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Henri Selmer Paris Artist · 30+ Years Teaching

The Study of Saxophone

A Nine-Year Course of Study for the Modern Saxophonist-Doubler — Saxophone, Flute & Clarinet. By Thomas Hornig · Boston, Massachusetts · 2026 Edition.

Front Matter

This document is dated June 2026 and is intended as a starting point for educators and students. New AI-assisted teaching methods, new resources, and new opportunities for self-directed study are emerging almost daily. Treat this syllabus as a living framework — adapt, supplement, and revise as the landscape evolves.

As an Amazon Associate, Thomas Hornig earns from qualifying purchases. Some product links in this document include affiliate tracking. This does not affect the price you pay.

Foreword — Why Selmer: Crème de la Crème

American musicians have a saying — at least in my experience: if you want to be successful as a musician, get the best instrument money can buy, in other words the best you can possibly afford, and play with musicians who are better than you.

The stories of saxophonists going on pilgrimages in search of a Selmer Mark VI are as numerous as there are saxophonists. The history of Selmer is so storied that it is practically the history of humanity and the human condition. Où il y a une volonté, il y a un chemin — where there's a will, there's a way. And there certainly is a reason.

Adolphe Sax patented the saxophone in 1846. Henri Selmer Paris began making them in 1922. Every player on the Mount Rushmore of saxophone — Coltrane, Parker, Cannonball, Stitt, Phil Woods, Brecker — played a Selmer. Not by accident. Not by sponsorship. By ear.

My current setup is built on the Reference 54 alto and Reference 36 tenor — Selmer's modern interpretations of the Mark VI lineage. I'm now adding the Selmer Paris 92 Supreme alto and Selmer Paris 92 Supreme tenor — Selmer's current flagship, released 2022, representing the crème de la crème of what the company is making today.

If you can find a vintage Mark VI in good original condition and afford it: that is a different kind of holy grail. If you cannot: the Supreme is the closest thing to a new Mark VI that exists on Earth. Either path is correct. Neither path is cheap. Both are worth it.

Introduction

This document is the result of several hundred hours of research drawing on many years of teaching experience and performance. It aspires to give any teacher, conservatory, or independent student a rigorous, cross-referenced framework for the full study of saxophone — from first principles through the master's level.

Every effort has been made to locate, source, and cross-reference methods and repertoire normalized across music conservatories in both Europe and the United States. Much of the material in wide use today is subjectively categorized, especially in the second cycle of study (4th year and above). Well-rounded graduates, however, will have been encouraged to study a generous range of celebrated saxophone repertoire.

The core conviction here is simple: it is only through prolific ensemble experience that young musicians are born. This program is rich in saxophone quartet repertoire that students will intuitively love and benefit from. Ensemble participation must be treated as mandatory, not supplemental. Without instruments, dedicated rehearsal space, and committed personnel supporting youth ensembles, any music program is a transient experience for the majority of students. With those ingredients in place, the difference is the difference between a lifelong performer and someone who merely says, "Oh, I used to play that, but I forgot how."

The course draws on both the classical French conservatory tradition and the American pedagogical lineage. Method books and repertoire are cross-referenced and recommended on pedagogical merit, not institutional habit. Where methods appear in multiple year levels, that repetition is intentional — progressive mastery requires return visits.

This is a living framework. Use it as a foundation, adapt it to your context, and revise it as new resources emerge.

Classifications

The course of study for the saxophone student is subdivided into the following classifications:

1. Interpretive and Technical Materials

2. Repertoire

Desired Competencies

Saxophone students are required to complete the listed methods and satisfactorily present the required scale and arpeggio materials during each school year.

Ten compositions will be chosen from each repertoire list and developed to a performance level. Repertoire for the jury examination should be selected in consultation with the student's teacher. The list of repertoire below represents possible recommendations for the student at each specific semester of study. Pieces not listed may be studied and performed with the permission of the teacher.

Extensive participation in a saxophone quartet and with other instruments in the performance of chamber music and large wind ensemble is requisite for students who have attained an acceptable performance level.

