BOOK 1- Bb Tenor Saxophone

STANDARD OF EXCELENCE
COMPREHENSIVE BAND METHOD
By Bruce Pearson

Dear Student:

Welcome to the wonderful world of instrumental music. The moment you pick up your tenor
saxophone, you will begin an exciting adventure that is filled with challenges and rewards.
If you study carefully and practice regularly, you will quickly discover the joy and satisfaction
of playing beautiful music for yourself, your family, your friends, or a concert audience.

I hope you have many rewarding years of music-making.

Best wishes,

, 7144e11../
/31/Át..4

Practice and Assessment - the key to EXCELLENCE!

Make practicing part of your daily schedule. If you plan it as you do any other actiyity, you will find
plenty oí time for it.
›Try to practice in the same place every clay. Choose a place where you can concentrate on making
music. Start with a regular and familiar warm-up routine, including long tones and simple technical
exercises. Like an athlete, you need to warm-up your mind and muscles before you begin performing.
>Set goals for every practice session. Keep track of your practice time and progress on the front cover
Practice Journal.
Practice the difficult spots in your lesson assignrnent and band music over and over, until you can play
them perfectly.
›Spend time cluring each practice session using the STANDARD OF EXCELLENCE Book 1 ACCOMPANI-
MENT RECORDINGS and iPAS practice and assessment software. The ACCOMPANIMENT RECORDINGS
are included on two CDs in the STANDARD OF EXCELLENCE ENHANCER KIT, available separately
Nei l'A. Kjos Music Company eclition number PVV21EK).
>Al the end of each practice session, play something fun!

ISBN 0-8497-5933-1
1993, 2004 Neil A. Kjos Music Company, 4382 Jutland Drive, San Diego, California.
International copyright secured. Al! rights reserved. Printed in U.S.A.
WARNING! Governments around the world provide copyright laws lo encourage composition and publication of new music.
Anyone copying this music without permission is breaking the copyright law and is subject to penalties.
Please do not violate copyright laws. Do not copy or reproduce the contents of this book in any way. Thank you!

lgos NEIL A. KJOS MUSIC COMPANY, PUBLISHER

W21XB
2

PUTTING YOUR TENOR SMOPHONE TOGETHER

MOUTHPIECE
STEP 1
Open your case right side up.
Put the thin end of the reed
inside your mouth to moisten
it. Grease the cork on the
neck if necessary.

STEP Z
Put the neck strap around
your neck. Hook the body of
the instrument to the neck
strap. Remove the end plug.

STEP 3
Put the mouthpiece on the neck so that halfof the cork is exposed. The
flat side of the mouthpiece should be on the bottom side.

STEP 4
Put on the ligature, and sude the reed
behind it. Center your reed on the flat
part of the mouthpiece with only a
hairline of mouthpiece visible aboye the
reed. Tighten the screws on the ligature
only until snug. Overtightening can
damage your ligature.

STEP 5
Put the neck onto the body, carefully
aligning the connecting lever. Tighten
the neck screw.

W21 XB
 3
PREPARING To PLAY
STEP 1
Su up straight on the edge of your chair.

STEP 2
Allow your neck strap to support the weight of the
saxophone.
STEP 3
Position the saxophone on the right side of your body.
Adjust
your neck strap so the reed touches your lower lip.

STEP 4
Put your left thumb diagonally on the upper
thumb rest. Put
your right thumb under the lower thumb rest.

STEP 5
Curve your fingers on both hands. Keep your wrists
straight.
Your elbows should be away from your body.

PLAYING YOUR TENOR SAXOPHONE

STEP 1
Position your lips as if saying "oh."

STEP 2
Cover your bottom teeth with your lower lip.

5.1LP_,1
Place the mouthpiece in your mouth to where the reed
and
mouthpiece touch.

STEP 4
Rest your top teeth directly on the mouthpiece. Close your
mouth in a drawstring fashion with equal pressure on all sides
of the reed. Your chin should be flat and pointed.

STEP 5
Take a full breath of air and play a long, steady tone.

CARING FOR YOUR TENOR SAXOPHONE

STEP 1
Alter playing,remove the reed. Place it in the reed holder to
dry.
STEP 2
Remove the mouthpiece and wipe the inside with a soft, clean
cloth. Remove the neck and drain any excess water from the
neck before putting it back in the case.

STEP 3
Svvab out the body by dropping the weight into the bell and
pulling it through. Wipe the outside of your saxophone with a
soft,clean cloth. Carefully put away all parts of your
saxophone
and latch your case.

X13
FOR TENOR SAXOPHONES ONLY
TREBLE TIME WHOLE o WHOLE
CIEF SIGNATURE NOTE REST
Ledger Une

4 counts
in each
measure
,v,Measures

A
Co
E

E
eD

Bar Lines
1]
Staff
A whole note gets
4 counts in 2 time.
A whole rest gets
4 counts in t time.
=MI

BUSY BEE

o o o o o
oo
O = open
A double bar linc marks the end of the music.
• = pressed down

El THE "A" TRAIN

IMIZr

II tI

IJ DOUBLE TROUBLE
1~1
o o 1~i

• Use plenty oí air.

•SENSATIONAL SAXOPHONES

I o tI

• Are you playing with a good embouchure and hand position?

o tI

6 SAX FIFTH AVENUE

I I o t_I

•TREMENDOUS TENORS

112 o
o

•How is your posture?

W21 XE3
 5

FOR WOODWINDS ONLY

TREBLE TIME WHOLE o WHOLE lar

CLEF SIGNATURE NOTE REST

Leclger Line ....7 Measures A whole rest gets
A whole note gets
E
4 counts in 2 time. 4 counts in 2 time.
= 4 counts ti
• in each A Staff
G B ° 1]
measure E

Bar Lines

El THE FIRST NOTE

E
SI ti ti ti
War

41
O = open A double bar line marks the end of the music.
• = pressed clown

19 THE SECOND NOTE

la •
• o o o
•
•
•
•

TEA FOR TWO

ILX IF) o

▪ Use plenty oí air.

4 THE THIRD NOTE

C
ti ti

THREE OF A KIND
1) 11. o
1
• Are you playing with a good embouchure and hand position?

6 THREE'S COMPANY
o ti
ti o
1
Fi WOODWIND WHIRLWIND
t
o 11•••
ti

11
ti

How is your posture?

