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 a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats.

The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission.

In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these.

While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis.

•+• Canada Examining Committee

William Street, Department of Music

Howard Bashaw, Department of Music

David Gramit, Department of Music

Janet Scott Hoyt, Department of Music

Chris Westbury, Department of Psychology

Jeremy Brown, Department of Music, University of Calgary ABSTRACT

Christian Lauba and His Saxophone Etudes:

From an Historical Perspective

This document examines the history of the etude, the development of saxophone music and the saxophone etude, and composer Christian Lauba and his twelve saxophone etudes. To further aid in the performance of these saxophone etudes, French saxophonist Joel Versavaud compiled an errata sheet of Lauba's

Neuf Etudes, which is included as Appendix B.

Although the saxophone was a relatively late invention, the development of its repertoire was swift. Unfortunately, its acceptance and respect for the instrument from the world of classical music did not come easily. This circumstance influenced the development of the saxophone in a unique way different from other instruments.

From 1840 to 1900, the saxophone was in its infancy. The music and the method books written for the instrument simply imitated the repertoire of other wind instruments. Composers did not fully understand or realize the idiomatic potential of the instrument. In the twentieth century however, the saxophone immediately leapt into jazz and popular music in the first half of the century and into contemporary art music in the second half. Although traditional forms such as the concerto and the sonata and the music styles such as neo-classical and neo- romantic had thrived through the 1930s, the public had no reason to respect or accept this instrument like other orchestral instruments.

In the last quarter of the twentieth century, saxophonists seemed to reconcile themselves to this situation and began to find their own paths and solutions. The composers of the Bordeaux School, Michel Fuste-Lambezat (1934) and Francois Rosse (1945), followed swiftly by Christian Lauba (1952), Etienne

Rolin (1952), Thierry Alia (b. 1955) Christophe Havel (1956), and Philippe Laval

(1961), dedicated themselves to the composition of avant-garde contemporary music in general, and specifically for saxophone in solo, chamber and concertante works. Among them, Christian Lauba's Neuf Etudes (1992-1994), has consistently and enduringly led saxophone music on the path of contemporary art music into the twenty-first century. ACKNOWLEDGMENTS

I wish to acknowledge the support and assistance of my doctoral committee: Dr. William Street, Associate Dean, (Student Programs), Faculty of Arts; Dr. Howard Bashaw, Associate Chair, Graduate Studies; Dr. David Gramit, Chair, Department of Music; Professor Janet Scott-Hoyt, Associate Professor of Piano and Piano Pedagogy; and Dr. Chris Westbury, Associate Professor of Psychology. I also thank those who willingly offered their assistance and expertise when called upon: Christian Lauba, Conservatoire National de Musique de Bordeaux; Jean-Marie Londeix, Conservatoire National de Musique de Bordeaux; Dr. John Sampen and Dr. Marilyn Shrude, Bowling Green State University; Joel Versavaud, Conservatoire National de Musique de Marseille; Dr. Joseph Murphy, Mansfield University; and Dr. Anna Street, Concordia University College of Alberta. I would also like to thank all my colleagues at University of Alberta and friends in Edmonton for their great support and friendship. Finally, I would like to express my deepest thanks and dedicate this document to my parents, Huan-Kun Ku and Lee-Yu Huang. Without their unconditional support and love, this document would never have been created. TABLE OF CONTENTS

List of Figures List of Tables List of Music Examples Chapter 1: Introduction 1 Purpose of the Research 1 Organization 2 Chapter 2: History of the Etude 4 Introduction 4 Etudes for Keyboard 4 Etudes for String Instruments 18 Etudes for Wind Instruments 18 Etudes for Voice and Orchestra 19 Chapter 3: Saxophone Etudes and Contemporary Saxophone Music 20 Introduction 20 Saxophone Music and Etudes 20 1840 to 1900 20 1900 to 1930 26 1930 to 1970 36 1970 to 1990 41 Darmstadt School. 45 Contemporary saxophone music 45 Contemporary techniques for woodwinds 46 Multiphonics 47 Contemporary saxophone etudes 50 Contemporary saxophone concert etudes 50 Post-1990 51 Summary 54 Chapter 4: Christian Lauba and His Saxophone Etudes 55 Introduction 55 Christian Lauba 56 Sfax, Tunisia 56 Michel Fuste-Lambezat 59 Christian Lauba's Twelve Etudes for Saxophone 60 Studying and Performing Principles 61 Balafon 63 Savane 65 Sanza 66 Jungle 68 Tadj 69 Gyn 72 Vir 73 Ars 74 Bat 76 Hard Too Hard 77 Stan 78 XYL 79 The General Analysis of the Etudes 80 Recapitulation 80 Measured and Non-measured Time 82 Idiomatic Saxophone Music 82 Chapter 5; Conclusion 84 Bibliography 87 Appendix A 94 Appendix B 125 Appendix C 147 Appendix D 149 List of Figures

Figure 2-1. Robert Dowland's Varietie of Lute-Lessons (1610) 5 Figure 2-2. Girolamo Diruta's // transilvano dialogo (1593) 6 Figure 2-3. John Baptist Cramer's Dulce et Utile 10 Figure 2-4. Charles-Valentin Alkan (1813-1888) 15 Figure 3-1. Benjamin Vereecken and his students 29 Figure 3-2. Advertisement of David Bolduc's sextet circa 1920 30 Figure 3-3. Advertisement of David Bolduc's sextet circa 1920 31 Figure 3-4. Rudy Wiedoeft and his C-melody saxophone 35 Figure 3-5. Marcel Mule and his saxophone class 1946 38 Figure 3-6. Slap tonguing by Erick Rommark (courtesy of Erick Rommark) 49 Figure 4-1. Christian Lauba 57 Figure 4-2. Sfax and Tunisia 58 Figure 4-3. Balo 64 Figure 4-4. Sanza 68 Figure 4-5. Tajikistan and Central Asia 70 List of Tables

Table 2-1. Liszt's Etudes d'Execution Transcendante 12 Table 2-2. Alkan's Douze etudes dans les tons mineurs, op. 39) 13 Table 2-3. Claude Debussy: Etudes for piano, L. 136 14 Table 2-4. Examples of the works inspired by Paganini's 24 Caprices op. 1 19 Table 3-1. Saxophone etudes and methods before 1900 24 Table 3-2. Works attributed to Elise Boyer Hall's patronage 27 Table 3-3. Selected saxophone etudes and methods from 1900 to 1930 32 Table 3-4. Methods and etudes by Rudy Wiedoeft 34 Table 3-5. Etudes and methods transcribed by Marcel Mule 37 Table 3-6. Etudes and methods by Sigurd Rascher 39 Table 3-7. Etudes and methods by Larry Teal 39 Table 3-8. Selected saxophone etudes published between 1930 and 1970 40 Table 3-9. Etudes by Jean-Marie Londeix 43 Table 3-10. Etudes by Guy Lacour 44 Table 3-11. Saxophone music with contemporary techniques from Methode pour etudier le saxophone (Londeix, 1997) 48 Table 3-12. Etudes by Pierre Max Dubois 52 Table 3-13. Etudes with extended techniques 53 Table 4-1. Christian Lauba's twelve etudes for saxophones 62 List of Examples

Example 4-1. Balafon p.l, line 4 65 Example 4-2. Savane p. 7, line 3 66 Example 4-3. Sanzap. 13, line 1 67 Example 4-4. Jungle p. 16, line 6-8 69 Example 4-5. Tddj p. 1, line 1-3 72 Example 4-6.. Gyn p. 14, line 6 73 Example 4-7. Fifrp. 17, line 2-5 74 Example 4-8. Ars p. 1, system 3-4 75 Example 4-9. Bat p. 1, line 3-5 76 Example 4-10. Hard Too Hard p. 8, line 5-6 77 Example 4-11. Stan p. 1 (score), system 1 78 Example 4-12. Stan p. 11 (score), system 3-4 79 Example 4-13. XYL p. 1, line 4-6 80 Example 4-14. Balafon p. 1, line 1-3 81 Example 4-15. Balafon p. 6, line 6-8 81 Example 4-16. Balafon p. 1, line 3-4 82 1

Chapter 1: Introduction

"Christian Lauba's Neuf Etudes pour Saxophones to the saxophone are as the Etudes of Chopin are to the piano," said Jean-Marie Londeix—one of the greatest saxophone masters of our time—at the World Saxophone Congress XIII, Minneapolis, 2003. Chopin's influence is recognized internationally for its contribution to piano performance and repertoire. Are we really witnessing a "Saxophone Chopin"? Are Christian Lauba's saxophone etudes so unique and important? A selection from Lauba's Neuf Etudes (1996) was one of the compulsory works in the First International Glazounov Saxophone Competition (Moscow, 1999), as well as in the Fiftieth ARE) International Music Competition (Munich, 2001). In the Third Concours International Adolph Sax (Belgium, 2002), many candidates chose to perform Christian Lauba's music. Is this simply coincidence or is it revealing important information to us? This project will begin with the examination of the history of the etude, the development of saxophone music and the saxophone etude and lead to a presentation of the research and a discussion of Lauba's saxophone etudes.

Purpose of the Research There are multiple purposes for this research, the first of which is to examine the importance and the value of Lauba's etudes as musical, pedagogical, and historical contributions to saxophone repertoire. The second goal is to have a closer look at the ideas and the concepts formed in these twelve etudes. The third is to offer sufficient information for any saxophonist who would like to study these etudes. In order to achieve these goals, I will also consider the history of the etude, the development of the saxophone etude, and of saxophone music, which applies contemporary techniques. Subsets of these aspects include: 2

(1) The definition of "etude," its development, difference from an "exercise," meaning of "concert etude," and its development. (2) The history of the saxophone etude and its relationship to the development of the instrument and its repertoire; key individuals involved in developing the repertoire, method books, and the etude; evolution of saxophone techniques and the extended use of techniques in performance (quarter-tone, bisbligando, slap tonguing, circular breathing, subtone, multiphonics); advancement of contemporary techniques and repertoire. (3) Composer Christian Lauba and the significance of his saxophone etudes.

Organization The thesis is divided into five chapters. Chapter 1 describes the overview of the thesis, the goals and the contents of each chapter, and the organization of each chapter. Chapter 2 examines the history of the etude, divided by two different categories: (1) by the time line: before the nineteenth century when the definition of the etude was not clear and the etude had not taken its form; in the nineteenth century, the time the etude started to develop and to flourish; and in the twentieth century, the evolved definition and the medium for the etude; (2) by the medium: the piano, the other instruments, and the orchestra. The discussion is inevitably based on the piano etude because in the nineteenth century, the piano was the single instrument that captured the most attention of composers. Its repertoire is abundant and the development of its history is well noted. Chapter 3 narrows down the focus to the history of the saxophone, the development of the saxophone music, and the saxophone etude. The content in this chapter is also divided by two parameters of time, and saxophone music and the saxophone etude. The time is divided into five periods: (1) from the birth year of the instrument 1840 to 1900, (2) 1900 to 1930, (3) 1930 to 1970, (4) 1970 to 1990, and (5) post-1990. The purpose of the existence of the second parameter is to 3 focus on the main topic—the saxophone etude. Separating the saxophone music and the saxophone etude helps to see how these two genres inter-relate and interact with each other. In chapter 4, the focus is clearly on the main topic— Christian Lauba and his saxophone etudes. This chapter starts with the introduction of his social and educational background, followed by the elements that influence his musical language, and then a brief introduction of each of his etudes. Since the thesis is to examine Christian Lauba and his saxophone etudes from a historical perspective, it is necessary to fully understand the history of the saxophone etude before Christian Lauba's etudes were conceived. Due to the musical content and the technical elements of the twelve etudes, a discussion will be presented concerning the extended contemporary techniques in parallel with the discussion of the history of the etude. 4

Chapter 2: History of the Etude

Introduction Etude, etude in French, etude in German, studio in Italian, and estudio in Spanish, each literally means "study." According to The Harvard Dictionary of Music, etude is "a composition designed to improve the technique of an instrumental performer by isolating specific difficulties and concentrating his or her efforts on their mastery" (2003, 301). Therefore, we can generally define that etude is a music composition, usually with certain difficulty, designed to exploit or to perfect a certain facet of techniques.

Etudes for Keyboard The title "etude" was used vaguely in the beginning stages of the genre before the nineteenth century. Although the pieces in lute instruction books, such as Robert Dowland's Varietie of Lute-Lessons (1610) [figure 2-1], may be arranged in order of increasing difficulty, they will usually include both simple teaching pieces and masterworks by renowned composers. Studies, lessons, and other didactic instrumental pieces composed before the nineteenth century are extremely varied, without any established genres; many materials having similar aims already long existed. Examples are the toccatas in Italian organist Girolamo Diruta's // transilvano dialogo (1593) ["The Transylvania Dialogue," figure 2-2] " ; the preludes in Francois Coupenn's L 'art de toucher le clavecin (1716) ["The Art of Playing the Harpsichord"], the Probestiicke in C. P. E. Bach's Versuch iiber die wahre Art das Clavier zu spielen (1753), and the Handstucke in Turk's Clavierschule (1789) ["Keyboard-Study"].

It is in the form of a dialogue with Istvan de Josika, a diplomat from Transylvania whom Diruta met during one of Josika's missions to Italy. It is one of the firstpractica l discussions of organ techniques that differentiate organ technique fromth e keyboard technique of other instruments (Palisca,2001, 364). 5

f^M-> *1s$S» l&J&#

ti*tS^^»tili&l VARIETIE or

fa. I-JIftafirr, Riuilii., C.illiird*, A'-TUH". < <;«!•(•<.<:?, Ami V'MIU Spoiled ou flfih r \-c\\ i,>?i

rt'.i. .--..-* C ».„!!'•. l-r >\^«f £.-. a^i<>~tt•ftrio.«!'Vil'Xiii.

Aia i flu** Ti«utffs: rtcr:«nro i^wnyi::^. By .VAK OraisW BicdwLer at" u-V ^ Jt / C A' £*.

--•^-.^.^^-lu'^cJS.^alMMa^;; ^S&ifS

J.OKPOKi

14 I n.

Figure 2-1. Robert Dowland's Varietie of Lute-Lessons (1610). 0

* TR.A N5ILVA NO DFAtOCO <• " " -» Dwnqnt jctte rjgioeiftif mlmt, alljpfjtoa tiou delta fopajxrila fijJi iJinfmo,vr die fata il prime tifloJxatKo, re, act prilttQCifto negro a mi, nti fecoiirf'JtaJtonegro; & jju* ttof i duni>^3 i! mi, re, Tt, fisfdifcnia acl Srcaiuiu ti- fl-o bM^Ti^ifeueclWpfincipijitiate^qMKiBo uoiv vj £ ii mi, n-, T(. He (i fcgwita

Vjrfiki-knwi^mpwBguainseiwcEli^^ 1>, nsj.>Uc „ k.qtuli ii 6nndirnj»crfer«kai; K |>. rc,C. IT, A. T£t m ciafciiiM. A.• HCtJfCtdeftilhirlsr, iartsi&utt U. nr, pcjCcrr^tfi:, & jtj ct4l£"A P* t?rperaf«n • . dirr.JS pcMafciltodcrr* K-rtlthg in"IX nsi'Je in 6, »*, jiur afcercifcrcdireiirie, K, iSTin I>. re, ft: iin A. re, perdeftCtr.!: rMi«*i»sk>, Ja, fitwifcrqwtp M fa ni^nMnvca:tli;llautnco. ,

• # SctJifcpnlatiliatiJiaptraict'ndcredJ b moJIc.

Figure 2-2. Girolamo Diruta's 7/ transilvano dialogo (1593). 7

Toward the end of the eighteenth century, the usage of the term "etude" interchanged with other terms, such as "lesson," "exercise," "practice," and with other genres as well. For example, Domenico Scarlatti's thirty Esserciziper gravicembalo (1738) ["Exercises for Harpsichord"] are not significantly different from his 550 Sonatas, and Johann Sebastian Bach's four volumes of Clavier- Ubung ("Keyboard Practice") from 1726 to 1741 include masterpieces such as the Italian Concerto, French Overture, and the Goldberg Variations. Due to the popularity of the piano as a domestic instrument at the beginning of the nineteenth century, teaching and instructional materials became very common. Publications of these many graded materials boomed, however their technical practicality, in general, usually outweighed their musical value (Ferguson and Hamilton, 2001, 622). The first important publication in the genre of etude is the Studio per ilpianoforte ("Study for the Pianoforte") by Johann Baptist Cramer in London in 1804. Johann Baptist Cramer was born in Mannheim, Germany in 1771 and died in London in 1858, an English musician of German origin. He was the son of Johann Wilhelm Cramer (1746-1799), a famous violinist and musical conductor. The younger Cramer was taken to London when he was a child. From 1782 to 1784 he studied the piano with Muzio Clementi, and soon became known as a professional pianist both in London and on the continent. He was internationally recognized, and was particularly appreciated by Beethoven. He established a musical instrument manufacturing and music-publishing outlet, Cramer and Co., in partnership with Thomas Frederick Beale and Robert Addison. Besides his pianoforte playing, Cramer is important as a composer. He wrote a number of sonatas, concertos and other miscellaneous works for the pianoforte. However, his etudes are the works by which he lives on as a composer. These etudes have appeared in numerous editions, and became staple pieces used in the training of pianists. At one time, these etudes created a conflict between Cramer and his teacher, Muzio Clementi: 8

For many years there was a feud between the two men. Clementi accused Cramer of plagiarism, and of stealing his idea by bringing out a collection of studies before Clementi was ready with his own. But all was well when a special banquet was given in honor of Clementi in 1827 and Cramer joined with Sir George Smart and Ignaz Moscheles in leading the old man to the piano. Cramer was also among the principal mourners at dementi's funeral in 1832. (Cramer 1985, xv-xvi)

Besides Cramer's etudes, other similar publications include early parts of Clementi's Gradus adParnassum (1817-1826) ["Steps to Parnassus"], numerous works by Carl Czerny, Charles Mayer and Henri Bertini, and Ignaz Moscheles' Studien op. 70 (1825-1826). Most of these pieces concentrated on the technical side of music and were not designed to be performed in concert. At the same time, other etudes, while not focusing on the techniques, did concentrate at least on some specific pedagogic purposes, such as musical phrasing and demonstrating a variety of different styles of music. As Cramer's Dulce et Utile, op. 55 (1815) ["Sweet and Useful," figure 2- 3] indicates, the etude was nicely distinguished from exercise not only by its usefulness but also sweetness, which implies a certain proportion of musical interest or musicality is included in the etude instead of a purely technical practice. This musical quality appeared in the latter parts of Clementi's collection and Moscheles' Charakteristische Studien, op. 95 (1836-1837) when the situation began to change and the development of the etude started to take a more serious route. The later studies in the Gradus ad Parnassum are of greater musical interest, some illustrating specific styles as well as technical problems; for example, "le style elegant" and "le style sever, " and Moscheles's Charakteristische Studien, op. 95 are clearly intended as much for performance as for instruction. A new genre, the "concert etude" started to develop and composers began to write etudes for professional concert performances. 9

The nineteenth-century composers recognized the musical potential in the etude and this led to the development and the completion of the genre. Composers then intended to fuse the equivalent musical interest and the technical exercise portion to bring this genre into concert halls. The etudes of Chopin (op. 10, 1833; op. 25, 1837) are probably the earliest pieces to obtain a firm position in the concert repertoire. Although Chopin's method of concentrating on a single technical element in each of his etudes is similar to the etudes of Czerny, Mayer and Bertini, his unique use of harmony, melody, and rhythmic sense give his etudes a new definition, and distinguished his etudes from those of the former composers. Some of his contemporaries were astonished by the revolutionary techniques shown in the etudes, for example playing the black keys of the piano with the thumb as used in op. 10, no. 5, and applying the weak fingers (4 and 5) to fast passages in op. 10, no. 2. Chopin himself admitted that the first person to successfully conquer all the technical challenges of his etudes was Franz Liszt and that is the reason op. 10 was dedicated to him. The structure of most of Chopin's etudes is in ternary form with a relatively short length. SIX JfOYBMB^TSy.^

At^dtMtawM, *•» *<»i8%rf- f'„7

^ .mmJ ™*t*#*-.JSm*>*

am ] » ,.•»». ,iiiiif„W.ni Figure 2-3. John Baptist Cramer's Dulce et Utile. 11

Liszt was an admirer and personal friend of Chopin and continued to cultivate and expand this genre to an even grander scale. Liszt composed a number of etudes that were yet more complex than Chopin's were. Among these, the most well known are found in the collection of Etudes d'Execution Transcendante ("The Transcendental Etudes"). These did not retain the same didactic aspect of Chopin's work, however, since the difficulty and the technique used vary within a given piece. The Etudes d'Execution Transcendante, S. 139 (table 2-1), is a series of twelve compositions written for solo piano. The third and final version was published in 1851 and dedicated to Carl Czerny, Liszt's piano teacher, himself a prolific composer of etudes. The original version of the etudes is called Etude en douze exercices, S. 136, which Liszt had composed in his youth from 1825 to 1826. They were not very different from his teacher's didactic etudes. However, the second version called Douze Grandes Etudes, S. 137, published simultaneously in Paris, Milan and Vienna in 1838, is an expanded revision of the first. The etudes of this second version (S. 137) are among the most difficult pieces ever written for piano. Robert Schumann reviewed this 1838 version for the Neue Zeitschrift fur Musik, and aptly described them as "studies in storm and dread.. .fit for ten or twelve players in the world" (Walker 2001, 765). Therefore, the etudes in their final form are less difficult, but still require incredibly difficult physical and technical demands from the performer. For example, all stretches larger than a tenth were removed from the revisions, as were certain effects that were more easily achievable on the piano of the 1830s, with its lighter action compared to the heavier action of the piano of the 1850s, which basically has the same action as a modern piano. Three of the Douze Grandes Etudes, the C Minor, the F Minor and the Db Major, were in sonata form. In the Etudes d'Execution Transcendante, Liszt lightened some of the texture and tightened up some of the structure, which made the etudes resemble more closely programmatic and characteristic pieces. Most of the etudes were now given titles, such as Paysage, Harmonies du Soir, or Chasse- 12

Neige, and the didactic elements of the pieces, other than their pervasive technical difficulty, were almost completely lost.

Table 2-1. Liszt's Etudes d'Execution Transcendante No. Key Movement 1 C major Preludio, a fast piece to be played like an improvisation 2 a minor untitled "Molto Vivace" 3 F major Paysage ("Landscape") 4 d minor Mazeppa 5 B-flat major Feux Follets ("Will o' the wisp") 6 g minor Vision 7 E-flat major Eroica ("Heroic") 8 c minor Wilde Jagd ("Wild Hunt") 9 A-flat major Ricordanza ("Remembrance") 10 f minor untitled "Allegro Agitato" 11 D-flat major Harmonies du Soir ("Evening harmonies") 12 b-flat minor Chasse-Neige ("Snow-drifting wind" or "Blizzard")

While the studies of Chopin could be used as practice pieces for specific technical problems, the technical demands of most of Liszt's etudes change too much from section to section to provide a suitable repetitive practice to solve any particular problem. The etude was drifting further away from its original form. We can say that, in a sense, the development and the transformation of Liszt's Etudes d Execution Transcendante reflect the nineteenth-century development of the genre as a whole. Charles-Valentin Alkan (1813-1888) [figure 2-4] was a French composer and one of the greatest pianists of his day. He was also a good friend of both Liszt and Chopin. He entered the Conservatoire de Paris at age six and became a piano virtuoso. Some said Liszt once proclaimed that Alkan had the finest technique he had ever encountered. " Alkan's compositions were created with extremely difficult technical and physical demands placed on the performer.

