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DEPARTMENT OF MUSIC PRESENTS
Microtones
A Sound Extension of the Saxophone
Lecture Recital by Matthew J. Swallow Friday, March 22, 2013
5:00 pm, Souers Recital Hall Abstract: The use of microtones has become an important extended technique for saxophonists and composers, in which this has been integrated in both classical repertoire and jazz improvisation. The presentation serves mainly as a guide for young aspiring saxophonists and composers who are interested in learning microtonal notation within the repertoire. In addition, there are important steps to executing the performance of this extended technique. This includes a helpful guide to proper tuning, microtonal scales, repertoire list, etudes, and fingering chart references. Microtones are an important sound extension found in many saxophone works. Examples of microtones can be found in multiphonics, graphical changes of pitch, timbre/key trills, and timbre alterations. The following compositions will be examined: Sequenza VIIb per sassofono soprano by Luciano Berio, Sketch for Alto Saxophone by Ronald Caravan, Impressions by John Coltrane, Sonate pour Saxophone Alto et piano by Edison Denisov, Sonate pour Saxophone Alto et piano by Jindrich Feld, Graphic IV for Alto Saxophone and Celeste by Paul Goldstaub, Improvisation I pour Saxophone Alto seul and Maï pour Saxophone Alto seul by Ryo Noda, and Le Frêne Égaré pour Saxophone Alto by François Rossé.1
Program Lecture: Microtones
Sonate pour Saxophone Alto et piano Edison Denisov Movement II: Lento
Lecture: Microtones Found in Multiphonics
Le Frêne Égaré pour Saxophone Alto François Rossé
Lecture: Microtones Found in Graphical Changes of Pitch
Maï pour Saxophone Alto seul Ryo Noda
Lecture: Microtones Found in Timbre/Key-‐Trills
Sketch for Alto Saxophone Ronald L. Caravan
Lecture: Microtones Found in Timbre Alterations
Impressions John Coltrane Transcribed by Carl Coan Conclusion
1 Matthew J. Swallow, Microtones: A Sound Extension of the Saxophone Abstract. Miami University, 2013.
2 Presentation Outline: I. What are microtones? A. Pitch alteration that is smaller than a semitone interval.
B. Originated in ancient Greece and explored within the 15th and 16th Centuries. C. Early music did not use equal-‐tempered intervals. D. Widely used in 20th Century; first by music theorist and composer Julián Carillo.
II. What do microtones look like in today’s musical literature? A. There is currently no true standardization of microtonal accidental notation.
Figure 1
Note the consistency of both the ¼ and ¾ sharped quartertone accidentals compared to the lowered quartertone symbols. Refer to the bibliography for complete citation of the authors.
B. Some saxophone works contain a key noting the microtonal accidentals. C. Many works require use of a comprehensive saxophone fingering chart. D. It is imperative to become familiar with the various accidental symbols.
III. Microtonal Scales/Temperament A. The performance of saxophone microtones applied with false fingerings.
1. Fingerings vary based on saxophone size and specific models. 2. Limitations due to physical nature of the instrument.
B. Microtonal Scales 1. Quartertone Scale 2. Eighth-‐tone Scale
C. Knowing the intonation tendencies of your instrument 1. The tuner should be in between -‐50/+50 cents flat/sharp for quartertones. 2. The eighth-‐tones should be around -‐25/+25 cents flat/sharp on the tuner. (1) (2)
3. Apply the microtonal fingerings to the repertoire until you feel competent.
! 2!
similar!from!another.!!However,!there!are!variants!in!several!works.!!Gardener!Read!states,!
“If!a!fellow!composer!cannot!easily!read!another’s!microtonal!work,!what!can!we!
reasonably!expect!from!performers,!dedicated!though!they!may!be!to!experimental!
composition!and!fully!adept!at!interpreting!avantJgarde!notation?”3!!For!the!performer!
interested!in!microtonal!music,!it!is!his/her!responsibility!to!be!aware!of!the!diverse!
notations!that!current!exist!in!several!works.!!This!applies!not!just!for!saxophone,!but!also!
other!instruments!including!strings!and!other!wind!instruments.!!The!chart!below!in!figure!
1!shows!discrepancies!in!quartertone!notation!between!various!saxophone!and!clarinet!
resources.!!Refer!to!the!bibliography!section!for!the!authors.!!It!is!imperative!to!become!
familiar!with!these!symbols!as!they!are!commonly!used!in!various!works!throughout!the!
twentieth!century.!!Lack!of!prior!knowledge!of!these!symbols!can!create!difficulties!in!