Desired Competency — 1st Cycle (Preparatory to Year 3)

  1. Acquisition of basic skills:
    • air column / breathing
    • concept for sound / timbre
    • articulation
    • rhythmic, digital and timbral homogeneity
    • accuracy
    • flexibility
    • nuance
    • intonation
    • vibrato
  2. Development of basic technique and knowledge of all Major and Minor scales.
  3. Ability to hear and play dynamics, develop a sense of musical phrasing and a basic understanding of blend and balance.
  4. Cultivation of the ability to memorize simple musical passages.
  5. Development of basic sight-reading skills.
  6. Ability to notate simple musical passages.
  7. Understanding of chord-scale relationships; Jazz improvisation using basic facility.
  8. Basic knowledge of the history of the saxophone and the Giants of Saxophone.
  9. Experience in ensemble performance — piano accompaniment — ensemble of saxophones.
  10. Public performance.

Desired Competency — 2nd Cycle (Years 4 to 8)

  1. Deepening skills acquired in the 1st cycle:
    • air column / breathing
    • development of a personal, mature sound
    • articulation
    • rhythmic, digital and timbral homogeneity
    • accuracy
    • flexibility
    • nuance
    • intonation
    • vibrato
  2. Fluidity of technique as well as knowledge of alternative fingerings.
  3. Ability to play "extreme" nuance, to tune alone, to control and correct intonation.
  4. Ability to memorize music.
  5. Sight-reading at the level of "working musicians."
  6. Knowledge, technical facility, and musical maturity in contemporary music.
  7. Understanding and application of the wide variety of music notation in contemporary music.
  8. Knowledge and practice of chord-scale relationships; Jazz improvisation.
  9. Ear training, Jazz phrasing, memorization of easy jazz standards, and the ability to transcribe solos.
  10. The history of the saxophone, the different epochs and styles, and important figures.
  11. Understanding and application of descriptive and analytical vocabulary.
  12. Ensemble performance — piano accompaniment — chamber music — ensemble of saxophones — orchestra, Jazz combos and Jazz ensembles — knowing how to conduct a set and a rehearsal.
  13. Perform in public as a soloist.
  14. Participate on a stage.
  15. Promote general musical culture by listening to and performing music of all kinds.

First Cycle — Preparatory to Year 3

Preparatory Year

Preparatory Year — Core Methods

Preparatory Year — Additional Methods

Preparatory Year — Core Repertoire (Saxophone and Piano)

Preparatory Year — Additional Repertoire

Preparatory Year — Exam Requirements

Year 1

Year 1 — Core Methods

Year 1 — Additional Methods

Year 1 — Core Repertoire (Saxophone and Piano)

Year 1 — Additional Repertoire

Duets and Ensembles

Year 1 — Exam Requirements

Year 2

Year 2 — Core Methods

Year 2 — Additional Methods

Year 2 — Core Repertoire (Saxophone and Piano)

Year 2 — Additional Repertoire

Year 2 — Exam Requirements

Year 3

Year 3 — Core Methods

Year 3 — Additional Methods

Year 3 — Core Repertoire (Saxophone and Piano)

Year 3 — Additional Repertoire

Ensembles

Year 3 — Exam Requirements

The Doubler's Path: Flute and Clarinet

I play flute and clarinet, and almost all US saxophone players who played professionally are doublers. They played flute, clarinet, and sax. It's almost impossible to imagine becoming a working saxophonist if you don't double.

This is not optional elective territory. In the professional world — pit orchestras, big bands, theater, studio dates, commercial work — the saxophonist who doubles is employable. The one who doesn't double is not. Start flute in Years 3–4. Start clarinet in Years 4–5. Both instruments are lifelong companions, not temporary hurdles.

Flute — Introduced Years 3–4

Teaching instrument: Yamaha YFL-482H Intermediate — open-hole, B-foot, silver headjoint. This is the right tool for a serious student. It will not hold anyone back.

Professional aspirational instrument: Sankyo.

Method Books

Repertoire Entry Points

The flute is where classical technique is refined and a second embouchure vocabulary is built. The crossover with saxophone breathing and support is significant. Do not treat flute as a shortcut — it is a separate discipline that demands separate daily practice.

