.F./Rascher, Sigurd Sonata 13 (any 2 FL-TX-MI-OH- Tritone Press 5 A
mvts) NY
Handel, G.F./Rascher, Sigurd Sonata No. 13 MI-OH-TX Elkan-Vogel 3 A
Karg-Elert, Sigfrid/Ford, Robert 23 Caprices for TX Southern Music 1 A
Flute Company
Mondonville/Hemke, Frederick Sonata No. 6 MI-FL-IN Southern Music 3 A
Company
Monti, Vittorio/Leonard, Csardas VA J. Michael 1 A
Michael Leonard
Publications
Mozart, W.A./Smim, Paul Concerto FL-MO EM 2 A
Piazzolla, Astor/Delangle, Tango Etudes IN-TX Editions Henry 2 A
Claude Lemoine
Puccini, Giacomo/Hermann, Tosca Fantasy TX Valhalla Music 1 A
Ralph
Rabaud, Henri/Daum/Gee, Solo de Concours MI-FL-IN-MO- EM/SMC 5 A
Harry VA
Rossini, Gioachino/Hekker, W. Rosines Aria VA-AL Tierolff 2 A
Muziekcentrale
Rossini, Gioachino/Schmidt, Variations TX Western 1 A
William International
130
Music

Saint-Saens, Camille/Teal, Sonata IN-AL-VA Etoile Music 3 A
Larry
Savari, Jerome/Ronkin, Bruce Freischutz Fantasy OH Roncorp Inc. 1 A
Schubert, Franz/Leeson, Cecil L'Abeille IN MBC 1 A
Traditional/Marlatt, David Variations on WI Eighth Note 1 A
Blue Bells of Publications
Scotland
Vivaldi, Antonio/McGinnis and Sonata in G Minor FL-MO-MD McGinnis & Marx 3 A
Marx
131

132
APPENDIX D
RECOMMENDED COLLECTIONS

Composer Piece Appearanc Collection Publisher Count Score
e on State
Lists
Various CLASSIC NA Classic Belwin 0
FESTIVAL Festival
SOLOS FOR Solos For
ALTO Alto
SAXOPHONE Saxophone
VOL.2 Vol.2
Various CONCERT AND NA Concert And Rubank Inc. 0
CONTEST Contest
COLLECTION Collection
Various CONTEMPORAR NA Contemporar International 0
Y FRENCH y French Music
RECITAL Recital Company
PIECES VOL 2 Pieces Vol 2
Various PIECES NA Pieces Alphonse Leduc 0
CLASSIQUES Classiques
CELEBRES Celebres
VOL.3 Vol.3
Various SOLO SOUNDS NA Solo Sounds Alfred Music 0
LEVEL 1/3 Level 1/3 Publishing
Various THE RASCHER NA The Rascher Hal Leonard 0
COLLECTION Collection Publishing
Corp.
Arr. Lee Patrick REPERTOIRE NA Repertoire Carl Fischer 0
CLASSICS FOR Classics For
ALTO Alto
133
SAXOPHONE Saxophone

Jack Lamb SOLO SOUNDS NA Solo Sounds Alfred Music 0
LEVEL 3-5 Level 3-5 Publishing
RUBANK SOLOIST FOLIO NA Soloist Folio Rubank Inc. 0
Various CLASSIC NA Classic Belwin 0
FESTIVAL Festival
SOLOS FOR Solos For
ALTO Alto
SAXOPHONE Saxophone
Various FRENCH XX NA French Xx International 0
CENTURY Century Music
RECITAL Recital Company
PIECES VOL.1 Pieces Vol.1
Various RUBANK BOOK NA Rubank Rubank Inc. 0
OF ALTO Book Of
SAXOPHONE Alto
SOLOS Saxophone
Solos
Glaser/ Carnival of Venice VA-AL The Rascher Hal Leonard 2 A
Rascher, Sigurd Collection Publishing
Corp.
Rimsky-Korsakov, FESTIVAL TX Festival Carl Fischer 1 A
Nicolai/ PERFORMANCE Performance
Bettoney, Harry SOLOS, VOL,2 Solos, Vol,2
Various PIECES VA Pieces Alphonse Leduc 1 AI
CELEBRES VOL. Celebres
1 Vol. 1
134

Bach, J.S./ Suite en Si Mineur VA-MD Pieces Alphonse Leduc 2 AI
Mule, Marcel Classiques
Celebrfes
Vol.1
Bach, J.S./ PIECES VA Pieces Alphonse Leduc 1 AI
Mule, Marcel CELEBRES 1 Celebres 1
Bach, J.S./ Sicilienne and IN-MO-TX- Solos for the G. Schirmer 8 AI
Teal, Larry Allegro (From: OH-NY- Alto Inc.
flute Sonata No.2) MD-VA-MI Saxophone
Player
Chopin, Frederic/ Nocturne MD-VA Solos for the G. Schirmer 2 AI
Teal, Larry Alto Inc.
Saxophone
Player
Combelle, Francois/ Fantaisie FL-MO- Concert and Rubank Inc. 4 AI
Voxman, Himie Mauresque MD-VA Contest
Debussy/Ray CLAUDE MO-TX Claude Universal 2 AI
DEBUSSY Debussy Editions
SAXOPHONE Saxophone
ALBUM Album
Guilhaud, Georges/ First Concertino FL-OH- Concert and Rubank Inc. 5 AI
Voxman, Himie MD-VA-AL Contest
Handel, G.F./ PIECES VA Pieces Alphonse Leduc 1 AI
Handel, G.F./ PIECES VA Pieces Alphonse Leduc 1 AI
Haydn, F, J./ Gypsy Rondo IN-MD- Solos for the G. Schirmer 4 AI
Teal, Larry VA-AL Alto Inc.
Saxophone
Player
135

Herbin Dance VA French Xx International 1 AI
Century Music
Recital Company
Pieces Vol.1
Lully, Jean- Air Tendre et VA Pieces Alphonse Leduc 1 AI
Baptiste/ Courante Classiques
Mule, Marcel Celebres
Vol. 3
Paladilhe, Emile/ Concertante FL-TX- Concert and Rubank Inc. 4 AI
Voxman, Himie MD-VA Contest
Ravel, Maurice/ Sonatine (from: VA Solos for the G. Schirmer 1 AI
Teal, Larry First Movement) Alto Inc.
Saxophone
Player
Rehl, Richard The Duchess FL-VA Rubank Rubank Inc. 2 AI
Book of Alto
Saxophone
Solos-
Intermediate
Rimsky-Korsakov, Flight of the FL-TX-VA Festival Medici Music 3 AI
Nicolai/Ramsay, Bumblebee Performance Press
Neal Solos Vol. 2
/Bettoney, Harry
Tartini, Giuseppe/ Grave VA Pieces Alphonse Leduc 1 AI
Celebres
Vol.2
Various SAX CLASSICS VA Sax Classics Simrock 1 AI
Various/ PIECES VA Pieces Alphonse Leduc 1 AI
136

