Saxophone Studio Quartet Recital
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The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty. -
2018 OSU Saxophone Summit Schedule of Events Seretean Center for the Perfoming Arts January 27-28, 2018
2018 OSU Saxophone Summit Schedule of Events Seretean Center for the Perfoming Arts January 27-28, 2018 Schedule for Saturday, January 27 1:30 – 2:30 p.m. Summit Registration, OSU Music Lobby 2:30 – 3:20 p.m. Summit Registration, SCPA 123 Dr. Andrew Allen (Midwestern State University) Masterclass Saturday, January 27, 2018, 2:30PM Seretean Center for the Performing Arts – Room 123 Maï Ryo Noda Jacob Black, Oklahoma City University Aria Eugène Bozza AJ Nguyen, Oklahoma State University 3:30 – 4:45 p.m. OSU Saxophone Summit Recital #1, SCPA Concert Hall Alter Ego Georges Aperghis Tent of Miracles Martin Bresnick Geoffrey Deibel, Wichita State University Billie Jacob ter Veldhuis Christopher Barrick, University of Arkansas – Fort Smith Wings Joan Tower Eric Troiano, University of Arkansas String Quartet No. 12, Op.96 “American” Antonin Dvorák Meadowlark Quartet, Wichita State University Robert Hess, soprano saxophone Tyler Burgess, alto saxophone Bobby Kitchen, tenor saxophone Chris Agnew, baritone saxophone 5:00 – 5:50 p.m. Eric Troiano Masterclass, SCPA 123 Dr. Eric Troiano (University of Arkansas – Fayetteville) Masterclass Saturday, January 27, 2018, 5:00PM Seretean Center for the Performing Arts – Room 123 Concerto Henri Tomasi Mvt. I Andante et Allegro Sydney Pointer, Oklahoma State University Prélude, Cadence et Finale Alfred Desenclos Robert Hess, Wichita State University 7:30 – 9:00 p.m. OSU Saxophone Summit Recital #2, SCPA Concert Hall OSU Saxophone Summit Recital #2 Saturday, January 27, 2018, 7:30PM Seretean Center for the Performing Arts Concert Hall Olassimo (2017) François Rossé (b. 1945) Maï (1975) Ryo Noda (b. 1948) Andrew Allen (Midwestern State University), soprano and alto saxophone Wings Joan Tower Cradle Alexis Bacon Matthew Tracy (Southwest Oklahoma State University), alto saxophone Syrinx (1913) Claude Debussy (1862-1918) Hummingbrrd (2012/2016) Steven Bryant (b. -
Selection and Quality of the Reed from the Plant to the Musical Instrument
® magazine SELECTION AND QUALITY OF THE REED FROM THE PLANT TO THE MUSICAL INSTRUMENT NEW PRODUCTS CHOICE OF REED : THE VIEWS OF EXPERIENCED MUSICIANS SHEET MUSIC AND MAGAZINES FOR THE CLARINET AND SAXOPHONE YOUNG TALENTS Left : PRESENTATION of a new method by J.N. Crocq, at Vandoren Below : EXHIBITION of reed pen drawings by Michel Pellegrino, at Vandoren Above : CONCERT of the 1000 saxophonists participating in the Dinant Contest (Belgium) Right : Vandoren STAND at the Frankfurt Music Show (March 1999) EDITORIAL VINTAGE 1999 : "Optimum" for everyone, M14 clarinet and alto saxophone mouthpieces. Dear Musicians, Welcome to the "Vandoren Magazine". It is with great pleasure that we introduce this magazine, which will give you information on various subjects throughout the year such as : - new Vandoren products, of course, - exhibitions throughout the world in which Vandoren will participate, and also : - advice on the choice of reeds and mouthpieces, - the views and opinions of musicians from the past and present, - musicians visiting Paris, - and an artistic column dedicated to poetry, painting or humour depending on the issues. Information, however serious it may be, sometimes needs a pause. Other columns will gradually appear. Since we will not have enough space to talk about all musicians in all our issues, you will find their biographies and activities on Internet at www.vandoren.com. This magazine is yours, so please feel free to share your experiences with us, whether it be choosing reeds and mouthpieces or what you consider to be the ideal tone. Instruments are after all, at the service of the Interpreters of Music. -
