Lesson Notes from my

Studies with
Sigurd M. Rascher
1993
By Stella Tartsinis, DMA

1
Contents
Why was Sigurd M. Rascher (1907-2001) a Monumental Saxophonist? ............................................... 6
How I met Sigurd Rascher ............................................................................................................................. 8
Practice Motivation due to Mr. Rascher’s Playing ........................................................................................ 8
My Memories of Mr. Rascher ...................................................................................................................... 9
Inspiration ................................................................................................................................................ 9
On Veggies .............................................................................................................................................. 10
Thinking and Awareness ........................................................................................................................ 10
Not Fond of Cooking? Huh! .................................................................................................................... 10
Learn from your Environment ............................................................................................................... 11
Sasha, Mr. Rascher Dog Loved Me! ....................................................................................................... 11
Started to figure out Mr. Rascher’s Questioning Techniques............................................................... 11
The Compass? ..................................................................................................................................... 11
I Failed the Trombone Exercise .......................................................................................................... 12
Intolerance to Ignorance ............................................................................................................................ 12
Composer’s Intention ............................................................................................................................. 12
Lessons for the Future ............................................................................................................................ 13
Mrs. Rascher thoughts on Marriage ...................................................................................................... 13
Works Inspired to be Written for Sigurd Rascher* ................................................................................... 14
July 2, 1993 ................................................................................................................................................. 18
Lars-Erik Larsson Concerto for Saxophone and Orchestra........................................................................ 18
Melody .................................................................................................................................................... 18
A# and Bb................................................................................................................................................ 18
Rhythm ................................................................................................................................................... 18
Check the Phrases .................................................................................................................................. 18
Acoustic Issues of B3 .............................................................................................................................. 19
How to use Dynamics ............................................................................................................................. 19
How Rests are Used................................................................................................................................ 19
Rhythms .................................................................................................................................................. 20
Breaths .................................................................................................................................................... 20
Articulation ............................................................................................................................................. 20
How Pick-ups are used ........................................................................................................................... 20
About Composers ................................................................................................................................... 20

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 Mechanical – The E (2 and 3) ................................................................................................................. 21
Meeting with the Conductor: ................................................................................................................ 21
July 5, 1993 ................................................................................................................................................. 22
Ear Training & Ties.................................................................................................................................. 22
Interpretation ......................................................................................................................................... 22
Ear Training ............................................................................................................................................. 22
Glazunov Saxophone Concerto .............................................................................................................. 22
Technique ............................................................................................................................................... 22
Breathing ................................................................................................................................................ 23
Technique: The Five B’s .......................................................................................................................... 23
Philosophical Thoughts .......................................................................................................................... 23
Henry Cowell Experiment: Pitch Tendencies in a Scale ........................................................................ 23
July 8, 1993 ................................................................................................................................................. 24
Technique ............................................................................................................................................... 24
Interpretation ......................................................................................................................................... 24
Ear Training ............................................................................................................................................. 24
Pizzicato .................................................................................................................................................. 24
Interpretation ......................................................................................................................................... 25
On Learning Music .................................................................................................................................. 25
On the Saxophone’s Acoustical Principles ............................................................................................ 25
About Altissimo Register........................................................................................................................ 25
Mental Practice ...................................................................................................................................... 26
Ear Training ............................................................................................................................................. 26
On Practicing .......................................................................................................................................... 26
Reeds ...................................................................................................................................................... 26
Volume Structure Test for Mouthpieces ............................................................................................... 27
Visualization Exercise with a Broom? .................................................................................................... 27
July 12, 1993 ............................................................................................................................................... 28
Technique ............................................................................................................................................... 28
Playing an Octave in Tune ...................................................................................................................... 28
Learning Melodic Interpretation ........................................................................................................... 28
On Pizzicato or Slap Tonguing ................................................................................................................ 28
July 15, 1993 ............................................................................................................................................... 29

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 Rushing ................................................................................................................................................... 29
Learning Melodies .................................................................................................................................. 29
Martin Ballade (Cadenza)....................................................................................................................... 29
July 19, 1993 ............................................................................................................................................... 30
Metal vs. Hard Rubber Mouthpieces ..................................................................................................... 30
Martin Ballade Part 2 ............................................................................................................................. 30
Two Big Problems with the Martin Ballade........................................................................................... 30
Articulation ............................................................................................................................................. 31
High Register Sensitivity......................................................................................................................... 31
Composer Directions .............................................................................................................................. 31
Breathing ................................................................................................................................................ 31
Cadenza in the Martin Ballade ............................................................................................................... 32
July 22, 1993 ............................................................................................................................................... 33
Cadenza................................................................................................................................................... 33
Connecting Tones ................................................................................................................................... 33
Thought................................................................................................................................................... 33
Allegro, Cadenza and Adagio by Glaser ..................................................................................................... 34
Articulations ........................................................................................................................................... 34
About Cadenzas .................................................................................................................................. 34
Technical Cleanup............................................................................................................................... 35
July 25, 1993 ............................................................................................................................................... 36
Rhythm ................................................................................................................................................... 36
Air and Scherzo, Henry Cowell ................................................................................................................... 36
Air............................................................................................................................................................ 36
Scherzo.................................................................................................................................................... 36
Details ..................................................................................................................................................... 37
Glissando ................................................................................................................................................ 37
La Malinconia/ Henk Badings .................................................................................................................... 37
Breathing ................................................................................................................................................ 37
Two Important Things: ........................................................................................................................... 38
Rudolf Steiner ......................................................................................................................................... 38
Technique ............................................................................................................................................... 38
On Thinking............................................................................................................................................. 38

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 Overtones ............................................................................................................................................... 39
Scale Practice without the Octave key .................................................................................................. 39
About Time ............................................................................................................................................. 39
July 29, 1993 ............................................................................................................................................... 40
Questions ................................................................................................................................................ 40
On Thinking............................................................................................................................................. 40
Larsson Movement 2 .................................................................................................................................. 41
Rhythm ................................................................................................................................................... 41
Third Movement, The Cadenza .............................................................................................................. 41
Summary................................................................................................................................................. 42

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 Introduction
These lesson notes are from my study with Sigurd M. Rascher in Shushan,
NY, July 1993. My study time with Sigurd Rascher was such a wonderful experience
and one that I would like to pass on and share with all saxophonists of today and
hopefully of the future.

