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"Four Recitals and an Essay: Christian Lauba and His Saxophone Etudes:
From an Historical Perspective"

by

Po-Yuan KU

A thesis submitted to the Faculty of Graduate Studies and Research

in partial fulfillment of the requirements for the degree of

Doctor of Music

Department of Music

©Po-Yuan KU
Fall 2009
Edmonton, Alberta

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Examining Committee

William Street, Department of Music

Howard Bashaw, Department of Music

David Gramit, Department of Music

Janet Scott Hoyt, Department of Music

Chris Westbury, Department of Psychology

Jeremy Brown, Department of Music, University of Calgary

 ABSTRACT

Christian Lauba and His Saxophone Etudes:

From an Historical Perspective

This document examines the history of the etude, the development of

saxophone music and the saxophone etude, and composer Christian Lauba and his

twelve saxophone etudes. To further aid in the performance of these saxophone

etudes, French saxophonist Joel Versavaud compiled an errata sheet of Lauba's

Neuf Etudes, which is included as Appendix B.

Although the saxophone was a relatively late invention, the development

of its repertoire was swift. Unfortunately, its acceptance and respect for the

instrument from the world of classical music did not come easily. This

circumstance influenced the development of the saxophone in a unique way

different from other instruments.

From 1840 to 1900, the saxophone was in its infancy. The music and the

method books written for the instrument simply imitated the repertoire of other

wind instruments. Composers did not fully understand or realize the idiomatic

potential of the instrument. In the twentieth century however, the saxophone

immediately leapt into jazz and popular music in the first half of the century and

into contemporary art music in the second half. Although traditional forms such

as the concerto and the sonata and the music styles such as neo-classical and neo-
romantic had thrived through the 1930s, the public had no reason to respect or

accept this instrument like other orchestral instruments.

In the last quarter of the twentieth century, saxophonists seemed to

reconcile themselves to this situation and began to find their own paths and

solutions. The composers of the Bordeaux School, Michel Fuste-Lambezat (1934)

and Francois Rosse (1945), followed swiftly by Christian Lauba (1952), Etienne

Rolin (1952), Thierry Alia (b. 1955) Christophe Havel (1956), and Philippe Laval

(1961), dedicated themselves to the composition of avant-garde contemporary

music in general, and specifically for saxophone in solo, chamber and concertante

works. Among them, Christian Lauba's Neuf Etudes (1992-1994), has

consistently and enduringly led saxophone music on the path of contemporary art

music into the twenty-first century.

 ACKNOWLEDGMENTS

I wish to acknowledge the support and assistance of my doctoral

committee: Dr. William Street, Associate Dean, (Student Programs), Faculty of
Arts; Dr. Howard Bashaw, Associate Chair, Graduate Studies; Dr. David Gramit,
Chair, Department of Music; Professor Janet Scott-Hoyt, Associate Professor of
Piano and Piano Pedagogy; and Dr. Chris Westbury, Associate Professor of
Psychology.
I also thank those who willingly offered their assistance and expertise
when called upon: Christian Lauba, Conservatoire National de Musique de
Bordeaux; Jean-Marie Londeix, Conservatoire National de Musique de Bordeaux;
Dr. John Sampen and Dr. Marilyn Shrude, Bowling Green State University; Joel
Versavaud, Conservatoire National de Musique de Marseille; Dr. Joseph Murphy,
Mansfield University; and Dr. Anna Street, Concordia University College of
Alberta. I would also like to thank all my colleagues at University of Alberta and
friends in Edmonton for their great support and friendship.
Finally, I would like to express my deepest thanks and dedicate this
document to my parents, Huan-Kun Ku and Lee-Yu Huang. Without their
unconditional support and love, this document would never have been created.
 TABLE OF CONTENTS

List of Figures
List of Tables
List of Music Examples
Chapter 1: Introduction 1
Purpose of the Research 1
Organization 2
Chapter 2: History of the Etude 4
Introduction 4
Etudes for Keyboard 4
Etudes for String Instruments 18
Etudes for Wind Instruments 18
Etudes for Voice and Orchestra 19
Chapter 3: Saxophone Etudes and Contemporary Saxophone Music 20
Introduction 20
Saxophone Music and Etudes 20
1840 to 1900 20
1900 to 1930 26
1930 to 1970 36
1970 to 1990 41
Darmstadt School. 45
Contemporary saxophone music 45
Contemporary techniques for woodwinds 46
Multiphonics 47
Contemporary saxophone etudes 50
Contemporary saxophone concert etudes 50
Post-1990 51
Summary 54
Chapter 4: Christian Lauba and His Saxophone Etudes 55
Introduction 55
 Christian Lauba 56
Sfax, Tunisia 56
Michel Fuste-Lambezat 59
Christian Lauba's Twelve Etudes for Saxophone 60
Studying and Performing Principles 61
Balafon 63
Savane 65
Sanza 66
Jungle 68
Tadj 69
Gyn 72
Vir 73
Ars 74
Bat 76
Hard Too Hard 77
Stan 78
XYL 79
The General Analysis of the Etudes 80
Recapitulation 80
Measured and Non-measured Time 82
Idiomatic Saxophone Music 82
Chapter 5; Conclusion 84
Bibliography 87
Appendix A 94
Appendix B 125
Appendix C 147
Appendix D 149
List of Figures

Figure 2-1. Robert Dowland's Varietie of Lute-Lessons (1610) 5

Figure 2-2. Girolamo Diruta's // transilvano dialogo (1593) 6
Figure 2-3. John Baptist Cramer's Dulce et Utile 10
Figure 2-4. Charles-Valentin Alkan (1813-1888) 15
Figure 3-1. Benjamin Vereecken and his students 29
Figure 3-2. Advertisement of David Bolduc's sextet circa 1920 30
Figure 3-3. Advertisement of David Bolduc's sextet circa 1920 31
Figure 3-4. Rudy Wiedoeft and his C-melody saxophone 35
Figure 3-5. Marcel Mule and his saxophone class 1946 38
Figure 3-6. Slap tonguing by Erick Rommark (courtesy of Erick Rommark) 49
Figure 4-1. Christian Lauba 57
Figure 4-2. Sfax and Tunisia 58
Figure 4-3. Balo 64
Figure 4-4. Sanza 68
Figure 4-5. Tajikistan and Central Asia 70
List of Tables

Table 2-1. Liszt's Etudes d'Execution Transcendante 12

Table 2-2. Alkan's Douze etudes dans les tons mineurs, op. 39) 13
Table 2-3. Claude Debussy: Etudes for piano, L. 136 14
Table 2-4. Examples of the works inspired by Paganini's 24 Caprices op. 1 19
Table 3-1. Saxophone etudes and methods before 1900 24
Table 3-2. Works attributed to Elise Boyer Hall's patronage 27
Table 3-3. Selected saxophone etudes and methods from 1900 to 1930 32
Table 3-4. Methods and etudes by Rudy Wiedoeft 34
Table 3-5. Etudes and methods transcribed by Marcel Mule 37
Table 3-6. Etudes and methods by Sigurd Rascher 39
Table 3-7. Etudes and methods by Larry Teal 39
Table 3-8. Selected saxophone etudes published between 1930 and 1970 40
Table 3-9. Etudes by Jean-Marie Londeix 43
Table 3-10. Etudes by Guy Lacour 44
Table 3-11. Saxophone music with contemporary techniques from Methode pour
etudier le saxophone (Londeix, 1997) 48
Table 3-12. Etudes by Pierre Max Dubois 52
Table 3-13. Etudes with extended techniques 53
Table 4-1. Christian Lauba's twelve etudes for saxophones 62
List of Examples

Example 4-1. Balafon p.l, line 4 65

Example 4-2. Savane p. 7, line 3 66
Example 4-3. Sanzap. 13, line 1 67
Example 4-4. Jungle p. 16, line 6-8 69
Example 4-5. Tddj p. 1, line 1-3 72
Example 4-6.. Gyn p. 14, line 6 73
Example 4-7. Fifrp. 17, line 2-5 74
Example 4-8. Ars p. 1, system 3-4 75
Example 4-9. Bat p. 1, line 3-5 76
Example 4-10. Hard Too Hard p. 8, line 5-6 77
Example 4-11. Stan p. 1 (score), system 1 78
Example 4-12. Stan p. 11 (score), system 3-4 79
Example 4-13. XYL p. 1, line 4-6 80
Example 4-14. Balafon p. 1, line 1-3 81
Example 4-15. Balafon p. 6, line 6-8 81
Example 4-16. Balafon p. 1, line 3-4 82
 1

Chapter 1: Introduction

"Christian Lauba's Neuf Etudes pour Saxophones to the saxophone are as the
Etudes of Chopin are to the piano," said Jean-Marie Londeix—one of the greatest
saxophone masters of our time—at the World Saxophone Congress XIII,
Minneapolis, 2003. Chopin's influence is recognized internationally for its
contribution to piano performance and repertoire. Are we really witnessing a
"Saxophone Chopin"? Are Christian Lauba's saxophone etudes so unique and
important?
A selection from Lauba's Neuf Etudes (1996) was one of the compulsory
works in the First International Glazounov Saxophone Competition (Moscow,
1999), as well as in the Fiftieth ARE) International Music Competition (Munich,
2001). In the Third Concours International Adolph Sax (Belgium, 2002), many
candidates chose to perform Christian Lauba's music. Is this simply coincidence
or is it revealing important information to us?
This project will begin with the examination of the history of the etude,
the development of saxophone music and the saxophone etude and lead to a
presentation of the research and a discussion of Lauba's saxophone etudes.

Purpose of the Research

There are multiple purposes for this research, the first of which is to
examine the importance and the value of Lauba's etudes as musical, pedagogical,
and historical contributions to saxophone repertoire. The second goal is to have a
closer look at the ideas and the concepts formed in these twelve etudes. The third
is to offer sufficient information for any saxophonist who would like to study
these etudes.
In order to achieve these goals, I will also consider the history of the
etude, the development of the saxophone etude, and of saxophone music, which
applies contemporary techniques. Subsets of these aspects include:
 2

(1) The definition of "etude," its development, difference from an

"exercise," meaning of "concert etude," and its development.
(2) The history of the saxophone etude and its relationship to the
development of the instrument and its repertoire; key individuals involved in
developing the repertoire, method books, and the etude; evolution of saxophone
techniques and the extended use of techniques in performance (quarter-tone,
bisbligando, slap tonguing, circular breathing, subtone, multiphonics);
advancement of contemporary techniques and repertoire.
(3) Composer Christian Lauba and the significance of his saxophone
etudes.

Organization
The thesis is divided into five chapters. Chapter 1 describes the overview
of the thesis, the goals and the contents of each chapter, and the organization of
each chapter. Chapter 2 examines the history of the etude, divided by two
different categories: (1) by the time line: before the nineteenth century when the
definition of the etude was not clear and the etude had not taken its form; in the
nineteenth century, the time the etude started to develop and to flourish; and in the
twentieth century, the evolved definition and the medium for the etude; (2) by the
medium: the piano, the other instruments, and the orchestra. The discussion is
inevitably based on the piano etude because in the nineteenth century, the piano
was the single instrument that captured the most attention of composers. Its
repertoire is abundant and the development of its history is well noted. Chapter 3
narrows down the focus to the history of the saxophone, the development of the
saxophone music, and the saxophone etude. The content in this chapter is also
divided by two parameters of time, and saxophone music and the saxophone
etude. The time is divided into five periods: (1) from the birth year of the
instrument 1840 to 1900, (2) 1900 to 1930, (3) 1930 to 1970, (4) 1970 to 1990,
and (5) post-1990. The purpose of the existence of the second parameter is to
 3

focus on the main topic—the saxophone etude. Separating the saxophone music
and the saxophone etude helps to see how these two genres inter-relate and
interact with each other. In chapter 4, the focus is clearly on the main topic—
Christian Lauba and his saxophone etudes. This chapter starts with the
introduction of his social and educational background, followed by the elements
that influence his musical language, and then a brief introduction of each of his
etudes.
Since the thesis is to examine Christian Lauba and his saxophone etudes
from a historical perspective, it is necessary to fully understand the history of the
saxophone etude before Christian Lauba's etudes were conceived. Due to the
musical content and the technical elements of the twelve etudes, a discussion will
be presented concerning the extended contemporary techniques in parallel with
the discussion of the history of the etude.
 4

Chapter 2: History of the Etude

Introduction
Etude, etude in French, etude in German, studio in Italian, and estudio in
Spanish, each literally means "study." According to The Harvard Dictionary of
Music, etude is "a composition designed to improve the technique of an
instrumental performer by isolating specific difficulties and concentrating his or
her efforts on their mastery" (2003, 301). Therefore, we can generally define that
etude is a music composition, usually with certain difficulty, designed to exploit
or to perfect a certain facet of techniques.

Etudes for Keyboard

The title "etude" was used vaguely in the beginning stages of the genre
before the nineteenth century. Although the pieces in lute instruction books, such
as Robert Dowland's Varietie of Lute-Lessons (1610) [figure 2-1], may be
arranged in order of increasing difficulty, they will usually include both simple
teaching pieces and masterworks by renowned composers. Studies, lessons, and
other didactic instrumental pieces composed before the nineteenth century are
extremely varied, without any established genres; many materials having similar
aims already long existed. Examples are the toccatas in Italian organist Girolamo
Diruta's // transilvano dialogo (1593) ["The Transylvania Dialogue," figure 2-2]
" ; the preludes in Francois Coupenn's L 'art de toucher le clavecin (1716) ["The
Art of Playing the Harpsichord"], the Probestiicke in C. P. E. Bach's Versuch
iiber die wahre Art das Clavier zu spielen (1753), and the Handstucke in Turk's
Clavierschule (1789) ["Keyboard-Study"].

It is in the form of a dialogue with Istvan de Josika, a diplomatfromTransylvania whom

Diruta met during one of Josika's missions to Italy. It is one of thefirstpractical discussions of
organ techniques that differentiate organ techniquefromthe keyboard technique of other
instruments (Palisca,2001, 364).
 5

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 0

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 7

Toward the end of the eighteenth century, the usage of the term "etude"
interchanged with other terms, such as "lesson," "exercise," "practice," and with
other genres as well. For example, Domenico Scarlatti's thirty Esserciziper
gravicembalo (1738) ["Exercises for Harpsichord"] are not significantly different
from his 550 Sonatas, and Johann Sebastian Bach's four volumes of Clavier-
Ubung ("Keyboard Practice") from 1726 to 1741 include masterpieces such as the
Italian Concerto, French Overture, and the Goldberg Variations.
Due to the popularity of the piano as a domestic instrument at the
beginning of the nineteenth century, teaching and instructional materials became
very common. Publications of these many graded materials boomed, however
their technical practicality, in general, usually outweighed their musical value
(Ferguson and Hamilton, 2001, 622). The first important publication in the genre
of etude is the Studio per ilpianoforte ("Study for the Pianoforte") by Johann
Baptist Cramer in London in 1804.
Johann Baptist Cramer was born in Mannheim, Germany in 1771 and died
in London in 1858, an English musician of German origin. He was the son of
Johann Wilhelm Cramer (1746-1799), a famous violinist and musical conductor.
The younger Cramer was taken to London when he was a child. From 1782 to
1784 he studied the piano with Muzio Clementi, and soon became known as a
professional pianist both in London and on the continent. He was internationally
recognized, and was particularly appreciated by Beethoven. He established a
musical instrument manufacturing and music-publishing outlet, Cramer and Co.,
in partnership with Thomas Frederick Beale and Robert Addison. Besides his
pianoforte playing, Cramer is important as a composer. He wrote a number of
sonatas, concertos and other miscellaneous works for the pianoforte. However, his
etudes are the works by which he lives on as a composer. These etudes have
appeared in numerous editions, and became staple pieces used in the training of
pianists. At one time, these etudes created a conflict between Cramer and his
teacher, Muzio Clementi:
 8

For many years there was a feud between the two men. Clementi accused
Cramer of plagiarism, and of stealing his idea by bringing out a collection
of studies before Clementi was ready with his own. But all was well when
a special banquet was given in honor of Clementi in 1827 and Cramer
joined with Sir George Smart and Ignaz Moscheles in leading the old man
to the piano. Cramer was also among the principal mourners at dementi's
funeral in 1832. (Cramer 1985, xv-xvi)

Besides Cramer's etudes, other similar publications include early parts of

Clementi's Gradus adParnassum (1817-1826) ["Steps to Parnassus"], numerous
works by Carl Czerny, Charles Mayer and Henri Bertini, and Ignaz Moscheles'
Studien op. 70 (1825-1826). Most of these pieces concentrated on the technical
side of music and were not designed to be performed in concert. At the same time,
other etudes, while not focusing on the techniques, did concentrate at least on
some specific pedagogic purposes, such as musical phrasing and demonstrating a
variety of different styles of music.
As Cramer's Dulce et Utile, op. 55 (1815) ["Sweet and Useful," figure 2-
3] indicates, the etude was nicely distinguished from exercise not only by its
usefulness but also sweetness, which implies a certain proportion of musical
interest or musicality is included in the etude instead of a purely technical
practice. This musical quality appeared in the latter parts of Clementi's collection
and Moscheles' Charakteristische Studien, op. 95 (1836-1837) when the situation
began to change and the development of the etude started to take a more serious
route. The later studies in the Gradus ad Parnassum are of greater musical
interest, some illustrating specific styles as well as technical problems; for
example, "le style elegant" and "le style sever, " and Moscheles's
Charakteristische Studien, op. 95 are clearly intended as much for performance as
for instruction. A new genre, the "concert etude" started to develop and
composers began to write etudes for professional concert performances.
 9

The nineteenth-century composers recognized the musical potential in the

etude and this led to the development and the completion of the genre. Composers
then intended to fuse the equivalent musical interest and the technical exercise
portion to bring this genre into concert halls. The etudes of Chopin (op. 10, 1833;
op. 25, 1837) are probably the earliest pieces to obtain a firm position in the
concert repertoire.
Although Chopin's method of concentrating on a single technical element
in each of his etudes is similar to the etudes of Czerny, Mayer and Bertini, his
unique use of harmony, melody, and rhythmic sense give his etudes a new
definition, and distinguished his etudes from those of the former composers.
Some of his contemporaries were astonished by the revolutionary techniques
shown in the etudes, for example playing the black keys of the piano with the
thumb as used in op. 10, no. 5, and applying the weak fingers (4 and 5) to fast
passages in op. 10, no. 2. Chopin himself admitted that the first person to
successfully conquer all the technical challenges of his etudes was Franz Liszt and
that is the reason op. 10 was dedicated to him. The structure of most of Chopin's
etudes is in ternary form with a relatively short length.
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 11

Liszt was an admirer and personal friend of Chopin and continued to

cultivate and expand this genre to an even grander scale. Liszt composed a
number of etudes that were yet more complex than Chopin's were. Among these,
the most well known are found in the collection of Etudes d'Execution
Transcendante ("The Transcendental Etudes"). These did not retain the same
didactic aspect of Chopin's work, however, since the difficulty and the technique
used vary within a given piece.
The Etudes d'Execution Transcendante, S. 139 (table 2-1), is a series of
twelve compositions written for solo piano. The third and final version was
published in 1851 and dedicated to Carl Czerny, Liszt's piano teacher, himself a
prolific composer of etudes. The original version of the etudes is called Etude en
douze exercices, S. 136, which Liszt had composed in his youth from 1825 to
1826. They were not very different from his teacher's didactic etudes. However,
the second version called Douze Grandes Etudes, S. 137, published
simultaneously in Paris, Milan and Vienna in 1838, is an expanded revision of the
first. The etudes of this second version (S. 137) are among the most difficult
pieces ever written for piano. Robert Schumann reviewed this 1838 version for
the Neue Zeitschrift fur Musik, and aptly described them as "studies in storm and
dread.. .fit for ten or twelve players in the world" (Walker 2001, 765). Therefore,
the etudes in their final form are less difficult, but still require incredibly difficult
physical and technical demands from the performer. For example, all stretches
larger than a tenth were removed from the revisions, as were certain effects that
were more easily achievable on the piano of the 1830s, with its lighter action
compared to the heavier action of the piano of the 1850s, which basically has the
same action as a modern piano.
Three of the Douze Grandes Etudes, the C Minor, the F Minor and the Db
Major, were in sonata form. In the Etudes d'Execution Transcendante, Liszt
lightened some of the texture and tightened up some of the structure, which made
the etudes resemble more closely programmatic and characteristic pieces. Most of
the etudes were now given titles, such as Paysage, Harmonies du Soir, or Chasse-
 12

Neige, and the didactic elements of the pieces, other than their pervasive technical
difficulty, were almost completely lost.