Various EASY CLASSICS NY Easy Classics Curnow Music 1 E
FOR THE For The
YOUNG ALTO Young Alto
SAXOPHONE Saxophone
PLAYER Player
Various KENDOR NY Kendor Kendor Music 1 E
RECITAL SOLOS Recital Solos
Anonymous/ Meadowland FL-VA Rubank Rubank Inc. 2 E
Hurrell, Clarence Book of Alto
Saxophone
Solos
ARR. INDISPENSIBLE WI Indispensible Rubank Inc. 1 E
ENDRESEN, R.M. FOLIO FOR Folio For
ALTO Alto
SAXOPHONE Saxophone
Arr. Lacour, Guy PIECES VA Pieces Alphonse Leduc 1 E
VOL. 1 Vol. 1
ARR. Mauk, Steven MEDICI NY Medici Medici Music 1 E
MASTERWORKS Masterworks Press
SOLOS VOL. 2 Solos Vol. 2
ARR. STANDARD OF WI Standard Of Neil A. Kjos 1 E
Pearson, Bruce/ EXCELLENCE Excellence Music Co.
Elledge, Chuck FESTIVAL Festival
SOLOS-BOOK 2 Solos-Book 2
Arr. Snell, Keith BELWIN MI-WI Belwin Belwin 2 E
MASTER SOLOS, Master
VOL.1 EASY Solos, Vol.1
Easy
137

Bach, J.S./ Gavotte MO-MD- Program Theodore 3 E
Teal, Larry TX Solos Presser
Company
Bach, J.S./ Minuet FL-FL-TX- Classic Belwin 4 E
Rascher, Sigurd NY-VA Festival
Solos for
Alto
Saxophone
Baumann, Paul/ Concert in the MD-VA Alto Sax Alfred Music 2 E
Rascher, Sigurd Forest Solos-Level Publishing
1
Van Beethoven, Ode to Joy NY Easy Classics Curnow Music 1 E
Ludwig/ For The
Johnson Young Alto
Saxophone
Player
Behr, Franz/ Springtime Waltz FL Festival Neil A. Kjos 1 E
Pearson, Bruce Solos- Book Music Co.
1
Benedict, Julius/ Carnival of Venice NY Easy Classics Curnow Music 1 E
Hannickel, Mike For The
Young Alto
Saxophone
Player
Biehl, Albert/ Melody FL Festival Neil A. Kjos 1 E
Pearson, Bruce Solos- Book Music Co.
1
Bohm, Carl/ Calm as the Night FL-VA Classic Belwin 2 E
Rousseau, Eugene Festival
Solos, Vol 2
138

Brahms, Johannes/ Hungarian Dance NY-NY Easy Classics Curnow Music 1 E
Curnow, James No. 5 For The
Young Alto
Saxophone
Player
Brahms, Johannes/ Hungarian Dance NY-NY Easy Classics Curnow Music 1 E
Curnow, James No. 6 For The
Young Alto
Saxophone
Player
Coggins, Willis Aria MD-VA Alto Belwin 2 E
Saxophone
Solos Level
2
Cowles, Colin/ WORLD NY World Fentone Music 1 E
DeSmet, Robin FAMOUS Famous
MELODIES Melodies
Diabelli/ Bagatelle FL-NY Festival Neil A. Kjos 2 E
Pearson, Bruce Solos, Book Music Co.
1
Drigo, Riccardo Canzona Barcarola VA Classic Belwin 1 E
Festival
Solos for
Alto
Saxophone
Dvorak, Antonin/ Air Gracile VA Rubank book Rubank Inc. 1 E
Johnson, Clair of alto
saxophone
solos
139

Faure, Gabriel/ Elegie MD Program Presser/Compos 1 E
Teal, Larry Solos ers Library
Editions
Foster, Robert Let My People Go MD-VA Alto Sax Alfred Music 2 E
Solos-Level Publishing
1
Foster, Robert Little Folk Song MD-VA Alto Sax Alfred Music 2 E
1
Foster, Robert Little Randy MD-VA Alto Sax Alfred Music 2 E
1
Foster, Robert Winter Rhapsody VA Classic Belwin 1 E
Festival
Solos for
Alto
Saxophone
Foster, Robert Beautiful Dreamer NY World Fentone Music 1 E
Famous
Melodies
Fox, Andrew Aria and Scherzo MI-OH-VA Classic Belwin 3 E
Festival
Solos for
Alto
Saxophone
Girlamo, Robert/ Matador MO Classic Belwin 1 E
Coggins, Willis Festival
Solos, Vol. 2
Gretchaninoff/ At the Hearth MO-MD- Concert and Rubank Inc. 3 E
Voxman, Himie VA Contest
140

Gretchaninoff/ Evening Waltz FL-MD-VA Concert and Rubank Inc. 3 E
Voxman, Himie Contest/
Rubank
Book of Alto
Saxophone
Solos
Handel, G.F./ Largo MD-VA Pieces Alphonse Leduc 2 E
Celebres
Vol.1
Johnson, Clair W. SACRED SOLOS VA Sacred Solos Rubank Inc. 1 E
Lewin, Gordon TWENTY-TWO NY Twenty-Two Associated 1 E
UNCCOMPANIE Unccompani Board of the
D PIECES FOR ed Pieces For Royal Schools
SAXOPHONE Saxophone of Music
Lotzenhiser, G.W. Poco Waltz MO Classic Belwin 1 E
Festival
Solos for
Alto
Saxophone
Lully, Jean- Menuet du NY The Classical Dorn 1 E
Baptiste/Kernen, Bourgeois Collection Publications
Roland Gentihomme
Meacham, Frank American Patrol NY World Fentone Music 1 E
Famous
Melodies
Morley, Thomas/ Alman FL Classic Warner 1 E
Dishinger, Ronald Festival Brothers
Solos, Vol.1 Publications
141

