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Dissertations / Theses on the topic 'Alto saxophone'

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Published: 4 June 2021

Last updated: 19 February 2022

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1

Stonaker, Ben Floyd Mobberley James. "Diversions for alto saxophone and orchestra." Diss., UMK access, 2007.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007.
"A thesis in music composition." Typescript. Advisor: James Mobberley. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

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2

Trittin, Brian Lynn. "Annotated bibliography of selected unaccompanied alto saxophone literature." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186269.

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This document annotates 23 unaccompanied alto saxophone compositions, including original works and transcriptions. Selection of these pieces was based on the following criteria: (1) works which are commonly performed, (2) works by major composers, and (3) works which are important in terms of innovative performance techniques. Each annotation provides a synopsis of the composition, biographical information about the composer, pertinent information about the composition (dedication, duration, etc.), discussion about various performance considerations, a brief analysis, and concluding statements about the work including a qualitative assessment. Compositions annotated in the document include: Caprice en forme de valse by Paul Bonneau, Mai/ by Ryo Noda, Sonate by Jeanine Rueff, Suite Francais by Pierre Max Dubois, and the Unaccompanied Cello Suite No. 1 by J. S. Bach arr. Londeix, and arr. Ricker (both editions are discussed). At the conclusion of the document, a bibliography of approximately 300 unaccompanied compositions for the alto saxophone (including commonly performed transcriptions) is listed, providing the title, composer, and publisher (if available).

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3

Toro-Tóbon, Carlos I. "Fundamental dissonance: concertino for alto saxophone and sinfonietta." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6868.

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Fundamental Dissonance, an original composition scored for alto saxophone and sinfonietta, explores the concept of dissonance not only in the traditional musical sense related to tonality, but as a general principle indispensable for variety and creation. The particular perspective of this concept that can be found in the early work of the Hungarian philosopher, aesthetician, and literary historian Georg Lukács has given a specific direction to my creative process. In one of his first writings, The Theory of the Novel (1914), Lukács presents the idea of dissonance in the following terms: “Every form is the resolution of a fundamental dissonance of existence.” Here Lukács refers to a general conception of form, which includes the artistic context. A couple of texts about Lukács contribute to a thorough understanding of this idea and help to give shape to my interpretation of this sentence. Resolution is the key term in the sentence and mediates between form, what will be created, and dissonance, what needs to be resolved. In this way dissonance is presented as a problem, a question, or what others have also called a knot. It is fundamental because of its previous condition to existence. Without unrest, unity keeps things in a state of equilibrium, inhibiting movement or variety. Instead, disunity, or dissonance, permits change and creation, hence existence. There is a strong link between creation and dissonance. These ideas, and the multiple interpretations of dissonance in the musical context, influenced the original concepts used in Fundamental Dissonance and guided the compositional process. The first, and perhaps more evident manifestation of dissonance is the use of specific intervals as foundations of the musical language in the piece. Uses of the set class (012); with variants (013), (023), or (024) obtained by the expansion of (01); appear not only in the melodic and harmonic aspects but also at the structural level. Some scattered uses of microtonality are also part of this approach. In opposition, and as a reference to its genesis, the “equilibrium before its existence” is represented with unisons, adding contrast and variety to the previous intervals. Contrast is the second element I used to represent Lukács’s idea of dissonance. I have included references to contrasting styles and genres, short passages in tonal chords or short melodic cells with tonal character. These traditionally consonant elements play a contrasting –i.e., dissonant- role because of the general dissonant language in which they have been placed. Other compositional aspects that serve as contrast have to do with the opposition of densities and textures; the highly marked differences between the two main themes; and the use of the alto saxophone, an instrument traditionally not belonging to the sinfonietta, as the soloist. Extramusical elements have been used as general principles in the creative process. The saxophone adopts a role of leadership from the very beginning of the piece, presenting its ideas in a monologue style. Some instruments follow the soloist while others oppose, creating a clash of forces that ultimately generates more dissonance.

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4

Kallestad, Scott D. "An Annotated Bibliography of Selected Repertoire for Alto Saxophone and Piano for Developing College-Level Alto Saxophonists, with an Analysis of Yvon Bourrel's Sonate Pour Alto Saxophone Et Piano." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Dec2005/kallestad%5Fscott%5Fd/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2005.
System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Sept. 18, 1995, Mar. 11, 1996, and Mar. 22, 2004. Includes bibliographical references (p. 90-95).