Table 2-1. Liszt's Etudes d'Execution Transcendante

No. Key Movement
1 C major Preludio, a fast piece to be played like an improvisation
2 a minor untitled "Molto Vivace"
3 F major Paysage ("Landscape")
4 d minor Mazeppa
5 B-flat major Feux Follets ("Will o' the wisp")
6 g minor Vision
7 E-flat major Eroica ("Heroic")
8 c minor Wilde Jagd ("Wild Hunt")
9 A-flat major Ricordanza ("Remembrance")
10 f minor untitled "Allegro Agitato"
11 D-flat major Harmonies du Soir ("Evening harmonies")
12 b-flat minor Chasse-Neige ("Snow-drifting wind" or "Blizzard")

While the studies of Chopin could be used as practice pieces for specific
technical problems, the technical demands of most of Liszt's etudes change too
much from section to section to provide a suitable repetitive practice to solve any
particular problem. The etude was drifting further away from its original form.
We can say that, in a sense, the development and the transformation of Liszt's
Etudes d Execution Transcendante reflect the nineteenth-century development of
the genre as a whole.
Charles-Valentin Alkan (1813-1888) [figure 2-4] was a French composer
and one of the greatest pianists of his day. He was also a good friend of both Liszt
and Chopin. He entered the Conservatoire de Paris at age six and became a piano
virtuoso. Some said Liszt once proclaimed that Alkan had the finest technique he
had ever encountered. " Alkan's compositions were created with extremely
difficult technical and physical demands placed on the performer.

Stephan D. Lindeman, Structural Novelty and Tradition in the Early Romantic Piano
Concerto, 1999, 11.
 13

Alkan composed two sets of etudes including the entire major and minor
keys: Douze etudes dans les tons majeurs, op. 35 (1848), and Douze etudes dans
les tons mineurs, op. 39 (1857). Collections of etudes by Alkan, noted for their
structural and harmonic experiments, are similar to Liszt's approach to the
composition of etudes. However, Alkan's etudes are on an even larger scale and
some of them are more programmatic than those of Liszt. With ideas similar to
those used by Bach in his Clavier-Ubung, Alkan's op. 39 includes a four-
movement symphony, a three-movement concerto, an overture, and a set of
variations. In the symphony and the concerto, a separate study in a different key is
used for each individual movement. Number 12 of op. 39 is a set of variations Le
festin d'Esope ("Aesop's Feast"). It takes nearly an hour to play the whole
concerto of op. 39 alone.

Table 2-2. Alkan's Douze etudes dans les tons mineurs, op. 39)
Name Movement
Etude No. 1 Comme le vent ("Like the Wind")
Etude No. 2 En rhythme molossique ("In Molossian Rhythm")
Etude No. 3 Scherzo diabolico ("Diabolic Scherzo")
Etude No. 4-7 Symphony for solo piano
Etude No. 8-10 Concerto for solo piano
Etude No. 11 Ouverture ("Overture")
Etude No. 12 Le festin dEsope ("Aesop's Feast")

Earlier in 1838-1839, Alkan wrote Trois grandes etudes: (1) Fantaisie;

(2) Introduction, variations et finale; and (3) Etude a mouvement semblable et
perpetuel, op. 76. The first two of the book, Fantaisie pour la main gauche seule
(left hand alone) and Introduction, variations et finale pour la main droite seule
(right hand alone), are among the earliest examples of etudes for single hand.2"3
Unfortunately, in spite of his early fame and technical accomplishment, Alkan
spent much of his life after 1850 in obscurity, performing in public only

The opening section of Liszt's G minor study in the 1837 version is scored for solo left hand.
 14

occasionally.2"4 After Alkan, this type of etude was rarely attempted. The most
well-known examples are probably Felix Blumenfeld's (1863-1931) Etude for the
Left Hand, op. 36 (1905), and Alexander Skryabin's (1872-1915) Prelude et
Nocturne pour la main gauche seule, op. 9 (1894).
Although almost every nineteenth-century pianist-composer wrote etudes,
only a few of the compositions have held a firm position in the concert repertoire.
Among the composers who succeeded at this are Sergei Rachmaninoff (1873-
1943), Claude Debussy (1862-1918), Bela Bartok (1881-1945), and Olivier
Messiaen (1908-1992).
Claude Debussy's Etudes (L. 136) are a set of twelve etudes for piano
composed in 1915. These pieces are extremely difficult to play, as Debussy
himself admitted. He described them as "a warning to pianists not to take up the
musical profession unless they have remarkable hands."2"5 They are broadly
acknowledged as his late masterpieces.

Table 2-3. Claude Debussy: Etudes for piano, L. 136

Name Movement
Etude No. 1 Pour les cinq doigts
Etude No. 2 Pour les tierces
Etude No. 3 Pour les quartes
Etude No. 4 Pour les sixtes
Etude No. 5 Pour les octaves
Etude No. 6 Pour les huit doigts
Etude No. 7 Pour les degres chromatiques
Etude No. 8 Pour les agrements
Etude No. 9 Pour les notes repetees
Etude No. 10 Pour les sonorites opposees
Etude No. 11 Pour les arpeges composes
Etude No. 12 Pour les accords

In a letter to Ferdinand Hiller in 1861, Alkan wrote: "I'm becoming daily more and more
misanthropic and misogynous...nothing worthwhile, good or useful to do...no one to devote
myself to. My situation makes me horridly sad and wretched. Even musical production has lost its
attraction for me for I can't see the point or goal."
2-5
From Piano Society: http://pianosociety.com/cms/index.php?section=156
 15

Figure 2-4. Charles-Valentin Alkan (1813-1888).

(http://www.karadar.it/PhotoGallery/alkan.html)

Rachmaninoff has two sets of Etudes-Tableaux, op. 33 (1911) and op. 39

(1916), which are very demanding study "pictures." It is likely that Liszt's Etudes
d Execution Transcendante served as a model for the Etudes-Tableaux (Haylock
1996, 2). Stylistically, op. 33 traces back to the preludes, while op. 39 shows the
influences of Skryabin and Prokofiev.
 16

Rachmaninoff was reluctant to reveal any program associated with the

Etudes-Tableaux, but he explained, "I do not believe in the artist disclosing too
much of his images. Let them paint for themselves what it most suggests"
(Bertensson and Leyda 1956, 218). It was only when Ottorino Respighi
orchestrated five of the pieces for the Boston Symphony Orchestra that
Rachmaninoff supplied programs to the Italian composer (162).
Rachmaninoff found the writing of the Etudes-Tableaux very difficult
after composing several large-scale masterpieces including the Third Piano
Concerto and the Second Symphony. He stated, "[they] presented many more
problems than a symphony or a concerto.. .after all, to say what you have to say
and say it briefly, lucidly, and without circumlocution is still the most difficult
problem facing the creative artist" (Haylock 1996).
Bela Bartok's Three Studies for Piano, op. 18 (Sz. 72, BB 81), is also
important in the genre of concert etude for piano. Immediately after World War I,
the evolution of Bartok's music was undergoing its most intense stage. His early
interest in folk music and art music led the transformation of his music even more
toward abstract music. "Whereas the twelve-tone set in Schoenberg's music
'functions in the manner of a motive' and must therefore 'be invented anew for
every piece,' the use of the special twelve-tone set in Bartok's music is analogous
to the precompositional assumptions of the major and minor scales in traditional
tonal music" (Antokoletz 1995, 249-250). The techniques of Three Studies are
demanding in many ways. "Although Bartok was no slouch at the keyboard, he
confessed in later life that he could not play these fiendish Three Studies. They
are only for the pianist with big hands (tenths required), good memory and
(Bartok himself suggested) a 'non-provincial' audience" (Malcolm Gillies,
http://www.boosey.com/cr/music/B-la-Bart-k-Three-Studies/2215&langid=l).
Olivier Messiaen (1908-1992) was one of the leaders of French
contemporary music in the twentieth century. His students included Pierre Boulez,
Yvonne Loriod (who later became Messiaen's second wife), Karlheinz
Stockhausen, Iannis Xenakis and George Benjamin. Messiaen's music is
 IV

rhythmically complex due to his interest in rhythms from ancient Greek and
Hindu sources, and is based harmonically and melodically on "modes of limited
transposition," (Griffiths, 495) which were Messiaen's own innovation.
Quatre etudes de rythme ("Four Etudes in Rhythm") for piano was
composed between 1949 and 1950. Many experts see the etudes as being more
modal than serial, but the composition came at a pivotal time in Messiaen's
production, as was also the case in the history of contemporary music.

Messiaen's Quatre etudes de rythme

1. lie defeu 1 ("Island of Fire 1")
2. Mode de valeurs et d'intensites ("Mode of Values and Intensities")
3. Neumes rhythmiques ("Rhythmic Neumes")
4. lie defeu 2 ("Island of Fire 2")

Pierre Boulez described the piece,

Sans developpement, cette oeuvre de caractere essentiellement

experimental orienta en tous cas tous les jeunes compositeurs de l'apres-
guerre dans le sens, extremement fertile tout d'abord, d'une rigoureuse
quantification de toutes les donnees de l'espace sonore. (Wikipedia,
http://fr.wikipedia.org/wiki/Quatre %C3%89tudes de rythme)

Although short lived in its influence, this work, which is essentially

experimental in character, was indeed at first very successful in helping to
direct the energies of young composers of the post WWII era towards a
rigorous quantification of all of aspects of acoustical space. (Translation
by Dr. Anna Street)
 18

Etudes for String Instruments

Since the beginning of the nineteenth century, there also have been many
studies written for instruments other than piano and keyboards. In general, most
of the etudes focused on technical problems more than musical values. We can
observe that from the collections for violin by Federigo Fiorillo (1753-1823; 36
Etudes ou Caprices, op. 3 fur Violine), Rodolphe Kreutzer (1766-1831), Pierre
Baillot (1771-1842), Pierre Rode (1772-1830)2"6 and Charles de Beriot (1802-
1870), and for cello by Friedrich Dotzauer (1783-1860) and Friedrich
Grutzmacher (1832-1903) [Grove Music Online].
The most outstanding instrumental etudes in the nineteenth century are
Paganini's 24 Caprices, op. 1, for solo violin (c. 1805, published in Milan, 1820).
Besides being concert studies of unmatched brilliance, they had sufficient musical
interest to stimulate the piano transcriptions of Liszt and Schumann referred to
below.2"7 The theme of no. 24 in a minor, is so concisely striking that it has
inspired sets of variations from Brahms (op. 35), Rachmaninoff (for piano and
orchestra, 1934), Lutoslawski (for two pianos, 1941), Boris Blacher (for
orchestra, 1947) and many others (table 2-4).

Etudes for Wind Instruments

Towards the end of the nineteenth century, the Italian flautist and
composer, Ernesto Kohler (1849 -1907) wrote a series of study books, Progress
in Flute Playing, op. 33. These are a series of three books varying in difficulty
from easy to advanced, published around 1888. During his lifetime, Kohler
composed more than one hundred works for the flute.

2-6
Rodolphe Kreutzer was co-author of the Conservatoire's violin method ("Methode du Violori")
with Pierre Rode and Pierre Baillot, and the three are considered the founding trinity of the French
school of violin playing.
2-7
Raaf Hekkema was the first saxophonist (2006) to arrange for saxophones (soprano and alto)
and to record the complete 24 Caprices, op. 1, originally for solo violin by Paganini. CD: MDG
619 1379-2.
 \y

Table 2-4. Examples of the works inspired by Paganini's 24 Caprices op. 1

Composer Title Instrument
Johannes The Variations on a Theme of Paganini, op. solo piano
Brahms 35
Frederic Chopin Souvenir de Paganini solo piano
Franz Liszt Six Grandes Etudes de Paganini, S. 141 solo piano
Sergei Rhapsody on a Theme of Paganini, op. 43 piano/orch.
Rachmaninoff
Robert Studies after Caprices by Paganini, op. 3 solo piano
Schumann
6 Concert Studies on Caprices by Paganini, solo piano
op. 10
Carnaval, op. 9, mov. \1-Paganini solo piano
Georgi Concerto Capriccio on a Theme of Paganini alto sax/orch.
Kalinkovich
Marilyn Shrude Renewing the Myth alto sax/pno

Etudes for Voice and Orchestra

The French word etude (as well as the English word "study") was used as
the title of a number of twentieth-century works and some of them are not for one
instrument but for voice or orchestra or a small chamber group. Examples include
Stravinsky's Quatre etudes pour orchestre (1928-1929), Henze's Sinfonische
Etuden (1956), Frank Martin's Etudes pour orchestre a cordes (1956),
Rawsthorne's Symphonic Studies (1938), and Ligeti's three books of Etudes for
piano (1985-1995).
 10

Chapter 3: Saxophone Etudes and Contemporary Saxophone Music

Introduction
After the brief introduction of the history of the etude in chapter 2, we will
narrow our focus onto etudes written for the saxophone. We will also explore the
influence of contemporary music on woodwind instruments in both the
development of techniques and of repertoire, which will lead us to Christian
Lauba and his etudes in chapter 4. This chapter is divided into five periods: (1)
1840 to 1900, (2) 1900 to 1930, (3) 1930 to 1970, (4) 1970 to 1990, and (5) post-
1990. In each period, we will discuss the development of saxophone music and
the saxophone etude, and their influence on each other.

Saxophone Music and Etudes

1840 to 1900
Adolphe Sax (1814-1894) invented the saxophone around 1840. It is one
of a few instruments that was "invented." As the Belgian musicologist and friend
of Sax, Francois-Joseph Fetis, wrote in 1844 in his Biographie universelle des
musicians et bibliographic general de la musique:

All other instruments have come under notable modifications through time
and migration. And last, all have been perfected by slow progress. The
saxophone, on the other hand, was born yesterday. It is the fruit of a single
concept, and from its first day it has been the same instrument it will be in
the future. (Deans 1980, 35)

Because of its nature and the instrument's late birth, it is natural for us to
assume that the development of saxophone music might have been swift and
smooth. It should not have had to go through a period of trial and error as other
instruments did and it should have been able to take an express shortcut.
 21

However, the progress of development of saxophone music was

unexpectedly slow. There are many reasons for this. First, music of the nineteenth
century in the Western world is defined by the music of piano, grand opera, and
symphonies. Instrumental music and chamber music were not equally important
to composers of this time; equal attention was not paid to all genre. Although
music for the saxophone exists through most of the romantic period of western
music, the great composers such as Brahms, Liszt, and Mahler unfortunately did
not write music for the saxophone.
Second, as an infant of the instrumental family, composers did not
recognize the qualities and the capabilities of the saxophone. Having no virtuoso
players of the instrument as models, composers hesitated to use this new
instrument for their compositions. Even at the beginning of the twentieth century,
composers were still unfamiliar with the instrument's potential. In a letter, dated
July 1903, from Debussy to Pierre Louys, a French poet and writer, Debussy did
confess he was not familiar with the quality or the ability of the saxophone as a
solo instrument, and wrote,

The saxophone is an animal with a reed, with whose habits I am little

familiar. Does it like the romantic sweetness of clarinets, or the rather
crude irony of the sarrusophone (or contra bassoon)?.. .The saxophone,
like the Grand-Duchess, must like the military. (Street 1983, 61)

In addition, the saxophone was originally invented to be used in the

military band. Many composers and the public did not take the instrument
seriously. Although Adolphe Sax tried to promote his invention, the repertoire
mainly remained easy and had a showy quality used to attempt to captivate the
audience.

