Establishment of the Classical Saxophone: the Evolution of Instrumental Design and Performance Into the 20Th Century
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New Century Saxophone Quartet Press
New Century Saxophone Quartet Press KALAMAZOO GAZETTE Thursday, July 12, 2007 Saxophone ensemble shows off versatility By C.J. Gianakaris uesday in South Haven and Precise, synchronized playing Wednesday night at Brook Lodge T in Augusta, Fontana Chamber Arts was matched by a balanced presented the New Century blend … A total winner. Saxophone Quartet. Its playing of a wide range of works, by seven different By the last half of the concert, it composers, initiated the audience in the became clear that certain compositions musical possibilities of such ensembles. lend themselves more to saxophone sound The New Century features Michael than others. The first section of Astor Stephenson on soprano saxophone, Chris- Piazzolla’s marvelous “Histoire du topher Hemingway on alto saxophone, Tango,” arranged by Claude Voirpy, was Stephen Pollock on tenor saxophone and a total winner. Infectious tango rhythms Connie Frigo on baritone saxophone. worked well for saxes, as did tapping of After marching in while playing Bob the instrument’s body — a technique Mintzer’s invigorating “Contraption,” the heard often in Piazzolla’s music. ensemble turned to five selections from George Gershwin’s great American J.S. Bach’s “Art of the Fugue,” BMV opera “Porgy and Bess” also sounded 1080. Immediately impressive was the especially fine. Our ears are accustomed velvety aura emanating from different to hearing Gershwin played with soaring saxophones possessing varying ranges. reed instruments, clarinet or sax, Precise, synchronized playing was deliberately scored. So the sounds were matched by a balanced blend, suggesting warm and familiar. saxophones could present Bach’s works as well as other instruments. -
Guide to Band and Orchestral Instruments
Mater Dei College Music Department GUIDE TO BAND AND ORCHESTRAL INSTRUMENTS PICTURE INFORMATION ENSEMBLES SEE/HEAR IT The flute is part of the woodwind family. Flute Ensemble, http://www.yout FLUTE Unlike woodwind instruments with reeds, a Junior Concert ube.com/watch?v flute is a reedless wind instrument that Band, Senior =LI3wIHFQkAk&fe produces its sound from the flow of air Concert Band, ature=related across an opening. The flute produces a Solos and beautiful, light tone and is flexible enough Chamber to be used in many contexts and ensembles. Ensembles The clarinet is a very versatile instrument. It Clarinet http://www.yout CLARINET has three very distinctive ranges that it can Ensemble, Junior ube.com/watch?v produce. The lowest register is rich and Concert Band, =9CkK-LM6Oe0 hollow in sound. The middle register is Senior Concert smooth sounding. The upper register Band, Solos Jazz sounds thin and shrill. Band The oboe has been a favourite among Junior Concert http://www.yout BASS GUITAR composers for the last 300 years. The Band, Senior ube.com/watch?v appeal is the reedy sound which is good for Concert Band, =iy3V2Tl4g3s staccato melodies. The oboe unique and Swing Band one of the most interesting instruments to learn. The saxophone is a relatively recent Saxophone http://www.yout ALTO SAXOPHONE invention - it was created in the 1840's to Ensemble, Junior ube.com/watch?v bridge the tonal gap between lower Concert Band, =Ul5K9fVwsKI woodwind section and the low brass Senior Concert section. The saxophone - informally called Band, Solos Jazz sax - uses a reed in the mouthpiece, much Band like clarinets do. -
Mcallister Interview Transcription
