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Microtones A Sound Extension of the Saxophone
Official Presentation Script
Lecture Recital by Matthew J. Swallow Friday, March 22, 2013
Abstract: The use of microtones has become an important extended
technique for saxophonists and composers, in which this has been
integrated in both classical repertoire and jazz improvisation. The
presentation serves mainly as a guide for young aspiring
saxophonists and composers who are interested in learning
microtonal notation within the repertoire. In addition, there are
important steps to executing the performance of this extended
technique. This includes a helpful guide to proper tuning,
microtonal scales, repertoire list, etudes, and fingering chart
references. Microtones are an important sound extension found in
many saxophone works. Examples of microtones can be found in
multiphonics, graphical changes of pitch, timbre/key trills, and
timbre alterations. The following compositions will be examined:
Sequenza VIIb per sassofono soprano by Luciano Berio, Sketch for
Alto Saxophone by Ronald Caravan, Impressions by John Coltrane,
Sonate pour Saxophone Alto et piano by Edison Denisov, Sonate pour
Saxophone Alto et piano by Jindrich Feld, Graphic IV for Alto
Saxophone and Celeste by Paul Goldstaub, Improvisation I pour
Saxophone Alto seul and Ma pour Saxophone Alto seul by Ryo Noda,
and Le Frne gar pour Saxophone Alto by Franois Ross.1
Notable Quotes: In the vast majority of my works, quarter tones
give an impression of a very intimate expression I use them mostly
during moments of greatest intimate expression. The half step is
already expressive, but if it is divided by two, it becomes as
expressive therefore more intimate. -Jean-Marie Londeix, pg. 224 in
Jean-Marie Londeix: Master of the Modern Saxophone. The musical
purpose is the combination and succession of various sounds for
their own sake and not for their part in any traditional functional
progression. -Ronald L. Caravan in Sketch Program Notes. If a
fellow composer cannot easily read anothers microtonal work, what
can we reasonably expect from performers, dedicated though they may
be to experimental composition and fully adept at interpreting
avant-garde notation? -Gardner Read, pg. 3 in 20th Century
Microtonal Notation.
1 Matthew J. Swallow, Microtones: A Sound Extension of the
Saxophone Abstract. Miami University, 2013.
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Presentation Outline: I. What are microtones? A. Pitch
alteration that is smaller than a semitone interval
B. Originated in ancient Greece and was somewhat explored within
the 15th and 16th Centuries.
C. Early music utilized scales that did not contain
equal-tempered intervals compared to what is mostly used in todays
compositions (12 common chromatic tones); derived from ancient
Greeces enharmonic melodic intervals.
D. Became widely used in 20th Century; used in orchestral,
chamber, and vocal works by Mexican theorist and composer Julin
Carillo.
II. What do microtones look like in todays musical literature?
A. There is currently no true standardization of microtonal
accidental notation.
Refer to Figure 1.
Figure 1
Note the consistency of both the and sharped quartertone
accidentals compared to the lowered quartertone symbols. Refer to
the bibliography for complete citation of the authors.
B. Some pieces in the saxophone literature will contain a key
within the program
that indicates what is considered a quartertone sharp or flat.
C. However, some works may not include fingerings, which creates a
challenge in
deciphering the microtonal accidentals if using any
comprehensive saxophone fingering chart.
D. Therefore, it is imperative to become familiar with the
symbols in the previous chart as they are commonly used in various
works throughout the twentieth century.
E. Observe Microtonal Key Comparison III. Microtonal
Temperament
A. The performance of saxophone microtones is mostly applied
with the use of false fingerings.
! 2!
similar!from!another.!!However,!there!are!variants!in!several!works.!!Gardener!Read!states,!