For twenty years (from 1858 to 1878, date of the selling of the
2,375 plates to the printer J. Kugelman), the Sax publishing house
 II

published basically all of the works composed for the instruments

he invented. He enjoyed the collaboration of numerous musician
friends, almost all of whom taught at the conservatoire, as well as
famous instrumentalists of great renown, such as Arban, Klose,
Savari, Singelee, Demersseman and Jonas, who primarily
composed variations and fantasias for the saxophone with piano
accompaniment. We can say that if Franz Liszt was the herald of
the Erard house, and that Chopin had an equivalent role, as
symbolic as that, at the Pleyel house, Sax was surrounded by a
team that assured the active musical promotion of his products by
providing a repertoire that was easy, brilliant and very fashionable,
capable of captivating audiences and extending the fame of his
instruments beyond military circles. (Claude Delangle 2003)

The promotion of the saxophone stalled after 1870. The French

surrendered to the Prussians at Sedan in 1870, causing the deposition of the
emperor, Adolphe Sax's most influential supporter. As well, many of Sax's close
composer friends passed away during the time—Kastner in 1867, Rossini in 1868,
Berlioz in 1869 and Auber and Fetis in 1871. In addition, the Conservatoire
where Sax taught, the saxophone class was closed in 1870, and it was not
reinstated until 1942. In 1873, Sax declared bankruptcy for the second time. With
all the works composed for saxophone before the nineteenth century, there was
hardly any music idiomatically composed for the instrument. Most of the
saxophone music imitated the music of clarinet, flute, or other instruments, and
the purposes of the compositions mainly focused on entertaining the audience,
attempting to make the instrument more popular.
As for the repertoire of the saxophone etude, all early etudes and method
books focus on the introduction of the new instrument and the fundamentals of
how to play the instrument. They explained the range, acoustical design,
fingerings, breathing, tone quality, embouchure, posture, and included some
 23

exercises. In 1844, Jean-Georges Kastner's (1810-1867) supplement to Cours

d 'instrumentation consideree sous les rapports poetiques et philosophiques de
I'art, can be considered the earliest materials of the saxophone method. In 1845,
Sax assisted Kastner in creating his book, Methode complete et raisonnee de
Saxophone - Famille complete et nouvelle d'instruments de cuivre a anche. The
other two of the three earliest methods published include Jean-Francois Cokken's
(1801-1875) Methode complete de saxophone applicable a tous les saxophones
des differents tons, adoptee au Gymnase Musical Militaire (1846) and
Hartmann's Methode elementaire de saxophone. '
According to Jean-Marie Londeix's A Comprehensive Guide to the
Saxophone Repertoire 1844-2003 (2003) and Gail Levinsky's DMA dissertation,
"An Analysis and Comparison of Early Saxophone Methods Published between
1846-1946" (1997), there was no major publication of the saxophone etude nor
method (table 3-1) until Jules Demersseman's 12 Etudes Melodiques dans toutes
les tonalites (1866), and 12 Etudes Melodiques et Brillantes (1866). Other
composers include the Grande methode complete de saxophone by Louis-
Adolphe Mayeur (1837-1894), Methode by Gabriel Pares (1860-1934), Methode
Complete Elementaire et Progressive by Nazaire Beeckmann (1822-1900), and
works by Hyacinthe Eleonore Klose (1808-1880), H. Escudier, and others.

3-1
The real identity of Hartmann remains uncertain. The possible answer includes Johann Peter
Emilus Hartmann, John Hartmann, and Johann Wilhelm Hartmann. (Levinsky 1997, 39-40)
Table 3-1. Saxophone etudes and methods before 1900
Composer Life Title Pub. Year Publisher
Cokken, Jean-Francois, 1801-1875 Methode complete de saxophone applicable a 1846 Messonnier
Barthelemy tons les saxophones des differents tons,
adoptee au Gymnase Musical Militaire
Hartman (sic) Unknown Methode elementaire 1846 Sbg
Kastner, Jean-Georges 1810-1867 Methode complete et raisonnee de Saxophone 1847 Adolph Sax
Famille complete et nouvelle d 'instruments
de cuivre a anche
Demersseman, Jules- 1833-1866 12 Etudes Melodiques dans toutes les tonalites 1866 Lem
Auguste-Edouard 12 Etudes Melodiques et Brillantes 1866 Marg
Mayeur, Louis 1837-1894 Grande methode complete de saxophone 1868-1878 Escudier/
(Revision G. Chauvet, 1933) G&F
r
Beeckmann, Nazaire 1822-1900 Methode Complete Elementaire et Progressive 1874 PB
(Revue et corrigee par H. Rawson)
Methode de Saxph. Basse; de Saxph. -barytone; 1874 Alf
Saxph. Alto; Saxph. Soprano
Escudier, H. 1816-1881 Les premiers desjeunes saxophonistes, op. 45 1877
(25 Etudes melodiques faciles et graduees)
Nouvelle tablature du saxophone 1878
Mayeur, Louis 1837-1894 Tablature des saxophones avec double Sib 1880 Go
systeme
Grand Recueil de gammes, traits, arpeges et 1881 Go
exercices pour saxophone, faisant suite a la
methode
 Composer Life Title Pub. Year Publisher

Klose, Hyacinthe 1808-1880 25 Etudes de mecanisme (Capelle) 1881 Led

Eleonore 15 Etudes Chantantes (Capelle) 1883 Led
*Methode complete 1866-1910 Led
*25 Daily Exercises for Saxophone CF
*25 Daily Exercises (Gee) DP
*Method (Buijzer, Jr.) Mol
Mayeur, Louis 1837-1894 Tablature des saxophones sans changement aux 1888 ES
anciens doigtes. Systeme Evette et Schaeffer
avec trille de Si-Do, double Sib, plateau de
Sib ;cle de Fa# et nouveau mecanisme du
Sol# descendant au Sib grave
*21 Etudes
Segouin, Paul 18xx-19xx 25 Etudes artistiques, 2 volumes 1893 Bil
Methode complete 1897 G&F
Pares, Gabriel 1860-1934 Methode 1895 Lem
Mayeur, Louis 1837-1894 Nuevo y Gran metodo de saxofon 1896 ES

*A11 abbreviations of publishers are based on "Music Publisher" (p. 628-637) of Jean-Marie Londeix's A Comprehensive Guide to the
Saxophone Repertoire 1844-2003 (2003).

to
 26

1900 to 1930
At the beginning of the twentieth century, a Boston socialite, Elise Boyer
Hall, who was born in 1853 and died in 1924, changed the direction of the
development of the instrument's repertoire by her passion for the saxophone. Her
doctor, in hopes of improving her health, suggested that she should learn to play a
wind instrument. With the help of the solo oboist with the Boston Symphony,
Georges Longy, she decided to learn the saxophone and her enthusiasm for the
instrument not only benefited her health but also the history and repertoire of the
saxophone. By 1900, she had associated herself with the Boston Orchestral Club,
became President of the association in 1902, and eventually performed at the
concerts. Her contribution was little known until Dr. William Street's DMA
dissertation, "Elise Boyer Hall, America's First Female Concert Saxophonist: Her
Life as Performing Artist, Pioneer of Concert Repertory for Saxophone and
Patroness of the Arts," was completed in 1983.
Even though people did not know her well, her commissioned pieces, such
as Andre Caplet's Legende, Florent Schmitt's Legende, op. 66, and the most
famous and popular work, Debussy's Rapsodiepour orchestre et saxophone, were
among the most important saxophone music at the beginning of the twentieth
century.
 27

Table 3-2. Works attributed to Elise Boyer Hal 's patronage

1900 Divertissement Espagnol Loeffler, Charles M.
1902 Premier Concerto Gilson, Paul
1902 Impression (Piece) Longy, Georges
1903 Legende Caplet, Andre
1903 Rapsodie pour orchestre et Debussy, Claude
saxophone
1903 Choral Varie Indy, Vincent d'
1903 Ballade Carnavalesque Loeffler, Charles M.
1903 Pastorale Moreau, Leon
1904 Rhapsodie (Lento) Longy, Georges
1905 Impression d'automne Caplet, Andre
1905 Legende Sporck, Georges
1907 Rhapsodie, op. 26 Mouquet, Jules
1909 Octuor no. 1 Woolett, Henry
1909-1910 Siberia, Poeme Symphonique Woolett, Henry
1910 Chant pour saxophone Dupin, Paul
1911 Poeme Elegiaque Gaubert, Philippe
1915 Suite Grovlez, Gabriel
1915 Andante Hure, Jean
after 1915 Concertstuck Hure, Jean
1918 Legende, op. 66 Schmitt, Florent
1920 Fantaisie Mauresque Combelle, Francois

Among all the works above, some of the pieces, such as Andre Caplet's Legende,
Claude Debussy's Rapsodie pour orchestre et saxophone, Vincent d'Indy's
Choral Varie, and Florent Schmitt's Legende, op. 66, are still commonly listed in
the programs of today's recitals and concerts.
The differences between these pieces and other compositions written in
nineteenth century are:
(1) The works were originally written for the saxophone. They are not
imitations of works written and performed by other music instruments. They do
have great musical value and interest in them.
(2) After exploration and research, the composers of these works had a
better understanding of how the instrument could be best used. The compositions
showed the advantages of the saxophone better than before. It is not only that the
timbre and the quality of the tone of the saxophone were better exhibited, but also
the mechanism and the techniques were more explored. The works are more
idiomatic.
(3) The compositions demonstrated that the saxophone was capable of
performing delicate music in the concert hall, not only in the military band or in
marching band.
During the same period of World War I (1914-1918), Francois Combelle
(1880-1953) was a classical saxophonist and featured soloist with the French
Band of the Republican Guard. He was also the instrument tester for the Selmer
Company. In 1910, he wrote and published his Grande Methode Moderne,
dedicated to G. Pares. Benjamin Vereecken (figure 3-1), a multi-talented
saxophonist who performed in the famous American band of John Philip Sousa
from 1910 to 1915, wrote Foundation to Saxophone Playing in 1917 (Bierley
2006, 75-76). Louis Blemant (1864-1934) completed his two volumes of 20
Etudes melodiques in 1918. Other noteworthy works, according to Londeix's A
Comprehensive Guide (2003), are David J Bolduc's Complete Course of 12
Lessons in the Art of Playing Saxophone High Notes, and L. Lyon's method, How
to Play Tones Above the Regular Saxophone, both published in 1922. These could
be the earliest methods talking about altissimo register of the saxophone, earlier
than Sigurd Rascher's Top Tones for the Saxophone (1941-1961) and Eugene
Rousseau's Saxophone High Tones in 1978. It is well documented, however, that
the possibility of the altissimo notes was known since the invention of the
instrument:

Sax was obviously aware that the saxophone was capable of producing
tones above high F... .Although these high notes are not notated in any of
the Sax publications, it is possible that Sax taught altissimo notes to his
more advanced students. It would therefore not be unreasonable to assume
that these talented students might have employed some high notes in the
endings of the Sax publications.. ..It should be remembered that early
 29

reviews of saxophone performance concentrated on the instrument's fluid

tone color and rarely mentioned feats of technical calisthenics or high-note
acrobatics. (Liley 1998, 15)

Unfortunately, little is known about the composers, Bolduc (figures 3-2 and 3-3)
and Lyon.

ff6«rp S&rpew*

Figure 3-1. Benjamin Vereecken and his students

(http://www.henrysvaudeville.com/HBWVereecken.htm)
 30

Box Office Attraction

D a v i d J. B o l d u c
SAXOPHONE
SFXTFTTF
kX»

A Class^ Attraction of Reputation

and Merit backed by years
of Experience

Each Man an Artist

^tjfj^

We* u « * 0 G , Conn's KigKl^ iburnishadl

Gold Instruments Exclusfvelj?.

GORGEOUS STAGE SETTINGS

Figure 3-2. Advertisement of David Bolduc's sextet circa 1920

 31

Our Program
consists of everything
from

Jazz to Classic
tfith just enough

Corned))
to balance act right.

Big Feature for the better class

Picture or Vaude^illeTheatres,
Clubs, Entertainments,
Fairs, etc. thing Their Stuff

Act Runs M mutes

Open Time
Terms . N«t
Percentage Admission Prices

-ADDRESS-CARE BOX 175 CLEVELAND, OHIO-

Figure 3-3. Advertisement of David Bolduc's sextet circa 1920

Table 3-3. Selected saxophone etudes and methods from 1900 to 1930
Thiels, Victor 1867-1925 Methode complete pour tous les saxophones 1903 Lem
Combelle, Francois 1880-1953 Grande Methode Moderne (to G. Pares) 1910 HS
Vereecken, Benjamin 18xx-19xx Foundation to Saxophone Playing 1917 CF
Blemant, Louis 1864-1934 20 Etudes melodiques, 2 volumes 1918 Led
Briard, Raymond 18xx-19xx Methode pour I 'etude de tous les saxophones 1919 Bil
Blemant, Louis 1864-1934 Nouvelle Methode Pratique 1920 Led
Nicholls, Charles unknown How to Conduct Saxophone Bands 1921
Bolduc, David J. unknown Complete Course of 12 Lessons in the Art of Playing 1922
Saxophone High Notes
Eby, Walter M. unknown Scientific Methodfor Saxophone 1922 WJ
Lyon, L. L. How to Play Tones Above the Regular Saxophone Register 1922
Gatti, Domenico unknown 35 Melodious Technical Exercises (Iasilli) 1924 CF
Breard, Robert 1894-19xx 10 Etudes de style 1925 Led
Horn, Art unknown Modern Method of Saxophone 1925 NM
Bernards, B. unknown 125 Ubungen als tdgliche studies 1926 Zim
Bumcke, Gustav 1876-1963 Saxophone Schule 1926 VAB/AMP
Finishing Routine Studies for Daily Practice 1926 Rub
Vaughan Williams, 1872-1958 Six Studies in English Folksong (Transcription) 1926 S&B
Ralph (1) Adagio (2) Andante sostenuto (3) Larghetto
(4) lento (5) Andante tranquillo (6) Allegro
Bernards, B. unknown 24 Virtuosenetuden mit Anang 1927 Zim
Bumcke, Gustav 1876-1963 24 Jazz Etuden op. 43 1927 VAB
Gurewich, Jascha 1896-1938 Staccatos and Legatos 1927 SF
Weber, Henri 18xx-19xx Tongue Gymnastix for the Development of Speed in Single, 1927 Bel
Double and Triple Tonguing
Wiedoeft, Rudy 1893-1940 Complete Modern Method 1927 Rob
Klose, Hyacinthe 1808-1880 25 Etudes de genre et mecanisme (Jeanjean) 1928 Led
Eleonore 25 Exercices journaliers (Capelle) 1928 Led
Pettine, Giuseppe 1874-1966 Modern Methodfor the Saxophone 1928 RIM
Traxler, Aaron 18xx-19xx Grand Virtuoso Saxophone Studies 1928 Bel
Wiedoeft, Rudy 1893-1940 Advanced Etudes and Studies, 2 volumes 1928 Rob
Ernst unknown The Ernst Modern Graded Studies for Saxophone 1929
Karg-Elert, Sigfrid 1877-1933 25 Caprices and an Atonal Sonata op. 153, for solo saxophone 1929 Zim/South
Johnston, Merle 1897-1978 36 Time et Rhythm Exercises for Daily Practice 1930 MJ
36 Technical Exercises 1930 MJ
36 Staccato Exercises 1930 MJ
 34

During the period from 1900 to 1930, Rudy Wiedoeft (1893-1940) (figure
3-4) was the most well known saxophonist of the period. He made over one
hundred cylinder recordings and was famous for his fast running passages and
double and triple tonguing. He also had several educational method books
published.

Table 3-4. Methods and etudes by Rudy Wiedoeft

Three Talks To Saxophonists 1923 Selmer
Complete Modern Method 1927 Robbins
Advanced Etudes and Studies, 2 volumes 1928 Robbins
Secret of Staccato for the Saxophone 1938 Robbins
Simplified Photographic Saxophone Chart 19xx unknown.

There are several other works worthy of mention. Gustav Bumcke's 24

Jazz Etuden op. 43, published in 1927 was one of the earliest jazz etude books.
Robert Breard's 10 Etudes de style, published in 1925, showed that the idea of the
saxophone etude was no longer limited only to exercises or technical issues.
Sigfrid Karg-Elert's 25 Capricen undSonate op. 153a (originally published in
two books by Wilhelm Zimmerman), is possibly the earliest set of concert etudes
for the saxophone (Peters 2007/2008, CD, MDG 1000958, 2007).3"2

3-2
"For almost eighty years Sigfrid Karg-Elert's 25 Caprices and an Atonal Sonata op. 153, for
solo saxophone were regarded as mere learning pieces for young musicians. Neither a public
performance nor a recording of them is known to have been held or made. Now the renowned
saxophonist Christian Peters, following his successful recording premiere of the works ofJean-
Baptiste Singelee on MDG, earns them (Karg-Elert's Caprices) their share of the spotlight."
(http://www.hbdirect.com/album_detail.php?pid=1031989)
 35

Figure 3-4. Rudy Wiedoeft and his C-melody saxophone.

(http://speakeasy.org/~granlund/images/RudyWiedoeftSax.jpg)
 36

1930 to 1970
This period could be seen as the first mature stage of saxophone music
where the etude is generally short, technical, and expressive. Most of the major
saxophone concertos and solos were composed and published in this period,
including Glazounov's Concerto in Eb for Alto Saxophone and String Orchestra
(1934), Larsson's Concerto for Saxophone and String Orchestra (1934), Ibert's
Concertino da camera pour saxophone alto et onze instruments (1935),
Desenclos' Prelude, Cadence et Finale (1956) and others. Composers not only
knew the qualities and the advantages of the instrument but also tried to stretch
the limits of saxophone techniques in every possible way. For example, the
altissimo register was fully explored in Ingolf Dahl's Concerto for Alto
Saxophone and Wind Orchestra (1949/1953)3"3 and Frank Martin's Ballade pour
saxophone (cor de basset) et orchestre (1938). Techniques such as extreme
dynamic contrasts at both ends of the range of loud and soft, fast tonguing and
articulated passages, for instance double or triple tonguing, were constantly seen
in the compositions of this era.
It was also the beginning of a period when academic professional
saxophonists and saxophone scholars started careers. Two new generations of
professional saxophonists were stepping into their mature stages, including the
first generation of Marcel Mule (1901-2001), Cecil Leeson (1902-1989), Larry
Teal (1905-1984), and Sigurd Rascher (1907-2001). These were followed by the
second cohort—the students of the first-generation saxophonists—Daniel
Deffayet (1922-2002), Jean- Marie Londeix (b. 1932), Guy Lacour (b. 1932),
Eugene Rousseau (b. 1932), Paul Brodie (1934-2008), Frederick Hemke (b.
1935), and Donald Sinta (b. 1937). Before the twentieth century, the saxophone
teachers of the first generation of professional saxophonists underwent the
preliminary exploration stage of the saxophone with little information or scholarly
materials. Their efforts were finally starting to result in a body of literature
suitable for teaching and performing.

33
" The 1949 version underwent major editing and is no longer performed. Saxophonists today
primarily use the 1953 version.
 J/

During this period, the saxophone etude was developed swiftly as well,
both in quantity and in quality. The most important and influential figure in both
performance and education was French saxophonist Marcel Mule.
Claude Delvincourt (1888-1954), Director of the National Superior
Conservatory of Music in Paris, decided to re-establish a saxophone class in 1942.
(The original class had been reserved for military musicians at the Gymnase
Musicale.) Marcel Mule, than age forty-one, became the first professor to teach at
the Conservatory.3"4 Although Adolphe Sax previously taught in the same institute
from 1857 to 1870, he was not a professor. Mule's teaching emphasized the
importance of the training in traditional classical music, and in order to provide
the proper materials for his students, he arranged and transcribed numerous pieces
from the works originally composed for orchestra or operas. We can recognize
this trait easily from the list of the etudes published under his name.

