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A recording and commissioning project aimed at developing new repertoire for pre-college and early-college saxophonists focused on the early applications of extended techniques

Description
Composers and performers alike are pushing the limits of expression with an ever-expanding sonic palette. There has also been a great expansion of saxophone repertoire over the past few decades. This has lead to an increasing number of advanced pieces incorporating saxophone extended techniques. As younger saxophonists discover these compositions,…

Composers and performers alike are pushing the limits of expression with an ever-expanding sonic palette. There has also been a great expansion of saxophone repertoire over the past few decades. This has lead to an increasing number of advanced pieces incorporating saxophone extended techniques. As younger saxophonists discover these compositions, they too become inspired to implement these techniques in their own playing. There is a need for broader selections of introductory to intermediate compositions with saxophone extended techniques. It is the goal of this project to expand this repertoire for pre-college and early-college saxophonists. These target-level saxophonists are those who have already begun their studies in extended techniques. Three commissioned composers have contributed pieces for this target level of saxophonist with the purpose of bridging the gap between first attempts of extended techniques and the advanced pieces that already exist. Saxophonists who have the standard techniques to perform compositions such as Sonata for E-flat Alto Saxophone and Piano by Paul Creston will be suited to approach these compositions. In addition to the compositions, the author has composed short warm up exercises, utilizing selected extended techniques. A professional recording of the resulting compositions and exercises are also included. The enclosed document will provide a performer's analysis to help instructors of potential performers navigate the extended techniques and provide insight on other challenging aspects of the compositions. It is not the intention of the following document to teach the individual techniques.
ContributorsCharbonneau, Christopher Michael (Author) / Creviston, Christopher (Thesis advisor) / Feisst, Sabine (Thesis advisor) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2015

A Performer’s Guide to the Newest Additions in the Oboe D’amore Canon

Description
During my career as an oboist, I have only played the oboe d’amore one time before this project. I have always wondered why such a beautiful instrument is scarcely played today, and decided it was time to commission new works that aim to bring back the instrument’s popularity. Tim Carlos…

During my career as an oboist, I have only played the oboe d’amore one time before this project. I have always wondered why such a beautiful instrument is scarcely played today, and decided it was time to commission new works that aim to bring back the instrument’s popularity. Tim Carlos composed Fernweh: Sonata for Oboe d’amore and Piano and Two Sketches for Oboe d’amore, Guitar, and Percussion. This document covers the collaborative method Carlos and I experienced, the history of the oboe d’amore, edits made to the compositions, and most importantly a performer’s guide to these two new works (discussing both technical and musical challenges.) The recordings are also included. To purchase either work in its entirety, contact timcarloscomposer@gmail.com.
ContributorsDinger, Maja Malina (Author) / Schuring, Martin (Thesis advisor) / Caslor, Jason (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022