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5

Feldkamp, Timothy Lee. "Developing the altissimo register of the soprano, alto, and tenor saxophones /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.

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6

Miller, Gregory E. "The Saxophone Music of Frederick Fox: An Annotated Bibliography with an Analysis of S.A.X. for Solo Alto Saxophone and Saxophone Quartet." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9751.

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7

Cain, Joren. "Rediscovering Fernande Decruck's Sonate en ut# pour saxophone alto (ou alto) et orchestre: A Performance Analysis." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28401/.

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French composer Fernande Decruck (1896-1954) composed over forty works for the saxophone, but her music fell into obscurity soon after her death. In recent years, the Sonate en ut# pour saxophone alto (ou alto) et orchestre (1943) has been rediscovered, performed, and recorded by prominent concert saxophonists. This document takes a historical approach by examining Decruck's biography, as well as a theoretical approach to provide a deeper understanding and appreciation of her work through analysis. The first four chapters of this document provide biographical background on Decruck, her career, professional associations, and her husband, Maurice Decruck, saxophonist and music publisher. Additionally, an examination of her saxophone output includes a brief discussion of her compositional development. Fernande Decruck dedicated her sonata to French saxophone virtuoso Marcel Mule, but a version for solo viola also exists. From the discrepancies between the versions, one might infer that portions of the work were composed originally for the viola. There are also two versions of the accompaniment: one for full orchestra and the other for piano. Analysis comprises the bulk of this study. The work is composed in a traditional four-movement setting: a sonata-form opening movement, a slow second movement, a movement entitled "Fileuse" (spinning song), substituting for the traditional scherzo, and a rondo-like finale. The work incorporates trends of Impressionism through its harmonic vocabulary, chordal planing, and pentatonic scales. It also demonstrates a sophisticated application of polytonal techniques in several passages. In addition to analysis of each movement, common interpretive practices are discussed, based upon available commercial recorded performances, and performance suggestions are given. There are several notation errors within the parts, as well as some significant differences between the two accompaniments. These errata and discrepancies between the solo parts are listed and discussed.

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8

Jenkins, Chester James Jenkins. "A Conductor’s and Performer’s Guide to Steven Bryant’s Concerto for Alto Saxophone." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524180086531008.

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9

Yun, Yeomin. "The Sound of Saxophone from South Korea:A Performer’s Guide to Young Jo Lee’s Sori No.10 for alto saxophone." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1415631920.

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10

McElhaney, Carla Budzian. "The saxophone and piano version of Ingolf Dahl's Concerto for alto saxophone : a guide to performance for the collaborative pianist /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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11

Rowles, Carl Thomas. "Ingolf Dahl’s Concerto for alto saxophone and wind orchestra: a revised edition." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6262.

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12

Page, Stephen Charles Jr. "A performance edition and technical guide to Johann Sebastian Bach's Chaconne from Partita in D minor, BWV 1004, for alto saxophone." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/5034.

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Johann Sebastian Bach's Chaconne from his Partita in D Minor is considered a crown jewel of the violin repertoire. Since its composition, this piece has taken many forms, undergoing transformations allowing its performance by other instruments and ensemble formations. These include transformations for piano, orchestra, flute, clarinet, and trumpet amongst others. This projects serves as another transformation, bringing a new versions of the Chaconne to the repertoire of the alto saxophone. Additionally, the project discusses in detail the necessary changes made to the music, as well as offering comprehensive technical suggestions for the inherent issues encountered within this arrangement.

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13

Mahaffey, Matthew Ray. "A performance guide to Robert Lemay’s Ariana, Kaboul for alto saxophone and film." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6190.

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14

Johansen, Benjamin David. "Relent: a Composition for Alto Saxophone, Double Bass, Two Percussion, and Interactive Electronics." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115100/.

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relent is a sacred work within the genre of interactive electronic music. the 20-minute composition is a multi-movement piece for four instrumentalists (saxophone, double bass, and two percussion) and computer that is inspired by the gospel message. relent is specifically about the gospel message that Christ died for man’s sins, rose from the dead, and through faith in him man can be reconciled to God. This project was an experiment in creating a work with a programmatic extramusical structure. in preparation for writing a piece based on Christian programmatic content, this paper presents an overview of research conducted on the intersection between art and Christianity referencing authors such as Harold Best, Nikolai Berdyaev, Hans Rookmaaker, Calvin Seerveld, Daniel Seidell, A. W. Tozer, Steve Turner, and Cornelius Van Til. This work was an experiment in trying to make very direct and specific musical ties to the narrative of the Gospel. Another highly experimental aspect of relent was in the way interactive electronics were used. Each acoustic instrument in the work has its own input and module within the Max patch, extending each acoustic instrument rather than adding an electronic accompaniment component. Additionally, non-traditional notation, both codified and real-time computer generated, improvisation, theatrical instructions, and a completely computer generated movement makes relent a piece that challenges and pushes the boundaries of current interactive electronic music.