Stephan D. Lindeman, Structural Novelty and Tradition in the Early Romantic Piano Concerto, 1999, 11. 13

Alkan composed two sets of etudes including the entire major and minor keys: Douze etudes dans les tons majeurs, op. 35 (1848), and Douze etudes dans les tons mineurs, op. 39 (1857). Collections of etudes by Alkan, noted for their structural and harmonic experiments, are similar to Liszt's approach to the composition of etudes. However, Alkan's etudes are on an even larger scale and some of them are more programmatic than those of Liszt. With ideas similar to those used by Bach in his Clavier-Ubung, Alkan's op. 39 includes a four- movement symphony, a three-movement concerto, an overture, and a set of variations. In the symphony and the concerto, a separate study in a different key is used for each individual movement. Number 12 of op. 39 is a set of variations Le festin d'Esope ("Aesop's Feast"). It takes nearly an hour to play the whole concerto of op. 39 alone.

Table 2-2. Alkan's Douze etudes dans les tons mineurs, op. 39) Name Movement Etude No. 1 Comme le vent ("Like the Wind") Etude No. 2 En rhythme molossique ("In Molossian Rhythm") Etude No. 3 Scherzo diabolico ("Diabolic Scherzo") Etude No. 4-7 Symphony for solo piano Etude No. 8-10 Concerto for solo piano Etude No. 11 Ouverture ("Overture") Etude No. 12 Le festin dEsope ("Aesop's Feast")

Earlier in 1838-1839, Alkan wrote Trois grandes etudes: (1) Fantaisie; (2) Introduction, variations et finale; and (3) Etude a mouvement semblable et perpetuel, op. 76. The first two of the book, Fantaisie pour la main gauche seule (left hand alone) and Introduction, variations et finale pour la main droite seule (right hand alone), are among the earliest examples of etudes for single hand.2"3 Unfortunately, in spite of his early fame and technical accomplishment, Alkan spent much of his life after 1850 in obscurity, performing in public only

The opening section of Liszt's G minor study in the 1837 version is scored for solo left hand. 14

occasionally.2"4 After Alkan, this type of etude was rarely attempted. The most well-known examples are probably Felix Blumenfeld's (1863-1931) Etude for the Left Hand, op. 36 (1905), and Alexander Skryabin's (1872-1915) Prelude et Nocturne pour la main gauche seule, op. 9 (1894). Although almost every nineteenth-century pianist-composer wrote etudes, only a few of the compositions have held a firm position in the concert repertoire. Among the composers who succeeded at this are Sergei Rachmaninoff (1873- 1943), Claude Debussy (1862-1918), Bela Bartok (1881-1945), and Olivier Messiaen (1908-1992). Claude Debussy's Etudes (L. 136) are a set of twelve etudes for piano composed in 1915. These pieces are extremely difficult to play, as Debussy himself admitted. He described them as "a warning to pianists not to take up the musical profession unless they have remarkable hands."2"5 They are broadly acknowledged as his late masterpieces.

Table 2-3. Claude Debussy: Etudes for piano, L. 136 Name Movement Etude No. 1 Pour les cinq doigts Etude No. 2 Pour les tierces Etude No. 3 Pour les quartes Etude No. 4 Pour les sixtes Etude No. 5 Pour les octaves Etude No. 6 Pour les huit doigts Etude No. 7 Pour les degres chromatiques Etude No. 8 Pour les agrements Etude No. 9 Pour les notes repetees Etude No. 10 Pour les sonorites opposees Etude No. 11 Pour les arpeges composes Etude No. 12 Pour les accords

In a letter to Ferdinand Hiller in 1861, Alkan wrote: "I'm becoming daily more and more misanthropic and misogynous...nothing worthwhile, good or useful to do...no one to devote myself to. My situation makes me horridly sad and wretched. Even musical production has lost its attraction for me for I can't see the point or goal." 2-5 From Piano Society: http://pianosociety.com/cms/index.php?section=156 15

Figure 2-4. Charles-Valentin Alkan (1813-1888). (http://www.karadar.it/PhotoGallery/alkan.html)

Rachmaninoff has two sets of Etudes-Tableaux, op. 33 (1911) and op. 39 (1916), which are very demanding study "pictures." It is likely that Liszt's Etudes d Execution Transcendante served as a model for the Etudes-Tableaux (Haylock 1996, 2). Stylistically, op. 33 traces back to the preludes, while op. 39 shows the influences of Skryabin and Prokofiev. 16

Rachmaninoff was reluctant to reveal any program associated with the Etudes-Tableaux, but he explained, "I do not believe in the artist disclosing too much of his images. Let them paint for themselves what it most suggests" (Bertensson and Leyda 1956, 218). It was only when Ottorino Respighi orchestrated five of the pieces for the Boston Symphony Orchestra that Rachmaninoff supplied programs to the Italian composer (162). Rachmaninoff found the writing of the Etudes-Tableaux very difficult after composing several large-scale masterpieces including the Third Piano Concerto and the Second Symphony. He stated, "[they] presented many more problems than a symphony or a concerto.. .after all, to say what you have to say and say it briefly, lucidly, and without circumlocution is still the most difficult problem facing the creative artist" (Haylock 1996). Bela Bartok's Three Studies for Piano, op. 18 (Sz. 72, BB 81), is also important in the genre of concert etude for piano. Immediately after World War I, the evolution of Bartok's music was undergoing its most intense stage. His early interest in folk music and art music led the transformation of his music even more toward abstract music. "Whereas the twelve-tone set in Schoenberg's music 'functions in the manner of a motive' and must therefore 'be invented anew for every piece,' the use of the special twelve-tone set in Bartok's music is analogous to the precompositional assumptions of the major and minor scales in traditional tonal music" (Antokoletz 1995, 249-250). The techniques of Three Studies are demanding in many ways. "Although Bartok was no slouch at the keyboard, he confessed in later life that he could not play these fiendish Three Studies. They are only for the pianist with big hands (tenths required), good memory and (Bartok himself suggested) a 'non-provincial' audience" (Malcolm Gillies, http://www.boosey.com/cr/music/B-la-Bart-k-Three-Studies/2215&langid=l). Olivier Messiaen (1908-1992) was one of the leaders of French contemporary music in the twentieth century. His students included Pierre Boulez, Yvonne Loriod (who later became Messiaen's second wife), Karlheinz Stockhausen, Iannis Xenakis and George Benjamin. Messiaen's music is IV rhythmically complex due to his interest in rhythms from ancient Greek and Hindu sources, and is based harmonically and melodically on "modes of limited transposition," (Griffiths, 495) which were Messiaen's own innovation. Quatre etudes de rythme ("Four Etudes in Rhythm") for piano was composed between 1949 and 1950. Many experts see the etudes as being more modal than serial, but the composition came at a pivotal time in Messiaen's production, as was also the case in the history of contemporary music.

Messiaen's Quatre etudes de rythme 1. lie defeu 1 ("Island of Fire 1") 2. Mode de valeurs et d'intensites ("Mode of Values and Intensities") 3. Neumes rhythmiques ("Rhythmic Neumes") 4. lie defeu 2 ("Island of Fire 2")

Pierre Boulez described the piece,

Sans developpement, cette oeuvre de caractere essentiellement experimental orienta en tous cas tous les jeunes compositeurs de l'apres- guerre dans le sens, extremement fertile tout d'abord, d'une rigoureuse quantification de toutes les donnees de l'espace sonore. (Wikipedia, http://fr.wikipedia.org/wiki/Quatre %C3%89tudes de rythme)

Although short lived in its influence, this work, which is essentially experimental in character, was indeed at first very successful in helping to direct the energies of young composers of the post WWII era towards a rigorous quantification of all of aspects of acoustical space. (Translation by Dr. Anna Street) 18

Etudes for String Instruments Since the beginning of the nineteenth century, there also have been many studies written for instruments other than piano and keyboards. In general, most of the etudes focused on technical problems more than musical values. We can observe that from the collections for violin by Federigo Fiorillo (1753-1823; 36 Etudes ou Caprices, op. 3 fur Violine), Rodolphe Kreutzer (1766-1831), Pierre Baillot (1771-1842), Pierre Rode (1772-1830)2"6 and Charles de Beriot (1802- 1870), and for cello by Friedrich Dotzauer (1783-1860) and Friedrich Grutzmacher (1832-1903) [Grove Music Online]. The most outstanding instrumental etudes in the nineteenth century are Paganini's 24 Caprices, op. 1, for solo violin (c. 1805, published in Milan, 1820). Besides being concert studies of unmatched brilliance, they had sufficient musical interest to stimulate the piano transcriptions of Liszt and Schumann referred to below.2"7 The theme of no. 24 in a minor, is so concisely striking that it has inspired sets of variations from Brahms (op. 35), Rachmaninoff (for piano and orchestra, 1934), Lutoslawski (for two pianos, 1941), Boris Blacher (for orchestra, 1947) and many others (table 2-4).

Etudes for Wind Instruments Towards the end of the nineteenth century, the Italian flautist and composer, Ernesto Kohler (1849 -1907) wrote a series of study books, Progress in Flute Playing, op. 33. These are a series of three books varying in difficulty from easy to advanced, published around 1888. During his lifetime, Kohler composed more than one hundred works for the flute.

2-6 Rodolphe Kreutzer was co-author of the Conservatoire's violin method ("Methode du Violori") with Pierre Rode and Pierre Baillot, and the three are considered the founding trinity of the French school of violin playing. 2-7 Raaf Hekkema was the first saxophonist (2006) to arrange for saxophones (soprano and alto) and to record the complete 24 Caprices, op. 1, originally for solo violin by Paganini. CD: MDG 619 1379-2. \y

Table 2-4. Examples of the works inspired by Paganini's 24 Caprices op. 1 Composer Title Instrument Johannes The Variations on a Theme of Paganini, op. solo piano Brahms 35 Frederic Chopin Souvenir de Paganini solo piano Franz Liszt Six Grandes Etudes de Paganini, S. 141 solo piano Sergei Rhapsody on a Theme of Paganini, op. 43 piano/orch. Rachmaninoff Robert Studies after Caprices by Paganini, op. 3 solo piano Schumann 6 Concert Studies on Caprices by Paganini, solo piano op. 10 Carnaval, op. 9, mov. \1-Paganini solo piano Georgi Concerto Capriccio on a Theme of Paganini alto sax/orch. Kalinkovich Marilyn Shrude Renewing the Myth alto sax/pno

Etudes for Voice and Orchestra The French word etude (as well as the English word "study") was used as the title of a number of twentieth-century works and some of them are not for one instrument but for voice or orchestra or a small chamber group. Examples include Stravinsky's Quatre etudes pour orchestre (1928-1929), Henze's Sinfonische Etuden (1956), Frank Martin's Etudes pour orchestre a cordes (1956), Rawsthorne's Symphonic Studies (1938), and Ligeti's three books of Etudes for piano (1985-1995). 10

Chapter 3: Saxophone Etudes and Contemporary Saxophone Music

Introduction After the brief introduction of the history of the etude in chapter 2, we will narrow our focus onto etudes written for the saxophone. We will also explore the influence of contemporary music on woodwind instruments in both the development of techniques and of repertoire, which will lead us to Christian Lauba and his etudes in chapter 4. This chapter is divided into five periods: (1) 1840 to 1900, (2) 1900 to 1930, (3) 1930 to 1970, (4) 1970 to 1990, and (5) post- 1990. In each period, we will discuss the development of saxophone music and the saxophone etude, and their influence on each other.

Saxophone Music and Etudes

1840 to 1900 Adolphe Sax (1814-1894) invented the saxophone around 1840. It is one of a few instruments that was "invented." As the Belgian musicologist and friend of Sax, Francois-Joseph Fetis, wrote in 1844 in his Biographie universelle des musicians et bibliographic general de la musique:

All other instruments have come under notable modifications through time and migration. And last, all have been perfected by slow progress. The saxophone, on the other hand, was born yesterday. It is the fruit of a single concept, and from its first day it has been the same instrument it will be in the future. (Deans 1980, 35)

Because of its nature and the instrument's late birth, it is natural for us to assume that the development of saxophone music might have been swift and smooth. It should not have had to go through a period of trial and error as other instruments did and it should have been able to take an express shortcut. 21

However, the progress of development of saxophone music was unexpectedly slow. There are many reasons for this. First, music of the nineteenth century in the Western world is defined by the music of piano, grand opera, and symphonies. Instrumental music and chamber music were not equally important to composers of this time; equal attention was not paid to all genre. Although music for the saxophone exists through most of the romantic period of western music, the great composers such as Brahms, Liszt, and Mahler unfortunately did not write music for the saxophone. Second, as an infant of the instrumental family, composers did not recognize the qualities and the capabilities of the saxophone. Having no virtuoso players of the instrument as models, composers hesitated to use this new instrument for their compositions. Even at the beginning of the twentieth century, composers were still unfamiliar with the instrument's potential. In a letter, dated July 1903, from Debussy to Pierre Louys, a French poet and writer, Debussy did confess he was not familiar with the quality or the ability of the saxophone as a solo instrument, and wrote,

The saxophone is an animal with a reed, with whose habits I am little familiar. Does it like the romantic sweetness of clarinets, or the rather crude irony of the sarrusophone (or contra bassoon)?.. .The saxophone, like the Grand-Duchess, must like the military. (Street 1983, 61)

In addition, the saxophone was originally invented to be used in the military band. Many composers and the public did not take the instrument seriously. Although Adolphe Sax tried to promote his invention, the repertoire mainly remained easy and had a showy quality used to attempt to captivate the audience.

For twenty years (from 1858 to 1878, date of the selling of the 2,375 plates to the printer J. Kugelman), the Sax publishing house II

published basically all of the works composed for the instruments he invented. He enjoyed the collaboration of numerous musician friends, almost all of whom taught at the conservatoire, as well as famous instrumentalists of great renown, such as Arban, Klose, Savari, Singelee, Demersseman and Jonas, who primarily composed variations and fantasias for the saxophone with piano accompaniment. We can say that if Franz Liszt was the herald of the Erard house, and that Chopin had an equivalent role, as symbolic as that, at the Pleyel house, Sax was surrounded by a team that assured the active musical promotion of his products by providing a repertoire that was easy, brilliant and very fashionable, capable of captivating audiences and extending the fame of his instruments beyond military circles. (Claude Delangle 2003)

The promotion of the saxophone stalled after 1870. The French surrendered to the Prussians at Sedan in 1870, causing the deposition of the emperor, Adolphe Sax's most influential supporter. As well, many of Sax's close composer friends passed away during the time—Kastner in 1867, Rossini in 1868, Berlioz in 1869 and Auber and Fetis in 1871. In addition, the Conservatoire where Sax taught, the saxophone class was closed in 1870, and it was not reinstated until 1942. In 1873, Sax declared bankruptcy for the second time. With all the works composed for saxophone before the nineteenth century, there was hardly any music idiomatically composed for the instrument. Most of the saxophone music imitated the music of clarinet, flute, or other instruments, and the purposes of the compositions mainly focused on entertaining the audience, attempting to make the instrument more popular. As for the repertoire of the saxophone etude, all early etudes and method books focus on the introduction of the new instrument and the fundamentals of how to play the instrument. They explained the range, acoustical design, fingerings, breathing, tone quality, embouchure, posture, and included some 23 exercises. In 1844, Jean-Georges Kastner's (1810-1867) supplement to Cours d 'instrumentation consider ee sous les rapports poetiques et philosophiques de I'art, can be considered the earliest materials of the saxophone method. In 1845, Sax assisted Kastner in creating his book, Methode complete et raisonnee de Saxophone - Famille complete et nouvelle d'instruments de cuivre a anche. The other two of the three earliest methods published include Jean-Francois Cokken's (1801-1875) Methode complete de saxophone applicable a tous les saxophones des differents tons, adoptee au Gymnase Musical Militaire (1846) and Hartmann's Methode elementaire de saxophone. ' According to Jean-Marie Londeix's A Comprehensive Guide to the Saxophone Repertoire 1844-2003 (2003) and Gail Levinsky's DMA dissertation, "An Analysis and Comparison of Early Saxophone Methods Published between 1846-1946" (1997), there was no major publication of the saxophone etude nor method (table 3-1) until Jules Demersseman's 12 Etudes Melodiques dans toutes les tonalites (1866), and 12 Etudes Melodiques et Brillantes (1866). Other composers include the Grande methode complete de saxophone by Louis- Adolphe Mayeur (1837-1894), Methode by Gabriel Pares (1860-1934), Methode Complete Elementaire et Progressive by Nazaire Beeckmann (1822-1900), and works by Hyacinthe Eleonore Klose (1808-1880), H. Escudier, and others.

3-1 The real identity of Hartmann remains uncertain. The possible answer includes Johann Peter Emilus Hartmann, John Hartmann, and Johann Wilhelm Hartmann. (Levinsky 1997, 39-40) Table 3-1. Saxophone etudes and methods before 1900 Composer Life Title Pub. Year Publisher Cokken, Jean-Francois, 1801-1875 Methode complete de saxophone applicable a 1846 Messonnier Barthelemy tons les saxophones des differents tons, adoptee au Gymnase Musical Militaire Hartman (sic) Unknown Methode elementaire 1846 Sbg Kastner, Jean-Georges 1810-1867 Methode complete et raisonnee de Saxophone 1847 Adolph Sax Famille complete et nouvelle d 'instruments de cuivre a anche Demersseman, Jules- 1833-1866 12 Etudes Melodiques dans toutes les tonalites 1866 Lem Auguste-Edouard 12 Etudes Melodiques et Brillantes 1866 Marg Mayeur, Louis 1837-1894 Grande methode complete de saxophone 1868-1878 Escudier/ (Revision G. Chauvet, 1933) G&F r Beeckmann, Nazaire 1822-1900 Methode Complete Elementaire et Progressive 1874 PB (Revue et corrigee par H. Rawson) Methode de Saxph. Basse; de Saxph. -barytone; 1874 Alf Saxph. Alto; Saxph. Soprano Escudier, H. 1816-1881 Les premiers desjeunes saxophonistes, op. 45 1877 (25 Etudes melodiques faciles et graduees) Nouvelle tablature du saxophone 1878 Mayeur, Louis 1837-1894 Tablature des saxophones avec double Sib 1880 Go systeme Grand Recueil de gammes, traits, arpeges et 1881 Go exercices pour saxophone, faisant suite a la methode Composer Life Title Pub. Year Publisher

Klose, Hyacinthe 1808-1880 25 Etudes de mecanisme (Capelle) 1881 Led Eleonore 15 Etudes Chantantes (Capelle) 1883 Led *Methode complete 1866-1910 Led *25 Daily Exercises for Saxophone CF *25 Daily Exercises (Gee) DP *Method (Buijzer, Jr.) Mol Mayeur, Louis 1837-1894 Tablature des saxophones sans changement aux 1888 ES anciens doigtes. Systeme Evette et Schaeffer avec trille de Si-Do, double Sib, plateau de Sib ;cle de Fa# et nouveau mecanisme du Sol# descendant au Sib grave *21 Etudes Segouin, Paul 18xx-19xx 25 Etudes artistiques, 2 volumes 1893 Bil Methode complete 1897 G&F Pares, Gabriel 1860-1934 Methode 1895 Lem Mayeur, Louis 1837-1894 Nuevo y Gran metodo de saxofon 1896 ES

*A11 abbreviations of publishers are based on "Music Publisher" (p. 628-637) of Jean-Marie Londeix's A Comprehensive Guide to the Saxophone Repertoire 1844-2003 (2003).

to 26

1900 to 1930 At the beginning of the twentieth century, a Boston socialite, Elise Boyer Hall, who was born in 1853 and died in 1924, changed the direction of the development of the instrument's repertoire by her passion for the saxophone. Her doctor, in hopes of improving her health, suggested that she should learn to play a wind instrument. With the help of the solo oboist with the Boston Symphony, Georges Longy, she decided to learn the saxophone and her enthusiasm for the instrument not only benefited her health but also the history and repertoire of the saxophone. By 1900, she had associated herself with the Boston Orchestral Club, became President of the association in 1902, and eventually performed at the concerts. Her contribution was little known until Dr. William Street's DMA dissertation, "Elise Boyer Hall, America's First Female Concert Saxophonist: Her Life as Performing Artist, Pioneer of Concert Repertory for Saxophone and Patroness of the Arts," was completed in 1983. Even though people did not know her well, her commissioned pieces, such as Andre Caplet's Legende, Florent Schmitt's Legende, op. 66, and the most famous and popular work, Debussy's Rapsodiepour orchestre et saxophone, were among the most important saxophone music at the beginning of the twentieth century. 27

Table 3-2. Works attributed to Elise Boyer Hal 's patronage 1900 Divertissement Espagnol Loeffler, Charles M. 1902 Premier Concerto Gilson, Paul 1902 Impression (Piece) Longy, Georges 1903 Legende Caplet, Andre 1903 Rapsodie pour orchestre et Debussy, Claude saxophone 1903 Choral Varie Indy, Vincent d' 1903 Ballade Carnavalesque Loeffler, Charles M. 1903 Pastorale Moreau, Leon 1904 Rhapsodie (Lento) Longy, Georges 1905 Impression d'automne Caplet, Andre 1905 Legende Sporck, Georges 1907 Rhapsodie, op. 26 Mouquet, Jules 1909 Octuor no. 1 Woolett, Henry 1909-1910 Siberia, Poeme Symphonique Woolett, Henry 1910 Chant pour saxophone Dupin, Paul 1911 Poeme Elegiaque Gaubert, Philippe 1915 Suite Grovlez, Gabriel 1915 Andante Hure, Jean after 1915 Concertstuck Hure, Jean 1918 Legende, op. 66 Schmitt, Florent 1920 Fantaisie Mauresque Combelle, Francois

Among all the works above, some of the pieces, such as Andre Caplet's Legende, Claude Debussy's Rapsodie pour orchestre et saxophone, Vincent d'Indy's Choral Varie, and Florent Schmitt's Legende, op. 66, are still commonly listed in the programs of today's recitals and concerts. The differences between these pieces and other compositions written in nineteenth century are: (1) The works were originally written for the saxophone. They are not imitations of works written and performed by other music instruments. They do have great musical value and interest in them. (2) After exploration and research, the composers of these works had a better understanding of how the instrument could be best used. The compositions showed the advantages of the saxophone better than before. It is not only that the timbre and the quality of the tone of the saxophone were better exhibited, but also the mechanism and the techniques were more explored. The works are more idiomatic. (3) The compositions demonstrated that the saxophone was capable of performing delicate music in the concert hall, not only in the military band or in marching band. During the same period of World War I (1914-1918), Francois Combelle (1880-1953) was a classical saxophonist and featured soloist with the French Band of the Republican Guard. He was also the instrument tester for the Selmer Company. In 1910, he wrote and published his Grande Methode Moderne, dedicated to G. Pares. Benjamin Vereecken (figure 3-1), a multi-talented saxophonist who performed in the famous American band of John Philip Sousa from 1910 to 1915, wrote Foundation to Saxophone Playing in 1917 (Bierley 2006, 75-76). Louis Blemant (1864-1934) completed his two volumes of 20 Etudes melodiques in 1918. Other noteworthy works, according to Londeix's A Comprehensive Guide (2003), are David J Bolduc's Complete Course of 12 Lessons in the Art of Playing Saxophone High Notes, and L. Lyon's method, How to Play Tones Above the Regular Saxophone, both published in 1922. These could be the earliest methods talking about altissimo register of the saxophone, earlier than Sigurd Rascher's Top Tones for the Saxophone (1941-1961) and Eugene Rousseau's Saxophone High Tones in 1978. It is well documented, however, that the possibility of the altissimo notes was known since the invention of the instrument:

Sax was obviously aware that the saxophone was capable of producing tones above high F... .Although these high notes are not notated in any of the Sax publications, it is possible that Sax taught altissimo notes to his more advanced students. It would therefore not be unreasonable to assume that these talented students might have employed some high notes in the endings of the Sax publications.. ..It should be remembered that early 29

reviews of saxophone performance concentrated on the instrument's fluid tone color and rarely mentioned feats of technical calisthenics or high-note acrobatics. (Liley 1998, 15)

Unfortunately, little is known about the composers, Bolduc (figures 3-2 and 3-3) and Lyon.

ff6«rp S&rpew*

Figure 3-1. Benjamin Vereecken and his students (http://www.henrysvaudeville.com/HBWVereecken.htm) 30

Box Office Attraction David J. Bolduc SAXOPHONE SFXTFTTF

kX»

A Class^ Attraction of Reputation and Merit backed by years of Experience

m

Each Man an Artist

^tjfj^

We* u«*0 G, Conn's KigKl^ iburnishadl Gold Instruments Exclusfvelj?.