Sharing my notes with saxophonist that aspire greatness I feel is my

obligation for having studied with Mr. Rascher and, my discovery and revisiting my
notes just recently has made me feel obligated that these notes need to be given
away to all. In this way, perhaps I can bring Mr. Rascher to you. I felt that my study
with Mr. Rascher was a magical experience since I was not only in front of an
incredible man who had worked with and or met with every heavyweight player,
composer, and conductor of his day.

I hope these notes help saxophonists gain new perspectives on their playing
and building a philosophical approach to not only their saxophone playing but, in
their musicianship, and life. The lesson notes from my study with Sigurd Rascher
can give each reader the feel of what a kind of an incredible sharing individual Mr.
Rascher was and that his teaching lives on in your life, and perhaps Mr. Rascher is
speaking to you through these notes.

I received firsthand knowledge of the saxophone masterworks that were

written for Mr. Rascher such as the Larsson Concerto, Ibert Concertino da Camera
and other works.

Why was Sigurd M. Rascher (1907-2001) a Monumental Saxophonist?

Sigurd M. Rascher was a pioneer of the saxophone and considered one of the
most important artists in the history of the classical saxophone. He single-handedly
convinced composers of the day through his saxophone performance to write for

6
the saxophone, which at that time lacked repertoire and was not considered a
serious instrument. Thanks to Mr. Rascher, that changed and he put the saxophone
on the map as a classical instrument. Through Mr. Rascher’s demonstrations, he
inspired a vast number of composers to write for the saxophone. Not only did he
inspire the creation of an impressive repertoire for the saxophone, but his
performances and demonstrating in compositions written for him that a four-
octave range capability amazed many composers as they were listening to the
saxophone played like never before.

Besides being considered an amazing performer of that day, Mr. Rascher

authored method books to help saxophonist facilitate technique. Many may not
realize that just as Mr. Rascher was an amazing artist, he also was an incredible
educator having even taught at the top conservatories such as Juilliard School of
Music, Eastman School of Music and the Manhattan School of Music, and even at
a school near his residence. He authored the following pedagogical material: Top
Tones for the Saxophone, 158 Saxophone Exercises, The Rascher Collections for
alto saxophone and piano, and 24 Intermezzi.

Mr. Rascher was ahead of his time, some that did not understand how
Rascher could play the way he did with a four-octave range and fast pizzicato (or
slap-tonguing) articulation. Because of these incredible abilities, he was referred by
some as a freak according to what Mr. Rascher told me. Mr. Rascher is not the only
individual in history that was not understood, and for such individuals that are at
first ridiculed, but then the world catches on and say amongst them there was a
genius. Adolphe Sax’s daughter was so impressed with Mr. Rascher’s playing that
she sent a postcard to Mr. Rascher noting that he is playing the saxophone
according to her father’s intentions, which was how the saxophone was designed
and meant to be performed.

To wrap it up, Mr. Rascher was an incredible musician and personality. He

was one of the kindest, but very demanding individuals that I have ever met. He
had a caring personality and kindness extends beyond words. He was very

7
generous with his time in furthering my musicianship and not only that in
philosophy.
Summary: https://en.wikipedia.org/wiki/Sigurd_Rasch%C3%A8r

How I met Sigurd Rascher

I first met Mr. Rascher at a Rascher Saxophone Workshop at Yale University

in 1992. A small number of saxophonists including myself performed in the
masterclass held in the chapel at Yale University Campus. I recalled playing the first
movement of the Dressel Partita which was a piece I literally fell in love with due
to the beautiful melodies, and best of all, the acoustics in the chapel were amazing.
After I finished playing the first movement, Mr. Rascher said absolutely nothing but
had a smile on his face. Another saxophone instructor Mr. Moore commented that
my performance was very good. Then Mr. Rascher said, yes, it was very convincing.
I felt a sense of ease. I thought I would have been shredded being the paranoid,
nervous typical college music student at that time. In those days, we all wanted
confirmation that our performance was good and hated to hear negative. That was
the artist prone attitude to strive for the best and having that be the forefront of
our focus.

Practice Motivation due to Mr. Rascher’s Playing

I wanted to sound so much like Sigurd Rascher being inspired by the Brant
Concerto for saxophone that while at Manhattan School of Music, I would practice
for 10 hours a day, waking up at 6 AM practicing before my first class and then
throughout the day. After falling asleep in my classes, and Ms. Chesis, the flute
instructor at Manhattan School of Music whose flute class for doublers I was
enrolled, advised that 10 hours is way too much and that I should aim for 6 hours,
that was so much easier. Then I realized how much time was wasted in the practice
room, and narrowed it down to 3 effective hours backed by a plan. I recall that the
well planned 3 hours equaled the 6 hours of practice. I would say while at
Manhattan school of music and later on at New England Conservatory that all we

8
did was focus on practicing. That I caught many of my classmates making love to
the walls. Their expression of the beauty of the music seems like their affection
towards a lover when they practiced.

I would analyze the playing position of Mr. Rascher on videos and posters
and saw that he had a slight slant to his fingers on the saxophone, and when I
emulated those details, my technique automatically improved.

My Memories of Mr. Rascher

Inspiration

I recall an instance that I discussed with Mr. Rascher how I thought that
inspiration is so important for motivating growth. He responded, what does the
word literally mean Stella? I said it means the God within. And I can still recall his
smile and his reaction of his infamous reaction of “Ah-hum” gesture. He then
pointed to a plant on his properly and said it is it amazing how this plant was
perfectly engineered that the water goes straight to the root. Mr. Rascher taught
with hints. One can say, yah so, the water goes to the root, big deal. But anyone
who had any correspondence with Mr. Rascher knows for a fact that he would not
pose any statement without logical or philosophical thinking behind it to make the
listener figure it out. He would always say, “no spoon feeding”. He never taught
in a way that answers were provided rather the question was provided and the
answer can be different for the individual pending on their level of knowledge and
awareness. Simply put, thinking was what he expected from each student and if
you did not think, he would clearly let the student know it.

From my understanding, Mr. Rascher was trying to convey to me that music

goes beyond the technical demands and requirement of learning and performing
music, but highly stressed the meaningful principle that there is a power behind
what we do, call it God, or infinite intelligence, there are universal formulas that
have been proven to exist that shapes our world.

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 On Veggies

Mr. Rascher ate all organically grown food. He grew all their vegetables on
their property, which was surrounded by berries, fruits, and vegetables. Mr.
Rascher would give me a brown paper bag and say that I can pick pea, berries any
vegetable that I chose. One day, I was picking peas and the size of those peas was
mind-boggling. I told Mr. Rascher that I never saw such large peas in my life! He
disgusted how the commercial manufacturing and the pesticides used does not
give the vegetables the advantage of his homemade compose that he used on all
his vegetation to promote growth. He told me that they eat the same vegetables
grown on his property all year long because they freeze their vegetables to have
food for the winter months. They stayed away from commercially grown food and
preferred their own food grown on their property.