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15

Long, Jeremy A. "Sonata for alto saxophone and piano by Phil Woods an improvisation-specific performer's guide /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1218819411.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.
Advisors: James Bunte (Committee Chair), Rick VanMatre (Committee Member), Kim Pensyl (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords: Phil Woods; Improvisation; Saxophone; Crossover; Performer's Guide; Sonata; Jazz Includes bibliographical references.

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16

Torres, Michael Rene. "Joseph Kreines and his Music for Alto Saxophone: A Biography, Analysis, and Performance Guide." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338398066.

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17

LONG, JEREMY A. "Sonata for Alto Saxophone and Piano by Phil Woods: An Improvisation-Specific Performer's Guide." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218819411.

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18

VanPelt, Michael O. "A Performers Guide to the Music of Edison Denisov: Understanding the Interpretive Implications of his Musical Language in Sonata for Alto Saxophone and Piano, Deux Pieces, and Sonata for Alto Saxophone and Cello." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384427385.

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19

Zayas, Cabán José Antonio. "Dodecaphonic and symmetrical processes in the first movement of Jindřich Feld’s Sonata for alto saxophone." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2304.

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20

Heisler, Jeffrey A. "Anatomy and Evolution of Morton Subotnick’s In Two Worlds for Alto Saxophone and Interactive Computer." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1268962567.

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21

Rowlett, Coleman. "Spectral Radiance." Digital Commons @ Butler University, 2018. https://digitalcommons.butler.edu/grtheses/500.

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Spectral Radiance is a concerto for alto saxophone and chamber orchestra. In this paper, the influence of Franz Schreker's Kammersymphonie on Rowlett's compositional inspiration is discussed in detail. In addition, the various compositional elements that make up the work are explained. These include elements of form, motivic development, sharing themes between movements, and harmony. Rowlett's use of these compositional elements aims to create cohesion throughout the work as a whole. The paper acts as a guide, retracing the steps taken by the composer during the composition of the concerto.

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22

Williams, Jane Rochelle. "State classical solo contest repertoire lists: an exploratory study and comprehensive list of recommended intermediate alto saxophone compositions." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2790.

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23

Lichnovsky, Michael Wade. "Australian sonatas for alto saxophone and piano: new editions and performance guides for three works by major australian composers." Diss., University of Iowa, 2008. https://ir.uiowa.edu/etd/30.

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This project has come about because of the need for Australian saxophonists to develop an awareness of saxophone history and culture in their own country. Dulcie Holland, William Lovelock and Margaret Sutherland were artists who were active and influential in the areas of performance, composition and pedagogy, helping to create and promote the musical arts in Australia during the first half of the twentieth century. The high regard in which they are held should be evidence enough that their works for saxophone must be performed by their fellow Australians as a part of a well rounded, international exposure to the very best repertoire available. Saxophonists in Australia will be able to place themselves in a relevant world context only when they are fully aware of the heritage their instrument has in their own country. The present editions (created using the type-setting software Sibelius 4) seek to make performance considerably easier by eliminating the need to use the composer's autograph manuscripts, which are sometimes difficult to read and understand, due to poor hand-copying or repeated photocopying which has subsequently made some pages illegible. The accompanying performance guides are designed as introductions, the first step for the young student wishing to tackle these national treasures.

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24

King, Brian William, and n/a. "An experimental investigation of the effects of mouthpiece control on alto saxophone tone in the student player." University of Canberra. Education, 1993. http://erl.canberra.edu.au./public/adt-AUC20060814.133145.