GORGEOUS STAGE SETTINGS

Figure 3-2. Advertisement of David Bolduc's sextet circa 1920 31

Our Program consists of everything from Jazz to Classic tfith just enough Corned)) to balance act right.

Big Feature for the better class Picture or Vaude^illeTheatres, Clubs, Entertainments, Fairs, etc. thing Their Stuff

Act Runs M mutes Open Time

Terms . N«t Percentage Admission Prices

-ADDRESS-CARE BOX 175 CLEVELAND, OHIO-

Figure 3-3. Advertisement of David Bolduc's sextet circa 1920 Table 3-3. Selected saxophone etudes and methods from 1900 to 1930 Thiels, Victor 1867-1925 Methode complete pour tous les saxophones 1903 Lem Combelle, Francois 1880-1953 Grande Methode Moderne (to G. Pares) 1910 HS Vereecken, Benjamin 18xx-19xx Foundation to Saxophone Playing 1917 CF Blemant, Louis 1864-1934 20 Etudes melodiques, 2 volumes 1918 Led Briard, Raymond 18xx-19xx Methode pour I 'etude de tous les saxophones 1919 Bil Blemant, Louis 1864-1934 Nouvelle Methode Pratique 1920 Led Nicholls, Charles unknown How to Conduct Saxophone Bands 1921 Bolduc, David J. unknown Complete Course of 12 Lessons in the Art of Playing 1922 Saxophone High Notes Eby, Walter M. unknown Scientific Method for Saxophone 1922 WJ Lyon, L. L. How to Play Tones Above the Regular Saxophone Register 1922 Gatti, Domenico unknown 35 Melodious Technical Exercises (Iasilli) 1924 CF Breard, Robert 1894-19xx 10 Etudes de style 1925 Led Horn, Art unknown Modern Method of Saxophone 1925 NM Bernards, B. unknown 125 Ubungen als tdgliche studies 1926 Zim Bumcke, Gustav 1876-1963 Saxophone Schule 1926 VAB/AMP Finishing Routine Studies for Daily Practice 1926 Rub Vaughan Williams, 1872-1958 Six Studies in English Folksong (Transcription) 1926 S&B Ralph (1) Adagio (2) Andante sostenuto (3) Larghetto (4) lento (5) Andante tranquillo (6) Allegro Bernards, B. unknown 24 Virtuosenetuden mit Anang 1927 Zim Bumcke, Gustav 1876-1963 24 Jazz Etuden op. 43 1927 VAB Gurewich, Jascha 1896-1938 Staccatos and Legatos 1927 SF Weber, Henri 18xx-19xx Tongue Gymnastix for the Development of Speed in Single, 1927 Bel Double and Triple Tonguing Wiedoeft, Rudy 1893-1940 Complete Modern Method 1927 Rob Klose, Hyacinthe 1808-1880 25 Etudes de genre et mecanisme (Jeanjean) 1928 Led Eleonore 25 Exercices journaliers (Capelle) 1928 Led Pettine, Giuseppe 1874-1966 Modern Method for the Saxophone 1928 RIM Traxler, Aaron 18xx-19xx Grand Virtuoso Saxophone Studies 1928 Bel Wiedoeft, Rudy 1893-1940 Advanced Etudes and Studies, 2 volumes 1928 Rob Ernst unknown The Ernst Modern Graded Studies for Saxophone 1929 Karg-Elert, Sigfrid 1877-1933 25 Caprices and an Atonal Sonata op. 153, for solo saxophone 1929 Zim/South Johnston, Merle 1897-1978 36 Time et Rhythm Exercises for Daily Practice 1930 MJ 36 Technical Exercises 1930 MJ 36 Staccato Exercises 1930 MJ 34

During the period from 1900 to 1930, Rudy Wiedoeft (1893-1940) (figure 3-4) was the most well known saxophonist of the period. He made over one hundred cylinder recordings and was famous for his fast running passages and double and triple tonguing. He also had several educational method books published.

Table 3-4. Methods and etudes by Rudy Wiedoeft Three Talks To Saxophonists 1923 Selmer Complete Modern Method 1927 Robbins Advanced Etudes and Studies, 2 volumes 1928 Robbins Secret of Staccato for the Saxophone 1938 Robbins Simplified Photographic Saxophone Chart 19xx unknown.

There are several other works worthy of mention. Gustav Bumcke's 24 Jazz Etuden op. 43, published in 1927 was one of the earliest jazz etude books. Robert Breard's 10 Etudes de style, published in 1925, showed that the idea of the saxophone etude was no longer limited only to exercises or technical issues. Sigfrid Karg-Elert's 25 Capricen undSonate op. 153a (originally published in two books by Wilhelm Zimmerman), is possibly the earliest set of concert etudes for the saxophone (Peters 2007/2008, CD, MDG 1000958, 2007).3"2

3-2 "For almost eighty years Sigfrid Karg-Elert's 25 Caprices and an Atonal Sonata op. 153, for solo saxophone were regarded as mere learning pieces for young musicians. Neither a public performance nor a recording of them is known to have been held or made. Now the renowned saxophonist Christian Peters, following his successful recording premiere of the works ofJean- Baptiste Singelee on MDG, earns them (Karg-Elert's Caprices) their share of the spotlight." (http://www.hbdirect.com/album_detail.php?pid=1031989) 35

Figure 3-4. Rudy Wiedoeft and his C-melody saxophone. (http://speakeasy.org/~granlund/images/RudyWiedoeftSax.jpg) 36

1930 to 1970 This period could be seen as the first mature stage of saxophone music where the etude is generally short, technical, and expressive. Most of the major saxophone concertos and solos were composed and published in this period, including Glazounov's Concerto in Eb for Alto Saxophone and String Orchestra (1934), Larsson's Concerto for Saxophone and String Orchestra (1934), Ibert's Concertino da camera pour saxophone alto et onze instruments (1935), Desenclos' Prelude, Cadence et Finale (1956) and others. Composers not only knew the qualities and the advantages of the instrument but also tried to stretch the limits of saxophone techniques in every possible way. For example, the altissimo register was fully explored in Ingolf Dahl's Concerto for Alto Saxophone and Wind Orchestra (1949/1953)3"3 and Frank Martin's Ballade pour saxophone (cor de basset) et orchestre (1938). Techniques such as extreme dynamic contrasts at both ends of the range of loud and soft, fast tonguing and articulated passages, for instance double or triple tonguing, were constantly seen in the compositions of this era. It was also the beginning of a period when academic professional saxophonists and saxophone scholars started careers. Two new generations of professional saxophonists were stepping into their mature stages, including the first generation of Marcel Mule (1901-2001), Cecil Leeson (1902-1989), Larry Teal (1905-1984), and Sigurd Rascher (1907-2001). These were followed by the second cohort—the students of the first-generation saxophonists—Daniel Deffayet (1922-2002), Jean- Marie Londeix (b. 1932), Guy Lacour (b. 1932), Eugene Rousseau (b. 1932), Paul Brodie (1934-2008), Frederick Hemke (b. 1935), and Donald Sinta (b. 1937). Before the twentieth century, the saxophone teachers of the first generation of professional saxophonists underwent the preliminary exploration stage of the saxophone with little information or scholarly materials. Their efforts were finally starting to result in a body of literature suitable for teaching and performing.

3"3 The 1949 version underwent major editing and is no longer performed. Saxophonists today primarily use the 1953 version. J/

During this period, the saxophone etude was developed swiftly as well, both in quantity and in quality. The most important and influential figure in both performance and education was French saxophonist Marcel Mule. Claude Delvincourt (1888-1954), Director of the National Superior Conservatory of Music in Paris, decided to re-establish a saxophone class in 1942. (The original class had been reserved for military musicians at the Gymnase Musicale.) Marcel Mule, than age forty-one, became the first professor to teach at the Conservatory.3"4 Although Adolphe Sax previously taught in the same institute from 1857 to 1870, he was not a professor. Mule's teaching emphasized the importance of the training in traditional classical music, and in order to provide the proper materials for his students, he arranged and transcribed numerous pieces from the works originally composed for orchestra or operas. We can recognize this trait easily from the list of the etudes published under his name.

Table 3-5. Etudes and methods transcribed by Marcel Mule Mule, Marcel Rene Etudes Variees dans toutes les c. 1950 Leduc Arthur (1901-2001) tonalites d'apres Dont, Mazas, Paganini, etc. 24 Etudes faciles, d'apres Sarnie 1942 Leduc 48 Etudes d'apres Ferling, ugmentees de 12 Etudes originales 1946 Leduc 53 Etudes d'apres Boehm, Terschak, Furstenau, 1946 Leduc Exercices jouraliers, d'apres Terschak 1944 Leduc 18 exercices ou etudes, d'apres Berbiguier 1943 Leduc 30 Grands Exercices ou Etudes, d'apres Sousmann 1944 Leduc Gammes, 3 volumes 1944- 1846 Leduc Tablature de la gamme chromatique 1943 Leduc Traits difficiles, 3 volumes 1943- 1945 Leduc

"Sax never held the position of professor; he only gave instruction to military musicians." (Trier 1998, 101) 38

Figure 3-5. Marcel Mule and his saxophone class 1946. (http://www.dornpub.com/saxophonejoumal/marcelmule.html) From left to right: at the piano: Jean Davy. Standing: Remy Violeau, Georges Gourdet, Roger Deldicque, Marcel Mule, Rene Caulier, Guy Romby, Jean Blaisel, Henri Silvert and Rene Desmons (with glasses). (J-M Londeix, e-mail to William Street, March 30, 2009)

Cecil Leeson and Sigurd Rascher were saxophone performers and teachers more than writers of education materials. Lesson did not write any important saxophone teaching materials. However, Sigurd Rascher, particularly because of his extraordinary performing ability of altissimo tones, has written Top Tones, published by Carl Fisher Music. Larry Teal, as the first full-time saxophone professor at a university in North America in 1953, brought great rigor into his teaching of the saxophone, and this was the first methodical teaching in United States. His The Art of Saxophone Playing is still listed as an important resource in the syllabuses of 39 most North American university saxophone studios. He taught at the University of Michigan from 1953 until his retirement in 1974. There were many etudes and methods written or composed during this period. Most of the etudes still focused on technical aspects of saxophone playing. Many were titled "technical exercises," "daily exercises," or "practical studies." At the same time influenced by the popularity of jazz music, there were many etudes and methods for learning to play the saxophone in the jazz style. Etudes for concert performance for the saxophone started to grow in shape in this period as well. Eugene Bozza's 12 Etudes-Caprices for solo saxophone (1944) are among the earliest in this period. The most well known are Charles Koechlin's 15 Etudes pour saxophone alto et piano, op. 188 (1942-1944), and Raymond Gallois-Montbrun's Six Pieces Musicales d'Etude pour saxophone alto et piano (1954). Other notable works are listed in table 3-8.

Table 3-6. Etudes and methods by Sigurd Rascher Rascher, Sigurd Complete Chromatic Scale Chart unknown CF (1907-2001) Scales 1965 Gi&Ma 158 Saxophone Exercises 1955-1968 Chap/WH Top Tones 1941 CF

Table 3-7. Etudes and methods by Larry Teal Teal, Larry Laurence The Art of Saxophone Playing 1936 SBC (1905-1994) Daily Studies for the Improvement 1972 Eto of the Saxophone Technique The Saxophonist's Workbook - A 1958 rev. UMM Handbook of Basic Fundamentals 1976 Studies in Time Division 1955 UMM Table 3-8. Selected saxo phone etudes published between 1930 and 1970 Werner, Milt unknown Vibrato Tone Studies 1946 HP Allard, Joseph 1910-1991 3 Octave Scales & Chords 1947 CC Douse, Kenneth 1906- How to Double and Triple Staccato 1947 BMCo Van Maele, Gerard 1907- Etudes (1) Allegro risoluto - Andante cantabile (2) Allegro vivace 1950 Perrin, Marcel 1912- Agilite - etude chromatique 1951 GD Caprice - etude atonale 1951 GD Tourbillon - etude technique 1951 GD Massis, Amable 1893-1980 6 Etudes caprices (to M. Mule) 1954 Led Milhaud, Darius 1892-1974 Etude poetique, op. 333 1954 Schaffer, Boguslaw 1929- 2 etudes n °22 1956 adr Bennett, Wilhelmine 1933- Studies for Five Instruments 1957 Bauzin, Pierre-Philippe 1933- 5 Mouvements enfrome de Musique, op. 19 1960 adr Spitzmiiller, Alexandre 1894-1962 Etude en forme de variation 1960 Ameller Andre 1912-1990 Entree, Deux petites pieces Estudio 1961 Lacour, Guy 1932- 8 Etudes brillantes (to M. Mule) 1963 Led Schmidt, William 1926- Ten Contemporary Etudes 1963 WIM Dubois, Pierre-Max 1930-1995 2 Caprices en forme d'etudes 1964 Lacour, Guy 1932- Etude de concert (to R. Druet & G. Gourdet) 1964 Bil Semler-Collery, Jules 1902-1988 10 etudes concertantes (to M.Mule) 1964 ME Maurice, Paule 1910-1967 Volio - £tude pour saxophone Alto Mib 1967 Bil Lacour, Guy 1932- 100 dechiffrages (en forme de petites etudes 1968 Bil Lacour, Guy 1932- Precis sur I 'etude des gammes 1968 Bil Dubois, Pierre-Max 1930-1995 Sonate d'Etude 1970 41

1970 to 1990

The influence of contemporary music and techniques. The repertoire of traditional saxophone music and the etude kept growing during this period. Some more modern and complete methods that saxophonists use for pedagogic purposes were published during this period, for example, Rosemary Lang's Saxophone: Beginning Studies in the Altissimo Register (1970), Trent Kynaston's Circular Breathing (1978), and Eugene Rousseau's Saxophone High Tones (1978). The most two prolific authors and composers are Jean-Marie Londeix (table 3-9) and Guy Lacour (table 3-10). To this point, we can say that the traditional saxophone techniques and methods had reached its complete maturity. From embouchure, fingerings, sound production, to altissimo register, and overtones, most of the different schools and methods gradually came to similar ideas or to the same definitions. We can also observe that it was from this point that saxophonists really started to search and to explore new sounds, new techniques, and new possibilities for the saxophone. Guy Lacour wrote several etudes based on modes and atonal music. Daniel Kientzy's Les Sons multiples aux saxophones (1981), and Jean-Marie Londeix's Hello! Mr. Sax (1989) systematically listed the fingerings of microtones and multiphonics. The development of contemporary music offered a natural path for the saxophone. The usage of the so-called contemporary techniques, such as altissimo and slap tongue, can be traced back to the 1920s. A demonstration of this at the artistic level is seen in the work of Arnold Schoenberg when he used tenor and bass saxophones with altissimo in his orchestral work Von Heute aufMorgen (1928/29). (Delangle and Michat 1998, 164) This piece requires two saxophonists, saxophone 1 playing soprano in B-flat and alto in E-flat, and saxophone 2 playing tenor in B-flat and bass in C. The application and the usage of these new techniques were still very rare. Most of the techniques and the information for woodwinds were not developed and organized until the 1960s. Due to the influence of contemporary music and specifically the techniques on woodwind instruments, the development of saxophone music began to take a different route. In order to trace the initiation of the trend, we need to go back and take a look at the development of the contemporary music in the 1950s. Table 3-9. Etudes by Jean-Marie Londeix Londeix, Jean-Marie De I'intonation 2 Sx: AA or TT 1981 Led b. 1932 or AT Le Saxophone enjouant, 4 volumes 1962-1971 Lemoine Le Detache, Staccato 1967 Lem r Etudes a douze d'apres Chopin, Debussy 12 Sx: SnoSS 1993 adr AAATTTBBBs 8 Etudes techniques, op. 8 Sx solo 1960/92 Com Exercices d"intonation- tous niveous et tous 1993 Led saxophones [all levels and all saxophones] Exercices Mecaniques, 3 volumes 1960-1965 Lem Exercices pratiques 4 to 12 Sx 1983 Led Les Gammes Conjointes et en Intervalles 1962 Lem Gammes et modes d'apres Debussy, Ravel et 1968 Led Bartok, 2 volumes Methode de rythme a I 'usage des 1972 Led instrumentistes 3 volumes Methode pour etudie le saxophone 1995 Lem 125 ans de Musique pour Saxophone 1958-1969 Led 150 ans de Musique pour Saxophone 1994 Ron Nouvelle etudes variees avec suraigu 1983 Led Playing the Saxophone (Translation S .Trier), 1973-1976 Lem 2 volumes 77 sassofono nella nuova didattica, 2 volumes 1986 Ber (Translation A. Domizi) 4: El Saxofon ameno (Translation M. Mijan) 2 volumes 1988 AE Saxophon spielend leicht, 3 volumes 1978 BFS (Translation G. Priesner) Le Saxophone en Jouant, 4 volumes 1962-1971 Lem Tablature des doigtes compares des notes 1974 Led suraigiies du Saxopone alto Die Tonleiter in Tonfolge und in Intervallen 1962-1980 Lem

Table 3-10. Etudes by Guy Lacour Lacour, Guy 100 dechiffrages (en forme de petites etudes melodiques et rythmiques) Sx solo 1968 Bil b. 1932 (to R. Weber) Etude de concert (to R. Druet & G. Gourdet) Sx solo 1964 Bil 8 Etudes brillantes (to M. Mule) 1963 Led 24 Etudes atonales faciles 1975 Bil r 28 Etudes sur les modes a transpositions 1971 Bil limitees d'O. Messiaen (to D. Deffayet) 50 Etudes faciles et progressives 2 volumes (to M. Josse) 1972 Bil 56 Etudes recreatives, 2 volumes 2001 Bil Precis sur I 'etude des gammes 1968 Bil

-I 4 45

Darmstadt School. Darmstadt International Summer Courses for New Music (Internationale Ferienkurse fur Neue Musik, Darmstadt), initiated by Wolfgang Steinecke in 1946, were originally held annually in Darmstadt, Germany, then every two years after 1970. The courses present both the teaching of composition and interpretation and include premieres of new works. Darmstadt is now a major centre of modern music, particularly for German composers. Beginning in the early 1950s, a group of young composers including Bruno Maderna (1920-1973), Luigi Nono (1924-1990), Pierre Boulez (b. 1925), and Karlheinz Stockhausen (1928-2007) started to establish their reputation with compositions based upon serial music. Since their music was constantly premiered in the Darmstadt courses, Luigi Nono proposed the name "Darmstadt School" in his lecture, "Die Entwicklung der Reihentechnik" (the development of serial technique), claiming the direct lineage from the Second Viennese School (Fox 1999, 111-130). Berio's Sequenza I for solo flute (1958) already showed much better understanding of extreme register and multiphonics. They were not only tricks to surprise the audience, but these techniques were part of the content of the music and gave the music interest and musical depth. Since then, contemporary music began to play an important role of leading the direction of the development of saxophone music.

Contemporary saxophone music. In the 1960s, pioneer works of the contemporary saxophone music were published, for example, William Karlins's Music for Tenor and String Quartet (1969), using subtone and flutter tonguing. From 1970, the repertoire of contemporary saxophone music really began to grow. Edison Denisov's Sonate for Alto Saxophone and Piano (1970) marked the milestone of this development. This Sonate used slap tonguing, multiphonics and quarter-tones. Other works applying contemporary techniques and concepts include: Frank McCarty's Five Situations for Four Saxophones (1971), using multiphonics and slap tonguing; 46

Ryo Noda's Trois Improvisations for Alto Saxophone solo (1972-1974); Marilyn Shrude's Quartet for Saxophones (1974), using quarter-tones, and Music for Soprano Saxophone and Piano (1974), using multiphonics; The Dream Net for Alto Saxophone and String Quartet (1975) by Warren Benson, using multiphonics; and Alain Louvier's Hydre a cinq tetes for Alto Saxophone and Piano (1976). As well, there were contributions using advanced techniques in composition and improvisation by British saxophonists John Butcher and Evan Parker. Jean-Marie Londeix made a preliminary list of works using contemporary techniques, based upon their level of difficulty, in his Methode pour Etudier le Saxophone (1997). See table 3-11.

Contemporary techniques for woodwinds. There are many contemporary techniques for the saxophone, including circular breathing, subtone, flutter tonguing, slap tonguing, and many more. Some of the techniques are not modern at all and derive from the techniques of other instruments. For example, circular breathing has been used for ages in playing the Australian didgeridoo, the Sardinian launeddas and the Egyptian arghul. The launeddas could be traced back to eighth-century BC. " In 1978, Trent Kynaston published a method book, Circular Breathing, explaining this ancient technique in modern terms. In the album of King Oliver and his Creole Jazz Band in 1923, Stump (Paul Anderson) Evans played the C-melody saxophone and used the technique of slap tonguing. " By 1924, Rudy Wiedoeft and Coleman Hawkins had used this

Surian 2000, 190. Sudan calls the launedda very ancient, appearing on votive statues from eighth-century BC. "Evans was also, of course, a master of the slap-tongue, a technique every saxophonist in popular music of any kind had to learn in those early days. Evans' slap-tongue was remarkably controlled and even delicate, sometimes sounding in its bee-sting precision like a plucked banjo" (Schuller 1991,427). 47 technique regularly. For the production of the quarter-tones, the literature includes Fred Hemke's 1970 article "New Directions in Saxophone Technique" published in 1970 and 1971 issues of Selmer Bandwagon, as well as John William Paulson's Quarter-Tone Production on the Saxophone (1975). Pieces applying the usage of the quarter-tones include Samuel Adler's Canto IV for alto saxophone (1971), and Allan Blank's Three Novelties for alto saxophone (1971).

Multiphonics. Similar to the slap tongue, we can find some of the earliest examples using multiphonics in the recordings of jazz music. For example, John Coltrane's album Harmonique (1959) clearly demonstrated the unique sound effects of multiphonics. Bruno Bartolozzi (1911-1980) was an Italian composer and music theorist, and violinist; he studied and taught at the Florence Conservatory. Bartolozzi's book New Sounds for Woodwinds was definitely the most important literary work discussing experiments using multiphonics. In his research, he invited four different instrumentalists—flautist Pierluigi Mencarelli, oboist Lawrence Singer, clarinetist Giuseppe Garbarino and bassoonist Sergio Penazzi— to help him with the experiments on what he called "amalgams" (multiphonics). He invented six notations for "lip pressures," five abbreviations for "air pressures," three markings for embouchures and other notations for instrument angles, sound-hole positions and the like, along with the traditional fingerings, in order to describe the ways to generate different multiphonic sounds. The book also contains ample discussion concerning quarter-tones, microtones, glissandi and other ideas. The book became the main source of information for all subsequent research, including that of Caravan (1974; 1980) and Bergeron (1989). Table 3-11. Saxophone music with contemporary techniques from Methode pour etudier le saxophone (Londeix, 1997) Level 1 * 1976 Louvier, Alain Hydre a cinq tetes pour Sax. alto et Piano Leduc Level 2 1989 Rosse, Francois Lobuk constrictor pour Sax. alto solo Billaudot 1989 Rosse, Francois Seaodie I, IIpour Sax. Alto seul ou avec piano Billaudot Level 3 1983 Jolas, Betsy Episode Quartrieme pour Sax. tenor solo Leduc 1972-1974 Noda, Ryo Trois Improvisations pour Sax. alto solo Leduc 1984 Vieru, Anatol Doux polyson pour Sax. alto solo Salabert Level 4 1970 Denisov, Edison Sonate pour Sax. alto et Piano Leduc 1983-1984 Rolin, Etienne Tressage pour Sax. soprano et Piano Lemoine 1985 Campana, Jose Luis Pezzo per Claudio Sax. alto solo Lemoine 1992 Yasuhide Ito Concerto pour Sax. alto et Orchestre ou Piano Lemoine Level 5 1978 Constant, Marius Concertante Sax. alto et Orchestre ou Piano Ricordi 1984 Hurel, Philippe Opcit pour Sax. tenor solo Billaudot 1993 Lauba, Christian Steady Study on the Boogie pour Sax. alto solo Billaudot Level 5+ 1978 Mefano, Paul Periple pour Sax. tenor solo Salabert 1978-1979 Rosse, Francois Le Frene egare pour Sax. alto solo Billaudot 1982 Ballif, Claude Solfegietto n °8 pour Sax. alto solo Transatlantiques 1986 Lauba, Christian Sudpour Sax. alto et Piano Fuzeau 1988 Lauba, Christian Hard pour Sax. tenor solo Fuzeau 1990 Havel, Christophe Oxyton pour Sax. baryton solo Tonger *"The level of difficulty can never be established in any absolute fashion." (Londeix, 40) 49

Slap Tonguing

1. Using only the read, place the reed on 2. A slap tongue is the pop that is heard 3. You should be abla to hold the reed your tongue. when the reed is pulled from the mouth­ with just your tongue. piece. Therefore we need to seel the reed with the tongue.

