Microtones - Matt Swallow Saxophone

 1 Microtones Abstract: A Sound Extension of the Saxophone Official Presentation Script Lecture Recital by Matthew J. Swallow Friday, March 22, 2013 The use of microtones has become an important extended technique for saxophonists and composers, in which this has been integrated in both classical repertoire and jazz improvisation. The presentation serves mainly as a guide for young aspiring saxophonists and composers who are interested in learning microtonal notation within the repertoire. In addition, there are important steps to executing the performance of this extended technique. This includes a helpful guide to proper tuning, microtonal scales, repertoire list, etudes, and fingering chart references. Microtones are an important sound extension found in many saxophone works. Examples of microtones can be found in multiphonics, graphical changes of pitch, timbre/key trills, and timbre alterations. The following compositions will be examined: Sequenza VIIb per sassofono soprano by Luciano Berio, Sketch for Alto Saxophone by Ronald Caravan, Impressions by John Coltrane, Sonate pour Saxophone Alto et piano by Edison Denisov, Sonate pour Saxophone Alto et piano by Jindrich Feld, Graphic IV for Alto Saxophone and Celeste by Paul Goldstaub, Improvisation I pour Saxophone Alto seul and Maï pour Saxophone Alto seul by Ryo Noda, and Le Frêne Égaré pour Saxophone Alto by François Rossé.1 Notable Quotes: “In the vast majority of my works, quarter tones give an impression of a very intimate expression… I use them mostly during moments of greatest intimate expression. The half step is already expressive, but if it is divided by two, it becomes as expressive therefore more intimate.” -­‐Jean-­‐Marie Londeix, pg. 224 in Jean-­‐Marie Londeix: Master of the Modern Saxophone. “The musical purpose is the combination and succession of various sounds for their own sake and not for their part in any traditional functional progression.” -­‐Ronald L. Caravan in Sketch Program Notes. “If a fellow composer cannot easily read another’s microtonal work, what can we reasonably expect from performers, dedicated though they may be to experimental composition and fully adept at interpreting avant-­‐garde notation?” -­‐Gardner Read, pg. 3 in 20th Century Microtonal Notation. 1 Matthew J. Swallow, Microtones: A Sound Extension of the Saxophone Abstract. Miami University, 2013. É
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I. What are microtones? A. Pitch alteration that is smaller than a semitone interval other!instruments!including!strings!and!other!wind!instruments.!!The!chart!below!in!figure!
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3 1. Some combinations work better than others depending on the saxophone size (soprano, alto, etc.) and specific models (ex. Selmer, Yamaha, Yanagisawa, etc.). !
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2. Refer to the appendix section of the handout for reference books available. Many works do not include a false fingerings key; however some pieces may the!saxophone!size!(soprano,!alto,!tenor,!&!bari)!and!the!specific!models!(Yamaha,!Selmer,!
have the fingerings included within the piece itself B. Microtonal Scales (Refer to the Example Playlist) Yanagisawa,!etc.).!!The!following!books!contain!detailed!microtonal!fingering!charts!for!
1. All scale microtonal accidentals vary due to the composer’s personal systems saxophone!stretching!the!full!range!of!the!instrument!along!with!separation!of!the!different!
of notations (just as mentioned earlier) 2. When working out the different microtones, there are limitations due to the horns!(soprano,!alto,!etc.):
nature of the saxophone. For example, when playing an eighth-­‐tone scale, there are no indefinite false fingerings that work around the G in both octaves. Hello!**Mr.*Sax,*ou*Paramètres*du*Saxophone!by!JeanJMarie!Londeix!!!