Duality: Works for Tenor Saxophone Piano
Duality: Works for Tenor Saxophone & Piano Scott Sandberg tenor saxophone Nariaki Sugiura, piano Keith Teepen, piano WORKS BY McMichael | Lacour | Harvey Giovannini | Worley | Caravan WWW.ALBANYRECORDS.COM TROY1807 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2020 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Sandberg_1807_book.indd 1-2 12/18/19 4:13 PM Guy Lacour: Pièce Concertante The Music Frenchman Guy Lacour (1932-2013) had an active career as a performer, teacher, and composer. After winning first prize in both saxophone (class of Marcel Mule, 1952) Catherine McMichael: Duality and chamber music (class of Fernand Oubradous, 1955) at the Conservatoire National A pianist, arranger, composer, and publisher based in Saginaw, Michigan, Catherine Supérieur de Musique de Paris, he could be heard in both classical and popular venues. McMichael (b. 1954) leads a diverse musical life. She maintains a private studio with He specialized on the tenor saxophone, and joining the Marcel Mule Quartet was an students of all ages, is on faculty at Saginaw Valley State University, performs with important turning point in his career. It led to opportunities as a soloist and orchestral several ensembles, directs a church handbell choir, and maintains a busy schedule of musician, making it possible for him to increase the visibility of the lesser-known tenor commissions for ensembles such as the Saginaw Bay Orchestra, the Canadian Brass, saxophone. and the University of Massachusetts at Amherst. -
La Souplesse Patrick Jones, Saxophone Kristine West Denton
La Souplesse Patrick Jones, Saxophone Kristine West Denton, Pinao Program Notes by Richard Ingham [http://www.saxingham.com] Guy Lacour (1932‐2013) had highly successful careers as a saxophonist, as an educator, and as a composer. He made a major contribution to saxophone study material, and also to recital repertoire. After his studies in Paris with Marcel Mule he became a commercial saxophonist, working in several bands and in many theatres in Paris. For many years from 1961 he was a member of the celebrated Marcel Mule Saxophone Quartet (on the tenor instrument), as well as being a featured saxophonist with the Berlin Philharmonic Orchestra and the Orchestre de Paris. Lacour began teaching in 1975 and eventually became Director of the Conservatoire at Mantes‐la‐Ville; from 1992 he concentrated entirely on composition. His Hommage à Jacques Ibert for alto saxophone and orchestra, or as here for saxophone and piano, was composed in 1972. The work is modeled on Ibert’s own Concertino da Camera, with some strong direct references (Ibert himself had written an Hommage à Mozart in 1957). Written for saxophonist Jean‐Marie Londeix, the work is in two movements. The first movement opens with witty yet taut statements from both saxophone and piano. The saxophone maintains an almost relentless linear development, sometimes veering into atonality, at other times a more dense and stretched tonality. The dialogue between the two reaches a new intensity before the resigned throwaway ending: one of many references to Ibert's Concertino. The flowing angular lines in this first movement are typical of Lacour's writing and very challenging for the performer. -
