The first movement material is presented by the ensemble and subsequently developed by the saxophone. A majority of the saxophone passages are supported by the ensemble with unaccompanied solo passages kept to a minimum. The various sections are based more on differences in pitch and rhythm than orchestration and harmony.

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.

PhiAC--987 : A Concerto for Alto Saxophone and Wind Ensemble is a two movement work approximately nineteen minutes in length, scored for a soloist of virtuosic ability and a large wind ensemble of thirty-five instrumentalists.

No description available.

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.

It is the intent of this study to describe the harmonic activity that is present in the tone of the alto saxophone and to compare the spectra of selected tones when the chamber of the mouthpiece is changed in size and shape. It is hoped that the following questions might be answered: 1. What does the harmonic spectrum of the alto saxophone contain in terms of harmonic activity and the relative intensities of these harmonics? 2. What basic changes in chamber shape and size have evolved from early models? 3. Is there an appreciable change in the envelope of harmonic activity when the mouthpiece chamber is altered in size and shape? 4. Is it possible for these changes to be used to explain common terminology of the musician in describing tone qualities?

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.

No description available.

No description available.

In this study the author addresses the problem of finding quality repertoire for young college-level saxophonists. By examining graded repertoire lists from a variety of college and university saxophone instructors, the author has compiled a list of 180 works for alto saxophone and piano. Twenty-four well-known works of a difficulty-level appropriate for freshman and sophomore players are identified and annotated. Each annotation consists of bibliographical information, a biographical sketch of the composer, a difficulty rating of eight elements of performance, a discussion of performance considerations, and a bibliography of available recordings. The eight elements of performance included in the difficulty rating are: Meter, key signatures, tempo, note-values, rhythm, articulation, range, and dynamic levels. Each of these facets is graded using a six-point difficulty scale. One work from the select list, Yvon Bourrel's Sonate Pour Saxophone Alto et Piano, has been analyzed in greater detail with regard to thematic material and key areas to provide in-depth information that, hopefully, will help the student gain a deeper understanding of that work and as a result perform the piece with greater artistry.