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Variations (On several lines by Amy Clampitt) - Sidney Corbett

Variations (On several lines by Amy Clampitt) (1995) – Sidney Corbett (b. 1960)
Alto and baritone saxophone.
Berline Verlag Neue Musik, published 1996
14’

Members of the Rascher Saxophone Quartet (RSQ) premier a handful of duos and trios. They do not limit their repertoire to only quartets. Variations (On several lines by Amy Clampitt) is composed for alto and baritone saxophone duo.

Saxophone Quartet - Charles Wuorinen

Saxophone Quartet (1992) – Charles Wuorinen (b. 1938)
SATB
C.F. Peters, published 1997
14’

Concerto for Saxophone Quartet - Philip Glass

Concerto for Saxophone Quartet (1995) – Philip Glass (b.1937)
SATB and orchestra
Version for saxophone quartet alone, 1995
SATB
Chester Music, published 2003
23’

Windup - Wayne Peterson

Windup (1997) – Wayne Peterson (b. 1927)
SATB
C.F. Peters, published 2010
11’

Wayne Peterson studied composition at the University of Minnesota. He taught at San Francisco State for three decades. Through the course of his career he was a Guggenheim Fellow, a Fulbright Scholar, and received a commission from the Koussevitzky Foundation. In 1992 he won the Pulitzer Prize for The Face of the Night, The Heart of the Dark.

Mobius Loop - Mathew Rosenblum

Möbius Loop (2000) – Mathew Rosenblum (b.1954)
SATB and Orchestra
Version for saxophone quartet alone, 2001
SATB
C.F. Peters
18’

Ashur Square - Rob Deemer

Ashur Square (2010) – Rob Deemer (b. 1970)
SATB
Self-published
22’

Rob Deemer teaches composition at SUNY – Fredonia and the Interlochen Summer Arts Camp. He has composed for all varieties of performance forces including music for theatre, dance, and film. He credits Dan Welcher, Donald Grantham, and Jan Bach as his primary teachers. He has written columns for the New York Times, New Music Box, and Sequenza 21/.

A Personal Technique Curriculum

Every musician wakes up in the morning and says, “I can’t wait to play my scales!”… If only it were that easy. Scales and their associated exercises often fill musicians with dread, yet they are essential to mastering the saxophone. One can always push for further development and refinement in technical mastery. A few musicians find this hopeless and depressing, but I look at technical development as an exciting challenge. The musician must find the drive from within to practice technical exercises and this is most easily accomplished by designing your own personal technical curriculum.

Voicing and the Saxophone

Voicing will be referred to differently depending on the saxophonist you ask. Many wholly embrace voicing and a few will refute it. Nonetheless, we all voice, no matter what we happen to call it. Voicing is an essential element of saxophone technique. Playing through the entire range, the saxophonist should not have to alter his embouchure, but instead compensate with the oral cavity to produce an even and consistent tone. Building this skill takes a lot of persistent practice. Some exercises may be mastered in hours and other may take several weeks.

Balancing Music

One of the biggest challenges as a musician is maintaining a balanced life. Balance is vital to maintain happiness, and maintain success in the practice room and on stage. We have all experienced burnout, and weeks with no free time, but a little break will go a long way.

Memorization

Memorization creates vulnerability for the performer, but it also empowers the musician. Woodwind universally acknowledge that performance by memory is preferable, but for many years it was an uncommon practice outside of concertos. I’m in a little bit of an unusual position due to my extensive background in piano.  All through elementary, middle, and high school I would perform piano music by memory. The memorization process is not new for me. I have found saxophone music to be more difficult to memorize than piano music.

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