The University of North Carolina at Wilmington Department of Music
The University of North Carolina at Wilmington Department of Music SELECT SAXOPHONE REPERTOIRE & LEVELS First Year Method Books: The Saxophonist’s Workbook (Larry Teal) Foundation Studies (David Hite) Saxophone Scales & Patterns (Dan Higgins) Preparatory Method for Saxophone (George Wolfe) Top Tones for the Saxophone (Eugene Rousseau) Saxophone Altissimo (Robert Luckey) Intonation Exercises (Jean-Marie Londeix) Exercises: The following should be played at a minimum = 120 q • Major scales, various articulations • Single tongue on one note • Major thirds • Alternate fingerings (technique & intonation) • Single tongue on scale excerpt, tonic to dominant • Harmonic minor scales • Chromatic scale • Arpeggios in triads Vibrato (minimum = 108 for 3/beat or = 72-76 for 4/beat) q q Overtones & altissimo Jazz articulation Etude Books: 48 Etudes (Ferling/Mule) Selected Studies (Voxman) 53 Studies, Book I (Marcel Mule) 25 Daily Exercises (Klose) 50 Etudes Faciles & Progressives, I & II (Guy Lacour) 15 Etudes by J.S. Bach (Caillieret) The Orchestral Saxophonist (Ronkin/Frascotti) Rubank Intermediate and/or Advanced Method (Voxman) Select Solos: Alto Solos for Alto Saxophone (arr. by Larry Teal) Aria (Eugene Bozza) Sicilienne (Pierre Lantier) Dix Figures a Danser (Pierre-Max Dubois) Sonata (Henri Eccles/Rasher) Sonata No. 3 (G.F. Handel/Rascher) Adagio & Allegro (G.F. Handel/Gee) Three Romances, alto or tenor (Robert Schumann) Sonata (Paul Hindemith) 1 A la Francaise (P.M. Dubois) Tenor Solo Album (arr. by Eugene Rousseau) 7 Solos for Tenor Saxophone -
The Development of the Saxophone 1850-1950: Its Influence on Performance and the Classical Repertory
The development of the saxophone 1850-1950: its influence on performance and the classical repertory Abraham Albertus de Villiers A mini-dissertation submitted in partial fulfilment of the requirements for the degree Magister Musicae (Performing Art) Department of Music University of Pretoria Supervisor: Dr DJ Galloway Words: 25 296 January 2014 ii. STATEMENT I declare that the dissertation/thesis, which I hereby submit for the degree Magister Musicae (Performing Art) at the University of Pretoria, is my own work and has not previously been submitted by me for a degree at this or any other tertiary institution. iii. Then suddenly I hear the real note of the saxophone, unforgettable, high, and clear, as if from a heart of brass, the new thing, the thing we have come to hear. To me it has quite passed out of humanity, this famous upper register, but it is still near enough for me to understand; piercing, musical, the cry of a faun that is beautiful and hurt. The leader tips his instrument into the air; he blows with all his force but his cheeks remain pale. He is now at the height of his art. The voice of our age has come through his lips through this marvellous instrument. He is a priest possessed with half human god, endlessly sorrowful, yet utterly unsentimental. Incapable of regret, with no past, no memory, no future, no hope. The sound pricks the dancers, parts their lips, puts spring into their march. This is the thing that makes the saxophone great and brings fortunes and ruin to its players. -
The Globe Saxophone Quartet Rhe Bender, Soprano Jennifer Turpen, Alto J