Mozart, W.A./ Ballet des Petits MD Pieces Alphonse Leduc 1 E
Mule, Marcel Riens Classiques
Celebres
Vol.2
Mozart, W.A. Allegro FL-MO-VA Solo Sounds Belwin 3 E
/Rousseau, Eugene Levels 1/3
Vol. 1
Mozart, W.A./ Minuet (from FL-OH- Concert and Rubank Inc. 4 E
Voxman, Himie Haffner Music, K. MD-VA Contest/Ruba
250) nk Book of
Alto
Saxophone
Solos-
intermediate
Nageli, Georg/ Joys of Life VA alto Alfred Music 1 E
Rascher, Sigurd saxophone Publishing
solos
Offenbach, Jacques Can Can NY World Fentone Music 1 E
Famous
Melodies
Offenbach/ The Can Can NY Easy Classics Curnow 1 E
Alan For The
Young Alto
Saxophone
Player
Praetorius/ From Heaven High NY-VA Classic Belwin 2 E
Rascher, Sigurd Festival
Solos, Vol. 1
Purcell, Henry Air NY-NY Festive De Haske 1 E
Baroque Publications
142

Rae, James INTRODUCING NY-VA Introducing Universal 2 E
THE The Editions
SAXOPHONE Saxophone
PLUS BOOK 2 Plus Book 2
Rascher, Sigurd A Quempas Tune VA Alto Belwin 1 E
Saxophone
Solos Level
1
Rascher, Sigurd Drink to Me Only VA Alto Belwin 1 E
With Thine Eyes Saxophone
Solos Level
1
Rascher, Sigurd American Folk MD-VA Alto Alfred Music 2 E
Tune Saxophone Publishing
Solos Level
2
Rascher, Sigurd Blue Tail Fly VA Alto Alfred Music 1 E
Saxophone Publishing
Solos Level
2
Rascher, Sigurd Fox You Stole the VA Alto Alfred Music 1 E
Goose Saxophone Publishing
Solos Level
2
Rousseau, Eugene Advance of the VA Classic Alfred Music 1 E
Alto Festival Publishing
Solos For
Alto
Saxophone
Vol.2
143

Strauss, Richard/ Allerseelen FL-TX-VA Rubank Rubank Inc. 3 E
Walters, Harold Book of Alto
Saxophone
Solos -easy
Sugawa, Nobuya THE CLASSICAL NY The Classical Dorn 1 E
COLLECTION Collection Publications
Tchaikovsky, Piotr Concerto in B Flat FL Rubank Rubank Inc. 1 E
Ilyich/ Minor Book of Alto
Hummel, Herman Saxophone
Solos - Easy
Telemann, Georg Die Liebe NY Festive Dorn Publishing 1 E
Philipp Baroque
Traditional Dixie NY World Fentone Music 1 E
Famous
Melodies
Traditional Little Brown Jug NY World Fentone Music 1 E
Famous
Melodies
Traditional Londonderry Air NY World Fentone Music 1 E
Famous
Melodies
Traditional Men of Harlech NY World Fentone Music 1 E
Famous
Melodies
Traditional/ Amazing Grace NY Kendor Kendor Music 1 E
Christensen Recital Solos
Turk/ Cappriccio FL Standard Of Neil A. Kjos 1 E
Pearson, Bruce Excellence Music Co.
Festival
Solos-Book 2
144

van Beringen, FESTIVE NY Festive Durand 1 E
Robert BAROQUE Baroque
VARIOUS ALTO VA Alto Alfred Music 1 E
SAXOPHONE Saxophone Publishing
SOLOS LEVEL 1 Solos Level
1
Various FESTIVAL TX Festival Carl Fischer 1 E
PERFORMANCE Performance
SOLOS, Vol, 1 Solos, Vol, 1
Various/ MASTERWORKS FL Masterworks Medici Music 1 E
Dishinger, Ronald SOLOS VOL 1 Solos Vol 1 Press
EXCEPT NO. 6 Except No. 6
Walker, Richard Reminiscence VA Classic Belwin 1 E
Festival
Solos for
Alto
Saxophone
Various PIECES VA Pieces Alphonse Leduc 1 I
CELEBRES Celebres
VOL.2 Vol.2
Albeniz, Isaac/ Tango NY The Classical Dorn 1 I
DeSmet, Robin Collection Publications
Allerme, Jean Marc SAXOFOREVER VA Saxoforever Editions Henry 1 I
VOL. 1 Vol. 1 Lemoine
145

Anon. or Trad./ The Cuckoo TX Belwin Belwin 1 I
Snell, Keith Master Solos
Intermediate
Arr. Lacour, Guy PIECES VA Pieces Alphonse Leduc 1 I
VOL. 2 Vol. 1
VOL. 3 Vol. 1
VOL. 5 Vol. 1
ARR. Mauk, Steven MEDICI NY-VA Medici Medici Music 2 I
MASTERWORKS Masterworks Press
FOR ALTO For Alto
SAX,Vol.II Sax,Vol.Ii
ARR. RAE, SAXOPHONE VA Saxophone Universal 1 I
JAMES ALBUM Album Editions
Arr. Snell, Keith BELWIN MILLS WI Belwin Mills Belwin 1 I
MASTER SOLOS Mastersolos
VOL. 1 Vol. 1
INTERMEDIATE Intermediate
146

Arr. Teal, Larry PROGRAM NY-VA Program Alfred Music 2 I
SOLOS FOR THE Solos For Publishing
ALTO The Alto
SAXOPHONE Saxophone
PLAYER Player
ARR. MEDICI WI-VA Medici Medici Music 2 I
DISHINGER, MASTERWORKS Masterworks Press
RONALD SOLOS VOL.1 Solos Vol.1
Bach, J.S. Gavotte from NY Twenty-Two Associated 1 I
/Lewin, Gordon French Suite No. 5 Unaccompan Board of the
ied Pieces Royal Schools
For of Music
Saxophone
Bach, J.S./ BACH FOR THE VA Bach For Ethos 1 I
Caravan, Ronald SAXOPHONE The Publications
(No. 6 & No. 19) Saxophone
(No. 6 & No.
19)
Bach, J.S./ BACH FOR THE VA Bach For Ethos 1 I
Caravan, Ronald SAXOPHONE The Publications
(No. 35 & No. 36) Saxophone
(Nos.35 &
36)
Bach, J.S./ Arioso MI-FL-OH- Classic Belwin 5 I
Rousseau, Eugene NY-VA Festival
Solos, Vol.2
147