If!a!fellow!composer!cannot!easily!read!anothers!microtonal!work,!what!can!we!
reasonably!expect!from!performers,!dedicated!though!they!may!be!to!experimental!
composition!and!fully!adept!at!interpreting!avantJgarde!notation?3!!For!the!performer!
interested!in!microtonal!music,!it!is!his/her!responsibility!to!be!aware!of!the!diverse!
notations!that!current!exist!in!several!works.!!This!applies!not!just!for!saxophone,!but!also!
other!instruments!including!strings!and!other!wind!instruments.!!The!chart!below!in!figure!
1!shows!discrepancies!in!quartertone!notation!between!various!saxophone!and!clarinet!
resources.!!Refer!to!the!bibliography!section!for!the!authors.!!It!is!imperative!to!become!
familiar!with!these!symbols!as!they!are!commonly!used!in!various!works!throughout!the!
twentieth!century.!!Lack!of!prior!knowledge!of!these!symbols!can!create!difficulties!in!
Quartertone!Accidental!Variants!in!Clarinet/Saxophone!Resources!by!Author!!
Weiss/Netti! Londeix! Caravan! Leonard! Farmer!
Rehfeldt!QuarterJ!tone!Sharped!(1/4)!
!
! !!!!l ! l (k j)!QuarterJ!tone!Sharped!(3/4)!
! ! ! ! l!QuarterJ!tone!Lowered!(1/4)!
B !
L (K J)!QuarterJ!tone!Lowered!(3/4)!
!n/a!
! !!! !! !!!!!! !
n/a! L!Figure!1!
Note*the*consistency*of*both*the**and**sharped*quartertone*accidentals*compared*to*the*lowered*quartertone*symbols.**Refer*to*the*bibliography*for*complete*citation*of*the*authors.***
**
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!3!Gardner!Read,!20thBCentury*Microtonal*Notation,!(Westport,!CT:!Greenwood!Press,!1990):!3.!!!
200 201 202 203 204 205 206 207
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& 44 ! ! ! !
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w w+ wL w- w# w#+ wl w- w
B
&15 ! ! ! !
&19 ! ! ! !
&23 ! ! ! !
&27 ! ! ! !
Score
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1. Some combinations work better than others depending on the
saxophone size (soprano, alto, etc.) and specific models (ex.
Selmer, Yamaha, Yanagisawa, etc.).
2. Refer to the appendix section of the handout for reference
books available. Many works do not include a false fingerings key;
however some pieces may have the fingerings included within the
piece itself
B. Microtonal Scales (Refer to the Example Playlist) 1. All
scale microtonal accidentals vary due to the composers personal
systems
of notations (just as mentioned earlier) 2. When working out the
different microtones, there are limitations due to the
nature of the saxophone. For example, when playing an
eighth-tone scale, there are no indefinite false fingerings that
work around the G in both octaves.
3. Quartertone scale note the traditional tempered pitches and
the microtonal accidentals in between; observe the space of
additional notes compared to the regular chromatic scale
(Demonstrate scale with false fingerings and be sure to explain the
scale accidentals ex. sharp, sharp, etc.)
4. Eighth-tone scale Scalar pattern is not regularly used, but
is indeed another microtonal scale that is possible to perform on
the instrument. Notice the additional microtonal pitches in between
the common chromatic pitches Demonstrate scale with false
fingerings and explain the scale accidentals)
C. When working with microtones, it is essential to have a good
understanding of the intonation tendencies of the instrument. This
will assist in aiming for the proper tuning of the microtones. 1.
When working with various false fingerings for quartertones, the
tuner needle
should line up in between -50/+50 cents flat/sharp. (Place tuner
on projector and demonstrate tuning using same quartertone
scale)
2. The process of working out the intonation of the eighth-tones
is similar to the
quartertones, but is more sophisticated, as the intervals are
much smaller. The eighth-tones should be around -25/+25 cents
flat/sharp on the tuner. (Same as before)
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the!saxophone!size!(soprano,!alto,!tenor,!&!bari)!and!the!specific!models!(Yamaha,!Selmer,!