UPCOMING CONCERTS AT THE OREGON CENTER FOR THE ARTS AT SOUTHERN OREGON UNIVERSITY Friday, November 20 at 7:30 p.m. SOU Percussion Ensemble Thursday, December 3 at 7:30 p.m. SOU Woodwind Ensemble “Made in America” music by George Gershwin and Charles Ives Sunday, December 6 at 3:00 p.m. Chamber Choir Concert The Globe Saxophone Quartet Rhe Bender, soprano Jennifer Turpen, alto J. Sco Turpen, tenor John Bleuel, baritone Presented in collaboraon with Bri Music & Arts Fesval Music at SOU November 19, 2015 ▪ 7:30 p.m. For more info and ckets: 541‐552‐6348 and oca.sou.edu SOU Music Recital Hall Piano Tuning by Steinway Concert Piano Technician Thomas Lowell PROGRAM The Globe Saxophone Quartet Four internaonally renowned saxophonists—Rhe Bender, Badinerie from Suite en B Minor BMW 1067 J.S. Bach (1685‐1750) Aria from Suite in D Major BWV 1068 Arr by Guy Lacour Jennifer Turpen, Sco Turpen and John Bleuel—join together to form the Globe Saxophone Quartet. The group began playing Suite Hellenique (2001) Pedro Iturralde together in 1994 as graduate students at the University of Kalamaanos (b. 1929) Georgia. Early successes include twice compeng in the semi‐ Funky final round of the Fischoff Naonal Chamber Music Compeon Valse and winning first prize in 1995 at the NACWAPI Naonal Kris Symposium Chamber Music Compeon. The quartet members are professors of saxophone at universies across the United LiƩlescape i (2004) Todd Barton States: Rhe Bender, Southern Oregon University, Jennifer and LiƩlescape ii (b. 1949) LiƩlescape iii Sco Turpen, the University of Wyoming and John Bleuel, LiƩlescape iv University of West Georgia. -
Wind/Mixed Chamber Showcase II Jason Moy & Jill Williamson, Coordinators
Ronald Caltabiano, DMA, Dean Sunday, March 8, 2020 • 5:00 PM WIND/MIXED CHAMBER SHOwcASE II Jason Moy & Jill Williamson, coordinators Murray and Michele Allen Family Recital Hall 2330 North Halsted Street • Chicago Sunday, March 8, 2020 • 5:00 PM Allen Recital Hall WIND/CHAMBER SHOwcASE II Jason Moy & Jill Williamson, coordinators PROGRAM Johannes Brahms (1833-1897) Clarinet Trio in A Minor, Op. 114 (1891) I. Allegro Melissa Frisch, clarinet Tim Sutton, cello Nick Guetterman, piano Julie DeRoche & Stephen Balderson, coaches Johan Amberg (1846-1928) Suite for Flute, Oboe, Clarinet and Piano (1905) I. Seguedille (Allegretto) II. Devant la Cathédrale (Largo) III. Ronde villageoise (Comodo) Jen Klimek, flute Allyson Jewel, oboe Matt Osuch, clarinet Pantelis Bolarakis, piano Jenny Shin & Kyomi Sugimura, coaches Guy Lacour (1932-2013) Pièce en Trio pour 3 clarinettes ou trio de saxophones John Harbison (b. 1938) Trio Sonata (1994) Movement 1 Movement 2 Gordon Gest, soprano saxophone Kianti Champion, alto saxophone Felicity Cole, tenor & baritone saxophones Jeremy Ruthrauff, coach WIND/MIXED CHAMBER SHOwcASE II • MARCH 8, 2020 PROGRAM Ralph Vaughan Williams (1872–1958) 5 Pieces For Oboe, Clarinet, & Horn I. Slow Dance II. Quick Dance IV. Rondo Catherine Wilhite, oboe Michelle Edwards, clarinet Andres Borja, horn Natalie Pilla, coach Jacques Bouffil (1783-1868) Trio No. 5, Op. 8, No. 2 I. Allegro Moderato III. Andante Varie Nathan Richey, clarinet Emily Singer, clarinet Daniel Solowey, clarinet Wagner Campos, coach Francis Poulenc (1899-1963) Sextet for Piano and Winds Op. 100 (1932) I. Allegro Vivace Priya Fink, flute Chloe Cardaras, oboe Tani Takushi, clarinet Demetra Alikakos, bassoon Corey Schmidt, horn Anthony Ty, piano Jill Williamson, coach Erwin Schulhoff (1894-1942) Concertino for Flute, Viola, and Double Bass (1925) I. -
School of Music