Table 3-5. Etudes and methods transcribed by Marcel Mule

Mule, Marcel Rene Etudes Variees dans toutes les c. 1950 Leduc
Arthur (1901-2001) tonalites d'apres Dont, Mazas,
Paganini, etc.
24 Etudes faciles, d'apres Sarnie 1942 Leduc
48 Etudes d'apres Ferling, ugmentees
de 12 Etudes originales 1946 Leduc
53 Etudes d'apres Boehm, Terschak,
Furstenau, 1946 Leduc
Exercices jouraliers, d'apres Terschak 1944 Leduc
18 exercices ou etudes, d'apres
Berbiguier 1943 Leduc
30 Grands Exercices ou Etudes,
d'apres Sousmann 1944 Leduc
Gammes, 3 volumes 1944-
1846 Leduc
Tablature de la gamme chromatique 1943 Leduc
Traits difficiles, 3 volumes 1943-
1945 Leduc

"Sax never held the position of professor; he only gave instruction to military musicians."
(Trier 1998, 101)
 38

Figure 3-5. Marcel Mule and his saxophone class 1946.

(http://www.dornpub.com/saxophonejoumal/marcelmule.html)
From left to right: at the piano: Jean Davy. Standing: Remy Violeau, Georges
Gourdet, Roger Deldicque, Marcel Mule, Rene Caulier, Guy Romby, Jean Blaisel,
Henri Silvert and Rene Desmons (with glasses). (J-M Londeix, e-mail to William
Street, March 30, 2009)

Cecil Leeson and Sigurd Rascher were saxophone performers and teachers
more than writers of education materials. Lesson did not write any important
saxophone teaching materials. However, Sigurd Rascher, particularly because of
his extraordinary performing ability of altissimo tones, has written Top Tones,
published by Carl Fisher Music.
Larry Teal, as the first full-time saxophone professor at a university in
North America in 1953, brought great rigor into his teaching of the saxophone,
and this was the first methodical teaching in United States. His The Art of
Saxophone Playing is still listed as an important resource in the syllabuses of
 39

most North American university saxophone studios. He taught at the University of

Michigan from 1953 until his retirement in 1974.
There were many etudes and methods written or composed during this
period. Most of the etudes still focused on technical aspects of saxophone playing.
Many were titled "technical exercises," "daily exercises," or "practical studies."
At the same time influenced by the popularity of jazz music, there were many
etudes and methods for learning to play the saxophone in the jazz style.
Etudes for concert performance for the saxophone started to grow in shape
in this period as well. Eugene Bozza's 12 Etudes-Caprices for solo saxophone
(1944) are among the earliest in this period. The most well known are Charles
Koechlin's 15 Etudes pour saxophone alto et piano, op. 188 (1942-1944), and
Raymond Gallois-Montbrun's Six Pieces Musicales d'Etude pour saxophone alto
et piano (1954). Other notable works are listed in table 3-8.

Table 3-6. Etudes and methods by Sigurd Rascher

Rascher, Sigurd Complete Chromatic Scale Chart unknown CF
(1907-2001) Scales 1965 Gi&Ma
158 Saxophone Exercises 1955-1968 Chap/WH
Top Tones 1941 CF

Table 3-7. Etudes and methods by Larry Teal

Teal, Larry Laurence The Art of Saxophone Playing 1936 SBC
(1905-1994) Daily Studies for the Improvement 1972 Eto
of the Saxophone Technique
The Saxophonist's Workbook - A 1958 rev. UMM
Handbook of Basic Fundamentals 1976
Studies in Time Division 1955 UMM
Table 3-8. Selected saxo phone etudes published between 1930 and 1970
Werner, Milt unknown Vibrato Tone Studies 1946 HP
Allard, Joseph 1910-1991 3 Octave Scales & Chords 1947 CC
Douse, Kenneth 1906- How to Double and Triple Staccato 1947 BMCo
Van Maele, Gerard 1907- Etudes (1) Allegro risoluto - Andante cantabile
(2) Allegro vivace 1950
Perrin, Marcel 1912- Agilite - etude chromatique 1951 GD
Caprice - etude atonale 1951 GD
Tourbillon - etude technique 1951 GD
Massis, Amable 1893-1980 6 Etudes caprices (to M. Mule) 1954 Led
Milhaud, Darius 1892-1974 Etude poetique, op. 333 1954
Schaffer, Boguslaw 1929- 2 etudes n °22 1956 adr
Bennett, Wilhelmine 1933- Studies for Five Instruments 1957
Bauzin, Pierre-Philippe 1933- 5 Mouvements enfrome de Musique, op. 19 1960 adr
Spitzmiiller, Alexandre 1894-1962 Etude en forme de variation 1960
Ameller Andre 1912-1990 Entree, Deux petites pieces Estudio 1961
Lacour, Guy 1932- 8 Etudes brillantes (to M. Mule) 1963 Led
Schmidt, William 1926- Ten Contemporary Etudes 1963 WIM
Dubois, Pierre-Max 1930-1995 2 Caprices en forme d'etudes 1964
Lacour, Guy 1932- Etude de concert (to R. Druet & G. Gourdet) 1964 Bil
Semler-Collery, Jules 1902-1988 10 etudes concertantes (to M.Mule) 1964 ME
Maurice, Paule 1910-1967 Volio - £tude pour saxophone Alto Mib 1967 Bil
Lacour, Guy 1932- 100 dechiffrages (en forme de petites etudes 1968 Bil
Lacour, Guy 1932- Precis sur I 'etude des gammes 1968 Bil
Dubois, Pierre-Max 1930-1995 Sonate d'Etude 1970
 41

1970 to 1990

The influence of contemporary music and techniques.

The repertoire of traditional saxophone music and the etude kept growing
during this period. Some more modern and complete methods that saxophonists
use for pedagogic purposes were published during this period, for example,
Rosemary Lang's Saxophone: Beginning Studies in the Altissimo Register (1970),
Trent Kynaston's Circular Breathing (1978), and Eugene Rousseau's Saxophone
High Tones (1978). The most two prolific authors and composers are Jean-Marie
Londeix (table 3-9) and Guy Lacour (table 3-10). To this point, we can say that
the traditional saxophone techniques and methods had reached its complete
maturity. From embouchure, fingerings, sound production, to altissimo register,
and overtones, most of the different schools and methods gradually came to
similar ideas or to the same definitions. We can also observe that it was from this
point that saxophonists really started to search and to explore new sounds, new
techniques, and new possibilities for the saxophone. Guy Lacour wrote several
etudes based on modes and atonal music. Daniel Kientzy's Les Sons multiples aux
saxophones (1981), and Jean-Marie Londeix's Hello! Mr. Sax (1989)
systematically listed the fingerings of microtones and multiphonics. The
development of contemporary music offered a natural path for the saxophone.
The usage of the so-called contemporary techniques, such as altissimo and
slap tongue, can be traced back to the 1920s. A demonstration of this at the
artistic level is seen in the work of Arnold Schoenberg when he used tenor and
bass saxophones with altissimo in his orchestral work Von Heute aufMorgen
(1928/29). (Delangle and Michat 1998, 164) This piece requires two
saxophonists, saxophone 1 playing soprano in B-flat and alto in E-flat, and
saxophone 2 playing tenor in B-flat and bass in C. The application and the usage
of these new techniques were still very rare. Most of the techniques and the
information for woodwinds were not developed and organized until the 1960s.
 Due to the influence of contemporary music and specifically the
techniques on woodwind instruments, the development of saxophone music began
to take a different route. In order to trace the initiation of the trend, we need to go
back and take a look at the development of the contemporary music in the 1950s.
Table 3-9. Etudes by Jean-Marie Londeix
Londeix, Jean-Marie De I'intonation 2 Sx: AA or TT 1981 Led
b. 1932 or AT
Le Saxophone enjouant, 4 volumes 1962-1971 Lemoine
Le Detache, Staccato 1967 Lem
r

Etudes a douze d'apres Chopin, Debussy 12 Sx: SnoSS 1993 adr

AAATTTBBBs
8 Etudes techniques, op. 8 Sx solo 1960/92 Com
Exercices d"intonation- tous niveous et tous 1993 Led
saxophones [all levels and all saxophones]
Exercices Mecaniques, 3 volumes 1960-1965 Lem
Exercices pratiques 4 to 12 Sx 1983 Led
Les Gammes Conjointes et en Intervalles 1962 Lem
Gammes et modes d'apres Debussy, Ravel et 1968 Led
Bartok, 2 volumes
Methode de rythme a I 'usage des 1972 Led
instrumentistes 3 volumes
Methode pour etudie le saxophone 1995 Lem
125 ans de Musique pour Saxophone 1958-1969 Led
150 ans de Musique pour Saxophone 1994 Ron
Nouvelle etudes variees avec suraigu 1983 Led
Playing the Saxophone (Translation S .Trier), 1973-1976 Lem
2 volumes
77 sassofono nella nuova didattica, 2 volumes 1986 Ber
(Translation A. Domizi)
4:
 El Saxofon ameno (Translation M. Mijan) 2 volumes 1988 AE
Saxophon spielend leicht, 3 volumes 1978 BFS
(Translation G. Priesner)
Le Saxophone en Jouant, 4 volumes 1962-1971 Lem
Tablature des doigtes compares des notes 1974 Led
suraigiies du Saxopone alto
Die Tonleiter in Tonfolge und in Intervallen 1962-1980 Lem

Table 3-10. Etudes by Guy Lacour

Lacour, Guy 100 dechiffrages (en forme de petites etudes melodiques et rythmiques) Sx solo 1968 Bil
b. 1932 (to R. Weber)
Etude de concert (to R. Druet & G. Gourdet) Sx solo 1964 Bil
8 Etudes brillantes (to M. Mule) 1963 Led
24 Etudes atonales faciles 1975 Bil
r

28 Etudes sur les modes a transpositions 1971 Bil

limitees d'O. Messiaen (to D. Deffayet)
50 Etudes faciles et progressives 2 volumes (to M. Josse) 1972 Bil
56 Etudes recreatives, 2 volumes 2001 Bil
Precis sur I 'etude des gammes 1968 Bil

-I
4
 45

Darmstadt School.
Darmstadt International Summer Courses for New Music (Internationale
Ferienkurse fur Neue Musik, Darmstadt), initiated by Wolfgang Steinecke in
1946, were originally held annually in Darmstadt, Germany, then every two years
after 1970. The courses present both the teaching of composition and
interpretation and include premieres of new works. Darmstadt is now a major
centre of modern music, particularly for German composers. Beginning in the
early 1950s, a group of young composers including Bruno Maderna (1920-1973),
Luigi Nono (1924-1990), Pierre Boulez (b. 1925), and Karlheinz Stockhausen
(1928-2007) started to establish their reputation with compositions based upon
serial music. Since their music was constantly premiered in the Darmstadt
courses, Luigi Nono proposed the name "Darmstadt School" in his lecture, "Die
Entwicklung der Reihentechnik" (the development of serial technique), claiming
the direct lineage from the Second Viennese School (Fox 1999, 111-130).
Berio's Sequenza I for solo flute (1958) already showed much better
understanding of extreme register and multiphonics. They were not only tricks to
surprise the audience, but these techniques were part of the content of the music
and gave the music interest and musical depth. Since then, contemporary music
began to play an important role of leading the direction of the development of
saxophone music.

Contemporary saxophone music.

In the 1960s, pioneer works of the contemporary saxophone music were
published, for example, William Karlins's Music for Tenor and String Quartet
(1969), using subtone and flutter tonguing. From 1970, the repertoire of
contemporary saxophone music really began to grow. Edison Denisov's Sonate
for Alto Saxophone and Piano (1970) marked the milestone of this development.
This Sonate used slap tonguing, multiphonics and quarter-tones. Other works
applying contemporary techniques and concepts include: Frank McCarty's Five
Situations for Four Saxophones (1971), using multiphonics and slap tonguing;
 46

Ryo Noda's Trois Improvisations for Alto Saxophone solo (1972-1974); Marilyn
Shrude's Quartet for Saxophones (1974), using quarter-tones, and Music for
Soprano Saxophone and Piano (1974), using multiphonics; The Dream Net for
Alto Saxophone and String Quartet (1975) by Warren Benson, using
multiphonics; and Alain Louvier's Hydre a cinq tetes for Alto Saxophone and
Piano (1976). As well, there were contributions using advanced techniques in
composition and improvisation by British saxophonists John Butcher and Evan
Parker.
Jean-Marie Londeix made a preliminary list of works using contemporary
techniques, based upon their level of difficulty, in his Methode pour Etudier le
Saxophone (1997). See table 3-11.

Contemporary techniques for woodwinds.

There are many contemporary techniques for the saxophone, including
circular breathing, subtone, flutter tonguing, slap tonguing, and many more. Some
of the techniques are not modern at all and derive from the techniques of other
instruments. For example, circular breathing has been used for ages in playing the
Australian didgeridoo, the Sardinian launeddas and the Egyptian arghul. The
launeddas could be traced back to eighth-century BC. " In 1978, Trent Kynaston
published a method book, Circular Breathing, explaining this ancient technique in
modern terms.
In the album of King Oliver and his Creole Jazz Band in 1923, Stump
(Paul Anderson) Evans played the C-melody saxophone and used the technique of
slap tonguing. " By 1924, Rudy Wiedoeft and Coleman Hawkins had used this

Surian 2000, 190. Sudan calls the launedda very ancient, appearing on votive statues from
eighth-century BC.
"Evans was also, of course, a master of the slap-tongue, a technique every saxophonist in
popular music of any kind had to learn in those early days. Evans' slap-tongue was remarkably
controlled and even delicate, sometimes sounding in its bee-sting precision like a plucked banjo"
(Schuller 1991,427).
 47

technique regularly. For the production of the quarter-tones, the literature includes
Fred Hemke's 1970 article "New Directions in Saxophone Technique" published
in 1970 and 1971 issues of Selmer Bandwagon, as well as John William Paulson's
Quarter-Tone Production on the Saxophone (1975). Pieces applying the usage of
the quarter-tones include Samuel Adler's Canto IV for alto saxophone (1971), and
Allan Blank's Three Novelties for alto saxophone (1971).

Multiphonics.
Similar to the slap tongue, we can find some of the earliest examples using
multiphonics in the recordings of jazz music. For example, John Coltrane's album
Harmonique (1959) clearly demonstrated the unique sound effects of
multiphonics.
Bruno Bartolozzi (1911-1980) was an Italian composer and music
theorist, and violinist; he studied and taught at the Florence Conservatory.
Bartolozzi's book New Sounds for Woodwinds was definitely the most important
literary work discussing experiments using multiphonics. In his research, he
invited four different instrumentalists—flautist Pierluigi Mencarelli, oboist
Lawrence Singer, clarinetist Giuseppe Garbarino and bassoonist Sergio Penazzi—
to help him with the experiments on what he called "amalgams" (multiphonics).
He invented six notations for "lip pressures," five abbreviations for "air
pressures," three markings for embouchures and other notations for instrument
angles, sound-hole positions and the like, along with the traditional fingerings, in
order to describe the ways to generate different multiphonic sounds. The book
also contains ample discussion concerning quarter-tones, microtones, glissandi
and other ideas. The book became the main source of information for all
subsequent research, including that of Caravan (1974; 1980) and Bergeron (1989).
Table 3-11. Saxophone music with contemporary techniques from Methode pour etudier le saxophone (Londeix, 1997)
Level 1 *
1976 Louvier, Alain Hydre a cinq tetes pour Sax. alto et Piano Leduc
Level 2
1989 Rosse, Francois Lobuk constrictor pour Sax. alto solo Billaudot
1989 Rosse, Francois Seaodie I, IIpour Sax. Alto seul ou avec piano Billaudot
Level 3
1983 Jolas, Betsy Episode Quartrieme pour Sax. tenor solo Leduc
1972-1974 Noda, Ryo Trois Improvisations pour Sax. alto solo Leduc
1984 Vieru, Anatol Doux polyson pour Sax. alto solo Salabert
Level 4
1970 Denisov, Edison Sonate pour Sax. alto et Piano Leduc
1983-1984 Rolin, Etienne Tressage pour Sax. soprano et Piano Lemoine
1985 Campana, Jose Luis Pezzo per Claudio Sax. alto solo Lemoine
1992 Yasuhide Ito Concerto pour Sax. alto et Orchestre ou Piano Lemoine
Level 5
1978 Constant, Marius Concertante Sax. alto et Orchestre ou Piano Ricordi
1984 Hurel, Philippe Opcit pour Sax. tenor solo Billaudot
1993 Lauba, Christian Steady Study on the Boogie pour Sax. alto solo Billaudot
Level 5+
1978 Mefano, Paul Periple pour Sax. tenor solo Salabert
1978-1979 Rosse, Francois Le Frene egare pour Sax. alto solo Billaudot
1982 Ballif, Claude Solfegietto n °8 pour Sax. alto solo Transatlantiques
1986 Lauba, Christian Sudpour Sax. alto et Piano Fuzeau
1988 Lauba, Christian Hard pour Sax. tenor solo Fuzeau
1990 Havel, Christophe Oxyton pour Sax. baryton solo Tonger
*"The level of difficulty can never be established in any absolute fashion." (Londeix, 40)
 49

Slap Tonguing

1 . Using only the read, place the reed on 2. A slap tongue is the pop that is heard 3. You should be abla to hold the reed
your tongue. when the reed is pulled from the mouth- with just your tongue.
piece. Therefore we need to seel the reed
with the tongue.

4 . Pop the reed off while stfB trying to 5. Pui the reed on the mouthpiece and fi. The tip of your tongue should be
seal the reed. Imagine scraping down on repeat step 4. touching the back: of your bottom teeth.
th e reed with the middle of your tongue.

7. The first sounds will moat likely ba soft 8. Practice the difference between a dry 8. Once you feel familiar with the motion,
clicks. The more air you add, the more slap end a slap where you sustain the try swrtchmg between regular tonguing
tone you will produce. note afterwards. and slap tonguing without changing your
embouchure.

© Erik Ronmark
w w w concertsaxophonist com

Figure 3-6. Slap tonguing by Erick Rommark (courtesy of Erick Rommark).