3. Quartertone scale à note the traditional tempered pitches and the microtonal The*Techniques*of*Saxophone*Playing!by!Marcus!Weiss!and!Giorgio!Netti!
accidentals in between; observe the space of additional notes compared to the Extended*Technique*for*the*Saxophone!by!J.!Michael!Leonard!
regular chromatic scale (Demonstrate scale with false fingerings and be Just!as!it!was!stated!earlier,!some!finger!combinations!work!better!than!others!
sure to explain the scale accidentals ex. ¼ sharp, ¾ sharp, etc.) 4. Eighth-­‐tone scaleà Scalar pattern is not regularly used, but is indeed another based!on!the!saxophone!size,!model,!and!other!possible!variants.!!Therefore,!it!is!
microtonal scale that is possible to perform on the instrument. Notice the additional microtonal pitches in between the common chromatic pitches imperative!to!experiment!with!different!fingerings!and!match!the!closest!possible!pitch!
Demonstrate scale with false fingerings and explain the scale with!the!tuner!that!can!obtain!pitch!in!between!a!half!step!interval.!!When!studying!
accidentals) C. When working with microtones, it is essential to have a good understanding of the quartertones,!it!is!essential!to!have!a!tuner!in!front!of!you!to!ensure!accuracy!of!pitch.!!In!
intonation tendencies of the instrument. This will assist in aiming for the proper tuning of the microtones. figure!6,!as!the!quartertone!sound!is!in!between!half!steps.!!The!tuner!needle!should!line!up!
1. When working with various false fingerings for quartertones, the tuner needle should line up in between -­‐50/+50 cents flat/sharp. (Place tuner on in!between!J50/+50!cents!flat/sharp.!!If!for!some!reason!the!fingerings!used!do!not!match!!!
projector and demonstrate tuning using same quartertone scale) !
6!
notes,!it!is!important!to!have!a!solid!aural!concept!of!the!quartertones.!!The!eighthJtones!
occur!in!between!the!quartertones!and!the!half!steps.!!This!is!what!the!scale!look!like!back!
in!figure!5.!!This!order!should!look!the!same!when!working!through!the!pattern!with!the!
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2. The process of working out the intonation of the eighth-­‐tones is similar to the tuner.!!The!eighthJtones!should!be!J25/+25!cents!flat/sharp!as!seen!in!figure!7.!!After!
Figure!6!
quartertones, but is more sophisticated, as the intervals are much smaller. Chromatic*tuner*indicating*proper*tuning*of*quartertones;*
The eighth-­‐tones should be around -­‐25/+25 cents flat/sharp on the tuner. learning!the!essential!microtonal!fingerings!that!work!for!your!particular!saxophone,!the!
Red*Arrow*=*quartertone*¼*flat;*Yellow*Arrow*=*quartertone*¼*sharp*
(Same as before) !
close!to!the!needles!on!the!tuner,!try!using!other!fingerings!and/or!make!additional!
adjustments!to!overall!voicing!and!lip/jaw!just!like!tuning!traditional!tone/semitone!
pitches.!!This!similar!concept!is!used!for!mastering!the!eighthJtones,!but!should!be!worked!
out!once!fluent!in!quartertones!pitches.!!Due!to!the!complication!of!precise!tuning!of!these!
!
Figure!7!
Chromatic*tuner*indicating*proper*tuning*of*eighthBtones*and*quartertones;*
Blue*Arrow*=*eighthBtone*flat;*Green*Arrow*=*eighthBtone*sharp*
!
next!step!is!to!find!studies!that!aid!in!continual!development!of!this!extended!technique.!!
