1

Microtones

Abstract:

A Sound Extension of the Saxophone

Official Presentation Script
Lecture Recital by Matthew J. Swallow
Friday, March 22, 2013

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.

01

09

17

25

33

composition!and!fully!adept!at!interpreting!avantJgarde!notation?

!!For!the!performer!

reasonably!expect!from!performers,!dedicated!though!they!may!be!to!experimental!
161
162
163
164
165
166
167

160

208

200

201

202

208

209

203

204

Presentation
utline:

210

205

209

211

206

210

212

211

213

212

214

207

interested!in!microtonal!music,!it!is!his/her!responsibility!to!be!aware!of!the!diverse!
209
210
211
212
213
214
215

notations!that!current!exist!in!several!works.!!This!applies!not!just!for!saxophone,!but!also!
I. What are microtones?

A. Pitch alteration that is smaller than a semitone interval
other!instruments!including!strings!and!other!wind!instruments.!!The!chart!below!in!figure!
168 Score
169 B. Originated
170 in ancient
171 Greece a172
173
174 within 175
nd was somewhat
explored
the 15th and 16th
216 213 218 217
218
Centuries.
208
209
210
211
212217
214
216
219 215
220 219
221 220
1!shows!discrepancies!in!quartertone!notation!between!various!saxophone!and!clarinet!
C. Early music utilized scales
t
hat
d
id
n
ot
c
ontain
e
qual-tempered
i
ntervals
200
201
202
203
204
205
206
compared to what is mostly used in todays compositions (12 common chromatic
from a219
ncient Greeces
melodic
216 resources.!!Refer!to!the!bibliography!section!for!the!authors.!!It!is!imperative!to!become!
217tones); derived
218
220 enharmonic
221
222intervals. 223
th
D. Became widely used in 20 Century; used in orchestral, chamber, and vocal
familiar!with!these!symbols!as!they!are!commonly!used!in!various!works!throughout!the!
works by Mexican theorist and composer Julin Carillo.
4
!
!
!
!

&
4
II. What do microtones look like in todays musical literature?
176
177
180 220
181221
182
216
217 178
218 179
219
222
223183
twentieth!century.!!Lack!of!prior!knowledge!of!these!symbols!can!create!difficulties!in!
A. There is currently
no true
standardization
of m203
icrotonal
ccidental

224200
225201 a204
226202notation.
200
201
202
205
224
225
226
227
228 227203 206
229 228204
202
203
204
200
201
202
205
206
209 200
210 201
211 207
212
213
214
Refer
to Figure 203
1. 208 204
Quartertone!Accidental!Variants!in!Clarinet/Saxophone!Resources!by!Author!

208

184

185

Weiss/Netti! Londeix!

(1/4)! 225

226

186

QuarterJ!
209 201
210
203

208200
202

232

216

tone!
Sharped!
(3/4)!
QuarterJ!
233
tone!
233
Lowered!
(1/4)!

217

204
208 211
202

227

187

216
212
205
209
203
232

234

218

Caravan!

228

188

229 w 230- w
l

!!!!
!

Leonard!

229

189

217
218207
213
214
206
210
211
204
208 232208 205
209
233
234

224

236

220

n/a!

241

242

195 211
213
217
240

237

225

226

221

196 212
216
214
218
241

Farmer!

230

222

Figure
! !!!Figure!1!
! !!!!!!
1

tone!
Lowered!
(3/4)!

235

219

QuarterJ! 194 ! 212

193 209
211
210216

192 208
210

&

224

225

197
217
215
240
219
216 213
242

190
215
233219
212
209 206
210
235

238

23

Rehfeldt!

231

l
!

191
220
221
222
2
234
213
210207
211
212
213
236 235211 214
237 236212 215
238

! 239

L

(KJ)!

238

227 223 !
!241198
218
220
217 214
243
n/a!

239

228

L!

199
219
242
221
218215
244

229

230

220
243219 222
245

221
244220 223
246

243

244

245

246

247

237

238

241
242
245
246 compared 247
Note the consistency
of both 243
the and s244
harped quartertone
accidentals
to the lowered
226

227

232

228

233

229

234

&

248

219
217

248

233

220
224
218

224
222
226
220
249

221
225
219
248

!
fingering chart.

