SOLOS FOR UNACCOMPANIED SAXOPHONE; A SELECTED AND ANNOTATED BIBLIOGRAPHY OF PUBLISHED WORKS, A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts by Willard Francis Banker, B.M. The Ohio State University 1977 Approved by Adviser Department of 77 wace-TABLE OF CONTENTS EMR good noodooGGobG Gd Table of Contents .......-.-2.-4 Preface 22-2. eee eee ee eee Dedication... 2... eee eee eee Abbreviations 2... 1.6 eee eee eee Annotated Bibliography (An Alphabetical Listing by Composer)... 2. 2. ee ee ee ee Conclusion . 2 16s we ee ee ee ee ee Teble I: Contents of 25 Cepricen und Sonste Sigfria Karg-Elert .. . acne Comprehensive Non-annotated Listing of Unaccompanied Saxophone Compositions (Published and Unpublished) ...... list of Publishers... .-+-- +--+ Addresses of Composers. +--+ 2+ Final Bibliogrephy of Primary end Secondary Literary Sources... 2... eee eee 2 by ii ii iii-vi vii viii 1-79 80-81 82 83-90 91-93 4 95-98PREPACE aii The title for my thesis, Solos for Unaccompanied Saxophone; A Selected and Annotated Bibliography of Published Works, was suggested by Dr. Robert Titus at the conclusion of my master's degree in woodwind pedagogy at the Ohio State University, Columbus, Ohio. This topic was initially intriguing, not only because of my interest in the saxophone and its répertoire, but also because of the realization that there was little literary or biblio- graphic information published concerning this genre. Lyle Merriman, in his article "Unaccompanied Woodwind Solos" (1966),*. regarded that up to that time unaccompanied saxophone works were of a rather conservative nature, with some advances made in technical demands and in creating a stimlating polyphony. He also felt the main emphasis was on the presentation of a single melodic line. Today, however, the style scope of the works has broadened to include more atonality, avant-garde effects, and electronic music techniques. Merriman also explained two not readily apparent advantages to these works which are: (1) The elimination of the problem of finding a competent pianist as an accompanist; and (2) The use of these unaccompanied works as an effective substitute for less interesting étude material. The unaccompanied saxophone répertoire can also *Lyle Merriman, "Unaccompanied Woodwind Solos," Journal of Research in Music Education, XIV (Spring, 1966), 34.iv be expanded by the addition of unaccompanied works from the flute and particularly the oboe répertoire. Some of these hybrid compositions have been included in the non- annotated list at the conclusion of the thesis. According to my research, the earliest (1924) original composition of unaccompanied saxophone music is the Sax Massacre by Chief Whitecloud, an American Mohawk Indian saxophonist. This information should interest an ethnomsicologist specializing in American Indian music, The true groundwork, however, was laid by the organist- composer Sigfrid Karg-Elert when he published his monu- mental 25 Capricen und Sonate (atonal) in 1929, He had begun since 1915 to open new roads for the saxophone in terms of technique and musical expression, Some of the main advocates and performers of unaccompanied saxophone works are Sigurd Rascher, Marcel Mule, Daniel Deffeyet, Donald Sinta, Fred Hemke, Brian Minor, and Brian Ayscue. This thesis is modeled after the book Solos for Un- accompanied Clarinet; An Annotated Bibliography of Published Works by James Gillespie (Detroit: Information Co-ordinators, Inc., 1973). Bach primary entry of the annotated bibliography is constructed as follows:v COMPOSER (his dates)-Country-Difficulty (Leduc scale 1-9)* Title (duration)-City: Publisher, Date, I. J = 60 (Tempo of each main section) The following outline is the list of pertinent musical information of which the text of each main entry is composed: 1) Commissioned work, 11) Special effects, 2) Dedicatory information, (12) Harmonics (al imo range), 3) Musical Form, 13) Note range, 4) Key signature(s) 14) High or low tessitura(s), 5) Time signature(s}, 15) EBmbouchure and breatl 6) Style or mood, endurance , 7) Articulation, (16) Journal articles reviewing 8) Technical difficulty, the work, and (9) Alternate fingerings, (17) Correspondence from (10) Dynamic range, composers, The following four compositions constitute the secondary entries of the annotated bibliography (all other entries being the primary entries) and these secondary entries contain only bibliographic information, reviews of the work in periodicals, and correspondence from the composer to the author: 1) Brings, Allen, Ricercar_; 2) Eisma, Will,Non=Lecture II; 3) Goodwin, Gordon, Anonymous V for Solo Saxophone; (4) Klein, Lothar. Six Exchanges for Saxophone. The sources consulted in the compilation of this thesis were located at the Ohio State University Libraries; the Library of Congress, Washington D.C,; the Interlibrary ee *The Leduc scale of musical difficulty is assigned to compositions published by Alphonse Leduc, Paris, France. The degree of difficulty is delineated as follows: (1) Numbers 1, 2, and 3 are not aifficult, (2) Numbers 4, 5, and 6 are fairly difficult, (3) Numbers 7, 8, and 9 are difficult.vi the Ohio College Library Center; and in the Loan Service; various books, periodicals, dissertations and music lists contained in the non-annotated bibliography. I wish to thank