Tenor saxophone altissimo is widely used and accepted, especially in the performance of jazz and rock music. While tenor altissimo fingering charts and diagrams abound on the internet and in several manuscripts, there is not as clear a teaching methodology for tenor saxophone altissimo as there is for the alto; as I found during my research for this book, altissimo on the tenor saxophone is a completely different animal! As much as I had hoped to transfer alto saxophone altissimo fingering patterns to tenor, issues such as intonation, timbre, response, and fluid fingering patterns created many difficulties. In particular, the fingering options for altissimo G#, A#, and B made for extremely difficult and creative choices, ultimately resolving with the decision that context (tempo, instrumentation, dynamic, articulation, and style) is the most important aspect to consider when deciding which fingering patterns to employ… that, and a firm reed! To complement those study books and resources that provide altissimo fingerings, vocal/throat exercises, and patterns, Altissimo Studies provides precise fingerings for each pitch of the included altissimo scales, arpeggios, trills, and passages from the repertoire. These fingering patterns are designed specifically to increase speed and fluency in altissimo performance of the tenor saxophone. The fingerings included within are by no means the only fingerings one could use to practice in the altissimo register. My suggestions allow for the saxophonist to incorporate fingerings that they are already comfortable with (i.e. palm keys) and utilize the natural overtones that are produced. Certainly, a method book such as Altissimo Studies will promote greater fluidity and encourage others to standardize their own altissimo fingerings. I hope that all saxophonists enjoy this book as much as I have with its creation. Todd Rewoldt