As well, the latest literature in this field includes research of Kientzy (1981; 1990
and 1993) and Londeix (1989).
Multiphonics is the modern technique used most uniquely by Christian
Lauba in his saxophone etudes. We will discuss more about this technique and
related materials and compositions in the next chapter.
 50

Contemporary saxophone etudes.

Because of the demands of contemporary saxophone music, saxophonists
could no longer ignore these techniques. The specific techniques were no longer
advanced techniques, but required basic techniques for every saxophonist to learn.
Naturally, the need for contemporary saxophone etudes developed from this.
Ronald Caravan's Preliminary Exercises and Etudes in Contemporary Techniques
for Saxophone (1980) is one of the earliest etudes working with these specific
techniques: multiphonics for example. Etienne Rolin's (b. 1952) Aphorismes VII-
10pieces courtes a caracterepedagogique, Livre 7(1982-1983) offered a variety
of exercises for studying different styles of music, including jazz, electro acoustic
music, and non-western music. The variety of usages of the multiphonics,
including polyphonic effects, separated notes from each individual multiphonic
fingering, moving the sound from one note to a complex multiphonic sound and
back to one note or to another single note, may have given Christian Lauba a type
of model to study from, since they were both at the Bordeaux Conservatory of
Music. The Approach de la musique contemporaine (1985-1986) by Hubert Prati
(b. 1939) consists of two volumes, 15 Mosaiques, and 13 Saxophonemes. Both
books gave progressive and clearly notated etudes working on multiphonics,
micro-intervals, and changes of timbre. Les Douze Etudes Completes pour les
Jeunes Saxophonistes (1995) by Nicolas Prost (b. 1981) gives interesting
exercises for approaching odd meters, such as 5/8, 6/8, and 12/8, proportional
note values, 4:3, 5:2, multiphonics, microtonal trills, and a variety of different
types of attacks.

Contemporary saxophone concert etudes.

As the development of the contemporary music and etude reached a
certain maturity, it was a natural flow, just as in the development of the repertoire
of other instruments, to expect concert etudes gradually to show up on the
repertoire list. During this period, composers were experimenting on how best to
combine all the elements (the idea of etude, contemporary techniques, and
 51

sophisticated musical interests). Most of the works are the mixtures of

combinations of all of these elements, such as in Sonate d'Etude (1970) by Pierre
Max Dubois, Six Contemporary Etudes in Duet Form for two alto saxophones
(1974) by Victor Morosco, Etude en vocalises for soprano saxophone and piano
(1977) by Francois Rosse, and Etude en bleu for soprano saxophone solo (1981)
by Etienne Rolin.
So far, we can see that in this period, saxophone etudes were common,
some of the composers started to incorporate contemporary techniques, and there
was an effort made to bring these etudes onto performing stage. However, we
have not seen any composer produce a series of concert etudes thoroughly
exploring and lifting this genre to a higher artistic level.

Post-1990
After 1990, Pierre-Max Dubois is seen as one of the most prolific
composers of the saxophone etude (table 3-12) although most of his etudes are
based on the traditional concepts of composition without using any contemporary
techniques or sounds.
In Claude Delangle's article, "The Contemporary Saxophone" (Delangle
and Michat 1998, 161-183), some of the latest works are mentioned, such as
Dubois's Douze Etudes Modernes, and Baraglioli's Sept Jeux Musicauxs. In
Vincent David's (b. 1974) pedagogy thesis "Les Etudes contemporaines pour le
saxophone et les nouvelles techniques" (1997), he listed some of the latest
information and repertoire of the contemporary saxophone etudes, especially from
composers residing in Europe. The thesis is registered and only available through
La Mediatheque Hector-Berlioz du Conservatoire national de musique et de
danse de Paris.
During this period, the most important composer of saxophone etudes,
especially the concert etude, is Christian Lauba. A detailed discussion of this will
follow in the next chapter.
Table 3-12. Etudes by Pierre Max Dubois
Dubois, Pierre-Max 2 Caprices en forme d'etudes 2Sx:AA 1964 Led
(1930-1995) Sonate d'Etude 1970 Led
Grave et Scherzo mecanique (to Fr. Daneels) Asx/Pno 1973 RR
16 Etudes brillantes 1994 Bil
24 Etudes Caprices, 2 volumes 1994 Bil
17 Etudes dansantes 1994 Bil
16 Etudes de virtuosite 1994 Bil
48 Etudes faciles et progressives, 2 volumes 1994 Bil
20 Etudes progressives en forme de duos 2Sx 1994 Bil
16 Etudes techniques 1994 Bil
Table 3-13. Etudes with extended techniques
Bertocchi, Serge Techniques du Saxophone double tonguing; growling, singing/playing, harmonics
Brenet, Therese Phoinix microtonal trills and micro-intervals; multiphonics
Campana, Jose-Luis Pezzo Per Claudio slap tonguing
Choquet, Patrick Aires multiphonics
Finzi, Graziane De I'una VAutre free rhythm
Fournier, Marie-Helene Quatre Duos flutter tonguing
Hemlock subtone
Setiocetime glissandi and portamenti
Havel, Christophe Trois Rides sur I 'Horizon free rhythm
Trois Gestes multiphonics
Jean-Pierre Baraglioli Sept Jeux Musicaux improvisation
Lacour, Guy Les Douze Esquisses altissimo
Laureau Connexions 1 multiphonics
Lejet, Edith Trois Preludes free rhythm; microton trills and micro-intervals
Jade for Alto Sax and Percussion Flutter tonguing
Louvier, Alain Hydre a Cinq Tetes free rhythm
Cinq Ephemeres free rhythm; microton trills and micro-intervals
Mantovani, Bruno Etudes free rhythm
Noda, Ryo Requiem multiphonics
Improvisations (I, II, III) glissandi, portamenti, quarter tones and multiphonics
Queyroux, Yves 7 Jeux musicaux et 3 Promenades improvisation
Rolin, Etienne Aphorismes I&II multiphonics; improvisation
Rosse, Francois Lobuk Constrictor slap tonguing
De La Vega, Javier Mosaicos para saxofono double tonguing; growling, singing/playing, harmonics
contemporaneo
 54

Summary
Saxophone, as an invented instrument with such a short history, has a
unique process of its development. In its first sixty years of existence, many
composers praised the tone quality and the capability of the instrument but not
many of them really accepted and composed for the instrument. The saxophone
was quietly waiting.
The main development started in the turn of the twentieth century, with
Bostonian Elise Boyer Hall, and within seventy years its repertoire caught up with
all the other woodwind instruments both in quality and in the diversity of content.
In this period, two generations of saxophonists and educators, including Marcel
Mule, Sigurd Rascher, Cecil Leeson, Larry Teal, and Jean-Marie Londeix,
Eugene Rousseau, Donald Sinta, and Fred Hemke, finished the task of the
development of the saxophone music, which took other instruments several
hundred years' of work. As well, in the field of jazz music, the saxophone built
another completely different repertoire from that of the classical saxophone.
In the second half of the twentieth century, the saxophone, without having
the traditional workload of performing orchestral music, which is essential work
for other wind instrumentalists, was free to develop its idiomatic characteristics
and voice in the realm of the contemporary music scene.
 55

Chapter 4: Christian Lauba and His Saxophone Etudes

Introduction
Beginning around 1970, many composers started applying contemporary
techniques and the sound effects these techniques could offer into their
compositions. The saxophone etude followed this trend as well. After twenty
years of cultivation, the efforts finally produced results.
Because of the collaboration of the saxophone virtuoso and teacher Jean-
Marie Londeix and the saxophone students at the Bordeaux Conservatory,
Christian Lauba composed Neuf Etudes between 1992 and 1994. These etudes
changed the concepts and the impression of contemporary techniques for
composers as well as for saxophonists. Since the etudes were published,
composers have a better understanding of what these techniques are capable of,
and saxophonists work on these techniques as part of their fundamental technical
studies. This is not common practice for other instrumentalists. Keyboard players
could limit themselves to the repertoire of Baroque, Classical, or Romantic
periods because the body of music for their instruments is so vast. String players
could choose to play orchestral music exclusively. The saxophone does not have a
regular position in an orchestra, so this is not a possible choice for saxophonists.
Wind instrument players could choose to avoid contemporary techniques because
Mozart, Brahms and many other famous composers have left them a large
catalogue of exciting repertoire, which the saxophone, to a certain extent still in
its infancy, does not have.
Therefore, for saxophonists, contemporary music has become a natural
and suitable choice and the contemporary techniques become the basic techniques
for today's saxophone students. In order to perform today's music, students need
to learn circular breathing, slap tonguing, flutter tonguing, production of
multiphonics and so on at the university or college level of study. These
techniques, before Lauba's Neuf Etudes, were seen as advanced and rare
techniques but now have become required techniques for every saxophone player.
 56

Christian Lauba's saxophone etudes have permanently changed the expressive

potential of saxophone technique and repertoire.

Christian Lauba
"The Nine Etudes (Neuf etudes) by Christian Lauba, which mark a turning
point in the history of the saxophone, may be included in this latter category of
unique works (artistically displaying an instrument's idiomatic characteristics)"
(Umble 2000, 257). "And so, one might say that there was a saxophone before
and after Lauba, just as there was the piano before and after Chopin" (257).
It matters little that these may be exaggerated descriptions, compliments
or perhaps the facts. Christian Lauba, who evolved from a university student
majoring in languages to an internationally known composer, is certainly not the
kind of composer bred in a traditional sense. Before we discuss his music and
compositions, we should take a brief look at his roots and educational
background.

Sfax, Tunisia
Christian Lauba (figure 4-1) was born in Sfax, Tunisia, in 1952. Tunisia is a
country located on the northern coast of Africa, bordered with Algeria on the west
side, Libya on the southeast and across the Mediterranean, Italy on the north side
(figure 4-2). Sfax is an ancient city founded in AD 849, a Mediterranean port on
the Gulf of Gabes, on the east coast of the country. Sfax was occupied by Spain in
the sixteenth century, unsuccessfully invaded by Venice in 1785, and under the
ruling of France since 1881 until the independence of Tunisia in 1956. Now, Sfax
is the second city and economic centre of Tunisia. The main economic activity is
the exportation of olive oil and fresh or frozen fish.
Figure 4-1. Christian Lauba.
 58

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 59

Growing up with the mixture of Arabic culture and European cultures and
after pursuing studies in languages (French, English, Spanish, Portuguese and
Italian) at the University of Bordeaux, France, Lauba began to pursue the study of
music. He studied harmony with Michel Fuste-Lambezat.

Michel Fuste-Lambezat
Michel Fuste-Lambezat (b.1934) studied music theory and oboe at
Conservatory of Bordeaux, France, and fugue, music history, conducting, and
composition at the Conservatoire national superieur de musique et de danse de
Paris. He received the first prize at the International Young Conductors
competition in Besancon in 1960, and the first prize of Composition
(unanimously) in the class of Darius Milhaud in 1963. Fuste-Lambezat founded a
group of composers advocating for contemporary music, called the "School of
Bordeaux," which includes Thierry Alia, Christophe Havel, Christian Lauba,
Philippe Laval and Francois Rosse.
Christian Lauba's music is strongly influenced by his teacher. His music
constantly presents two opposing elements simultaneously, either an immobile
surface superimposed on an active interior or agitated phrasing, with a flowing,
slow pulse.
He was awarded as a prize in musical composition the Medaille
d'Honneur from the city of Bordeaux in 1984. In 1993, he was appointed
professor of musical analysis at the Conservatoire Regional de Bordeaux. In
1994, he received the Prix de SACEM (the Prize of the French Society of Authors,
Composers and Editors of Music) and the first prize in the competition of
composition at the Institutfur Neue Musik in Berlin. From 2004 to 2007, he was
artistic director of the Orchestre National Bordeaux Aquitaine. He followed this
as composer-in-residence of the Thirty-sixth Festival of Music on Sky Cordes-
sur-Ciel (Tarn) in 2007. He has given master classes and received numerous
commissions from all over the world, most notably the Chicago Symphony and
the Paris Opera; he also has composed for many different musical ensembles and
media.

Christian Lauba 's Twelve Etudes for Saxophone

In 1992, Christian Lauba was commissioned by the Bordeaux
Conservatory saxophone studio to write etudes. For two years, he worked on and
composed nine etudes for the saxophone. The nine etudes were divided into four
volumes: Book 1—Balafon, Savane, Sanza, and Jungle for alto saxophone solo;
Book 2—Tadj for soprano saxophone solo, Gyn and Vir for tenor saxophone solo;
Book 3—Ars, duet for two soprano saxophones; and, Book 4—Bat for baritone
saxophone solo.
He later composed another three etudes, Hard Too Hard (2001), Stan
(2004) and XYL (2007), subtitled Balafon 2, and completed the series with twelve
etudes in total.
All of these etudes are in very free structures without any restricted form;
every etude has a title. However, Lauba did not intend to compose programmatic
music. "I gave the titles after composing the studies," said Christian Lauba.4"1 Just
as when he composed the first etude, Balafon, he treated it as a total abstraction
without giving it a title. "All the titles of my Etudes were given by me; only
Balafon was suggested by Mr. Londeix, which I accepted. The titles correspond to
what the music suggests."4"2 These facts recall the impression of the earlier
French composer, Claude Debussy, and his Preludes and Etudes. For Debussy's
Preludes, the composer preferred the audience to respond intuitively to these
pieces so he placed the titles at the end of each prelude in hopes that listeners
would not create stereotypical images as they listened. The forms of Debussy's
Etudes, influenced by the young Igor Stravinsky, are irregular and fragmental.

'' Christian Lauba, e-mail to author, February 10, 2009.

2
Christian Lauba, e-mail to author, February 12, 2009.
 Studying and Performing Principles
Inheriting the tradition from the French composer, Maurice Ravel,
Christian Lauba wants his compositions to be performed and interpreted with
precision and clarity. "What I am talking about is clarity of language and not
necessarily clarity of timbre. Clear for me, in this sense, means that the performer
is to meticulously and clearly represent everything that is notated in the score. The
performance of these Etudes must be technically clean, leaving no place for
indecision. Everything in the notation must be clearly heard by the listener"
(Umble 2000, 257).
Table 4-1. Christian Lauba's twelve etudes for saxophones
N° etude dedicated to Time pages published studying
1 Balafon Joel Versavaud 5'15" 6 1996 circular breathing, subtone, multiphonics
2 Savane Jean-Marie Londeix 3' 3 1996 multiphonics
3 Sanza Jean-Marie Londeix 2'30" 4 1996 multiphonics with staccato
4 Jungle Jean-Marie Londeix 3' 5 1996 slap-tongue
5 Tadj Manuel Mijan 8' 12 1996 multiphonics, quarter-tone vibrato
6 Gyn Patrice Goudin 3'45" 4 1996 attack, resonance, multiphonics
7 Vir Arno Bornkamp 2' 3 1996 all the techniques above
8 Ars Jean-Marie Londeix 4'06" 12 1996 intervals of 4th, 5th
9 Bat Marie-Bernadette Charrier 12'53" 17 1996 tremolo, trill, glissando, quarter-tone
10 Hard Too Hard Arno Bornkamp 12' 14 2001 subtone staccato, double tonguing
11 Stan Richard Ducros 8' 10 2004 well-tempered, well-quantized instrument
12 XYL William Street 6' 7 2007 circular breathing

a
 63

Balafon
The first etude of the Neuf Etudes, Balafon has the simplicity and the
appearance of an etude. From the first note, the goals of the techniques required in
this etude are clear: "etude for the mastery of circular breathing, delicate
dynamics, sound quality with a full clear tone as well as subtone." (Lauba
Balafon, 1996, 1) It was dedicated to Joel Versavaud. Versavaud is the first and
the only saxophonist so far who has a published recording (complete in a
connected series of sessions) of all of Lauba's Neuf Etudes.
The title Balafon derived from Jean-Marie Londeix.

The composer once said, "It was you, Mr. Londeix, who found the title. When
I wrote this etude, I conceived of it as a total abstraction." (Umble 2000, 258)

Balo (bala, balafou, or balafon) [figure 4-3] is an instrument originally

from West Africa, including Guinea, Mali, Senegal, Gambia and the like. It is the
ancestor of the modern xylophone. It appears in many different forms and sizes.
In general, there are about seventeen to twenty pieces of hardwood stung together
upon a frame. Each piece of hardwood is attached with a gourd underneath as a
resonator. According to Grove Music Online, the earliest reference to the
instrument is that a Muslim Berber, Ibn Battuta (1304-1368), traveled to Mali in
1352 and described seeing an instrument made from reeds with gourds attached
below them. The instrument is played with beaters of soft wood or raffia midriff,
sometimes with bells strapped to the performer's wrists, to usually accompany
dancing or the recitation of epic songs. Tuning of the balafon may be tetratonic,
pentatonic or heptatonic. The balafon Fana is tuned to the pentatonic scale. The
tuning is related to the language that is particular to each ethnic group, or to the
scales of their songs. Many variant types can be found within each ethnic group.
The term, "balafon" was probably introduced by European travelers (from the
Greek root "-phono"), since its use is mainly confined to early European
literature.
 ot

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(http://www.gert-kilian.com/en/indexoldfr.html)

In the etude Balafon, the music starts with using subtone and playing in
extremely soft dynamics (ppp). French subtone is different from the subtone of
jazz and popular music of the 1930s to 1960s. The American subtone has a very
breathy quality, whereas the French subtone is a pure sound lacking of upper
harmonic partials, and consistently performed in very soft dynamics in pp, ppp, or
evenpppp. Much of this etude consists of soft dynamics and mixed modes
combining as many as three modes, which create similar sound effects as those
found in the music of the minimalist composers. As the example below shows, it
is modal, soft and uses the effect of subtone.
 65

J » 144-152 Simple et clair - simple and dear - subtone

even eighth notes, sustained while maintaining the same dynamic, without rubttto

Example 4-1. Balafon p.l, line 4.

The composer remarked, "When I wrote this piece for alto saxophone, I
wanted to present techniques such as circular breathing and subtone in an
expressive context. Although these techniques already exist in various popular
genres, I wanted to use them in a work that could serve as an archetype in art
music" (Umble 2000, 258). The composer added, "Instrumental techniques are for
me just tools to be used in a musical language, a means to an end. However, the
resulting archetype becomes a timeless model" (258).