4. Pop the reed off while stfB trying to 5. Pui the reed on the mouthpiece and fi. The tip of your tongue should be seal the reed. Imagine scraping down on repeat step 4. touching the back: of your bottom teeth. th e reed with the middle of your tongue.

7. The first sounds will moat likely ba soft 8. Practice the difference between a dry 8. Once you feel familiar with the motion, clicks. The more air you add, the more slap end a slap where you sustain the try swrtchmg between regular tonguing tone you will produce. note afterwards. and slap tonguing without changing your embouchure.

© Erik Ronmark www concertsaxophonist com

Figure 3-6. Slap tonguing by Erick Rommark (courtesy of Erick Rommark).

As well, the latest literature in this field includes research of Kientzy (1981; 1990 and 1993) and Londeix (1989). Multiphonics is the modern technique used most uniquely by Christian Lauba in his saxophone etudes. We will discuss more about this technique and related materials and compositions in the next chapter. 50

Contemporary saxophone etudes. Because of the demands of contemporary saxophone music, saxophonists could no longer ignore these techniques. The specific techniques were no longer advanced techniques, but required basic techniques for every saxophonist to learn. Naturally, the need for contemporary saxophone etudes developed from this. Ronald Caravan's Preliminary Exercises and Etudes in Contemporary Techniques for Saxophone (1980) is one of the earliest etudes working with these specific techniques: multiphonics for example. Etienne Rolin's (b. 1952) Aphorismes VII- 10pieces courtes a caracterepedagogique, Livre 7(1982-1983) offered a variety of exercises for studying different styles of music, including jazz, electro acoustic music, and non-western music. The variety of usages of the multiphonics, including polyphonic effects, separated notes from each individual multiphonic fingering, moving the sound from one note to a complex multiphonic sound and back to one note or to another single note, may have given Christian Lauba a type of model to study from, since they were both at the Bordeaux Conservatory of Music. The Approach de la musique contemporaine (1985-1986) by Hubert Prati (b. 1939) consists of two volumes, 15 Mosaiques, and 13 Saxophonemes. Both books gave progressive and clearly notated etudes working on multiphonics, micro-intervals, and changes of timbre. Les Douze Etudes Completes pour les Jeunes Saxophonistes (1995) by Nicolas Prost (b. 1981) gives interesting exercises for approaching odd meters, such as 5/8, 6/8, and 12/8, proportional note values, 4:3, 5:2, multiphonics, microtonal trills, and a variety of different types of attacks.

Contemporary saxophone concert etudes. As the development of the contemporary music and etude reached a certain maturity, it was a natural flow, just as in the development of the repertoire of other instruments, to expect concert etudes gradually to show up on the repertoire list. During this period, composers were experimenting on how best to combine all the elements (the idea of etude, contemporary techniques, and 51

sophisticated musical interests). Most of the works are the mixtures of combinations of all of these elements, such as in Sonate d'Etude (1970) by Pierre Max Dubois, Six Contemporary Etudes in Duet Form for two alto saxophones (1974) by Victor Morosco, Etude en vocalises for soprano saxophone and piano (1977) by Francois Rosse, and Etude en bleu for soprano saxophone solo (1981) by Etienne Rolin. So far, we can see that in this period, saxophone etudes were common, some of the composers started to incorporate contemporary techniques, and there was an effort made to bring these etudes onto performing stage. However, we have not seen any composer produce a series of concert etudes thoroughly exploring and lifting this genre to a higher artistic level.

Post-1990 After 1990, Pierre-Max Dubois is seen as one of the most prolific composers of the saxophone etude (table 3-12) although most of his etudes are based on the traditional concepts of composition without using any contemporary techniques or sounds. In Claude Delangle's article, "The Contemporary Saxophone" (Delangle and Michat 1998, 161-183), some of the latest works are mentioned, such as Dubois's Douze Etudes Modernes, and Baraglioli's Sept Jeux Musicauxs. In Vincent David's (b. 1974) pedagogy thesis "Les Etudes contemporaines pour le saxophone et les nouvelles techniques" (1997), he listed some of the latest information and repertoire of the contemporary saxophone etudes, especially from composers residing in Europe. The thesis is registered and only available through La Mediatheque Hector-Berlioz du Conservatoire national de musique et de danse de Paris. During this period, the most important composer of saxophone etudes, especially the concert etude, is Christian Lauba. A detailed discussion of this will follow in the next chapter. Table 3-12. Etudes by Pierre Max Dubois Dubois, Pierre-Max 2 Caprices en forme d'etudes 2Sx:AA 1964 Led (1930-1995) Sonate d'Etude 1970 Led Grave et Scherzo mecanique (to Fr. Daneels) Asx/Pno 1973 RR 16 Etudes brillantes 1994 Bil 24 Etudes Caprices, 2 volumes 1994 Bil 17 Etudes dansantes 1994 Bil 16 Etudes de virtuosite 1994 Bil 48 Etudes faciles et progressives, 2 volumes 1994 Bil 20 Etudes progressives en forme de duos 2Sx 1994 Bil 16 Etudes techniques 1994 Bil Table 3-13. Etudes with extended techniques Bertocchi, Serge Techniques du Saxophone double tonguing; growling, singing/playing, harmonics Brenet, Therese Phoinix microtonal trills and micro-intervals; multiphonics Campana, Jose-Luis Pezzo Per Claudio slap tonguing Choquet, Patrick Aires multiphonics Finzi, Graziane De I'una VAutre free rhythm Fournier, Marie-Helene Quatre Duos flutter tonguing Hemlock subtone Setiocetime glissandi and portamenti Havel, Christophe Trois Rides sur I 'Horizon free rhythm Trois Gestes multiphonics Jean-Pierre Baraglioli Sept Jeux Musicaux improvisation Lacour, Guy Les Douze Esquisses altissimo Laureau Connexions 1 multiphonics Lejet, Edith Trois Preludes free rhythm; microton trills and micro-intervals Jade for Alto Sax and Percussion Flutter tonguing Louvier, Alain Hydre a Cinq Tetes free rhythm Cinq Ephemeres free rhythm; microton trills and micro-intervals Mantovani, Bruno Etudes free rhythm Noda, Ryo Requiem multiphonics Improvisations (I, II, III) glissandi, portamenti, quarter tones and multiphonics Queyroux, Yves 7 Jeux musicaux et 3 Promenades improvisation Rolin, Etienne Aphorismes I&II multiphonics; improvisation Rosse, Francois Lobuk Constrictor slap tonguing De La Vega, Javier Mosaicos para saxofono double tonguing; growling, singing/playing, harmonics contemporaneo 54

Summary Saxophone, as an invented instrument with such a short history, has a unique process of its development. In its first sixty years of existence, many composers praised the tone quality and the capability of the instrument but not many of them really accepted and composed for the instrument. The saxophone was quietly waiting. The main development started in the turn of the twentieth century, with Bostonian Elise Boyer Hall, and within seventy years its repertoire caught up with all the other woodwind instruments both in quality and in the diversity of content. In this period, two generations of saxophonists and educators, including Marcel Mule, Sigurd Rascher, Cecil Leeson, Larry Teal, and Jean-Marie Londeix, Eugene Rousseau, Donald Sinta, and Fred Hemke, finished the task of the development of the saxophone music, which took other instruments several hundred years' of work. As well, in the field of jazz music, the saxophone built another completely different repertoire from that of the classical saxophone. In the second half of the twentieth century, the saxophone, without having the traditional workload of performing orchestral music, which is essential work for other wind instrumentalists, was free to develop its idiomatic characteristics and voice in the realm of the contemporary music scene. 55

Chapter 4: Christian Lauba and His Saxophone Etudes

Introduction Beginning around 1970, many composers started applying contemporary techniques and the sound effects these techniques could offer into their compositions. The saxophone etude followed this trend as well. After twenty years of cultivation, the efforts finally produced results. Because of the collaboration of the saxophone virtuoso and teacher Jean- Marie Londeix and the saxophone students at the Bordeaux Conservatory, Christian Lauba composed Neuf Etudes between 1992 and 1994. These etudes changed the concepts and the impression of contemporary techniques for composers as well as for saxophonists. Since the etudes were published, composers have a better understanding of what these techniques are capable of, and saxophonists work on these techniques as part of their fundamental technical studies. This is not common practice for other instrumentalists. Keyboard players could limit themselves to the repertoire of Baroque, Classical, or Romantic periods because the body of music for their instruments is so vast. String players could choose to play orchestral music exclusively. The saxophone does not have a regular position in an orchestra, so this is not a possible choice for saxophonists. Wind instrument players could choose to avoid contemporary techniques because Mozart, Brahms and many other famous composers have left them a large catalogue of exciting repertoire, which the saxophone, to a certain extent still in its infancy, does not have. Therefore, for saxophonists, contemporary music has become a natural and suitable choice and the contemporary techniques become the basic techniques for today's saxophone students. In order to perform today's music, students need to learn circular breathing, slap tonguing, flutter tonguing, production of multiphonics and so on at the university or college level of study. These techniques, before Lauba's Neuf Etudes, were seen as advanced and rare techniques but now have become required techniques for every saxophone player. 56

Christian Lauba's saxophone etudes have permanently changed the expressive potential of saxophone technique and repertoire.

Christian Lauba "The Nine Etudes (Neuf etudes) by Christian Lauba, which mark a turning point in the history of the saxophone, may be included in this latter category of unique works (artistically displaying an instrument's idiomatic characteristics)" (Umble 2000, 257). "And so, one might say that there was a saxophone before and after Lauba, just as there was the piano before and after Chopin" (257). It matters little that these may be exaggerated descriptions, compliments or perhaps the facts. Christian Lauba, who evolved from a university student majoring in languages to an internationally known composer, is certainly not the kind of composer bred in a traditional sense. Before we discuss his music and compositions, we should take a brief look at his roots and educational background.

Sfax, Tunisia Christian Lauba (figure 4-1) was born in Sfax, Tunisia, in 1952. Tunisia is a country located on the northern coast of Africa, bordered with Algeria on the west side, Libya on the southeast and across the Mediterranean, Italy on the north side (figure 4-2). Sfax is an ancient city founded in AD 849, a Mediterranean port on the Gulf of Gabes, on the east coast of the country. Sfax was occupied by Spain in the sixteenth century, unsuccessfully invaded by Venice in 1785, and under the ruling of France since 1881 until the independence of Tunisia in 1956. Now, Sfax is the second city and economic centre of Tunisia. The main economic activity is the exportation of olive oil and fresh or frozen fish. Figure 4-1. Christian Lauba. 58

•r i 1HIBIA MapPoinV

\Andoirajla v.ll. •.- ^*g>erpianan: "'V r

* ---\: ItaplaTS^TMjMl^o.. ALBANIA 'I»JV- .«" — . • A V ' " * i i' 1 i, J*/

' C«;'iari C«t«r.ttrc —"ale-—S^i-,1.'* .

Me4St&rii>*mS9i Kalirr ita,. __3 =..Ca^ni a

.Valletta "^jpfcS Abbes 3S» ATtTa* t MOUNTAINS •

^dRuft t'J^iiU. " •^STM. Trinnli \

1 - ,,| r • =•*•;.• VIV,J.VV' • .»",: "J. - - Al Khur>»h»wQ, * ™n JJ.-SUMI ! l^-'^ £•••''•''•• '•' -•' H?HL «.,f /•«« wjaijucA

i •- -J »' i T H..I **_) I. I T. A N-jf" MACAlKlB ' IIHYA % SAHARA i * " i, ^^...,.h *. • ,~ I* ? • *> -T•*"'"£: • 1

.©20W Mien MurzuqL HI ,20» Figure 4-2. Sfax and Tunisia (http://encarta.msn.com/map_701516461 /sfax. html) 59

Growing up with the mixture of Arabic culture and European cultures and after pursuing studies in languages (French, English, Spanish, Portuguese and Italian) at the University of Bordeaux, France, Lauba began to pursue the study of music. He studied harmony with Michel Fuste-Lambezat.

Michel Fuste-Lambezat Michel Fuste-Lambezat (b.1934) studied music theory and oboe at Conservatory of Bordeaux, France, and fugue, music history, conducting, and composition at the Conservatoire national superieur de musique et de danse de Paris. He received the first prize at the International Young Conductors competition in Besancon in 1960, and the first prize of Composition (unanimously) in the class of Darius Milhaud in 1963. Fuste-Lambezat founded a group of composers advocating for contemporary music, called the "School of Bordeaux," which includes Thierry Alia, Christophe Havel, Christian Lauba, Philippe Laval and Francois Rosse. Christian Lauba's music is strongly influenced by his teacher. His music constantly presents two opposing elements simultaneously, either an immobile surface superimposed on an active interior or agitated phrasing, with a flowing, slow pulse. He was awarded as a prize in musical composition the Medaille d'Honneur from the city of Bordeaux in 1984. In 1993, he was appointed professor of musical analysis at the Conservatoire Regional de Bordeaux. In 1994, he received the Prix de SACEM (the Prize of the French Society of Authors, Composers and Editors of Music) and the first prize in the competition of composition at the Institutfur Neue Musik in Berlin. From 2004 to 2007, he was artistic director of the Orchestre National Bordeaux Aquitaine. He followed this as composer-in-residence of the Thirty-sixth Festival of Music on Sky Cordes- sur-Ciel (Tarn) in 2007. He has given master classes and received numerous commissions from all over the world, most notably the Chicago Symphony and the Paris Opera; he also has composed for many different musical ensembles and media.

Christian Lauba 's Twelve Etudes for Saxophone In 1992, Christian Lauba was commissioned by the Bordeaux Conservatory saxophone studio to write etudes. For two years, he worked on and composed nine etudes for the saxophone. The nine etudes were divided into four volumes: Book 1—Balafon, Savane, Sanza, and Jungle for alto saxophone solo; Book 2—Tadj for soprano saxophone solo, Gyn and Vir for tenor saxophone solo; Book 3—Ars, duet for two soprano saxophones; and, Book 4—Bat for baritone saxophone solo. He later composed another three etudes, Hard Too Hard (2001), Stan (2004) and XYL (2007), subtitled Balafon 2, and completed the series with twelve etudes in total. All of these etudes are in very free structures without any restricted form; every etude has a title. However, Lauba did not intend to compose programmatic music. "I gave the titles after composing the studies," said Christian Lauba.4"1 Just as when he composed the first etude, Balafon, he treated it as a total abstraction without giving it a title. "All the titles of my Etudes were given by me; only Balafon was suggested by Mr. Londeix, which I accepted. The titles correspond to what the music suggests."4"2 These facts recall the impression of the earlier French composer, Claude Debussy, and his Preludes and Etudes. For Debussy's Preludes, the composer preferred the audience to respond intuitively to these pieces so he placed the titles at the end of each prelude in hopes that listeners would not create stereotypical images as they listened. The forms of Debussy's Etudes, influenced by the young Igor Stravinsky, are irregular and fragmental.

'' Christian Lauba, e-mail to author, February 10, 2009. 2 Christian Lauba, e-mail to author, February 12, 2009. Studying and Performing Principles Inheriting the tradition from the French composer, Maurice Ravel, Christian Lauba wants his compositions to be performed and interpreted with precision and clarity. "What I am talking about is clarity of language and not necessarily clarity of timbre. Clear for me, in this sense, means that the performer is to meticulously and clearly represent everything that is notated in the score. The performance of these Etudes must be technically clean, leaving no place for indecision. Everything in the notation must be clearly heard by the listener" (Umble 2000, 257). Table 4-1. Christian Lauba's twelve etudes for saxophones N° etude dedicated to Time pages published studying 1 Balafon Joel Versavaud 5'15" 6 1996 circular breathing, subtone, multiphonics 2 Savane Jean-Marie Londeix 3' 3 1996 multiphonics 3 Sanza Jean-Marie Londeix 2'30" 4 1996 multiphonics with staccato 4 Jungle Jean-Marie Londeix 3' 5 1996 slap-tongue 5 Tadj Manuel Mijan 8' 12 1996 multiphonics, quarter-tone vibrato 6 Gyn Patrice Goudin 3'45" 4 1996 attack, resonance, multiphonics 7 Vir Arno Bornkamp 2' 3 1996 all the techniques above 8 Ars Jean-Marie Londeix 4'06" 12 1996 intervals of 4th, 5th 9 Bat Marie-Bernadette Charrier 12'53" 17 1996 tremolo, trill, glissando, quarter-tone 10 Hard Too Hard Arno Bornkamp 12' 14 2001 subtone staccato, double tonguing 11 Stan Richard Ducros 8' 10 2004 well-tempered, well-quantized instrument 12 XYL William Street 6' 7 2007 circular breathing

a 63

Balafon The first etude of the Neuf Etudes, Balafon has the simplicity and the appearance of an etude. From the first note, the goals of the techniques required in this etude are clear: "etude for the mastery of circular breathing, delicate dynamics, sound quality with a full clear tone as well as subtone." (Lauba Balafon, 1996, 1) It was dedicated to Joel Versavaud. Versavaud is the first and the only saxophonist so far who has a published recording (complete in a connected series of sessions) of all of Lauba's Neuf Etudes. The title Balafon derived from Jean-Marie Londeix.

The composer once said, "It was you, Mr. Londeix, who found the title. When I wrote this etude, I conceived of it as a total abstraction." (Umble 2000, 258)

Balo (bala, balafou, or balafon) [figure 4-3] is an instrument originally from West Africa, including Guinea, Mali, Senegal, Gambia and the like. It is the ancestor of the modern xylophone. It appears in many different forms and sizes. In general, there are about seventeen to twenty pieces of hardwood stung together upon a frame. Each piece of hardwood is attached with a gourd underneath as a resonator. According to Grove Music Online, the earliest reference to the instrument is that a Muslim Berber, Ibn Battuta (1304-1368), traveled to Mali in 1352 and described seeing an instrument made from reeds with gourds attached below them. The instrument is played with beaters of soft wood or raffia midriff, sometimes with bells strapped to the performer's wrists, to usually accompany dancing or the recitation of epic songs. Tuning of the balafon may be tetratonic, pentatonic or heptatonic. The balafon Fana is tuned to the pentatonic scale. The tuning is related to the language that is particular to each ethnic group, or to the scales of their songs. Many variant types can be found within each ethnic group. The term, "balafon" was probably introduced by European travelers (from the Greek root "-phono"), since its use is mainly confined to early European literature. ot

% '• llJiifl^ll

-*>*sll" *

nn

•1 / H

Figure 4-3. Balo (http://www.gert-kilian.com/en/indexoldfr.html)

In the etude Balafon, the music starts with using subtone and playing in extremely soft dynamics (ppp). French subtone is different from the subtone of jazz and popular music of the 1930s to 1960s. The American subtone has a very breathy quality, whereas the French subtone is a pure sound lacking of upper harmonic partials, and consistently performed in very soft dynamics in pp, ppp, or evenpppp. Much of this etude consists of soft dynamics and mixed modes combining as many as three modes, which create similar sound effects as those found in the music of the minimalist composers. As the example below shows, it is modal, soft and uses the effect of subtone. 65

J » 144-152 Simple et clair - simple and dear - subtone

even eighth notes, sustained while maintaining the same dynamic, without rubttto

Example 4-1. Balafon p.l, line 4.

The composer remarked, "When I wrote this piece for alto saxophone, I wanted to present techniques such as circular breathing and subtone in an expressive context. Although these techniques already exist in various popular genres, I wanted to use them in a work that could serve as an archetype in art music" (Umble 2000, 258). The composer added, "Instrumental techniques are for me just tools to be used in a musical language, a means to an end. However, the resulting archetype becomes a timeless model" (258).

Savane Savane is an etude working on the challenge of producing consecutive multiphonics. From this etude, we can see how Christian Lauba thinks about and applies the multiphonics in a unique way. To him, multiphonics are not only a cluster of tones. He carefully chooses the multiphonics he wants based on his chosen melodic line. In other words, we can take away his multiphonics, keep only the note he wants and create the simple melodic line. As the foliowng example shows, Lauba uses the E-quarter-flat note to connect each multiphonic sound and the melodic line is actually formed by the top notes of each chord: D - C-sharp - C-natural - D-natural (slightly sharp) - C-sharp - C-natural. 66

Example 4-2. Savane p. 7, line 3.

It is also an easier way to work on the rhythm, tempo, intervals, and melodic contour in the phrasing. Therefore, being able to single out or emphasize each note found within any given multiphonic sound is a very important technique to develop while working on this etude. "The highest note should have the same intensity as the others, especially if those notes are to be heard as having a melodic importance" (Umble 2000, 259). In most of the cases, Christian Lauba does emphasize the top note of the multiphonic more and tends to use the top note to form his melodic line. However, we can see different cases happen for example, in, Stan, in which sometimes the bottom note of the multiphonic is more important. Savane is also a highly picturesque piece. During the 2002 visit of Christian Lauba and the saxophonist, Richard Ducros, to the University of Alberta, Canada, the composer suggested that the performer think about "the hot, African Savanna, quiet, the sun burning at the end of the day. A lazy music in the beginning" (Lauba, pers.comm.).

Sanza Sanza, or lamellophone, (figure 4-4) is an African instrument known locally by a variety of different names: mbira in Zimbabwe, obudongo and likembe in some areas of Uganda and Zaire, and chitata in Mozambique. Its sound is generated essentially by the vibration of thin lamellae (Latin, lamella, from lamina: "a thin plate or layer") or tongues of metal, wood or other material. The 67 strips of lamellae or tongues are fixed at one end, by curved nails and aligned on wooden, metal or fibre bridges, and free at the other end. The vibration is caused by gently depressing and then releasing the lamellae or the tongues. This is one of the most typical African instruments, with origins going back to strips of raffia (or other plants) held taut on the lips and made to vibrate with the breath. In this etude, the sounding of the consecutive staccato notes, almost through the entire piece, is an imitation of the instrument, Sanza, which cannot sustain long notes. The saxophone is made to create a percussive sound through the repetition of many articulated multiphonics. This piece is unique in Lauba's series of etudes and these repeated and articulated multiphonics are of a hypnotic character. The etude is based upon the purely technical elements of subtone, extremely soft dynamics and control of multiple sounds using repetitive articulations and patterns.

^pj£jT if- m Example 4-3. Sanza p. 13, line 1. 08

^Sfefet'&Si/

Figure 4-4. Sanza. (http://africamusica.skynetblogs.be/post/3270101/lamellophone~sanza-typelv)

Jungle Jungle is by far the most often performed of Lauba's etudes, probably because of the excitement of the fast notes running through the whole piece, even though the marked tempo is only quarter note equals 66. The sounding of the slap tongue together with this fast run of notes creates an intense sense of musical energy; a dramatic contrast is generated between the legato phrasing of the fast 69

notes and the consecutive popping sound of slap tongue. The example below shows the continuous slap-tongue section.

Example 4-4. Jungle p. 16, line 6-8.

According to Christian Lauba, speaking of the slap tongues found here: "Not only do I give them a linguistic content (a sense of diction or phrasing) and form but I use them as expressive elements" (Umble 2000, 258). In Chopin's Sonata for Piano no. 2 in B flat minor op. 35, the famous "Funeral March" of its third movement and "Finale-Presto" of the fourth movement both have a very similar texture and the sense of stormy breath-taking driving. "Only after having written this piece, did I notice the similarity between this work and the final movement of Chopin's second sonata," said Christian Lauba (Umble 2000, 258).