the following members of the Ohio State University Music School woodwind faculty: William Baker, Robert Titus, and Burdette Green, without whose guidance this thesis would have not been possible. My appreciation also goes to Allyn Reilly, professor of saxophone at the Ohio University, Athens, Ohio, and to Ohio State University saxophone students Darren Holbrook, Donald Stemen, Dan Hurlow and David Iacobellis, who allowed me to inspect some of their personal répertoire.vid (To my wife Diane)Accel. Rit. Rall. Double Forte (Hortiss. Driple Forte Hovenent Measure Section First Octave (lowest note on saxophone) Second Octave Third Octave Nunber Example Approximately Approximately Accelerando itara Rallentando viiiADLER, SAMUEL (1928- _) U.S.A. (9) 1 Canto IV for Alto Saxophone Solo (Ca,5') Framingham, Massachusetts: Dorn Productions, 1973 (Composed, 1971) I. d = 116 II. @- = 50 Ill. = 126 "Notation Key "Bven though there are no bar lines, the note values must be strictly observed to give the desired effect of freedom of rhythm, ‘The beaming of 16th and 8th notes are for visual and phrasing reasons; if triplets, quartuplets, ete, are desired, they are clearly marked, "accidentals pertain only to the note in front of which they are placed, except in the case of repeated notes that immediately follow one another where the accidental the (sic) remains for the pair of notes or set of notes, nn he ""squibble" signifies the breath of vibrato from a straight (or white) sound through a wide vibrato back to a straight tone, or however graphed, If no vibrato indication is given, use a normal tone with a normal vibrato. 2 bb = J tone lower than the eS" tat To be- realized with glissandi in between each note, All glissandi should be lip not key glissand.Multiphonic sounds: 2 meb fl = more mouthpiece A = maximum lip pressure R slightly more lippressure T = thumb or octave key more lip pressure #0 = closed or open prominent notes "I am greatly indebted to Professor Thom David Nason of Eastern Michigan University for the chart containing the fingerings of these sounds." (Performance instructions from the score.) Samuel Adler, composer in residence at the Eastman School of Music, composed Canto IV for Alto Saxophone Solo in 1971 for Donald Sinta, the renowned American saxophone recitalist and pedagoge. This work is composed in an atonal avant-garde style and it contains many of the special effects associated with this style (see above). Composed in three movements, the work follows a fast-slow- fast configuration, Each of these three movements are without obvious form, but they rely upon repeated melodic segments, rhythmic values (triplets-mov. III), staccato notes, octave displacement, and the use of variable vibrato on long notes in order to add continuity to the music.Each movement displays a small number of special 3 effects. Movement I contains variable vibrato; movement II exhibits variable vibrato, quarter tone alterations, and glissando; and movement III has flutter tongue, glissando, and multiphonics, the last of which are utilized at the beginning and end of the movement, ‘The dynamics of the piece varies from ppp to fff with moh Subito p or £, put the movement does not contain strong accentuation. There is only one sforzando (in mov. II) and no other strong accentuation, ‘The written note range is a full three octaves, from BPl to BY4, the performance indica- tions do not specify how one can perform the quarter tone effects. The Art of Saxophone Playing by Larry Teal, published by Summy-Birchard, is an excellent source for these fingerings.+ ‘Three examples of the msic follow (Ex, 1-2-3: Adler, Canto IV, from mov, I-I-IT respectively) al 2 Tharry Teal, The Art of Saxophone Playing (Bvanston, Illinois: Summy-Birchard, 1963), 66Because this piece explores all the registers of the * sexophone, ewbouchure endurance becomes especially impor- tent in addition to the technical level end sltissine range problems. There is no lengthy high tessitura passage in the piece, but the melody does jump from high to low usually at the beginning or end of long winding phrases which are connected es the composer says for "visuel and phrasing reasons". I would recommend this piece for the professional or for the student saxophonist who would have the time and dedicetion to carefully study the music. BONNEAU, PAUL (1918- __) France (8) Caprice en Forme de Valse (4'30") Paris: Leduc, 1950. "A typical exemple of this French manner is the Caprice en Forme de Velse of Paul Bonneeu. Dedicated to the sexo- phone virtuoso Marcel Mule, this solo is a veritable tour de force for the performer, although the three principal melodic ideas or motives are relatively simple in construc- tion. Ex. 4: Bonneau, Caprice, Presto, mes. 1-4 Presto Dy: Os “Ys Tempo meno mosso, mes. 25-28. a phere a be. be 17 *be | | — Ibid., Tempo di valse, mes. 59-62. mate"The abandonment of this simplicity is effected in ° recurring interludes which resemble a series of variations on the themes shown ebove. In these sections, the player is presented with many formidable challenges as 8 result of en extensive use of chromaticism, wide leaps, and florid figurations. Note, for exemple, the following passages: Ex. 7: Ibid., Moderato, mes. 84-85. » Moderato, mes. 123-125. "In spite of Bonneau's effusiveness, however, the