W21 XB
6

FOR THE FULL BAND

TREBLE TIME WHOLE o WHOLE 1M"

CLEF SIGNATURE 1 NOTE REST

Ledger Line ...,,,Measures A whole note gets A whole rest gets
4 counts in 2 time. 4 counts in 2 time.
E
= 4 counts c .8 ° F Staff
in each A
measure
Bar Lines

fl TIME FOR BAND

lél• E
•

la
t ti ti ti
. 81 IMF I•Or

•
o
o = open A double bar line marks the end of the music.
• = pressed down

J THE FUN CONTINUES

)1414
. 0
o o o o
•
•
42 1~1 1~1

▪ WHOLE LOTTA COUNTING

41 11
o

• Write in the counting and clap the rhythm before you play.
o

4 FOUR SCORE Page 3911111*

ti ti ti

• VVhen you see a page number followeci by an arrow, Excellerate to the page indicated for additional studies.

▪ MIX 'EM UP
ti
o ti

6 MELTING POT
I
o 4.1 O

Fa BAND ON PARADE
41 t 1•••-
ti
ti
1
• Lines with a medal are Achievement Lines. The chart on page 47 can be used to record your progress.
W21X8
 7

HALF NOTE r HALF REST BREATH MARK

Each half note gets Each half rest gets

2 counts in / time. 2 counts in time. Take a breath.
1~1

8 A BREATH OF FRESH AIR

9

- ti
40> o IM•
C3 ti

Be sure to take a full breath oí air.

9 SIDE BY SIDE
9

41 ti
o Si o ti

10 TVVO BY TINO
5

41 O t/ C3
ti

rEl HALF THE PRICE

41" 9

r r 12

Write in the counting and clap the rhythm before you play.

DEI CARDIFF BY THE SEA Page 39 111111> Welsh Folk Song

o e o ti

TWO FOR THE SHOW - Duet

A.
9 ti
9
,
11
o ti
•=1..

o o
r t.» ti EM.

r íJ

14 GO FOR EXCELLENCE!
4,
7
o ti 1~. ti

W21XB
8

QUARTER NOTE QUARTER REST PHRASE

Each quarter note gets Each quarter rest gets

1 count in time. 1 count in I time. A phrase is a musical thought
or sentence. Phrases are usually
four or eight measures long.
110) P

Ela A QUARTER'S WORTH

p ft
111 rr 1111 rrrr i3

Write in the counting and clap the rhythrri before you play.

16 HOT CROSS BUNS English Folk Song

ti

fi íd AMI

rrrr rrrr F'

fi 413

laP J JJ,J UJJ JJJ 1 JJJ 1

[51 AU CLAIRE DE LA LUNE French Folk Song

-r rr rrrr rr
O

fi 4LI

fi t,

Draw in a breath mark at the end of each phrase.

18 DOWN BY THE STATION Traditional

4IF
rrr Prr
19 EASY STREET
F
: • IMP
r- nwr r
O

20 COUNTRY WALK English Folk Song

Itri•N rr y fi rr íd
rr
Ein GETTIN' IT TOGETHER
G iéi
C1
•
rr r
y
rr
Effi FOR TENOR SAXOPHONES ONLY
9

tr rrr fi II»

11r2 1 X B
 9

REPEAT SIGN COMMON TIME FERMATA SOLO One person plays.

e SOLI Whole section plays.

c = Hold the note or

Repeat from the beginning. Common time means rest longer than TUTTI Everyone plays.
its usual value.
the same as I time.

Egi MERRILY WE ROLL ALONG Page 39 1111111> Traditional

41 r rrrlr"" •
rrrl rrr rr 1 r

Write in the note names before you play.

SC.
24 LIGHTLY ROW- Duet Traditional
A.

4 rr rr r MÍ 1-7

rr -rr
5

B.

rr rr
5

e
rr rrrr o • or • Pf

Egi ONE STEP AT A TIME

It r rr4r -r
.rrie t

Write in the counting and clap the rhythm hefore you play.

26 GOOD KING WENCESLAS

SoIo/Soh,Tutti , so,o,s.„ , Tutti
Traditional English Carol

rrr rr • _o .19 •
rrr rr rr7 r r
Efil SONG OF THE FJORDS Norwegian Folk Song
So I o/So I i Tutti Solo/Soli Tutti
9

r rr r rrr 9

28 Composer
your name
,JJJ

11 r • rff rrr rrr

o

Fuiin the rest oí the measures using the given rhythms and any notes you know. Title and play your composition.

29 GO FOR EXCELLENCE! -

Olr pi •

W21X13
lo

TIE TIME SIGNATURE 12/

1

= 2 counts in each measure

A tie is a curved line that connects two notes 4 =quarter note gets one count
of the same pitch. Tied notes are played as one r2
unbroken note.
i(1) 1 1

30 WARM-UP
A A
-a- 41:
r r r
41 19 ~I

Eil TIED AND TRUE

JOLLY OLD ST. NICHOLAS - Duet American Carol

A.
rri-r rrr • o • o

B.
•.#. o • Ar 11, • a 1. •

7 (é

El AMIGOS Mexican Folk Song

/14

Keep on playing!

4 íd íd
• Write in the counting and clap the rhythm before you play.

34 FARM,OUT Traditional

1/r r •
íd
r r
r r r r f rr r r
•
Ela FOR TENOR SAXOPHONES ONLY rtZ.C.1-

r
5

rr r rrr íd rrrr
• Keep your fingers close lo the keys.

W2 XII
 11

Key signatures change certain notes throughout

KEY SIGNATURE a piece of music. This is the key signature you've
been playing in so far.

36 MARK TIME
;,1•
e

rr rr rrrr rr rr rr ti

151 SWEETLY SINGS THE DONKEY - Round Traditional

1. , 2.
IJJ

r r-r ti

38 MARY ANN West Indies Folk Song

sowsob Tutti
.•"2 9 o
1 1 9
rr o
rr 1~1

Solo/Soli Tutti

íd
ály 0•
1 1 o
rr r r írfr
Write in the note names before you play.

39 CRUSADER'S MARCH Page 39 III» Traditional

rr rr
I :1 -p
r r r
Write in the counting and clap the rhythm before you play.

40 BALANCE THE SCALES

Draw one note or one rest to balance each scale.

