A Saxophonist's Study Guide

by David Hite

INTRODUCTION

This saxophonist's Study Guide outlines seven levels of study. It can be used to identify a student's level of accomplishment and provides a list of publications for study and performance at each level. Although not complete, these listings constitute a thorough course of study.

Individual progress will, of course, vary greatly, and some students may find it appropriate to work in materials from different levels simultaneously. For remedial work at more advanced levels, slower scales, interval studies and expressive melodic etudes are recommended.

It is important that students realize that careful, thoughtful daily practice is a primary requirement for effective progress. Inspired guidance from a good teacher and good ensemble experiences are vital contributing factors, but in the end the student must do the learning himself!

All music editions listed in the Study Guide are published by:
Southern Music Company, P.O. Box 329, San Antonio, TX 78292, U.S.A. Phone: 1(800) 284-5443

All contents copyright © David Hite, Inc.
All rights reserved.

Revised: May 24, 1997
URL: http://www.jdhite.com/study/clarinet-p.htm

A Saxophonist's Study Guide by David Hite

LEVEL 1

Making the first sounds on a musical instrument is quite a thrill. Learning where to put fingers, how to shape and control the mouth muscles and how to put the reed on the mouthpiece are among the very important questions at this formative stage. It is best to take private lessons for individual attention in addition to class lessons at school for ensemble experience. These two learning environments complement each other ideally. A minimum of thirty minutes a day should be devoted to individual practice. In the beginning two fifteen minute sessions are recommended.

It is extremely important to invest in a good mouthpiece for the beginner. Mouthpieces furnished with beginning instruments are not always ideal. A poor or damaged mouthpiece can defeat every effort to play well.

Students should learn early on about proper care of their reeds, mouthpieces and instruments. The mouthpiece and reed should be cleaned, and the neck of the saxophone swabbed after every playing session before storage in the case.

A special note for beginning saxophone students: Most commercial saxophonists play both clarinet and saxophone; many also play flute. Many teachers feel that it is best to learn the clarinet first because it is somewhat difficult to add later. Consultation with an instructor should include consideration of this question.

There are many class and private study saxophone methods available for early study. Personal preference will vary. The class and band methods used by most schools are compatible with methods designed for private study when used simultaneously.

• Know the chromatic fingerings from low Bb to high F including alternate fingerings (a total of 32 notes). Learn good finger position and movement.
• Develop a full round tone that comes from a proper embouchure (mouth muscles), deep breathing, a good reed, and a good mouthpiece. Always listen carefully. Practice making small embouchure and breathing adjustments each day to make the sound better. Listen to good players.
• Learn the proper use of the tongue. Start the tone by releasing the tongue from the tip of the reed. A common mistake is to strike the tongue to the reed. Instead, blow, then release. Learn both legato and staccato tonguing styles.
• Practice to control all technical aspects in solid rhythmic contexts.

Theory basics

• Know the G clef (the names of the notes on the spaces and lines), ledger lines and accidentals (sharps, flats and naturals).
• Construct and perform the major scales and related tonic chords in the keys of C, F, G, Bb and D. Play one octave in eighth notes at 60 beats per minute.
• Understand time signatures and the related time values of notes and rests.
• Learn all the terms and signs encountered in music at this level.

LEVEL 1 STUDY MATERIAL
Hovey, Nilo	Rubank Elementary Method
Skornika, J.E.	Rubank Intermediate Method
Herfurth, C. Paul	A Tune a Day, Books 1, 2 and 3
Haines & McEntyre	Division of Beat, Books 1A, 1B and 2
LEVEL 1 REPERTOIRE
FOR ALTO SAXOPHONE WITH PIANO
Burkhardt, Joel	Chanson
Haydn-Wienandt	Serenade
Hinton-Howard	Laverne
FOR TENOR SAXOPHONE WITH PIANO
Hinton-Howard	Laverne
Houlik, James	Two Lyric Pieces

A Saxophonist's Study Guide by David Hite

LEVEL 2

With the student's advancement into level two, he should begin to feel at home with his instrument. He can begin to focus on how to play music rather than how to play the saxophone. Continue to improve and stabilize tone and technic. Participation in school concerts, solo contests, studio recitals and everyday rehearsals will reinforce these objectives. Daily practicing should be gratifying. As muscle stamina developes, practice time should be increased to forty five minutes a day.