W W WW Arizona State l..f niversity s$$s$s .]:irrltlri::itl::].1 School of Music STUDtrNT RECITAL SERIES ASU SAXOPHONE EI.{SEMBLES RECITAL HALL,': '' Thursdayo March 22, 200,1,r. :,7130 p.rn. PROGRAM Trois Conversations Paul Piern6 **There will be a l}-minute intermission** Conversation Amusante Conversation Sentimentale Conversation Anim6e (Dispute) Introduction et Scherzo Robert Cl6risse D anielle Magellan, s op rano s axophone Introduction and Allegro Milan Kaderavek Michael Lloyd, alto saxophone Steven Yarbro, soprlno saxophone Chris Rainer, tenor saxophone Keith Kelly, alto saxophone Matthew Shiner, barit one saxophone Deanna Kirchffi tenor saxophone Kevin Gorman, baritone saxophone Doo-Dah t"'^ Albright Kev in G o rman, alt o s axop hon"* Quatuor pour Saxophones, Op. 102 Florent Schmitt Simon Hutchings, alto saxophone Avec une sage d6cision Julian Peterson, alto vif saxophone Assez lent Anim6 sans excbs David Jenkins, soprano saxophone Emotions Bill Holcombe Brina Bourliea, alto saxophone Julian Peterson, tenor saxophone Ryan Bledsoe, baritone saxophone Evan's Dance Bill Holcombe ASU Jazz Saxophone Ensemble Julian Peterson & Chris Rainer, alto saxophones Michael Lloyd & Scott Phillips, tenor saxophones Quatuor pour Saxophones Guy Lacour Ryan Bledsoe, baritone saxophone El6gie Scherzo Rondo Final Todd Tucker, soprano saxophone *x*********8*** Kirk O'Riordan, alto saxophone Jason Hickam, tenor saxophone Simon Hutchings, baritone s axophone In respect for the performers and those audience members around you, please turn all beepers, cell phones, watches to their silent mode. Thank you. I : Performance Bvents Staff Manager . Assistant- Petformance Events Staff Manager Gury Quamme Performance Events Staff William Cushing, Erin Dow Jihyun Lee, Elizabeth Mabcn i ' .' .i'Ktttie Ann McCarty, Kelli McConnehey , i. -
UMI Dissertation Publishing
NOTE TO USERS i This reproduction is the best copy available. UMI Dissertation Publishing University of Alberta "Four Recitals and an Essay: Christian Lauba and His Saxophone Etudes: From an Historical Perspective" by Po-Yuan KU A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Music Department of Music ©Po-Yuan KU Fall 2009 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-55841-6 Our file Notre r6f6rence ISBN: 978-0-494-55841-6 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant -
University of Cincinnati
UNIVERSITY OF CINCINNATI DATE: May 23, 2003 I, Leanna Booze , hereby submit this as part of the requirements for the degree of: Doctor of Musical Arts in: Oboe Performance It is entitled: The Overlooked Repertory: Twentieth-Century French Oboe Etudes Approved by: Mark Ostoich William Winstead Lizabeth Wing THE OVERLOOKED REPERTORY: TWENTIETH-CENTURY FRENCH OBOE ETUDES A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Division of Performance Studies of the College-Conservatory of Music 2003 by Leanna Booze B.M., Vanderbilt University, 1997 M.M., San Francisco Conservatory of Music, 1999 Committee Chair: Dr. Mark S. Ostoich ABSTRACT At one time or another, every collegiate oboe student has toted the thick, yellow Barret Oboe Method, the bible of oboe study, to his or her lesson. Surveys of teachers in the United States reveal that this is the most commonly used etude book, even though it was first published in 1850 for an oboe with key work different than our modern one. Barret’s Oboe Method is part of a tradition of pedagogical materials that have been generated by oboe professors and students at the Paris Conservatory. When oboists travelled from Europe to fill positions in U.S. Orchestras in the early twentieth-century, this etude tradition was transplanted but did not grow, even though it continued in France. Because teachers in the United States lost touch with twentieth-century French etude output, these valuable studies never became a part of mainstream American pedagogy.