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A Performance Guide for Playing Johann Sebastian Bach's Violin Partita no. 1 in B Minor, BWV 1002, Partita no. 2 in D Minor, BWV 1004, and Partita no. 3 in E Major, BWV 1006 on Alto and Soprano Saxophone

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…

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
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A Performance Guide and Recordings for Six New Works for Saxophone and Piano by Notable Female Jazz Composers Utilizing Elements of Improvisation

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…

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