Thinking and Awareness

Mr. Rascher on numerous occasions and practically every day emphasized

the greatest degree that people do not think. Thinking also followed by
awareness. He said we should question everything in our sight basically.

Not Fond of Cooking? Huh!

I will never forget, one day I noticed a brown sandwich bag on the chair
where I would place my saxophone case for lessons. I asked Mr. Rascher wow
vegetables. He responded, doesn’t seem that I am fond of cooking. He was dead
on! I still laugh to this day about that. And another time, where he was being very
picking with the timbre of the octave C# (long) sounding different than the tones
around it. I was kidding, but told Mr. Rascher, that I just let it be since there are so
many areas to focus on. I must have been comical in my approach, but I never saw
such a huge smile or laughter from Mr. Rascher. The detail and placing awareness
to the smallest details I can say today, that my playing has reached levels that I
would never imagine without Mr. Rascher never waning away from every detail.

10
 Learn from your Environment

Mr. Rascher would ask me what I did on my weekend. I would say that I
visited Norman Rockwell museum near Shushan, and Mr. Rascher said that was
who he thought of nearby that I would visit. He would ask me if I saw the 4th of July
parade, and I told him I did not. He was always looking to expand the mind with
the environment. Mr. Rascher was a lifelong learner always questioning in efforts
to learn. He expected this standard from everyone since he noticed that so many
people do not think. He always wanted people to never stop learning and thinking.
I consider his standards a gift.

Sasha, Mr. Rascher Dog Loved Me!

It was funny that somehow I developed a relationship with Mr. Rascher’s dog
Sasha. She would bark to let Mr. Rascher know that he has a visitor at his door, but
not with me. Sasha would be silent when I arrived for my lesson, and Mr. Rascher
would comment that she always would bark for others.

Started to figure out Mr. Rascher’s Questioning Techniques

I learned to forecast Mr. Rascher’s thinking ahead of time and thought I was
ready. So I thought. I did ok on the walk around his properly having heard Mr.
Rascher naming all the different types of Veggies to a neighbor he planted while
outside before my lesson. One thing Mr. Rascher did not anticipate with me was a
very good memory. I recalled every plant that he mentioned because he posed
questions using his vegetation as the thinking lesson. I know I got an A+ on this
assignment.

The Compass?

Here was another one, He asked me which direction I would need to go. And
since I noticed Mr. Rascher would refer to the compass directives, I learned how to
notice where I was then according to being away from where north was. Mr.

11
Rascher would be happy to know that in the Army I learned how to use the Lensatic
Compass to follow asthmiths.

I Failed the Trombone Exercise

Mr. Rascher asked me to visually show the shape of the trombone. I quickly
show the shape since I felt it was such an simple request, but he was NOT happy.
He said there was no detail in my description. What I understood as being the worst
thing that his student can do was not just thinking, but be certain of their thinking
before they comment. I quickly learned from the trombone example to be very
careful in my communication to entail detail. I felt bad at that time for such an
error of description, but today, I thank my lucky stars that Mr. Rascher taught me
the importance of detail.

Intolerance to Ignorance

In some way, we all pay the price of how we acquire and grow from
knowledge. Mr. Rascher’s thoughts were no different, but he was very strict about
doing your due diligence in research before asking questions. He also told me that
there are two ways to acquire knowledge, 1. Reading and then and 2. Asking
questions. Mr. Rascher’s library was extensive, and just stepping into his home, I
learned so much about him. From the entryway, I would go to the left room which
was a library and if going to the right room he had his original manuscripts. I still
recall the yellow manuscript of the Glazunov Concerto and Glazunov's handwriting
of that score. To be in the presence of such history was mind-boggling how a
student who could not play a four-octave range two years ago and with half the
technical ability was in the presence of such greatness.

Composer’s Intention

I realized and convey to my present students that you win competitions by

interpretation of the details. Mr. Rascher demonstrated this and this was what he
wanted to hear in his students performance – Details, and thinking. Somehow the
12
notes on the page or the GPS has to be taken from the materialistic form to the
spiritual form because music has to not only touch the heart, but it must touch the
soul. I learned this element at a very young age from listening to musicians who
touched my soul. Mr. Rascher clearly was one of them. His interpretation was
clearly defined and he brought out the composers intentions. This was one
particular area he was clearly strong in discussion that we must bring out the
intentions of the composer. This is where thinking is so vital and not just playing
music without justifying each phrase, climax and how each section is performed.
Why did the composer use dynamics, articulation, tempi, and how is the piece
supposed to develop through your interpretation. What is the piece about and are
you bringing what the composer intended in his work out through your
performance. Does it convince the listener? These were some critical questions
that Mr. Rascher noted on numerous occasions.

Lessons for the Future

Throughout my lessons, Mr. Rascher kept reminding me that what I am

learning today, I will not understand fully until many years later. He stressed that I
take good notes for the future. Perhaps Mr. Rascher somehow knew that I would
take these notes for you.

Mrs. Rascher thoughts on Marriage

Mrs. Rascher asked me if I plan to marry someday. I told her that I would like
to find the right person. She commented that due to mother’s babying their son’s,
that I would be busy with the aspects of marriage and not much time for musical
performance. She was right!