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Good tone is one of an alto saxophone player's greatest assets and consequently deserves high priority in training and pedagogy. The current pedagogical literature gives little attention to tone production on the saxophone. The mouthpiece is the link between the player and the saxophone. This study examined the effect of the normal mouthpiece pitch and the pitch range produced on the saxophone mouthpiece on alto saxophone tone quality . In this experimental study, recordings were made of forty-three student alto saxophone players who performed tasks consisting of three saxophone mouthpiece exercises and four short musical phrases on the saxophone. The tape recordings were used to provide a spectral analysis of the tone samples by Fast Fourier Transform Analysis, and to allow qualitative analysis by five expert judges. The judges used a saxophone listening profile to provide qualitative evaluation of the recordings. Cluster analysis produced three groups of subjects according to combinations of the mouthpiece pitch and range produced. The mean sustained mouthpiece pitch and mouthpiece range of the groups were: Cluster 1 - 790 Hz and 550 cents; Cluster 2 1023 Hz and 150 cents: and Cluster 3 - 820 Hz and 1203 cents. Analysis of variance was used to test for statistically significant differences between the clusters. Discriminant analysis was used to identify other variables which contributed to the formation of the three clusters. The quantitative analysis of both mouthpiece and saxophone tones provided no insight into the spectra of the student subjects. The qualitative analysis using bipolar descriptors provided valid criteria which could be applied consistently for the analysis of student saxophone tone. A Tonal Index was computed from the judges' ratings in order to test for differences in tone between the clusters. Analysis of variance tests showed significant differences in the tone produced by the clusters on both the mouthpiece and the saxophone. The tone produced by Cluster 3 was significantly different to that produced by Clusters 1 and 2 at the p < .05 level. Discriminant analysis identified the use of saxophone tone models (through comparative critical listening) and small group performance as significant predictor variables (at the p < .05 level) in the formation of the clusters. The results of this study suggest that tone production on the alto saxophone is improved through the development of control on the mouthpiece. It was concluded that routine practice with the mouthpiece can serve in the development of a flexible and responsive embouchure and oral cavity and that students need to develop a mental concept of saxophone tone as part of the development of tone production. Also, experience in small group performance needs to be sought and provided for saxophone students. Finally, this study focussed on an area of mouthpiece behaviour which can easily be included into any instructional design and monitored by teachers.

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25

Whittaker, Craig J., and Craig J. Whittaker. "A study and performance analysis of Jacques Ibert's Concertino Da Camera for alto saxophone and eleven instruments." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/624878.

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The purpose of this study is to provide historical information, analytical material, and to discuss performance problems and teaching techniques relative to the Concertino da Camera by Jacques Ibert. A number of articles have been written concerning the premiere date and the necessity for the saxophonist to perform certain passages in the extreme high register of the instrument. The known arguments will be presented and discussed. The main purpose of this study is to examine and offer solutions to challenging performance situations which both teachers and performers encounter during study of the Concertino. A Technical Problems List was constructed and possible solutions are discussed based upon a survey of professional saxophonists and the performing experience of the researcher. The survey results have proved invaluable and many references are made to the practice methods of the survey respondents. The Concertino da Camera was selected for this study because of its musical value, frequency of performance, level of difficulty and appropriateness for educational use. In a survey conducted in 1973 by Cecil Gold, 120 professional saxophonists were requested to list examples of repertoire which they have students perform. The Concertino was listed as the fourth most frequently chosen work at the undergraduate level and the first choice at the graduate level, and is recognized as one of the most musically rewarding works in the solo literature for the saxophone. Two texts by Teal and books by Farkas and Gold served as primary reference material as the researcher identified and offered solutions to performance challenges during construction of the performance analysis. Two books, by Pottle and Stauffer, which discuss the intonation problems of wind instruments, were also helpful. In tracing the history of the Concertino, the researcher found books by Hemke and Rousseau, and articles by Rascher to be helpful. The Concertino da Camera, written in 1935, is representative of the most prolific period of Ibert's artistic production. In Chapter 1, this period and the history of the Concertino are examines. A discussion of the formal structure followed by a description of the music will be given in Chapter 2. Problems of technique, intonation, tonal matching, articulation, rhythm, range and special fingerings will be detailed in Chapter 3. The writer feels that the Concertino da Camera is an outstanding composition which is deserving of reputable performances. It is hoped that the results of the research will benefit the educator and performer of this challenging composition.

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26

Dimoff, Trevor Anthony. "The third impossible thing before breakfast, an octet for saxophone and string quartets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0013/MQ34935.pdf.

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27

Hauta, Nolan Andrew. "Aaron Perrine’s It has to be beautiful: concerto for alto saxophone and wind ensemble – an analysis, conductor’s guide, and soloist’s guide." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6758.