Study and practice in the Melodious and Progressive Studies, Book 1, and in the Forty Progressive Melodies will most likely not be completed on this level. Although significant progress can be made playing these studies a first time, much can be gained by repeating these studies to perfect easy, accurate performance and to give primary attention to elegance of musical expression. While initial study will consume the student's attention in reading notes and maintaining accurate rhythm and tempo. later more attention may be placed on dynamics, subtleties of musical style and creating a musical mood. It is best not to rush learning at this stage; take the time to settle into the musical meat of this material. This process will make music in the following levels much easier to grasp.

As his basic theoretical background expands, the student should begin to study music carefully before playing. More will be achieved during practice periods with this thoughtful advanced preparation.

• Refine finger motion and control.
• Develop the ability to sustain long tones for ten seconds. Continue to improve tone quality.
• Improve tongue and finger coordination. Always maintain clean articulation. Strive for control at faster speeds.
• Continue to develop solid rhythmic concepts and control.

Theory basics

• Know and perform major scales and tonic chords up to three sharps and three flats. Construct minor scales and minor tonic chords up to three sharps and three flats.
• Aurally and visually recognize intervals up to a fifth.
• Aurally identify major and minor triads.
• Expand vocabulary of tempo and style terms.

LEVEL 2 STUDY MATERIAL
Hite, David	Foundation Studies Contents: Baermann Method, Part III
This volume serves as a lifelong daily study book which can be used to solve nearly every technical problem the saxophonist will encounter. "How to practice" routines and general advice sections are included.
Hite, David	Melodious and Progressive Studies, Book 1 Contents: Demnitz 18 Expressive Studies (based on scales) Demnitz 18 Expressive Studies (based on chords) Nocentini 9 Melodic Studies Baermann 14 Melodic Etudes, Op. 63 Kayser 5 Progressive Studies, Op. 20 Hite Major and minor scales
This popular study book contains musical, progressive style studies. These studies extend to four sharps and four flats in major and minor keys, using basic time signatures, rhythms and articulations.
Hite, David	40 Progressive Melodies by A.M.R. Barret Contents: Barret 40 Progressive Melodies Dont 8 Progressive Exercises Hite Scale studies
The Barret melodies are wonderful studies for melodic phrasing. They include an accompaniment for a second saxophone to emphasize the development of rhythmic independence, intonation, balance and flexible tonal concepts. Later, these studies can be used as transposition exercises. The Cont exercises provide daily exercise for the tongue. This book can be used with or following the Melodious and Progressive Studies, Book 1.
LEVEL 2 REPERTOIRE
FOR ALTO SAXOPHONE WITH PIANO
Giovannini, Caesar	Romance
Haydn-Voxman	Adagio Cantabile and Presto
Hoffman, Earl	In Modo di Trentotto
Loeillet-Merriman	Sonata, Op. 4, No. 9
Mahler-Hemke	A Ruckert Song
FOR TENOR SAXOPHONE WITH PIANO
Karel, Leon	Hexaphon
Karel, Leon	Quintra
McClain, Floyd	A Little Joke
Schwartz, G. W.	International Folk Suite
SAXOPHONE DUETS
Barret-Hite	Forty Progressive Melodies

A Saxophonist's Study Guide by David Hite

LEVEL 3

With progress through level three comes a real sense of accomplishment. The player should become a good, competent member of the saxophone section in the school band. An interest in stage band or ensemble music could be developing. One hour a day practice sessions should be routine, and as a result, the fingers should become totally comfortable in the patterns of the most used keys.

The activities that support continued development should be cultivated. Reeds should be carefully selected for vibrancy, response, tonal clarity and good dynamic range. Playing on old worn out reeds should be avoided. At least three well adjusted, broken in reeds should be maintained at all times.