,
41 GO FOR EXCELLENCE!

r r r 1
W21 X8

W21X8
12

BALANCE BUILDER
Tonic Subdominant Dominant Tonic
1

4 -- 4(7\
2t'7 3 5 6
L1 L1

JINGLE BELLS
Band Arrangement J. S. Pierpont (1822 - 1893)
arr. Chuck Elledge (b. 1961)
2 3 4 9

5
r r rrrr rr rr rl
6 7 8
ti

r r
10 11 12

4rrr- r rl rl
13!
14 15 16
e ti

r r
17
18 19 20

r r r 9

21

r r 22 23

rl rl
24

r
SCHOOL SONG
Solo/Soli , Tutti
MI`
-r -4
rl
Solo/So I i Tutti

rl rl
133 FOR TENOR SAXOPHONES ONLY
rrrl rr_r rl
5

rl rl rl rl -rtr
W21X13
 13

EIGHTH NOTES Two eighth notes are as long

as a quarter note.

.7: Each eighth note gets 1/2 count in and t time.

+=J
1/2 + 1/2 = 1 count

44 WARM-UP
9 9
o

45 EIGHTH NOTE ENCOUNTER

111 2
.01 1 o
Lr

clap
J ,J >i
Write in the counting for the top line before you play.

.04-91tbil American Folk Song

46 JIM ALONG JOSIE

r r r r r r r r
47 EIGHTH NOTE EXPLORER

;
ciIP JJJJ JJJJ iJii JJJJ :
\Nrite in the counting for the top Une before you play.

48 GO TELL BILL Gioacchino Rossini (1792 - 1868)

9

r r r r
rrrr r r c_r
49 GO FOR EXCELLENCE!
P P
~1
r r r rr r 11~

W21 XF1
14

50 EIGHTH NOTE EXPRESS

It r r r rrr r r
cap
JJJ J>JJj J J1JJ
• Write in the 'counting for the top line before you play.

SKIP IT, LOU American Folk Song

solotsoi Tutti

Cf ' Lrr r r r r
Solo/Soli Tutti

r
Cf
EIGHTH NOTE EXPERT

c/lap i j j j ,
JJJ1.
Write in the counting for the top line before you play.

MEXICAN MOUNTAIN SONG Mexican Folk Song

r r
r r r _r o

54 BAFFLING BAR UNES

r
▪ Write in the counting and draw in the bar lines before you play.

FOR TENOR SAXOPHONES ONLY

r
W21XB
 15

PICK-UP NOTE

A curved line that connects two or more A note that comes before the first full
notes of different pitches. measure of a piece of music.

56 W ARM-UP

r 49 dp 9 e • o
í
.

Tongue only the first note of each slur.

iohannes Brahms(1833 - 1897)

lJ THEME FROM "SYMPHONY NO. 1"

r e
rr rr
58 ERIE CANAL CAPERS American Work Song

r r r r r r

rrLr •
r r Lin*
59 LAUGHING SONG - Round Page :19 1111111> Traditional
1. , 2.
E'
Ci
60 STAR SEARCH Wolfgang Amadeus Mozart (1756 • 1791)

u Lr
Draw in the missing notes for "Twinkle, Twinkle, Little Star" before you play.

61 GO FOR EXCELLENCE!
• • P

Clil
• • r
r c_- rr • •

W21X13
16

FLAT Et KEY SIGNATURE

A flat lowers the pitch of a note one half step. This key signature means play all B's
It remains in effect for the entire measure. as 8 flats.

62 CLIMBING STAIRS
B flat (Bb) „
bia :

ler Isr rrr

o
r r r rrrr rurr
IZO BINGO American Folk Song

rrrr r r r
*

4 r also played 8 t

4r1r1 r r r r r r r r rr r r
64 THERE'S MUSIC IN THE AIR George F. Root (1820 - 1895)

rrrr va-
o o o

65 THERE'S THE SAME MUSIC IN THE AIR George F. Root (1820- 1895)

r r r
Circle the note changed by the key signature.

133 SCALE SKILL

be r r flr rrr
67 FOR TENOR SAXOPHONES ONLY
A

• IfL o
1 C.Ll o

W21)(13
 17

DOTTED TIME SIGNATURE

HALF NOTE DYNAMICS

A dot after a note adds half 3= 3 counts in each measure

the value of the note. 4 = quarter note gets 1 count forte(f)- loud
piano(p)- soft
.
2 + 1 = 2 + 1 = 3 counts
42enr r r r r • o

68 WARM-UP
9

r r
rrr
o
1

69 CHANNEL THREE
1/2 r u
rr r r rr r r r
94 J J J J
pat
Write in the counting for the top line before you play.

70 DOWN IN THE VALLEY American Mountain Song

BROTHER MARTIN - Round Page 40 111111> latin American Folk Song

1r
1.
o 5 2.
•
, 3.

1
Australian Folk Song
5E1 THE LITTLE FISH
O I • O O

rrr
rrr
Draw in a breath mark at the end of each phrase.

hp "When
GO FOR EXCELLENCE!
Love Is Kind"
Czech Folk Song

r r r r 5r r
12 W21XB
18

A natural sign cancels a flat or a sharp.

NATURAL lt remains in effect for the entire measure.

74 WARM-UP
B flat (Bb)0 •
1
o
t.. • -
Ihar
0-0
f2 trrr
OLD BLUE Traditional
solo/son Tutti

• • "111 • I

1
soloisoh Tutti

r r Li" r •
rr
76 THIRD TIME AROUND
B:

10( r r r bri• r r 9
I

Circle the notes changed by the key signature.

LULLABY - Duet Traditional

A.
O
• O •
•

rr fl rr O

78 MINUTEMAN MARCH Robert Frost (b. 1942)

o
rt
O
r
rr O
also played Bq

r r
79 FOR TENOR SAXOPHONES ONLY
,
11 r f
r o
5

rr r r ••
rl
 19

ACCENT Attack the note louder.

st and 2nd Play the first ending the first time through.
Then, repeat the music, skip the first ending,
ENDINGS and play the second ending.

ONE-MEASURE Repeat the previous measure.

REPEAT SIGN

80 MEXICAN HAT DANCE Mexican Folk Song

>-

1:4 rr ivírff r r l 711 rr r rr r r l f r- 11: .1 1f r 11

f P
ciar) I i 1 1 I 1
1'1111 J :'' 1 11

81 FRÉRE JACQUES - Round French Folk Song

1. • 2. 3.
•••• O.
r fir

82 MORNING MOOD EcIvard Grieg (1843- 1907)

r r O O•IP
00,1
nff O r•

83 MING COURT Chinese Folk Song

•
o
Lr

ss los
•

Write an S under each slur and a T under the he before you play.