4 3. Once you become comfortable with the use of false fingerings to create these microtonal sounds, this can now be applied in the solo repertoire. (Play the Feldà Musical Example #1) 4. If you refer to the appendix section of the handout, there are also additional books that have supplemental exercises related to the uses of quartertones. IV. Selected Works for Saxophone with Microtones A. The Sonate pour Saxophone Alto et piano by Edison Denisov is not only one of the most significant works for the saxophone, but also was the first of its kind in the avant-­‐garde/contemporary realm and to demonstrate new idiomatic uses for this instrument. 1. This was composed in the summer of 1970 and premiered in December of 1970 by Jean-­‐Marie Londeix, who collaborated with Denisov. 2. The first and third movements of this work are fully accompanied by piano. However, the second movement is mostly unaccompanied with exception of the very end, which is intended to add “color and bell-­‐like effects”. 3. Within Movement II: “Lento”, demonstrates “a deep meditative sentiment” and this is embellished with the uses of the quartertones. Londeix states that the extended techniques of this movement symbolize popular folk songs from Tomsk, Russia. 4. The Denisov Sonate would spark future compositions with the uses of microtones, especially the uses of quartertone notations. (Read Quote) (Perform the Denisov) (Sinta Statement After Performing the Piece) B. Different forms of microtones integrated in other saxophone works 1. Some of the microtones have been used in different aspects of playing, therefore, makes this extended technique more significant. 2. Microtones are also found in: a. Multiphonics b. Graphical Changes of Pitch c. Timbre/Key Trills d. Timbre Alterations 3. Multiphonics with Microtones a. In several compositions, there are multiphonic fingerings provided. In addition, there are some notations of a chord indicating how the chord should sound like. Some of these chords contain the microtonal notations. However, would not ever be played separately unless specified. b. Just like quartertones or eighth-­‐tones, the multiphonics are played with the use of false fingerings. Observe figure 2 (Demonstrate uses of multiphonics) Piano*with*Electromagnets*by!Per!Bloland!!
into!multiphonics!
Figure 2 5 Multiphonic chord with microtones from Per Bloland’s Of Dust and Sand for Saxophone and Piano with Electromagnets c. Even though, that there are microtones found in multiphonics, it does not mean that the whole chord is considered a microtone. The microtonal accidentals only indicate that the pitches heard within the chord are traditionally heard a quarter step sharp. 4. The multiphonics along with quartertones are found in François Rossé’s Le Frêne Égaré pour Saxophone Alto. This unaccompanied work was composed in 1978-­‐79 and written for Jean-­‐Marie Londeix. a. Significant work in the saxophone repertoire due to its wide range of virtuosic extended techniques and idiomatic appeals as a solo instrument. b. There are several other comprehensive techniques in addition to the multiphonics and quartertones. Some of these include: flutter tonguing, variations of vibrato frequencies, altissimo, portamento, audible inspiration, and partial/timbreless breath sounds. c. This composition is broken into ten sequences in a similar manner as rondo form. d. The quartertones provide different colors between even and uneven tempered tones. There are several sections in which the composer intends to move back and forth from the center of traditional tempered pitch. e. In translation of the title, thanks to Professor Gingras, Le Frêne Égaré means “the lost ash”, which in context of the piece, it feels like you are getting lost in a forest made up of ash trees; with moments where there are cries for help, and then eventually finding your way out. (Perform Rossé) V. Graphical Changes of Pitch A. Within the saxophone repertoire, there are scenarios when the instrumentalist is to alter the pitch in a similar manner to a glissando or portamento. B. In some of the works by Ryo Noda, there are graphics that demonstrate the uses of the glissando. The microtonal notations serves as a guide to show how sharp or flat the pitch should be as seen in figure 3. This is performed with a combination of false fingerings and voicing. The voicing is an alteration in the oral cavity that allows for a change in pitch; similar to a singing vocalist. (Play Noda Excerptà Musical Example #2) *