Yanagisawa,!etc.).!!The!following!books!contain!detailed!microtonal!fingering!charts!for!
saxophone!stretching!the!full!range!of!the!instrument!along!with!separation!of!the!different!
horns!(soprano,!alto,!etc.):
Hello!**Mr.*Sax,*ou*Paramtres*du*Saxophone!by!JeanJMarie!Londeix!!!The*Techniques*of*Saxophone*Playing!by!Marcus!Weiss!and!Giorgio!Netti!Extended*Technique*for*the*Saxophone!by!J.!Michael!Leonard!
Just!as!it!was!stated!earlier,!some!finger!combinations!work!better!than!others!
based!on!the!saxophone!size,!model,!and!other!possible!variants.!!Therefore,!it!is!
imperative!to!experiment!with!different!fingerings!and!match!the!closest!possible!pitch!
with!the!tuner!that!can!obtain!pitch!in!between!a!half!step!interval.!!When!studying!
quartertones,!it!is!essential!to!have!a!tuner!in!front!of!you!to!ensure!accuracy!of!pitch.!!In!
figure!6,!as!the!quartertone!sound!is!in!between!half!steps.!!The!tuner!needle!should!line!up!
in!between!J50/+50!cents!flat/sharp.!!If!for!some!reason!the!fingerings!used!do!not!match!!!
!
Figure!6!Chromatic*tuner*indicating*proper*tuning*of*quartertones;*
Red*Arrow*=*quartertone**flat;*Yellow*Arrow*=*quartertone**sharp*!
close!to!the!needles!on!the!tuner,!try!using!other!fingerings!and/or!make!additional!
adjustments!to!overall!voicing!and!lip/jaw!just!like!tuning!traditional!tone/semitone!
pitches.!!This!similar!concept!is!used!for!mastering!the!eighthJtones,!but!should!be!worked!
out!once!fluent!in!quartertones!pitches.!!Due!to!the!complication!of!precise!tuning!of!these!
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notes,!it!is!important!to!have!a!solid!aural!concept!of!the!quartertones.!!The!eighthJtones!
occur!in!between!the!quartertones!and!the!half!steps.!!This!is!what!the!scale!look!like!back!
in!figure!5.!!This!order!should!look!the!same!when!working!through!the!pattern!with!the!
tuner.!!The!eighthJtones!should!be!J25/+25!cents!flat/sharp!as!seen!in!figure!7.!!After!
learning!the!essential!microtonal!fingerings!that!work!for!your!particular!saxophone,!the!
!
Figure!7!Chromatic*tuner*indicating*proper*tuning*of*eighthBtones*and*quartertones;*
Blue*Arrow*=*eighthBtone*flat;*Green*Arrow*=*eighthBtone*sharp*!
next!step!is!to!find!studies!that!aid!in!continual!development!of!this!extended!technique.!!
Here!are!a!few!method!books!that!contain!supplemental!exercises!for!quartertones.!!The!
method!book!by!Steven!Mauk!also!has!timbre!changes/false!fingering!exercises.!!These!are!
most!commonly!used!in!jazz!transcriptions,!which!will!be!covered!later.!!!
Saxophone!Quartertone!Method!Books:!Preliminary*Exercises*&*Etudes*in*Contemporary*Techniques*for*Saxophone!by!Ronald!L.!Caravan!Saxophone*WarmBUps:*Materials*for*the*Contemporary*Saxophonist!by!Steven!Mauk!!!
There!is!one!more!aspect!to!the!overall!microtonal!spectrum.!!So!far,!quartertones!
and!eighthJtones!have!been!covered.!!The!next!focus!will!be!the!uses!of!timbral!fingerings!
and!trills.!!The!purpose!of!this!extended!technique!is!to!create!tones!of!many!different!
colors,!which!may!be!used!in!particular!works!for!saxophone.!!In!addition,!these!are!
commonly!used!for!compensating!intonation!issues!with!the!particular!instrument!being!
used,!especially!on!long!notes.!!It!can!also!be!used!for!stylistic!purposes,!such!as!jazz!