84 GO FOR EXCELLENCE!
• o ••
•
rr
o pe ••th. W
- 1
•%% MEI ~I

c_rr Irr pr trÍ

o

\ .1 1 su../
20

SAWMILL CREEK
Solo with Piano Accompaniment

Bruce Pearson lb. 1942)

6

Tenor
Saxophone
_ 2
_ 3

r _ _ 4
Sr
r OSP
..
{ "'
:11

I> Go Pack to the first repeat sign. —1

'
4
t ,
1 1 1 1 1
ellaarni
113~1
1 3 'si
al •
Piano i
• vil .••
ii 1 ,•
2

2. 1 ja
o- -o- '- 5 P-"' 12
•
a. o- a o 10
i• • •
11
r a •a O-
di, O
UVI %Mur
ises.

• 41 I 1

11#

FEfl LF 2
la"

13 IT¿-1
9 14 17 18 19
a OP9 • 11 10 Ir& 1

rIrr
1 J
J
9 •
1 J

20
21 22 23 '2425 >.
Lrr Z1,
0
4 r cf r
1 1
6
7, - 7.1
J
1993, 2004 Neil A. Kjos Music Company. Page 20 is authorized for duplication to meet specific requirements for festivals,
contests, and competitions. A photocopy may be distributed lo an accompanist. All copies must be destroyed after the event.
W21 XR
 21

LONG REST Rest the number of measures

Count: indicated.
2 3 4 2 2 3 4

MONTEGO BAY
Band Arrangement Calypso Song
1 -4 arr. Chuck Elledge (h. 1961)
4 6 7 8 '9

r r r r 'r rrr rr rrr

10
"11 > 13 14 15 - 16 2

r rrrr 1MM

17 21 .
18 19 20 22> >> > >
•• a
AM,
•
i~1
IRME 11~
1s1 lime
2nd time p 28
23
> 25 26 27

r
rrr
29 1 2
30 31 32
'33r > >" >" >-

rr rr rr r r
REGAL MARCH Bruce Pearson (b. 1942)
Band Arrangement
arr. Chuck Elledge (b. 1961)
>- >- >- 2 >" > > • 4 5 6

li,er L,Fr lr r r rr • r r rrtr ti

9 11
7 1.
8 10
o
r •

13
14 15 16 17 18
9 o

Jo
21
19
9 > 22> > > > 23> > > > > 24
20

rl r r r rr rrç
25
27 28 > > > 29> > 30 >

r r
26

r r rrr r
1A/21 X13
22

85 WARM-UP
A G
• r, • 9
"•
o
o
'•
•
pi o' J o J
o
o

86 FULL OF HOT AIR

pi O
j
Jo

rc....9•
87 DANZA GIOVANNI Italian Folk Song

Br fsr-r rrrr>r .1~

rr

f
88 C MAJOR SCALE SKILL (Concert B6 Major)

41 1, r IN
rr rr
f
Arpeggio Chords

4 - íd. r ti

89 THE MAN ON THE FLYING TRAPEZE George Leybourne (1842 - 1884)

1r rrr rr 5

1.
r rl
5
112.

Go back to the first repeat sigo. —t

90 Composer
your narne

:JJ .r J7 61

41r55 5r
Using the given rhythms, draw in notes to complete the melody. Title and play your composition.

-•
91 FOR TENOR SAXOPHONES ONLY

.•••••••.,

r Lr
 23

SHARP KEY SIGNATURE

F —• F#

A sharp (11) raises the pitch of a note one half step.

This key signature means play all F's as F sharps.
It remains in effect for the entire measure.

92 LOOK SHARP
F sharp (F #) 1$1:
•
rrr
••
r, r r
also plaved F:
93 AURA LEE G. R. Poulton (d. 1867)

1, d errrr r r rrr ror r

(7ircle the notes changed by the key signature.

94 BARCAROLLE Jacques Offenbach (1819- 1880)

r "r tt•
1.
o
2.

ri
11

95 JUST BY ACCIDENT • Page 40

F sharp (F 1)141,

alternate
•
• rr r rl
* Use the alternate F fingering when moving from FI to F; or FJ: to R

96 G MAJOR SCALE SKILL (Concert F Major),

r •
J
Chords

r r 9 o
1
97 SAILOR'S SONG
soo/soli Tutti ,
J rj J 1 IJ
98 GO FOR EXCELLENCE! American Folk Song
"This Old Man"
'
5r rr r,/ •

W2 1 XE1
24

DA CAPO AL FINE(D. C. AL FINE) Go back to the beginning and play until the Fine.

WARM-UP

ti t
r r r

100 IN THE POCKET

$11 r •

101 POCKET CHANGE

••

102 STRICTLY BUSINESS

4rrT
r r F rr
103 SMOOTH SAILING
F Vi• F 9
•
•
•rr (1 J•J J =E.

el• a J J
104 ROSES FROM THE SOUTH Johann Strauss, Jr. (1825 - 1899f
>-

pi• j.
>-
J J r
J r rri

J
"-.1•••-

Li 1 1

105 THEME FROM "HANSEL AND GRETEL" Engelbert Humperdinck (1854 - 1921)
D.C. al Fine
Eme

ÍJJ1. r
_ J t..,•
• r-i
• r
„,í
ír r

10--
1*
1
106 FOR TENOR SAXOPHONES ONLY „
C1
- •
r r r r

*Use the alternate F fingering.

W21XE3
 25
107 THAT'S A WRAP Page 40 1111

E 01: E

4.0 •
•
•
.o
J • •

108 POLLY WOLLY DOODLE American Folk Song

4„ a J J J J717.fr it
o •

clap
J )7
foot stomp
r r
9 II 2.

J J rrr Li
rrr •

>TM J
r >71)
109 VOLGA BOAT SONG Russian Folk Song

j
J
110 Composer
Hand Clappers your name
111~~111

J J
Knee Slappers

j
.77 J
JJJJJ

Compose a duet (accompaniment) part for Knee Slappers. The first measure has been completed for you. Title and
perform your composition.

111 GO FOR EXCELLENCE! Tielman Susato (1500?- 1561?)

"Ronde"
Li IJJJ J
4 • JJJ

• J
4 r r J J
W2 1 XE1
26

A single eighth note is half as long as a quarter note.