Savane
Savane is an etude working on the challenge of producing consecutive
multiphonics. From this etude, we can see how Christian Lauba thinks about and
applies the multiphonics in a unique way. To him, multiphonics are not only a
cluster of tones. He carefully chooses the multiphonics he wants based on his
chosen melodic line. In other words, we can take away his multiphonics, keep
only the note he wants and create the simple melodic line. As the foliowng
example shows, Lauba uses the E-quarter-flat note to connect each multiphonic
sound and the melodic line is actually formed by the top notes of each chord: D -
C-sharp - C-natural - D-natural (slightly sharp) - C-sharp - C-natural.
 66

Example 4-2. Savane p. 7, line 3.

It is also an easier way to work on the rhythm, tempo, intervals, and

melodic contour in the phrasing. Therefore, being able to single out or emphasize
each note found within any given multiphonic sound is a very important technique
to develop while working on this etude.
"The highest note should have the same intensity as the others, especially
if those notes are to be heard as having a melodic importance" (Umble 2000,
259). In most of the cases, Christian Lauba does emphasize the top note of the
multiphonic more and tends to use the top note to form his melodic line.
However, we can see different cases happen for example, in, Stan, in which
sometimes the bottom note of the multiphonic is more important.
Savane is also a highly picturesque piece. During the 2002 visit of
Christian Lauba and the saxophonist, Richard Ducros, to the University of
Alberta, Canada, the composer suggested that the performer think about "the hot,
African Savanna, quiet, the sun burning at the end of the day. A lazy music in the
beginning" (Lauba, pers.comm.).

Sanza
Sanza, or lamellophone, (figure 4-4) is an African instrument known
locally by a variety of different names: mbira in Zimbabwe, obudongo and
likembe in some areas of Uganda and Zaire, and chitata in Mozambique. Its sound
is generated essentially by the vibration of thin lamellae (Latin, lamella, from
lamina: "a thin plate or layer") or tongues of metal, wood or other material. The
 67

strips of lamellae or tongues are fixed at one end, by curved nails and aligned on
wooden, metal or fibre bridges, and free at the other end. The vibration is caused
by gently depressing and then releasing the lamellae or the tongues. This is one of
the most typical African instruments, with origins going back to strips of raffia (or
other plants) held taut on the lips and made to vibrate with the breath.
In this etude, the sounding of the consecutive staccato notes, almost
through the entire piece, is an imitation of the instrument, Sanza, which cannot
sustain long notes. The saxophone is made to create a percussive sound through
the repetition of many articulated multiphonics. This piece is unique in Lauba's
series of etudes and these repeated and articulated multiphonics are of a hypnotic
character. The etude is based upon the purely technical elements of subtone,
extremely soft dynamics and control of multiple sounds using repetitive
articulations and patterns.

^pj£jT if-
m
Example 4-3. Sanza p. 13, line 1.
 08

^Sfefet'&Si/

Figure 4-4. Sanza.

(http://africamusica.skynetblogs.be/post/3270101/lamellophone~sanza-typelv)

Jungle
Jungle is by far the most often performed of Lauba's etudes, probably
because of the excitement of the fast notes running through the whole piece, even
though the marked tempo is only quarter note equals 66. The sounding of the slap
tongue together with this fast run of notes creates an intense sense of musical
energy; a dramatic contrast is generated between the legato phrasing of the fast
 69

notes and the consecutive popping sound of slap tongue. The example below
shows the continuous slap-tongue section.

Example 4-4. Jungle p. 16, line 6-8.

According to Christian Lauba, speaking of the slap tongues found here:

"Not only do I give them a linguistic content (a sense of diction or phrasing) and
form but I use them as expressive elements" (Umble 2000, 258).
In Chopin's Sonata for Piano no. 2 in B flat minor op. 35, the famous
"Funeral March" of its third movement and "Finale-Presto" of the fourth
movement both have a very similar texture and the sense of stormy breath-taking
driving. "Only after having written this piece, did I notice the similarity between
this work and the final movement of Chopin's second sonata," said Christian
Lauba (Umble 2000, 258).

Tadj
Tajikistan, officially the Republic of Tajikistan (figure 4-5), is a
mountainous country in Central Asia. It borders with Afghanistan to the south,
Uzbekistan to the west, Kyrgyzstan to the north, and People's Republic of China
to the east. Tajikistan also lies adjacent to Pakistan but is separated by the narrow
Wakhan Corridor. Most of Tajikistan's population belongs to the Tajik ethnic
group, who shares culture and history with the Iranian peoples and speak the
 70

Persian language (officially referred to as Tajiki in Tajikistan). Once part of the

Samanid Empire, Tajikistan became a constituent republic of the Soviet Union in
the twentieth century, known as the Tajik Soviet Socialist Republic (Tajik SSR).

The Caucasus and Central Asia

Figure 4-5. Tajikistan and Central Asia.

(http://www.reliefweb.int/mapc/cis/reg/cau/caucia.html)

In the first book of Neuf Etudes, the four etudes have quite clear aims of
developing certain techniques and the content of the four compositions stays
within a certain degree of simplicity, which by no means implies easy. Tddj is the
first etude of the series to which the composer does not assign specific techniques,
although it still contains techniques like quarter-tone vibrato, slap tongue,
bisbligando, multiphonics and so on. In addition, it is the first etude with an
 71

extended length of twelve pages with a total performing time of eight minutes,
which is two or even three times the length of any of the first four etudes. The
complexity of the content also lifts the etude out of the frame of a study or an
etude-like composition and makes the etude incline more toward a concert piece.
The constant switching demands extended techniques, similar to the way Liszt's
Etudes d'Execution Transcendante differs from the earlier concert piano etudes;
the work does not offer enough repeated patterns or exercises and makes the etude
drift further from its original definition and more toward a concert piece.
Because of its length, this etude is divided into several sections with
different textures, which gives the audience the impression of a form of fast-slow-
fast, contrary to Lauba's common approach of slow-fast-slow in other etudes such
as Balafon, Savane, and Gyn.
Tddj is based on three modes:

The beginning of Tddj evokes the music which is played in Tadjikistan or

Iran where you can find three modes in the same song: our occidental
mode, the pentatonic scale (Chinese mode) and the Arabic mode with 1/3
and 1/4 tones.4"3

3
Christian Lauba, e-mail to author, February 14, 2009.
 72

. -60

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Example 4-5. Tarf/ p. 1, line 1-3.

The whole first page is mainly composed of only two notes: the D
(tonic) and the A (dominant) in a modal system, which quickly establishes the
musical traits from middle eastern and central Asia. The strict definitions and
articulation of different attacks are very important through the entire piece.
Especially in the first pages, the nuances of the subtle differences within each
of the different articulations are so vital. They are not only the languages of
the etudes but also the expressions of the phrases. Jean-Marie Londeix has
suggested the saxophonist play the first seven lines while circular breathing
(Umble 2000, 258).

Gyn
As notated on the first page of the score, Gyn is the "etude based upon the
study of attack and resonance." The main foci of techniques in this etude are
multiphonics and bisbligando, although some extremely wide interval leaps, along
with contrasting articulations and extremely dynamic changes, are also extremely
challenging to the performer.
Half of the piece is devoted to bisbligando, which is the very subtle timbre
trill. The numeration, (or "rhythmization" by Londeix) of the bisbligando, which
 15

is indicated by the composer in sextuplets per beat at measure two of the tempo
change, is one of the challenges of this etude.

Example 4-6.. Gyn p. 14, line 6.

The difficulty and challenge is to create a sound effect almost as if there

are two saxophones playing at the same time. The melodic saxophone part is
accompanied by the background bisbligando saxophone part. The title Gyn is
derived from the Greek word "gyne," implying "woman" or "female."

Vir
Vir is derived from the Latin root, implying "man" or "male." In contrast
to Gyn, Vir (with a short length of only three pages and a performing time of two
minutes) has constant alternations of the use of the extended techniques. Similar
to some of the etudes before, Vir begins with multiphonics in soft dynamics and
unmeasured time. From there, it modifies the techniques approximately every
three lines, first with fast running passage in forte dynamics, and then with
multiphonic staccato, bisbligando, quarter-tone vibrato, slap tongue, and flutter
tongue.
 74

AS
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Example 4-7. F/r p. 17, line 2-5.

The character is so perky, contrary to the ostinato-like bisbligando in Gyn.

The etude sums up all the elements in the first six etudes, "aimed at furthering the
performer's ability to go from one mode of playing to the other in a very short
period of time" (Umble 2000, 259).

Ars
This is the only duet etude of the entire series, written for two soprano
saxophones. It is based upon the study of intervals of the fourth and of the fifth,
with a variety of tempo changes, as the following example shows.
 75

&E^l^=="^i>- -\&f. ^lig^iipl

Example 4-8. Ars p. 1, system 3-4.

The word Ars refers to Ars antiqua and Ars Nova (Umble 2000, 259) and
the usage of the interval fourths and the fifths suits the imaginary of the "Middle
Ages" that Christian Lauba wishes to portray.

In basing the work on these particular intervals I wanted to recreate an

imaginary "Middle Age," which suited the use of fourths and the fifths.
The chalumeau timbre is perfectly well suited for these intervals. The
saxophone must play in a "natural" manner. The past can be regarded as
yet another kind of "exotic." (Umble 2000, 259)

The opening section starts with the Phrygian mode. Together with
constant changes of meters and tempi and nasal and non-vibrato saxophone tone,
two soprano saxophones create a sound unlike the traditionally full, sweet, and
vibrato-tone saxophone duet that is generally well known. It gives a very exotic
impression. The constantly heard fourth and fifth intervals gradually build up
tension until the climax, from rehearsal number 23 to 28. From rehearsal number
28 to 30, there is a transitional passage. Like being drawn into a time tunnel, the
ancient prosperity fades away and the music moves into a completely different
texture at rehearsal number 30. Two extremely soft melodic lines interweave a
dim and hazy—almost vague—section. At rehearsal number 34, it is like a
 /b

recapitulation. Within three measures, the familiar Phrygian mode and the
rhythms come back, seem to remind us the past but now everything has changed,
and is different, coming to an end.
The best way to practice the last two pages is to rewrite both parts of the
duet into single-note melodies, putting away the multiphonics. In this way, the
rhythm, the dynamics, and the ensemble can be heard much more clearly.

Bat
The longest piece of all the twelve etudes, both in length and in
performing time, Bat is for baritone saxophone solo. There are seemingly non-
stop trills and tremolos and this etude is the most physically demanding of all the
Lauba etudes.
The tremolos and trills imitate the sound of the flipping wings of bats.

-jfc- ••'"—' *-=•= r^f-—F^ • ' . ' L -r~r ,- -

pp .=- ppp

Example 4-9. Bat p. 1, line 3-5.

The piece could be divided into two sections with a short coda as an
ending. In the first section, quarter note equals to 80, it starts soft and gradually
develops the intensity, with dynamics and slap tongue, to the climax at the fourth
 77

line of page 6. After that, it gradually calms and ends the first section at page 8.
The second section has more contrasting shorter elements. The ending is the last
three lines of the last page. The opening materials return bringing a sense of
closure.

Hard Too Hard

Although published in 2001, Hard Too Hard was completed in 1994. It
was premiered by saxophonist Arno Bornkamp in Amsterdam on May 14, 1994 at
the Concertgebouw. Later, Simone Otto performed it in Miinster, Germany, in
May 1997.
Compared to Bat, another demanding lengthy etude, Hard Too Hard is
challenging in its intensity. The texture is thick and the activities are busy. Every
technique is challenged to the limit of the speeds possible.

If Bat is challenging in endurance, Hard Too Hard is demanding in

switching quickly between the different sections of the piece and between the
different extended techniques.
The etude is "for the mastery of multiphonic sounds and staccato
articulation in subtone and double tonguing (slap-tongue ad lib.)" (Lauba [Hard
Too Hard], 2001, 1).
 Recordings of the piece are rare. One version is by Simone Otto
(saxophone): "HARD TOO HARD" (2007).

Stan
The etude is for baritone saxophone with pre-recorded synthesizer or
piano—a very unique accompaniment for an etude.

m T I SO mvipj tri^te. nmJit-- rcgtlitcte;- at rt<pmttt>n rtmUHHC c! Mt>> fufatv

¥~
-T 4- P-zrfH—h
M^j£-^.
£ ^ ^ Z~SEL
* :f~::X:Ai
*£
_i
\i ?
i
i

\Jf \JfU
m kk
L hit ^*t
JMUSS*.
im.
»«.,., i f - y^ -*-+-

Ml,
..^•rtac
E=£

Example 4-11. Start p. 1 (score), system 1.

As the title page says, the etude pays homage to Stan Getz (1927-1991),
the famous jazz tenor saxophonist. The reason Lauba chose the baritone
saxophone for this etude instead of the tenor saxophone is that the composer
wants to use the different ranges of the two saxophones to intentionally create the
discrepancy between his etude and Stan Getz's music, and to avoid the
similarities, especially the "improvisation" section in the second half of the piece.
 79

Example 4-12. Stan p. 11 (score), system 3-4.

Different from the multiphonics used in other etudes, some of the

multiphonics are required to emphasize the lowest note instead of the highest
note. Actually, reflecting upon Savane, some of the multiphonics already
emphasize the middle or bottom notes in that earlier etude. All these prove again
that Christian Lauba treats multiphonics in a melodic way instead of a multiple
tone cluster, but always used individually as needed.

XYL
The title derived from the first three letters of Xylophone. "The balafon is
the original African instrument and the Xylophone (XYL) is the modern one!"4"4
It is the only etude with a subtitle, "Balafon 2."
As a second Balafon, the circular breathing is again the main focus: "A
study for the mastering of circular breathing, the low and high registers, dynamic,
rhythmic and melodic crescendos and decrescendos, rational and irrational note-
values, chromaticism and digital virtuosity" (Lauba [XYL], 2007, 1).
 80

.fbi(S-iTi*dH'k r^ul^-re*. u;.ms nil.

PP ppp Mb.

pp rz.-r:.-=-^=— flpp

Example 4-13. XYL p. 1, line 4-6.

"The second 'Balafon' is to close the series of 12 studies with a study

similar to the first, but with more virtuosity."4"5

The General Analysis of the Etudes

Although the twelve etudes are one-movement compositions and do not
follow any particular traditional musical forms, Christian Lauba exhibits the
materials and the elements in a delicate way with a certain format, which connects
all the sections of each work and gives each etude a certain sense of unity.

Recapitulation
With regard to unifying form overall, the method or approach found most
commonly in the etudes is the return of the opening material at the end—a
rounding or recapitulation of sorts (with "recapitulation"here being regarded in a
considerably more flexible sense than it is in traditional tonal forms).
Eight of the twelve etudes, including Savane, Sanza, Gyn, Vir, Bat, Hard Too
Hard, and XYL, have this trait. In four of these eight etudes, the recapitulated
ending sections are in about equal length with the opening sections, such as
Savane, Vir and XYL, The following two excerpts from the beginning and ending
sections of Balafon are examples of this "return-of-opening-material" trait. In this

Christian Lauba, e-mail to author, dated February 14, 2009.

4 5
" Ibid.
case the same mode is re-used after the frenzy and the excitement of the middle
section.

Example 4-14. Balafon p. 1, line 1-3.

Plus lent - slower

The other four have shorter lengths for the recapitulations, sometimes as
short as one line, in Gyn, or even only two beats, in Sanza.
The recapitulation does not necessarily use exactly the same materials, or
themes although Sanza, Vir, Hard Too Hard and XYL do have the same ending
notes or multiphonics. In general, the ending section has the same texture and
music elements that can recall the impression of the opening theme. Christian
Lauba tends to use slow-fast-slow or loose-tense-loose kind of ternary form,
which recalls some similarities to the traditional sonata-allegro form.
 82

Measured and Non-measured Time

In these etudes, another unique character is the usage of the mixture of the
measured and non-measured time. Except for Vir, every etude has some tempo
markings precisely notated, which gives the music a certain pulse to follow and
offers the music certain characteristics. However, the pulse stops when the
notations change or switch between measured notation and non-measured
notation. In Balafon for example, the extended long notes in the beginning section
do not notate how many beats they possess or a real time indication, such as
seconds. Another example is in Jungle, where almost the entire first page of notes
is written to be played as fast as possible, with two slashes on the note stems. In
these two examples, it shows Lauba uses these techniques, no matter if the section
is in tranquility or in wild stormy insanity, to manipulate the pulses and create a
mixture of measured and non-measured time as the music progresses.

J = 144—152 Simple et clair -simpleandclear • subtonc

jtp crochcs riguliJrcs, gardcr la nuance, saris rubato ct soutenu

even eighth notes, sustained while maintaining the same dynamic, without rubato

Example 4-16. Balafon p. 1, line 3-4.