13
 Works Inspired to be Written for Sigurd Rascher*
Adler, Samuel Line Drawing after Mark Tobey (1978) SATB [?]
Badings, Henk La Malinconia (1948) as, pn [Donemus]
Beers, Jacobus Cornelis Concerto (1935) as, orch
Benson, Frank Warren Cantilena (1954) as [B&H]
Benson, Frank Warren Concertino for Alto Saxophone and Wind Ensemble (1955) as, orch [MCA]
Benson, Frank Warren Invocation et danse (1960) ss, as, perc [MCA]
Bentzon, Jørgen Lindenberg Introduction, variations et rondo (1938) as, orch [WH]
Bentzon, Jørgen Lindenberg Racconto nr. 1 op. 25 (1934) fl, as, bsn, cb
Borck, Edmund von Capriccio in A op. 11 (1932) as, vl, pn [?]
Borck, Edmund von Konzert für Alt-Saxophon und Orchester, Op. 6, 1932
Borel, René Fugato in F (1976) SATB [Bourne]
Brant, Henry Dreyfuss Concerto for Alto Saxophone and Orchestra (1941) as, orch [CF]
Brehme, Hans Saxophone sonata (1932) as, pn
Coates, Eric Saxo-rhapsody (1936) as, orch [B&H. and Chappell]
Cowell, Henry Dixon Air et Scherzo (1961) as, pn [AMP]
Dahl, Ingolf (1912-70) Concerto (original version•1949) as, band [EAM]
Dressel, Erwin Bagatelles (19??) as, pn [Ries.]
Dressel, Erwin Concerto op. 27 (1932) as, orch [Ries.]
Dressel, Erwin Partita (1965) as, pn [Ries.]
Dressel, Erwin Sonata (1932) as, pn [Ries.?]
Eisenmann, Will Concertino op 69 (1962) as, orch
Eisenmann, Will Concerto op 38 (1937) as, orch [Uni.]
Eisenmann, Will Duo Concertante op 33 ??? (1951) as, pno [CF]
Eisenmann, Will Mouvements für Altsaxophon, op. 68 (1962) as,
Eisenmann, Will Nevermore (Ballade) op. 28 (1969) alto sax [Kendor]
Erickson, Frank Konsert (1960) as, band [Bourne]
Gates, Everett Incarnations and ritual (1963) sx solo
Gerhard, Fritz Chr Fantasie “Ben venga amore” (1970) SATB
Gerhard, Roberto: Quartet (19??) SATB
Glaser, Werner-Wolf 3 Pièces (1981) SSAAAATTBBBs [STIM]
Glaser, Werner-Wolf 3 Sonaten im alten stil (??’•1934) solo [STIM]
Glaser, Werner-Wolf Allegro, Cadenza et Adagio (1950) as, vln, vla, pno [STIM]
Glaser, Werner-Wolf Canto (??’•1970) as, orch [STIM]
Glaser, Werner-Wolf Little pieces for Four saxophones, opus 8a (6’•1970) SAAT [Presser]
Glaser, Werner-Wolf Little quartet (??’•1934) solo [STIM]
Glaser, Werner-Wolf Quartet (??’•1950) as, vln, vla,vcl [STIM]
Glaser, Werner-Wolf Quintet for Five Saxophones (15’•1964-77) SAATB [STIM]
Glaser, Werner-Wolf Suite (12’•1935) as, orch [STIM]
Glazounov, Alexander Concerto Eb Major, op. 109 (1934) as, orch [Leduc]
Grisoni, Renata Albumblat, op. 60 (19??) as [Peters]
Grisoni, Renata Sonatina, op. 64 (19??) as [Curci]
Grisoni, Renata Suite Italien, op. 26 (19??) as [Peters]
Haba, Aloïs Suite für Saxophon op. 99 (1968) alto sax solo

14
Hartley, Walter S. Aubarde (19??) SAATBBs [Ethos]
Hartley, Walter S. Chamber Music (1960) fl, ob, cl, as, cor, bsn [FEMA]
Hartley, Walter S. Octet (1975) SAAATTBBs [Dorn]
Hartley, Walter S. Suite (1972) SATB [Phil.]
Hartley, Walter S. The saxophone Album, 4 pieces for div. sax. (1974) SATB [Dorn]
Hindemith, Paul Koncertstück (1933) 2 alto saxes [MM/Schott]
Hlobil, Emil Quartet op 93 (1974) SATB [Schirmer]
Husa, Karel Concerto (1967) as, band [AMP]
Husa, Karel Elégie et Rondeau (1960) as, orch [Leduc]
Ibert, Jaques Concertino da Camera (1935) as, orch [Leduc]
Jacobi, Wolfgang Bacarole (1964) 2 sx
Jacobi, Wolfgang Sérénade et allegro (1961) as, orch
Jacobi, Wolfgang Sonata (1932) as, pno [Bourne]
Kaun, Hugo “Aus Den Bergen”, suite (1932) as, pno
Knorr, Ernst Lothar von Chamber concerto as, pno, chor., ch. orch.
Knorr, Ernst Lothar von Sonate (1932) as, pno
Koch, Erland von Bagatella virtuosa (1978) SATB [STIM]
Koch, Erland von Cantilena (1978) ss solo [CG]
Koch, Erland von Cantilena et vivo (1978) SATB [CG]
Koch, Erland von Concerto (1959) as, orch [Peer]
Koch, Erland von Concerto Piccolo (1962) ss, as, orch [Br.H.]
Koch, Erland von Danse nr. 2 (1938-67) ss or as, orch [STIM]
Koch, Erland von Dialogue (1975) ss, as [STIM]
Koch, Erland von Miniatyre (12’•1970) SATB [Br.H.]
Koch, Erland von Moderato & Allegro (1981) SSAAAATTBBBs [STIM]
Koch, Erland von Monolog nr. 4 (1975) as solo [CG]
Koch, Erland von: Saxophonia (1976) SATB, band [STIM]
Korn, Peter Jona Konzert op. 31 (1956) as, orch [Bourne.]
Lamb, John David Barefoot dances (1962) 2 as [MM]
Lamb, John David Concerto “Cloud Cuckoo Land” (1970) as, orch
Lamb, John David Finney’s folly (1964) as
Lamb, John David Night Music (1956) as, band
Lamb, John David Romp (1964) as [Bel.]
Lamb, John David Three antique dances (1961) sax solo
Lamb, John David Three flourishes (1961) 2 as
Lamb, John David Three pieces (1963) bs, pno
Larsson, Lars-Erik Konsert för Saxophon och Stråkorkester (1934) alto sax, orch [CG]
Latham, William Peters Concerto grosso (1960) ss, as, band/orch
Léonard, Clair Recitativo et Abrecadabra (1941) alto sax, pn [Bourne]
Lukas, Zdenek Rondo (1970) SATB
Macha, Otmar Plac Saxofonu (1968) as, pn [CMIC]
Martin, Frank Ballade (1938) as, orch [Uni.]
Moeschinger, Albert Concerto Lyrique, op. 83 (1958) as, orch [B&H]
Ostrec, Slavko Sonate (1935) as, pno
Palester, Roman Concertino (1936) as, orch [Polish]
Russel, Armand King Particles (1962) alto sax, pn [Bourne.]