Tadj Tajikistan, officially the Republic of Tajikistan (figure 4-5), is a mountainous country in Central Asia. It borders with Afghanistan to the south, Uzbekistan to the west, Kyrgyzstan to the north, and People's Republic of China to the east. Tajikistan also lies adjacent to Pakistan but is separated by the narrow Wakhan Corridor. Most of Tajikistan's population belongs to the Tajik ethnic group, who shares culture and history with the Iranian peoples and speak the 70

Persian language (officially referred to as Tajiki in Tajikistan). Once part of the Samanid Empire, Tajikistan became a constituent republic of the Soviet Union in the twentieth century, known as the Tajik Soviet Socialist Republic (Tajik SSR).

The Caucasus and Central Asia

Figure 4-5. Tajikistan and Central Asia. (http://www.reliefweb.int/mapc/cis/reg/cau/caucia.html)

In the first book of Neuf Etudes, the four etudes have quite clear aims of developing certain techniques and the content of the four compositions stays within a certain degree of simplicity, which by no means implies easy. Tddj is the first etude of the series to which the composer does not assign specific techniques, although it still contains techniques like quarter-tone vibrato, slap tongue, bisbligando, multiphonics and so on. In addition, it is the first etude with an 71

extended length of twelve pages with a total performing time of eight minutes, which is two or even three times the length of any of the first four etudes. The complexity of the content also lifts the etude out of the frame of a study or an etude-like composition and makes the etude incline more toward a concert piece. The constant switching demands extended techniques, similar to the way Liszt's Etudes d'Execution Transcendante differs from the earlier concert piano etudes; the work does not offer enough repeated patterns or exercises and makes the etude drift further from its original definition and more toward a concert piece. Because of its length, this etude is divided into several sections with different textures, which gives the audience the impression of a form of fast-slow- fast, contrary to Lauba's common approach of slow-fast-slow in other etudes such as Balafon, Savane, and Gyn. Tddj is based on three modes:

The beginning of Tddj evokes the music which is played in Tadjikistan or Iran where you can find three modes in the same song: our occidental mode, the pentatonic scale (Chinese mode) and the Arabic mode with 1/3 and 1/4 tones.4"3

3 Christian Lauba, e-mail to author, February 14, 2009. 72

. -60

; ll il «- ,llllllffr ' i !!a *- •- 1 -1 fa .J..." •',,:,n.,:,!—.—, - j ln,,,„>,„,,.igaaM

m^nr.rffn ikf m' if *., <(~3 ' "Wrfffti/

Example 4-5. Tarf/ p. 1, line 1-3.

The whole first page is mainly composed of only two notes: the D (tonic) and the A (dominant) in a modal system, which quickly establishes the musical traits from middle eastern and central Asia. The strict definitions and articulation of different attacks are very important through the entire piece. Especially in the first pages, the nuances of the subtle differences within each of the different articulations are so vital. They are not only the languages of the etudes but also the expressions of the phrases. Jean-Marie Londeix has suggested the saxophonist play the first seven lines while circular breathing (Umble 2000, 258).

Gyn As notated on the first page of the score, Gyn is the "etude based upon the study of attack and resonance." The main foci of techniques in this etude are multiphonics and bisbligando, although some extremely wide interval leaps, along with contrasting articulations and extremely dynamic changes, are also extremely challenging to the performer. Half of the piece is devoted to bisbligando, which is the very subtle timbre trill. The numeration, (or "rhythmization" by Londeix) of the bisbligando, which 15 is indicated by the composer in sextuplets per beat at measure two of the tempo change, is one of the challenges of this etude.

Example 4-6.. Gyn p. 14, line 6.

The difficulty and challenge is to create a sound effect almost as if there are two saxophones playing at the same time. The melodic saxophone part is accompanied by the background bisbligando saxophone part. The title Gyn is derived from the Greek word "gyne," implying "woman" or "female."

Vir Vir is derived from the Latin root, implying "man" or "male." In contrast to Gyn, Vir (with a short length of only three pages and a performing time of two minutes) has constant alternations of the use of the extended techniques. Similar to some of the etudes before, Vir begins with multiphonics in soft dynamics and unmeasured time. From there, it modifies the techniques approximately every three lines, first with fast running passage in forte dynamics, and then with multiphonic staccato, bisbligando, quarter-tone vibrato, slap tongue, and flutter tongue. 74

AS =fc±:•J " 3PC ppp sub. i^ w

'S8 ^

«v»

tt> *-**," :*.t.< te-jrr-iir-s:

fit*

MjjC"

IIHII mimuift i.iiiiiiiMi »ni[inii WH.HHHI.H n *m« ••>••••. •U.-iU

*•

Example 4-7. F/r p. 17, line 2-5.

The character is so perky, contrary to the ostinato-like bisbligando in Gyn. The etude sums up all the elements in the first six etudes, "aimed at furthering the performer's ability to go from one mode of playing to the other in a very short period of time" (Umble 2000, 259).

Ars This is the only duet etude of the entire series, written for two soprano saxophones. It is based upon the study of intervals of the fourth and of the fifth, with a variety of tempo changes, as the following example shows. 75

&E^l^=="^i>- -\&f. ^lig^iipl

Example 4-8. Ars p. 1, system 3-4.

The word Ars refers to Ars antiqua and Ars Nova (Umble 2000, 259) and the usage of the interval fourths and the fifths suits the imaginary of the "Middle Ages" that Christian Lauba wishes to portray.

In basing the work on these particular intervals I wanted to recreate an imaginary "Middle Age," which suited the use of fourths and the fifths. The chalumeau timbre is perfectly well suited for these intervals. The saxophone must play in a "natural" manner. The past can be regarded as yet another kind of "exotic." (Umble 2000, 259)

The opening section starts with the Phrygian mode. Together with constant changes of meters and tempi and nasal and non-vibrato saxophone tone, two soprano saxophones create a sound unlike the traditionally full, sweet, and vibrato-tone saxophone duet that is generally well known. It gives a very exotic impression. The constantly heard fourth and fifth intervals gradually build up tension until the climax, from rehearsal number 23 to 28. From rehearsal number 28 to 30, there is a transitional passage. Like being drawn into a time tunnel, the ancient prosperity fades away and the music moves into a completely different texture at rehearsal number 30. Two extremely soft melodic lines interweave a dim and hazy—almost vague—section. At rehearsal number 34, it is like a /b

recapitulation. Within three measures, the familiar Phrygian mode and the rhythms come back, seem to remind us the past but now everything has changed, and is different, coming to an end. The best way to practice the last two pages is to rewrite both parts of the duet into single-note melodies, putting away the multiphonics. In this way, the rhythm, the dynamics, and the ensemble can be heard much more clearly.

Bat The longest piece of all the twelve etudes, both in length and in performing time, Bat is for baritone saxophone solo. There are seemingly non­ stop trills and tremolos and this etude is the most physically demanding of all the Lauba etudes. The tremolos and trills imitate the sound of the flipping wings of bats.

-jfc- ••'"—' *-=•= r^f-—F^ • ' . 'L-r~r ,- - pp .=- ppp

Example 4-9. Bat p. 1, line 3-5.

The piece could be divided into two sections with a short coda as an ending. In the first section, quarter note equals to 80, it starts soft and gradually develops the intensity, with dynamics and slap tongue, to the climax at the fourth 77 line of page 6. After that, it gradually calms and ends the first section at page 8. The second section has more contrasting shorter elements. The ending is the last three lines of the last page. The opening materials return bringing a sense of closure.

Hard Too Hard Although published in 2001, Hard Too Hard was completed in 1994. It was premiered by saxophonist Arno Bornkamp in Amsterdam on May 14, 1994 at the Concertgebouw. Later, Simone Otto performed it in Miinster, Germany, in May 1997. Compared to Bat, another demanding lengthy etude, Hard Too Hard is challenging in its intensity. The texture is thick and the activities are busy. Every technique is challenged to the limit of the speeds possible.

If Bat is challenging in endurance, Hard Too Hard is demanding in switching quickly between the different sections of the piece and between the different extended techniques. The etude is "for the mastery of multiphonic sounds and staccato articulation in subtone and double tonguing (slap-tongue ad lib.)" (Lauba [Hard Too Hard], 2001, 1). Recordings of the piece are rare. One version is by Simone Otto (saxophone): "HARD TOO HARD" (2007).

Stan The etude is for baritone saxophone with pre-recorded synthesizer or piano—a very unique accompaniment for an etude.

m T I SO mvipj tri^te. nmJit-- rcgtlitcte;- at rtn rtmUHHC c! Mt>> fufatv

¥~ * M^j£-^. :f~::X:Ai £^^ Z~SEL *£ -T 4- P-zrfH—h

_i \i i? i

L hit ^*t kk \Jf \JfU JMUSS*. im.m »«.,., if- y^ -*-+- Ml, E=£ ..^•rtac

Example 4-11. Start p. 1 (score), system 1.

As the title page says, the etude pays homage to Stan Getz (1927-1991), the famous jazz tenor saxophonist. The reason Lauba chose the baritone saxophone for this etude instead of the tenor saxophone is that the composer wants to use the different ranges of the two saxophones to intentionally create the discrepancy between his etude and Stan Getz's music, and to avoid the similarities, especially the "improvisation" section in the second half of the piece. 79

Example 4-12. Stan p. 11 (score), system 3-4.

Different from the multiphonics used in other etudes, some of the multiphonics are required to emphasize the lowest note instead of the highest note. Actually, reflecting upon Savane, some of the multiphonics already emphasize the middle or bottom notes in that earlier etude. All these prove again that Christian Lauba treats multiphonics in a melodic way instead of a multiple tone cluster, but always used individually as needed.

XYL The title derived from the first three letters of Xylophone. "The balafon is the original African instrument and the Xylophone (XYL) is the modern one!"4"4 It is the only etude with a subtitle, "Balafon 2." As a second Balafon, the circular breathing is again the main focus: "A study for the mastering of circular breathing, the low and high registers, dynamic, rhythmic and melodic crescendos and decrescendos, rational and irrational note- values, chromaticism and digital virtuosity" (Lauba [XYL], 2007, 1). 80

.fbi(S-iTi*dH'k r^ul^-re*. u;.ms nil.

PP ppp Mb.

pp rz.-r:.-=-^=— flpp Example 4-13. XYL p. 1, line 4-6.

"The second 'Balafon' is to close the series of 12 studies with a study similar to the first, but with more virtuosity."4"5

The General Analysis of the Etudes Although the twelve etudes are one-movement compositions and do not follow any particular traditional musical forms, Christian Lauba exhibits the materials and the elements in a delicate way with a certain format, which connects all the sections of each work and gives each etude a certain sense of unity.

Recapitulation With regard to unifying form overall, the method or approach found most commonly in the etudes is the return of the opening material at the end—a rounding or recapitulation of sorts (with "recapitulation"here being regarded in a considerably more flexible sense than it is in traditional tonal forms). Eight of the twelve etudes, including Savane, Sanza, Gyn, Vir, Bat, Hard Too Hard, and XYL, have this trait. In four of these eight etudes, the recapitulated ending sections are in about equal length with the opening sections, such as Savane, Vir and XYL, The following two excerpts from the beginning and ending sections of Balafon are examples of this "return-of-opening-material" trait. In this

Christian Lauba, e-mail to author, dated February 14, 2009. 4"5 Ibid. case the same mode is re-used after the frenzy and the excitement of the middle section.

Example 4-14. Balafon p. 1, line 1-3.

Plus lent - slower

The other four have shorter lengths for the recapitulations, sometimes as short as one line, in Gyn, or even only two beats, in Sanza. The recapitulation does not necessarily use exactly the same materials, or themes although Sanza, Vir, Hard Too Hard and XYL do have the same ending notes or multiphonics. In general, the ending section has the same texture and music elements that can recall the impression of the opening theme. Christian Lauba tends to use slow-fast-slow or loose-tense-loose kind of ternary form, which recalls some similarities to the traditional sonata-allegro form. 82

Measured and Non-measured Time In these etudes, another unique character is the usage of the mixture of the measured and non-measured time. Except for Vir, every etude has some tempo markings precisely notated, which gives the music a certain pulse to follow and offers the music certain characteristics. However, the pulse stops when the notations change or switch between measured notation and non-measured notation. In Balafon for example, the extended long notes in the beginning section do not notate how many beats they possess or a real time indication, such as seconds. Another example is in Jungle, where almost the entire first page of notes is written to be played as fast as possible, with two slashes on the note stems. In these two examples, it shows Lauba uses these techniques, no matter if the section is in tranquility or in wild stormy insanity, to manipulate the pulses and create a mixture of measured and non-measured time as the music progresses.

J = 144—152 Simple et clair -simpleandclear • subtonc

jtp crochcs riguliJrcs, gardcr la nuance, saris rubato ct soutenu even eighth notes, sustained while maintaining the same dynamic, without rubato

Example 4-16. Balafon p. 1, line 3-4.

Idiomatic Saxophone Music In general, many musicians, including saxophonists themselves, sometimes think that the saxophone cannot play soft dynamics, especially in high and low registers; they also believe the saxophone cannot be perfectly in tune, or has too much key noise, or the tone is sometimes too breathy. In these etudes, Christian Lauba proves that the saxophone is capable of all techniques. Furthermore, Lauba uses all of the so-called "shortcomings" such as key noises, or relative out-of-tune notes and multiphonics, as the basic elements for his compositions. This frees the saxophone from those accusations and enhances the 8J musical languages that composers can use in the creation of music for the saxophone. On a broader scale, the saxophone can stop imitating or trying to catch up to other instruments. The saxophone is a unique instrument with unique potentials and abilities. As a newly invented instrument, this is a giant step in the history of its development. Chapter 5: Conclusion

From the time the saxophone was invented until the present day, the instrument has existed for approximately 170 years. As we examine the development of the saxophone music and the saxophone etude, it was noted that the progression was not always smooth nor without complications. From 1840 to 1900, the saxophone was literally an infant in the world of music. It had no voice, no particular status, and no standing position. There were no works of musical depth composed for the saxophone for the first sixty years, even though Kastner, Cokken, and Hartmann published method books, which certainly contributed to a better understanding of how it worked and how it could be played. However, most of the methods and etudes were at the elementary level. Music by Arban, Klose, Savari, Singelee, Demersseman and Jonas did help draw the distance between the new instrument and the public closer, but the music was flashy, showy and without musical substance or length. Their works did not demonstrate the true intrinsic, idiomatic abilities and qualities of this new instrument—the saxophone. From 1900 until 1924, Elise Boyer Hall's passion for the saxophone helped the instrument and its music take a huge step forward. The saxophone's music was for the first time composed based upon the innate and idiomatic characteristics of its sonic nature and many of these works are still heard in concerts today. This improvement provided fuel for the next big leap in the development of saxophone repertoire. From 1930 to 1970, the first generation of great saxophonists and saxophone instructors, including Marcel Mule, Cecil Leeson, Larry Teal and Sigurd Rascher, and the second generation of great saxophonists and saxophone instructors including Daniel Deffayet, Jean-Marie Londeix, Eugene Rousseau, Paul Brodie, Frederick Hemke and Donald Sinta, established cornerstones for the development of the saxophone as a serious concert instrument. Two of the most important and most prolific authors or arrangers of educational materials for saxophone are Marcel Mule and Jean-Marie Londeix. Together, they built the 85 pedagogy of the saxophone from the model of traditional woodwind instrument (primarily through the work of Mule and Londeix) to the modern contemporary saxophone, through the pedagogical works of Londeix alone. Many of our greatest standard repertoire pieces, especially in the genre of the concerto and the sonata, were written during this period. Those include Alexandre Glazounov's Concerto in Eb for Alto Saxophone and String Orchestra, Jacques Ibert's Concertino da camera pour saxophone alto et onze instruments, Frank Martin's Ballade pour saxophone (cor de basset) et orchestre, Lars-Erik Larsson's Concerto for Saxophone and String Orchestra, Paul Creston's Sonata op. 19, for Eb Alto Saxophone and Piano and Concerto op. 26, for Alto Saxophone and Orchestra (or Band) and many others. This was the first time that saxophonists perceived a promising future in western art music. At the end of this period, the growth and the influence of the contemporary music field and the saxophone's flexible ability to respond to the needs of composers propelled the saxophone forward with a huge leap, which helped the saxophone lead and surpass the other wind instruments in the contemporary music genre. Specifically after 1970, the saxophone formally stepped into the field of contemporary music. Numerous composers dedicated themselves to this development and exploration, including the composers of the Bordeaux School: Michel Fuste-Lambezat (1934), Francois Rosse (1945), Christian Lauba (1952), Etienne Rolin (1952), Thierry Alia (b. 1955), Christophe Havel (1956), and Philippe Laval (1961). Some of the greatest compositions of this era include Edison Denisov's Sonata for Alto Saxophone and Piano, Francois Rosse's Le Frene Egare and works by American composers such as William Albright, and Milton Babbitt. Japanese composers such as Torn Takemitsu, Takashi Yoshimatsu, and Yoshihisa TaTra contributed greatly to the saxophone repertoire. It was also during this period that concert etudes for saxophones started to grow rapidly and abundantly. Between 1992 and 1994, Christian Lauba's Neuf Etudes opened a new era of the concert etude for the saxophone. Lauba's etudes are very different from the ou

contemporary saxophone etudes of other composers. First, they were designed as concert etudes right from their conception. They were composed not only for students to hone their skills on contemporary techniques, but they were intended for concert performance as well. The musical ideas in these etudes were carefully designed and occupied a great portion of the music content. Second, some composers had tried to compose a series of contemporary saxophone etudes but those etudes were shorter in length and lacking in depth of musical content and ideas, compared to Lauba's concert etudes. As well, the idiomatic qualities of Lauba's concert etudes explored and confirmed the position of the saxophone in the world of contemporary music. In contradiction to Marcel Mule's words to Jean-Marie Londeix, "The saxophone...is made to sing. You are wrong to distance yourself from the traditional classical repertoire to this degree" (Umble 2000, 102) and Eugene Rousseaus's concept, "If the saxophone has a future as a classical instrument, it will be because of its melodic use and not because of avant-garde pieces, great though they may be," (Liley 1998, 64), Jean-Marie Londeix wrote in his note back in 1985, "The saxophone's only hope for a place in 'serious' music is through modern music, where it is often irreplaceable" (Umble 2000, 108). The saxophone's true place in the music of today will be serving the composers of today. Unfortunately, we do not have the luxury of performing the glorious music of the past. We must embrace the glorious music of the present and prepare ourselves for the glorious music of the future. 87

Bibliography

Antokoletz, Elliott. Organic Development and the Interval Cycles in Bartok 's Three Studies, op. 18. Hungary: Akademiai Kiado, 1995, 249-261. Austin, William. Music in the Twentieth Century. New York: W. W. Norton and Company, 1966. Backus, John. The Acoustical Foundations of Music. New York: W. W. Norton and Company, 1969. Bartolozzi, Bruno. New Sounds for Woodwinds, 1st ed. Translated and edited by Reginald Smith Brindle. London: Oxford University Press, 1967. . New Sounds for Woodwinds, 2" ed. Translated and edited by Reginald Smith Brindle. London: Oxford University Press, 1982. Bergeron, Tom. Saxophone Multiphonics-A Scalar Model. Dallas, OR: Teal Creek Music, 1989. Berio, Luciano. Remembering the Future. Cambridge, MA: Harvard University Press, 2006. . Two Interviews. New York: Marion Boyars, 1981. Bertensson, Sergei, and Jay Leyda. Sergei Rachmaninoff: A Lifetime in Music. New York: New York University Press, 1956. Bierley, Paul E. The Incredible Band of John Philip Sousa. Urbana: University of Illinois Press, 2006. Caravan, Ronald. "Extensions of Technique for Clarinet and Saxophone." DMA diss., Eastman School of Music, University of Rochester, 1974. . Preliminary Exercises and Etudes in Contemporary Techniques for Saxophone. Medfield, MA: Dorn Productions, 1980. Carr, Ian, Digby Fairweather, Brian Priestley, and Charles Alexander. The Rough Guide to Jazz: The Essential Companion to Artists and Albums. London: Rough Guides, 2004. 88

Cramer, Johann Baptist. The London Pianoforte School 1766-1860. Vol. 9-11. Edited by Nicholas Temperley. New York & London: Garland Publishing Inc., 1985. Deans, Kenneth. "A Comprehensive Performance Project in Saxophone Literature." DMA diss., University of Iowa, 1980. Delangle, Claude. The Historic Saxophone, CD, BIS, BIS-CD-1270, © 2003. Delangle, Claude, and Jean-Denis Michat. "The Saxophone Today." The Cambridge Companion to the Saxophone. Edited by Richard Ingham. Cambridge: Cambridge University Press, 1998. Easton, Jay C. Writing for the Saxophones: A Guide to the Tonal Palette of the Saxophone Family for Composers, Arrangers and Performers. Camas, WA: Baxter Music Publishing, 2006. Eddie, William Alexander. Charles Valentin Alkan: His Life and His Music. Aldershot, England; Burlington, VT: Ashgate, 2007. Ferguson, Howard, and Kenneth L. Hamilton. "Study." The New Grove Dictionary of Music and Musicians, 2n ed. Edited by Stanley Sadie. New York: Grove's Dictionaries, 2001, Vol. 24, 622. Fox, Christopher. "Luigi Nono and the Darmstadt School: Form and Meaning in the Early Works (1950-1959)." Contemporary Music Review. India: Harwood Academic Publishers, 1999. Vol. 2, Part. 2, 111-130. Ganz, Peter Felix. "The Development of the Etude for Pianoforte." PhD diss., Northwestern University, 1960. Glover, Angela. An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Tallahassee, Florida: Florida State University, 2003. (http://etd.lib.fsu.edu/theses/available/etd-08262003-154535) Griffiths, Paul. "Messiaen, Olivier §3: Musical Elements." The New Grove Dictionary of Music and Musicians, 2nd ed. Edited by Stanley Sadie. New York: Grove's Dictionaries, 2001, Vol. 16,495. Griffiths, Paul. Modern Music: The Avant Garde Since 1945. London: J. M. Dent and Sons Ltd., 1981. 89

Halfyard, Janet K. ed. Berio 's Sequenzas. Hampshire, England: Ashgate Publishing Ltd., 2007. Haylock, Julian. Sergei Rachmaninov: An Essential Guide to His Life and Works. London: Pavilion Books, 1996. Hemke, Fred L. "New Directions in Saxophone Technique." Selmer Bandwagon. 63 (Fall, 1970): 14-17. . "New Directions in Saxophone Technique." Selmer Bandwagon. 64 (Winter, 1971): 21-23. . "The Early History of the Saxophone." DMA diss., University of Wisconsin, 1975. Ingham, Richard, ed. The Cambridge Companion to the Saxophone. Cambridge: Cambridge University Press, 1998. Kientzy, Daniel. L 'Art du Saxophone. Paris, Nova Musica, 1993. . Les Sons multiples aux saxophones: pour Saxophones Sopranino, Soprano, Alto, Tenor et Baryton. Paris: Editions Salabert, 1981. . Saxologie. Paris: Nova Musica, 1990. Lauba, Christian. Neuf Etudes pour saxophones. Paris: Alphonse Leduc, 1996. Levinsky, Gail Beth. "An Analysis and Comparison of Early Saxophone Methods Published between 1846-1946." DMA diss., School of Music, Northwestern University, 1997. Liley, Thomas. "Invention and Development." The Cambridge Companion to the Saxophone. Edited by Richard Ingham. Cambridge: Cambridge University Press, 1998. . "The Repertoire Heritage." The Cambridge Companion to the Saxophone. Edited by Richard Ingham. Cambridge: Cambridge University Press, 1998. Lindeman, Stephan D.. Structural Novelty and Tradition in the Early Romantic Piano Concerto, 1999, 11. Londeix, Jean-Marie. 125 Ans de Musique pour Saxophone. Paris: Leduc, 1971. yu