SINGLE
EIGHTH NOTE dij)
i = 1/2 count

DOTTED
QUARTER NOTE J. r. A dot after a note adds half the value of the note.
.
1+ 1/2 =.+J)--J.
1+ •
= 1 + 1/2 = 1 1/2 counts

112 WARM-UP - Band Arrangement

o 14-r- o o

113 SHORT CUT

4 .17 .r) • J J 61

clap
fl ) ,J7 J—J
Write in the counting for the top line before you play.

114 SPOT THE DOTS Page 40 111111>

• •

f
clap
1 )( )( ) x )77
.7 >77x J J 77 riJ 77,—
. J J
Feel the pulse of three eighth notes during each dotted quarter note.

115 ALL THROUGH THE NIGHT •• Welsh Folk Song

r. p rr -r• rçTr r _p (11

116 ALOUETTE French-Canadian Folk Song

Fine
5

a. a é

• (1

117 FOR TENOR SAXOPHONES ONLY

r rw r
9
•
9

rr 9
rr
11'2 I X13
 27

118 JUST A LITTLE OFF THE TOP

r 1 ()

(.1

119 TOP DRAWER - Duet

A.

&lb

B.

I°
1
-77
O
O

120 HOME ON THE RANGE Page 40 111111> Daniel E. Kelley (1843 -1905)

'
11 J
r O
o

Circle the notes changed by the key signature

121 THE CONQUERING HERO - Duet George Frideric Handel (1685 - 1759)

r O

r
rJ

122 GO FOR EXCELLENCE!

O r
u
v 9'

W2 1 X8
_ .4,
, 3. 7.• • ~~1/1111~~~/~~1.0t-
28

Andante- moderately slow mezzoforte (nf)- medium loud

TEMPOS Moderato - moderate speed DYNAMICS
Allegro - quick and lively mezzo piano ('ntp)- medium soft

123 WARM-UP Band Arrangement

Andante (-1
•

N
(1 ti :(15 1

ntf
124 HIGH WINDS AHEAD
Andante

r r p.

125 LOOK BEFORE YOU LEAP

Moderato
o dp O
•

pga F MAJOR SCALE SKILL (Concert E Major

Allegro y
e
I J J r J J I ri•

iftf

41,. •
Arpeggio Chords
O
C.,•

127 VARIATIONS ON A THEME BY MOZART Wolfgang Amadeus Mozart (1756 - 1791)

Moderato
Theme (main melody) Variation 1 (time signature changesJ

rrrr r O- O

rr fi Í r r
Variation 2 (rhythm changes)

r r 9 MIF O

rl r r 17r)
Variation 3 (melody changes)
y

rrrr
141• los

r Pr
128 FOR TENOR SAXOPHONES ONLY
C Andante 4 5
10• . *

alternate
`O
.o-o
o
(--r‘ rrr J J rr rrr rr
*Use the alternate C fingering when moving from B to C or C to B.
W2 1 XE3
 29

crescendo - Gradually play louder.

DYNAM ICS
decrescendo - Gradually play softer.

129 SLIPPERY SLURS

Andante
o•
o o u o.

41
130 WALTZ STREET
Moderato

r r 1 1

131 THEME FROM "SYMPHONY NO.9" Ludwig van Beethoven (1770 - 1827)
Moderato

rr rr
o•
Pr r r
- p

r
9

•
rrr o• r.d

132 READY OR NOT

Andante

„ r rr J r J

133 ACH! DU LIEBER AUGUSTINE German Folk Song

Allegro 5

J O o 41
J al o •>.'1 r 4-1 ci

Ifu

7
.
111
1
ingi
I
rrr r J a.

134 GO FOR EXCELLENCE! Page 41 1111.

Moderato

inp
1-r tnp
1
Play using each oí the iollowing articulations: A •_• • • B C •

W21X6

MITM!!!~~71~")
30

BALANCE BUILDER
1 Tonic Subdominant Dominant Tom(
2 3 4,-:\ 5 6 7

t- r (1 ••••

1 4.1 o (1

TRUMPET VOLUNTARY
Band Arrangement lererniah Clarke (1674? - 1707)
arr. Bruce Pearson (b. 1942)
Moderato 5
2 3 4 6
b LP
i
r 1 1 • d o J

7
8 9 10 11 12

a a a • 11
ri

13
14 15 16 17 18

r rJ 1 o t J Y
inp

19 21
20 22 23 24
•
•
1 o
rr
25 1 29
26 27 28j > 30

• Pr
•

rl ni >-
— nzp

31 33
32 34 35 36

r rrr 1 J J

38 39 40 41
of•

Pr rr
nzp
f
c_r
42
45 > 46>

p •

L.J
W21 X13
 31

TEMPO Ritardando (ritard. or rit.) - Gradually slow the tempo.

135 SAKURA - Duet Japanese Folk Song

Andante
A.
J J J N

inp

Illp
íd r
J J fu'

Illf
C.:
nzp mf
íd

mf
rl
znp Illf

J J J J
ntp
-rit. •

inp
íd íd r
Draw in a breath mark al the end of each phrase.

136 GRANDFATHER'S WHISKERS American Folk Song

F sharp (FI) im Moderato

•
•
o
1
Illf
.r1 J J :
~I

1111. J
112.

JT J J
He'»

137 TVVINKLE VARIATION Wolfgang Amadeus Mozart (1756 - 1791)

Theme
r r r r r
Illf
Composer
Varalion your name

Compose a variation on "Twinkle, Twinkle, Little Star."

W21XB
32

American Spirituals
138 PARTNER SONGS - Duet
Andante
"Swing Low, Sweet Chariot"

111
"All Night, All Day"

— mí'

11 2.

o• r,• aJ P4 •

o • o
r r
4-,1•1*-
;1011"1, - •••;,.•
139 MANHATTAN BEACH MARCH John Philip SOUSA ( 1 854 - 1932)
Allegro
Introduction
Theme
• •,
I
1171 r Lts'
▪ r---`

:sof
6.? r r
11 2.
O
o O O
o

'Use the alternate F# fingering.

140 DYNAMIC DECISION

Write in the following dynamics from softest to loudest: mezzoforte piano forte mezzo piano

softest loudest

~7~1
141 FOR TENOR SAXOPHONES ONLY Page 41 1111E>

F sharp (Ft) l•
Moderato
•
é..
nin"its
alternate
•
JJ J
J o O
Ji JJ4-1* el

• Use the alternate F$ fingering when moying from F to F $ or F$ to E.