Caprice is not entirely without merit. The thematic ideas possess a certain amount of charm, the instrument's characteristics are forcefully and yet deftly exploited, and as a showpiece (which every performer must have in his repertoire), this work should be a guaranteed crowd- pleaser."2 The Caprice en Form de Valse by Peul Bonneau is a short theme and variation: movement based on the three main themes mentioned above. A sectionalization of the musical form of the work is as follows: ®Iyle C, Merriman, Solos for Unaccompanied Woodwind Instru- ments (unpublished -D dissertation, State University of Towa, 1963), 108-110.Section Measures 6 A l- a4 B 25- 56 Bridge 52- 58 c 59- 82 D 83- 92 cl 93- 98 ce 99-106 al 107-122 (imitation at the major second below) Bl 125-142 Be 145-154 (imitation of the major sixth above) 3 155-158 Bridge 159-166 Ae 167-183 (imitetion at the major third below) at 184-191 (imitation at the major second below) Bridge 192-195 cA 196-199 BS 200-203 E. 204-233 c2 234-235 ao 236-239 The D and E section material is far removed from the three main themes (A, B,and C); but they, nevertheless, contain similer compositional ideas of the main themes. The composer does not utilize a key signature, but the melody does propogate @ tonel sonority, because the composer has constructed short vignettes which quickly shift among various tonal chord structures. Example five serves as en explanation of this style in which Paul Bonnesu uses the half diminished fifth chord (A-C-E>-G) end its normal root resolution upward which is the interval of a fourth (D-F#-A-C). The F¥ is the third member of the insinuated dominent chord. ‘The F4 in measure 26 of example five gives the melody a delightful augmented fifth influ- ence (A-F4), which is theoretically not present because the chord is 8 simple dominant seventh (F-A-C-E>).The rhythm of the work is entirely in a waltz meter 7 @, the use of which is employed to its fullest po- tential. The dynamic interest is constructed logically and it flows evenly by crescendo and decrescendo grada- tions without abrupt contrast except at measures 158-159 (p-ff), measure 192 (f-subito_p), and measures 236-241 (mf-pp-ff). The note range of the composition is from Bl to F2; consequently, there are no altissimo range problems. The melody is idiomatic to the saxophone, because it usually follows tonal chord structures, diatonic scales, and chrometic scales. Alternate finger- ings can be used in many places, as can be seen in measures 1-3 (example 4), where the side F# key can be employed. The trills in the Caprice are either chromatic or diatonic, except in meesure 105 which contains a B?- D? trill. BOZZA, EUGENE (1905- __) France (8) Improvisation et Caprice (ca. 2'00") Paris: Leduc, 1952 Me Nederstoe IL, Allegro Moderato The Improvisation et Caprice by Eugene Bozza is dedicated to Marcel Mule and it is a short composition frequently performed on recitels--usuelly positioned between two larger accompanied works or done es an encore. The two movements are in e tonal style: the first contein- ing five sharps; the second without key signature, but based on E major ené E minor. Rhythmic interest is prolonged through the use of alternate 2 and ? measures. Noaltissimo range is utilized, and the note renge is fron ® Bbl to F. The Improvisation, as the title indicates, is in the style of an improvised melody to be played at moderato but at the inclination and fancy of the performer. It possesses the character of e cadenza, a style directly attributable to the eighteenth century when cadenzas were usually improvised on the spot. (Only in later published editions were cedenzas written out note by note.) The form of the movement is A-B-A containing tempo indications which direct the performer to retard and then commence succeeding sections et Tempo I. Performance difficulties are concerned with phrasing and correct breathing locations. The last note of the movement (Bl) is technically difficult as it follows a Dl end both little fingers must go down for the Bl at precisely the same time. The étude-like Caprice is moderately fest end is composed completely of triplet figures grouped into sex- tuplets. The melody investigates the tonality of E minor end E major by using upper and lower neighboring tones, arpeggios, appoggiaturas, and chromatic scales. Here again the phrases are long, but the performer has breathing stations written as commas and rests. The sppoggisturas in measures 18-20 and 22-23 are difficult wide melodic intervals which require a stable non-adjusting embouchure in order to preserve intonation and tonal quality.I recommend Improvisation et Caprice for a wide scope of saxophone players from very good high school through professional. BRINGS, ALLEN ( ) U.S.A. icercar (Ca, 3') New York: Seesaw Music, 1975. Composed 1972) The form of the composition is an arch form contain= ing quiet, meditative end sections plus centered phrases of greatly fluctuating character. ‘the style of the work is one which utilizes long, sustained, almost totally chromatic lines of pronounced contour and dely varying rhythm; polyphony is implied by the consistent use of large intervals, The alto saxophone is the preferred performance instrument, (‘The above information is paraphrased from a letter to the author from the