Clarinet — Introduced Years 4–5

Recommended mouthpiece: Vandoren CM309 B45 Dot Bb. This is the standard reference point; everything else is measured against it.

Method Books

Repertoire Entry Points

Clarinet demands a fundamentally different embouchure, a single-reed response that is more exposed than saxophone, and a tone production philosophy that is its own. The saxophonist who plays clarinet with saxophone habits sounds like a saxophonist pretending. Study it right: from the ground up, with a clarinet teacher if possible, at least in the early stages.

Why both instruments matter for professional work:

There is no shortcut. Both instruments require consistent daily practice alongside the saxophone. Build the habit early.

Where Doubling Is Institutionalized

Most conservatories do not build doubling into the saxophone curriculum. Two American programs are conspicuous exceptions, and they are worth knowing about — both for students considering where to study and for teachers thinking about how a program could be structured.

University of North Texas (UNT) College of Music — Denton, Texas. UNT runs a stack of named lab bands (One O'Clock through Seven O'Clock, plus a Latin Jazz Lab) — each a 19–20-piece big band. Students are placed into bands by audition. The One O'Clock Lab Band has earned multiple Grammy nominations and is widely regarded as the most accomplished collegiate big band in the United States. The volume of ensemble work alone produces doublers as a matter of necessity, and the program's jazz studies division has been a doubler pipeline into the New York and Los Angeles studio scenes for decades.

Berklee College of Music — Boston, Massachusetts. Berklee treats doubling as a formal course of study rather than an afterthought. The Woodwind Doubling Lab — Flute and the Theater Woodwind Doubling Lab — Saxophone/Clarinet and Flute/Piccolo are dedicated courses inside the Woodwind Department. Berklee's woodwind faculty includes working pit and studio doublers; the curriculum is built around the assumption that the modern professional plays all three.

If doubling matters to a student — and based on the realities of professional work, it should — these are the two programs where it is the default expectation, not the exception.

Second Cycle — Years 4 to 8

Year 4

Year 4 — Core Methods

Year 4 — Additional Methods

Year 4 — Core Repertoire (Saxophone and Piano)

Year 4 — Additional Repertoire

Year 4 — Exam Requirements

Year 5

Year 5 — Core Methods

Year 5 — Additional Methods

Year 5 — Core Repertoire (Saxophone and Piano)

Year 5 — Additional Repertoire

Year 5 — Exam Requirements

Year 6

Year 6 — Core Methods

Year 6 — Additional Methods

Year 6 — Core Repertoire (Saxophone and Piano)

Year 6 — Additional Repertoire

Year 6 — Exam Requirements

Year 7 — Bachelor's Degree ("Maîtrise")

Year 7 — Core Methods

Year 7 — Additional Methods

Year 7 — Core Repertoire (Saxophone and Piano)

Year 7 — Additional Repertoire

Year 7 — Exam Requirements

Requirements for Completion of the Year 7 Diploma (Maîtrise)

Year 8 — Jazz Studies and Ensemble Leadership Training

Year 8 — Core Methods

Year 8 — Additional Methods

Year 8 — Core Repertoire (Saxophone and Piano)

Year 8 — Additional Repertoire

Year 8 — Exam Requirements

Culmination — Master's Level

Year 9 — Master's Degree ("Licence")

Year 9 is the culmination of the program. The student at this level is expected to function at a professional performance standard, to have a defined artistic voice, and to be capable of leading ensembles, presenting solo recitals, and contributing to the field.

Year 9 — Core Methods

Year 9 — Core Repertoire (Saxophone and Piano)

Year 9 — Additional Repertoire

Year 9 — Exam Requirements

Appendix A — Saxophonists of Note

This is a partial list. New recordings appear weekly. Consult current sources for emerging artists.