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3. Once you become comfortable with the use of false fingerings
to create these microtonal sounds, this can now be applied in the
solo repertoire. (Play the Feld Musical Example #1)
4. If you refer to the appendix section of the handout, there
are also additional books that have supplemental exercises related
to the uses of quartertones.
IV. Selected Works for Saxophone with Microtones A. The Sonate
pour Saxophone Alto et piano by Edison Denisov is not only one of
the
most significant works for the saxophone, but also was the first
of its kind in the avant-garde/contemporary realm and to
demonstrate new idiomatic uses for this instrument. 1. This was
composed in the summer of 1970 and premiered in December of
1970 by Jean-Marie Londeix, who collaborated with Denisov. 2.
The first and third movements of this work are fully accompanied by
piano.
However, the second movement is mostly unaccompanied with
exception of the very end, which is intended to add color and
bell-like effects.
3. Within Movement II: Lento, demonstrates a deep meditative
sentiment and this is embellished with the uses of the
quartertones. Londeix states that the extended techniques of this
movement symbolize popular folk songs from Tomsk, Russia.
4. The Denisov Sonate would spark future compositions with the
uses of microtones, especially the uses of quartertone notations.
(Read Quote) (Perform the Denisov) (Sinta Statement After
Performing the Piece)
B. Different forms of microtones integrated in other saxophone
works 1. Some of the microtones have been used in different aspects
of playing,
therefore, makes this extended technique more significant. 2.
Microtones are also found in: a. Multiphonics b. Graphical Changes
of Pitch c. Timbre/Key Trills d. Timbre Alterations 3. Multiphonics
with Microtones
a. In several compositions, there are multiphonic fingerings
provided. In addition, there are some notations of a chord
indicating how the chord should sound like. Some of these chords
contain the microtonal notations. However, would not ever be played
separately unless specified.
b. Just like quartertones or eighth-tones, the multiphonics are
played with the use of false fingerings. Observe figure 2
(Demonstrate uses of multiphonics)
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Figure 2
Multiphonic chord with microtones from Per Blolands Of Dust and
Sand for Saxophone and Piano with Electromagnets
c. Even though, that there are microtones found in multiphonics,
it does not
mean that the whole chord is considered a microtone. The
microtonal accidentals only indicate that the pitches heard within
the chord are traditionally heard a quarter step sharp.
4. The multiphonics along with quartertones are found in Franois
Rosss Le Frne gar pour Saxophone Alto. This unaccompanied work was
composed in 1978-79 and written for Jean-Marie Londeix. a.
Significant work in the saxophone repertoire due to its wide range
of
virtuosic extended techniques and idiomatic appeals as a solo
instrument. b. There are several other comprehensive techniques in
addition to the
multiphonics and quartertones. Some of these include: flutter
tonguing, variations of vibrato frequencies, altissimo, portamento,
audible inspiration, and partial/timbreless breath sounds.
c. This composition is broken into ten sequences in a similar
manner as rondo form.
d. The quartertones provide different colors between even and
uneven tempered tones. There are several sections in which the
composer intends to move back and forth from the center of
traditional tempered pitch.
e. In translation of the title, thanks to Professor Gingras, Le
Frne gar means the lost ash, which in context of the piece, it
feels like you are getting lost in a forest made up of ash trees;
with moments where there are cries for help, and then eventually
finding your way out. (Perform Ross)
V. Graphical Changes of Pitch A. Within the saxophone
repertoire, there are scenarios when the instrumentalist is
to alter the pitch in a similar manner to a glissando or
portamento. B. In some of the works by Ryo Noda, there are graphics
that demonstrate the uses
of the glissando. The microtonal notations serves as a guide to
show how sharp or flat the pitch should be as seen in figure 3.
This is performed with a combination of false fingerings and
voicing. The voicing is an alteration in the oral cavity that
allows for a change in pitch; similar to a singing vocalist. (Play
Noda Excerpt Musical Example #2)
! 15!