6 Figure 3 Graphical pitch change with microtones in Improvisation I pour Saxophone Alto seul by Ryo Noda C. In Noda’s Maï pour Saxophone Alto seul, the change of pitch is guided with microtonal accidentals. These are intended to show how sharp or flat the notes should go even without necessarily using false fingerings since they are part of a portamento. a. This unaccompanied piece was written in 1975 and just like many of his works for saxophone, this one was written imitating the style of the shakuhachi flute, which is a bamboo end-­‐blown Japanese flute. b. The form of the piece comes in three parts: introduction, scattering, and rushing. In a shakuhachi composition, this is known as “johakyui” (jo-­‐ha-­‐
kyû). c. There is a poem that accompanies this work, which is called the Battle of the Sea, which I will read to you. d. At twilight one night in Autumn, while the moon reflected its silver light on the surface of the waves, General Kyotsun plays his flute. Standing at the prow of the ship, he seizes his sword and cuts the plate which goes down to his feet and disappears into the sea. On his doorstep the phantom of the Samurai appeared. Facing him his Wife asks him “Why did you go?” “To save my army” he replied, “because I knew the battle was lost in advance and I also saved the lives of my men and their families.” “And me,” she said. “Did you think about me!” e. Envision the story within this poem when you listen to Ryo Noda’s Maï. (Play Noda Maï) VI. Timbre/Key-­‐Trills A. These are additional sound effects for the saxophone. This technique does not use microtonal notations, but does fit in the idiomatic spectrum of pitch intervals that stretches under a half step either going up or down. B. In other words, the tuning of these trills do not tune to the traditional temperament. Look at Figure 4, just like the microtonal notes, the timbre trills also use false fingerings. (Play Goldstaubà Musical Example #3) 7 Figure 4 Graphic IV for Alto Saxophone and Celeste by Paul Goldstaub; uses timbre trills with provided fingerings C. Even with no microtonal symbols, the fingerings change the pitch, thus helps change the timbre D. These trills can also be used in different context, especially in Figure 5. This is another section in Improvisation I pour Saxophone Alto seul by Ryo Noda. The timbral trill is used with alternate false fingerings around the C# above the staff. (Play Noda)à Musical Example #4) E. Timbre trills are used in a work called Sketch for Alto Saxophone by Ronald L. Caravan. This work was composed in 1973, not too long after the Denisov Sonata. In addition, this is also another unaccompanied piece. F. Other extended techniques include: quartertones, double trills, flutter tonguing, and timbre alterations (Read Program Note) (Play Caravan) VII. Timbre Alterations A. This is another technique of the saxophone in which allows for different colors of pitch. This can brighten or darken a note. B. Some of these features can be found in both avant-­‐garde and jazz genres. C. Even though the timbre alteration is to only change the character of a pitch, there can be variants of pitch change smaller than a semitone interval. This varies based on the particular false fingerings that are being used. D. The Sequenza VIIb per sassofono soprano by Luciano Berio was originally written for oboe in 1969, which features the use of timbre alterations. Transcribed in 1993 by Claude Delangle for soprano saxophone. The following excerpt demonstrates not only the dark/bright contrasts of the same pitch (c#) but allows for better control of the desired dynamics (Play Berioà Musical Example #5) (Demonstrate the alternate fingerings before performing the work) 8 E. John Coltrane was one of the most prominent figures and most imitated jazz saxophonists. He was known for his fast technique in his solo playing, which commonly mentioned “sheets of sounds”. F. Most importantly, he was well known for his symbolic sound sonorities, which happens to be his timbre alterations. G. The particular transcription of John Coltrane’s improvised solo was from Coltranology Volume One and this was from the Konserthuset in Stockholm, Sweden in November of 1961. Carl Coan transcribed this and he provides