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28

Emmanouelides, Evangelos. "Anthropus Pananthropus : a work in three continuous movements for Symphony Orchestra with rebetiko trio, alto saxophone and double bass." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69727.

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29

Egge, Mark N. "Toward a Method for Performance Analysis of Twentieth-Century Music." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1130784707.

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30

Cold, Benjamin T. "Analysis of a recital: a report on Piet Swerts’ Klonos and Ingolf Dahl’s Concerto for alto saxophone and wind orchestra." Kansas State University, 2012. http://hdl.handle.net/2097/14991.

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Master of Music
School of Music, Theatre, and Dance
Anna Marie Wytko
Ingolf Dahl’s Concerto for Alto Saxophone and Wind Orchestra is considered a master concert work in saxophone literature. The work was written for saxophone pioneer Sigurd Rascher who was active in commissioning new works for the instrument. Piet Swerts’ Klonos, composed over 40 years after Dahl’s Concerto, is a much newer composition. The work has gained national recognition as a popular competition piece and is a synthesis of new and old compositional styles. These two works strongly showcase the flexibility and virtuosity capable of the skilled saxophonist. This master’s report, presented as extended program notes, includes biographical information about the composers, a historical and stylistic overview of the selected compositions, and a harmonic and formal analysis of the music with respect to performance considerations.

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31

James, Matthew T. "Extemporizing Reawakened: Saxophonist Branford Marsalis's Approach to the Cadenza for Concertino da Camera for Alto Saxophone and Eleven Instruments by Jacques Ibert." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Dec2006/Restricted/james_matthew_T/index.htm.

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32

Blanchard, Scott. "Subjectivities." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143484643.

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Thesis (M.M.)--Bowling Green State University, 2006.
For B♭ clarinet, alto saxophone, violin, violoncello, percussion (vibraphone, timpani) and piano. Document formatted into pages; contains 1 score (26 p.) Duration: ca. 13 min. Includes bibliographical references.

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33

Spence, Jacob F. "L'Éternité : cantata for SATB soloists and choir, flute, cor anglais, bass clarinet, alto saxophone, timpani, eight percussionists, piano, harpsichord, celesta, harp, guitar and string orchestra." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/27450.

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Schellhas, Daniel H. "PEREGRINATION: A MUSICAL SKETCH OF EUROPE IN FOUR MOVEMENTS." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1174323599.

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Thesis (M.M.)--Bowling Green State University, 2007.
For alto saxophone in E♭, violoncello, piano, percussion (vibraphone, crystal glasses (C,E,G♯, B)) Document formatted into pages; contains 1 score (19 p.) Duration: ca. 13 min. Includes bibliographical references.

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35

Liu, Tai-Chih, and 劉泰志. "Design Study of the Alto Saxophone." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/14954748093784548259.

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碩士
逢甲大學
電聲碩士學位學程
100
Saxophones in Houli have been developing for sixty years, and there were about thirty manufactories of saxophones in Houli at the golden age. Manufacturers in Houli are the best co-partners for businessmen of commercial brands in Europe. Making saxophones is a very special and extraordinary local industry in Houli, however, the technology of making saxophones must be improved because the challenge of China having low prices, Houli loses half of manufactories. In this paper, we have to better the minute structure of the instruments and request the connected manufacturers to make some instruments and equipment, also invite some saxophone players to test the instruments, so that there will be the most perfect saxophones with wonderful properties! On the other hand, in order to do research on mute equipment of a saxophone, we can measure the sound level of every part of a saxophone.

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36

Chen, Alex, and 陳彥廷. "Sound Field Analysis of Alto Saxophone." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/67154942849533591651.

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37

Steighner, Erik Vincent 1981. "A collection of etudes targeting altissimo passages in alto saxophone solo literature." Thesis, 2008. http://hdl.handle.net/2152/3952.