If the alto saxophone has been the primary instrument up to this point, consideration might be given to playing tenor or baritone saxophone. If possible, a personal mouthpiece for the additional instrument(s) should be purchased. Care should be taken to select mouthpieces with a matched feel to avoid the necessity of severe embouchure changes when changing instruments.

• Improve reliable and accurate reading of music, making school band and ensemble music routine.
• Develop a quicker, more self assured approach to newly assigned music.
• Learn to sense proper tempos.
• Continue to refine tone in four aspects: greater beauty and depth; more power and softer dynamics; agility to control crescendos and diminuendos; development of a tasteful vibrato.
• Master all articulations, staccato, legato and slurring, in any combination.
• Perform scale patterns in thirds.
• Perform solos publicly.

Theory basics

• Know all major and minor scales up to four sharps and four flats.
• Understand the construction of the tonic, dominant and subdominant chords and how these chords relate to the scales; recognize the scales and chords in the music being studied.
• Develop the ability to sing and/or recognize any ascending interval up to a fifth from a given note.
• Expand vocabulary of terms, signs and tempos encountered in the music being performed.
• Study phrasing including the recognition of phrases and how they relate to one another.

LEVEL 3 STUDY MATERIAL
Hite, David	Foundation Studies Contents: Baermann Method, Part III
Continuing work in this volume, the familiar scales should begin to flow accurately. The tonic chords, broken chords and dominant seventh chords, and the interrupted and returning scales should flow well. The four sharps and four flats keys should be routine.
Hite, David	Melodious and Progressive Studies, Book 1 Contents: (See level II)
Continued study in this book should develop good reading and style fluency. Efforts to stabilize a beautiful sound should be pursued carefully before approaching etudes requiring greater speed. Sensitivity to dynamics and tonal flexibility should be stressed and developed at this time.
Hite, David	Melodious and Progressive Studies, Book 2 Contents: Gambaro 16 Caprices Lazarus, Ries, Ferling 6 Studies for the Development of the Tongue Mozart, Mazas, Fiorillo 4 Expressive Studies Lazarus, Ries 3 Studies for Nimble Speed Depas, Venzl 3 Chromatic Studies Berr, et al. Studies for Flexibility Kreutzer 2 Studies on Trills Dont 14 Etudes, Op. 37 Hite Scales in thirds
While refining the slower Nocentini and Baermann etudes of Book 1, it is well to begin practicing these Gambaro studies for finger and tongue dexterity. The key signatures of these etudes stay within three sharps and three flats so that these scale and chord patterns can be totally mastered. The studies for extra work in specialized areas - tongue, speed, chromatics, trills, etc. - can be approached as needed.
Hite, David	Forty Progressive Melodies by A.M.R. Barret plus Eight Progressive Exercises by Dont
Continued use of this volume can constitute recreational playing, giving vent to imaginative phrasing style with slight variation each time these studies are played. When the studies have been securely mastered, a teacher or friend can add the second part, helping to develop rhythmic independence and dynamic balance.

LEVEL 3 REPERTOIRE
FOR ALTO SAXOPHONE WITH PIANO
Bach-Leeson	Air (Suite in D Major)
Bournonville-Gee	Danse pour Katia
Cailliet, Lucien	Theme and Variations
Glazunov-Leeson	Serenade Espagnole
Handel-Gee	Adagio and Allegro (Sonata No. 1)
Pierne-Gee	Serenade, Op. 7
Reed, Alfred	Ballade
Vadala, Kathleen	Sea Change
Walters, David	Episode
FOR TENOR SAXOPHONE WITH PIANO
Blavet-Merriman	Adagio and Presto (1983)
Handel-Gee	Adagio and Allegro (Sonata No. 1)
Loeillet-Voxman-Block	Adagio and Allergro
Pierne-Gee	Piece in G Minor
Ross, William	Aria and Dance
Vadala, Kathleen	Sea Change
FOR BARITONE SAXOPHONE WITH PIANO
Davis, William	Variations on a Theme of R. Schumann
Giovannini, Caesar	Romance

A Saxophonist's Study Guide by David Hite

LEVEL 4

While working through level four, the opportunity for many performance responsibilities should emerge: auditions for solo chair positions at school, solo and ensemble contests, scholarship auditions, talent shows, and solos in band and orchestra concerts. Summer enrichment programs, music festivals and regional band-orchestra chairs should be pursued.