composer.) CHILDS, BARTSY (1926- ) U,s.a. (8) Sonatina for Solo zt‘ alto Saxophone (6'30") Hattiesbur Tritone Press, 1962. (Composed Ia d Bd. 44 Cl t= 144 02(/ = 144) steady, intense, calm Doje= 44 The work was premiered by James Helder in Tucson, Arizona in 1958, The form of the piece is A (with two themes), B, C, D (using isomelodic material from A), and the last section (D) uses rhythmic structure of B, The © section includes bits of Yankee Doodle. ‘The composition was requested by James Helder. The composer wished to write a virtuoso-in-places solo sax piece which would be; 10 fun to play and hear. (The above information is pera- phrased from a letter to the author from the composer.) "Childs' single movement Sonatina requires only moderate technical facility. The difficulty of en un- accompanied work of this type is that of endurence--the work requires 63 minutes of uninterrupted playing on the part of the soloist (some altissimo is used). It is e very "3 fine piece for contest performance. The Sonatina by Barney Childs is composed in the key of Gf minor ana related keys, but only the first section has a key signature (five sharps). Composers of hesvily chromatic contemporary music seem to frequently begin a work with the concept of a key signature included, but sometimes they change their mind after they begin because of the realization that a difficult key signature is confusing to the performer who must abide by the key signature and many cancelled accidentals. The time signa- turescontained in the work are as follows: section A (mes. 1-33) $, 2, #, #, Bs section B (mes, 34-64) 2, 4; section ¢ (mes, 65-139) #, 3, 48, 3, 3, 3, 2; section v (mes. 140-175) 2, 3. The note range of the work is fron sel (ni#) to G#3 (altissimo) without the octave higher option and from p> (a#) to vb4 with the octave higher (altissimo) option from measure 97 until measure 102. Fyalker Smith "Contest Music for Saxophone," ‘The Instrumentalist, XXIX (March, 1975), 85.These al. a 0 fingerings can be found in The Art of Saxophone Playing by Larry Teal, page 100-101 (see final bibliography), In terms of technical difficulty the Sonatina is judged as moderate by the Walker Smith review above. This is from the viewpoint of a professional saxophonist, not a student wishing to attempt the work, True, the Sonatina is not astechnically difficult as the Ryo Noda improvisation I (avant-garde) or the Sigfrid Karg-Elert Sonata (atonal), but it does demand thorough practice in order to prepare it correctly, Barney Childs has a complete Imowledge of idiomatic saxophone articulation possibilities including the use of the "y" (see page 35). The only special effect present is the use of a notated glissando at the beginning of section C. The score includes no information as to how this glissando is to be realized. ‘The line across the end of the glissando probably indicates a slowing of tempo for the last two notes, Ex. 9: Childs, Sonatina, d= 144, mes, 62-65. f ea o 44. Sep gal 5 rs A page turner is desired by the composer to assist the iz performer, If none is available or desired on stage by the performer, the saxophonist can follow the score instructions which allow for the absence of a page turner,The composer foresaw this problem and he inserted 12 definite instructions which indicate the succeeding melodic note of the next page on the first page. In the case of measures 33-34 and measures 139-140, this melodic note becomes an anticrusis to the succeeding section. Ex, 10: Ibid., d= 44, mes, 139-143, SIgWINg . «10 «page-turner, begin this page with t _e af Sgt . ss pe COUF, HERBERT ( ) (7) Introduction, mee and Furioso (4,04' not including cadenza), Detroit: Bandland, 1959. Id 52 Introduction Il, a 88 Dance III. 4 = 184 Furioso One of the first unaccompanied saxophone pieces to become a mainstay in the répertoire is the Introduction, Dance and Furioso by the saxophonist-composer Herbert Couf. The basic form of the composition is ABA for both movements II and III. Movement I is a very slow, leading introduction of eighteen measures in the style of a lyrical elegy which has an unencumbered melodic line imediately capturing the interest of the listener, The "dance" which follows is divided into two sections indi~ cated rehearsal letter [A] and [B], the former of which contains a cadenza at its end, These rehearsal letters do not, of course, indicate the form of the movement which is A, B (cadenza), A, The movement is in a markedlyrhythmic style containing time signatures which vary 13 among #, { and #. Rhythmic emphasis is delineated by the frequency of rests on the down beat of many measures. Here the performer must "feel" the rhythm, not actually play it strictly. After this section of mostly sixteenth notes, the note values elongate to form an interesting bridge to the forthcoming cadenza, which is not in an ad libitum style, but which does contain three half note fermatas over relatively high notes. Ex, ll: Couf, 1.D.