15
 Sasamori, Takefusa
Schmutz, Albert
Starer, Robert
Still, William Grant
Tarp, Svend-Erik
Turkin, Marshall
Ullmann, Viktor
Welander, Waldemar
Welander, Waldemar
Whitney, Maurice
Whitney, Maurice
Wirth, Carl-Anton
Wirth, Carl-Anton:
Wirth, Carl-Anton
Wirth, Carl-Anton
Wirth, Carl-Anton
Worley, John Carl
Worley, John Carl
Variations Taki’s “Kojo no Tsuki” (1963) alto sax, pn [Peer]
Sonata (1961) alto sax, pn [Peer]
Light and Shadow (1977) AATB [MCA]
Romance for Alto Saxophone and Orchestra, 1954
Concertino (1934) alto sax, orch
Sonata (1958) alto sax, pn [Presser]
Slavische Rhapsodie für Orchester und Saxophon, 1940
Arietta (1947) alto sax, pn [CF]
Concertino (1964) alto sax, orch [STIM]
Introduction and Samba (1951) as, band [Bourne]
Rhumba (1949) alto sax, band [Bourne]
Beyond these hills (1961) as, pn [CCP]
Dark flows the river (19??) alto sax [CCP]
David (1978) triptych, alto sax, winds, perc)
Idlewood concerto (1954) alto sax, orch [Presser]
Jephta (1958) sop sax, alto sax, pn (or ss, as, strings, pn, perc.) [Ethos]
Clarement Concerto (1962) alto sax, orch
Sonata (1975) alto sax, pn [CF]

Publisher Key:
AMP: Associated Music Publishers, 866 Third Avenue, New York, NY 10022, USA
B&H: Boosey and Hawkes, Incl., 200 Smith Street, Farmingdale, NY 11735, USA
Bel.: Belwin-Mills Publishing Corp., 15800 N.W. 48th Avenue, P.O.Box 4340, Miami, FL 33014, USA
Bourne: The Bourne Co., 437 5th Avenue, New York, NY 10016, USA
Br.H.: Breitkopf & Härtel, Walkmühlstrasse 52, D- 6200 Wiesbaden. Germany
BTM: Big Three Music Corp., 1350 Avenue of the Americas, New York, NY 10019, USA
CCP: Columbia Pictures Publications, P.O.Box 4340, Miami, FL 33014
CF: Carl Fischer, Incl, 62 Cooper Square, New York, NY 10003, USA
CG: A.B. Carl Gehrmans Musikfölag, Vasagatan 46, Stockholm, Sweden (US agent: Hemer)
Chappell: Chappell and Company, Ldt., 50 New Bond Street, London W14 2BR (US agent: Presser)
CMIC:Czechoslovak Music Information Center, Besedni 3, Prague 1, Czechoslovakia (?)
Curci: Edizioni Curci, Galleria del Corso 4, 20120 Milan, Italy (US agent: BTM)
Donemus: Paulus Donemus, Potterstraat 14, 1071 CZ Amsterdam, Holland (U.S. agent: Peters)
Dorn.: Dorn Publications, Inc., P.O.Box 206, Medfield, MA 02052, USA
EAM: European American Music, P.O. Box 850, Valley Forge, PA 19107, USA
Ethos: Ethos Publications, P.O.Box 2043, Oswego, NY 13126, USA
FEMA: FEMA Music Publications, P.O.Box 395, Napersville, IL 60540, USA
Hemer: Al. Hemer Music Corp., 4190 N, Buffalo Street, Orchard Park, NY 14127, USA
Kendor: Kendor Music, Inc., P.O.Box 178, Delevan, NY 14042
Leduc.: Alphonse Leduc et Cie., 175, rue St. Honoré, 75040 Paris, France
MCA: MCA Music, 445 Park Avenue, New York, NY 10022, USA
MM: McGinnis & Marx, 133 Seventh Avenue, New York, NY 10014, USA
Peters: C.F. Peters Corp., 373 Park Avenue S., New York, NY 10016, USA
Phil.: Philharmusica Corp., 110 W. Crooked Hill Rd, Pearl River, NY 10965, USA
Polish.: Polish Music Center, Rybek Starego Miasta 27, 00-272 Wasaw, Poland
Presser: Theodor Presser Co., Bryn Mawr, PA 19010, USA
Ries.: Ries & Erler, Berlin (US agent: Peters)

16
Schirmer: G. Schirmer, Inc., 866 Third Avenue, New York, NY 10022, USA
STIM: Swedish Music Information Center, Sandhamnsgatan 79, Box. 27327,
Stockholm, Sweden e-mail: susanne...@stim.se (sales agent Susanne Suttner).
Uni.: Universal Edition, Postfach 130, A-1015 Wien, Austria (US. agent: EAM)
WH: Edition Wilhelm Hansen, Bornholmsgade 1, DK-1266 Copenhagen, Denmark

*Works written for SMR (https://groups.google.com/forum/#!topic/rec.music.makers.saxophone/7-9DpxoL-

M8)

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 July 2, 1993

Lars-Erik Larsson Concerto for Saxophone and Orchestra

Melody

Use simple songs to practice looking at pieces of music as whole. Looking at a

piece of music completely from beginning to the end. The example that Rascher
used was Mozart’s music because you can look at his compositions from the
beginning to the end and visa versa to get the complete picture of the
composition. Rascher spoke about looking at a work backwards using Mozart as
the example because Mozart looks at his pieces as a complete work -looking at it
like a canvas you see the beginning, middle and end at the same time.

A# and Bb

These two tones are never the same since one tone is higher than the other.
Example: A# to Bb is not an octave but a diminished octave while Bb to A# is an
augmented octave. A# leans to B, while Bb leans to A.

Rhythm

Shorter rhythmic values lead to longer ones.

Check the Phrases

How does each phrase begin and end? How do the two octaves used in a piece
affect the compositional development-meaning does the octave’s range
promote tension, tranquility, development, etc. By making this comparison,
the construction of the piece is better understood. How the music is
constructed and developed by analyzing the begin, middle (development) and
end a piece gives the meaning of the work through this study.

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 Use Mind Maps to organize the sequence of development:
Beginning Middle (Development) End

In the Larsson Concerto, 7 measures after rehearsal number 20, the four
quarters D, C#, B and A are on the upper octave while the following quarters E
is in the lower octave. Why do you think Larsson used the range in that way?

Acoustic Issues of B3

The B3 sticks out more than the other notes around it; therefore, you need
less volume for B3 than the other tones. This is an acoustical problem of the
saxophone. The higher the tones are, the less volume is necessary for those
tones to be in balance with the other registers.

How to use Dynamics

Dynamics help brings out the phrases. Therefore, find out how to use
dynamics effectively listening to phrase and having it direct you where and
when to use dynamics. Explain why you chose to use the dynamics in that way.