Classical Saxophonists of Note

Saxophone Documentary TV5 Marcel Mule Interview Selmer — A History of Saxophone American Saxophone Quartet Amherst Saxophone Quartet Anubis Saxophone Quartet Bornkamp, Arno Briggs, Adam Campbell, Griffin Capitol Quartet Deffayet, Daniel Deibel, Geoff Delangle, Claude Dirlam, Richard Don Sinta Saxophone Quartet Forger, James Forsyth, Paul Fourmeau, Jean-Yves Great Lakes Saxophone Quartet (Lulloff, Forger, Lau, Donell Snyder) H2 Saxophone Quartet Habanera Saxophone Quartet Harle, John Hemke, Fred Hollywood Saxophone Quartet Houlik, James (tenor saxophone) Hunter, Laura Iridium Saxophone Quartet Kelly, John-Edward Kientzy, Daniel Lau, Eric Leaman, Clifford Loeffert, Jeffrey Londeix, Jean-Marie Lulloff, Joseph Marsalis, Branford Mauk, Steve McAllister, Timothy Michigan State University Graduate Saxophone Quartet Murphy, Otis New Century Saxophone Quartet Nichol, John Nichol, Jonathan Nolen, Paul Prism Saxophone Quartet Prost, Nicolas Quartet de Saxophones de Paris Rahbari, Sohre Richtmeyer, Debra Rousseau, Eugene Sampen, John Savijoki, Pekka Sinta, Donald Smith, Howie Stockholm Saxophone Quartet Sugawa, Noboya Sullivan, Taimur Texas Saxophone Quartet Tse, Kenneth Underwood, Dale Weiss, Marcus XASAX Young, Robert

Video Resources

Jazz Saxophonists of Note

Johnny Hodges Phil Woods Marshall Royal Earl Bostic Paul Desmond Julian "Cannonball" Adderley Charlie ("Bird") Parker Art Pepper Lennie Niehaus Dick Oats Vincent Herring Maceo Parker David Sanborn Paquito D'Rivera Marc Russo Jay Beckenstein Eric Marienthal Kenny Garrett Antonio Hart Ornette Coleman Bud Shank Arthur Blythe Charles McPherson Joe Lovano Chu Berry Sam Rivers Frank Foster Coleman Hawkins Ben Webster Don Byas Gary Bartz Dave Koz Gerald Albright Sidney Bechet Jerome Richardson Branford Marsalis Joshua Redman Seamus Blake Bob Berg Pete Christlieb Wayne Shorter Arnett Cobb Illinois Jacquet Steve Coleman Lester Young Stan Getz Sonny Rollins Dexter Gordon Chris Potter Sonny Stitt Joe Henderson John Coltrane King Curtis Tom Scott Clarence Clemons Mike Brecker Johnny Griffin Jan Garbarek Eric Dolphy James Moody Yusef Lateef Al Cohn Gene Ammons Zoot Sims David Liebman Pharoah Sanders Archie Shepp Hank Mobley Charlie Rouse Ernie Watts

Appendix B — Studio (Thomas Hornig's Gear List)

As an Amazon Associate, Thomas Hornig earns from qualifying purchases.

These are the instruments, accessories, and studio tools I use and recommend. Affiliate links where applicable; affiliate status disclosed in front matter.

CategoryItemNotes
Alto saxophone — primarySelmer Paris Reference 54 with RooPadsModern Mark VI lineage. My main horn.
Alto saxophone — flagshipSelmer Paris 92 SupremeCurrent Selmer flagship, released 2022.
Tenor saxophone — primarySelmer Paris Reference 36 with JS Engineering gold-plated padsJS Engineering (Sanger, CA — jsengineering.net)
Tenor saxophone — flagshipSelmer Paris 92 Supreme
Classical mouthpiece (sax)Selmer Concept
Jazz alto mouthpieceVandoren V16 A6 S+
Jazz tenor mouthpieceTheo Wanne Gaia 2, 7*
Reeds (classical)Vandoren Blue Box #3
Reeds (jazz alto/tenor)Boston Sax Shop Black Label · Ligaphone Jazz 2.75
LigaturesLigaphone
Reed toolReedGeek G4 Universal
Reed storageProtec A251 · Rico
Sax caseProtec PB304CT Contoured PRO PAC
Sax standsHercules DS530BB (alto/tenor)
Flute teachingYamaha YFL-482H IntermediateOpen-hole, B-foot, silver headjoint.
Flute professionalSankyo
Flute standHercules DS504B Deluxe Velvet Peg
Clarinet mouthpieceVandoren CM309 B45 Dot Bb
Live mic — clip-onAMT clip-onNo-soundcheck option
Live mics — LDC pairNeumann TLM 102 + TLM 103Stored in Pelican 1170
Mic casePelican 1170See "Live mic protocol" sidebar.
Studio monitorsYamaha HS8 (pair)
Monitor standsIsoAcoustics ISO-L8R155
Studio headphonesSennheiser HD 650Reference open-back
TabletApple iPad Pro 13" M5 256GB Wi-Fi Space BlackWith forScore for digital sheet music.
ComputerMac mini
DAWUniversal Audio LUNAAuthor's choice — many options exist