O,*Aderyn*Pur*for*Flute*and*Alto*Saxophone*with*Tape*(in*movt.*IV*only)!by!Claire!Polin!Movement!III:!Melospiza;!Top!Staff=Flute;!Bottom!Staff=Alto!Saxophone;!uses!quartertones!
!*Of*Dust*and*Sand*for*Alto*Saxophone*and*Piano*with*Electromagnets*by!Per!Bloland!!Excerpt!uses!quartertones,!which!evolve!into!multiphonics!
*******
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Figure 3
Graphical pitch change with microtones in Improvisation I pour
Saxophone Alto seul by Ryo Noda
C. In Nodas Ma pour Saxophone Alto seul, the change of pitch is
guided with microtonal accidentals. These are intended to show how
sharp or flat the notes should go even without necessarily using
false fingerings since they are part of a portamento.
a. This unaccompanied piece was written in 1975 and just like
many of his works for saxophone, this one was written imitating the
style of the shakuhachi flute, which is a bamboo end-blown Japanese
flute.
b. The form of the piece comes in three parts: introduction,
scattering, and rushing. In a shakuhachi composition, this is known
as johakyui (jo-ha-ky).
c. There is a poem that accompanies this work, which is called
the Battle of the Sea, which I will read to you.
d. At twilight one night in Autumn, while the moon reflected its
silver light on the surface of the waves, General Kyotsun plays his
flute. Standing at the prow of the ship, he seizes his sword and
cuts the plate which goes down to his feet and disappears into the
sea. On his doorstep the phantom of the Samurai appeared. Facing
him his Wife asks him Why did you go? To save my army he replied,
because I knew the battle was lost in
advance and I also saved the lives of my men and their families.
And me, she said. Did you think about me! e. Envision the story
within this poem when you listen to Ryo Nodas Ma.
(Play Noda Ma) VI. Timbre/Key-Trills
A. These are additional sound effects for the saxophone. This
technique does not use microtonal notations, but does fit in the
idiomatic spectrum of pitch intervals that stretches under a half
step either going up or down.
B. In other words, the tuning of these trills do not tune to the
traditional temperament. Look at Figure 4, just like the microtonal
notes, the timbre trills also use false fingerings. (Play Goldstaub
Musical Example #3)
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Figure 4
Graphic IV for Alto Saxophone and Celeste by Paul Goldstaub;
uses timbre trills with provided fingerings
C. Even with no microtonal symbols, the fingerings change the
pitch, thus helps change the timbre
D. These trills can also be used in different context,
especially in Figure 5. This is another section in Improvisation I
pour Saxophone Alto seul by Ryo Noda. The timbral trill is used
with alternate false fingerings around the C# above the staff.
(Play Noda) Musical Example #4)
E. Timbre trills are used in a work called Sketch for Alto
Saxophone by Ronald L. Caravan. This work was composed in 1973, not
too long after the Denisov Sonata. In addition, this is also
another unaccompanied piece.
F. Other extended techniques include: quartertones, double
trills, flutter tonguing, and timbre alterations (Read Program
Note) (Play Caravan)
VII. Timbre Alterations A. This is another technique of the
saxophone in which allows for different colors of
pitch. This can brighten or darken a note. B. Some of these
features can be found in both avant-garde and jazz genres. C. Even
though the timbre alteration is to only change the character of a
pitch, there
can be variants of pitch change smaller than a semitone
interval. This varies based on the particular false fingerings that
are being used.
D. The Sequenza VIIb per sassofono soprano by Luciano Berio was
originally written for oboe in 1969, which features the use of
timbre alterations. Transcribed in 1993 by Claude Delangle for
soprano saxophone. The following excerpt demonstrates not only the
dark/bright contrasts of the same pitch (c#) but allows for better
control of the desired dynamics (Play Berio Musical Example #5)
(Demonstrate the alternate fingerings before performing the
work)
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E. John Coltrane was one of the most prominent figures and most
imitated jazz saxophonists. He was known for his fast technique in
his solo playing, which commonly mentioned sheets of sounds.