How Rests are Used

How are rest are used? In the Larsson Concerto, measure 10 has an eighth rest
that makes it different from the rest of the phrases. Why do you think Larsson
used the rest in that way?

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 Rhythms

How rhythms are used. Example: the Larsson Concerto measure 9 has triplets
while everything around it is in eighth notes (from measure 3 to 2 eighths).
Why? What mood was Larsson trying to build here?

Breaths

Breaths are used – after longer rhythmic values. Therefore, it is logical to take
a breath after longer rhythmic values.

Articulation

Articulation is used to bring out the phrases effectively. Decide on the stylistic
reasoning and pick an articulation that would best suit the piece: tenuto,
legato, staccato, accent, marcato, breath attack, and the combination of
dynamics are necessary to assist in the articulation being released in style of
the phrase.

How Pick-ups are used

In the Larsson Concerto, the very beginning of the second movement, the D
starts on the upbeat, very quietly. Imagine continuing with the action
connecting the following tones within that phrase as one.
Pick-ups do not lie well sometimes. Find how they are used in a pattern or
groupings.

About Composers

How composers write for each instrument for it to be idiomatic.

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 Example: At the beginning of the first movement of the Larsson Concerto, the
phrase does not lie well for the clarinet. A music critic claimed that the Larsson
Concerto could be performed on clarinet. This was an obviously bad judgment on
the critic’s part questioning if he himself is a clarinet player since the Larsson
Concerto is not idiomatic for the clarinet.

Mechanical – The E (2 and 3)

Larsson measure 24 on the 3rd beat, the right-hand palm must touch the
mechanism with the inner part of the hand which reduces the movement. Always
try to refine your technique by limiting the motion of the fingers to allow better
control for smooth playing.

The B3 sticks out too much need to have less volume or voiced to blend with the
notes around that pitch.

Meeting with the Conductor:

Meet with the conductor before rehearsals to go over the tempos for each
movement and phrasing for the strings. The smallest details make all the
difference in the world in learning and performing a piece.

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 July 5, 1993

Ear Training & Ties

You must be able to sing all intervals (pitches) to be a convincing performer.

Question how intervals are used. For example, how are octaves used; Perfect
5ths and why they are used? How are ties used?

Interpretation

Certain elements in music don’t have to be written to be understood. This

includes dynamics, rallentando, accelerando, articulation, etc. Play elements of
music with taste. The saxophone does not need to be forte when the strings are
in the piano dynamic. Question dynamics for incorporating to the style and
expression.

Ear Training

The mind is at fault with ear-training if difficulty arises in producing

pitches/intervals at will. Practice sensitivity to pitch without relying on the
keyboard, but only through your mind and voice. Practice hearing the pitch, then
producing it.

Glazunov Saxophone Concerto

Notice how the D pedal points are used falling on the beats.

Technique

Don’t let the saxophone control you! You control it!

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 Breathing

The breath should be silent. Widen the opening of the corners of your mouth to
permit a silent breath.

Technique: The Five B’s

1. 2. 3. 4. 5.

A fast-technical phrase can sound slow because of its clarity (a good thing), while
a fast-technical phrase played sloppy, uneven can sound faster (a bad thing).
Clean and even technical figures should not sound hesitated, but unnoticeable
and easy due to the clarity and perfection of execution.

Philosophical Thoughts

It is not natural to play the saxophone. It is above nature. Only man can go above
nature while other living entities comply with natures rules and demands.

Henry Cowell Experiment: Pitch Tendencies in a Scale

Henry Cowell set out to find out why the 7th of the scale is sharp, and the 4th of
the scale degree is flat. His research was done by his students that went around
asking people to sing any melody for their experiment. The results showed that it
is natural to sing the 4th flat and the 7th sharp.

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 July 8, 1993

Technique

G# (2) is not a good note for the saxophone due to its sharp tendencies.
C (2) to C# (2) is not smooth, practice C to C# until they are as smooth as possible.
Breakdown phrases to make each phrase as smooth as possible. For practical
exercise, temporarily remove the non-harmonic, embellishing notes to notice the
important notes or skeletal structure to better understand how any why tones
need to be played in a certain way.

Interpretation

Do not emphasize the obvious!

Ear Training

Sing the phrases and let your musical taste dictate where the phrasing might need
to go. In the first movement of the Larsson Concerto, first line F# to F# is one
phrase while B to the first E another phrase. Do not treat those two phrases as
one but as two distinct phrases or ideas.

Pizzicato

What the texture contains determines what the saxophone will play. In the first
movement of the Larsson Concerto, the pizzicato section, strings use pizzicato and
that suggests that the saxophone should pizzicato or be very short with a similar
articulation. The saxophone and the strings are playing tutti and therefore, it
makes sense that the saxophonist articulates in a similar manner.

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 Interpretation

Be consistent with similar figures in the piece. With repeated figures, repeated
directly in succession, the second phrase or note should be in the piano dynamic
level - the repetition acts like an echo. An example can be seen at the beginning
of the second movement of the Ibert Concertino Da Camera. Two notes in the
second movement of the Ibert Concertino Da Camera, A to G# are stated and its
repeat is piano to bring out the contrast in the phrasing.

On Learning Music

NEVER UNDERESTIMATE THE MUSIC! SUGGESTIONS ARE GIVEN IN THE MUSIC

DIRECTING THE MUSICIAN THROUGH HINTS OF WHAT TO DO OR NOT DO. LOOK
AT THE MUSIC AS A WHOLE. STUDY THE WORK AS A WHOLE TO INCLUDE BOTH
THE SOLO & ACCOMPANIMENT PARTS – BOTH PARTS MUST BE STUDIED
TOGETHER. DO NOT JUST LEARN THE SOLO PART.

On the Saxophone’s Acoustical Principles

The bore from the top to the bottom is doubled in vibration frequencies. The
example is given, like a layered cake, the air in one part not in the other. Five
vibrations in the bottom end of the saxophone while ten vibrations in the top part
of the saxophone. It is easier to play a lower octave than that of an upper octave.
Example C to C (2) is easier and smoother than playing from the upper octave to
the lower octave, C (2) to C (1).

About Altissimo Register

The thickness of the reed does not determine how high you can play above the
key range. The bite determines that since the pressure of the bite or embouchure
takes away pressure from the reed allowing it to vibrate at the frequency to
produce the needed vibrations needed for the altissimo range. Adjust to your

25
 own sensitivity for each high note above the key range. Eventually, it will be
second nature through kinesthetic learning.