W21X6
 33

TEMPO Largo - slow

142 "LARGO" FROM THE NEW WORLD SYMPHONY

Largo
C
4t) Antonin Dvoi-ák (1841 - 1904)

o.
61 JJ),51 J•') 1 J),1 JJJ.1),
inp Illf p

143 JUST FINE Page 41 111111>

Moderato

1. •
J.
o 41
7;
-. 1

ly
e

+ Use the alternate F fingering.

144 CHORALE - Duet Lowell Mason (1792 - 1872)

Largo
A.
b r> J ti JJ JJ j Ji 1 U JI J
B.

o J J no« o 1 J
mf inp —

í •ji • 1r ji i Ji J J JI
inp --

I
ir By J
inf
g
145 TEMPO TIME
Write in the following tempos from slowest to fastest: Andante Allegro Moderato Largo

slowest fastest

146 GO FOR EXCELLENCE!

Allegro

Í 55 C:
\\ 2 I XB
34

147 RICOCHET ROCK Chuck Elledge (b. 1961)

Allegro

1' 1 J J .•J f
— jj J
''—Cr J r•J 1r>' 2 4.: ::j j

IP 1 li 7 / , JjJ .
j j I n.

b Z #1-jJ,Jt, JJ1 1
l'JJ ‘ j J_J • Jld
(..,
I J I 7J.„1>J 1 1 J 1 7) .. .. 1 1.1
148 LOCH LOMOND Page 41 1111111> Scottish Folk Song
Moderato

• gr • •

inp

• o
o• ••
— inp

149 SHALOM, CHAVERIM Hebrew Folk Song

Andante

/
J • J o
,J J

J J j J
Draw in a breath mark at the end oí each phrase.

150 Composer
your narne
o o9 o
r
▪ Compose an encling for this melody. Titie and play your composition.

.5Ik5.~ y
151 FOR TENOR SAXOPHONES ONLY •

Moderato
-"`
o o
Cir o
Írrr
4,
▪ *Be sure to use the alternate C fingering.
W21 XB
 35

152 GRANDFATHER'S CLOCK Henry C. Work (1832 1884)

4,, Nloderato

'r
4
Fine
9

ej
mf
D.C.'. al Fine

n
1
• ar3 ci 1
Circle the notes changed by the key signature.

153 KUM BA YAH African Folk Song

r 1r
C1
t)
rl

German Canon
154 GRANT US PEACE - Round Page 41 1111111>
Andante

71 1>
1 ;
• Inl'N
o •
o
o • p ti.

mp
2.

r 1 1 J r r rr
1 1

3.

•
ci rr 1 ci 1

•••trt...7
111110
GO FOR EXCELLENCE!
Moderato

4 O
1 o o o
o
Lr
111f

1 J o
o J 1 o
1
P — mp
7 mf nf

W21X8
36

MUSETTE
Solo with Piano Accompaniment
Johann Sebastian Bach
(1685- 1750)
1 Allegro
2 3 4
Tenor
Saxophone
Allegro
2

Piano
tcfr Of

`Y t r r

5
7 8

111111~, J J
74f
J r
Inf
ri r ri r 3
•
r
9
• 10 11 12

J J
74f. f
J
Ntf
trt15-,
1 r r .r

1 13 16

r r
14

r 15
r r
4
2 1

4 c.

• J
O 1993, 2004 Neit A. Kjos Music Company. Pages 36 and 37 are authorized for duplication lo meet specific requirements for festivals,
contests, and competitions. A photocopy may be distributed to an accompanist. Ah copies must be destroyed af-ter the event.
W21XB
 37

17
18 19 20

r r r r J r
r jrjr
21
22 23 24

Tril`› 3

J
r r r r

7 28

J r J

9 17 r JrJ r r r
32 33
29
A.
30 0 • 31

r I 1
•
r
2-

f 4

J e

rl

\\'2 1 X B
38

ROCKIN' RONDEAU
Band Arrangement

Based on a theme by
Jean-Joseph Mouret (1682 - 1738)

1-3 Moderato
3 4 >- >
r r L. . >-

rrrr 6
arr. Chuck Elledge (b. 1961)

•a

mf
7
/t, r rr 8r
r 9 10
J

13
12 II 2. 14
o o
rn J ti•

17 18 19-20 2 21

nip
22 23
24 25> >- >- >-
" r rl e
Illf

26 27 28 29'
J
>-J
r;-J11H31 rit
Allegro 2 32 33 34
5
Illf
e J j 411- rrrli
35 36 37
>- 38 -f`
p

40 42
lf 41 J fl J
.t3
43 - 44 2 45 > >. 46 > > > 47 48 r>
e

c_r rrr ()
 39

I EXCELLERATORS- FOR TENOR SAXOPHONES ONLY

L1 LI
(1

TIE. SLUR
A Lie is a curved line that connects two notes of the same A slur is a curved line that connects two or more notes of
pitch. Tied notes are played as one unbroken note. different pitches. Tongue only the first note of a slur.

4A
o o (11 111

46
/ \

o (1

12A
t.) I.1
MII
P

126
9 si
I=
•
9 t

23A

rror PF
r
236
,

42 rrrr u
rr

rrrr rrr rrrr r r r

• u 7I'

W21XB

If
40

111* EXCELLERATORS- FOR TENOR SAXOPHONES ONLY

El

r r rr
0 • o

r r r
r r P r r o
r
*Use the alternate F fingering.