Continuation of private study is important to effectively focus on detailed preparations for solo appearances, contests and auditions. If possible, a professional level instrument should be obtained to attain the best in sound, intonation and technique. An interest in mouthpieces, better reeds and the skill of adjusting reeds should continue to evolve.

More extensive listening habits should be developed. Following good music radio stations, learning the classical orchestral repertoire, learning about great composers, and identifying music periods and jazz styles will cultivate high performance standards and ambitions.

• Develop more sophisticated tonal concepts and control: a vibrato that is a natural part of the tone, not an addition to it, natural use of dynamic flexibility, and awareness of perfect intonation. Observe the effects of mouthpieces, instruments, reeds, rooms, halls, recording techniques and geographic location on tonal voicing.
• Use acquired techniques to create a mood experience for the listener. Avoid lackluster mechanical playing.
• Sight-read music of an appropriate level with fluency.
• Prepare and maintain good reeds.
• Perform major solo works by memory.
• Begin study of extended pitch range above high F.

Theory basics

• Understand the cycle of major and minor scales.
• Know and perform the chromatic, diminished and whole-tone scales. Begin work on performing scales in intervals.
• Aurally and visually identify all intervals within the octave, and learn to sing these intervals from a given pitch.
• Sight sing unfamiliar melodies.
• Routinely study assignments without the instrument before practice, analyzing each etude as to key, scale and chord patterns, phrases, tempos rhythms, alternate fingerings, etc.

LEVEL 4 STUDY MATERIAL
Hite, David	Foundation Studies Contents: Baermann Method, Part III
Practice should extend into the intervals of thirds, fourths and fifths. Work on the scales, chords, interrupted scales and returning scales in five and six sharps and flats, as well as chromatic scales and diminished chords should be in progress. Keys of four sharps and four flats should now be well routined.
Hite, David	Melodious and Progressive Studies, Book 2 Contents: (See level III)
Continuing study should encompass all the Gambaro studies in advanced speeds. The Dont etudes develop dexterity in larger intervals requiring not only finger coordination, but also eye and ear coordination for tonal consistency. The expressive etudes should be analyzed so that they can be played with consummate style. The tonguing exercises strengthen the tongue and increase staccato speed and clarity, while the trill and chromatic studies promote finger dexterity.
Hite, David	Four Sonatas by A.M.R. Barret and Five Melodious Studies by D. Alard
Study of these three movement Barret Sonatas focuses on refinement of musicianship, accuracy of reading and stability of performance. Intermediate in difficulty, they can supplement the Melodious and Progressive Studies, Book 2, and are also appropriate for concert performance. The Alard studies provide a solid review of technique and articulation.
Rossari-Iasilli	53 Melodious Etudes, Book 1, No. 1-25
Thesse supplementary studies develop routine, accurate reading in major and minor keys up to four sharps and four flats.
Gee, Harry	Progressive and Varied Etudes Contents: Gee Misc. Studies, Scales and Etudes Barret 13 Etudes Bach, Sellner, Ferling, Koehler Misc. Etudes Combelle, Ferling Misc. duets
This volume broadens and varies the practice options. Scales and chords are classified and drilled, and practice routines are suggested. Jazz style etudes are introduced.
LEVEL 4 REPERTOIRE
FOR ALTO SAXOPHONE ALONE
Kawarsky, J.	Te' Amim
FOR ALTO SAXOPHONE WITH PIANO
Anderson-Leeson	Sonata, No. 1
Bozza-Hite	Divertissement
Colin-Cailliet	Eighth Solo
George, T.R.	Introduction and Dance
Von Kreisler, A.	Two Impressions
Leclair-Gorner-   Hemke	Sonata in G Minor
Lefebvre-Cailliet	Andante and Allegro
Senaille-Gee	Allegro Spiritoso
Walters, David	Andante and Scherzo
Ward-Hemke	An Abstract
Wetzel, Richard	Vignettes of a Fable Land
FOR TENOR SAXOPHONE WITH PIANO
Anderson-Leeson	Sonata
Bach-Gee	Sonata IV
Devienne-Jaeckel	Largo and Allegretto (Sonata No. 2)
Handel-Gee	Andante and Allegro
Handel-Ephross	Sonata No. 5
Senaille-Ephross	Allegro Spiritoso
Spohr-Gee	Adagio
Walters, David	Andante and Scherzo
FOR BARITONE SAXOPHONE WITH PIANO
Senaille-Gee	Allegro Spiritoso
Spears, Jared	Ritual and Celebration
DUET FOR ALTO AND TENOR SAXOPHONES
Tull, Fisher	Dialogue
DUETS FOR ALTO OR TENOR SAXOPHONES
Hite, David	Four Sonatas by A.M.R. Barret and Five Melodious Studies by D. Alard