**

230

235

231

236

225
223
227
248224 221
250

226
228
249225 222
251

227
229
250226223
252

228
251227 230
253

symbols

previous
D.
with the
Therefore, it is imperative
to become
familiar
in the

249th

249

234

250

250

235

251

251
240

252

236

253

252
241
237

254

242 253
238

243

255

254

239

244

255

245

chart as they are commonly used in various works throughout the twentieth
232
233
234
235
236
century.
27
226
227
228
229
230
231
232
233
234
235
236
237
238
224
225
226
227
228
229
230
231
232
233
234
235
E. Observe Microtonal Key Comparison
! Temperament !
!
!
& III. Microtonal
A. The performance of saxophone microtones is mostly applied with the use of false
fingerings.

240

207
230
205
2

231w
l(kj)!

ome pieces in the saxophone literature will contain a key within the program
B. Sthat
indicates what is considered

sharp or flat.
a quartertone
C.
some works
may not include
c
reates a challenge
However,
fingerings,
which
in

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

deciphering
t
he
m
icrotonal
a
ccidentals
i
f
u
sing
a
ny
c
omprehensive
s
axophone
!Gardner!Read,!20 BCentury*Microtonal*Notation,!(Westport,!CT:!Greenwood!Press,!1990):!3.!!!
218
216

complete
of the

c
Note*the*consistency*of*both*the**and**sharped*quartertone*accidentals*compared*to*the*lowered*quartertone*
! quartertone
symbols.

Refer to the bibliography

for
itation
authors.
symbols.**Refer*to*the*bibliography*for*complete*citation*of*the*authors.***
!
!
!
240

240
19

232

222

!
! 235
! 237
232&
234
236

15

225QuarterJ!

w 227 # w 228
#w
& w
w L226w -
224

tone!
+



+!

Sharped!
224

234
232

241

235
233

242

236
240
234

243

248

249

237
241
235

244

245

240
238
242
236

250

246

241
239
243
237
240

251

247

242
244
238
241

252

253

243
245
239
242

244
246
243

229
252228 231
254

246

254

237
236 239

245
247
244

3
1. Some combinations work better than others depending on the saxophone size
(soprano, alto, etc.) and specific models (ex. Selmer, Yamaha, Yanagisawa,
etc.).
!
5!
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
the!saxophone!size!(soprano,!alto,!tenor,!&!bari)!and!the!specific!models!(Yamaha,!Selmer,!
have the fingerings included within the piece itself
B. Microtonal Scales (Refer to the Example Playlist)
Yanagisawa,!etc.).!!The!following!books!contain!detailed!microtonal!fingering!charts!for!
1. All scale microtonal accidentals vary due to the composers personal systems
saxophone!stretching!the!full!range!of!the!instrument!along!with!separation!of!the!different!
of notations (just as mentioned earlier)
2. When working out the different microtones, there are limitations due to the
horns!(soprano,!alto,!etc.):
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.
Hello!**Mr.*Sax,*ou*Paramtres*du*Saxophone!by!JeanJMarie!Londeix!!!
3. Quartertone scale note the traditional tempered pitches and the microtonal
The*Techniques*of*Saxophone*Playing!by!Marcus!Weiss!and!Giorgio!Netti!
accidentals in between; observe the space of additional notes compared to the
Extended*Technique*for*the*Saxophone!by!J.!Michael!Leonard!
regular chromatic scale (Demonstrate scale with false fingerings and be
Just!as!it!was!stated!earlier,!some!finger!combinations!work!better!than!others!
sure to explain the scale accidentals ex. sharp, sharp, etc.)
4. Eighth-tone scale Scalar pattern is not regularly used, but is indeed another
based!on!the!saxophone!size,!model,!and!other!possible!variants.!!Therefore,!it!is!
microtonal scale that is possible to perform on the instrument. Notice the
additional microtonal pitches in between the common chromatic pitches
imperative!to!experiment!with!different!fingerings!and!match!the!closest!possible!pitch!
Demonstrate scale with false fingerings and explain the scale
with!the!tuner!that!can!obtain!pitch!in!between!a!half!step!interval.!!When!studying!
accidentals)
C. When working with microtones, it is essential to have a good understanding of the
quartertones,!it!is!essential!to!have!a!tuner!in!front!of!you!to!ensure!accuracy!of!pitch.!!In!
intonation tendencies of the instrument. This will assist in aiming for the proper
tuning of the microtones.
figure!6,!as!the!quartertone!sound!is!in!between!half!steps.!!The!tuner!needle!should!line!up!
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
in!between!J50/+50!cents!flat/sharp.!!If!for!some!reason!the!fingerings!used!do!not!match!!!
projector and demonstrate tuning using same quartertone scale)
!