F. Most importantly, he was well known for his symbolic sound
sonorities, which happens to be his timbre alterations.
G. The particular transcription of John Coltranes improvised
solo was from Coltranology Volume One and this was from the
Konserthuset in Stockholm, Sweden in November of 1961. Carl Coan
transcribed this and he provides markings (+) indicating that it
uses an alternate timbral fingering just like in Figure 5. He
provides a key on a separate page.
Figure 5
Excerpt of Carl Coans transcription of John Coltranes solo in
Impressions
H. Through experiences, some of the fingerings may not work for
your particular saxophone; however, Marcus Weiss has a section on
timbral fingerings.
I. Another example of timbre changes can occur with the use of
different mouthpieces, especially when using both classical and
jazz. The characteristics of the sounds between mouthpieces change
drastically without changing the overall pitch. However, when using
alternate fingerings, there can be a small change in the pitch,
whether if is intended or not. (Play example of timbral
alterations)
J. The purpose of these alterations in the following
transcription, Impressions is to rearticulate repetitive notes,
even with no use of the tongue. (Play Coltrane)
VIII. Conclusions A. The uses of microtones have become an
important component to the saxophone
repertoire since the early 1970s. Microtonal elements are found
in many pieces from the Denisov Sonate to improvised solos by John
Coltrane.
B. In addition, microtones are found in multiphonics, graphical
changes of pitch, timbre/key trills, timbre alterations
C. It is important to be aware of the inconsistencies of the
different microtonal accidentals that are found within the
saxophone literature
D. When studying microtones, it is important to understand the
proper intonation tendencies
E. Prior study to this extended technique can accelerate
learning the compositions with microtones at a faster rate.
1. This can be mastered by studying the fingerings, scales, and
etude books. 2. In addition, this is beneficial to many
saxophonists in both jazz and classical
and can provide more tools for expressive styles. 3. Therefore,
this can individualize your sound among other saxophonists
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IX. Appendix List of Saxophone Music Literature With Microtonal
Uses Saxophone Solos (with accompaniment) Canto IV for Alto
Saxophone by Samuel Adler Digital pour Saxophone Soprano seul by
Thierry Alla Three Novelties for Alto Saxophone by Allan Blank
Steps Approaching for Alto Saxophone and Percussion Ensemble by Ray
Andrews Call to Worship by Ronald L. Caravan Sketch for Alto
Saxophone by Ronald L. Caravan Three Pieces for Saxophone by Ronald
L. Caravan Sonate pour Saxophone Alto et piano by Jindrich Feld
Sonate pour Saxophone Alto et piano by Edison Denisov Dimensions
III for Saxophone and Tape by Ed Diemente Music for Saxophone and
Percussion by Bruce L. Faulconer Symmetrics for Saxophone and Four
Percussion by Karl Korte Neuf tudes pour Saxophones en 4 cahiers,
Volume 4 by Christian Lauba. Improvisation I pour Saxophone Alto
seul by Ryo Noda Ma pour Saxophone Alto seul by Ryo Noda Two Pieces
for Tenor Saxophone and Piano by Allyn Reilly Le Frne Egar by
Franois Ross Three Movements for Saxophone Alone by Faye-Ellen
Silverman Lamentation for Alto Saxophone and Piano by Richard Alan
Strawser Divertimento No. 6 for Alto Saxophone and Strings by John
Weinzweig Duets With Saxophone(s) or Various Instruments Of Dust
and Sand for Alto Saxophone and Piano with Electromagnets by Per
Bloland Graphic IV for Alto Saxophone and Celeste by Paul B.