. A Comprehensive Guide to the Saxophone Repertoire 1844-2003. Cherry Hill, NJ: Roncorp Publications, 2003. . Hello! Mr. Sax. Paris: Alphonse Leduc, 1989. . Methode pour Etudier le Saxophone (Saxophone Studying Method). Paris: Henry Lemoine, 1997. McHard, James L. The Future of Modern Music, 3rd ed. Livonia, MI: Iconic Press, 2008. Odom, David H. "A Catalog of Compositions for Unaccompanied Clarinet Published between 1978 and 1982, with an Annotated Bibliography of Selected Works." DMA diss. College of Music, The Florida State University, 2005. Osmond-Smith, David. Berio. Oxford: Oxford University Press, 1991. Ott, Simone. HARD TOO HARD. Musicom CD, 020905, © 2007. Paganini, Nicolo. 24 Capricci, fur Violin Solo. Munchen: G. Henle, 1990. Palisca, Claude V. "Diruta, Girolamo." The New Grove Dictionary of Music and Musicians, 2nd ed. Edited by Stanley Sadie. New York: Grove's Dictionaries, 2001, Vol. 7, 364. Paulson, John William. "Quarter-Tone Production on the Saxophone." MA diss., Eastman School of Music, University of Rochester, 1975. Peters, Christian. SigfridKarg-Elert's 25 Capricenfur Alt-Saxophon, CD, MDG DDD 1000958, © 2007/2008. Peyser, Joan. The New Music: The Sense Behind the Sound. New York: A Delta Book, 1971. Rachmaninoff, Sergei. Critical Edition of the Complete Works. New York: Barenreiter, 2005. Rehfeldt, Phillip. New Directions for Clarinet, rev. ed. Berkeley: University of California Press, 1994; reissued, Lanham, MD: Scarecrow Press, Inc., 2003. Riley, Maurice. "A Tentative Bibliography of Early Wind Instrument Tutors." Journal of Research in Music Education VI (1958), 3-24. y 1

Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. New York: Grove Dictionaries, 2001. Schuller, Gunther. The Swing Era: The Development of Jazz, 1930-1945. New York: Oxford University Press, 1991. Scott, Michael. Rachmaninoff. Stroud, Gloucestershire, England: History Press, 2008. Smith, Ronald. Alkan: The Man, the Music. London: Kahn and Averill, 2000. Stevens, Halsey. The Life and the Music ofBela Bartok. New York: Oxford University Press, 1953. Stowell, Robin ed. The Cambridge Companion to the Violin. Cambridge; New York: Cambridge University Press, 1992. Street, William Henry. "Elise Boyer Hall, America's First Female Concert Saxophonist: Her Life as Performing Artist, Pioneer of Concert Repertory for Saxophone and Patroness of the Arts." DMA diss., Northwestern University, 1983. Sugawa, Nobuya. Yoshimatsu / Honda / Ibert / Larsson: Saxophone Concertos, CD, Chandos, Chan 10466, © 2008. Surian, Alessio. "Italy: Tenores and Tarantellas." Rough Guide to World Music. Vol. 1, Africa, Europe and the Middle East. Edited by Broughton, Simon and Ellingham. London: Rough Guide, 2000. Trier, Stephen. "The Professional Player." The Cambridge Companion to the Saxophone. Edited by Richard Ingham. Cambridge: Cambridge University Press, 1998. Umble, James C. Master of the Modern Saxophone. Cherry Hill, NJ: Roncorp, 2000. Walker, Alan. Franz Liszt. 3 vols. London: Faber and Faber, 1983. . Franz Liszt: The Man and His Music. London: Barrie & Jenkins, 1970. . "Liszt, Franz: §9 Liszt and the Piano." The New Grove Dictionary of Music and Musicians, 2nd ed. Edited by Stanley Sadie. New York: Grove's Dictionaries, 2001, Vol. 14, 765. y2

Wilson, Paul. The Bartok Companion. Edited by Malcolm Gillies. London: Faber andFaber, 1993. Websites

"Charles-Valentin Alkan, French Composer, 1813-1888." http://alkan.assos.free.fr/alkan/03_catalogue_en.html (accessed December 11,2008).

Classical Net, "Bela Bartok." http://www.classical.net/music/comp.lst/bartok.php (accessed December 5, 2008).

Classical Net, "Works list of Robert Schumann." http://www.classical.net/music/composer/works/schumann (accessed November 25, 2008).

Gibbons, Jack. "The Myths of Alkan." http://www.jackgibbons.com/alkanmyths.htm (accessed December 11, 2008).

Grove Music Online, http://www.oxfordmusiconline.com/public/book/omo_gmo

Masabo Music, http://www.masabo.com/balafon.html (accessed February 11, 2009).

Museum of musical ethnic instruments, http://www.africainmusica.org/instruments/inglese/idiofoni/Sanza.htm (accessed October 11, 2008).

Oxford Music Online, http://www.oxfordmusiconline.com/subscriber

Piano Society: http://pianosociety.com/cms/index.php?section=156

ProQuest Dissertations and Theses (database), http://proquest.umi.com.login.ezproxy.library.ualberta.ca/login?COPT=R EJTPTNiMGYmSU5UPTAmVkVSPTI=&clientId-12301 93

Wikipedia, "Quatre etudes de rythme." http://fr.wikipedia.org/wiki/Quatre_%C3%89tudes_de_rythme (accessed December 12, 2008).

Wikipedia, "Christian Lauba."http://fr.wikipedia.org/wiki/Christian_Lauba (accessed September 17, 2008). y4

Appendix A

The List of Saxophone Etudes published before 2003

The information of the following list of saxophone etudes published before 2003 is based on Jean-Marie Londeix's A Comprehensive Guide to the Saxophone Repertoire 1844-2003 (2003). :mE^^^^c^^'^^3:wM^>- ' ' Absil, Jean 1893-1974 Etude Sx solo Bi! \ 3'30" Ajosa A Technica Modern per Saxophone Albright, William 1944-1998 Fantasy Etudes SATB 1993-95 Hen 22'45" Alessandrini, Pierluigi 5 Etudes jazz 1988 CoMu Allard, Joseph 1910-1991 Advanced Rhythms All Sax DP Jazz Progressive Studies 3 Octave Scales & Chords 1947 CC Allen, Chris Saxophone Studio: Melodic Studies Allerme, Jean-Marc Jazz Attitude - 40 jazz etudes, 2 vols. Asx 2002 Lem Ameller Andre 1912-1990 15 Etudes Expressvies Sx solo 1954-56 Pet Entree, Deux petites pieces Estudio Asx solo 1961 5' Amsden Practice Duets 2Sx: AA WWS Andersen, Joachim 1847-1909 24 Etudes, op. 21(Leger) Bil 24 Etudes, instructives dans tous les tons, Bill op.30 (Leger) 24 Petites Etudes, op. 33 (Leger) Bil 18 Petites Etudes, op. 41 (Leger) Bil Andraud, Albert J. ler cahier d'Etudes Led 48 Etudes d'apres Ferling South Anzalone, Valentine Breeze-EasyMethod 1958 Wit Arnold, Jay Fingered Scales Including the Register Above 1951 WMP HighF Introduction to the Saxophone: 50 Easy Lessons 1978 ChH Jazz Saxophone Basics for Improvisation 1982 DP Jazz Saxophone Studies for Improvisation 1982 DP Jazz Style for Saxophone 1963 Ams/Mol Modern Fingering System 1950 WMP/SB Artallio 4 Exercices pour la respiration circulaire Ayoub, Nick 19xx-1991 12 Classical Etudes 1955 DP M^^i^ri-^,^'^0t^^t*-Vt.'-,. " •<'"^-';V^^r:V" '..i;!^^"--'"*'"*3" --""-' •"'-"•:' "*""->:- "~ "'"' ""' -/ - Baron, Eugene 18xx-1964 Solfege instrumental universel Barret, Eric 1959- Pratique des gammes et arpeges dejazz Barrigo, Don. The Saxophone - A Modern Method 1952 B&H Bates, Norman C. Advanced Staccato Studies 1937 RoMu Bauweraerts, Willy Method (En ei in mijn sax) GR Swing in the air Modern Etudes (rock, funk, Sx/Pno GR Latin, etc.) Bauzin, Pierre-Philippe 1933- 5 Mouvements en forme de Musique, op. 19 Asx/Pno or 1960 adr 12' En forme l)d'etude W. W. quintet Bay, Bill 1945- Jazz Sax Studies 1979 HD Bayer, Marcelion Gaspa 1898- Escalas y arpegios UME Beeckmann, Nazaire 1822-1900 Methode Complete Elementaire et Progressive 1874 PB (Revue et corrigee par H. Rawson) Methode de Saxph. Basse; de Saxph. -baryton; 1874 Alf Saxph. -Alto; Saxph. -Soprano Beekum, Jan van Saxologie I & II (method book) Harm Benedetto, Sirio di 12 Studi Sx solo 1997 CMP Benger, Richard Studies in Style (classical, traditional, rock, pop) Bennett, Wilhelmine 1933- Studies for Five Instruments 1957 Bergeron, Thomas 1952- Saxophone Multiphonics: A Scalar Model Sx 1989 adr Bernards, B. 24 Virtuosenetiiden mit Anang 1927 Zim 125 Ubungen als tagliche studies 1926 Zim Berninger, Hans Saxophon- Ubungen 1933 Hof Bichon, Serge 1935- Gammes pour tous 1977 Chou Jouons du saxophone 1969 Chou

o Bissell, Keith 1912- 3 Etudes, 1) Allegro 2) Adagio 3) Moderato - Asx/Pno 1972 CMC Andante-Allegro Bitsch, Marcel 1921- 12 Etudes pour flute ou saxophone 1955 Led Blackman Sax-Schule Blatt, Francois-Thad^e 1793-1856 20 Exercuses op. 30 Cos Blemant, Louis 1864-1934 20 Etudes melodiques, 2 vols. 1918 Led Nouvelle Methode Pratique 1920 Led Bodegraven, Paul van Adventures in Saxophone Playing 1960 SMP Bois, Christophe 25 airs en guise d'etudes 2002 Lem 28 etudes et transpositions 2002 Lem Les Gammes en quelques modes 2002 Lem Methode de Debutants (+CD) Lem Pieces choisies complementaires a la methode Asx/Pno Lem Bolduc, David J Complete Course of 12 Lessons in the Art of 1922 Playing Saxophone High Notes Bon, Andr£ 1946- Etude No. 3 pour emergence Sx solo Bona Rhythmical Articulation Studies Sch Boresel, Fedoroff Method Pet Bortolotti, M. 1926- Studio per E.E. Cummings n °2 1964 adr Bosch, A. Jr. Etude voor Saxofoon Mol Concert Studies HE Bouhey, Alain 1949- Improvisations et modes 1992 Lem Gammes et musiques 1995 Lem Bouvard, Jean 1905-1996 13 Etudes progressives adr Bozza, Eugene Etudes Caprices 1944 Led 18 Etudes pour Haubois ou Saxophone Led Brau, Albert Saxo Step Asx/Pno Fro Breard, Robert 10 Etudes de style 1925 Led Briard, Raymond 18xx-19xx Methode pour I'itude de tous les saxophones 1919 Bil Bumcke, Gustav Saxophone Schule 1926 VAB/AMP 36 Leichte Original Etuden op. 43 VAB 36 Einfache Etuden op.43 VAB 24 Jazz Etuden op. 43 1927 VAB 45 Studien und Etuden Tdgliche, Technische Ubungen op. 43 VAB Tonkeiter Studen op. 70 1943 VAB Busser, Henri 12 Etudes Melodiques Asx/Pno Led *flMW>%W"-':— ^M^SfiR***'-. '•'-tip?.+;-••.{ ;'* *•• *- *"*• - -'v^. * A^"->. ->? Caillieret, A. 15 Etudes (d'apres les sonates pour violon Led seul de Bach) Caillet, Lucien 1897-1985 Elementary Method Bel Method for Alto and Tenor Saxophones, 2 vols 1941 Bel Capelle, Achille-Joseph 1948-xxxx 20 Grande Etudes, 2 vols Led Caravan, Ronald L. 1946- Extensions of Technique for Clarinet and 1974 adr Saxophone Preliminary Exercises and Etudes in 1980 DP Contemporary Techniques Cardoni, Alessandro lntroduzione alio Studio del Saxophone 1947 Ric Carney, Harry Howell Warm-Up Bsx/Pno MCA Harry Carney's Warm-Up Method Bsx NYPL Carre-Chesneau, Thierry 1950-1992 2 Etudes en 1/4 de ton Asx solo 1975 Cavedo, Angelo Arpeggiper sassofono PT Cekow, Andre Etude en forme de fugue SATB 1971 4'30" Cerha, Friedrich 1926- Exercices for Nine, No. 1 9 instruments Uni Chagrin, Francis 1905-1972 2 Studies for Jazz Quartet 1959 BMIC Charbonnier, Janine Exercice SAsx/BsCl/Bsn Bil