6!

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!
!

2. The process of working out the intonation of the eighth-tones is similar to the

tuner.!!The!eighthJtones!should!be!J25/+25!cents!flat/sharp!as!seen!in!figure!7.!!After!
Figure!6!
quartertones, but is more sophisticated,
as the intervals are much smaller.
Chromatic*tuner*indicating*proper*tuning*of*quartertones;*

The eighth-tones
should be around -25/+25 cents flat/sharp on the tuner.
learning!the!essential!microtonal!fingerings!that!work!for!your!particular!saxophone,!the!
Red*Arrow*=*quartertone**flat;*Yellow*Arrow*=*quartertone**sharp*
(Same as before)
!
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!

!
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.!!

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)

Piano*with*Electromagnets*by!Per!Bloland!!
into!multiphonics!

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)

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)

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)

8
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


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

4!

Saxophone
Microtonal Resources
quartertone!accidental!notation.!Observe!the!eighthJtone!variants!between!The*Techniques*

of*Saxophone*Playing!(Weiss/Netti)!and!New*Directions*for*Clarinet!(Rehfeldt)!in!figure!4.!!
Comprehensive Saxophone Microtonal Fingering Charts

! Jean-Marie Londeix
Hello! Mr. Sax, ou Paramtres du Saxophone by
!
Weiss!Netti!
Rehfeldt!
! Techniques of Saxophone
The
! Playing by Marcus Weiss and Giorgio Netti
Score
Extended Technique for
the Saxophone by J. Michael Leonard
EighthJtone!!

+!

J!

J!

+!

3!

Sharped!
practicing!the!music.!!Therefore,!can!produce!a!timeJconsuming!learning!curve.!!After!

Saxophone
Quartertone Method Books
!

comparing!repertoire!and!reference!sources,!there!is!a!consistency!of!microtonal!notation!
EighthJtone!!

Flat! in Contemporary Techniques for Saxophone by Ronald L.

Preliminary Exercises & Etudes
with!both!sharped!quartertones!(1/4!&!3/4).!!These!symbols!in!figure!1!are!the!most!
! !
4
Caravan
! Quartertone!plus!EighthJtone!
!
!
!
&4
Saxophone Warm-Ups: MSharped!
aterials for the Contemporary Saxophonist by Steven Mauk
common!found!in!todays!musical!literature!in!all!wind!instruments.!!Figure!2!below!

!
Microtonal
Scales
demonstrates!a!traditional!quartertone!scale!ascending!and!descending!using!the!
Semitone!(HalfJstep)!plus!
!
EighthJtone!Sharped!
Quartertone
Scale with the Ronald Caravan accidental notation system
appropriate!common!microtonal!accidental!notations.!!!
Score
(Refer to Figure 1 for accidental key) Figure!4!

It!is!also!important!to!understand!the!differences!between!the!specific!eighthJtone!
b

#
&

#

Score
notations.!!Since!this!is!a!complicated!system!of!accidentals,!here!is!an!example!of!an!

b !
b B ! b
& 44 b B !
b ! B
eighthJtone!scale!ascending!using!the!notation!concepts!of!Weiss/Netti!and!Rehfeldt.!!!This!
w
&

!
is!shown!in!figure!5.!!!
Figure!2!
Quartertone*scale*ascending*and*descending*between*F*and*B*natural;*notation*accidentals*based*on*Ronald*
Eighth-Tone
Scale (Marcus Weiss System-Top Scale, Phillip Rehfeldt System-Bottom)

Caravan*
4
!
!
!
!

&4
*
& ! wConsidering!that!the!previous!accidentals!in!figures!1!and!2!are!the!most!common!in!
w
Uw
Xw
#w
w Lw
lw
w
4!