Goldstaub Saxoclone for Alto and Tenor Saxophones by Geoge
Heussenstamm Dialogue for Saxophone and Two Channel Tape by Karl
Korte Priples for Saxophone and Electronics by Paul Mfano O, Aderyn
Pur for Flute and Alto Saxophone with Tape (in movt. IV only) by
Claire Polin Saxophone in Ensemble Literature Scherzoid for
Saxophone Quartet by Philip Ahern The Flight of Icarus for
Saxophone Quartet by Stacy Garrop Sinfonia No. 6 for Two Orchestras
by Hans Werner Henze Apotheosis of this Earth for Concert Band by
Karel Husa Music for Prague 1968 for Concert Band by Karel Husa
Five Situations for Four Saxophones by Frank McCarty Strong Song
for Saxophone Quartet and Chamber Wind Ensemble by Ralph Carl Verdi
Jazz Solo Transcriptions The Michael Brecker Collection transcribed
by Carl Coan Michael Brecker transcribed by Carl Coan John Coltrane
Solos transcribed by Carl Coan
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Saxophone Microtonal Resources
Comprehensive Saxophone Microtonal Fingering Charts
Hello! Mr. Sax, ou Paramtres du Saxophone by Jean-Marie Londeix
The Techniques of Saxophone Playing by Marcus Weiss and Giorgio
Netti Extended Technique for the Saxophone by J. Michael
Leonard
Saxophone Quartertone Method Books
Preliminary Exercises & Etudes in Contemporary Techniques
for Saxophone by Ronald L. Caravan Saxophone Warm-Ups: Materials
for the Contemporary Saxophonist by Steven Mauk
Microtonal Scales
Quartertone Scale with the Ronald Caravan accidental notation
system (Refer to Figure 1 for accidental key)
Eighth-Tone Scale (Marcus Weiss System-Top Scale, Phillip
Rehfeldt System-Bottom)
Eighth-Tone Accidental Key
! 3!
practicing!the!music.!!Therefore,!can!produce!a!timeJconsuming!learning!curve.!!After!
comparing!repertoire!and!reference!sources,!there!is!a!consistency!of!microtonal!notation!
with!both!sharped!quartertones!(1/4!&!3/4).!!These!symbols!in!figure!1!are!the!most!
common!found!in!todays!musical!literature!in!all!wind!instruments.!!Figure!2!below!
demonstrates!a!traditional!quartertone!scale!ascending!and!descending!using!the!
appropriate!common!microtonal!accidental!notations.!!!
!Figure!2!
Quartertone*scale*ascending*and*descending*between*F*and*B*natural;*notation*accidentals*based*on*Ronald*Caravan*
*Considering!that!the!previous!accidentals!in!figures!1!and!2!are!the!most!common!in!
the!saxophone!repertoire,!there!are!several!more!quartertone!accidentals!that!can!take!
some!time!to!decipher.!!In!most!compositions,!the!composer!includes!a!key!to!aid!the!
performer.!!The!fourth!movement!of!Jindrich!Felds!Sonata*for*Alto*Saxophone*and*Piano!
uses!a!completely!different!system!of!quartertone!accidentals!as!seen!in!figure!3.!!!!!!!!!!!!!
!!!!!!!!!!!!! !!!!!!!!!!!! !!!!!!!!!!!!!!!!! !
Quartertone!!!!!!!!!!!!!!!!!!!!!!Quartertone!!!!!!!!!!!!!!!!!!!!!!Quartertone!!!!!!!!!!!!!!!!!!!!!!!!!!Quartertone!!Sharp!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Sharp!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Flat!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Flat!
!Figure!3!
From*Explanation*of*Notation*Symbols*key*for*Sonata*for*Alto*Saxophone*and*Piano*by*Jindrich*Feld*
Even!though!this!not!widely!used,!there!are!also!microtones!in!which!the!performer!
is!asked!to!play!pitch!that!is!sharped!by!an!eighthJtone.!!There!is!a!similar!scenario!as!the!
& 44 ! ! ! ! !
&
6
# # # b
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b B b b B b b B w
&19 ! ! ! !
&23 ! ! ! !
&27 ! ! ! !