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Many texts and pedagogical works address the production of the saxophone’s altissimo register. The focus of these resources, however, is predominantly directed towards initial altissimo production for intermediate players, as well as fingering choices, scales, and brief exercises for advanced performers. There is a current dearth of longer studies and etudes designed to bridge the gap between short exercises and the demands of solo repertoire. In an attempt to remedy the relative lack of advanced instructional material, I have composed a collection of 14 etudes based on altissimo passages from the alto saxophone solo repertoire. The purpose of this project is twofold: to give players an opportunity to increase their technical proficiency in the altissimo register, and to demystify prominent solo passages by employing them in various forms. Chapter One illustrates the near absence of altissimo etude collections by surveying existing altissimo resources including books, magazine and journal articles, dissertations, and video and audio instructional materials. The chapter concludes with my views regarding successful altissimo production. Chapter Two discusses my original etudes, which draw upon numerous compositional methods (applied separately and in combination) of transforming and integrating musical material from the original solo excerpts. The 14 etudes are provided in their entirety in the Appendix. In general, they have a technical focus and are appropriate for performance during private lessons or master classes. Each one is relatively compact at one or two pages in length, with performance durations ranging from one to four minutes.
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38

Moore, Keith. "A Multiphonic Reappraisal and the Alto Saxophone Concerto Radial." Thesis, 2014. https://doi.org/10.7916/D89S1P63.

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This dissertation analyzes the original composition Radial, which is scored for alto saxophone solo, small orchestra and live electronics. Multiphonics are a common feature on the aural surface of Radial. This analysis will show that alto saxophone multiphonics are also a primary structural element in the work, hierarchically organizing the timbres, harmonies, instrumental interactions and large-scale form of the score. Interestingly, no source suggests how multiphonics can be an independent organizational force. Numerous book length multiphonic catalogues for diverse instruments give fingerings for these sounds and describe them as harmonies so that they can be fitted into harmonic contexts, and a small but significant scientific literature on multiphonics discusses the acoustic principles underlying these sounds, but no document considers their independent structural potential. After providing a general account of multiphonics and their relation to harmonic and inharmonic sounds, this dissertation will propose an answer to that problem by drawing together concepts from American experimental music, spectralism and cognitive music theory, with Radial reviewed as an example of this method in action. Historical issues and a broad range of implications for this research will also be discussed.

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Lichnovsky, Michael Wade Holland Dulcie Lovelock William Sutherland M. "Australian sonatas for alto saxophone and piano new editions and performance guides for three works by major australian composers /." 2008. http://ir.uiowa.edu/etd/30.

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Thesis (D.M.A.)--University of Iowa, 2008.
Thesis supervisor: Kenneth Tse. Includes performance editions of : Sonata for E♭ alto saxophone and piano / Dulcie Holland (leaves 74-94) ; Sonata for saxophone & pianoforte / William Lovelock (leaves 95-131) ; Sonata for alto saxophone and piano / Margaret Sutherland (leaves 132-153). Includes bibliographical references (leaves 154-155).

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"Writing a Piano Reduction for Henry Brant's Concerto for Alto Saxophone and Orchestra." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17815.

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abstract: The purpose of the paper is to outline the process that was used to write a reduction for Henry Brant's Concerto for Alto Saxophone and Orchestra, to describe the improvements in saxophone playing since the premiere of the piece, and to demonstrate the necessity of having a reduction in the process of learning a concerto. The Concerto was inspired by internationally known saxophonist, Sigurd Rascher, who demonstrated for Brant the extent of his abilities on the saxophone. These abilities included use of four-octave range and two types of extended techniques: slap-tonguing and flutter-tonguing. Brant incorporated all three elements in his Concerto, and believed that only Rascher had the command over the saxophone needed to perform the piece. To prevent the possibility of an unsuccessful performance, Brant chose to make the piece unavailable to saxophonists by leaving the Concerto without a reduction. Subsequently, there were no performances of this piece between 1953 and 2001. In 2011, the two directors of Brant's Estate decided to allow for a reduction to be written for the piece so that it would become more widely available to saxophonists.
Dissertation/Thesis
D.M.A. Performance 2013

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CHEN, HAN, and 陳. 翰. "The Analysis and Interpretation of William Albright’s Sonata for Alto Saxophone and Piano." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/28dk84.

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碩士
輔仁大學
音樂學系
107
William Albright (1944 – 1998), an outstanding American educator, composer, pianist, and organist in the twentieth century, was famous for playing ragtime and early jazz music. His music combined elements of classical, jazz and modern music, is often played in international music competitions and festivals. He taught in Michigan University until his death Many of his students became excellent musicians. The topic of this thesis is Albright’s Sonata for Alto Saxophone and Piano. The structure and development of the four movements will be discussed in detail with the aim of fully understanding the idea of the composer and investigating the role of saxophone in the modern music.