6
19
the!saxophone!repertoire,!there!are!several!more!quartertone!accidentals!that!can!take!

quartertone!accidental!notation.!Observe!the!eighthJtone!variants!between!The*Techniques*
!
!
!
!
&
& of*Saxophone*Playing!(Weiss/Netti)!and!New*Directions*for*Clarinet!(Rehfeldt)!in!figure!4.!!
w
some!time!to!decipher.!!In!most!compositions,!the!composer!includes!a!key!to!aid!the!
Lw -w
w +w
#w +#w
-w
lw

performer.!!The!fourth!movement!of!Jindrich!Felds!Sonata*for*Alto*Saxophone*and*Piano!
Accidental Key
13
!
! Eighth-Tone
!
23
Figure!5! ! !
&
15

!
!
!
! !
uses!a!completely!different!system!of!quartertone!accidentals!as!seen!in!figure!3.!!!!!!!!!!!!!
&
Netti;*Bottom*Scale*symbols*based*on*Phillip*Rehfeldt**

!
Weiss!Netti!
Rehfeldt!
EighthBTone*Scales*Ascending*between*F*and*G*natural;*Top*Scale*symbols*based*on*Marcus*Weiss*&*Giorgio*
EighthJtone!!
Sharped!

! 15

+!

J!

l!

+!

The!performance!of!saxophone!microtones!is!applied!with!the!use!of!false!
!
!6!
!
!
&
27
EighthJtone!!
{ ! !!!!!!!!!!!!!!!!!J! !
fingerings.!!!There!are!several!fingering!combinations!that!can!be!used!to!execute!the!sound!
! !!!!!!!!!!!!!
Flat! !
!!!!!!!!!!!!
!
&
!

effects!as!desired.!!Some!saxophone!fingerings!will!work!better!than!others!depending!on!
Quartertone!!!!!!!!!!!!!!!!!!!!!!Quartertone!!!!!!!!!!!!!!!!!!!!!!Quartertone!!!!!!!!!!!!!!!!!!!!!!!!!!Quartertone!
19
Quartertone!plus!EighthJtone!
6
Sharped!
!Sharp!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Sharp!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Flat!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Flat!
!
!
!
!
&
!
!
Figure!3!
Semitone!(HalfJstep)!plus!
19
23

&
&

From*Explanation*of*Notation*Symbols*key*for*Sonata*for*Alto*Saxophone*and*Piano*by*Jindrich*Feld*
EighthJtone!Sharped!

Figure!4!
!!
Even!though!this!not!widely!used,!there!are!also!microtones!in!which!the!performer!
!!
!!
!!

Score

It!is!also!important!to!understand!the!differences!between!the!specific!eighthJtone!

is!asked!to!play!pitch!that!is!sharped!by!an!eighthJtone.!!There!is!a!similar!scenario!as!the!
23
27

Score
notations.!!Since!this!is!a!complicated!system!of!accidentals,!here!is!an!example!of!an!

10

11

Bibliography

Adler, Samuel. Canto IV: Solo Alto Saxophone. Medfield, MA: Dorn Productions, 1973.
Ahern, Philip. Scherzoid for Saxophone Quartet. Manuscript Facsimile from University of
Illinois at Urbana Champaign. Philip Ahern, 1974.

Alla, Thierry. Digital pour Saxophone Soprano seul. Paris: Alphonse Leduc, 2003.

Berio, Luciano. Sequenza VII per sassofono soprano (1969). Wien: Universal Edition, 1995.

Blank, Allan. Three Novelties for Alto Saxophone. Medfield, MA: Dorn Productions, 1973.

Bloland, Per. Of Dust and Sand for alto saxophone and piano with electromagnets. Per
Bloland, 2010.

Bunte, James. A Players Guide to the Music of Ryo Noda: Performance and Preparation of
Improvisation I and Mai. DMA Dissertation, University of Cincinnati College-
Conservatory of Music, 1995.

Caravan, Ronald L. Extensions of Technique for Clarinet and Saxophone. DMA
Dissertation, Eastman School of Music of the University of Rochester, 1974.

Caravan, Ronald L. Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet.
Oswego, NY: Ethos Publications, 1979.

Caravan, Ronald L. Preliminary Exercises & Etudes in Contemporary Techniques for
Saxophone. Medfield, MA: Dorn Publications, 1980.

Caravan, Ronald L. Sketch for Alto Saxophone. New York: Seesaw Music Corp., 1976.

Coan, Carl. John Coltrane Solos. Milwaukee, WI: Hal Leonard Corporation, 1995.