Live Mic Protocol — Hornig Method

Two Neumann TLM 103 / TLM 102 LDCs stored in a Pelican 1170 hard case — vastly cheaper than purpose-built mic cases and far more protective. When using phantom-powered LDCs on stage, turn the preamp gain up at the board so the mic's effective pickup pattern narrows around the source. This eliminates the bleed and feedback concerns engineers reasonably have about LDCs in a live context. AMT clip-on remains the no-soundcheck option; the Neumanns are the "if the engineer trusts you" option.

Note on links (2026 edition). The YouTube and retailer URLs below are preserved from the 2020 source. Many are likely still active; some may have moved or been removed. Verify each before relying on it. New 2026-era pedagogy resources — AI-assisted ear training apps, transcription tools, manufacturer YouTube channels, and current artist channels — are emerging constantly. Treat this list as a starting point, not an exhaustive reference.

Pedagogy and Technique Videos

Reed Cases

Jazz Reeds

Classical Reeds

Reed Maintenance

Appendix D — Retailers, Repairs, Accessories, Custom Work

Instrument Repair

Online Retailers — Instruments, Reeds, Accessories

Mouthpiece Basics and Custom Work

The letters (C, D) and numbers (5, 6, 7) on mouthpieces indicate the space between tip-rail and reed-tip — the tip opening or lay. A star (*) or progression through the alphabet indicates a wider tip opening. Each manufacturer has its own system. This directly affects tone color (dark to bright), resonance, response, and the appropriate reed strength and brand.

For advanced players, mouthpiece modifications beyond the stock product may be worth exploring. This is rarely beneficial for beginners or intermediate students. The mouthpieces listed in the Studio Appendix are highly consistent from the factory. Where adjustment is necessary, the following technicians are recommended:

Saxophone Recommendations by Voice

Soprano

  1. Yamaha YSS-875 (fuller, darker sound)
  2. Yamaha YSS-62 curved neck (rich, vibrant sound)
  3. Selmer Series II or III
  4. Selmer Mark VI
  5. Yanagisawa

Alto

  1. Yamaha YAS-875EX or YAS-875EXII (Regular Lacquer, Silver, or Gold Plate)
  2. Selmer Series II or III
  3. Selmer Mark VII
  4. Selmer Reference 54
  5. Selmer Balanced Action and Super Balanced Action
  6. Yanagisawa
  7. Roy Benson
  8. Buffet Crampon
  9. JL Woodwinds

Tenor

  1. Yamaha YTS-875 (Regular Lacquer, Silver, or Gold Plate)
  2. Yamaha YTS-62
  3. Selmer Series II or III
  4. Selmer Reference 54
  5. Selmer Mark VI
  6. Selmer Balanced Action and Super Balanced Action
  7. Yanagisawa
  8. Roy Benson
  9. Buffet Crampon

Baritone

  1. Yamaha YBS-62
  2. Yamaha YBS-52
  3. Selmer Series II or III
  4. Selmer Reference 52
  5. Selmer Mark VI
  6. Selmer Balanced Action and Super Balanced Action
  7. Yanagisawa
  8. Roy Benson
  9. Buffet Crampon

Reeds — Notes for Students

The reed strength that works depends on the facing and opening of the mouthpiece. On classical mouthpieces the tip opening is smaller and harder reeds are needed. Preparatory-year beginners will usually feel more comfortable with a 2.5 strength reed.

