Matching Items (5)
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- All Subjects: Saxophone
- All Subjects: Violin musics (2)
- Creators: Saucier, Catherine
Description
The saxophone is privileged to have a wide variety of repertoire from contemporary composers. Due to its invention in the later half of the nineteenth century, it has no repertoire written by baroque composers, including Johann Sebastian Bach. There are several published arrangements of Bach’s three solo violin partitas including that of Ronald Caravan and Raaf Hekkema. These collections either do not present every movement of each of these three partitas, or they do not present them in their original keys. An advantage to arranging these works in their original keys is that saxophonists have the opportunity to learn more about the works by playing along with recordings of great violinists such as Itzhak Perlman and Hilary Hahn, something that would be very difficult to do if they were not in the original keys. In Ronald Caravan’s Bach for Solo Saxophone, Caravan includes a collection of many unaccompanied works by Bach for saxophone but does not include all of the movements from the three partitas and they are not in the original keys that Bach wrote for. In Raaf Hekkema’s Bach for Saxophone, Hekkema arranges the entirety of the three partitas, however they are not set in the original keys that Bach wrote for. In addition to these points, those collections do not provide information of the life of J.S. Bach, baroque performance practice, mechanics of the baroque violin, baroque dances, and advice on going about the mechanics of these pieces from a saxophonist’s perspective. This information is very useful to a young saxophonist who is trying to fully understand and perform Bach’s three solo violin partitas.
ContributorsSalazar, Nathan John (Author) / Creviston, Christopher (Thesis director) / Saucier, Catherine (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
ContributorsSkoldberg, Phyllis (Performer) / Constantinides, Dinos (Performer) / Tse, Miriam (Performer) / ASU Library. Music Library (Publisher)
Created1991-01-17
ContributorsLiu, Jingting (Performer) / Chen, Sicong (Performer) / ASU Library. Music Library (Publisher)
Created2017-04-17
Description
This project aims to produce repertoire that will help bridge the gap between classical music and jazz, particularly focusing on some of the obstacles that female classical saxophonists face when playing jazz. By commissioning six new works for saxophone and piano written by female jazz composers, this project facilitates an entry-level experience with improvised materials that will help break down this barrier for interested saxophonists. The compositions are From A to Z: Two Women’s Journeys by Ayn Inserto, Sunlit Dream by Annie Booth, Taking Flight by Katelyn Vincent, Des-Dunes by Sam Spear, Jogo by Yoko Suzuki, and Impromptu by Aida De Moya. For each work, this project provides recordings, performance guides, improvisation guides, biographical contents, and program notes. I hope to encourage young female saxophonists to explore their interests in jazz without fear or reservation through performance of these pieces.
ContributorsZelenak, Kristen (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2022
Description
The bass clarinet, developed almost a century after the soprano clarinet, isrelatively young compared to many modern instruments and consequently possesses a
comparatively small repertoire. Until the mid-20th century, composers did not view the
bass clarinet as a solo instrument and instead perceived it as cumbersome due to its low
pitch and predominant use as an accompaniment instrument, resulting in a dearth of solo
repertory for the bass clarinet before this time. Bass clarinetists desiring to perform
repertoire from the Baroque, Classical, and Romantic periods must then appropriate
music from other instruments. Through this study, I identify and detail a process for
creating informed transcriptions of music for the bass clarinet to increase its body of solo
and chamber literature. I examine the original scores and existing transcriptions of
Concerto in C minor by Henri Casadesus (attributed to Johann Christian Bach) for cello,
Bassoon Concerto Op. 75 by Carl Maria von Weber, Trios, Hob. IV:1-4 “London Trios”
by Joseph Haydn, Kol Nidrei, Op. 47 by Max Bruch, and Clarinet Concerto in A Major,
K. 622 by Wolfgang Amadeus Mozart to identify methods for the transcription process. I
compare this to the transcription process for other instruments through examination of the
Clarinet Sonatas, Op. 120, Nos. 1 and 2 by Johannes Brahms, which were transcribed
from clarinet to viola by the composer himself. In this document, I discuss the historical
background of the selected pieces, the selection process, editing considerations,
performance practice, and the usage of transcriptions as a pedagogical tool. Although
transcriptions for the bass clarinet already exist, appropriation of music from other
instruments will continue to supplement and diversify its repertoire. These pieces serve to
develop important technical and musical skills and allow the bass clarinetist to play
music across various style periods. In this project, I select and transcribe three pieces for
the bass clarinet: Sonata for Cello No. 1 in F Major by Benedetto Marcello, Grand
Concerto for Bassoon and Orchestra by Johann Nepomuk Hummel, and Serenade in F
minor, Op. 73, by Robert Kahn. The transcribed scores are included in the appendices of
this document.
comparatively small repertoire. Until the mid-20th century, composers did not view the
bass clarinet as a solo instrument and instead perceived it as cumbersome due to its low
pitch and predominant use as an accompaniment instrument, resulting in a dearth of solo
repertory for the bass clarinet before this time. Bass clarinetists desiring to perform
repertoire from the Baroque, Classical, and Romantic periods must then appropriate
music from other instruments. Through this study, I identify and detail a process for
creating informed transcriptions of music for the bass clarinet to increase its body of solo
and chamber literature. I examine the original scores and existing transcriptions of
Concerto in C minor by Henri Casadesus (attributed to Johann Christian Bach) for cello,
Bassoon Concerto Op. 75 by Carl Maria von Weber, Trios, Hob. IV:1-4 “London Trios”
by Joseph Haydn, Kol Nidrei, Op. 47 by Max Bruch, and Clarinet Concerto in A Major,
K. 622 by Wolfgang Amadeus Mozart to identify methods for the transcription process. I
compare this to the transcription process for other instruments through examination of the
Clarinet Sonatas, Op. 120, Nos. 1 and 2 by Johannes Brahms, which were transcribed
from clarinet to viola by the composer himself. In this document, I discuss the historical
background of the selected pieces, the selection process, editing considerations,
performance practice, and the usage of transcriptions as a pedagogical tool. Although
transcriptions for the bass clarinet already exist, appropriation of music from other
instruments will continue to supplement and diversify its repertoire. These pieces serve to
develop important technical and musical skills and allow the bass clarinetist to play
music across various style periods. In this project, I select and transcribe three pieces for
the bass clarinet: Sonata for Cello No. 1 in F Major by Benedetto Marcello, Grand
Concerto for Bassoon and Orchestra by Johann Nepomuk Hummel, and Serenade in F
minor, Op. 73, by Robert Kahn. The transcribed scores are included in the appendices of
this document.
ContributorsMyones, Zachary Roberts (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua T (Thesis advisor) / Humphreys, Jere T (Committee member) / Ryan, Russell R (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2020