Coan, Carl. Michael Brecker. Milwaukee, WI: Hal Leonard Corporation, 1995.

Coan, Carl. The Michael Brecker Collection. Milwaukee, WI: Hal Leonard Corporation, 1999.

Dallin, Leon. Twentieth Century Composition: A Guide to the Materials of Modern Music.
Third Edition. Dubuque, Iowa, WM C. Brown Company Publishers, 1974.

Denisov, Edison. Sonate pour Saxophone Alto et piano. Paris: ditions Musicales, Alphonse
Leduc, 1973.

Diemente, Edward. Dimensions III for Saxophone and Tape. New York: Seesaw Music Corp.,
1972.

12

Farmer, Gerald. Multiphonics and Other Contemporary Clarinet Techniques. Rochester, NY:
Shall-u-mo Publications, 1982.

Faulconer, Bruce. Music for Saxophone and Percussion: 1972. Medfield, MA: Dorn
Publications, 1981.

Grove Music Online, Coltrane (by Barry Kernfeld), http://www.oxfordmusiconline.com
(accessed March 11, 2013).

Grove Music Online, Microtone (by Paul Griffiths), http://www.oxfordmusiconline.com
(accessed February 10, 2013).

Goldstaub, Paul. Graphic IV. Medfield, MA: Dorn Publications, Inc., 1981.

Husa, Karel. Apotheosis of this Earth. New York: Associated Music Publishers, Inc., 1971.

Ibrahim, Michael. New Aesthetics in Contemporary Saxophone Music. Michael Ibrahim,
2009.

Ingham, Richard. The Cambridge Companion to the Saxophone. Cambridge, UK: Cambridge
University Press, 1998.

Korte, Karl. Dialogue! For Alto Saxophone and Two Channel Tape. New York: Galaxy Music
Corporation, 1971.

Lauba, Christian. Neuf tudes pour Saxophones en 4 cahiers. Book 4 for Baritone
Saxophone. Paris: Alphonse Leduc, 1996.

Leonard, J. Michael. Extended Technique for the Saxophone. Sherborn, MA: J. Michael
Leonard Press, 1989.

Londeix, Jean-Marie. Hello! Mr. Sax, ou Paramtres du Saxophone. Paris: Editions Musicales
Alphonse Leduc, 1989.

Mauk, Steven. Saxophone Warm-Ups: Materials for the Contemporary Saxophonist.
Medfield, MA: Dorn Publications, 1993.

Noda, Ryo. Improvisation I pour Saxophone Alto seul. Paris: Editions Musicales Alphonse
Leduc, 1974.

Noda, Ryo. Mai pour Saxophone Alto seul. Paris: Editions Musicales Alphonse Leduc, 1978.

Polin, Claire. O, Aderyn Pur for flute and alto saxophone with tape (in movt. IV only). New
York: Seesaw Music Corp., 1972.

13

Porter, Lewis. John Coltrane: His Life and Music. Ann Arbor, MI: The University of Michigan
Press, 1998.

Read, Gardner. Compendium of Modern Instrumental Techniques. Westport, CT: Greenwood
Press, 1993.

Read, Gardner. Contemporary Instrumental Techniques. New York: Schirmer Books, 1976.

Read, Gardner. 20th-Century Microtonal Notation. Westport, CT: Greenwood Press, 1990.

Rehfeldt, Phillip. New Directions for Clarinet. Revised Edition. Los Angeles, CA: University
of California Press, 1994.

Ross, Francois. Le Frne gar pour Saxophone Alto. Paris: Gerard Billaudot, 1981.

Silverman, Faye-Ellen. Three Movements for Saxophone Alone. New York: Seesaw Music
Corp., 1972.

Umble, James. Jean-Marie Londeix: Master of the Modern Saxophone. Cherry Hill, NJ:
Roncorp Publications, 2000.

Weiss, Marcus and Giorgio Netti. The Techniques of Saxophone Playing. Kassel:
Brenreiter-Verlag, 2010.

Weinzweig, John. Divertimento No. 6 for Alto Saxophone and String Orchestra. Manuscript
Facsimile from University of Ottawa. John Weinzweig, 1972.

Whiteman, George. Introduction to Microtonal Music. London: British and Continental
Music Agencies Ltd., 1970.