Barat/ Elegie FL-MO- Concert and Rubank Inc. 5 I
Voxman, Himie OH-MD- Contest/Ruba
VA nk Book of
Alto
Saxophone
Solos-
intermediate
Van Beethoven, Petite Valse VA Pieces Alphonse Leduc 1 I
Ludwig/ Classiques
Vol.2
Van Beethoven, Minuet from TX-OH- Program Theodore 5 I
Ludwig/ Sonata Op. 49, No. NY-MD-MI Solos Presser
Teal, Larry 2) Company
Bernstein, Leonard/ BERNSTEIN FOR VA Bernstein For Boosey & 1 I
Elliott, David ALTO Alto Hawkes
SAXOPHONE Saxophone
Beswick, Audrey SIX FOR SAX VA Six For Sax Universal 1 I
Editions
Bizet,Georges Toreador's Song NY-VA World Fentone Music 2 I
/DeSmet, Robin Famous
Melodies
Bizet, Georges/ FESTIVAL TX Festival Carl Fischer 1 I
Gee, Harry PERFORMANCE Performance
SOLOS, VOL.1 Solos, Vol.1
Bizet, Georges/ Solo de MI-MO- Rubank Rubank Inc. 4 I
Hummel, Herman L'Arlesienne OH-FL Book off
Alto
Saxophone
solos
148

Blavet, Michel/ Adagio and Gigue MI-OH- Program Theodore 4 I
Teal, Larry NY-MD Solos Presser
Company
Borodin, Polovetsian Dance VA Rubank Rubank Inc. 1 I
Alexander/ Book of Alto
Walters, Harold Saxophone
Solos
Burgstahler, Elton The Caballero MI-TX Classic Belwin 2 I
Festival
Solos for
Alto
Saxophone
Campra, Andre/ Achille et -VA Pieces Alphonse Leduc 1 I
Mule, Marcel Deidamie Classiques
Celebres
Vol.3
Chailleux, Andre/ Andante and MI-FL-MO- Concert and Rubank Inc. 5 I
Voxman, Himie Allegro MD-VA Contest
Chopin, Frederic Theme and NY Medici Medici Music 1 I
Variations Masterworks Press
For Alto
Sax,Vol.2
Chopin, Frederic/ Theme & FL Masterworks Medici Music 1 I
Mauk, Steven Variations Solos, Vol, 2 Press
Chopin, Frederick/ Mazurka Op.67, NY-MD Program Theodore 2 I
Teal, Larry No.2 Solos Presser
Company
Clementi, Muzio/ Presto from OH-NY- Program Theodore 3 I
Teal, Larry Sonatina Op., 37, MD Solos Presser
No.1 Company
149

Corelli, Arcangelo/ Sonata fromViolin MI-FL Masterworks Medici Music 2 I
Mauk, Steven Sonata Op. 5 No. Solos,Vol.2 Press
10
Corelli, Arcangelo/ Adagio and Giga TX-MD-VA Master Solos Hal Leonard 3 I
Teal, Larry Intermediate Publishing
Level Corp.
Couperin, Francois/ Rondeau FL-VA,3 Classic Belwin 2 I
Dishinger, Ronald Festival
Solos for
Alto
Saxophone
Couperin, Francois/ Musette de MD-VA Pieces Alphonse Leduc 2 I
Mule, Marcel Taverny Classiques
Celebres
Vol.1
Cowles, Colin TEN EASY VA Ten Easy Fentone Music 1 I
TUNES Tunes
Cui, Caesar/ Allegro Scherzoso TX-MD-VA Master Solos Hal Leonard 3 I
Level Corp.
Cui, Caesar/ Berceuse Op.20, NY-MD Program Theodore 2 I
Teal, Larry No.8 Solos Presser
Company
Dall'abaco, Passapied NY Twenty-Two Associated 1 I
Evaristo Unccompani Board of the
ed Pieces For Royal Schools
Saxophone of Music
150

d'Ambrosio, Canzonetta, Op.6 NY-MD Solos for the G. Schirmer 2 I
Alfredo/ Alto Inc.
Teal, Larry Saxophone
Player
Debussy, Claude/ Passepied TX-VA Master Solos Hal Leonard 2 I
Level Corp.
Demersseman, Allegretto FL-MI-OH Rubank book Rubank Inc. 3 I
Jules/ Brillante of alto
Voxman, Himie saxophone
solos-
intermediate
Dvorak, Antonin/ Larghetto NY-MD Solos for the G. Schirmer 2 I
Teal, Larry Alto Inc.
Saxophone
Player
Dvorak, Antonin/ Romantic Piece NY-MD- Solos for the G. Schirmer 3 I
Teal, Larry Op. 75, No. 1 VA Alto Inc.
Saxophone
Player
Ed. Harvey, Paul SAXOPHONE NY-VA Saxophone Chester Music 2 I
SOLOS, VOL. 1 Solos, Vol. 1
ed. Lamb, Jack CLASSIC VA Classic Belwin 1 I
FESTIVAL Festival
SOLOS VOL.1 Solos Vol.1
Elgar, Edward/ AN ELGAR VA An Elgar Novello & Co. 1 I
Lawton, Sidney SAXOPHONE Saxophone
ALBUM Album
151

Faure, Gabriel FESTIVAL TX Festival Carl Fischer 1 I
PERFORMANCE Performance
Frederick/Teal Adagio & Allegro TX-VA Master Solos Hal Leonard 2 I
Intermediate Publishing
Level Corp.
Gabriel/Marie- Badine FL-MO-VA Rubank Rubank Inc. 3 I
Davis Book of Alto
Saxophone
Solos-
Intermediate
Gautier, Leonard/ Le Secret FL Rubank Rubank Inc. 1 I
Davis, Henry Book of Alto
Saxophone
Solos
Gee, Harry Ballade FL-VA Classic Belwin 2 I
Festival
Solos For
Alto
Saxophone
Vol.2
Gee, Harry Ballade FL-VA Classic Pro-Art 2 I
Festival Publications
Solos, Vol 2
German, E. Valse NY Program Presser/Compos 1 I
Melancholique Solos ers Library
from Gypsy Editions
Gluck, C.W./ Tambourin FL-VA Classic Belwin 2 I
Solos, Vol. 2
152