& Furioso, mov, II, Dance, mes, 1-2. DANCE Andante con moto 2288 = mf very chytheaic The movement III tempo is marked Vivo and is to be performed in a furious and breathless style. It is 2 entirely in [ containing most of the melodic figures in strict time except for measures of hemiola (measures 14-15), quintuplets (measures 19-20) ana unnatural accents (measures 51-52). Ex, 12: Ibid., mov. III, Furioso, mes, 19-20, These areas will give the prospective performer some difficulty if they are not practiced correctly at slower tempi or if the performer is unaccustomed to an odd rhythm composition. For this reason, Introduction, Dance andFurioso is a fine piece with which to introduce the oda~ 14 meter rhythms mentioned above to a student, for these rhythmic situations are not difficult to surmount, Whereas movements I and II are essentially atonal, movement III is assigned the key signature of two flats. The composer constructs a scale at its onset utilizing D as the main tonal degree; therefore, the beginning possesses a modal character of the Phrygian mode in BP major, ‘This is the gateway to the many chromatic altera~ tions which follow, all dealing with the keys of BY major and G minor, including their relative or parallel major and minor key centers, The composition contains no special effects or har- monics, and the overall note range is from BP! to F>, In terms of technical difficulty, some areas which the performer could use alternate fingerings are as follows: fnovement II, one and one B> fingering, measures 19, 22, 23, 24, 49, 50, 53, 56, 57, 58, 60; movement III, one and one pb fingering, measure 60; movement I, high F key fingering, measure 30, The cadenga of movement II, Section A contains two glissandi, both of which are to be performed vy chromatic scales. The glissando in movement III (measure 34) is performed so rapidly that although a chromatic scale is desired, a smear of notes usually results in order to preserve the time values. The cadenza is confusing in the way that it is dynamically indicated. The msic calls for a mf for the entire cadenza in addition to a few crescendo-decrescendo markings, ‘This author believes that this is inaccurate in terms of dynamic level and a better idea of the composer's intentions should have been included in the music. DUBOIS, PIERRE MAX (1930- } France (8) Shite Frangaise (16 min.) Paris: Leduc, 1962, Prelude Ti, Courante III, Sarabande Iv. Gavotte I ve Gavotte IT VI. Bourée VII, Menuet VIII. Gigue "A recent (1962) composition which appears to have all of the qualities necessary for immediate and widespread acceptance is the Suite Frangaise by Pierre Max Dubois, In contrast with the Bonneau Caprice and other solo de concours. kina of pieces that emanate from the Paris Conservatory, this full-scale (sixteen minutes) work exhibits a high degree of craftsmanship, msical originality, and a notable absence of rapid technical passages, although a finished facility is required for its performance, "With the exception of the first movement, the solo in general is ostensibly patterned on the Baroque suite, both formally and stylistically. ‘The latter feature, of course, implies the presence of extensive use of two-part writing, a device which was not incorporated into the previously discussed unaccompanied saxophone solos. Very few instances of the application of this technique in the entire solo saxophone literature can be cited,"In the opening Prelude, Dubois has utilized this 16 contrivance to establish a style that is possibly a humorous satire on French martial music, Ex. 13: Dubois, Suite Rrangaise, Prelude, mes. 1-4, "The Courante is technically the most demanding move- ment of the Suite, for a combination of flowing thirty- second notes and chromaticism is employed almost without cessation, ‘The style and meter, however, are not those of a typical Baroque courante, Ex. 14: Ibid., Courante, mes. 1-2. "In the third movement, Sarabande (Example 15), a truly expressive melodic line is featured in a style not unlike that found in J, S. Bach's Son flute alone. Ex, 15: Ibid., Sarabande, mes, 1-4. "A return to the duo technique is found in the two Gavottes and, again, the results are both charming and effective.Ex. 16: Ibid., Gavotte I, mes. 1-4, Ww Ex. 17: Ibid., Gavotte II, mes, 1-2, "The appeal of the Bourée results primarily from the alteration of tonal and modal elements in the principal theme. Enhancing this, however, is a moderate use of syncopation and quasi-contrapuntal writing. Ex. 18: Ibid., Bourée, mes. 1-5 “A variety of styles appears in the Menuet, owing to the inclusion of a non-designated trio, several measures of which are shown in Example 19. Bx. 19: Ibid,, Menuet, (a) mes. 1-4; (b) mes, FO-41, 45-46.18 Ex. 20: Ibid., Gigue (Presto), mes. 1-4. “after adhering to the classical Baroque style for six movements, Dubois finally gives vent to his French training and influence in the closing Gigue. The long subdued runs and arpeggios literally come bursting forth in a manner that should please even the most ardent admirer of technical exhibitionism, Fortunately, however, musical interest is not completely lacking or abandoned, and the basic gigue style is generally permitted to prevail."4 (from Dr. Lyle Merriman's Ph.D, Dissertation, see footnote.) Dr, Herriman observed further that "only the Dubois Suite Francaise for unaccompanied saxophone and the fifth movement of Britten's Metamorphoses for unaccompanied oboe seem to be Capable of sustaining the interest of the listener." Dr. Merriman's findings have been included here for instructional purposes and they are excellent but rather superficial. The score of the Suite Frangaise was personally