A Saxophonist's Study Guide by David Hite

LEVEL 5

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

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

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

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

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

LEVEL 5 STUDY MATERIAL
Ferling-Andraud	48 Famous Studies and 3 Duo Concertants
Standard in most teaching curriculums, these studies are excellent for refinement of style and technique. To play the duets and the Trio, Op. 87, by Beethoven included in this volume, it is necessary to buy a separate book for the second part.
Rossari-Iasilli	53 Melodious Etudes, Book II, No. 26-53
Like the first volume, these etudes are excellent reading material providing the opportunity to digress from usual practice fare and to self examine accuracy and impromptu style.
LEVEL 5 REPERTOIRE
FOR SOPRANO SAXOPHONE ALONE
Kawarsky,J.	Awake, North Wind
FOR ALTO SAXOPHONE WITH PIANO
Anderson, Garland	Sonata, No. 2
Anderson, T.J.	Sonata, No. 1
George, T.R.	Suite
Knight-Leeson	Sonata
Lacome-Andraud	Rigaudon
Leeson, Cecil	Concertino
Leeson, Cecil	Sonata, No. 1
Lunde-Leeson	Sonata
Moritz-Leeson	Sonata, No. 1, Opus 96
Pierne-Gee	Canzonetta
Rabuad-Gee	Solo de Concours
R.-Korsakoff- Leeson	Flight of the Bumble Bee
Schubert-Leeson	L'Abeille (The Bee)
Schumann-Hemke	Three Romances
Snyder-Hemke	Seven Epigrams
Tuthill-Leeson	Sonata, Opus 20
FOR TENOR SAXOPHONE WITH PIANO
Devienne-Jaeckel	Adagio and Rondo
Lacome-Andraud	Rigaudon
Pasquale-Hemke	Sonata
Pierne-Gee	Canzonetta
Sherman-Leeson	Sonata
Stein-Leeson	Sonata
Tuthill-Leeson	Concerto, Opus 50
Tuthill-Leeson	Sonata, Opus 56 (1968)
Weiner, Lawrence	Etude
FOR BARITONE SAXOPHONE WITH PIANO
Bach-Kasprzyk	Suite, No. 1
Bach-Kasprzyk	Suite, No. 3
Bach-Kasprzyk	Suite, No. 4

A Saxophonist's Study Guide by David Hite

LEVEL 6

At level six a commitment to continuous refinement of artistic style and tone should be made. Career plans may be leading to the field of education in either the public schools or college level, or to self-employment as a performing musician and private teacher.

On this level it is important to broaden personal tastes in music - not only music for saxophone, but also music for other woodwinds, brass, strings, keyboard, voice and ensembles. General music education should encompass the study of both classical and jazz history, theory, conducting and education.