Mental Practice

Thinking fixes all the technical problems. Sensitivity to your instrument allows
freedom for flexibility. Problem-solving especially creative problem solving or as
Mr. Rascher emphasized the word “Thinking” solves any problem, inspires
creativity and that is imagination at work.

Ear Training

Sing your intervals every day. Awareness of intervals gives new meaning to a
piece of music.

On Practicing

Practice slowly to ensure that all the notes are smooth. This will enable the
fingers to have sensitivity. Every tone must lead to the other. For this reason,
playing elegantly is easier accomplished through smooth playing. Being careful of
how every tone leads into the other, and how clean playing makes all the
difference in the world in an effective expression of a piece of music. This enables
entry into the artistic performance level. Go back and forth with trouble spots to
make each tone as smooth as possible.

Reeds

Sandpaper is not a good resource for adjusting reeds. The grains from the
sandpaper get worn, and its particles loosen getting into the reed. Only file the
reed in the cut part not the back like you would be sanding it down. Use a point
file only. Do not use sandpaper. The back of the reed must not be uneven at all.

26
 Volume Structure Test for Mouthpieces

1. Fill one mouthpiece with water.

2. Then from the mouthpiece filled with water, pour the water into the other
mouthpiece to compare the bore volume from the other mouthpiece.

Visualization Exercise with a Broom?

Take a broom handle or something similar and finger the tones of the piece you
are studying. While fingering the notes on the broom handle, practice visualizing
the saxophone keys. Then compare what you practiced with the broom handle to
your saxophone playing to notice how close you were.

27
 July 12, 1993

Technique

Play everything slow to find spots where there are inconsistencies causing uneven
playing due to rushing the rhythms.

Playing an Octave in Tune

To play a tuned octave, play the scale because the notes in the scale collectively
determine the intonation of the octave.

Learning Melodic Interpretation

Stephen Foster has great melodies. Find songs such as American Folk Music since
they are simple and beautiful melodies to practice expression through dynamics,
vibrato, and sensitivity to articulation.

On Pizzicato or Slap Tonguing

How to produce the slap tongue or pizzicato effect on the saxophone focuses on
how to tongue manipulates the reed off the rails of the mouthpiece. Step 1: seal
the mouthpiece with your bottom lip and 2. Then, pull off the tip of the reed from
the mouthpiece by creating a suction through the middle of the tongue in a
downward motion. Whatever air is behind the pull off the tongue will sound the
amount of sound or slap.

Practice pizzicato with all rhythmic values – short to resonating.

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 July 15, 1993

Rushing

Again, do not rush. Get rid of carelessness, shortening beats, etc. Do not play
everything fast but calculated.

Learning Melodies

Learn short melodies in all keys. Stephen Foster’s music was recommended. Pick
6 or 7 songs a week. One for each day, never repeats the same song within that
week. Notice how repeated notes, steps, skips and leaps are used to construct the
melody. Also, how did the composer use the rhythm within his melody?

Martin Ballade (Cadenza)

Everything isn’t slurred like baroque music. Since this piece is a 20th-century
composition, the composer wrote the cadenza in detail with specifics including
the articulation.

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 July 19, 1993

Metal vs. Hard Rubber Mouthpieces

Why is a metal mouthpiece not a good choice compared to a hard rubber

mouthpiece? Since the hard rubber is constructed of a less dense material, it will
not build condensation. This allows for there not to be extra moisture in the
mouthpiece. In comparison to the metal mouthpiece, it is much dense than the
rubber mouthpiece and since it does not act as an insulator, like the hard rubber,
it will become hot building condensation unless you play in the same temperature
of their inner body, which would be unbearable. The breath temperature
environment would be what you must play for no condensation build up (metal).

Martin Ballade Part 2

After rehearsal 32, 14th measure Lento 3/8 (q e ) the last beat of the measure
can be used as a pickup to the next measure. Do not play the higher tones loudly
because you don’t need to accent or bring out the obvious if it is loud enough.
Be sure about phrases. For example, at rehearsal 35, after those five measures,
the low D should not be connected to the low E because the low E adds to the
following eight notes. It enhances the phrase. Be sure to analyze the music to
understand the work into the relationship between what the composer wanted.

Two Big Problems with the Martin Ballade

1. Breathing
2. Counting longer rhythms and keeping a steady pulse

30
 Articulation

Be sure about articulations, tenuto means smoothly not the opposite.

High Register Sensitivity

Be sure of how the upper register is used. For intensity (Like the Martin Ballade)
or as a smooth flowing melody.

Composer Directions

Take literally the meaning of what the composer writes. Example stringendo,
dolce, etc.

Breathing

For breathing purposes, take away the eighth note before the rest to get a bigger
breath – cannot breathe after the rest because that will make the following tones
late.

If a tone is followed by another in which the previous tone acts as a pick-up, you
must be sure those two tones smoothly together. The example in rehearsal 8,
after ten measures of that q-rSg-q must be slurred for the melodic line to flow.
Be clean about playing technically not allowing for sloppy, uneven technique. The
last six measures of the Martin, fff is not a necessary dynamic because high A is
loud enough coming through, and does not need to be marked fff, but the overall
effect needs to be fff in which the range allows for the buildup.

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 Cadenza in the Martin Ballade

The quintuplets and sextuplets need to always start slowly then increase in speed.
Example:
Slow to fast:

Dfffg dfffg

Slow going up and fast moving down.

32
 July 22, 1993
Find the reason why somethings in music does not work for the saxophone. An
example: Can’t play soft on a long low note for long. How notes in certain octaves
don’t work very well together due to articulation problems prone in the lower
register because of the delay of air to act quicker in providing a clear articulation.
Use sensitivity to regulate how to make articulation clear in the lowest register-
consider how to work with air to tongue combination to ensure the proper
articulation.

A glissando from one register to another does not work very well. Example
Benson, the Aeolian song based on an old Greek Melody (the first part before the
development, end of E).

Cadenza

What is the overall mood, bold, dolce etc.? Do not cheat beats, feel the pulse on
longer notes and the tempo rubato when needed.

Connecting Tones

Practice connecting tones, not losing sound quality on the p level. Also, practice
detached tones making them as smooth as possible. Music must be smooth
(elegance) with no rough edges that cause the effort to be noticed.