unobtainable to the author during the final compilation of this thesis. ‘Merriman, op. cit., 113-117, SIpid., 118.BISMA, WILL (1929- ) Holland 19 Non Lecture IT ( ) Framingham, Massachusetts: Dorn Productions. (Composed 19715 "Non Lecture IJ was written in 1971 and was commis- sioned by the Netherlands Government. It was done on a special request of Mr. James Houlik, professor at one of the east coast universities. After this request, I didn't hear anymore from him, and I don't know if he has ever played the piece. The first performance in Holland was given by Ed Boogaard, ‘The Foundation Gandeamus (Box 30, Bilthoven, Holland) made a gramrecord (sic) of the piece, It is based on a graphic composition, Non- Lecture I from 1965. Other compositions based on the same graph are: Non-Lecture IV, for violin (1967) and Non=Lecture III, for viola (1970)." (Letter to the author from the composer, ) BLDIS, NORMAN A. ( ) Usa. (9) b Before a D'Bl Scherzo for Alto Saxophone in £ Yraminghan, Massachusetts: Dorn Produc (Composed 1971 and 1972) 1974. I.) Very slowly (P= 120) = 120 II. "Instructions and Symbols 1. "Accidentals apply only to the notes they immediately precede, except in the case of ties where the2 accidental is kept, unless otherwise indicated, 2 Nevertheless, some redundant accidentals have been added (usually parenthetically) to simplify reading. 2. "Metronome marks need not be taken strictly for overall tempo, Relative relation to each other, however, must be preserved rather carefully within each of the two sections separated by the double bar on page 2, Be Decrescendo al niente = Grescendo de niente Subito (fp Gut or diaphramatic accents (produced without tonguing, medium, strong) Quarter note approximates m,m.=60 Key slap, slap honk on indicated pitch Key slap played simultaneously with normal note on the same pitch, Pitch is indicated by the note-head, not the cross. Optional Material (page 2) "If desired, the seven notes within the first full 6) bar on page 2, bottom line, may be played into the xesonant cavity of a piano on which the right pedal is held as indicated. ‘The sympathetic vibrations of the strings are to be captured by a microphone and amplified with the dynamic-rhythmic profile indicated, ‘he sax part in the next two measures is played against this resultant chord, Whether or not this effect is employed has no bearing on the performance of the saxophone part in any way. The operator of the amplifier should take pains to make sure that no hum is heard.“This effect can algo be obtained using a group of 2 seven string players to accompany the saxophonist. They should all play con sordino and offstage or behind a screen, A conductor may be used, Each player plays one of the seven notes for the length of time: from the point at which the sax plays it (similtaneous) to its indicated extinction. The string groups (sic) plays the indicated swells together." (Performance instructions from score.) Before a D'Bl Scherzo was composed by Norman Ellis for Ken Dorn and it is a work in the contemporary avant- garde idiom, The one movement, two-section piece contains a first section which is like a long introduction, and a second section which is marked Fantasy molto expressivo. The term fantasy is the link between this section and the devious title of the work, Beethoven in his Piano Sonatas Op. 27 No. 1 and 2 used the title Sonata quasi una fantasia and in Sonata No, 2 the movements are Adagio, Allegretto (a scherzo movement), and Presto.® The "double", abbreviated d'bl, can mean the msical form of rounded binary, which was used in J, S. Bach's C Minor Fantasy and practically all the minuets (scherzos) and trios of the classic period.’ Before a D'Bl Scherzo has no repeated sections or recurrence of primary themes which true Sugonata," Harvard Dictionary of Music (Cambridge, Massachusetts: Harvard University Press, 1969), 787. TIpid., "Binary and Ternary Form," 95.rounded binary form demands. ‘laken literally, the title’ can mean that this composition should precede another separate work (double scherzo) or it can mean that the long introduction section is what precedes a double scherzo, i.e, Section Il, It mst be stated that the musical form of fantasia and scherzo have a rather wide interpretation throughout musical periods. The list of special effects above is complimented by the following: sing through horn (saxophone notes on upper staff, vocal pitch on lower staff), roll off (like a glissando), glissandi, spit tongue (with }'), ary flutter tongue (with a quasi-glissando), normal flutter tongue, gliss. trill (glissando with trill), and mltiphonics, The piece contains the widest variance of articulation, accentuation, and dynamic level (ppp-fff) and a wide range of tempo indications ("very slowly and freely without a pulse" to P= 144). The time signatures present are as follows: Section I: 345 622029285 42221 3 4? 47 49 4? 4% 169 Ae 4? qr 2% 29 29 29 29 2 Section Ii: 26,13 1,3 4237368 492,19 2? 4 * Bf 4? 8 * 4? BY 4? BY BY 8? Br 4? BY 4 * 8 Ie” 8,10,3+3,9,1+1.4341, 3, 6, 3,6,4,1,7, 8,2 6’8 4 8° 47 2 4 2% 4? 2 4? a 4? 