ex Chauvet, Georges Etudes de Perfectionnement G&F/Com 15 Grande Etudes (Barret) 2Sx: AB or ST Com Cibulka, Franz Peter 1946- Studie Asx solo 6' Studie fur Altsaxophon & Echo Asx/Tape 1982 Clark, Scotson Frederick 1840-1883 Supplementary Studies Coggins, Willis Robert 1926- Studies and Melodious Etudes Asx Bel Studies and Melodious Etudes Tsx Bel Tenor Saxophone Student Tsx Bel Tunes for Alto Saxophone Technique Asx Bel Cokken, Jean-Francois, Methode complete de saxophone applicable a 1846 Messonnier BartMemy tous les saxophones des differents tons, adoptee au Gymnase Musical Militair Colin, Charles Joseph 1832-1891 Etudes Modernes Bb Sx/Pno CC Combelle, Francois Grande Methode Moderne (to G. Pares) 1910 HS Conrad, Matthieu Les gammes utilisees dans I'improvisation 1995 Bil Cornette, Victor 1795-1886 Petite Methode Cos Cortes, Ramiro 1933- Five Studies Sx solo 1968 use Cournet, Francis Le "Thesaurus" du saxophoniste - Tablature 1992 Bil generate de doigtes, 2 vols Coutu, Jacques Etude de comportement et d'expresion Ssx solo 1983 CMC 12'30" melodique Cragun, J. Beach 18xx-19xx 52 Progressive Etudes Rub Finishing Routine Studies for Daily Practice 1926 Rub 30 Melodic Caprices in all Major and Minor Rub Keys 36 Etudes Rub 20 Etudes for the Development ofTechnie Rub Difficulty Cuneo, Angelo Francesco Metodo completo 1946 liillljli^ .;.;..•-• ••.- -^^•.. • 'fv.-.•:.•.: .;'.-;•••. •': ~\ •:. Dabney, Denise & Voicing: An approach to the saxophone's third SiMC Donald Sinta register Dancla, Jean-Baptiste Petite Etude et Polonaise Bb Sx/Pno Mol Daneels, Francois 1921- Le saxophoniste en herbe - Exercices pour la 1969 Sch lere annee Deason, David 1945- Two Studies Ssx/Fl 1980 DP Debondue, Albert 25 Etudes dechiffrages Led 48 Etudes dechiffrages Led 50 Etudes dechiffrages Led Decouais, Rene" 1930- 35 Etudes techniques 1972 Bil 26 Etudes variees Bil Decruck, Maurice & 1896-1954 Ecole moderne du saxophone 1932 Led Breilh, Fernande xxxx-1954 Dediu, Dan 7 Etudes pour saxophone (to D. Kientzy) 1992 Defaye, Jean-Michel 1932- Six Etudes 1) Intonation 2) Rhythm 3) Detache 2 Sx: AA 1993 Led 4) Intervalles 5) Legato 6) V&ocite' Delangle, Claude 1957- Methode pour Debutants (+CD) Lem Pieces choisies complementaires a la methode Lem Delibero, Phillip Contemporary Saxophone Studies 1975 DP Delle-Haensch Modern Saxophonschule Mein Steckenpferd Tsx/Pno Dux Demersseman, Jules- 1833-1866 12 Etudes Melodiques - dans toutes les tonalites 1866 Lem Auguste-Edouard 12 Etudes Melodiques et Brillantes 1866 Marg Demmler, Jiirgen Orchestral Studies, 2 vols. RSMP/Sim Demorest Gammes et accords De Smet, Robin Scales and Arpeggios for Sax Desmons, Rene 1924-1990 Methode nouvelle 1983 LF De Ville, Paul Univeral Method CF 27 Exercises and 15 Cadenzas (Kappey) CF 60 Exercises ofMecahism CF Major and Monor Scales CF Di Bari, Marco 1958- 1 ° studio sugli oggetti in movimento Bsx/Pno 1989 Ric T Di Betta, Philippe 1962- Repertoire de toutes les possibilites similaires 1990 adr des doigtes Dijoux, Marc Le decjiffrage pour tous 1992 Mar Initiation progressive au dechiffrage Mar instrumental La technique du dechiffrage, 2 vols. Mar Di Lotti, Silvana 1942- Intonazione Asx/Pno 1985 Dondeyne, Desire 1921- 9 Dechiffrages Sx solo 1986 Bil 13 Dechiffrages, 5 vols. Sx solo 1985 Bil Dorn, Kenneth Multiphonics DP Saxophone Technique DP Douse, Kenneth 1906- How to Double and Triple Staccato 1947 BMCo Druet, Robert 1920- L'Ecole francaise du saxophone 1963 Braun (Gourdet)(to M. Mule) 3 vols. Dubois, Pierre-Max 1930-1995 2 Caprices en forme d'etudes 2 Sx: AA 1964 16 Etudes brillantes 1994 Bil 24 Etudes Caprices, 2 vols. 1994 Bil 17 Etudes dansantes 1994 Bil 16 Etudes de virtuosite 1994 Bil 48 Etudes faciles et progressives, 2 vols. 1994 Bil 20 Etudes progressives en forme de duos 2Sx 1994 Bil 16 Etudes techniques 1994 Bil Grave et Scherzo mecanique (to Fr. Daneels) Asx/Pno 1973 RR Sonate d'Etude 1970 Dufresne, Gaston Develop Sight Reading for Radio, TV, Symph. 1954 CC -#- y-^N9SH6^SK4WCk^ 5S^_^Sgtf%<^^V^<^-^>3$^^-^a^*-* .-'" ••>•-'; .-\*> W- -- Eby, Walter M. Scientific Method for Saxophone 1922 WJ Endresen, R. M. Supplementary studies 1936 Rub Enfedaque, Carlos A. Estudios sobre retorica II Tsx/Cl/Perc/Pno 1994 18' Estudios sobre retorica III Asx/Perc 1997 14' Saxophone mecanique (from Witner Ashes) SATB/Digital 1995 ApE media Emst The Ernst Modern Graded Studies for 1929 Saxophone Escudier, H. 1816-1881 Les premiers desjeunes saxophonistes, op.45 1877 (25 Etudes m&odiques faciles et graduees) Nouvelle tablature du saxophone 1878 Eyser, Eberhard 1932- Livre desjeux faciles etprogressifs 1) Melodie Asx/Harp/Pno/ 1959-86 Ema 23'30" basque (2 Sx) 2) Pastorelles (Asx/Harp or Vibr/Guit/Vln Pno) 3) Nocturne 4) Aubade(Asx/Vibr/Pno/ guit/Vln) , i : F' . . 'AV....*Sijy"-'?&?»~ ' :'- • " '. • ", . -.'-...-.. • .'; _.-.'" "..;- -< . ." - . • . Fanti-Pawlicki Etudes de style Faulx, J. B. 20 Virtuoso Studies After Bach HE Fedorow, N. Schulefur Saxophon, 2 vols. Zim Ferling, Wilhelm-Franz 48 Etudes (Bleuzet)(originally for oboe) Bil 48 Etudes, augmenties de 12 Etudes nouvelles, Led par M. Mule Finney, Ross Lee 1906- Two Studies (to L. Hunter) 1 Sx:A+S/ Pno 1980 Pet 10' Fitchorn, E. J. Practical Procedures for Sight Reading 1968 HE Fontbonne, Leon-Pierre 1858-1940 Methode complete elementaire, theorique et Cos practique precedee des principes de musique et historique de Vinstrument Fourmeau, Jean-Yves 1957- Saxo-Tempo (Method)(Jean-Yves Martin) 2002 Bil Fromin, Paul 1950- 54 Etudes: rhythms, styles, tonalites 1994 Mar Furrer, Beat 1954- Studie II (to M. Weiss) Asx/Tuba/Orch mm^n • •.•... ^^^g^ig^^kt-}^B>-^:- *%$* • •' • -^ Gabucci, A. 60 Varied Etudes (Allard) 1937 Ric Gabus, Monique Etude (to G. Gourdet) Asx solo Gagneux, Renaud 1947- Etude pour les sons multiples (to D. Kientzy) 1 Sx: S+A+T 1982 3' Gallo, Luigi & Alberto 20 Studi 1998 Ber Meoli Gallois-Montbrun,Raymond 1918-1994 6 Pieces Musicales d'Etude 1) Ballade Asx/Pno 1954 Led 16'30" 2) Intermezzo 3) Ronde 4) Lied 5) Valse 6) Finale Garlick, Antony 1928- 5 Study Patterns Asx/Pno 1969 SeMC 11' Gates, Everett Odd Meter Etudes 1962 DG Gatti, Domenico 35 Melodious Technical Exercises (Iasilli) 1924 CF Studies on Major and Minor Scales CF Gaudriot-Schneider 20 Etudes I & II Dob Gebhardt-Manz Jazz-schule fur Saxophon 1937 Zim Geckeler Belwin Saxophone Method, 3 vols. Bel Gee, Harry 1924- 25 Daily Exercises (Klos6) DP Essay for Saxophone and Piano Asx/Pno adr Four Ferling Etudes Asx/Pno DP Progressive and Varied Etudes 1981 SMC/South 12 Rose Studies for Saxophone DP Saxophone Soloists and Their Music, 1844-1985 IUP Gekeler, Kenneth Saxophone Method, 3 vols. 1949 Bel Giampieri, Alamiro 16 Studi giornalieri di Perfezionamento 1954 Ric Metodo progressiva 1954 Ric Gillette, Michey Saxophone Method 1944 Glassman, Ben The Famous Style Series of Saxophone Studies Goca, Vladimir Etude 3 Sx: SAT Gomston, David All Chords 1948 GM Brahms Studies 1962 DG Chopin Studies 1944 DG Dailies 1965 Kjos 40 Rhythm Etudes 1949 DG Fun with Scales, (Paisner Ben) DG Fun with Swing 1964 DG Peer International Method Shu/Peer Progressive Swing Readings 1944 Saxophone Mechanisms 1945 DG Saxophone Velocite (Huffhagle) 1947 Mor Streamlined Etudes 1968 DG Weird Etudes 1936 Granet, John Nicolas Etude SATB 1980/81 Bz Gruber, Rudolf Etudenfur Saxophon Gurewich, Jascha 16 Artistic Etudes Mills Saxophonist's Daily Dozen, 12 short Exercises CF Staccatos andLegatos 1927 SF WS^^ItSKS^^K^^^^^^*l£^^^^^^^^ 8 iitstSI Haensch, Gerhard Delle 1926- Modern Etudenfur Saxophon adr Hall, Morris Eugene 1913- Stage Band Techniques South Harle, John 1956- Easy Classical Studies 1983 Uni Saxophone Studies 1981-83 Uni Scales and Arpeggios, 2 vols. 1984 Uni Harley, James 1959- Etude pour unefete Tpt/Trb/Asx/ 1998 10' Pno//Vcl/Bass Harris, Eddie 1938- Intervallistic Concept CC Harris, Roger W. Concert Etudes Asx/Cl/EH SeMC Hartman Methode elementaire 1846 Sbg Hartmann, Walter 1927- Rhythmic-stilistisch Studien, 2 vols. Br&Ha Harvey, Jonathan 1939- Saxophone Workbook- Saxophone Sight- SMC Reading Hasnas, Irina 7 Etudes (to D. Kientzy) Sx solo Hauck, Franz Neue Saxophoneschule Sch Hegvik, Arthur (Ted) Modern Course for the Saxophone 1971 HE Scales and Arpeggios 1973 HE Hejda, T. Methode B&H Hemke, Frederick L. 1935- New Directions in Saxophone Technique 1971 Selm Herman, Woody Sax Scales, Chords, and Six Solos Herrer, P. Saxophone Tutor B&H/MB Hester, Michael 1961- Saxophone Master Classes 1998/2003 SSP Hetzel Photographic Fingering Chart Pres Hever, S. Saxophone Tutor Musi Hickman, David R. Music Speed Reading 1979 WM Hite, David Foundation Studies, 2 vols. 1992 South/Led Hody, Jean Etude recreative Asx/Pno Chou Honda, Toshiyuki & 1957- Jazz Etude- Conversations for Saxopohne and Sx/Pno 1998 19' Naomi Honda Piano 1) Greeting 2) Fake 3) Inerval 4) Session Horn, Art Modern Method of Saxophone 1925 NM Houdy, Pierrick/Pierre 1929- 5 Caracteres en forme d'etude I) Un deux 2 Sx: AA 1988 CMC 8'30" 2) Dominant doming 3) Paralleles et aiguillages 4) Doux et inquiet 5) Bengale et artifice c Hovey, Nilo. Pratical Studies, 2 vols. 1933 Bel Daily Exercices (A. Pares) 1950 Bel Rubank Elementary Method Rub Huggnagle, Harry Streamlined Etudes, 2 vols. DG Hugot, Eugene 25 Grandes Etudes (Bruyant) Bil l$fel^^^ft3^^fr *%$&f$%$^^hr.W--:'-- "'?r*^^*o*^^v "»^-'- '•• "-^ -' ." , , .,/•vHsV"" ,; Iassilli, Gerardo Modern Conservatory Method, 2 parts CF 27 Virtuoso Studies (Bassi) CF Iturralde, Pedro 1929- Escalas, arpegiosy ejercicios diatonicos 1991 MSA 324 Escalas para la improvisacion del jazz 1990 Ot Ivanov, Vladimir A Fundamental Problems of the Theory and the Practical Playing on the Saxophone The Basis of the Individual Saxophone Technique Etudes 1991 Ivanov 26 Etudes techniques (26 Technical Studies) 1991 Mu/Ivanov 24 Studies iBSPP-'-^-? • •*.•••'• •-'•••'.• ' • :. • ^^^^^^^^^^R^^^l jslS ^s|;^«H'4« Jacobs, Ivan Learn to Play the Saxoophone, 2 vols. Alf Jettel, Rudolf 1903-1981 Method Mol Neue Saxophon Studien BCM Saxophon-Studien, 2 vols. ApE Johnston, Merle 36 Time et Rhythm Exercises for Daily Practice 1930 MJ 36 Technical Exercises 1930 MJ 36 Staccato Exercises 1930 MJ Jollet, Jean-C16ment 1956- 15 Studies 1986 Bil Juranville, Frederic 1957- Grands Exercices Journaliers de Mecanisme 1992 Led d'apres Taffanel et Gaubert 3fr?Ifefcw?&B[g $$&&&A.tf:. -'\^'^*r; " • •- "' e-v '•-"•• •' ' /" • Kappey, Jacob Adam 1826-1907 27 Exercices et 15 Cadenzas (De Ville) CF 11 Progressive Studies CF Karg-Elert, Sigfrid 1877-1933 25 Caprices and an Atonal Sonata, op. 153 Asx solo 1929 Zim/South Kariotis, Nikos Sytle etude Asx/Pno/Perc 1990 Kasatkin, Vasili Saxophone Power Book 1993 Kastner, Jean-Georges Methode complete et raisonnee de Saxophone 1847 Sax - Famille complete et nouvelle d'instruments de cuivre a anche Kientzy, Daniel 1851- Les sons simultanes aux saxophones 1982 Sal Kikuchi, Yukiko Saxophones' Studies, 3 movements SATB 1985 Kirck, George Thomas 1948- The Reed Guide - A Handbook for Modern Reed 1983 Reed Working for all Single Reed Woodwind Instruments Klose, Hyacinthe 1808-1880 15 Etudes Chantantes (Capelle) 1883 Led E16onore 25 Etudes de genre et de mecanisme (Jeanjean) 1928 Led 25 Daily Exercises for Saxophone CF 25 Daily Exercises (Gee) DP 25 Etudes de mecanisme (Capelle) 1881 Led 25 Exercices journaliers (Capelle) 1928 Led Method (Buijzer, Jr.) Mol Methode complete 1866- Led 1910 Koechlin, Charles 15 Etudes op. 188 Asx/Pno 1942-44 EFM/Bil 24 Lecons de solfege - Duos 2 Sx: AA or TT Bil Korte, Karl 1928- Study Asx/Tpe SeMC (2 channels) Kynaston, Trent 1946- Circular Breathing 1978 Daily Studies DP L •.-.".• /-• •'•'• •."'••• Labanchi, Gaetono 33 Concert Etudes (Iasilli), 3 vols. CF Lacour, Guy 1932- 100 dechiffrages (en forme depetites etudes Sx solo 1968 Bil melodiques et rythmiques) (to R. Weber) Etude de concert (to R. Druet & G. Gourdet) Sx solo 1964 Bil 2'35" 8 Etudes brillantes (to M. Mule) 1963 Led 24 Etudes atonales faciles 1975 Bil 28 Etudes sur les modes dtranspositions limitees 1971 Bil d'O. Messiaen (to D. Deffayet) 50 Etudes faciles et progressives (to M. Josse) 1972 Bil 2 vols. 56 Etudes recreatives, 2 vols. 2001 Bil Precis sur Vetude des gammes 1968 Bil Lambert, Georges De la sonorites a /'interpretation, vol. 1 & 2 Lem Lamotte, Antony 18 Etudes (d'apres Mazas, Kreutzer, Rode, etc.) Bil Lang, Rosemary 1920-1988 Saxophone: Beginning Studies in the Altissimo 1970 LMP Register Langenus, Gustave 1883-1957 Practical Transposition CF Langey, Otto 1851-1922 Practical Tutor (Fitzgerald) B&H The Saxophone Mol Saxophone Tutor (Fischer) CF Lauba, Christian 1952- Bat Bsx solo 2000 Led 10' 9 Etudes, 4 vols. 1992-94 Led Hard Too Hard- dixieme etude (to A. Bornkamp) Tsx solo 1994 Led 12' Stan (to R. Ducros) Bsx/Yamaha 2001 Led 10' WX7 MIDI Wind Controller Steady study on the boogie (to J-Y Fourmeau) Asx solo 1993 Bil 12' c o XYL Asx solo 2007 Led 6' Laurent, L6o Nouvelle Methods Pratique Sal Lee, Sebastian 1805-1887 Studies CF Leeson, Cecil Burton 1902-1989 The Basics of Saxophone Tone Production - A Ctitical and Analytical Study Lefebvre, Pierre & R. De la technique du son Led Goffin Lefevre 20 Melodious Studies (Savina) Ric Leekoff, Gerald 20 Rhythmic Etudes 1994 Gly Lemay, Robert 1960- Etudes (different levels/plusieurs niveaux) Asx solo 1999 CMC 17' IJTambour battant(4') 2)Serie B(4') 3)Du bout des doigts(S') 4)Les photographies du 21(4'); 1) Cahier A ;2) Improvisation A; 3) Cahier B; 4) Improvisation B; 5) Cahier C 6) Improvisation C; 7) Cahier D; 8) Improvisation D; 9) Cahier E; 10) Improvisation E; 11) Cahier F; 12) Improvisation F; 13) Cahier G; 14) Improvisation G; 15) Cahier H 5 Etudes Asx solo 1999 CMC/Tms 13' Leonard, J. Michael 1962- Extended ecchniquefor the Saxophone adr Lerescu, Sorin Sax etudes (to D. Kientzy) 1993 Letellier, Robert 1918- 38 etudes faciles pour le style et Interpretation Mar 40 etudes de style Mar/Mol Gammes majeure, mineures, etc. Mar/Mol Methode nouvelle Mar/Mol Tablature pour tous les saxophones Mar Liang, Ming Yue Three Studies on Chinese Folk Song (to Asx/Pno 1988 J. Cunningham) Liebman, David 1946- Developing a Personal Saxophone Sound 1989 DP Lindemann, Henry & The Henry Lindemann Method Mills Harold Blanchard Linden, Johan van der 19 etudes for saxophone 36 etudes in all major keys 36 etudes in all minor keys Scalefitness Little, David Stonehenge Study 12 (to A. Bornkamp) Tsx solo 1991 Don 10' Little, Lowell Know Your Saxophone: Prerequisite Study for PA Mastery of the Instrument Llopis, Miguel V. Bernat El saxofon- Metodo progressiva de iniciacion UME El saxofon classico- Metodo par saxofon y oboe 1987 UME Londeix, Jean-Marie 1932- De I'intonation 2 Sx: AA or TT 1981 Led or AT Le Detache, Staccato 1967 Lem Etudes a douze d'apres Chopin, Debussy 12 Sx: SnoSS 1993 adr AAATTTBBBs 8 Etudes techniques, op.8 Sx solo 1960-92 Com Exercices d'intonation- tons niveaus et tous 1993 Led saxophones [all levels and all saxophones] Exercices Mecaniques, 3 vols. 1960-65 Lem Exercices pratiques 4 to 12 Sx 1983 Led Les Gammes Conjointes et en Intervalles 1962 Lem Gammes et modes d'apres Debussy, Ravel et 1968 Led Bartok, 2 vols. Methode de rythme a I'usage des instrumentistes 1972 Led 3 vols. Methode pour etudie le saxophone 1995 Lem 125 ans de Musique pour Saxophone 1958-69 Led 150 ans de Musique pour Saxophone 1994 Ron Nouvelle etudes variees - avec suraigu 1983 Led Playing the Saxophone (Translation S .Trier), 1973-76 Lem 2 vols. II sassofono nella nuova didattica, 2 vols. 1986 Ber (Traslation A. Domizi) El Saxofon ameno (Translation M. Mijan) 1988 AE 2 vols. Saxophon spielend leicht, 3 vols. (Translation G. Priesner) 1978 BFS Le Saxophone en Jouant, 4 vols. 1962-71 Lem Tablature des doigtes compares des notes 1974 Led suraigiies du Saxopone alto Die Tonleiter in Tonfolge und in Intervallen 1962-80 Lem Luckey, Robert A. 1948- Saxophone Altissimo 1992 OMP Luft, J. Heinrich 1813-1868 24 Etudes (Bleuzet) Bil 24 Etudes in duets (Bleuzet) 2Sx CFE Luyo, C. Geometriche etudie (to I. Marconi) Asx/Org 1981 Lyon, L. L. How to Play Tones Above the Regular 1922 Saxophone Register Lyons, Graham Alto Sax for Starters, Volume 1 AsxPiio NHHH' •"• MMH •." ' " '""'*"' "* -*" -. - »--.;, i** Maccathren 1924- Daily Routine Lebl The Saxophone Book 1954 Lebl Magnani, Aurelio 1856-1921 30 Articulations Studies Mangelsdorff, E. Anleitung zur improvisation Bb Sx/Pno Sch Manoury, Philippe 1952- Etude automatique 1 Fl/Tpt/Sx/Tuba/ Harp/Vln/Vla/ Vcl/Bass Mantovani, Bruno 1974- Etudes Sx solo Invito al saxofono - 30 studi moderni di Sx: SATB perfezionamento Margoni, Alain 1934- 10 Etudes dans le style contemporain 1 Sx solo:A+S 1995 Bil Marion, Alain 1938- 50 duos progressif 2 identical Sx Martin, Gilles 22 Esquisses - Etudes Sx solo Bil 15 Etudes de style Sx (or Ob) Bil Saxo-Tempo - Method (to J-Y Fourmeau) 2001 Bil Marvuglio, Matthew Modal Etudes Sx 1982 DP Mason, Thorn David The Multiphonic Resources of the Saxophone Massis, Amable 6 Etudes caprices (to M. Mule) 1954 Led Masuy, Fernand Etude du Saxophone, 2 vols. (10 difficult 1955 EMB/HE etudes, including 2 duets)) 10 Studies of medium difficulty HE Mauk, Steven A Practical Approach to Plaing the Saxophone adr Saxophone Warms-Ups adr Maurice, Paule 1910-1967 Volio - etude pour saxophone Alto Mib Asx solo 1967 Bil 3' Mayeur, Louis 1837-1894 21 Etudes Grande methode complete de saxophone 1868-78 Escudier/ (Revision G. Chauvet - 1933) G&F Grand Recueil de gammes, traits, arpeges et 1881 Go exercices pour saxophone, faisant suite a la methode Nouvelle Grande Methode (revue par M. Perrin) 1963 Led Nuevo y Gran metodo de saxofon 1896 ES Tablature des saxophones avec double Sib 1880 Go systeme Tablature des saxophones sans changement aux 1888 ES anciens doigtes. Systeme Evette et Schaeffer avec trille de Si-Do, double Sib, plateau de Sib; cle de Fa# et nouveau mecanisme du Sol# descendant au Sib grave McGee, A. Improvisation Sax HD/Led Modal Studies HD/Led McTee, Cindy 1953- Etudes (to D. Richtmeyer) l)Filigree 2) Night Asx/Tape 1992 Song 3) Filigree Menendez, Julian 1985- Estudio de concerto 1 Sx: Aor T/Pno 1985 RME 6'30" Meriot, Michel 1928- 25 Etudes faciles progressives et variees 1996 Led 18 Etudes variees 2000 Led he saxophoniste {Methode) (a M. Mule) 1964 Com Le nouveau saxophoniste classique, 4 vols. Com 15 petites pieces en forme d'etudes 1981 Com 32 pieces variees en differentes tonalites Sx solo Com Merriman Baroque Studies Sx Sha Mijan, Manuel 1953- El saxofon4vols.: iniciacion; 1A;1B;1C 1994 RME (to Ricardo) Tecnica de base 1983 Mikhailov, Lev 1928- Ecole du saxophone (Method) 1975 Milhaud, Darius 1892-1974 Etude poetique, op.333 2Sx/Voice/ 1954 Orch/Tape Miller, Ralph Dale The Modern Right-Way, Self-Introduction MCA Miller, Robert Instrumental Course (J. Skornika) EbSx B&H Instrumental Course (J. Skornika) Tsx B&H Mondello, Nuncio 1911-1992 Selected Studies (by Joe Viola) a) Interval DP Francis Study; b) Varied Studies Monetti, Gilberto // solista moderno - Metodo per saxofono 1990 CoMu Morosco, Victor 1936- Six Contemporary Etudes in Duet Form 2 Sx: AA 1974 Art/Amu Morrill, Dexter Six Studies and an Improvisation 1) Window 2) Tsx/Tape Mysterious 3) Ischl 4) Love Song 5) Weaving 6) Soliloque 7) Improvisation Mueller, Frederick A. 1921- Five Etudes 3 Sx: ATB Mule, Marcel, Rene\ 1901-2001 Etudes Variees dans toutes les tonalites d'apres Led Arthur Dont, Mazas, Paganini, etc. 24 Etudes faciles, d'apres Sarnie 1942 Led 48 Etudes d'apres Ferling, augmentees de 12 1946 Led Etudes originales 53 Etudes d'apres Boehm, Terschak, Furstenau, 1946 Led Exercices jouraliers, d'apres Terschak 1944 Led 18 exercices ou etudes, d'apres Berbiguier 1943 Led 30 Grands Exercices ou Etudes, d'apres 1944 Led Sousmann Gammes, 3 vols. 1944-46 Led Tablature de la gamme chromatique 1943 Led Traits difficiles, 3 vols. 1943-45 Led w- -•••••. •• - •• :- '••• • Nash, Ted 1922- Studies in high Harmonics 1946 Lee Naulais, Jerome 1951- Vingt Etudes recreatives Sx solo Arp Negre, Christophe 1960- Methode: Improvisation au saxophone (Method) 1988 Com Nelson, Oliver Edward 1932-1975 Patterns for Improvisation HD Patterns for Saxophone HD Nemescu, Octavian 1940- Etudes pour saxophones 1992 Nestico, Samuel L. 1924- The Basic Nestico Lead Sax Book (Count Basie) (Sammy) (9 pieces) A Study in Contrasts 1) The Demure 2) The SATB Ken 3'20" Delightful Netti, Giorgio ...awicinamento, tre studi sul quarto centre 4 Sx: S+A, A, 1998 (to Quatuor Xasax) S+T, S+B Nicholls, Chareles How to Conduct Saxophone Bands 1921 Niehaus, Lennie Developing Jazz Concepts for Saxophone Jazz Concepts, 4 vols. HD Jazz Improvisation Norikura, Masaki Etude de concert <\s\'Pno : W$ffl®$&£& i^i ?fi$B$ ?ri^-H-^ ^S4>%^'.K^ * . .- • ri , '•••-; s>- Olah, Tiberiu 1928- Etudes 1992 CNeil, John Die Jazz-Methode fur Saxophon 1995 Sch Orsi, Romeo 1843-1918 Methodo populaire Ric Ossei'tchouk, A. Travail des classiques dujazz 1987 Ostling, Acton Alto Saxophone Student Tenor Saxophone Student Tunes for Alto Saxophone - Technique Tunes for Baritone Saxophone - Technique Tunes for Tenor Saxophone - Technique Ostransky, Leroy 1918- Contest Etude No. 1 Bsx/Pno Rub *IPil||i!RHil:©ftiii iSSillllf^ '^0Ws^^^M'-i^W^M^^^:>'''''**-"£}".'-«*'-'-*v-:- :'-v:^^-mr-^V m^-H? Panov, N. Travail des gammes et arpeges dans les classes 1986 specialisees de saxophone Papademetriou, Nicos Etudes for Simplicity Asx/Pno 1988 Pares, Gabriel Daily Exercices and Scales CFE Methode 1895 Lem Modern Pares Fondation Studies (Whister) Rub Parisi 40 Technical and Melodious Studies (Iasilli) South 2 vols. Pema, Dana Paul Two Etudes -Fantasy Sx solo 1975-81 BaE Pen-in, Marel Agilite - etude chromatique 1951 GD 4' Caprice - etude atonale 1951 GD 4'50" Methode 1964-68 Rochow, Erich 1893-1959 Etiiden I, II, & III Asx FF Handbuch der Saxophon Praxis RB/FF Rohr, Joachim & 1944- Saxophonschule Br&Ha Wieland Ziegenriicker 1939- Rolin, Etienne 1952- Aphorismes VII-10 pieces courtes a cractere Sx solo 1982-83 Lem 12' pedagogique - Livre I Etude en blue Ssx solo 1981 adr 3' Romby, Paul Methode Mar Rorive, Jean-Pierre Diderius aurifaber - Etude concertante Sx solo Rose 12 Rose Studies for Saxophone (Gee) DP Rossari, Gustavo 53 Etudes (Iasilli), 2 vols. B&H/South Ross6, Francois 1945- Etude en balance (to J-M Londeix) 2(or4)likeSx adr Etude en vocalises Ssx/Pno 1977 adr Rotaru, Do'ina 1951- 7 Etudes pour saxophone (to D. Kientzy) 1992 Roth, Iwan 1942- Schulefur Saxophone Hug Tonleiternfiir Saxophone I-Gammes et Arpeges Hug I Tonleiternfiir Saxophone II - Gammes et 1988 Hug Arpeges II Rougeron, Phillippe 1928-1997 Etude 1 Sx:A or T/Pno 1985 Bil 2'10" Rousseau Eugene The Eugene Rousseau Saxophone Methods, Kjos 2 vols. Method for Beginning Students Lebl Saxophone High Tones 1978 Eto Practice Hints for the Alto Saxophonist Bel Practice Hints for the Baritone Saxophonist Bel Practice Hints for the Tenor Saxophonist Bel Marcel Mule: His Life and the Saxophone 1982 Eto (biographical sketch) Ruggeri, Gianluca Esercizio dell'Attimo (to E. Filippetti) Ssx/Perc/Tape 1990 adr 13' Ruggiero, Giuseppe 1909- 16 Etudes de Perfectionnement Led 20 Eudes de Perfectionnement GZ Runyon, Alfred Santy 1907- Dynamic Etudes 1949 DG Santy Runyon's Modern Saxophone Studies 1944 DG/Bay W^SSS^^^^^^l ^^^^^^m^^^^^^^^Bd^^W^^<-^- \-u^^i ^^^iiMf^^i^c.: Sabon, Joseph-Pierre 1817-1893 12 etudes d'apres Bochsa Bil Sakaguchi, Arata 1910-1997 Method 1955 ZOM Scales for Saxophone 1979 Salviani, C. Complete Method (from oboe) Ric Exercices in All the Pratical Keys (Iassili) 1940 CF Studi dal Metodo per oboe, 4 vols. (Giampieri) Ric Samie, Auguste 18xx-1890 24 etudes faciles (Mule) Led Samyn, Noel 1945- 9 etudes transcendantes 1976 Bil Sannella, Andy 1900-1961 Intervals - studies Asx/Pno 1932 Ric Sawer, David Peter 1961- Etides 2-6 actor-musi- 1985 Uni cians/Tsx/2 Tpt/ Perc Schaad, Roar 1941- Study (to J. Boitos & F. Bongiorno) Asx/Tape 1972 8'30" Schaffer, Boguslaw 1929- 2 etudes n °22 Asx 1956 adr 3'20" Schiaffini, Giancarlo 1942- Aleune considerazioni sul sesso delle scale Schiemann, Christian 1823-1915 Seven Characteristic Studies Mus Schmidt, William 1926- Ten Contemporary Etudes 1963 WIM Schulze, Werenr 1952- Sometimes canonica, op. 5/8 l)Etude in Jazz 2) 2 Sx: S+T, A 1994 ApE 7'30" Kahnfahrt im Mod 3)Tanz der froschei m Reisfeld 4) Frohlicher Beschluss Sciarrino, Salvatore 1947- Studi per I'intonazione del mare l)(Opening) 2) 4 Fl Soli/4 Sx/ 2000 39' Quando passiamo 3) Vieni fratrello 4) Nelle Soli/Perc/Orch veglie della notte 5) Vieni 6) Traverso piazze oflOOFl/Orch 7) I giorni si curvano of lOOSx Scott Metodo para saxofono UME Searle, Leslie Saxophone Style - 20 Duette 2 Sx:AT Sch Seffer, Yochk'o Gammes et musiques (A. Bouhey)(Method) 1992 Lem Improvisation et modes (with A. Bouhey) 1992 Lem Segouin, Paul 18xx-19xx 25 Etudes artistiques, 2 vols. 1893 Bil Methode complete 1897 G&F Sellner, Joseph Etudes progressives (Bleuzet) Braum Methode (Bleuzet) Bil Semler-Collery, Jules 1902-1988 10 etudes concertantes (to M.Mule) Asx/Pno(ad lib) 1964 ME Senon, Gilles 1932- 16 Etudes rythmo-techniques (to D. Defrayer) 1979 Bil 32 Etudes 26 petites etudes melodques 1978 Bil Techni-Sax - 32 textes de velocite Asx/Pno 1987 Bil Simeonov, Dymyter Etudes 1973 Wis 12 Etudes techniques 1974 Wis Simon, Jean-Pierre L'apprenti saxophoniste 1998 Com Sinta, Donald & Denise Voicing: An approach to the saxophone's third SiMC Dabney register Skornicka, Joseph 1902- Intermediate Method Rub Small, J.-L. 27 Melodious and Rhythmical Exercices CF Snavely, Jack 1929- Basic Technique for All Saxophones 1963 Ken/DP The Saxophone and its Performance Her Soussman, Henri 30 Grands exercices ou etudes (Mule) Led Spears, Jared 1936- Basic Syncopation South

