Matching Items (40)
Description
Clarinet multiphonics have become increasingly popular among composers since they were first introduced in the 1950s. However, it is a topic poorly understood by both performers and composers, which sometimes leads to the use of acoustically impossible multiphonics in compositions. Producing multiphonics requires precise manipulations of embouchure force, air pressure, and tongue position. These three factors are invisible to the naked eye during clarinet performance, leading to many conflicting theories about multiphonic production strategies, often based on subjective perception of the performer. This study attempts to observe the latter factor—tongue motion—during multiphonic production in situ using ultrasound. Additionally, a multiphonic catalog containing 604 dyad multiphonics was compiled as part of this study. The author hypothesized that nearly all, if not all, of the multiphonics can be produced using one of four primary production strategies. The four production strategies are: (A) lowering the back of the tongue while sustaining the upper note; (B) raising the back of the tongue while sustaining the upper note; (C) changing the tongue position to that of the lower note while sustaining the upper note; and (D) raising the root of the tongue (a sensation similar to constricting the throat) while sustaining the upper note. To distill production strategies into four primary categories, the author documented his perceived tongue motion over twenty repetitions of playing every multiphonic in the catalog. These perceptions were then confirmed or corrected through ultrasound investigation sessions after every five repetitions. The production strategies detailed in this study are only for finding the correct voicing to produce the multiphonics. The catalog compiled during this study is organized using two different organizational systems: the first uses the traditional method of organizing by pitch; the second uses a fingering-based system to facilitate the ease of finding multiphonics in question, since notated pitches of multiphonics often differ between sources.
ContributorsLiang, Jack Yi Jing (Author) / Gardner, Joshua (Thesis advisor) / Spring, Robert (Thesis advisor) / Caslor, Jason (Committee member) / Creviston, Christopher (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2018
Description
This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet.
The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative, was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. The final piece included in this project is a transcription and arrangement of Tarkus (1971), written by Keith Emerson (1944-2016) and Greg Lake (1947-2016) for the iconic progressive rock supergroup, Emerson, Lake & Palmer. This unique and unpublished arrangement was crafted by Peter Ford (b. 1964) for Ohio-based saxophone quartet Sax 4th Avenue and first featured on the ensemble’s 1998 album, Delusions de Grandeur. These pieces were recorded in the E-Media Studios of the College Conservatory of Music at the University of Cincinnati, as well as A2 Audio Studios in Cincinnati, Ohio, in January and February of 2019.
The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative, was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. The final piece included in this project is a transcription and arrangement of Tarkus (1971), written by Keith Emerson (1944-2016) and Greg Lake (1947-2016) for the iconic progressive rock supergroup, Emerson, Lake & Palmer. This unique and unpublished arrangement was crafted by Peter Ford (b. 1964) for Ohio-based saxophone quartet Sax 4th Avenue and first featured on the ensemble’s 1998 album, Delusions de Grandeur. These pieces were recorded in the E-Media Studios of the College Conservatory of Music at the University of Cincinnati, as well as A2 Audio Studios in Cincinnati, Ohio, in January and February of 2019.
ContributorsChenoweth, Woodrow (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Gardner, Joshua (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2019
Description
Throughout history composers have used music to depict their perception of the
refugee experience. This project expands upon this idea through the commission and
recording of four new works for saxophone. The compositions are Different Arks for solo
alto saxophone by John Secunde, Rubble/Resolve for alto saxophone and piano by Jared
Yackiw, Emerging Light for soprano saxophone and vibraphone by Alan Hankers, and
Unam aeternam for solo alto saxophone and stereo playback by Ashlee Busch. For each
work, this project provides performance guides, biographical contexts, program notes,
and recordings. I hope to encourage artists to discover and facilitate creative ways to
draw attention to migration around the world and contribute to the fight against racism
and xenophobia.
refugee experience. This project expands upon this idea through the commission and
recording of four new works for saxophone. The compositions are Different Arks for solo
alto saxophone by John Secunde, Rubble/Resolve for alto saxophone and piano by Jared
Yackiw, Emerging Light for soprano saxophone and vibraphone by Alan Hankers, and
Unam aeternam for solo alto saxophone and stereo playback by Ashlee Busch. For each
work, this project provides performance guides, biographical contexts, program notes,
and recordings. I hope to encourage artists to discover and facilitate creative ways to
draw attention to migration around the world and contribute to the fight against racism
and xenophobia.
ContributorsSacco, Christopher (Author) / Creviston, Christopher (Thesis advisor) / Feisst, Sabine (Committee member) / Micklich, Albie (Committee member) / Arizona State University (Publisher)
Created2020
ContributorsCreviston, Christopher (Performer) / Creviston, Hannah (Performer) / Gardner, Joshua (Performer) / ASU Library. Music Library (Publisher)
Created2018-02-23
ContributorsCaslor, Jason (Conductor) / Hill, Gary W. (Conductor) (Conductor) / Brooks, Melanie (Conductor) / Creviston, Christopher (Performer) / Kocour, Mike (Performer) / Wind Ensemble (Performer) / Wind Orchestra (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-10
ContributorsCreviston, Christopher (Performer) / Micklich, Albie (Performer) / Detweiler, Samuel (Performer) / Rollefson, Justin (Performer) / Zhang, Aihua (Performer) / Skinner, Wesley (Performer) / Morales, Astrid (Performer) / Creviston, Hannah (Performer) / Jin, Leon (Performer) / Pitcher, Nicholas (Performer) / Rice, Sarah (Performer) / ASU Library. Music Library (Publisher)
Created2019-02-15
ContributorsSwoboda, Deanna (Performer) / Creviston, Hannah (Performer) / Creviston, Christopher (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / Hanson, Leanne (Performer) / Moio, Dom (Performer) / Garcia, Joe (Performer) / Novak, Gail (Pianist) (Performer) / Freeman, Vanessa (Performer) / ASU Library. Music Library (Publisher)
Created2013-11-15
ContributorsMicklich, Albie (Performer) / Buck, Elizabeth (Performer) / Campbell, Andrew (Pianist) (Performer) / Creviston, Christopher (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / Gardner, Joshua (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / ASU Library. Music Library (Publisher)
Created2013-10-18
ContributorsBuck, Elizabeth (Performer) / Creviston, Christopher (Performer) / Creviston, Hannah (Performer) / ASU Library. Music Library (Publisher)
Created2019-11-06
ContributorsMancuso, Simone (Director) / Creviston, Christopher (Director) / Arizona Contemporary Music Ensemble (Performer) / Saxophone Choir (Performer) / ASU Library. Music Library (Publisher)
Created2019-11-10