Thought

Three elements of Music that tie together with life. These three elements tie
together in any piece. Analyze these three elements in music: Melody (Mind),
Harmony (feeling, heart) & Rhythm (life)

33
 Allegro, Cadenza and Adagio by Glaser

Everything doesn’t have to be tied or slurred together. Find out why notes are
and may not be slurred.
17 measures from the end of the Allegro, Cadenza, and Adagio, the quarter note
triplets should be thought of in half notes with the triplets not quarters with the
triplets.

Example:
Correct: Incorrect

qqq qqq qqq qqq

h h q q q q

Do not skip over the rests.

Articulations

When there is a succession of eighth notes, slur the first two in that line.

Example: r-ttty

Look at the musical direction given in a piece of music noted or hinted to justify
your interpretation.

About Cadenzas

A cadenza is freely interpreted, and that is why bar lines are not necessary.

34
 Technical Cleanup

Never be satisfied if the notes do not connect or sound at a piano dynamic when
necessary.

35
 July 25, 1993

Rhythm

Rushing is a sign of lack of self-disciplined affecting your core rhythmic

sense of your inner rhythmic timing not being felt or calculated.

The music feels uneasy when beats are cheated to audience members
while the performing musician is unable to be aware of it. Need to practice
methodically with the metronome ensuring a strong sense of pulse.
Rhythm = self-discipline

Air and Scherzo, Henry Cowell

Air

The four sixteenths before the whole note need to have a slower pace to flow
slowly to the whole note. A little slower pace is needed for that reason.

The whole notes need to have precise timing. You cannot cheat a beat or a half a
beat, again, that is subconsciously rooted in self-discipline is needed for the
correction of the problem.

Low Eb to low C doesn’t connect well with the first movement of the Air and
Scherzo, practice these two individual notes.

Scherzo

Where differences exist in the music, it needs to be contrasted and brought out.
For example, the staccato eighths (third measure) are different from the two
groupings that are slurred and for that reason, the slurs must be accented (the
three groupings of two in the 5th measure, this will bring out the contrast making
interpretation interesting.

36
Whenever there is this difference in music there needs to be contrast brought out
such as an articulation or another musical element to have convincing phrases in
your interpretation -bringing out expression effectively

Any musical interpretive choice is fine just as long as it has convincing phrasing –
no certain rules but the interpretation must be justified and explained.

Details

Be aware of every small detail that exists in the music. Do not take anything for
granted.

Glissando

The glissando needs to be smoother, B to D with the glissando, then to the note
of the following pitches. Hold the B a bit longer to shorten the time of the
glissando making the glissando to the D smoother, quicker and more effective.

La Malinconia/ Henk Badings

Because there are many pick-ups in this piece, be aware how the pickups are used
and how they are used in other pieces to transfer your learning to other pieces.

Breathing

Breaths need to be taken elegantly. The listener cannot hear your breath sound
when you take in air for the phrasing.

37
 Two Important Things:

Elegance – technique
Convincing – musical style

Rudolf Steiner

Find out more about the Steiner Schools, Waldorf, and their pedagogical theories.
Mr. Rascher supports the educational practices of the Waldorf Schools. He also
talked about how he was asked to make a correlation to math. He was puzzled
but then found that the geometric shape of the scale circle of 14 keys and two of
the keys being enharmonic of each other, sufficed the request.

Technique

Elegance, effortless playing, no sign of effort on the performers part to the

audience is the desired effect. Learn how to put the reigns on for rushing and
breathing silently. Do not rush or sound breaths when taking air in. Use the
metronome aware of feeling the pulse and widen the corners of the mouth to
reduce the breath intake sound.

Must be aware of the details to have a very pleasing performance. As a painting,

it can be looked at for a half an hour while music comes once.

On Thinking

Make up thinking exercises

When thinking improves so does the music.

38
 Overtones

Flute primarily sound the even overtones: 2, 4, 6, etc.

Clarinet primarily sounds the odd overtones: 1, 3, 5, 7, etc.
They can get the other overtones, but very faintly.

Scale Practice without the Octave key

Practice scales two octaves without the octave key to feel how the overtones
work in speeding up the air pressure to produce the upper tones.

About Time

Gravity is related to meter feel the weight of the pulse in music.

39
 July 29, 1993

Questions

1. Intervals vs. Tones

To be able to sing any interval and phrases. Practice hearing intervals then the
tones of each chord. Practice mentally, in the mind (to think easily just as the eyes
see, visually). Do not use the keyboard, it only defeats the purpose of this
exercise. This practice builds pitch awareness that is a must for any convincing
performance.

2. Technique (fingerings)
Use any fingering that makes the music sound better. For example, D-C-C#-C,
cannot have two different C fingerings because that will make it sound awful
because the two C#s will not be alike.

3. Memorization question: looking at the manuscript, you hear it and finger

it at the same time, therefore, building recall.

On Thinking

An example of a practical exercise on memory practice: Before going to sleep try

to imagine what a selected person was wearing earlier in the day. Imagining what
the person was wearing will jot to memory to recall the actual garment. By this
approach of stimulating your imagination, the memory will start to remember by
using the imagination for colors the person might of not have worn because this
forces the mind to remember.

40
 Larsson Movement 2
B (3)’s must be controlled
Do not swell where ½ steps are. Example 8 measures after rehearsal 20, do not
swell the D# (2) going to the E (2) because this is not right, the ½ step has enough
tension and doesn’t need more.

Rhythm

Analyze how syncopation is used, how the tones in the melody are used, time
values, how they have used articulation, etc.

Fix time and meter, rushing you must feel those minor details that are major
details. Do not let anything go by without analyzing it. Be aware of how tones
connect (must be smooth). Anything is fine if it makes musical sense and brings
out a convincing interpretation.

The octave E in the second movement of the Larsson Concerto does not need to
be louder, for the upper E. The volume is built into the saxophone.

Third Movement, The Cadenza

Do not cheat the beats q-e (quarter tied to the eighth) or q-s (quarter tied to
sixteenth) feel the beat or pulse always when you don’t, you are not aware of
time and rush. Four lines from the bottom, start to have a faint slowing down of
tempo to make the ending sound faster. (Toscanini endings, he would slow down
very faintly, and then go a little faster and the result would be great by doing this
(going in the opposite direction.

41
Do not rush the quarters in the upper register towards the end and in that place is
where the tempo remains the same until the end. The conductor should conduct
at 17 before the end on my high E going into the higher register.

Summary

1. Details make the difference which is awareness (melody, harmony, rhythm)

2. Be aware of the tempo, do not rush
3. Pay attention to everything you do, think
4. See what goes together, phrase-wise, everything how it relates
5. Self-determination (a strong will) is needed to succeed
6. Analyze your confidence level

42