markings (+) indicating that it uses an alternate timbral fingering just like in Figure 5. He provides a key on a separate page. Figure 5 Excerpt of Carl Coan’s transcription of John Coltrane’s solo in Impressions H. Through experiences, some of the fingerings may not work for your particular saxophone; however, Marcus Weiss has a section on timbral fingerings. I. Another example of timbre changes can occur with the use of different mouthpieces, especially when using both classical and jazz. The characteristics of the sounds between mouthpieces change drastically without changing the overall pitch. However, when using alternate fingerings, there can be a small change in the pitch, whether if is intended or not. (Play example of timbral alterations) J. The purpose of these alterations in the following transcription, Impressions is to rearticulate repetitive notes, even with no use of the tongue. (Play Coltrane) VIII. Conclusions A. The uses of microtones have become an important component to the saxophone repertoire since the early 1970s. Microtonal elements are found in many pieces from the Denisov Sonate to improvised solos by John Coltrane. B. In addition, microtones are found in multiphonics, graphical changes of pitch, timbre/key trills, timbre alterations C. It is important to be aware of the inconsistencies of the different microtonal accidentals that are found within the saxophone literature D. When studying microtones, it is important to understand the proper intonation tendencies E. Prior study to this extended technique can accelerate learning the compositions with microtones at a faster rate. 1. This can be mastered by studying the fingerings, scales, and etude books. 2. In addition, this is beneficial to many saxophonists in both jazz and classical and can provide more tools for expressive styles. 3. Therefore, this can “individualize your sound” among other saxophonists IX. Appendix 9 List of Saxophone Music Literature With Microtonal Uses Saxophone Solos (with accompaniment) Canto IV for Alto Saxophone by Samuel Adler Digital pour Saxophone Soprano seul by Thierry Alla Three Novelties for Alto Saxophone by Allan Blank Steps Approaching for Alto Saxophone and Percussion Ensemble by Ray Andrews Call to Worship by Ronald L. Caravan Sketch for Alto Saxophone by Ronald L. Caravan Three Pieces for Saxophone by Ronald L. Caravan Sonate pour Saxophone Alto et piano by Jindrich Feld Sonate pour Saxophone Alto et piano by Edison Denisov Dimensions III for Saxophone and Tape by Ed Diemente Music for Saxophone and Percussion by Bruce L. Faulconer Symmetrics for Saxophone and Four Percussion by Karl Korte Neuf Études pour Saxophones en 4 cahiers, Volume 4 by Christian Lauba. Improvisation I pour Saxophone Alto seul by Ryo Noda Maï pour Saxophone Alto seul by Ryo Noda Two Pieces for Tenor Saxophone and Piano by Allyn Reilly Le Frêne Egaré by François Rossé Three Movements for Saxophone Alone by Faye-­‐Ellen Silverman Lamentation for Alto Saxophone and Piano by Richard Alan Strawser Divertimento No. 6 for Alto Saxophone and Strings by John Weinzweig Duets With Saxophone(s) or Various Instruments Of Dust and Sand for Alto Saxophone and Piano with Electromagnets by Per Bloland Graphic IV for Alto Saxophone and Celeste by Paul B. Goldstaub Saxoclone for Alto and Tenor Saxophones by Geoge Heussenstamm Dialogue for Saxophone and Two Channel Tape by Karl Korte Périples for Saxophone and Electronics by Paul Méfano O, Aderyn Pur for Flute and Alto Saxophone with Tape (in movt. IV only) by Claire Polin Saxophone in Ensemble Literature Scherzoid for Saxophone Quartet by Philip Ahern The Flight of Icarus for Saxophone Quartet by Stacy Garrop Sinfonia No. 6 for Two Orchestras by Hans Werner Henze Apotheosis of this Earth for Concert Band by Karel Husa Music for Prague 1968 for Concert Band by Karel Husa Five Situations for Four Saxophones by Frank McCarty Strong Song for Saxophone Quartet and Chamber Wind Ensemble by Ralph Carl Verdi Jazz Solo Transcriptions The Michael Brecker Collection transcribed by Carl Coan Michael Brecker transcribed by Carl Coan John Coltrane Solos transcribed by Carl Coan !
4!
Saxophone Microtonal Resources quartertone!accidental!notation.!Observe!the!eighthJtone!variants!between!The*Techniques*
of*Saxophone*Playing!(Weiss/Netti)!and!New*Directions*for*Clarinet!(Rehfeldt)!in!figure!4.!!
Comprehensive Saxophone Microtonal Fingering Charts ! Jean-­‐Marie Londeix Hello! Mr. Sax, ou Paramètres du Saxophone by !
Weiss!Netti!
Rehfeldt!
! Techniques of Saxophone The ! Playing by Marcus Weiss and Giorgio Netti Score
Extended Technique for the Saxophone by J. Michael Leonard EighthJtone!!
}
+!
{
J!
L
J!
l
+!
3!
Sharped!
practicing!the!music.!!Therefore,!can!produce!a!timeJconsuming!learning!curve.!!After!
Saxophone Quartertone Method Books !
comparing!repertoire!and!reference!sources,!there!is!a!consistency!of!microtonal!notation!
EighthJtone!!
Flat! in Contemporary Techniques for Saxophone by Ronald L. Preliminary Exercises & Etudes with!both!sharped!quartertones!(1/4!&!3/4).!!These!symbols!in!figure!1!are!the!most!
! !
4
Caravan ! Quartertone!plus!EighthJtone!
!
!
!
&4
Saxophone Warm-­‐Ups: MSharped!
aterials for the Contemporary Saxophonist by Steven Mauk common!found!in!today’s!musical!literature!in!all!wind!instruments.!!Figure!2!below!
!
Microtonal Scales demonstrates!a!traditional!quartertone!scale!ascending!and!descending!using!the!
Semitone!(HalfJstep)!plus!
!
EighthJtone!Sharped!
Quartertone Scale with the Ronald Caravan accidental notation system appropriate!common!microtonal!accidental!notations.!!!
Score
(Refer to Figure 1 for accidental key) Figure!4!
It!is!also!important!to!understand!the!differences!between!the!specific!eighthJtone!
˙ b
˙ µ˙
#˙ Â ˙
&
˙ µ˙
#˙ ˙
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Score
notations.!!Since!this!is!a!complicated!system!of!accidentals,!here!is!an!example!of!an!
˙ b˙ !
b˙ B ˙ ! ˙ b ˙
& 44 b ˙ B ˙!
b ˙! B ˙
eighthJtone!scale!ascending!using!the!notation!concepts!of!Weiss/Netti!and!Rehfeldt.!!!This!
wÓ Ó
&
! is!shown!in!figure!5.!!!
Figure!2!
Quartertone*scale*ascending*and*descending*between*F*and*B*natural;*notation*accidentals*based*on*Ronald*
Eighth-­‐Tone Scale (Marcus Weiss System-­‐Top Scale, Phillip Rehfeldt System-­‐Bottom) Caravan*
4
!
!
!
!
Ó Ó
&4
*
& ! wConsidering!that!the!previous!accidentals!in!figures!1!and!2!are!the!most!common!in!
w
Uw
Xw
#w
µw Lw
lw
Âw
4!
6
19
the!saxophone!repertoire,!there!are!several!more!quartertone!accidentals!that!can!take!
quartertone!accidental!notation.!Observe!the!eighthJtone!variants!between!The*Techniques*
!
!
!
!
&
& of*Saxophone*Playing!(Weiss/Netti)!and!New*Directions*for*Clarinet!(Rehfeldt)!in!figure!4.!!
w
some!time!to!decipher.!!In!most!compositions,!the!composer!includes!a!key!to!aid!the!
Lw -w
w +w
#w +#w
-w
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performer.!!The!fourth!movement!of!Jindrich!Feld’s!Sonata*for*Alto*Saxophone*and*Piano!
Accidental Key 13
!
! Eighth-­‐Tone !
23
Figure!5! ! !
&
15
!
!
!
! !
uses!a!completely!different!system!of!quartertone!accidentals!as!seen!in!figure!3.!!!!!!!!!!!!!
&
Netti;*Bottom*Scale*symbols*based*on*Phillip*Rehfeldt**
!
!
Weiss!Netti!
Rehfeldt!