In metropolitan areas various professional playing opportunities can be obtained through local music contractors. The musicians' union paper announces auditions for open positions.

• Continue to develop, refine and routine musicianship. The inspired, ambitious college student will want to give frequent recitals, not just the required one(s).
• Participate in as many different performance groups as possible. Private practice is essential but ensemble skills can only develop by playing with other musicians.
• Continue to search for the very best playing equipment (instrument, mouthpiece, reeds and ligatures).
• Expand memorized repertoire.

Theory basics

• Extend harmonic vocabulary to include secondary chords and their relationship to key. Recognize them in performance music.
• Recognize and understand modulation.
• Continue to improve dictation and sightsinging abilities.

LEVEL 6 STUDY MATERIAL
Hite, David	Foundation Studies Contents: Baermann Method, Part III
These studies may now be used as a daily warm-up or as a test for new reeds. Use them for maintaining the sharpness of basic technique. They can be employed in making small embouchure changes or developing flexibility or endurance. These Baermann studies are an excellent place to learn to refine mobility over large intervals and legato flow at all dynamics.
Devienne-Andraud	Six Sonatas
These sonatas provide excellent material for reading fluency in the classic style.
Karg-Elert-Lerner	Twenty-Five Caprices
Through these Caprices (plus an atonal sonata), the composer attempted to raise the level of musical expression of the saxophone above the limited scope of the time, 1915-1929. Each Caprice is a different dance form. The harmonic vocabulary is advanced, relating to all major and minor keys and various modes. This quality material is well worth study, analysis and practice.
Parisi-Iasilli	40 Technical and Melodious Studies, Bk II
These etudes explore the virtuosic spectrum of technique in mid-nineteenth century style. They offer a challenge that can be met with a variety of objectives: reading fluency at an advanced level; effective review of nineteenth century style; maintenance of articulate sharpness.
LEVEL 6 REPERTOIRE
FOR ALTO SAXOPHONE WITH PIANO
Anderson, Garland	Adagio
Beall, John	Sonata
Cho, Gene J.	Sonata, 1971
Demersseman-Hemke	Le Carnaval de Venise
Karlins, M. William	Music for Alto Saxophone and Piano (utilizes expanded pitch range)
Mason, Thom David	Canzone da Sonar, 1974
Moritz, Edvard	Sonata, No. 2, Opus 103
Raphling, Sam	Sonata, No. 1, 1945
Thornton, William	Sonata, 1987
Weinberger, Jaromir	Concerto, 1940
FOR TENOR SAXOPHONE WITH PIANO
Karlins, M. William	Music for Tenor Saxophone and Piano
FOR BARITONE SAXOPHONE WITH PIANO
Anderson, Garland	Sonata, Opus 6
FOR ALTO SAXOPHONE WITH BRASS QUINTET
Tull, Fisher	Concerto da Camera

A Saxophonist's Study Guide by David Hite

LEVEL 7

Formal study of the saxophone culminates at this level. Special interests such as contemporary styles, artistic study abroad or special research are possibilities at this point.

Some career objectives may have specific prerequisites. For example, teaching at the college level requires graduate study. Graduate assistantships with a modest stipend can provide experience in teaching undergraduate students while pursuing a graduate degree tuition-free. A secondary specialty field such as music history, theory or conducting is often useful. Many small to medium size college teaching situations offer the opportunity to combine self-generated sources of income such as teaching, playing, contracting and recording.

Professional performance experience is generally required for the top college positions. Universities that offer graduate degrees usually require that their faculty members have doctoral degrees in addition to an artistic performance background. After settling into a performing or teaching position and gaining recognition, clinician-soloist engagements may be pursued to enrich basic employment.

LEVEL 7 REPERTOIRE
Creston, Paul	Concerto
Creston, Paul	Sonata, Opus 19
Debussy, Claude	Rhapsody
Glazunov, Alexander	Concerto in Eb
Ibert, Jacque	Concertino da Camera
Milhaud, Darius	Scaramouche Suite
Wilder, Alec	Sonata

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