M Spitzmuller, Alexandre 1894-1962 Etude en forme de variation Asx/Pno 1960 (-Hamersbach) von Steinmetz, Hans 5 Studien l)Accueil solennel 2) Magie des 4 Sx: AATB or 1971 OWR antennes 3) Bon Voyage 4) Tarentelle 5) AATT Toujours dans le rythme Stoltie, James 1937- Saxophone Orchestral Studies adr Street, Allan Scales and Arpeggios 1977 B&H Susuki, Jummei Slapstick - etude sur le slap (to J. Laran) Asx solo 1999 5' HHMBB^II R • • .• • •$$*. i^^^WI^K^^fe^''' *- TafFanel & Gaubert Grands exercices journaliers de mecanisme Led Juranville) Taranu, Cornel 1934- 8 Etudes pour sax (to D. Kientzy) 1992

Teal, Larry Laurence 1905-1984 The Art of Saxophone Playing 1936 SBC Daily Studies for the Improvement of the Eto Saxophone Technique The Saxophonist's Workbook - A Handbook of 1958 UMM Basic Fundamentals rev. 1976 Studies in Time Division UMM Terschak, Adolf 1832-1901 Exercices journaliers (Mule) Led Thiels, Victor 1867-1925 Methode complete pour tous les saxophones 1903 Lem Thiriet, Andre 1906-1976 24 etudes d'expression 1966 ET Thompson, Kathrun E. 19xx- Practical Studies South Progressive Method South Todaro, Bruno Apprendre seul djouer du saxophone 1989 JL Traxler, Aaron 18xx-19xx Grand Virtuoso Saxophone Studies 1928 Bel Tyssens, Albert 4 Etudes sur les graphismes musicaux Ty contemporains 8 Etudes classiques Ty 12 Etudes de concours (d'apres Bach et Handel) Ty ^^r^H^fV^^'^ •!\*i^^7~fr'%ft$^^^iS3^*C's. ' --.-•'.. . r- : • - Urfer, Frank 1955- 12 Duos progressifs - 2 Series: Eb or Bb 4 Quatuors profressifs SATBorAATB 'Wl^^^^^B^. ' -W^^^^^^^l ""• - *^*~>-* > -^ ' .-: Valk, Adriaan 1943- Saxophone 1, II, III, IV - Method in 4 vols. BVP Vadala, Chris Improve Your Doubling: Advanced Studies Van Maele, Gerard 1907- Etudes 1) Allegro risoluto - Andante cantabile Sx solo 1950 7'30" 2 )Allegro vivace Van Rickstal, J. 45 Daily Studies Sez Vaughan Williams, Ralph 1872-1958 Six Studies in English Folksong (Transcription) 1926 9'30" 1) Adagio 2) Andante sostenuto 3) Larghetto 4) lento 5) Andante tranquillo 6) Allegro Vazzanna, Anthony 1922- 5 Studi (Preambolo - Strali - Gioco) Asx solo 1978 Ventas, Adolfo I 1927- 8 Etudes expressive (to J-M Londeix) Sx solo 1998-99 Rodriguez Escuela moderna del Saxofon Boi 8 Estudios, op.2 Sx 1970 Qui Etudes Caprices adr Vereecken, Benjamin 18xx-19xx Complete Chart for all Saxophones CF Foundation to Saxophone Playing 1917 CF Junior Saxophone Method Rub Verhiel, Ton 1956- 21 Etudes de 7 pieces ajouer Sx solo MuMu 7 Etudes techniques Asx/Pno ad lib Method for Saxophone MuMu Scales and Arpeggios for Saxophone 14 Studies in various styles (to K. Fischer) Asx solo Run Vermet, Ernest 1930- Games et exercices 1968 HE/An Verroust, Stanislas 1814-1863 24 Etudes, op. 65, 2 vols. Bil Louis Xavier Viard, Jules 1890-1935 Grande methode 1935 Sal Vieru, Anatole 1926-1998 7 Etudes 1992 Vincent-Demoulin, Jean 1905- Tunes for Tenor Saxophone Technique Bel Viola, Joseph 19xx-2001 Creative Reading Studies for Saxophone Led The Technique of the Saxophone, 3 vloumes 1963 BP/Led Vivancos, Bemat Moustik's Etude- Etude sur la virtuosite digitale Asx solo 1999 Lem 4' et la respiration circulaire (to C. Inoue) Vlitakis, Manolis Geddchtnis - Etude pour le rythme et le detache Asx solo Lem (to S. Otto & J. Petit) Votquenne, Victor New Technic (Volume I: Scales, Intervals, HE Chords) New Technic (Volume II: Rhythms, Velocity, HE Virtuosity) Voxman, Himie b. 1912 Advanced Method, 2 vols. Rub Selected Studies, 2 vols. 2 Sx: AA or TT Rub Contemporary Recital Pieces ^SMPP^HWi--*•''' •: '• • •' ••'"••Ml "?•"" Wagner, Wolfram 1962- Drei Studien 12Sx:SnoSS 1992 ApE AAATTTBBBs Waignein, Andre' 1942- 4 Etudes de cncert 2000 Hmu 15 Etudes faciles 1996 Walter, Caspar J. Studie 9 (to D. Kientzy) Bsx solo Wastall, Peter 1932- Apprendre enjouant du saxophone 1983 B&H/Led Learn as You Play Saxophone 1983 B&H Wayne, Hayden 4 Etudes Sx solo Bz Weber, Henri 18xx-19xx Tongue Gymnastix for the Development of 1927 Bel Speed in Single, Double and Triple Tonguing Weiner, Lawrence 1932- Etude (Slow and intense- Fast and agitated) Tsx/Pno 1979 South 7 Weiss, Ferdinand 1933- 20 Virtuosenetuden Sx 1992 ApE Werner, Milt Vibrato Tone Studies 1946 HP White, William C. 1881-1964 Universal Scales, Chords et Rhythmic Studies CF Wiedoeft, Rudy 1893-1940 Advanced Etudes and Studies, 2 vols. 1928 Rob Complete Modern Method 1927 Rob Secret of Staccato for the Saxophone 1938 Rob Simplified Photographic Saxophone Chart Wilensky, D. Saxophone Technique: 140 Exercices Williams, Joan F. Etude from Moscow idaho any instrument ACA Winstrup, Olesen 6 Saxophone Pieces - Book 2, l)Etude 2) Duo Mosconi 3) Sonatine 4) Embers 5) Skizze 6) Sunset Wolfe, George W. 1948- Five Scriabin Etudes 1985 Kjos Preparatory Method for the Saxophone (Vol I: 1985 Ron Classical Technique)

•:Z ;.-•• X--'."J-' - .'• •-••'.. '•> • Zalu, Cristee 3 Etudes (to D. Kientzy) Sx Zitek, F. Saxophone Studies, op. 3 \2b

Appendix B

The Errata for Neuf Etudes of Christian Lauba by Joel Versavaud and Marc-Antoine Dagenais

As the description of the composer in the cover of Book 1 indicates:

Les doigtes sons multiples sont des doigtes conseilles...L'interprete doit absolument respecter les itervalles ecrits et trouver les doigtes qui s'adaptent le mieux a son instrument.

While studying these etudes, it is inevitable that one might have difficulties playing some of the multiphonics. Some of the fingerings were labeled and published incorrectly with wrong fingering numbers or notations. The information provided here is to offer some results of research and experimentation, and may help shorten the time of learning these pieces. Joel Versavaud and his former student Marc-Antoine Dagenais made the following errata sheet. Christian Lauba

Neuf etudes pour saxophones en 4 cahiers

Nine etudes for saxophones in 4 books

(Editions Alphonse Leduc)

Book 1: Balafon, Savane, Sanza, Jungle

Book 2: Tadj, GynVir

Book 3: Ars

Book 4: Bat

Corrections et simplifications des doigtes pour les sons multiples Corrections and simplifications of multiphonic's fingerings

par/by

Joel Versavaud 127

This file contains, collected and classed by the Quebec saxophonist Marc-Antoine Dagenais, all the modifications I brought to the initial edition of Christian Lauba's Etudes during 10 years of practicing it. These modifications are mainly about multiphonics fingerings and are supposed to help the musician read and handle the saxophone. I wish that this pedagogic act encouraged many to enter in those Etudes, and would help to play down the importance of difficulties, which are often only visual and graphic. My goal is also to make you save time, but I would like to say how much this research helped me in the mastering of the instrument and its reactions. T wish that this work would never be achieved and that anyone would be able to supplement it. Christian Lauba used the book of Daniel Kientzy : "las sons multiples aux saxophones"(Salabart edition) and the book of Jean-Marie Londeix "HellolMr Sax"(Leduc edition). The flexibility of the instrument, its evolution, and the progress of saxophone players made those lists not exhaustive. Many other solutions may exist to remain closed to the will of the composer, to give him more propositions, even if the score is already published.

Setup used : Soprano saxophone Seiner serie III, Vandoren SL3 mouthpiece. Vandoren 4 reeds. Alto saxophone Selmer serie ill, Vandoren AL3 mouthpiece. Vandoren 4 reeda. Tenor saxophone Selraer serie III, Vandoren T20 mouthpiece, vandoren 4 reads. Barytone saxophone Selmer serie II, Vandoren BL3 mouthpiece. Vandoren 5 reeds.

Joel Versavaud ioel.veri»vaud

ova 3

P.6.1.5 K1 I fal * c

ir 128

Voiei, eollecties et mises en page par le saxophoniste quibicois Marc-Antoine Dagenais. les modifications que j'ai apporties a Viditioti des Etudes de Christian Lauba, au fil de dix annees de travail. Elles concernent principalement les doigtts des sons multiples et sont censies apporter un confort de lecture de la partition et de maniement de 1'instrument.

Puisse cet acte pidagogique donner envie au plus grand nombre d'entreprendre le travail de ces Etudes, et aider a dedramatiser la difficulti qui n'est parfois qu'apparente et graphique.

Le but est egalement de faire gagner du temps, mais je voudrais rappeler a quel point cette recherche m'apermis de progresser dans la connaissance des reactions de 1'instrument Je reste d'ailleurs vigilant et espire ne jamais avoir termini ce travail. L'imagination de ehacun d'entre nous devra s'exercer au mSme but. Toute icWe sera la bienvenue.

ChristianLauba a icritd'apris les ouvrages de Daniel Kientry a Les sons multiples aux saxophones » (Editions Salabert) et de Jean-Marie Londeix « Hello, Mr Sax I »(Editions Leduc). La souplesse de 1'instrument, son Evolution, et les progrts des saxophonistes font que ces listes ne peuvent pas Stre exhaustive:. Elles restent fondamentales pour I'icnture, mais il existe maintes solutions pour faciliter le discours, sans trahir la volonti du compositeur, voire mSme s'en approcher encore plus et lui feire de nouvelles propositions.

Le maUriel utilise est: Saxophone soprano Selmer sirie JJJ., bee Vandoren SL3. Anches Vandoren4. Saxophone alto Selmer sirie JU, bee Vandoren AL3 Anches Vandoren 4. Saxophone tinor Selmer sirie JJI, bee Vandoren T20. Anches Vandoren 4 Saxophone baryton Selmer scrie n, bee Vandoren BL3. Anches Vandoren 5

Joel Versavaud ioel.ver5avaud(3lwanadoo fr www toelversavaud com * BALAFON P.6.1.4 i +8va o b» -a b*

8va •

P.6,1.5 K1 bt * c 3E tr 129

SAVANE

8va Changer la cavite" buccale

=**=

8va

Tc Bb

•~m-

* Les numSros de pages correspondent & ceux des Editions Alphonse Leduc 130

baisser 1 C1

•t*- &c jjIE

3-) 8va B

C4 vtb 1/4 v • :

C3 «

C4

X2 BE 3ac 8va'

C5|C# X bisb.2 * ±Eb 2 3 4 •i

"Bb ±4.Ta Ta

45- *>*) Si -f-rt- 131

±5

Bb Bb c# .!*£

8va 8va

C3 -B C3 ougarder le doigte precedent en modifiant la cavite buccale $*fp ' 132

SANZA C1 C2 Lever les dents du bee + C4 C5 pression extreme de la machoireinferieure atmut:

o

Eb

C2+C5

X * o H.8

x X • ?? o o 'C# •c#

C4

p ."•.W^M: 133

• c# C C4 b

o • t meme doigte J que precedent • B g J C3 Pf: i i ?C3 ; C3 J^ C O

• C3 § 134

13

o

Ovctave brisee C —•- • • •

/-N #Bb m a c ? ^S:

Bva *

f octave O Bb a octave * f brisee o brisee C c & "tf'M 3p Bva* O C2J 1 c# TaS +c# _ •

1c# 135

13 X octave brisee 8

X x • • o.b. o.b. o.b. IB *C1 0 # -tfi c ?

o oC1 C3 o o o #• b^i ^ D# S 4*- m -y"t": zsti

O C3 C3g C5 § s I sbc

C2 C4 4

••-• 136

JUNGLE

P 15 .1.3 C3J Jt o

PA1- 1-1 bisb. ±4et5

P.17, I.2 tr Ta Tc Ta

If it Vflfml " • • C3| ±3 P.18.l.5etl.8 JL • — 0 V l fAm_ * VMI e) 137

TADJ Ebf Bb P.2.1.1

tC2 P.2.I.4 *l

• C1

o #i C

Eb • Bb ~ tr P.3.I.5

|C1 P.5.1.1 Tc J • Bb IP

*B gBb P5.I.3 * o tls £ °±c 138

TAD J (suite) ?B «B P.5.1.4 in $•— n« IF :CI t Bb P6,1.2 o C *

•C1 |

p.6.1.5 # :B ^ -tf-

8vaJ

P.6.I.6 • C

• 8va • ci $Bb S P7.I.1 t,_ S u * C JU £to1

8va J J ? Bb | Bb P.7,1.2 JC6 XC6 2 ft fte== 139

J TADJ (suite 2) • Bb P.7.1.3 o C4

I] 1

*B ±4 6 P.8.1.2 A

8va ° >Tc P 10,1.4 W ^

P.12,1.1

1= >T ossla

sssp^*S ; |Bb P.12.1.4 b» bK 140

GYN • Bb • Bb C3 J P.13.1.1 §C5 o C ^ 4* 3^E

_C3_ P.14.1.1 141

15 C1 (eclatement If. de spectre) = iwz

C1etC2 (eclatement £ de spectre) —

X C1 (eclatement ^4t de spectre) =

C1etC2 j; (eclatement C5§ — de spectre) fa •

x §±c# Ib*

|±B

C i# x 142

16

c i#• : =f¥=

$ Bb

Tit

• C2

C5§ Bb i ±B o for

X ±4 I0 0 1'rf 143

Vir • 8vaJ 1 P.17.1.2 ^Bb §Bb b-»C b* til" b« ippZ1

9 i. P.17,13 C3» 4. Eb

B P.17.1.6 Tc! #±:

Ta*Bb P.19,1.5 . • \xd&

8va* jBb P.19,1.6 Ta5 ^ ZttMZ

P.19,17 octave brisee 144

ARS

• et faire entendre les 2 octaves

TajBb b*. •

§Bb tc ~ffW" JC1 C5 • C2 ; oBb

o I Bb

3SP

$

#• *c

C3JC1 f Bb o 59E tci

Sc :$•= 145

BAT 8va o +C3 % ~C5 P.2,1.2 o #3C o

X

P.3 ,1.4

o

P .3.1.6*4 o

t o

#JL O P.4,1.1 • °

o *Tc§ P.4.I.2 #±C5g

"ITP""

C3§G# ±C5 C5 0 JL /b* P.5,1.3 0 *«/ = 146

BAT (suite) C5 • P.6.1.2 Jig

P.8,1.2 yr (corriger avec la machoire)

gpuj. BbJ Bb! C3$ C35 o o P.11.1.6 » f.

P.12 ,1.1 Eiclatement de spectre en suivantle dessin melodique grace auxdoigtes C1 a C5

P.12 ,1.3 a 6 Detemperer avec la machoire seulement.Transformer pour cela les notes haussees en notes enharmonlques baissees.

• ±C3 8va0C1 • C5

C3o«- b* o • • P.13.L385 5 °5*?"

C4 P 17,1.4 • g

C3 • (C3)# 2

P17,1.5 b| S E8 |(g, Appendix C

The Compositions of Christian Lauba

The following list contains the works published by Christian Lauba that utilize the saxophone. The compositions are divided by different genres and instrumentations. The information through 2003 is based on Jean-Marie Londeix's vi Comprehensive Guide to the Saxophone Repertoire 1844-2003 (2003). The List does not include any of Lauba's works written under the pseudonym, Jean Matitia.

Solo Bat (2000) [10'] Chott 2 (1992) [IV] 9 Etudes (1992-1994) Hard (19M) [9'] Hard Too Hard (1994) Ifhi et Fes (1995) Kora (2000) [8'] Sta« (2001) [10'] Steady Study on the Boogie (1993) [12'] XYL (2007) [6']

Saxophone and Piano, Keyboard, Organ SW (1986) [12'] Tatum (199$) [5']

Duet Adria (1985) [IT] 6 Duos (1995)

Saxophone Quartet Reflects (1986) [IT] Chamber Am (1995) [15'] Atlantis (1990) [14'] Atlas (1984) [20'] Autographie (1985) Brome (2002) Z)owar (1991) [16'30"] Dream in a Bar (1992) [14'30"] Fultines (2000) Mrf(2002)[8'30"] Pacowr.? (1986) [2'30"] Passage Pulsar (1985-1990) [8'] Ravel's raga (1993) [15'} Rif (1991) [14'] i?^ (1996) [12'] Sumba (199%) Tambora (1999), 8 Sx: SATB, SATB/6 Perc Variation-Couleurs (1986)

Ensemble Art's (1999/2000) La Foret perdue (1983) [9'] Les 7 ties (19%%) [IV] Mutation-Couleurs IV (1985) [12']

With Band/Orchestra Dies Irae (1991) [XTW] fi#-(1997)[12'l Program

Halahw I IWd) Christian l.auba (b. 19521

In Recital Divert Ricr.to I iOf.4; Roger Boutry Allegro niii i ou 'reppo (b. 19321 Aniiantc • 1'ivsw

Concern, Op. 14 11 Lars fcnk Larsson Po-\ nan Ku, saxophone Allegro mo I to moderate (19(18-1086) i iindidatt: tor the Doctor uf Music degR'c Adagio in •\pphci""' Musi; Allegro schcr/anco assisted by Intermission Roger Admiral, piano .Fun.ulet W90l Christian Ijiiiha

TO Ctinceiio 11944) Hcnn Tixnasi Andante ct Alk-yru (1901--.971) Thurtda). April 1. 2004 al K:0fl pm Final - Gnat on f I o. Arts Building Kf" University of Alberta

to^ '. hiv tcnul i* ptcscniL-i: in pjrt:^ tulfillricru ot the le^Lrcmcnt? io: ±c Y I >l.: 1.!' Ill MllsiL JLVIL-C fill Ml Kj.

MI Ku is ;i rr::pii-nr ••• i Uml H.irr* Mrrinrwl Awjr^ ii'iiailuaicl ^TCrS.'' DEPARTMENT (_>.- W' MUSIC 7:10 pm Pre-concert Introduction: Oavid Cook

Program

The University of Alberta Concert Choir, Madrigal Singers and University Symphony Orchestra Debra Cairns and Michael Massey, Conductors

Gesang der Parzen, Op 89 (1882) Johannes Brahms (1833-1897)

Concerto for Alto Saxophone and Orchestra (1949) Henri Tomasi Andante - Allegro (1901-1971) Cadence - Allegro Giration finale Soloist Po-Yuan Ku, saxophone

Nanie. Op 82 (1881) Johannes Brahms

INTERMISSION

Symphony No 5 in D Major (1943) Ralph Vaughan Williams 1 Preludio (moderato) (1872-1958) 2 Scherzo (presto) 3. Romanza (lento) 4. Passacagha (moderato)

After receiving his Bachelor degree in Geography at National Taiwan University in 1996, Po-Yuan Ku started to pursue studies in music. He received his Artist Certificate m Saxophone Performance in 2000 and the degree of Master of Art in Saxophone Performance in 2002 from Bowling Green State University in Ohio under the tutelage ol Dr John Sampen Since 2003, he has been pursuing a Doctor of Music degree in Saxophone Performance at the University of Alberta under the supervision o' Or William Street.

Po-Yuan Ku has been an active saxophonist across Taiwan, United States and Canada, including performances in NASA Conferences (North American Saxophone Alliance) and in the Saxophone Symposiums of the US NBvy Band. He is the winner of the 2005 Unversav of Albeita Orchestra Concerto Competition. Program

Konzertstuek fur Zwe Altsaxophonel.1933; Paul Hinderrnth I lebhaft (18S5-1964) li Massiy langsam III. Lebhalt In Recital Alfredo Mendoza, alto saxophone

Le Chant du Veilleur Estampe Holiandaise (1933) Joaquin Nin Po-Yuan Ku, saxophone For mezzo-soprano, alto saxophone and piano (1979-1949) Candidate for the Doctoi M' Music degree Gillian Scarlett, mezzo-soprano (Ptf-formance) tpitaphe de Jean Harlow, op 164. Charles Koechim AssisteC ty Romance for flute, alto saxophone, and piano (1937) (1867-1950) Megdalena Adamek, piano Leigh-Anne Rattray, flute with fjjesls Gillian Scarlett, mezzo-soprano Leigh-Anne Rattray, flute Intermission Kathleen Ludwig, cello Alfredo Mendoza and Allison Balcetis ADRIA {1985) Christian lauba saxophone (b.1952) Allison Balcetis, alto saxophone Wednesday, March 19, 2008 at 8:00 pm ARS ('992-94) Christian Lauba Alfredo Mendoza, soprano saxophone

Arts Building Sonata for Alto Saxophone and Ceilo (1994) Edison Dernsov m --„,„- University of Alberta Allegro risoiulo (0.1929) Tranquillo Modorato Kathleen Ludwig, cello ftotf** This recta s p-esentec n partial ti.l1ilr-ie.-il ul the requirements 'or :he Doctor of Mosic dearee for Mi Ku ••/pff^', DEPARTMENT 01: MUSIC PROGRAM PO-YUAN KU, SAXOPHONES I liri\[u» Ijtului iillJ i h* Vivt photic l'!ixk> I'll mi it I ?lst*MK;jl IVl^ViIKi" \rt I'.UUUJ. fm S4»>plioiK- MKI 1'i.iiui, Op. !SH fU'-U M; Ouilcs K.HIWJU CANDIDATE FOR THE DOCTOR OF MUSK; DEGREE

I'uli '!'>*!T *'-*•> < "hn*.|t;in l.jinhti lb. VW\

SilViiiH* 0*1*! 2 'M/ < 'hllMl;tn I.;l',ll>;l

(.in iIM'O 'M; rhnvli.in Lr.ilu

SUM iJ't'H) ChnMun l.;i.iti;i

r, The IXMI\ R.JK i : HV| |c:in Mtririii t'r> I'HJi

I rsr-: i i'iriip^-1,-; Omxtiait l^iuhii •*.>* I- 'in m Sf;i\. I KIM*I;I 1*1 IM»r i li wu-tvi-il i. ip i-itT -.villi -,i%;-pK«n pmti ..i^. ;t-j|f \|jr»f I iHtiliix *f-»m ]*¥)?. r*i l'K»| i xplnnnp rKc *li jml flu tirhr.iial pitrMhi tlhr '»»«•- 11M -. * t-i -f-iufi |n if.inii.inri Thit IM\! -.ilit, ii ilk IIM • >) i tifirinipiK.ifv v.\.npl\.ih h-rh IUMUI s-r'j'uuluil, >i tf»i|i i •i.ind.mJ 'hM is rr.ilr tili'»mir< -nr IH» ^.iro.ir* irx mln rs nt iK -.i.MtpliniK- l.nrv;, MHuMii to iijt >itl hi }nh toiili iti< itiiimW'MH <-l ilw IH-I.II;. .>| ih * Mill . "Ill sll -\i-lllpnil M* • «\itpl-1MK intuit-, I will iituvpliti* niv vnynim -A -

Lecture Recital I'htv rm'-il is pn nnti'tl in piimil lulfilir.uif n| (lie rivjumiftrii*'. hit ilw l>tiiiiii *•( Sandra Joy, piano MUMI iUi'Kx- I'm Mi K.u

Friday. K-bruar\ 2?, 2(W at H: