Five colors for saxophone quartet -- Trio in air -- Reflex. / 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.

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abstract: 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 The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece.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. / Dissertation/Thesis / Saxophone Quartet No. 2 by Frank Nawrot / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 1. All Together, Now / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 2. Play Pretty / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 3. A Minute Past Crazy / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 4. Is This Funky? / Scherzos for Saxophone Quartet by Dan Puccio - Mvt 5. No, But This Is / Rhythm and Tone Study #3 by Josh Bennett / Fragments of A Narrative by Ben Stevenson - Mvt 1. Skittish / Fragments of A Narrative by Ben Stevenson - Mvt 2. Tense / Fragments of A Narrative by Ben Stevenson - Mvt 3. Rock Forever / Tarkus by Emerson, Lake & Palmer - Arranged by Pete Ford / Doctoral Dissertation Music 2019

Under mitt tredje år som musiklärarstudent på Musikhögskolan Ingesund är jag den enda som har klassisk saxofon som huvudinstrument. Mitt intresse för saxofonkvartettspel har alltid varit stort men när det nu inte finns någon möjlighet till kvartettspel har intresset och längtan efter att få spela kvartett vuxit ännu mer. Därför handlar detta arbete om saxofonkvartett. Syftet har varit att ta reda på de utmaningar jag upplever när jag spelar på de fyra olika saxofonerna i kvartetten och när jag studerar in respektive saxofons stämma i ett kvartettstycke. För att genomföra studien har jag främst använt loggbok där jag har skrivit om mina upplevelser och sedan delat upp dem i olika kategorier; fysiska utmaningar, stämmornas utmaningar och instrumentens utmaningar. Resultatet visar bland annat på skillnader vad gäller instudering av varje saxofons respektive stämma och saxofonens roll i kvartetten. Det visar också på skillnader i hur jag använder min kropp för att få fram den optimala klangen på varje saxofon. I arbetets diskussionskapitel jämförs mina upplevelser med forskning och information från litteratur till stor del skriven av andra saxofonister. / During my third year as a music teacher student on Musikhögskolan Ingesund I am the only one who studies classical saxophone as my major subject. My interest of playing saxophone quartet have always been great but when there is no opportunity for quartet playing, the interest and the desire to play quartet has grown even more. Therefore, this work is about saxophone quartet. The purpose has been to find out the challenges I experience when I play the four different saxophones in the quartet and when I study the respective saxophone's part in a quartet piece. In order to complete the study, I have mainly used a logbook where I have written about my experiences and then divided them into different categories; physical challenges, the challenges of the parts and the challenges of the instruments. The results show, among other things, differences in the studying of each saxophone´s part and the saxophones role in the quartet. It also shows differences in how I use my body to get an optimal sound on each saxophone. In the discussion of the work, my experiences are compared with research and information from literature mainly written by other saxophonists.

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