2 down & 1 across ; Wayne's thang ; Van Gogh's left ear ; Native tongue ; Before it's time to say goodbye ; XYZ / Kenny Garrett. / text

Rapsodie / Claude Debussy -- Balafon / Christian Lauba -- Klonos / Piet Swerts -- Ku ku / Barry Cockcroft -- Sonatine / Claude Pascal -- Paganini lost / Jun Nagao. / text

"Johnny Hodges is one of the most important alto saxophonists in the history of jazz. This lecture recital explores his unique approach to the instrument, as well as his acclaimed improvisational style. The lecture will focus on styles with which Hodges is most commonly associated. These are blues, ballads, and medium swing pieces." / text

Sonata (1939) / Edvard Moritz -- Arabic proclamation and script / Brett Kroening -- Air chantes / Francis Poulenc -- Konsert for saxofon och strakorkester / Lars-Erik Larsson / text

Sonata, op.4, no.11 / J.B.L. de Gant -- Sonata for soprano saxophone and piano / Paul Chihara -- Concertino da camera / Jacques Ibert -- Sonata for alto saxophone and piano, op.19 / Paul Creston -- Canciones del Zocalo / Aaron Bramwell / text

Sonata for violin and harpsichord in B minor / J. S. Bach, arr. Liz Love -- The garden of love / Jacob ter Veldhuis -- Bachianas brasileiras no.5 / Heitor Villa-Lobos, arr. Liz Love -- Concerto for alto saxophone and wind orchestra / Ingolf Dahl / text

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?

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Many texts and pedagogical works address the production of the saxophone’s altissimo register. The focus of these resources, however, is predominantly directed towards initial altissimo production for intermediate players, as well as fingering choices, scales, and brief exercises for advanced performers. There is a current dearth of longer studies and etudes designed to bridge the gap between short exercises and the demands of solo repertoire. In an attempt to remedy the relative lack of advanced instructional material, I have composed a collection of 14 etudes based on altissimo passages from the alto saxophone solo repertoire. The purpose of this project is twofold: to give players an opportunity to increase their technical proficiency in the altissimo register, and to demystify prominent solo passages by employing them in various forms. Chapter One illustrates the near absence of altissimo etude collections by surveying existing altissimo resources including books, magazine and journal articles, dissertations, and video and audio instructional materials. The chapter concludes with my views regarding successful altissimo production. Chapter Two discusses my original etudes, which draw upon numerous compositional methods (applied separately and in combination) of transforming and integrating musical material from the original solo excerpts. The 14 etudes are provided in their entirety in the Appendix. In general, they have a technical focus and are appropriate for performance during private lessons or master classes. Each one is relatively compact at one or two pages in length, with performance durations ranging from one to four minutes. / text

This study documents the history of the Hollywood Saxophone Quartet and its role in establishing the saxophone quartet as a serious medium for chamber music in the United States. An abbreviated history of saxophone quartets in the United States is provided, including a brief history of the Marcel Mule Saxophone Quartet in France. This ensemble in particular significantly influenced the Hollywood Saxophone Quartet's formation, programming and mission. The history of the Hollywood Saxophone Quartet follows, including its performing, commissioning, and recording activities, as well as biographical information for its members. This introduction is complemented by a discussion of the legacy of the group through its influence on subsequent saxophone ensembles on a national and international scale. Finally, conclusions drawn from this research place the Hollywood Saxophone Quartet in a historical context in the United States.