Interview with Timothy McAllister: Gershwin, Adams, and the Orchestral Saxophone with Lisa Keeney Extended Interview In September 2016, the University of Michigan’s University Symphony Orchestra (USO) performed a concert program with the works of two major American composers: John Adams and George Gershwin. The USO premiered both the new edition of Concerto in F and the Unabridged Edition of An American in Paris created by the UM Gershwin Initiative. This program also featured Adams’ The Chairman Dances and his Saxophone Concerto with soloist Timothy McAllister, for whom the concerto was written. This interview took place in August 2016 as a promotion for the concert and was published on the Gershwin Initiative’s YouTube channel with the help of Novus New Music, Inc. The following is a full transcription of the extended interview, now available on the Gershwin channel on YouTube. Dr. Timothy McAllister is the professor of saxophone at the University of Michigan. In addition to being the featured soloist of John Adams’ Saxophone Concerto, he has been a frequent guest with ensembles such as the Chicago Symphony Orchestra and the Los Angeles Philharmonic. Lisa Keeney is a saxophonist and researcher; an alumna of the University of Michigan, she works as an editing assistant for the UM Gershwin Initiative and also independently researches Gershwin’s relationship with the saxophone. ORCHESTRAL SAXOPHONE LK: Let’s begin with a general question: what is the orchestral saxophone, and why is it considered an anomaly or specialty instrument in orchestral music? TM: It’s such a complicated past that we have with the saxophone. -
Conn Saxophone Microtuner
THE CONN SAXOPHONE MICROTUNER After a mouthpiece is placed on the neck of a saxophone it is then moved in (farther on) to raise the pitch or out to lower the pitch. The adjustment of the pitch by varying the tubing length by one method or another is common to most wind instruments. In most, if not all, cases the properties of the mouthpieces are not affected. However, as the mouthpiece of a saxophone is moved farther on the neck, the neck then protrudes farther into the mouthpiece, causing a reduction in the chamber volume of the mouthpiece. The chamber volume is believed to affect the intonation, quality, and stability of the notes produced by the saxophone. In July 1919, Conn engineer Edward J. Gulick was granted a patent for a saxophone microtuner, the primary purpose being to provide a convenient means to adjust the overall pitch of the instrument without having to move the mouthpiece on the cork. An apparently unintended benefit was that the mouthpiece chamber volume remains unaffected. This is true provided the mouthpiece is not moved relative to the cork during the tuning process. The microtuner assembly consists of a receiver, a composite piece which I will call the armature, and a collar with a retaining nut. The receiver is an integral part of the saxophone neck and has external threads to accept the collar. An early version of the receiver is shown in Figure 1. The armature is made of three parts. First is a thin-walled cylindrical brass tube which telescopes snugly into the bore of the receiver, Second is an annular flange with a larger external diameter than the receiver. -
Faculty Recital, Ronald L. Caravan, Clarinet, Soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano
Syracuse University SURFACE Setnor School of Music - Performance Programs Setnor School of Music 2-24-2008 Faculty Recital, Ronald L. Caravan, Clarinet, soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano Ronald L. Caravan Syracuse University Sar Shalom Strong Follow this and additional works at: https://surface.syr.edu/setnor_performances Part of the Music Performance Commons Recommended Citation Setnor School of Music, Syracuse University. Faculty Recital, Ronald L. Caravan, Clarinet, soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano. 2-24-2008 https://surface.syr.edu/ setnor_performances/7 This Performance Program is brought to you for free and open access by the Setnor School of Music at SURFACE. It has been accepted for inclusion in Setnor School of Music - Performance Programs by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY SETNOR SCHOOL OF MUSIC Faculty Recital Ronald L. Caravan Clarinet, Soprano Saxophone, Alto Saxophone Assisted by Sar Shalom Strong Piano SETNOR AUDITORIUM SUNDAY, FEB. 24, 2008 2:00 P.M. Program Rondo Capriccioso . Anton Stamitz adapted for C clarinet & piano by Ronald Caravan (1750-c.1809) Soliloquy & Scherzo (2000) ........ ................ Walters. Hartley for Eb clarinet & piano Four Episodes (2006) ................................ Fred Cohen for Bb clarinet & piano 1. Flash 2. Breath 3. Arioso 4. Pure -Intermission - Sonata (1969) .............................. ..... Erwin Chandler for alto saxophone & piano 1. Allegro 2. Con moto 3. With drive Sonata (1976) . ... ............................. Brian Bevelander for alto saxophone & piano (in one movement) Soliloquy & Celebration (1996) ................... Ronald L. Caravan A tribute to the classic jazz saxophonist Paul Desmond for soprano saxophone & piano About the Performers .. -
