JOHN MACKEY’S CONCERTO FOR SOPRANO SAX AND WIND ENSEMBLE (2007): AN ANALYSIS AND CONDUCTOR’S GUIDE TO PERFORMANCE by JACOB EDWARD WALLACE (Under the Direction of John P. Lynch) ABSTRACT John Mackey is an important young American composer. A student of Pulitzer Prize– winning American composer John Corigliano, Mackey has written works for groups ranging from small chamber ensembles to symphony orchestra. He has become, recently, an important figure in composing new works for wind band. Of these, one of his most significant works is his 2007 composition Concerto for Soprano Sax and Wind Ensemble. This document serves as a comprehensive guide to the conductor for this work. It contains a historical background about John Mackey and the piece itself, an original and comprehensive musical analysis, and pedagogical advice for performing the work from the perspective of a conductor. Its intent is to provide conductors with the necessary tools to perform the work. These include an understanding of its genesis and commissioning and perception of difficulties presented to the ensemble in performance of the work. A comprehensive analysis of the work allows the reader to see the importance of shared motives and quotations from Corigliano’s Clarinet Concerto as well as understand the modern tonal language used regularly by Mackey. Appendices detail conversations between the author of the document and Mackey, extended techniques for the soloist, the composer’s notes on the piece, and a catalogue of the composer’s works for wind band. INDEX WORDS: John Mackey, Concerto for Soprano Sax and Wind Ensemble, concertos, soprano saxophone, wind ensemble, American composers, John Corigliano JOHN MACKEY’S CONCERTO FOR SOPRANO SAX AND WIND ENSEMBLE (2007): AN ANALYSIS AND CONDUCTOR’S GUIDE TO PERFORMANCE by JACOB EDWARD WALLACE B.A., The University of Nebraska, 2004 M.M., Baylor University, 2006 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2009 © 2009 Jacob Edward Wallace All Rights Reserved JOHN MACKEY’S CONCERTO FOR SOPRANO SAX AND WIND ENSEMBLE (2007): AN ANALYSIS AND CONDUCTOR’S GUIDE TO PERFORMANCE by JACOB EDWARD WALLACE Major Professor: John Lynch Committee: Mark Cedel Allen Crowell Adrian Childs Dorothea Link Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2009 DEDICATION For my parents. iv ACKNOWLEDGEMENTS There is a host of people whom I would like to thank for helping make this document possible. First and foremost, I must acknowledge John Mackey, whose support and enthusiasm made the project possible in the first place. John is a bright and talented composer whose limitations certainly know no bounds. It has been a pleasure and a privilege to work with him on this particularly special piece. I would like to thank John Lynch, my advisor and mentor, for helping to shape me into the conductor and musician I am today. His supervision and guidance have helped me to achieve things I never dreamed possible and it has been a wonderful pleasure to study with him for the past three years. Likewise, I would like to thank four special teachers who have helped me develop my musicianship and intellect: Kevin Sedatole, Carolyn Barber, Diane Barger, and Richard Shanley. I wouldn’t be where I am today without them. They are all masterful musicians and teachers; but more importantly, they are wonderful people and I am so happy to be able to consider them among my friends. I would also like to thank the membership of my committee – Mark Cedel, Allen Crowell, Adrian Childs, and Dorothea Link. Their commentary and candor have been invaluable in making this document clear, accurate, and pertinent. I have had the esteemed privilege of working with several talented and wonderful colleagues who pursued their degrees with me. Without their support and help, I would have fizzled out long ago. They are: Christopher Bailey, Lyndsay Boysen, Josh Byrd, Amy Knopps, Colin McKenzie, Chester Phillips, and Eric Posner. I wish them all well in their bright futures. v vi Lastly, but most importantly, I would like to thank my family and friends. Without them, I wouldn’t have a reason to try to excel. They have always supported me – even when they thought I might be acting foolishly – and helped me to achieve my goals. I don’t know what I would do without them. I love you all. TABLE OF CONTENTS Page ACKNOWLEDGEMENTS.............................................................................................................v LIST OF TABLES......................................................................................................................... ix LIST OF FIGURES .........................................................................................................................x CHAPTER 1 INTRODUCTION AND BACKGROUND ..................................................................1 Introduction ...............................................................................................................1 Biography of John Mackey .......................................................................................6 The Commissioning and Composition of Concerto for Soprano Sax and Wind Ensemble ...........................................................................................................10 2 ANALYSIS OF CONCERTO FOR SOPRANO SAX AND WIND ENSEMBLE....14 Primer on Referential Collections ...........................................................................14 Important Features of the Concerto.........................................................................18 Prelude ....................................................................................................................21 Felt...........................................................................................................................33 Metal........................................................................................................................46 Wood........................................................................................................................60 Finale.......................................................................................................................70 3 IMPLICATIONS FOR PERFORMANCE..................................................................85 Challenges for Conductor and Ensemble ................................................................85 vii viii Conclusions .............................................................................................................97 BIBLIOGRAPHY..........................................................................................................................99 SELECT DISCOGRAPHY .........................................................................................................101 APPENDICES A TRANSCRIPT OF INTERVIEW WITH JOHN MACKEY.....................................102 B CATALOGUE OF EXTENDED TECHNIQUES FOR SOPRANO SAXOPHONE SOLOIST...............................................................................................................120 C COMPOSER’S PROGRAM NOTE TO “CONCERTO FOR SOPRANO SAX AND WIND ENSEMBLE” ............................................................................................126 D CATALOGUE OF WORKS FOR WIND BAND BY JOHN MACKEY ................128 LIST OF TABLES Page Table 2-1: Instrumentation of Prelude...........................................................................................22 Table 2-2: Formal, Harmonic, and Motivic Elements in Prelude .................................................23 Table 2-3: Instrumentation of Felt.................................................................................................33 Table 2-4: Formal and Harmonic Elements in Felt .......................................................................34 Table 2-5: Instrumentation of Metal..............................................................................................46 Table 2-6: Formal and Harmonic Elements in Metal ....................................................................47 Table 2-7: Instrumentation of Wood..............................................................................................60 Table 2-8: Formal and Harmonic Elements in Wood ....................................................................61 Table 2-9: Instrumentation of Finale.............................................................................................71 Table 2-10: Formal, Harmonic, and Motivic Elements in Finale..................................................72 Table B-1: Occurrences of Alternate Fingering by movement....................................................121 Table B-2: Occurrences of Portamento by movement.................................................................122 Table B-3: Occurrences of Pitch Bend by movement .................................................................122 Table B-4: Occurrences of Accelerating Rhythm by movement.................................................123 Table B-5: Occurrences of Slap Tongue by movement...............................................................124 Table B-6: Occurrences of Double Tonguing by movement.......................................................125 ix LIST OF EXAMPLES Page Example 2-1: Focal pitches in Concerto for Soprano Sax and Wind Ensemble, by movement....20 Example 2-2: Prelude, m. 1: woodwind soundscreen