Granados, Enrique/ Intermezzo (from NY-VA Solos for the G. Schirmer 2 I
Teal, Larry Goyescas) Alto Inc.
Saxophone
Player
Grieg, Edvard/ Spring FL-NY Solo Sounds Belwin 2 I
Rousseau, Eugene for Alto
Saxophone
Grieg, Eugene/ Album Leaf from WI-NY- Solos for the G. Schirmer 4 I
Teal, Larry Lyric Pieces MD-VA Alto Inc.
Saxophone
Player
Handel, G. F. Adagio and NY Medici Medici Music 1 I
Allegro Masterworks Press
For Alto
Sax,Vol.Ii
Handel, G.F./ Adagio & Allegro MI-FL Masterworks Medici Music 2 I
Mauk, Steven (Masterwork Vol Solos, Vol.2 Press
III)
Handel, G.F./ Allegro From FL-VA Concert and Rubank Inc. 2 I
Mule, Marcel Sonata No.3 Contest
Collection
Handel, G.F./ Gavottes VA Pieces Alphonse Leduc 1 I
Celebres
Vol. 3
Handel, G.F./ Allegro MI Pieces Alphonse Leduc 1 I
Celebres
Vol.1
153

Handel, G.F./ Honor and Arms TX Belwin Belwin 1 I
Intermediate
Handel, G.F./ Aria TX Master Solos Belwin 1 I
Snell, Keith Intermediate
Level
Handel, G.F. / Andante & OH-MD- Master Solos Hal Leonard 3 I
Teal, Larry Bourree VA Intermediate Publishing
Corp.
Handel, G.F./ Andante and MO-TX- Master Solos Hal Leonard 5 I
Teal, Larry Bourree MD-OH- Intermediate Publishing
VA Level Corp.
Handel, G.F./ Bourree from TX-NY-MD Program Theodore 3 I
Teal, Larry Organ Concerto Solos Presser
Company
Handel, G.F./ Largo and Allegro FL-MD-VA Concert and Rubank Inc. 3 I
Voxman, Himie (From Sonata VI) Contest
Harvey, Paul SAXOPHONE VA Saxophone Chester Music 1 I
Haydn, G.F./ Oxen Minuet VA Alto Alfred Music 1 I
Rascher, Sigurd Saxophone Publishing
Solos Level
1
Haydn, G.F./ The Oxen Minuet TX-VA Classic Belwin 2 I
Solos, Vol.2
Haydn, G.F./ Andante from NY-OH- Program Theodore 4 I
Teal, Larry Sonata No. 1 MD-MO Solos Presser
(violin) Company
154

Haydn, G.F./ Andante OH-MD- Program Alfred Music 4 I
Teal, Larry VA-MO Solos For Publishing
The Alto
Saxophone
Player
Haydn, G.F./ Minuet IN-NY- Solos for the GSI 4 I
Teal, Larry MD-VA Alto
Saxophone
Player
Haydn, G.F./ Sonatina (based on FL-OH- Concert and Rubank Inc. 4 I
Voxman, Himie Trio V) MD-VA Contest
Israeli Operetta Havu ez Lataish NY Twenty-Two Associated 1 I
Unccompani Board of the
Saxophone of Music
Israeli Song Shalom Alechum NY Twenty-Two Associated 1 I
Saxophone of Music
Hare, John CLASSICAL VA Classical Universal 1 I
ALBUM Album Editions
Kjerulf/ Berceuse TX Belwin Belwin 1 I
Intermediate
Kodaly, Battle and Defeat NY Saxophone Chester Music 1 I
Harry Janos of Napolean Solos, Vol. 1
Koepke, Paul/ Recitative and MD-VA Concert and Rubank Inc. 2 I
Voxman, Himie Allegro Contest
155

Kynaston, Trent/ Espejos TX-VA Master Solos Hal Leonard 2 I
Level Corp.
Lange, G. A Vintage Dance NY Twenty-Two Associated 1 I
Saxophone of Music
Bizet, Georges L'Arlesienne NY Saxophone Chester Music 1 I
Solos, Vol. 1
Leclair, Jean-Marie/ Adagio MD Pieces Alphonse Leduc 1 I
Celebres
Vol. 3
Leclair, Jean-Marie/ Aria VA Pieces Alphonse Leduc 1 I
Celebres
Vol.1
Leclair, Jean- Aria from Sonata NY-MD Program Theodore 2 I
Maire/Teal, Larry No.7 Solos Presser
Company
Leclair, Jean-Marie/ Sarabande and OH-MD Program Theodore 2 I
Teal, Larry Allegro Solos Presser
Company
Leonard Culligan Man VA Solo Sounds Belwin 1 I
Level 1/3
Luebke, John Saxography TX Classic Belwin 1 I
Festival
Solos, Vol.2
156

Lully, Jean- Le Bourgeois VA Pieces Alphonse Leduc 1 I
Baptiste/ Gentilhomme Classiques
Vol. 1
Marpurg, Friedrich/ La Voltigeuse FL Masterworks Medici Music 1 I
Dishinger, Ronald Solos, Vol. 1 Press
Martini, Giovanni/ Romance Celebre VA Pieces Alphonse Leduc 1 I
Mule, Marcel (Plaisir D'Amour) Classiques
Celebres
Vol. 1
Mendelssohn- Chanson de VA Pieces Alphonse Leduc 1 I
Bartoldy, Felix/ Printemps Classiques
Mule, Marcel Celebres Vol
2
Monsigny, Pierre- La Reine de VA Pieces Alphonse Leduc 1 I
Alexander/ Golconde Classiques
Vol.2
Mower, Mike Musical Postcards VA Musical Boosey & 1 I
for Alto Sax Postcards For Hawkes
Alto Sax
Mozart, W.A. Don Giovanni NY The Classical De Haske 1 I
/Kernen, Roland Collection Publications
Mozart, W.A./ Ave Verum VA Classic Belwin 1 I
Rascher, Sigurd Corpus Festival
Solos, Vol.2
Mozart, W.A./ Allegro TX-OH-MD Master Solos Hal Leonard 3 I
Level Corp.
157