All-Region Unified Etude
Alto Saxophone All-Region Unified Etude Music Education Coalition 2020 Luke Macmillan Music adapted from ATSSB Moderato œ # 4 œ œ œ œ™ œœ œ œ™ œœ œ œ œ™ œ œ œ œ œ œ œ œ œ œ™nœ & #4 œ™ œœ œ #œ œ œ mf marcato 5 œ œ # œ œ œ œ™ œœ œ œ™ œœ œ œ œ™ œ œœœ œ ™nœ œœœœ œœ œ œ & # œ#œ œ œ nœ ™ œ p 9 œ # œ œœbœ œ œ œ œnœ bœ™ œœ œ œ œ œnœ œ œ œœœ#œœ & #nœ œ œ™ œ œ nœœ nœ ™ cresc. 13 ## œ & J ‰ Œ Ó f Baritone Saxophone All-Region Unified Etude Music Education Coalition 2020 Luke Macmillan Music adapted from ATSSB Moderato # 4 œ œ œ œ™ œœ œ œ œ œ œ & #4 œ œ™ œ œ œ œ œ œ œ œ œ™ œœ œ #œ œ œ œ™nœ mf marcato œ ™ œ 5 nœ # œœœ œ œœœ œ œ™ œ & # œ œ œ œ™ œ œ œ œ œ œ#œ œ œ™nœ œ œ œ œ œ œ ™ œœ œ ™ œ p 9 # œ œ œ œ œnœ & #nœ œ œ™ œbœ œ œ œ œ œ œnœ bœ™ œœ œ nœœ nœ œœœ cresc. œ nœ œ™ #œœ 13 # & # j ‰ Œ Ó fœ Bassoon All-Region Unified Etude Music Education Coalition 2020 Luke Macmillan Music adapted from ATSSB Moderato ? 4 œ œ œ œ b4 œ œ œ™ œ œ œ œ œ œ œ œ œ™ œœ œ nœ œ œ œ™bœ mfœ marcatoœ œ ™ œœ œ ™ œ œ 5 ? œ œœœ œ œœ b œ œ œ œ œ œ™ œœ œ œ œ œ œ #œ œ™nœ œœœ œœ œ ™ œ ™ œ œœ nœœ™ p 9 ? œ œ™ œ bbœ œ œœbœ œ œ œ œnœ bœ™ œœ œ œbœ œ œœœnœ cresc. -
Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists. -
Yamaha 2018 Price List
two thousand eighte2en 01 8 accessories retail price lis t effective date: July 1, 2018 TABLE OF CONTENTS BRASSWIND MOUTHPIECES 1-4 REEDS 17-21 TRUMPET 1 SOPRANO CLARINET 17 CORNET, SHORT SHANK 2 CLARINET 17 CORNET, LONG SHANK 2 ALTO CLARINET 17 FLUGELHORN 2 BASS CLARINET 18 ALTO 2 CONTRA CLARINET 18 HORN 2-3 SOPRANINO SAXOPHONE 18 MELLOPHONE 3 SOPRANO SAXOPHONE 18 TROMBONE, SMALL SHANK TENOR 3 ALTO SAXOPHONE 19 TROMBONE, LARGE SHANK TENOR 3 TENOR SAXOPHONE 19-20 BASS TROMBONE 4 BARITONE SAXOPHONE 20 EUPHONIUM 4 BASS SAXOPHONE 20 TUBA 4 DOUBLE REEDS 20-21 SILENT BRASS ™ & MUTES 5-6 WOODWIND ACCESSORIES 22-30 SILENT BRASS SYSTEMS 5 LIGATURES 21-23 SILENT BRASS MUTES 5 MOUTHPIECE CAPS 24-25 TRADITIONAL MUTES 5-6 NECKSTRAPS 25-26 INSTRUMENT OILS & LUBRICANTS 26 BRASSWIND ACCESSORIES 7-9 MAINTENANCE KITS 26 BRASS INSTRUMENT OILS & LUBRICANTS 7 POLISHES & POLISHING CLOTHS 27 BRASS INSTRUMENT MAINTENANCE KIT 7 CLEANING SWABS 27 POLISHES & POLISHING CLOTHS 7 MAINTENANCE SUPPLIES 27-28 BRASS INSTRUMENT BRUSHES & CLEANING TOOLS 8 LIP PLATE & MOUTHPIECE PATCHES 28 PREMIUM MICROFIBER BRASS SWABS 8 REED TRIMMERS & SHAPERS 29 MISCELLANEOUS BRASS INSTRUMENT ACCESSORIES 9 REED CASES & STORAGE 29 BRASS INSTRUMENT LYRES 9 MISCELLANEOUS WOODWIND ACCESSORIES 29 INSTRUMENT LYRES 30 BRASSWIND CASES 10 WOODWIND CASES 31 WOODWIND MOUTHPIECES 11-16 PICCOLO CLARINET 11 RECORDERS & PIANICAS 32-33 SOPRANO CLARINET 11 PIANICAS 32 CLARINET 11-12 20 SERIES PLASTIC RECORDERS 32 ALTO CLARINET 12 300 SERIES PLASTIC RECORDERS 32 BASS CLARINET 12 400 SERIES PLANT-BASED -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Transferring from the Saxophone
Transferring from the Saxophone: Many of the fingerings encountered while playing the bassoon are similar to those on the saxophone. Looking at the fingering system of the bassoon vs. the saxophone you will notice the same basic six-finger set- up. The major differences occur when comparing the use of the thumb. The embouchure will obviously be different but again the finger placement is similar. The best place to start comparing the two would be with the B on the saxophone and the E on the bassoon. They use basically the same fingering but do not read the same notes. (All of these exercises will work regardless of what saxophone you play soprano, alto, tenor, or