of ) Luciano Berio (ty 1925) Sequenza IXb (1981)” I. Originally for clarinet Work began:is Chemins V for clarinet and electronics Electronics*Were removed and the work was revised into Sequenza IX Written for clarinetist Michel Arringnon in 1980 Transcribed for saxophone for Claude Delangle IL. Much more traditional than previous sequenzas, (as compared to Sequenza VIIb) Traditional notation No special fingerings Extended techniques kept to a minimum No vibrato= TI. Analysis, Difficult to analyze since material is constantly being permutated through a variety of transformational processes which deliberately blur any sectionlization Three large sections ) 1. Beginning to end of page three Introduction, three sections with transitions, closing section 2. Top of page four to letter R re complex troduction of “morphological” transformations (changes in the basic sound of the saxophone through multiphonics, flutter . _ tonguing, rapid timbral alterations) 3. Letter R to end Four sections = First two drive forward to climactic third and finally closing section ‘More clearly outlines polyphonic mode of listening : \ Page eight — soft lower voice and loud upper voice TV. Berio re-uses someématerial in his opera La Vera Storia Saxophone/Clarinet duo at start of second act ‘Shows obvious connection of saxophone and clarinet in Berio’s mindBibliography Broman, F. Liner notes to The Solitary Saxophone. Claude Delangle. BIS: CD 640. Helton, Jonathan, “Historical and Analytical Perspectives for the Performer on Luciano Berio’s Sequenza IXb”. The Saxophone Symposium 21, nos. 3-4 (Summer, Fall 1996)Example 2 460 7+ © > © pe ue 17447samgaat: ‘yg ewe : = 1 N - —— a ver meni sect ie SS