EighthBTone*Scales*Ascending*between*F*and*G*natural;*Top*Scale*symbols*based*on*Marcus*Weiss*&*Giorgio*
EighthJtone!!
Sharped!
! 15
}
+!
L
J!
l!
+!
The!performance!of!saxophone!microtones!is!applied!with!the!use!of!false!
!
!6!
!
!
&
27
EighthJtone!!
{ ! !!!!!!!!!!!!!!!!!J! !
fingerings.!!!There!are!several!fingering!combinations!that!can!be!used!to!execute!the!sound!
! !!!!!!!!!!!!!
Flat! !
!!!!!!!!!!!!
!
&
!
effects!as!desired.!!Some!saxophone!fingerings!will!work!better!than!others!depending!on!
Quartertone!!!!!!!!!!!!!!!!!!!!!!Quartertone!!!!!!!!!!!!!!!!!!!!!!Quartertone!!!!!!!!!!!!!!!!!!!!!!!!!!Quartertone!
19
Quartertone!plus!EighthJtone!
6
Sharped!
¼!Sharp!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!¾!Sharp!!!!!!!!!!!!!!!!!!!!!!!!!!!!!¼!Flat!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!¾!Flat!
!
!
!
!
&
!
!
Figure!3!
Semitone!(HalfJstep)!plus!
19
23
&
&
From*“Explanation*of*Notation*Symbols”*key*for*Sonata*for*Alto*Saxophone*and*Piano*by*Jindrich*Feld*
EighthJtone!Sharped!
Figure!4!
!!
Even!though!this!not!widely!used,!there!are!also!microtones!in!which!the!performer!
!!
!!
!!
Score
It!is!also!important!to!understand!the!differences!between!the!specific!eighthJtone!
is!asked!to!play!pitch!that!is!sharped!by!an!eighthJtone.!!There!is!a!similar!scenario!as!the!
23
27
Score
notations.!!Since!this!is!a!complicated!system!of!accidentals,!here!is!an!example!of!an!
!
!
!
!
10 11 Bibliography Adler, Samuel. Canto IV: Solo Alto Saxophone. Medfield, MA: Dorn Productions, 1973. Ahern, Philip. Scherzoid for Saxophone Quartet. Manuscript Facsimile from University of Illinois at Urbana Champaign. Philip Ahern, 1974. Alla, Thierry. Digital pour Saxophone Soprano seul. Paris: Alphonse Leduc, 2003. Berio, Luciano. Sequenza VII per sassofono soprano (1969). Wien: Universal Edition, 1995. Blank, Allan. Three Novelties for Alto Saxophone. Medfield, MA: Dorn Productions, 1973. Bloland, Per. Of Dust and Sand for alto saxophone and piano with electromagnets. Per Bloland, 2010. Bunte, James. A Player’s Guide to the Music of Ryo Noda: Performance and Preparation of Improvisation I and Mai. DMA Dissertation, University of Cincinnati College-­‐
Conservatory of Music, 1995. Caravan, Ronald L. “Extensions of Technique for Clarinet and Saxophone.” DMA Dissertation, Eastman School of Music of the University of Rochester, 1974. Caravan, Ronald L. Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet. Oswego, NY: Ethos Publications, 1979. Caravan, Ronald L. Preliminary Exercises & Etudes in Contemporary Techniques for Saxophone. Medfield, MA: Dorn Publications, 1980. Caravan, Ronald L. Sketch for Alto Saxophone. New York: Seesaw Music Corp., 1976. Coan, Carl. John Coltrane Solos. Milwaukee, WI: Hal Leonard Corporation, 1995. Coan, Carl. Michael Brecker. Milwaukee, WI: Hal Leonard Corporation, 1995. Coan, Carl. The Michael Brecker Collection. Milwaukee, WI: Hal Leonard Corporation, 1999. Dallin, Leon. Twentieth Century Composition: A Guide to the Materials of Modern Music. Third Edition. Dubuque, Iowa, WM C. Brown Company Publishers, 1974. Denisov, Edison. Sonate pour Saxophone Alto et piano. Paris: Éditions Musicales, Alphonse Leduc, 1973. Diemente, Edward. Dimensions III for Saxophone and Tape. New York: Seesaw Music Corp., 1972. 