107
41,e, J J J
o o o
o
rr- o

o o o --•

114
rr2r o -11 o
-r o

J o J ir 0
rr íJ

120
o J o

o
47-7 o o o o , o
 41

1111 EXCELLERATORS— FORTENOR ,AXOPHONES ONLY

134
ti
rrr
e__A. 9OF e
•

141

pi
- 7 17 a
143

e
J—J 11---

J - J 77 J J J J 1

148

154

r-e r .rp
W2 1 XR
42

SCALE STUDIES
C MAJOR SCALE (Concert BP Major) Arpeggio
• 1
t•
•
Thirds

F
F MAJOR SCALE (Concert Eb. Major)
.Arpeggio
•
•• O
• • O II •
/7 •• • • • „

Thirds

Jrr J
15j'Jr •
P • •• 1JJ

G MAJOR SCALE (Concert F Major) Arpeggio

rr P
rr - •
•
rr J
Thirds

J rr fir P r r 5

rr O
J•

B7 MAJOR SCALE (Concert Ab Major)

Arpeggio
• ••
1, -• r• o
o Ir

Thirds
r 4. "1111
5
b
ol
.Pr 1
rrr r
CHROMATIC SCALE
5

J J#J
a

I
•• It.•00 P •
• J .01>
 43

RHYTHM STUDIES
or
4
1E1 19
i " I - fi J J1J J1J
4

6
••• • • •
•••1:

Fi 8
JJ1liJJ JJ111 w J1111 J w J111:1
9 10
•oo • 114 114 11 JJ:1 1
En
111J1111J 111J1111J1
11E1 14
.1J1J1 J1.11 JIJ1! J1J11 J1J11
16
1 J1, Ji 1J 1 J{ I J I JI J1 1J1 JI1J:11
iFA 18
JJ11 IJJ111JJli 1JJ1:11 J JJ1 J J.11
19 20
1JJJ iJJJ iJJJ JJ J1JJ JIJJ J:11
W21X13
RHYTH M STU DIES
Ell 1~1~1~11

kiii 24
IJJ.77:JJ.
... FJJJ .7
El 26
4
Ii~ ~I

.1 .411,.1j J :
28
1.7JJJ ZJJJ :
29 30
1 .7J .r7J 1.77J J : 1 J .1-7.77J1J J":.7:J :
o o
I .1-7J J .771.77J
al 34
11Z1Zil Z1Z:i 11 .7
:Z1 1 3

to 36
i -7:1 1 -7J : 1 1 ::- -••i 1 -7:- -•- :
El 38
1J..1)J4J.J)JJ: IJJj..b1JJJ..1):
39 40
1 J J. .1) J :fI 1 J. :1.
W21X5
RHYTHM STUDIES
2
4 E

E:
- H 1 - :1 J J _
1 1
1 J1 1 4

6
11:1 J IJ 1 .1":J 1 .r7J .1":J
8

3
4
u E
IJ• JJJHJJ1JJJIJJJ:ii
4
J J J 1.1 J JJ IJJ 1 JJ 1 JJ :11

JJ 1.1 JJ J J J :11 J 11 1 J 11 1 J 11 144 1 :1

Fi 8
IJJI1JJ13JJ11JJ:1 111 J111 J111 JII1J :11
9 10
J JH flJ J J fl1J J :11
iii og
4 J J7.71 J.17.7.1 J. J 1 J..hJ :11
W21XB
46

GLOSSARVINDEX
Accent lp.19).> attack the note louder Measure . . . . space between two bar lines; also
Accidentals (pp.16, 18, 23)11,4. . sharp, flat, or natural known as a "bar"
Allegro (p.28) quick and lively mezzo Forte (p.28),f medium loud
Andante (p.28) moderately slow Mezzo Piano (p.28) inp inedium soft
Arpeggio (pp.22-23, 28,42) notes of a chord played one al a time Moderato (p.28). moderate speed
Articulation (pp.15, 19, 39) type of attack used to play a note or Mouret, Jean-Joseph (p.38) French composer (1682-1738)
group of notes Mozart, Wolfgang AmadeusIpp 15,
Bach, Johann Sebastian (pp.36-37). German composer (1685-1750) 28,31) AusIrtan composer (1756-1791)
Bar Line (pp.4-6) divides the music sufí into measures Natural (p.18) . . tancels a nal or sharp
Beethoven, Ludwig van (p.29) German composer (1770-1827) Offenbach, Jacques(p.23). . French composer (1819-1880)
Brahms, Johannes (p.15) German composer(1833-1897) One-Measure Repeat (p.19) . repeat the previous measure
Breath Mark (p.7) 5 take a breath Pearson, Bruce . American composer/author (b. 1942)
Chord (pp.22-23, 28) two or more pilches sounded at the same Phrase (p.8) musical thought or sentence
time Piano (p.17) p soft
Chromatic Scale (p.42) scale of hall steps Pick-Up Note(s)(p.15). note or notes that come before first
Clarke, Jeremiah (p.30) English composer(1674?-1707) full measure
Common Time (p.9)e same as Pierpont, I.S.(p.12) American composer (1822-1893)
Crescendo (p.29) gradually play louder Poulton, G.R. (p.23) American composer (d,1867)
Da Capo al Fine (p.24) D.C. al Fine go back lo the beginning and play until Repeat Sign (pp.9, 20) 1: repeat from beginning or repeat section
the Fine of music between repeat signs
Decrescendo (p.29) gradually play softer Ritardando (ritard. or (p.31). gradually slow the tempo
Dominant(pp.12, 30) fifth note of a scale; chord built on fifth Root, George F.(p.16) American composer/pubhsher
note of a scale (1820-1895)
Double Bar (pp.4-6) II marks the end of the music Rossini, Gioacchino (p.131 . Italian composer(179Z1868)
Dvoiák, Antonin (p.33) Czech composer (1841-1904) Scale (pp.22-23, 28, 42) collection of pilches arranged from low•
Dynamics (pp.17, 28-29) loudness or softness of music est lo highest or highest lo lowest
Elledge, Chuck (pp.12, 21, 34, 38). . American composer (b. 1961) Sharp (p.23) # .. raiseS the pitch of a note 1/2.step
Embouchure (p.3) mouth formation used to play an Slur (pp.15, 39). curved fine that connects two or more
instrument notes of different pitches
Fermata (p.9) /7\ . . . ... hold note or fest longer than jis usual value Soli(p.9) whOle section plays
1st and 2nd Endings(pp.19-20). play 1st ending first time through; then, Solo (p.9) one person plays
repeat music, skip first ending, and play Sousa, John Philip (p.)2) American composer (1854-1932)
2nd ending Staff (pp 4-6) (mes and spaces on which music is
Flat lp.16) lovvers the pitch of a note 1/2 step written
Forte (p.17)f loud Strauss, Johann Jr. (p.24) Austrian composer(1825-1899)
Frost, Robert (p.18) American composer/author (b. 1942) Subdominant (pp.12, 30). . . . . . fourth note of a scale; chord built on
Grieg, Edvard (p.19) Norwegian composer (1843-1907) fourth note of a scale
Handel, George Frideric(p.27) . German composer(1685-1759) Susato, TielmanIp.25). Belgian composer (1500?-1561?)
Harmony (pp.7, 9-10, 12, 18, 21-23, Tempo (pp.28, 31. 33) speed of music
26-28, 30-33. 38) iwo or more different notes played or Theme (pp.28, 31-32) main musical idea in a piece of music
sung al the same time Tic (pp.10, 39) curved fine that connects two notes of
Humperdinck, Engelbert (p.24). . . . German composer (1854-1921) the same pitch; tied notes are played
Interval . .. distance between two notes as one unbroken note
Introduction (p.32) section of music that precedes the Time Signature (pp.4-6, 9-10, 17). top number tells you number of counts
first theme in each measure; bottorn number tells
Kelley, Daniel E.(p.27) American composer(18411905) you the type of note that receives
Key Signature (pp.11, 16, 23) sharps or flats stated right after the clef; one count
key signatures change certain notes Tonic (pp.12. 30) first note of a scale; chord buili on first
throughout a ojete of music note of a scale
Largo (p.33) slow Treble Clef(pp 4-6) G Clef: read by flute, oboe, clarinels,
Ledger une (pp.4-6) short fines used to extend the staff saxophones, trumpet, french horn &
Leybourne, George (p.22) English coniposer(1842-1884) inallet percussion
2 Tutti(p9). . everyOne plays
Long Rest (p.21) fest the number of measures indicated Variation (pp.28, 31: repeated musical idea which has been
Mason, Lowell(p.33). . . ...... American composer(17924872) slightly changed in some way from
the original
Work, Henry C.(p.35). American composer (1832-1884)