baritone) Bassoon First Three Notes: E, D, and C Sax: B, A, and G E D C Now try playing the B on the bassoon: Notice that the fingering is basically the same on both instruments. The first index finger is down on both instruments. The left thumb is added on the bassoon whisper key. *These exercises are not to be played simultaneously. They are only used as a comparison. Now try D: (same as A on the saxophone) How about C: (same as G on the saxophone) Mix them up: Now try a familiar song: Hot Cross Buns F is different on the bassoon but not too difficult. You just use your left thumb on the whisper key. This note does not relate to the saxophone. F The next two notes have similar fingering patterns but beware of the difference between hands on each instrument: The bassoon has a half step between hands, while the saxophone has a whole step. -
The Early Evolution of the Saxophone Mouthpiece 263
THE EARLY EVOLUTION OF THE SAXOPHONE MOUTHPIECE 263 The Early Evolution of the Saxophone Mouthpiece The Early Saxophone Mouthpiece TIMOTHY R. ROSE The early saxophone mouthpiece design, predominating during half of the instrument’s entire history, represents an important component of the or nine decades after the saxophone’s invention in the 1840s, clas- saxophone’s initial period of development. To be sure, any attempt to re- Fsical saxophone players throughout the world sought to maintain a construct the early history of the mouthpiece must be constrained by gaps soft, rounded timbre—a relatively subdued quality praised in more recent in evidence, particularly the scarcity of the oldest mouthpieces, from the years by the eminent classical saxophonist Sigurd Rascher (1930–1977) nineteenth century. Although more than 300 original Adolphe Sax saxo- as a “smooth, velvety, rich tone.”1 Although that distinct but subtle tone phones are thought to survive today,2 fewer than twenty original mouth- color was a far cry from the louder, more penetrating sound later adopted pieces are known.3 Despite this gap in the historical record, this study is by most contemporary saxophonists, Rascher’s wish was to preserve the intended to document the early evolution of the saxophone mouthpiece original sound of the instrument as intended by the instrument’s creator, through scientific analysis of existing vintage mouthpieces, together with Antoine-Joseph “Adolphe” Sax. And that velvety sound, the hallmark of a review of patents and promotional materials from the late nineteenth the original instrument, was attributed by musicians, including Rascher, and early twentieth centuries. -
Writing for Saxophones
WRITING MUSIC FOR SAXOPHONES This is a short information sheet for musicians who wish to create clear, easy to read music for the saxophone. It is based upon my experiences as a jazz saxophone player and the common mistakes that people make when setting out their parts. It covers the basics such as range, transposition, blending, use of altissimo etc. TRANSPOSITION This section is a brief introduction to the concept of transposition. If you already understand how transposing instruments work in principal then please skip to the section entitled 'range' where you can see how to put this information in to practice for particular saxophones. Most saxophones are transposing instruments. This means that the note 'C' on the saxophone does not sound at the same pitch as 'C' on the piano. The common keys which saxophones are made in are B flat (which includes tenor and soprano as well as less common bass and soprillo saxophones) and E flat (alto and baritone, as well as contra bass and sopranino). There are also 'C melody' saxophones, which are made at concert pitch and do not require transposition, however these are less common. When a saxophonist plays a C on a B flat saxophone such as the tenor, the note that comes out sounds at the same pitch as concert B flat (B flat on the piano). Similarly, on an E flat saxophone such as the alto, a C comes out at the same pitch as concert E flat. On a B flat saxophone all the note letter names are one tone higher than they would be on the piano (i.e.