Mozart, W.A./ Rondo in D IN-TX-NY- Solos for the G. Schirmer 5 I
Teal, Larry MD-VA Alto Inc.
Saxophone
Player
Mussorgsky, The Old Castle NY-MD Solos for the G. Schirmer 2 I
Modest/ (from Pictures at alto Inc.
Teal, Larry an Exhibition) saxophone
player
Nolan/ Polka Militaire TX Belwin Belwin 1 I
Intermediate
Ostransky, Leroy/ Canzonetta and FL-MD-VA Concert and Rubank Inc. 3 I
Voxman, Himie Giga Contest
Ostransky, Leroy/ Introduction and MO-MD- Concert and Rubank Inc. 3 I
Voxman, Himie Rondo VA Contest
Poulain, Simon/ Melodie MD-VA Concert and Rubank Inc. 2 I
Voxman, Himie Contest
Purcell, Rondo from NY The Classical Dorn 1 I
Henry/Barrie 'Abdelazer' Collection Publications
Rachmaninoff, Vocalise, Op. 34, NY-MD- Solos for the G. Schirmer 3 I
Sergei/ No. 14 VA Alto Inc.
Teal, Larry Saxophone
Player
Rameau, Jean- MASTERWORKS VA Masterworks Medici Music 1 I
Philippe/ SOLOS VOL 1 Solos Vol 1 Press
Dishinger, Ronald
Rameau, Jean- MASTERWORKS FL-MO Masterworks Medici Music 2 I
Philippe/ SOLOS VOL 1 Solos Vol 1 Press
Dishinger, Ronald (TAMBOURIN (Tambourin
OR SONATA) Or Sonata)
158

Rameau, Jean- Castor et Pollux VA Pieces Alphonse Leduc 1 I
Philippe/ Classiques
Mule, Marcel Celebre Vol
1
Rameau, Jean- Le Temple De La VA-MD Pieces Alphonse Leduc 2 I
Philippe/ Gloire Classiques
Vol.3
Rameau, Jean- Rigaudon MO-MD- Rascher Chappell & Co. 3 I
Philippe/Rascher, NY Collection
Sigurd
Rameau, Jean- Rigadon de VA The Rascher Chappell & Co. 1 I
Philippe/ Dardanus Collection
Rascher, Sigurd
Rehl, Richard Duchess VA Rubank Rubank Inc. 1 I
Book Of
Alto
Saxophone
Solos
Rose, Michael A MISCELLANY VA A Miscellany Associated 1 I
FOR For Board of the
SAXOPHONE, Saxophone, Royal Schools
BK 1 Bk 1 of Music
Rose, Michael A MISCELLANY VA A Miscellany Associated 1 I
FOR For Board of the
SAXOPHONE, Saxophone, Royal Schools
BK 2 Bk 2 of Music
159

Rossini, Gioacchini Aria from 'The NY Twenty-Two Fentone Music 1 I
Barber of Seville' Unccompani
ed Pieces For
Saxophone
Rossini, Gioacchini/ Village Dance VA Classic Belwin 1 I
Solos for
Alto
Saxophone
Saint-Saens, The Swan VA Repertoire Carl Fischer 1 I
Camille/ Classics For
Patrick, Lee Alto
Saxophone
Scarmolin, A. Polka Fantasia FL-VA Solo Sounds Belwin 2 I
Levels 3/5,
Vol. 1
Schubert, Franz/ Minuet & Trio Op. MI-FL Masterworks Medici Music 2 I
Mauk, Steven 137 No. 3 Solos, Vol. 2 Press
Schubert, Franz/ Serenade VA Pieces Alphonse Leduc 1 I
Celebres
Vol.2
Schumann, Robert/ Fantasy Piece No. FL-NY Masterworks Medici Music 2 I
Mauk, Steven 1 Solos, Vol. 2 Press
Schumann, Robert/ Scenes D'Enfants VA Pieces Alphonse Leduc 1 I
Celebres
Vol.2
160

Schumann, Robert/ Traumerei FL-VA Classic Belwin 2 I
Solos,Vol 2
Schumann, Robert/ Fantasy Piece Op. VA-OH- Solos For Theodore 4 I
Teal, Larry 73 No. 3 NY-MD The Alto Presser
Saxophone Company
Player
Snell, Keith Concert Fantasie TX Belwin Belwin 1 I
Master Solos
Intermediate
Snell, Keith MASTER SOLOS VA Master Solos Hal Leonard 1 I
INTERMEDIATE Intermediate Publishing
Corp.
Snell, Keith MASTER SOLOS VA Master Solos Hal Leonard 1 I
VOL. 1 Vol. 1 Publishing
ADVANCED Advanced Corp.
Tchaikovsky, Piotr Five Short Pieces FL-NY Masterworks Medici Music 2 I
Ilyich/ Solos, Vol. 2 Press
Mauk, Steven
Tchaikovsky, Piotr Danse Arabe from VA Rubank Rubank Inc. 1 I
Ilyich/ the Nutcracker Book of Alto
Hurrell, Clarence Suite Saxophone
Solos
TEAL, LARRY SOLOS FOR THE WI Solos For Alfred Music 1 I
ALTO The Alto Publishing
SAXOPHONE Saxophone
PLAYER Player
Telemann, Georg Fanfare and March TX Belwin Belwin 1 I
Philipp/ Master Solos
Snell, Keith Intermediate
161

Tyndall, John/ Nocturne TX Belwin Belwin 1 I
Snell, Keith master Solos
Intermediate
VARIOUS ALTO WI-VA Alto Alfred Music 2 I
SAXOPHONE Saxophone Publishing
SOLOS LEVEL 2 Solos Level
2
Various/ AIRS CELEBRES VA Airs Celebres Editions Henry 1 I
Meriot, Michel VOL. 1 Vol. 1 Lemoine
Various/ AIRS CELEBRES VA Airs Celebres Editions Henry 1 I
Meriot, Michel VOL. 2 Vol. 2 Lemoine
Various/Meriot, ALTO VA Alto Alfred Music 1 I
Michel SAXOPHONE Saxophone Publishing
SOLOS Solos
INTERMEDIATE Intermediate
Vivaldi, Antonio Andante and NY Medici Medici Music 1 I
Allegro Masterworks Press
For Alto
Sax,Vol.Ii
Vivaldi, Antonio/ Concerto in D MI-FL Masterworks Medici Music 2 I
Dishinger, Ronald Minor Solos, Vol. 2 Press
VARIOUS/ FIRST WI First Boosey & 1 I
WASTALL, REPERTOIRE Repertoire Hawkes
PETER PIECES FOR Pieces For
SAXOPHONE Saxophone
Von Weber, Carl Petite Valse et VA Pieces Alphonse Leduc 1 I
Maria/ Tyrolienne Classiques
Vol.3
162