Idiomatic Saxophone Music

In general, many musicians, including saxophonists themselves,
sometimes think that the saxophone cannot play soft dynamics, especially in high
and low registers; they also believe the saxophone cannot be perfectly in tune, or
has too much key noise, or the tone is sometimes too breathy. In these etudes,
Christian Lauba proves that the saxophone is capable of all techniques.
Furthermore, Lauba uses all of the so-called "shortcomings" such as key noises,
or relative out-of-tune notes and multiphonics, as the basic elements for his
compositions. This frees the saxophone from those accusations and enhances the
 8J

musical languages that composers can use in the creation of music for the
saxophone. On a broader scale, the saxophone can stop imitating or trying to
catch up to other instruments. The saxophone is a unique instrument with unique
potentials and abilities. As a newly invented instrument, this is a giant step in the
history of its development.
 Chapter 5: Conclusion

From the time the saxophone was invented until the present day, the
instrument has existed for approximately 170 years. As we examine the
development of the saxophone music and the saxophone etude, it was noted that
the progression was not always smooth nor without complications. From 1840 to
1900, the saxophone was literally an infant in the world of music. It had no voice,
no particular status, and no standing position. There were no works of musical
depth composed for the saxophone for the first sixty years, even though Kastner,
Cokken, and Hartmann published method books, which certainly contributed to a
better understanding of how it worked and how it could be played. However, most
of the methods and etudes were at the elementary level. Music by Arban, Klose,
Savari, Singelee, Demersseman and Jonas did help draw the distance between the
new instrument and the public closer, but the music was flashy, showy and
without musical substance or length. Their works did not demonstrate the true
intrinsic, idiomatic abilities and qualities of this new instrument—the saxophone.
From 1900 until 1924, Elise Boyer Hall's passion for the saxophone
helped the instrument and its music take a huge step forward. The saxophone's
music was for the first time composed based upon the innate and idiomatic
characteristics of its sonic nature and many of these works are still heard in
concerts today. This improvement provided fuel for the next big leap in the
development of saxophone repertoire.
From 1930 to 1970, the first generation of great saxophonists and
saxophone instructors, including Marcel Mule, Cecil Leeson, Larry Teal and
Sigurd Rascher, and the second generation of great saxophonists and saxophone
instructors including Daniel Deffayet, Jean-Marie Londeix, Eugene Rousseau,
Paul Brodie, Frederick Hemke and Donald Sinta, established cornerstones for the
development of the saxophone as a serious concert instrument. Two of the most
important and most prolific authors or arrangers of educational materials for
saxophone are Marcel Mule and Jean-Marie Londeix. Together, they built the
 85

pedagogy of the saxophone from the model of traditional woodwind instrument

(primarily through the work of Mule and Londeix) to the modern contemporary
saxophone, through the pedagogical works of Londeix alone.
Many of our greatest standard repertoire pieces, especially in the genre of
the concerto and the sonata, were written during this period. Those include
Alexandre Glazounov's Concerto in Eb for Alto Saxophone and String Orchestra,
Jacques Ibert's Concertino da camera pour saxophone alto et onze instruments,
Frank Martin's Ballade pour saxophone (cor de basset) et orchestre, Lars-Erik
Larsson's Concerto for Saxophone and String Orchestra, Paul Creston's Sonata
op. 19, for Eb Alto Saxophone and Piano and Concerto op. 26, for Alto
Saxophone and Orchestra (or Band) and many others. This was the first time that
saxophonists perceived a promising future in western art music.
At the end of this period, the growth and the influence of the
contemporary music field and the saxophone's flexible ability to respond to the
needs of composers propelled the saxophone forward with a huge leap, which
helped the saxophone lead and surpass the other wind instruments in the
contemporary music genre. Specifically after 1970, the saxophone formally
stepped into the field of contemporary music. Numerous composers dedicated
themselves to this development and exploration, including the composers of the
Bordeaux School: Michel Fuste-Lambezat (1934), Francois Rosse (1945),
Christian Lauba (1952), Etienne Rolin (1952), Thierry Alia (b. 1955), Christophe
Havel (1956), and Philippe Laval (1961). Some of the greatest compositions of
this era include Edison Denisov's Sonata for Alto Saxophone and Piano, Francois
Rosse's Le Frene Egare and works by American composers such as William
Albright, and Milton Babbitt. Japanese composers such as Torn Takemitsu,
Takashi Yoshimatsu, and Yoshihisa TaTra contributed greatly to the saxophone
repertoire. It was also during this period that concert etudes for saxophones
started to grow rapidly and abundantly.
Between 1992 and 1994, Christian Lauba's Neuf Etudes opened a new era
of the concert etude for the saxophone. Lauba's etudes are very different from the
 ou

contemporary saxophone etudes of other composers. First, they were designed as

concert etudes right from their conception. They were composed not only for
students to hone their skills on contemporary techniques, but they were intended
for concert performance as well. The musical ideas in these etudes were carefully
designed and occupied a great portion of the music content. Second, some
composers had tried to compose a series of contemporary saxophone etudes but
those etudes were shorter in length and lacking in depth of musical content and
ideas, compared to Lauba's concert etudes. As well, the idiomatic qualities of
Lauba's concert etudes explored and confirmed the position of the saxophone in
the world of contemporary music. In contradiction to Marcel Mule's words to
Jean-Marie Londeix, "The saxophone...is made to sing. You are wrong to
distance yourself from the traditional classical repertoire to this degree" (Umble
2000, 102) and Eugene Rousseaus's concept, "If the saxophone has a future as a
classical instrument, it will be because of its melodic use and not because of
avant-garde pieces, great though they may be," (Liley 1998, 64), Jean-Marie
Londeix wrote in his note back in 1985, "The saxophone's only hope for a place
in 'serious' music is through modern music, where it is often irreplaceable"
(Umble 2000, 108).
The saxophone's true place in the music of today will be serving the
composers of today. Unfortunately, we do not have the luxury of performing the
glorious music of the past. We must embrace the glorious music of the present
and prepare ourselves for the glorious music of the future.
 87

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 y4

Appendix A

The List of Saxophone Etudes published before 2003

The information of the following list of saxophone etudes published

before 2003 is based on Jean-Marie Londeix's A Comprehensive Guide to the
Saxophone Repertoire 1844-2003 (2003).
:mE^^^^c^^'^^3:wM^>- ''
Absil, Jean 1893-1974 Etude Sx solo Bi! \ 3'30"
Ajosa A Technica Modern per Saxophone
Albright, William 1944-1998 Fantasy Etudes SATB 1993-95 Hen 22'45"
Alessandrini, Pierluigi 5 Etudes jazz 1988 CoMu
Allard, Joseph 1910-1991 Advanced Rhythms All Sax DP
Jazz Progressive Studies
3 Octave Scales & Chords 1947 CC
Allen, Chris Saxophone Studio: Melodic Studies
Allerme, Jean-Marc Jazz Attitude - 40 jazz etudes, 2 vols. Asx 2002 Lem
Ameller Andre 1912-1990 15 Etudes Expressvies Sx solo 1954-56 Pet
Entree, Deux petites pieces Estudio Asx solo 1961 5'
Amsden Practice Duets 2Sx: AA WWS
Andersen, Joachim 1847-1909 24 Etudes, op. 21(Leger) Bil
24 Etudes, instructives dans tous les tons, Bill
op.30 (Leger)
24 Petites Etudes, op. 33 (Leger) Bil
18 Petites Etudes, op. 41 (Leger) Bil
Andraud, Albert J. ler cahier d'Etudes Led
48 Etudes d'apres Ferling South
Anzalone, Valentine Breeze-EasyMethod 1958 Wit
Arnold, Jay Fingered Scales Including the Register Above 1951 WMP
HighF
Introduction to the Saxophone: 50 Easy Lessons 1978 ChH
Jazz Saxophone Basics for Improvisation 1982 DP
Jazz Saxophone Studies for Improvisation 1982 DP
Jazz Style for Saxophone 1963 Ams/Mol
Modern Fingering System 1950 WMP/SB
Artallio 4 Exercices pour la respiration circulaire
Ayoub, Nick 19xx-1991 12 Classical Etudes 1955 DP
M^^i^ri-^,^'^0t^^t*-Vt.'-,. " •<'"^-';V^^r:V" '..i;!^^"--'"*'"*3" --""-' •"'-"•:' " * " " - > : - "~ "'"' ""' -/ -
Baron, Eugene 18xx-1964 Solfege instrumental universel
Barret, Eric 1959- Pratique des gammes et arpeges dejazz
Barrigo, Don. The Saxophone - A Modern Method 1952 B&H
Bates, Norman C. Advanced Staccato Studies 1937 RoMu
Bauweraerts, Willy Method (En ei in mijn sax) GR
Swing in the air Modern Etudes (rock, funk, Sx/Pno GR
Latin, etc.)
Bauzin, Pierre-Philippe 1933- 5 Mouvements en forme de Musique, op. 19 Asx/Pno or 1960 adr 12'
En forme l)d'etude W. W. quintet
Bay, Bill 1945- Jazz Sax Studies 1979 HD
Bayer, Marcelion Gaspa 1898- Escalas y arpegios UME
Beeckmann, Nazaire 1822-1900 Methode Complete Elementaire et Progressive 1874 PB
(Revue et corrigee par H. Rawson)
Methode de Saxph. Basse; de Saxph. -baryton; 1874 Alf
Saxph. -Alto; Saxph. -Soprano
Beekum, Jan van Saxologie I & II (method book) Harm
Benedetto, Sirio di 12 Studi Sx solo 1997 CMP
Benger, Richard Studies in Style (classical, traditional, rock, pop)
Bennett, Wilhelmine 1933- Studies for Five Instruments 1957
Bergeron, Thomas 1952- Saxophone Multiphonics: A Scalar Model Sx 1989 adr
Bernards, B. 24 Virtuosenetiiden mit Anang 1927 Zim
125 Ubungen als tagliche studies 1926 Zim
Berninger, Hans Saxophon- Ubungen 1933 Hof
Bichon, Serge 1935- Gammes pour tous 1977 Chou
Jouons du saxophone 1969 Chou

o
Bissell, Keith 1912- 3 Etudes, 1) Allegro 2) Adagio 3) Moderato - Asx/Pno 1972 CMC
Andante-Allegro
Bitsch, Marcel 1921- 12 Etudes pour flute ou saxophone 1955 Led
Blackman Sax-Schule
Blatt, Francois-Thad^e 1793-1856 20 Exercuses op. 30 Cos
Blemant, Louis 1864-1934 20 Etudes melodiques, 2 vols. 1918 Led
Nouvelle Methode Pratique 1920 Led
Bodegraven, Paul van Adventures in Saxophone Playing 1960 SMP
Bois, Christophe 25 airs en guise d'etudes 2002 Lem
28 etudes et transpositions 2002 Lem
Les Gammes en quelques modes 2002 Lem
Methode de Debutants (+CD) Lem
Pieces choisies complementaires a la methode Asx/Pno Lem
Bolduc, David J Complete Course of 12 Lessons in the Art of 1922
Playing Saxophone High Notes
Bon, Andr£ 1946- Etude No. 3 pour emergence Sx solo
Bona Rhythmical Articulation Studies Sch
Boresel, Fedoroff Method Pet
Bortolotti, M. 1926- Studio per E.E. Cummings n °2 1964 adr
Bosch, A. Jr. Etude voor Saxofoon Mol
Concert Studies HE
Bouhey, Alain 1949- Improvisations et modes 1992 Lem
Gammes et musiques 1995 Lem
Bouvard, Jean 1905-1996 13 Etudes progressives adr
Bozza, Eugene Etudes Caprices 1944 Led
18 Etudes pour Haubois ou Saxophone Led
Brau, Albert Saxo Step Asx/Pno Fro
Breard, Robert 10 Etudes de style 1925 Led
Briard, Raymond 18xx-19xx Methode pour I'itude de tous les saxophones 1919 Bil
Bumcke, Gustav Saxophone Schule 1926 VAB/AMP
36 Leichte Original Etuden op. 43 VAB
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liillljli^ .;.;..•-• ••.- - ^ ^ • . . • 'fv.-.•:.•.: . ; ' . - ; • • • . •': ~\ •:.
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40 Rhythm Etudes 1949 DG
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Peer International Method Shu/Peer
Progressive Swing Readings 1944
Saxophone Mechanisms 1945 DG
Saxophone Velocite (Huffhagle) 1947 Mor
Streamlined Etudes 1968 DG
Weird Etudes 1936
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Tablature pour tous les saxophones Mar
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Netti, Giorgio ...awicinamento, tre studi sul quarto centre 4 Sx: S+A, A, 1998
(to Quatuor Xasax) S+T, S+B
Nicholls, Chareles How to Conduct Saxophone Bands 1921
Niehaus, Lennie Developing Jazz Concepts for Saxophone
Jazz Concepts, 4 vols. HD
Jazz Improvisation
Norikura, Masaki Etude de concert <\s\'Pno
:
W$ffl®$&£& i^i ?fi$B$ ?ri^-H-^ ^S4>%^'.K^ * . .- • r i , '•••-; s>-
Olah, Tiberiu 1928- Etudes 1992
CNeil, John Die Jazz-Methode fur Saxophon 1995 Sch
Orsi, Romeo 1843-1918 Methodo populaire Ric
Ossei'tchouk, A. Travail des classiques dujazz 1987
Ostling, Acton Alto Saxophone Student
Tenor Saxophone Student
Tunes for Alto Saxophone - Technique
Tunes for Baritone Saxophone - Technique
Tunes for Tenor Saxophone - Technique
Ostransky, Leroy 1918- Contest Etude No. 1 Bsx/Pno Rub
: v : :
*IPil||i!RHil:©ftiii iSSillllf^ '^0Ws^^^M'-i^W^M^^^ >'''''**-"£}".'-«*'-'-* - - '-v:^^-mr-^V m^-H?
Panov, N. Travail des gammes et arpeges dans les classes 1986
specialisees de saxophone
Papademetriou, Nicos Etudes for Simplicity Asx/Pno 1988
Pares, Gabriel Daily Exercices and Scales CFE
Methode 1895 Lem
Modern Pares Fondation Studies (Whister) Rub
Parisi 40 Technical and Melodious Studies (Iasilli) South
2 vols.
Pema, Dana Paul Two Etudes -Fantasy Sx solo 1975-81 BaE
Pen-in, Marel Agilite - etude chromatique 1951 GD 4'
Caprice - etude atonale 1951 GD 4'50"
 Methode 1964-68
Rochow, Erich 1893-1959 Etiiden I, II, & III Asx FF
Handbuch der Saxophon Praxis RB/FF
Rohr, Joachim & 1944- Saxophonschule Br&Ha
Wieland Ziegenriicker 1939-
Rolin, Etienne 1952- Aphorismes VII-10 pieces courtes a cractere Sx solo 1982-83 Lem 12'
pedagogique - Livre I
Etude en blue Ssx solo 1981 adr 3'
Romby, Paul Methode Mar
Rorive, Jean-Pierre Diderius aurifaber - Etude concertante Sx solo
Rose 12 Rose Studies for Saxophone (Gee) DP
Rossari, Gustavo 53 Etudes (Iasilli), 2 vols. B&H/South
Ross6, Francois 1945- Etude en balance (to J-M Londeix) 2(or4)likeSx adr
Etude en vocalises Ssx/Pno 1977 adr
Rotaru, Do'ina 1951- 7 Etudes pour saxophone (to D. Kientzy) 1992
Roth, Iwan 1942- Schulefur Saxophone Hug
Tonleiternfiir Saxophone I-Gammes et Arpeges Hug
I
Tonleiternfiir Saxophone II - Gammes et 1988 Hug
Arpeges II
Rougeron, Phillippe 1928-1997 Etude 1 Sx:A or T/Pno 1985 Bil 2'10"
Rousseau Eugene The Eugene Rousseau Saxophone Methods, Kjos
2 vols.
Methodfor Beginning Students Lebl
Saxophone High Tones 1978 Eto
Practice Hints for the Alto Saxophonist Bel
Practice Hints for the Baritone Saxophonist Bel
Practice Hints for the Tenor Saxophonist Bel
 Marcel Mule: His Life and the Saxophone 1982 Eto
(biographical sketch)
Ruggeri, Gianluca Esercizio dell'Attimo (to E. Filippetti) Ssx/Perc/Tape 1990 adr 13'
Ruggiero, Giuseppe 1909- 16 Etudes de Perfectionnement Led
20 Eudes de Perfectionnement GZ
Runyon, Alfred Santy 1907- Dynamic Etudes 1949 DG
Santy Runyon's Modern Saxophone Studies 1944 DG/Bay
W^SSS^^^^^^l ^^^^^^m^^^^^^^^Bd^^W^^<-^- \ - u ^ ^ i ^^^iiMf^^i^c.:
Sabon, Joseph-Pierre 1817-1893 12 etudes d'apres Bochsa Bil
Sakaguchi, Arata 1910-1997 Method 1955 ZOM
Scales for Saxophone 1979
Salviani, C. Complete Method (from oboe) Ric
Exercices in All the Pratical Keys (Iassili) 1940 CF
Studi dal Metodo per oboe, 4 vols. (Giampieri) Ric
Samie, Auguste 18xx-1890 24 etudes faciles (Mule) Led
Samyn, Noel 1945- 9 etudes transcendantes 1976 Bil
Sannella, Andy 1900-1961 Intervals - studies Asx/Pno 1932 Ric
Sawer, David Peter 1961- Etides 2-6 actor-musi- 1985 Uni
cians/Tsx/2 Tpt/
Perc
Schaad, Roar 1941- Study (to J. Boitos & F. Bongiorno) Asx/Tape 1972 8'30"
Schaffer, Boguslaw 1929- 2 etudes n °22 Asx 1956 adr 3'20"
Schiaffini, Giancarlo 1942- Aleune considerazioni sul sesso delle scale
Schiemann, Christian 1823-1915 Seven Characteristic Studies Mus
Schmidt, William 1926- Ten Contemporary Etudes 1963 WIM
Schulze, Werenr 1952- Sometimes canonica, op. 5/8 l)Etude in Jazz 2) 2 Sx: S+T, A 1994 ApE 7'30"
Kahnfahrt im Mod 3)Tanz derfroscheim
Reisfeld 4) Frohlicher Beschluss
Sciarrino, Salvatore 1947- Studi per I'intonazione del mare l)(Opening) 2) 4 Fl Soli/4 Sx/ 2000 39'
Quando passiamo 3) Vieni fratrello 4) Nelle Soli/Perc/Orch
veglie della notte 5) Vieni 6) Traverso piazze oflOOFl/Orch
7) I giorni si curvano of lOOSx
Scott Metodo para saxofono UME
Searle, Leslie Saxophone Style - 20 Duette 2 Sx:AT Sch
Seffer, Yochk'o Gammes et musiques (A. Bouhey)(Method) 1992 Lem
Improvisation et modes (with A. Bouhey) 1992 Lem
Segouin, Paul 18xx-19xx 25 Etudes artistiques, 2 vols. 1893 Bil
Methode complete 1897 G&F
Sellner, Joseph Etudes progressives (Bleuzet) Braum
Methode (Bleuzet) Bil
Semler-Collery, Jules 1902-1988 10 etudes concertantes (to M.Mule) Asx/Pno(ad lib) 1964 ME
Senon, Gilles 1932- 16 Etudes rythmo-techniques (to D. Defrayer) 1979 Bil
32 Etudes
26 petites etudes melodques 1978 Bil
Techni-Sax - 32 textes de velocite Asx/Pno 1987 Bil
Simeonov, Dymyter Etudes 1973 Wis
12 Etudes techniques 1974 Wis
Simon, Jean-Pierre L'apprenti saxophoniste 1998 Com
Sinta, Donald & Denise Voicing: An approach to the saxophone's third SiMC
Dabney register
Skornicka, Joseph 1902- Intermediate Method Rub
Small, J.-L. 27 Melodious and Rhythmical Exercices CF
Snavely, Jack 1929- Basic Technique for All Saxophones 1963 Ken/DP
The Saxophone and its Performance Her
Soussman, Henri 30 Grands exercices ou etudes (Mule) Led
Spears, Jared 1936- Basic Syncopation South

M
Spitzmuller, Alexandre 1894-1962 Etude en forme de variation Asx/Pno 1960
(-Hamersbach) von
Steinmetz, Hans 5 Studien l)Accueil solennel 2) Magie des 4 Sx: AATB or 1971 OWR
antennes 3) Bon Voyage 4) Tarentelle 5) AATT
Toujours dans le rythme
Stoltie, James 1937- Saxophone Orchestral Studies adr
Street, Allan Scales and Arpeggios 1977 B&H
Susuki, Jummei Slapstick - etude sur le slap (to J. Laran) Asx solo 1999 5'
HHMBB^II R • • .• • •$$*. i^^^WI^K^^fe^''' *-
TafFanel & Gaubert Grands exercices journaliers de mecanisme Led
Juranville)
Taranu, Cornel 1934- 8 Etudes pour sax (to D. Kientzy) 1992