12 Farmer, Gerald. Multiphonics and Other Contemporary Clarinet Techniques. Rochester, NY: Shall-­‐u-­‐mo Publications, 1982. Faulconer, Bruce. Music for Saxophone and Percussion: 1972. Medfield, MA: Dorn Publications, 1981. Grove Music Online, “Coltrane” (by Barry Kernfeld), http://www.oxfordmusiconline.com (accessed March 11, 2013). Grove Music Online, “Microtone” (by Paul Griffiths), http://www.oxfordmusiconline.com (accessed February 10, 2013). Goldstaub, Paul. Graphic IV. Medfield, MA: Dorn Publications, Inc., 1981. Husa, Karel. Apotheosis of this Earth. New York: Associated Music Publishers, Inc., 1971. Ibrahim, Michael. New Aesthetics in Contemporary Saxophone Music. Michael Ibrahim, 2009. Ingham, Richard. The Cambridge Companion to the Saxophone. Cambridge, UK: Cambridge University Press, 1998. Korte, Karl. Dialogue! For Alto Saxophone and Two Channel Tape. New York: Galaxy Music Corporation, 1971. Lauba, Christian. Neuf Études pour Saxophones en 4 cahiers. Book 4 for Baritone Saxophone. Paris: Alphonse Leduc, 1996. Leonard, J. Michael. Extended Technique for the Saxophone. Sherborn, MA: J. Michael Leonard Press, 1989. Londeix, Jean-­‐Marie. Hello! Mr. Sax, ou Paramètres du Saxophone. Paris: Editions Musicales Alphonse Leduc, 1989. Mauk, Steven. Saxophone Warm-­‐Ups: Materials for the Contemporary Saxophonist. Medfield, MA: Dorn Publications, 1993. Noda, Ryo. Improvisation I pour Saxophone Alto seul. Paris: Editions Musicales Alphonse Leduc, 1974. Noda, Ryo. Mai pour Saxophone Alto seul. Paris: Editions Musicales Alphonse Leduc, 1978. Polin, Claire. O, Aderyn Pur for flute and alto saxophone with tape (in movt. IV only). New York: Seesaw Music Corp., 1972. 13 Porter, Lewis. John Coltrane: His Life and Music. Ann Arbor, MI: The University of Michigan Press, 1998. Read, Gardner. Compendium of Modern Instrumental Techniques. Westport, CT: Greenwood Press, 1993. Read, Gardner. Contemporary Instrumental Techniques. New York: Schirmer Books, 1976. Read, Gardner. 20th-­‐Century Microtonal Notation. Westport, CT: Greenwood Press, 1990. Rehfeldt, Phillip. New Directions for Clarinet. Revised Edition. Los Angeles, CA: University of California Press, 1994. Rossé, Francois. Le Frêne Égaré pour Saxophone Alto. Paris: Gerard Billaudot, 1981. Silverman, Faye-­‐Ellen. Three Movements for Saxophone Alone. New York: Seesaw Music Corp., 1972. Umble, James. Jean-­‐Marie Londeix: Master of the Modern Saxophone. Cherry Hill, NJ: Roncorp Publications, 2000. Weiss, Marcus and Giorgio Netti. The Techniques of Saxophone Playing. Kassel: Bärenreiter-­‐Verlag, 2010. Weinzweig, John. Divertimento No. 6 for Alto Saxophone and String Orchestra. Manuscript Facsimile from University of Ottawa. John Weinzweig, 1972. Whiteman, George. Introduction to Microtonal Music. London: British and Continental Music Agencies Ltd., 1970.