Young, Gordon Contempora Suite MI-FL-OH- Classic Belwin 4 I
VA Festival
Solos, Vol. 2
Zajac, Elaine/ Theme & VA-TX Master Solos Hal Leonard 2 I
Teal, Larry Elaborations Intermediate Publishing
Level Corp.
163

164
APPENDIX E
IRB REQUEST AND EXEMPTION
Letter of Request
To: Human Subjects Office
From: Jane Williams
DMA graduate student, Music Department
To Whom it May Concern:
I am writing in order to determine whether or not my project must go through the
IRB department in order to conduct a brief survey. This questionnaire is part of a larger
project in which I am researching solo alto saxophone repertoire lists provided by
individual state solo and ensemble contests in the United States. Initial information
gathering has included determining which states have a list, and then compiling these lists
into one master list. From this list I will determine which pieces of music are written
specifically for the saxophone, and how the pieces are graded in difficulty.
The survey which I would like to conduct is necessary in order to determine specific
details about the list compilation in each state. I would like to send this survey to the
chairpersons of the solo and ensemble competition. This means there will only be one
sent to each state.
Questions I would like to have answered are in the attached questionnaire.
Sincerely,
Jane Williams

165
Letters of Exemption
July 9, 2010
From: Janet Williams
To: Institutional Review
This does not appear to meet the criteria for human subjects research.
Janet Williams
------------------------------------------------------------------------------------------------------------
July 9, 2010
Hello,
The IRB Chair has determined this does not constitute human subjects research,
thus, will not require a HawkIRB application.
Thanks,
Chanel Ahrendsen, BBA
IRB/Human Subjects Office
Office of the Vice President for Research
University of Iowa
Iowa City, IA

166
APPENDIX F
LETTER OF INVITATION TO PARTICIPATE AND QUESTIONNAIRE
Dear Solo and Ensemble List Coordinator-
I am a doctoral student in saxophone performance at the University of Iowa
School of Music. I am carrying out research related to solo contest repertoire lists in the
United States, with a focus on alto saxophone repertoire.
This questionnaire is being sent to determine some trends in general repertoire list
compilation for state solo and ensemble contests.
Your responses are essential to the success of this project. The information you
provide will enable me to add to the existing knowledge of saxophone training in the
United States. Thank you for taking the time to provide this information.
1) Please indicate your official title ______________________
2) What is your state? ___________________
3) Would you say that your repertoire list is
a) recommended
b) required
4) Would you say your list is compiled by
a) committee
b) through publisher recommendations

167
c) individual suggestions
d) other (please specify)
5) If there is a committee, how is the committee put together? Would you say that the
committee is
a) appointed
b) voted
c) made up of volunteers
6) Would you say that committee members play the instruments for which they make
recommendations?
a) yes
b) no
c) not sure
7) If Publisher recommendations are considered, how does it affect which music appears
on the list?
a) it does not affect music on the list
b) it affects music on the list
c) not applicable

168
8) Are individuals encouraged to submit suggestions for inclusions?
a) yes
b) no
If not, why?
9) If Individual submissions are considered, how are they reviewed?
a) by committee
b) by band directors/teachers
c) other (please specify)
10) Are composers encouraged to provide compositions for these events?
a) yes
b) no
11) Does the list include grades indicating the difficulty level?
a)yes
b) no
12) If the list is not graded, is there a specific reason grades are not included?
13) What criteria are used in order to assign grade difficulties to the music? Please
indicate specific details including the grade ranges, and how each piece of criteria is

169
applied to each grade level. If the guidelines are different for specific instruments, please
indicate the grading criteria for saxophones.
14) How often is the list updated?
a) annually
b) every two or three years
c) every 5 years or more
15)If the list is updated, the following procedure is followed.
a) different pieces used each time
b) different pieces added to the existing list
c) pieces are rotated
16) Are there reviews to determine if specific music is still in print?
a) yes
b) no
17) Are pieces ever removed from the list?
a) yes
b) no
18) If a list is required, is data collected to determine which pieces are performed the
most often for future lists?

170
a) yes
b) no
19) Are time limits considered when choosing selections for the list?
a) yes
b) no
20) Please add any other comments/information regarding list compilation that you may
have.

171
APPENDIX G
ADDITIONAL QUESTIONNAIRE COMMENTS
Question 3
Florida
The list is required however within the list certain titles have been identified as
recommended as well as some are considered significant.
Question 4
Florida comment on “other”
FBA members may submit titles, not currently on the list, for special permission. This is
a one time option and does not necessarily mean the title will be included into the list
Indiana comment on “other”
Our office facilitates the process of reviewing the usage of current literature and the
recommendations for additions of compositions. This list is revised on a 5 year cycle. The
list is designed to indicate the literature that is allowed to be used to meet the
requirement, not as a recommended list.
Idaho additional comment
The list was originally a committee effort, but now, directors can make
suggested changes which must be approved by committee

172
Maryland additional comment
Each performance component Board has a Literature Review Committee (or several) who
review music submitted by teachers as recommended for addition to the List. About ½ of
the submissions are accepted. All nominating teachers get the results back with the music
and an explanation of whether it was selected and if not, a reason.
Ohio comment:
Publishers send new/recommended publications to our committee selection chairs,
OMEA members may also submit suggested repertoire via our OMEA website. Each
selection committee chair engages colleagues to assist in the actual selection process.
Wisconsin comment on “other”
The music goes through 2 panels – The Selection Panel members do the initial
evaluations and music selection, the Review Panel then reviews the recommendations
making any final changes they feel are warranted.
The Selection Panel is made up of 1-2 people per event list; the Review Panel is made up
of 4-8 people per event list.
Question 5
Missouri
Committee members are selected “through our Affiliate music organizations (Missouri
Band Masters Association, Missouri Choral Directors Association, Missouri American
String Teachers Association and Missouri Music Teachers Association). Many of the
committee members are volunteers through their respective state association.”

173
Indiana
Again, the facilitation of the process is accomplished through our office staff.
Maryland
We look for persons who are consistent in performance and in literature selection with a
sense of balance of teaching levels as well (elementary, middle or high school).
Wisconsin
The people are SELECTED volunteers. We search out teachers with at least 5 years
teaching experience, and known to have a strong music program & music selection skills.
Some people contact us directly to let us know their interest, others are recommended by
their peers.
Question 7
Maryland
[Publisher recommendations are] reviewed in the same manner as member-submissions
Ohio
Committees are guided to select the best repertoire regardless of publisher.