W2 1 XE3
 „.in., •,-1- 5- S ANDARD O
EXERCISE 7 EXERCISE 23
.EXERCISE 41 EXERCISE 55 EXERCISE 70 EXERCISE 84 EXERCISE 104 EXERCISE 122 EXERCISE 136 EXERCISE 146
O notes U notes 0notes U notes U notes U notes O notes 1_1 notes 0 notes E notes
rhythm U rhythm U rhythm LI rhythm O rhythm E rhythm O rhythm D rhythm El rhythm U rhythm
O tone O repeat LI repeat U hand position O dynamics U tone n dynamics U slurs U tonguing O articulations

EXERCISE 12 EXERCISE 29 EXERCISE 43 EXERCISE 57 EXERCISE 73 EXERCISE 87 EXERCISE 106 EXERCISE 126 EXERCISE 139 EXERCISE 148
U notes U notes U notes E notes n notes U notes U notes U notes U notes U notes
Li rhythm O rhythm O rhythm O rhythm n rhythm ii rhythm U rhythm U rhythm a rhythm 0rhythm
H tone O^ E hand position LI slurs [1 dynamics O accents hand position 0tempo U repeat U rA

EXERCISE 14 EXERCISE 31 EXERCISE 46 EXERCISE 61 EXERCISE 78 EXERCISE 91 EXERCISE 111 EXERCISE 128 EXERCISE 141 EXERCISE 151
[1 notes U notes E notes n notes U notes O notes n notes U notes U notes O notes
LI rhythm O rhythm O rhythm U rhythm 0rhythm U rhythm U rhythm El rhythm U rhythm 0rhythm
E tone U tone U tonguing 1111 slurs U tonguing U hand position n dynamics n tempo E tone U articulations

EXERCISE 17 EXERCISE 35 EXERCISE 49 EXERCISE 63 EXERCISE 79 EXERCISE 95 EXERCISE 115 EXERCISE 131 EXERCISE 142 EXERCISE 153
notes LI notes O notes U notes U notes U notes U notes E notes U notes FI notes
0 rhythm U rhythm U rhythm U rhythm El rhythm U rhythm rhythm U rhythm 0rhythm ,I
1 rhythm
tonguing O hand position 0tone O tone [-1 hand position U slurs U tone O dynamics U tempo n hreathing
EXERCISE 22 EXERCISE 39 EXERCISE 53 EXERCISE 67 EXERCISE 82 EXERCISE 98 EXERCISE 117 EXERCISE 134 EXERCISE 143 EXERCISE 155
U notes U notes U notes U notes U notes U notes U notes U notes El notes n notes
LI rhythm iii rhythm LI rhythm U rhythm U rhythm O rhythm U rhythm U rhythm O rhythm 0rhythm
LI tone U breathing U tone El hand position O slurs U U hand position LI articulations U tempo U dynamics

EXCEL LENCE
48

THE 136 TENOR SAXOPHONE

TENOR SAXOPHONE HISTORY

The saxophone was invented in 1841 by a Belgian
clarinetist named Adolphe Sax. After settling in Paris,
Sax patented his new invention in 1846. The
instru mentsoon became popular across all ofFrance.
Many American musicians visiting Europe took a
liking to the saxophone, and it soon found a home
in America,where it has remained popular ever since.

Adolphe Sax actually created 14 different sizes of

saxophones, seven for orchestra pitched in C and F,
and seven for band, pitched in B and 5. The only
saxophones still in common use today are the 5alto
saxophone, the BI tenor saxophone, and the El,
baritone saxophone. The B soprano saxophone is
also used occasionally, especially in jazz and small
ensemble music, and a few orchestra pieces call for
C tenor saxophone. Although saxophones are built
in different keys and sizes, each uses the same
fingerings, allowing saxophone players to transfer
from instrument to instrument with ease.

The saxophone was invented to be a bridge between

the woodwind and brass sections, and to boost the
sound of the woodwind section in military bands. The
instrument's combination of metal body and wooden
reed allows it to blend equally well with brass or
woodwind instruments. However, the saxophone is
classified as a member of the woodwind family
because of its flute-like key system and use of a reed.

Today, tenor saxophones are played mostly in concert

and marching bands, jazz ensembles, and saxophone
quartets.

TENOR SAXOPHONE SURVIVAL KIT

o swab O soft, clean cloth
O neck strap O extra reeds
O reed holder EJ cork grease
EJ pencil O method book
EJ band music EJ music stand

W21 XB
B6 TENOR SAXOPHONE FINGERING CHART
O = open When more than one fingering is shown, the first is the most commonly
used. Additional fingerings, known as "alternate" fingerings, are used in
= pressed down certain situations to allow for better technique.
A2 Ro BO C C Db El' E F7

x, 11(3 1, 4:1› 0 he ti
/ 474T. 1,-0- It-x-r -0- /49.- bi u
hiTY "-u-

161• 0
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161 61• 101• 101•
• • • • •• • •
• •. • •. • • •
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