Teal, Larry Laurence 1905-1984 The Art of Saxophone Playing 1936 SBC
Daily Studies for the Improvement of the Eto
Saxophone Technique
The Saxophonist's Workbook - A Handbook of 1958 UMM
Basic Fundamentals rev. 1976
Studies in Time Division UMM
Terschak, Adolf 1832-1901 Exercices journaliers (Mule) Led
Thiels, Victor 1867-1925 Methode complete pour tous les saxophones 1903 Lem
Thiriet, Andre 1906-1976 24 etudes d'expression 1966 ET
Thompson, Kathrun E. 19xx- Practical Studies South
Progressive Method South
Todaro, Bruno Apprendre seul djouer du saxophone 1989 JL
Traxler, Aaron 18xx-19xx Grand Virtuoso Saxophone Studies 1928 Bel
Tyssens, Albert 4 Etudes sur les graphismes musicaux Ty
contemporains
8 Etudes classiques Ty
 12 Etudes de concours (d'apres Bach et Handel) Ty
^^r^H^fV^^'^ •!\*i^^7~fr'%ft$^^^iS3^*C's. ' - - . - • ' . . . r- : • -
Urfer, Frank 1955- 12 Duos progressifs - 2 Series: Eb or Bb
4 Quatuors profressifs SATBorAATB
'Wl^^^^^B^. ' -W^^^^^^^l ""• - *^*~>-* > -^ ' .-:
Valk, Adriaan 1943- Saxophone 1, II, III, IV - Method in 4 vols. BVP
Vadala, Chris Improve Your Doubling: Advanced Studies
Van Maele, Gerard 1907- Etudes 1) Allegro risoluto - Andante cantabile Sx solo 1950 7'30"
2 )Allegro vivace
Van Rickstal, J. 45 Daily Studies Sez
Vaughan Williams, Ralph 1872-1958 Six Studies in English Folksong (Transcription) 1926 9'30"
1) Adagio 2) Andante sostenuto 3) Larghetto
4) lento 5) Andante tranquillo 6) Allegro
Vazzanna, Anthony 1922- 5 Studi (Preambolo - Strali - Gioco) Asx solo 1978
Ventas, Adolfo I 1927- 8 Etudes expressive (to J-M Londeix) Sx solo 1998-99
Rodriguez Escuela moderna del Saxofon Boi
8 Estudios, op.2 Sx 1970 Qui
Etudes Caprices adr
Vereecken, Benjamin 18xx-19xx Complete Chart for all Saxophones CF
Foundation to Saxophone Playing 1917 CF
Junior Saxophone Method Rub
Verhiel, Ton 1956- 21 Etudes de 7 pieces ajouer Sx solo MuMu
7 Etudes techniques Asx/Pno ad lib
Methodfor Saxophone MuMu
Scales and Arpeggios for Saxophone
14 Studies in various styles (to K. Fischer) Asx solo Run
Vermet, Ernest 1930- Games et exercices 1968 HE/An
Verroust, Stanislas 1814-1863 24 Etudes, op. 65, 2 vols. Bil
 Louis Xavier
Viard, Jules 1890-1935 Grande methode 1935 Sal
Vieru, Anatole 1926-1998 7 Etudes 1992
Vincent-Demoulin, Jean 1905- Tunes for Tenor Saxophone Technique Bel
Viola, Joseph 19xx-2001 Creative Reading Studies for Saxophone Led
The Technique of the Saxophone, 3 vloumes 1963 BP/Led
Vivancos, Bemat Moustik's Etude- Etude sur la virtuosite digitale Asx solo 1999 Lem 4'
et la respiration circulaire (to C. Inoue)
Vlitakis, Manolis Geddchtnis - Etude pour le rythme et le detache Asx solo Lem
(to S. Otto & J. Petit)
Votquenne, Victor New Technic (Volume I: Scales, Intervals, HE
Chords)
New Technic (Volume II: Rhythms, Velocity, HE
Virtuosity)
Voxman, Himie b. 1912 Advanced Method, 2 vols. Rub
Selected Studies, 2 vols. 2 Sx: AA or TT Rub
Contemporary Recital Pieces
^ S M P P ^ H W i - - * • ' ' ' •: '• • •' • • ' " • • M l "?•""
Wagner, Wolfram 1962- Drei Studien 12Sx:SnoSS 1992 ApE
AAATTTBBBs
Waignein, Andre' 1942- 4 Etudes de cncert 2000 Hmu
15 Etudes faciles 1996
Walter, Caspar J. Studie 9 (to D. Kientzy) Bsx solo
Wastall, Peter 1932- Apprendre enjouant du saxophone 1983 B&H/Led
Learn as You Play Saxophone 1983 B&H
Wayne, Hayden 4 Etudes Sx solo Bz
Weber, Henri 18xx-19xx Tongue Gymnastix for the Development of 1927 Bel
Speed in Single, Double and Triple Tonguing
Weiner, Lawrence 1932- Etude (Slow and intense- Fast and agitated) Tsx/Pno 1979 South 7
 Weiss, Ferdinand 1933- 20 Virtuosenetuden Sx 1992 ApE
Werner, Milt Vibrato Tone Studies 1946 HP
White, William C. 1881-1964 Universal Scales, Chords et Rhythmic Studies CF
Wiedoeft, Rudy 1893-1940 Advanced Etudes and Studies, 2 vols. 1928 Rob
Complete Modern Method 1927 Rob
Secret of Staccato for the Saxophone 1938 Rob
Simplified Photographic Saxophone Chart
Wilensky, D. Saxophone Technique: 140 Exercices
Williams, Joan F. Etude from Moscow idaho any instrument ACA
Winstrup, Olesen 6 Saxophone Pieces - Book 2, l)Etude 2) Duo
Mosconi 3) Sonatine 4) Embers 5) Skizze 6)
Sunset
Wolfe, George W. 1948- Five Scriabin Etudes 1985 Kjos
Preparatory Methodfor the Saxophone (Vol I: 1985 Ron
Classical Technique)
• : Z ;.-•• X - - ' . " J - ' - .'• •-••'.. '•> •

Zalu, Cristee 3 Etudes (to D. Kientzy) Sx

Zitek, F. Saxophone Studies, op. 3
 \2b

Appendix B

The Errata for Neuf Etudes of Christian Lauba

by Joel Versavaud and Marc-Antoine Dagenais

As the description of the composer in the cover of Book 1 indicates:

Les doigtes sons multiples sont des doigtes conseilles...L'interprete doit

absolument respecter les itervalles ecrits et trouver les doigtes qui
s'adaptent le mieux a son instrument.

While studying these etudes, it is inevitable that one might have

difficulties playing some of the multiphonics. Some of the fingerings were labeled
and published incorrectly with wrong fingering numbers or notations. The
information provided here is to offer some results of research and
experimentation, and may help shorten the time of learning these pieces. Joel
Versavaud and his former student Marc-Antoine Dagenais made the following
errata sheet.
 Christian Lauba

Neuf etudes
pour saxophones en 4 cahiers

Nine etudes
for saxophones in 4 books

(Editions Alphonse Leduc)

Book 1: Balafon, Savane, Sanza, Jungle

Book 2: Tadj, GynVir

Book 3: Ars

Book 4: Bat

Corrections et simplifications des doigtes pour les sons multiples

Corrections and simplifications of multiphonic's fingerings

par/by

Joel Versavaud
 127

This f i l e contains, c o l l e c t e d and classed by the Quebec saxophonist

Marc-Antoine Dagenais, a l l the modifications I brought to the i n i t i a l
edition of Christian Lauba's Etudes during 10 years of practicing i t .
These modifications are mainly about multiphonics fingerings and are
supposed to help the musician read and handle the saxophone.
I wish that t h i s pedagogic act encouraged many to enter in those Etudes,
and would help to play down the importance of d i f f i c u l t i e s , which are often
only visual and graphic.
My goal i s a l s o to make you save time, but I would l i k e t o say how much t h i s
research helped me in the mastering of the instrument and i t s reactions.
T wish that t h i s work would never be achieved and that anyone would be able
to supplement i t .
Christian Lauba used the book of Daniel Kientzy : "las sons multiples
aux saxophones"(Salabart edition) and the book of Jean-Marie Londeix
"HellolMr Sax"(Leduc e d i t i o n ) . The f l e x i b i l i t y of the instrument, i t s
evolution, and the progress of saxophone players made those l i s t s not
exhaustive. Many other solutions may e x i s t to remain closed t o the w i l l
of the composer, to give him more propositions, even i f the score i s already
published.

Setup used :
Soprano saxophone Seiner s e r i e I I I , Vandoren SL3 mouthpiece. Vandoren 4 reeds.
Alto saxophone Selmer s e r i e i l l , Vandoren AL3 mouthpiece. Vandoren 4 reeda.
Tenor saxophone Selraer s e r i e I I I , Vandoren T20 mouthpiece, vandoren 4 reads.
Barytone saxophone Selmer s e r i e I I , Vandoren BL3 mouthpiece. Vandoren 5 reeds.

Joel Versavaud
ioel.veri»vaud<giwanadoo fr
www, (oelversavaud.com
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 128

Voiei, eollecties et mises en page par le saxophoniste quibicois Marc-Antoine Dagenais. les
modifications que j'ai apporties a Viditioti des Etudes de Christian Lauba, au fil de dix
annees de travail.
Elles concernent principalement les doigtts des sons multiples et sont censies apporter un
confort de lecture de la partition et de maniement de 1'instrument.

Puisse cet acte pidagogique donner envie au plus grand nombre d'entreprendre le travail de
ces Etudes, et aider a dedramatiser la difficulti qui n'est parfois qu'apparente et graphique.

Le but est egalement de faire gagner du temps, mais je voudrais rappeler a quel point cette
recherche m'apermis de progresser dans la connaissance des reactions de 1'instrument
Je reste d'ailleurs vigilant et espire ne jamais avoir termini ce travail. L'imagination de
ehacun d'entre nous devra s'exercer au mSme but. Toute icWe sera la bienvenue.

ChristianLauba a icritd'apris les ouvrages de Daniel Kientry a Les sons multiples aux
saxophones » (Editions Salabert) et de Jean-Marie Londeix « Hello, Mr Sax I »(Editions
Leduc). La souplesse de 1'instrument, son Evolution, et les progrts des saxophonistes font que
ces listes ne peuvent pas Stre exhaustive:. Elles restent fondamentales pour I'icnture, mais il
existe maintes solutions pour faciliter le discours, sans trahir la volonti du compositeur, voire
mSme s'en approcher encore plus et lui feire de nouvelles propositions.

Le maUriel utilise est:

Saxophone soprano Selmer sirie JJJ., bee Vandoren SL3. Anches Vandoren4.
Saxophone alto Selmer sirie JU, bee Vandoren AL3 Anches Vandoren 4.
Saxophone tinor Selmer sirie JJI, bee Vandoren T20. Anches Vandoren 4
Saxophone baryton Selmer scrie n, bee Vandoren BL3. Anches Vandoren 5

Joel Versavaud
ioel.ver5avaud(3lwanadoo fr
www toelversavaud com
* BALAFON
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 129

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 Appendix C

The Compositions of Christian Lauba

The following list contains the works published by Christian Lauba that
utilize the saxophone. The compositions are divided by different genres and
instrumentations. The information through 2003 is based on Jean-Marie
Londeix's vi Comprehensive Guide to the Saxophone Repertoire 1844-2003
(2003). The List does not include any of Lauba's works written under the
pseudonym, Jean Matitia.

Solo
Bat (2000) [10']
Chott 2 (1992) [IV]
9 Etudes (1992-1994)
Hard (19M) [9']
Hard Too Hard (1994)
Ifhi et Fes (1995)
Kora (2000) [8']
Sta« (2001) [10']
Steady Study on the Boogie (1993) [12']
XYL (2007) [6']

Saxophone and Piano, Keyboard, Organ

SW (1986) [12']
Tatum (199$) [5']

Duet
Adria (1985) [IT]
6 Duos (1995)

Saxophone Quartet
Reflects (1986) [IT]
Chamber
Am (1995) [15']
Atlantis (1990) [14']
Atlas (1984) [20']
Autographie (1985)
Brome (2002)
Z)owar (1991) [16'30"]
Dream in a Bar (1992) [14'30"]
Fultines (2000)
Mrf(2002)[8'30"]
Pacowr.? (1986) [2'30"]
Passage
Pulsar (1985-1990) [8']
Ravel's raga (1993) [15'}
Rif (1991) [14']
i?^ (1996) [12']
Sumba (199%)
Tambora (1999), 8 Sx: SATB, SATB/6 Perc
Variation-Couleurs (1986)

Ensemble
Art's (1999/2000)
La Foret perdue (1983) [9']
Les 7 ties (19%%) [IV]
Mutation-Couleurs IV (1985) [12']

With Band/Orchestra
Dies Irae (1991) [XTW]
fi#-(1997)[12'l
 Program

Halahw I IWd) Christian l.auba

(b. 19521

In Recital Divert Ricr.to I iOf.4; Roger Boutry

Allegro niii i ou 'reppo (b. 19321
Aniiantc • 1'ivsw

Concern, Op. 14 11 <i$3> Lars fcnk Larsson

Po-\ nan Ku, saxophone Allegro mo I to moderate (19(18-1086)
i iindidatt: tor the Doctor uf Music degR'c Adagio
in •\pphci""' Musi; Allegro schcr/anco

assisted by Intermission
Roger Admiral, piano
.Fun.ulet W90l Christian Ijiiiha
TO
Ctinceiio 11944) Hcnn Tixnasi
Andante ct Alk-yru (1901--.971)
Thurtda). April 1. 2004 al K:0fl pm Final - Gnat on

I
f
o.
Arts Building
Kf" University of Alberta

t o ^ '. hiv tcnul i* ptcscniL-i: in pjrt:^ tulfillricru ot the le^Lrcmcnt? io: ±c

I >l.: 1.!' Ill MllsiL JLVIL-C fill Ml K j .
Y
MI Ku is ;i rr::pii-nr ••• i Uml H.irr* Mrrinrwl Awjr^ ii'iiailuaicl
^TCrS.'' DEPARTMENT (_>.-

W' MUSIC
 7:10 pm Pre-concert Introduction: Oavid Cook

Program

The University of Alberta Concert Choir, Madrigal Singers

and University Symphony Orchestra
Debra Cairns and Michael Massey, Conductors

Gesang der Parzen, Op 89 (1882) Johannes Brahms

(1833-1897)

Concerto for Alto Saxophone

and Orchestra (1949) Henri Tomasi
Andante - Allegro (1901-1971)
Cadence - Allegro
Giration finale
Soloist Po-Yuan Ku, saxophone

Nanie. Op 82 (1881) Johannes Brahms

INTERMISSION

Symphony No 5 in D Major (1943) Ralph Vaughan Williams

1 Preludio (moderato) (1872-1958)
2 Scherzo (presto)
3. Romanza (lento)
4. Passacagha (moderato)

After receiving his Bachelor degree in Geography at National

Taiwan University in 1996, Po-Yuan Ku started to pursue studies in
music. He received his Artist Certificate m Saxophone Performance in
2000 and the degree of Master of Art in Saxophone Performance in 2002
from Bowling Green State University in Ohio under the tutelage ol Dr
John Sampen Since 2003, he has been pursuing a Doctor of Music
degree in Saxophone Performance at the University of Alberta under the
supervision o' Or William Street.

Po-Yuan Ku has been an active saxophonist across Taiwan,

United States and Canada, including performances in NASA
Conferences (North American Saxophone Alliance) and in the
Saxophone Symposiums of the US NBvy Band. He is the winner of the
2005 Unversav of Albeita Orchestra Concerto Competition.
 Program

Konzertstuek fur Zwe Altsaxophonel.1933; Paul Hinderrnth

I lebhaft (18S5-1964)
li Massiy langsam
III. Lebhalt
In Recital Alfredo Mendoza, alto saxophone

Le Chant du Veilleur Estampe Holiandaise (1933) Joaquin Nin

Po-Yuan Ku, saxophone For mezzo-soprano, alto saxophone and piano (1979-1949)
Candidate for the Doctoi M' Music degree Gillian Scarlett, mezzo-soprano
(Ptf-formance)
tpitaphe de Jean Harlow, op 164. Charles Koechim
AssisteC ty Romance for flute, alto saxophone, and piano (1937) (1867-1950)
Megdalena Adamek, piano Leigh-Anne Rattray, flute
with fjjesls
Gillian Scarlett, mezzo-soprano
Leigh-Anne Rattray, flute
Intermission
Kathleen Ludwig, cello
Alfredo Mendoza and Allison Balcetis
ADRIA {1985) Christian lauba
saxophone
(b.1952)
Allison Balcetis, alto saxophone
Wednesday, March 19, 2008
at 8:00 pm
ARS ('992-94) Christian Lauba
Alfredo Mendoza, soprano saxophone

Arts Building Sonata for Alto Saxophone and Ceilo (1994) Edison Dernsov
m --„,„- University of Alberta Allegro risoiulo (0.1929)
Tranquillo
Modorato
Kathleen Ludwig, cello

ftotf**
This recta s p-esentec n partial ti.l1ilr-ie.-il ul the requirements 'or :he
Doctor of Mosic dearee for Mi Ku
••/pff^', DEPARTMENT 01 :

MUSIC
 PROGRAM

I l i r i \ [ u » Ijtului iillJ i h* Vivt photic l'!ixk> I'll mi it I ?lst*MK;jl IVl^ViIKi"

PO-YUAN KU, SAXOPHONES \rt I'.UUUJ. f m S4»>plioiK- MKI 1'i.iiui, Op. !SH fU'-U M; O u i l c s K.HIWJU
CANDIDATE FOR THE DOCTOR OF MUSK; DEGREE

I'uli '!'>*!T *'-*•> < "hn*.|t;in l.jinhti

lb. VW\

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Lecture Recital
I'htv rm'-il is p n nnti'tl in piimil lulfilir.uif n| (lie rivjumiftrii*'. hit ilw l>tiiiiii *•(
Sandra Joy, piano MUMI iUi'Kx- I'm Mi K.u

Friday. K-bruar\ 2?, 2(W at H:<m pm

Smdto 2-7, Fme \tu lUiikling