2° 2? gt a? 2The written note range of the composition is from 2? Al (low) to c#4, The al can be performed with a custom model low A saxophone, or, more practically, by turning the bell upon the mee while playing a Bel, A thorough Imowledge of the altissimo range of the saxophone is needed to perform this work. The following are two examples of the more difficult parts of the piece: Bx, 21 and 22: Ellis, Before a D'Bl Scherzo, very slowly, mes. 7-8. 120, mes. 33. See This composition is in all aspects one of the most difficult to perform of all the saxophone literature and it should only be attempted by a very advanced student or professional saxophonist, GATES, EVERET? (1914- ) U.S.A. (8) Incantation and Ritual for Unaccompanied Saxophone Flute, or Alto Flute (Ca, 4") Rochester, New Yor! Everett Gates, 1963. al ce. 56 e.112 ce. 60 The piece is dedicated to Karen Rascher, The form is a so-called "arch form" A-B-c-B!-a1, There are numerous integrating rhythmic motives. This may clarify the msical construction:24 Bx, 23: Theory of Composition in Incantation and Ritual by Everett Gates. OL TPIT LFS Soto "Mystic Chora" 1, 2 & 3: Three scales derived from Scriabin's “Mystic Chord" on G. 1, is used for first and last sections, root and final cadence on E, 2, is used for the second section, final (root) is F#, 3. is used for the third, fourth an sifth sections until last line, final (root) is Gi, 4, is transposed "Mystic Chord" transposed down a P4th with root or generating tone on G, The Incantation and Ritual is recorded on Coronet CPS 3036 by James Stoltie. (The above information is para- phrased from the letter to the author from the composer.) Everett Gates’ idea of using the "mystic chord" invented by Alexander Scriabin for his Incantation and Ritual is a novel approach to music composition which deals with the perfect fourth interval and its inversion, the perfect fifth, In ali sections of the work the composer abides by the use of this chord and the three scales he derived from it. The result is a mysterious, esoteric sonority that is intermediary between tonal and atonal music. The msical form of Incantation and Ritual is described by the composer in his letter to the author.A further understanding of this form in reference to the ” rehearsal numbers contained in the score is needed in order to better comprehend the msic, A sectionalization of the main themes with reference to the rehearsal numbers is as follows: Rehearsal numbers: Intra A BC D EFG H I Main sections (Zora): ) A A Bc piplplgl pl al Final (root) of : scale utilized: BE 5 Fict cot c# cf ct c# chen Position of I i i double bars: Tempo changes: d=0,56 doz ld-60 JP dee.56 The work contains no key signatures and the time signatures vary as follows: section A (mes, 1-20) 4, 3: section B (mes. 21-29) 48; section ¢ (mes. 30-35) 12 section BI (mes, 36-108) gy Bs section At (mes. 109-114) 4} ; The main integrating rhythmic motives which the composer utilizes are as follows: .I.), JI, 7] or 7} FF J FT]. the two main aynamic climaxes of the teen take place in measure 35 (fff) and in measure 99 (££). After this double forte the dynamic strength begins a steady decline in volume until the composition is finished--instead of crescendoing to a forte finale section after the cadenza-like measure 108, Ex. 24: Gates, Incanta: n_and Ritual, meno mosso, mes. 108,a ; 26 This mini-cadenza acts as a conclusion to the lengthy section Bl and it is also a prelude to the recapitula- tion section (Al), All conventional articulation is present in the work in addition to examples of chromatic and non-chromatic grace notes which are tongued then slurred into the following notes, Very few special effects are present and they are the directed use and directed non-use of vibrato (mes. 7-8), in addition to one example of quarter- tone pitch alteration (mes, 111). ‘The composition contains no altissimo notes and the overall note range is from c#l to B#3, he technical difficulty of Incantation and Ritual is comected with its rhythmic complexity. Two particularly difficult groups of notes are the quintuplets (mes, 5 and 13) and the eighth-two sixteenths-eighth (mes, 25 and 29). The former is an example of five notes against one quarter or four six- teenths, The latter is an example of four notes (eighth- two sixteenths-eighth) against one dotted quarter dvor JiJ= 112). The scale in measure nine is asked by the composer to be played evenly, not as a smear or quick flissando of notes. The realization of these notes needs careful practice at slow tempi in order to make the rhythm even.Ex. 25: Ibid., Adagio, mes. 8-9. 27 om a som pre $< — GOODWIN, GORDON ( ) U.S.A. Anonymous V for Solo Saxophone (ca. 5') New York: Seesaw Music, 1971. The work was dedicated to Hunter Johnson on April 26, 1971 in Austin, Texas for Walker Smith who premiered the work, ‘The piece is fairly tough and it is about five minutes in duration. (The above information is para- phrased from the composer's letter to the author.) HARTLEY, WALTER S, (1927- ) U.S.A, (8) Petite Suite for Alto Saxophone (6') Interlochen, Michigan: Interlochen Press, 1962. (Composed summer, 1961) I. ‘Intrada: Allegretto deciso II, Tango: Andante III. Scherzo: Presto Iv. Nocturne: Adagio V. Capriccio: Allegro Vivace The Petite Suite by Walter S, Hartley is a mlti-form atonal group of five movements. Movements I and II are a theme and variations form and movements III ana V are in ternary form (A-B-A1), Movement IV is freely composed and it is without recurrences of any thematic material. A