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

Sonate pour alto saxophone & piano, op. 18 / I. Bourrel -- Sonate (atonal) for solo alto saxophone / S. Karg-Elert -- Lillith / W. Bolcom -- Fuzzy bird sonata / T. Yoshimatsu. / text

Diverse/Segment / Charlie Parker -- 26-2 / John Coltrane -- Ms. Baja / Kenny Garrett -- Star eyes / Gene de Paul, Don Raye ; arr. Chris Potter -- Central Park West / John Coltrane -- Moose the mooche / Charlie Parker ; arr. Seth Carper. / text

Ephemera ; Freddie Froo ; Libeccio ; Valse celtique ; I carry your heart ; Bossa nouveau / Park Frederick "Pepper" Adams III. / text

This document annotates 23 unaccompanied alto saxophone compositions, including original works and transcriptions. Selection of these pieces was based on the following criteria: (1) works which are commonly performed, (2) works by major composers, and (3) works which are important in terms of innovative performance techniques. Each annotation provides a synopsis of the composition, biographical information about the composer, pertinent information about the composition (dedication, duration, etc.), discussion about various performance considerations, a brief analysis, and concluding statements about the work including a qualitative assessment. Compositions annotated in the document include: Caprice en forme de valse by Paul Bonneau, Mai/ by Ryo Noda, Sonate by Jeanine Rueff, Suite Francais by Pierre Max Dubois, and the Unaccompanied Cello Suite No. 1 by J. S. Bach arr. Londeix, and arr. Ricker (both editions are discussed). At the conclusion of the document, a bibliography of approximately 300 unaccompanied compositions for the alto saxophone (including commonly performed transcriptions) is listed, providing the title, composer, and publisher (if available).

Thesis (M.M.)--University of North Carolina at Greensboro, 2006. / Title from PDF title page screen. Advisor:Mark Engebretson; submitted to the School of Music.

This study represents a creative project approach to the dissertation requirement of the Doctor of Arts degree with primary emphasis in the field of music performance. The project itself, a recital in Alice Tully Hall, Lincoln Center, New York, took place on November 18, 1974. The program consisted of music for alto saxophone and piano, saxophone in the context of chamber music and unaccompanied saxophone.Preparation for the recital was concentrated on the building of a successful program of serious original compositions for saxophone and on preparing those works as thoroughly as possible. The taped performance of the November 18 concert, the program and its critical comment accompany the paper.The paper is in support of that recital. It focuses on the music performed and its composers, the pedagogical implications of the recital and its preparation, and recommendations based on the experiences of the writer.The basis for the discussion of the recital's music depends upon correspondence, work-sessions and upon conversations between the writer and the composers. Composers' statements about their music, and to some extent about the instrument, make up the body of the Appendix. The study grew out of the composers' statements, and the format was suggested by the program itself.The pedagogical implications of this project have not been limited to considerations of the creative project itself. This discussion drew upon the writer's experiences as an intern with Dr. Cecil Leeson and upon the study of interpretation and its long-term procedures.The relatively short history of the saxophone, the lack of a literature about it, the fact that all of the composers whose music is discussed are still alive and the study's scope basing the discussion on the composers' statements--all of these have set limits on the writer's sources. However, the intent of this study was to base the investigation on primary sources still available.

Sechs Bagatellen / Gyorgy Ligeti -- Short stories / Jennifer Higdon -- Quatour pour saxophones en quatre parties, op. 102 / Florent Schmitt -- Saxteto / Victor Marquez-Barrios. / text

Sechs Bagatellen / Gyorgy Ligeti -- Short Stories / Jennifer Higdon -- Quatuor pour saxophones en quatre parties, op. 102 / Florent Schmitt -- Saxteto / Victor Marquez-Barrios. / text