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Bender, Rhett L. "An annotated bibliography of published saxophone quartets (soprano, alto, tenor, and baritone) by American composers /." 2000. http://purl.galileo.usg.edu/uga%5Fetd/bender%5Frhett%5Fl%5F200012%5Fdma.

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Gray, Kristine. "Johannes Brahms, cello Sonata No. 2, Op. 99: a transcription and technical guide for alto saxophone and piano." Thesis, 2016. https://hdl.handle.net/2144/14573.

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Johannes Brahms’s Sonata No. 2, Opus 99 is considered an important work of the cello repertoire. With the lack of Romantic-era transcriptions, specifically Brahms, the purpose of this project was to create a new transcription to add to the alto saxophone repertoire. The paper examines Brahms’s own transcription of Sonata Nos. 1 and 2, Opus 120 as an example of a clarinet to viola transcription. Additionally, the paper discusses in detail the necessary changes to the music, as well as offering technical suggestions for the issues encountered when transcribing from a stringed to a wind instrument. The paper concludes with a complete transcription of Brahms’s Sonata No. 2, Opus 99 for alto saxophone and piano.

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Haar, Ora Paul. "The influence of jazz elements on Edison Denisov's Sonata for alto saxophone and piano." Thesis, 2004. http://hdl.handle.net/2152/1146.

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Haar, Ora Paul 1971. "The influence of jazz elements on Edison Denisov's Sonata for alto saxophone and piano." 2004. http://hdl.handle.net/2152/12948.

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Bender, Rhett Lyle. "Annotated bibliography of published saxophone quartets (soprano, alto, tenor, and baritone) by American composers." 2000. http://purl.galileo.usg.edu/uga%5Fetd/bender%5Frhett%5Fl%5F200012%5Fdma.

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Haar, Ora Paul Pittel Harvey Mills John Russell. "The influence of jazz elements on Edison Denisov's Sonata for alto saxophone and piano." 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3127089.

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Olin, Camille. "The Sonata for alto saxophone and piano (1988) by David Maslanka an analytic and performance guide /." 2007. http://purl.galileo.usg.edu/uga%5Fetd/olin%5Fcamille%5Fl%5F200705%5Fdma.

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LI, CHIT-HANG, and 李哲衡. "Analysis and Interpretation of Concertino da Camera pour Saxophone Alto et Onze Instruments by Jacques Ibert." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/r6hcgk.

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碩士
國立臺灣藝術大學
音樂學系
106
In 1935, Jacques Ibert, based on their friendship, composed the Concertino da Camera pour Saxophone Alto et Onze Instruments for Sigurd Raschèr. For the uses of the extended range of the saxophone, the syncopated rhythm and the style of neo-classicism, this piece has become a traditional piece in the classical saxophone repertoire. The piano version of this Concertino serves as the basis of discussion, while there are comparisons between this version and the orchestral version. This thesis contains five chapters. Chapter one introduces the aim and methods of the study, chapter two provides biographies of Ibert together with a compositional background of the Concertino da Camera. The third and the fourth chapters present a personal musical analysis and interpretative ideas. The last chapter summarizes the whole study.

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Chang, Li-Yi, and 張立熠. "An Analysis and Performing Interpretation of Alexander Konstantinovich Glazunov’s《Concerto in E-flat Major for Alto Saxophone, Opus 109》." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/70456670786040124366.

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碩士
國立臺南大學
音樂學系碩士在職專班
105
Alexander Konstantinovich Glazunov (1865-1936) was one of the most influential Russian composers from the late nineteenth to the early twentieth century and is considered as the leader of Russian academic musicians of his time. His compositions include ballet music, chamber music and orchestral works which show his outstanding talent and exquisite orchestration. In 1934, Glazunov completed《Concerto in E-flat Major for Alto Saxophone, Opus 109》, a single movement concerto which later became one of the most important saxophone repertoire. This research aims to study the life of Glazunov and to analyze the style and form of this work, and thus provides suggestions for performing interpretation. This paper contains six chapters: the first chapter is the introduction, which defines the direction and scope of this research; chapter two represents the four periods of Glazunov’s life based on his working status and residence. The third chapter discusses the contemporary music style of Glazunov’s time and how he was influenced; chapter four discusses the form, melody, theme and motivic development in《Concerto in E-flat Major for Alto Saxophone, Opus 109》. Chapter five gives interpretation suggestions according to researcher’s teaching and performing experiences, and also with reference to analysis outcome; the last chapter summarizes this thesis and provides saxophone players suggestions for further research and practical use.

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