sectionalization of the composition is as follows:Movement I: Intrada, Allegretto deciso a Section Measures A. 1-10 AL 11-20 (mes, 11 is imitation at the major 2nd lower of mes. 1; mes. 18 is retrograde of mes. 3) a2 21-31 (mes, 21-22 are exact repetition of mes, 1-2) Movement II: Tango, Andante Section Measures A 1-6 AL 7-12 ae 13-18 a3 19-22 at 23-25 (mes, 23-25 are exact imitation of mes. 9-11) a> 26-29 (ee « 27-29 are imitation of mes, 3-6) as 30-33 (mes. 30 is imitation at the minor 2nd lower of mes, 26; mes, 31 is imitation at the minor 3rd lower of mes. 1) Movement III: Scherzo, Presto Section Measures A 1-19 B 20-48 A 49-67 Codetta 68-73 (mes. 68 is imitation at the major 2na higher of mes. 46) Movement IV: Nocturne, Adagio Section Measures A 1-19 (freely composed) Movement V: Capriccio, Allegro vivace pasures 1-10 B 11-23 at 24-32 (mes. 24 is imitation at one octave lower of mes. 5) Codetta 33-36 (mes, 33 is imitation of mes, 32, 7, 9 and io) The titles assigned to each movement describe the character and rhythm of each respective movement and they29 are as follows: (1) Intrada (a festive or marchlike introduction in 3 and 2); (2) Tango (a modern Argentinian dance in e and 2); (3) Scherzo (with a lively sportive character in 2); (4) Nocturne (a nocturnal, somewhat melancholy or languid work in ps and (5) Capriccio (a capricious, humorous work), ovement V contains no tine signature and possesses variavle meter. The main note value or beat delineator is the eignth note, The movements of the suite follow fast-slow-fast-slow-fast tempo indications, The altissimo register notes are optional and their locations are in movement IV (mes, 7-9) and movement V (mes, 35-36). The overall note range with this option is from Bel to ct and without the option it is from Bb1 to F#3, The dynamic range of each movement is as follows: (1) por-f, (2) ppp-p, (3) peff, (4) ppp-ff, and (5) po-ft. There are short high tessitura sections contained in the work and they are as follows: (1) mes. 23-26, (2) mes. 21-24, (3) mes, 22-27 and mes, 31-36, (4) mes, 7-9 (altissimo option), and (5) mes, 31-36. The technical difficulty and articulation problems are at approximately the same level as the Sonatina by Barney Childs. The side C (trill) key can be utilized best in movement 5 at measures 1, 24, 26 and 28. A saxo= phone with a high P53 (spatula) key would be advantageous in the performance of this composition.30 Because each movement is of such short duration, the Petite Suite by lter S, Hartley should be performed intact with all its movements. ‘The only possible excep- tion to the above would be the use of one or more move- ments as an encore. ‘The following are five musical examples of the first few measures of each movement: Ex, 26: Hartley, Petite Suite, Intrada, mes, 1-4, WALTER S. HARTLEY (1961) ~ V Iniradas He ? Ex, 28: Ibid., Scherzo, mes. 1-6. Ex. 29: Ibid., Nocturne, mes, 1-5. IV. Nocturne: Adagio oeEx. 30: Ibid., Capriccio, mes. 1-4. 31 wu Mp tins V. Capriccio: Allegro vivace intast 3s —~ D entse® eae The work was premiered by Pred Hemke at Interlochen, Michigan during the summer of 1962, ‘The form of the piece is a Suite in five movements: Intrada, Tango, Scherzo, Nocturne, and Capriccio. ‘The composer's musical inten- tions were to create the illusion of harmony in a one= line piece. The misic was dedicated to his wife Sandra, who suggested its composition (though herself a flutist, not a saxophonist), (The above information is paraphrased from a letter to the author from the composer.) "Walter Hartley's five movement Suite is the most famous of the unaccompanied works for saxophone (written for Donald Sinta). The Suite presents only moderate technical demands, and the altissimo parts are optional. This is a very fine work within the musical abilities of the advanced high school saxophonist. "8 8smith, locec2 KARG-ELERT, SIGFRID (1877-1933) Germany (7-9) 3 25 Capricen_ und Sonate fur_Saxophon Solo (Opus 153) I immermann, 1929, II. III, P= 58-65 Iv, . = 100 (For construction of the collection see Table I, page 82.) The Sonata for Solo Alto Saxophone is an atonal work by the organist-composer Sigfrid Karg-Elert and it is dedicated to his friend Kurt V. Rudloff. The msical form of the four-movement work is as follows: Movement I: Allegro con moto Section Measures 1 1+ 8 Mistico J= 96 (main theme) risoluto primo ritara poco a poco stringendo Con moto = 104 energico Cantabile |= 100 Molto energico /= 104 acuto, quasi tromba energico Pil tranquillo J= 96-100Section Measures 19 90- 97 mistico 32 Tempo primo J = 104 25 strepitoso 4Al energico 26. primo p ~ crescendo e stringendo 6Al acuto, quasi tromba 52 un poco quieto 4B3 ‘lusingando 53 cantabile B tranquillo 33 Vivace - brillante 710 145-152 mistico Movement II: Scherzo demoniaco Section Measures 1 YW: aa 5 Prestissimo, feroce = 88-92 2 = 42 ae 42- 594 {Iz 60-1043 12 105-109 ai 110-124 Movement III: Larghetto malinconico Section Measures 1 1- 3 = 58-63 n 4-5 2 5- 1? 7-10 14 10- 11 2 d- 12 16 12- 14 4 15= 24 6 25~ 34 7 35- 44 Tempo primo Movement IV: Toccata - Finale Section Measures Introduc- tion \: 1- 5 Allegressimo con umore .J= 100 1 6- 31:1I 32- 67 68= 80 A tempo 81-125 quieto ma poco a poco agitato The work is without key signatures and the time 421 6 3 stgnatuces vary anong 2, 2, 4, 3, 2, Sana. som