Score
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quartertone!accidental!notation.!Observe!the!eighthJtone!variants!between!The*Techniques*
of*Saxophone*Playing!(Weiss/Netti)!and!New*Directions*for*Clarinet!(Rehfeldt)!in!figure!4.!!
!! Weiss!Netti! Rehfeldt!!
EighthJtone!!Sharped!
} +!!
EighthJtone!!Flat!
{ J!!
Quartertone!plus!EighthJtone!Sharped!
L J!!
Semitone!(HalfJstep)!plus!EighthJtone!Sharped!
l! +!Figure!4!
It!is!also!important!to!understand!the!differences!between!the!specific!eighthJtone!
notations.!!Since!this!is!a!complicated!system!of!accidentals,!here!is!an!example!of!an!
eighthJtone!scale!ascending!using!the!notation!concepts!of!Weiss/Netti!and!Rehfeldt.!!!This!
is!shown!in!figure!5.!!!
!Figure!5!
EighthBTone*Scales*Ascending*between*F*and*G*natural;*Top*Scale*symbols*based*on*Marcus*Weiss*&*Giorgio*Netti;*Bottom*Scale*symbols*based*on*Phillip*Rehfeldt**
!The!performance!of!saxophone!microtones!is!applied!with!the!use!of!false!
fingerings.!!!There!are!several!fingering!combinations!that!can!be!used!to!execute!the!sound!
effects!as!desired.!!Some!saxophone!fingerings!will!work!better!than!others!depending!on!
& 44 ! ! ! !
&
6
w wU w wL w# wl w wX w
&15 ! ! ! !
&19 ! ! ! !
&23 ! ! ! !
&27 ! ! ! !
Score
& 44 ! ! ! !
&
6
w w+ wL w- w# w#+ wl w- w
&15 ! ! ! !
&19 ! ! ! !
&23 ! ! ! !
&27 ! ! ! !
Score
! 4!
quartertone!accidental!notation.!Observe!the!eighthJtone!variants!between!The*Techniques*
of*Saxophone*Playing!(Weiss/Netti)!and!New*Directions*for*Clarinet!(Rehfeldt)!in!figure!4.!!
!! Weiss!Netti! Rehfeldt!!
EighthJtone!!Sharped!
} +!!
EighthJtone!!Flat!
{ J!!
Quartertone!plus!EighthJtone!Sharped!
L J!!
Semitone!(HalfJstep)!plus!EighthJtone!Sharped!
l! +!Figure!4!
It!is!also!important!to!understand!the!differences!between!the!specific!eighthJtone!
notations.!!Since!this!is!a!complicated!system!of!accidentals,!here!is!an!example!of!an!
eighthJtone!scale!ascending!using!the!notation!concepts!of!Weiss/Netti!and!Rehfeldt.!!!This!
is!shown!in!figure!5.!!!
!Figure!5!
EighthBTone*Scales*Ascending*between*F*and*G*natural;*Top*Scale*symbols*based*on*Marcus*Weiss*&*Giorgio*Netti;*Bottom*Scale*symbols*based*on*Phillip*Rehfeldt**
!The!performance!of!saxophone!microtones!is!applied!with!the!use!of!false!
fingerings.!!!There!are!several!fingering!combinations!that!can!be!used!to!execute!the!sound!
effects!as!desired.!!Some!saxophone!fingerings!will!work!better!than!others!depending!on!
& 44 ! ! ! !
&
6
w wU w wL w# wl w wX w
&15 ! ! ! !
&19 ! ! ! !
&23 ! ! ! !
&27 ! ! ! !
Score
& 44 ! ! ! !
&
6
w w+ wL w- w# w#+ wl w- w
&15 ! ! ! !
&19 ! ! ! !
&23 ! ! ! !
&27 ! ! ! !
Score
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Bibliography
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Porter, Lewis. John Coltrane: His Life and Music. Ann Arbor, MI:
The University of Michigan Press, 1998.
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