174
Indiana
[Publisher recommendations] affect music on the list – Any and all recommendations are
presented to those that are the specialists in each specific category.
New York
[Publisher recommendations affect] music on the list (NYSSMA Manual Committee
members make the decisions what goes on the list. Publishers submit music for
consideration only.)
Question 8
Maryland
The submission forms are available on-line all year but the deadlines for submission for
consideration for a particular year are clear. Music received after that date is considered
the following year.
Question 14
Ohio
Ohio is in the midst of changing our previous timeline of revising the S/E Book only
every 8 years. We have begun a “rolling revision”, ie..this year only woodwind
ensembles are being updated, next year will be brass ensembles and piano solos, the
following year will be vocal solos, etc…the entire book will be revised every 4 years.
Ohio’s solo/ensemble entry is now web based giving us the opportunity to revise on a
regular basis, we no longer print a hard copy of the required list.

175
Alabama
It [the list] has not been updated in the last 7 years, but we are looking at that in the next
year.
Indiana
All of our lists are on a 5 year cycle. There is a different list revised each year. Last year
was the Brass list, this year (2010) was the string list, etc.
Question 15
Maryland
Different pieces [are] added to the existing list and sometimes something is removed, but
it is not an exclusive listing , limited in number.
Ohio
New repertoire is added, each committee decides whether to keep previous repertoire or
to rotate pieces off the list.
Question 20
Maryland
All of our lists are posted on-line o the MMEA Web page at no cost to the teachers. They
are posted as pdf files and as protected Excel files as well to allow for sorting, etc.

176
Ohio
Ohio spends one year receiving new works from publishers and in committee review, 6
months cataloging and proofing prior to the new listing becoming official.
Wisconsin
The WSMA Festival Music List is a required list for District and State Solo & Ensemble
Festivals and Concert Festivals. The Festival List is comprised of 191 different event
lists; of these 91 are “closed” events, 37 are “permission and transfer required” events,
and the rest are “permission and/or transfer permitted” events.
Permission and/or Transfer Required – There is no given music list for these events.
Teachers must either transfer music from another list for the event (use music from the
SA duet list for a TB duet) or submit a piece of music to the Permissions Chair for
evaluation. Music will be permitted for performance if the difficulty level is appropriate
for the class and event being requested.
Closed lists – These events have a complete listing of music selections, and therefore the
student is expected to perform one of the selections listed.
Permission and/or Transfer Permitted – These events have only a partial list, or have
special requirements, and so the option is allowed to submit a piece for permission and/or
to transfer from another list.
Every event list, regardless of permission/transfer status, also includes the option for a
Student Composition to be submitted for performance. Last year there were 61 student
compositions performed at District festivals.

177
Standard Repertoire – Many of the event lists include standard repertoire selections.
These pieces do not rotate off the list.
All total there are over 7,000 selections on the WSMA Festival Music List.
Indiana
Our solo and ensemble structure is “curriculum” based. The attempt is to encourage any
and all students to develop individually are a soloist and/or a small ensemble participant.
Therefore, the approach is that students work on and eventually perform literature that
will allow for growth based upon where the individual student is at the start of the
process. A student is not required to perform in a certain Group level based solely on
grade level or the enrollment of the school.
Classification is based upon grade level, difficulty of music played and experience as
follows:
Group V – Student grade 5, 6, 7, or 8 entering for the first time – easy music
Group IV – Student grade 5,6,7,8, or 9 – easy music
Group III – Student grade 5 – 12 Medium easy to Medium music
Group II – Student grade 5 – 12 Medium to Medium difficult music
Group I – Student grade 5 – 12 performing music from the current required list.
The ultimate objective should be development to a Group I level

178
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What is the purpose of the study?

What are the delimitations of the study?

What are the delimitations of the study?

University of Iowa

Iowa Research Online

State classical solo contest repertoire lists: an

Copyright 2011 Jane Rochelle Williams

This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/2790

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Part of the Music Commons

STUDY AND COMPREHENSIVE LIST OF RECOMMENDED INTERMEDIATE

ALTO SAXOPHONE COMPOSITIONS

Jane Rochelle Williams

An essay submitted in partial fulfillment

Essay Supervisor: Assistant Professor Mary Cohen

JANE ROCHELLE WILLIAMS

All Rights Reserved

This is to certify that the D.M.A. essay of

Jane Rochelle Williams

has been approved by the Examining Committee

Essay Committee: _____________________________

make this study work.

and my in-laws Zineb, Chrif, Amal, and Hanane.

childcare expertise while I pounded away at my computer in a corner office. I need to

II. REVIEW OF RELATED LITERATURE 9

Saxophone Development and Performance Techniques 9

IV. CONSTRUCTION OF THE QUESTIONNAIRE 24

Results of Questionnaire and Analysis 31

VI. ALTO SAXOPHONE REPERTOIRE MASTER LIST ANALYSIS 49

Value Assigning Procedure 51

VII. SUMMARY AND CONCLUSIONS 61

APPENDIX A. RECOMMENDED LIST OF INTERMEDIATE IDIOMATIC

APPENDIX B. NON-INTERMEDIATE IDIOMATIC REPERTOIRE 80

APPENDIX C. TRANSCRIPTION RECOMMENDATIONS 102

APPENDIX D. RECOMMENDED COLLECTIONS 124

APPENDIX E. IRB REQUEST AND EXEMPTION 151

APPENDIX F. LETTER OF INVITATION TO PARTICIPATE AND

APPENDIX G. ADDITIONAL QUESTIONNAIRE COMMENTS 158

1. Breakdown of Required and Recommended Lists 31

2. Who Compiles List 32

3. How Solo List Committee is Formed 34

4. Effect of Publisher Recommendations 36

5. Review of Individual Submissions 38

6. States that Encourage Composer Submissions 39

7. Lists With Graded Systems 40

8. Frequency of List Updates 42

9. Procedure for List Updates 43

10. Reviews for Print Status 44

11. Removal of Compositions 45

12. Data Collection Referring to Performance Frequency 46

13. Whether Time Limits are Considered for List Selections 47

14. State List Data 57

15. Idiomatic Compositions in Comparison to List Totals 58

16. Intermediate Idiomatic Compositions in Comparison to Total Idiomatic

17. Transcriptions (with Collections) in Comparison to List Total 60

18. Intermediate Transcriptions in Comparison to Total Transcriptions 60

to focus on clarifying the current trends in recommended intermediate saxophone

subsequently provides a comprehensive list of recommended intermediate compositions