The increase in number equals an increase in strength (thickness). The smaller the distance between the tip of the reed and the tip of the mouthpiece, the harder the reed needed (i.e., harder reeds carry higher numbers).

Many brands exist. When auditioning new reeds, choose a few from each strength category to find the right match.

Classical Reeds — Recommended Brands

  1. Vandoren Blue Box
  2. Ligaphone
  3. Rico Royal
  4. Gonzalez
  5. La Voz

Classical Reed Strengths

Jazz Reeds — Recommended Brands

  1. Vandoren Java
  2. Vandoren V16
  3. D'Addario Jazz Select
  4. Ligaphone Jazz

Jazz Reed Strengths

Classical Mouthpieces

Sizes

Jazz Mouthpieces

Soprano

Alto

Tenor

Baritone

Ligatures

Accessories

Reed Cases

Cleaning Devices

Neck Straps

Cases and Gig Bags

Hard-shell cases strongly recommended for durability.

Minor Repair Items

Credits and Affiliate Disclosure

Written and researched by Thomas Hornig. All pedagogical recommendations reflect the author's own teaching experience and do not constitute endorsement by any institution.

As an Amazon Associate, Thomas Hornig earns from qualifying purchases. Some product links in this document include affiliate tracking. This does not affect the price you pay.

Henri Selmer Paris Artist affiliation noted for context; Selmer recommendations reflect the author's independent assessment.

Editorial Changes Summary

The following changes were made to the 2020 source document (sax_proposal_2020.txt) in producing this 2026 draft:

Structural additions and changes

  1. Cover and front matter added. The 2020 source opened with an institutional header and a cover letter. Both are replaced with a neutral title block, 2026 disclaimer, and affiliate disclosure.
  2. "Dear Mr. Saba" cover letter removed. The original cover letter (lines 9–44 of source) has been reframed as a universal Introduction, preserving the pedagogical content (ensemble requirement, prolific performance, cross-referenced European/US methods, well-rounded graduates) while removing all personnel-file and institutional framing.
  3. Foreword — "Why Selmer: Crème de la Crème" added (verbatim from editorial brief). Not present in 2020 source.
  4. NEW CHAPTER — "The Doubler's Path: Flute and Clarinet" added after Year 3. Covers flute (Years 3–4) and clarinet (Years 4–5) with Tom's framing quote, instrument recommendations, methods, repertoire entry points, and professional context. Not present in 2020 source.
  5. Table of Contents removed from body. Document heading structure serves as navigation in Markdown.
  6. Year 9 concluding chapter preserved with light cleanup. The 2020 source listed additional repertoire under numeric prefixes "10–", "11–", "12–" past Year 9. Per author instruction, the curriculum stops at Year 9 — those entries have been removed entirely.

Institutional references removed

Typos corrected

Source errorCorrected
hopethat"hope that"
preperatory"preparatory"
smalerl"smaller"
Cocker (Jerry Coker / Patterns for Jazz)Coker
Bichet (Sidney Bechet)Bechet
McPhearson (Charles McPherson)McPherson
Christliebe (Pete Christlieb)Christlieb
Yan GabarekJan Garbarek
Joe LavanoJoe Lovano
Clarence ClemmonsClarence Clemons
Earnie WattsErnie Watts
Lennie NeuhausLennie Niehaus

Appendix changes

All Amazon links formatted with ?tag=tomhornig-20 query string. The following ASINs require verification pre-publication:

Verified ASINs: Yamaha HS8 (B00DCYMVB2), Sennheiser HD 650 (B00018MSNI).

No prices

No prices appear anywhere in this document. The 2020 source did not include prices; this rule confirmed as satisfied.

Content preserved intact

The nine-year curriculum structure — all method books, all scale/arpeggio requirements, all repertoire lists, all exam requirements — is preserved in full. This is a refresh and expansion, not a rewrite of the curriculum itself.