Quartertone!Accidental!Variants!in!Clarinet/Saxophone!Resources!by!Author!! Weiss/Netti! Londeix! Caravan! Leonard! Farmer! Rehfeldt!QuarterJ!tone!Sharped!(1/4)!
µ
!
µ! µ !!!!l µ! l (k j)!QuarterJ!tone!Sharped!(3/4)!
 Â! Â! Â! Â! l!QuarterJ!tone!Lowered!(1/4)!
B !
L (K J)!QuarterJ!tone!Lowered!(3/4)!
!n/a!
! !!! !! !!!!!! !n/a! L!
Figure!1!Note*the*consistency*of*both*the*¼*and*¾*sharped*quartertone*accidentals*compared*to*the*lowered*quartertone*
symbols.**Refer*to*the*bibliography*for*complete*citation*of*the*authors.*****
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!3!Gardner!Read,!20thBCentury*Microtonal*Notation,!(Westport,!CT:!Greenwood!Press,!1990):!3.!!!
È É Ê Ë Ì Í Î Ï 200 201 202 203 204 205 206 207
Ð Ñ Ò Ó Ô Õ Ö × 208 209 210 211 212 213 214 215
Ø Ù Ú Û Ü Ý Þ ß 216 217 218 219 220 221 222 223
à á â ã ä å æ ç 224 225 226 227 228 229 230 231
è é ê ë ì í î ï 232 233 234 235 236 237 238 239
ð ñ ò ó ô õ 240 241 242 243 244 245 246 247
ø ù ú û ü ý þ ÿ 248 249 250 251 252 253 254 255
È É Ê Ë Ì Í Î Ï 200 201 202 203 204 205 206 207
Ð Ñ Ò Ó Ô Õ Ö × 208 209 210 211 212 213 214 215
Ø Ù Ú Û Ü Ý Þ ß 216 217 218 219 220 221 222 223
à á â ã ä å æ ç 224 225 226 227 228 229 230 231
è é ê ë ì í î ï 232 233 234 235 236 237 238 239
ð ñ ò ó ô õ 240 241 242 243 244 245 246 247
ø ù ú û ü ý þ ÿ 248 249 250 251 252 253 254 255
È É Ê Ë Ì Í Î Ï 200 201 202 203 204 205 206 207
Ð Ñ Ò Ó Ô Õ Ö × 208 209 210 211 212 213 214 215
Ø Ù Ú Û Ü Ý Þ ß 216 217 218 219 220 221 222 223
à á â ã ä å æ ç 224 225 226 227 228 229 230 231
è é ê ë ì í î ï 232 233 234 235 236 237 238 239
ð ñ ò ó ô õ 240 241 242 243 244 245 246 247
ø ù ú û ü ý þ ÿ 248 249 250 251 252 253 254 255
È É Ê Ë Ì Í Î Ï 200 201 202 203 204 205 206 207
Ð Ñ Ò Ó Ô Õ Ö × 208 209 210 211 212 213 214 215
Ø Ù Ú Û Ü Ý Þ ß 216 217 218 219 220 221 222 223
à á â ã ä å æ ç 224 225 226 227 228 229 230 231
è é ê ë ì í î ï 232 233 234 235 236 237 238 239
ð ñ ò ó ô õ 240 241 242 243 244 245 246 247
ø ù ú û ü ý þ ÿ 248 249 250 251 252 253 254 255
‘ ’ “ ” • — – 144 145 146 147 148 149 150 151
˜ ™ š › œ Ÿ 152 153 154 155 156 157 158 159
¡ ¢ £ ¤ ¥ ¦ § 160 161 162 163 164 165 166 167
¨ © ª « Æ ® ¯ 168 169 170 171 172 173 174 175
° ± ² ³ ´ Î ¶ 176 177 178 179 180 181 182 183
¸ ¹ º » ¼ ½ ¾ ¿ 184 185 186 187 188 189 190 191
À Á Â Ã Ä Å Æ Ç 192 193 194 195 196 197 198 199
È É Ê Ë Ì Í Î Ï 200 201 202 203 204 205 206 207
Ð Ñ Ò Ó Ô Õ Ö × 208 209 210 211 212 213 214 215
Ø Ù Ú Û Ü Ý Þ ß 216 217 218 219 220 221 222 223
à á â ã ä å æ ç 224 225 226 227 228 229 230 231
è é ê ë ì í î ï 232 233 234 235 236 237 238 239
ð ñ ò ó ô õ 240 241 242 243 244 245 246 247
ø ù ú û ü ý þ ÿ 248 249 250 251 252 253 254 255
È É Ê Ë Ì Í Î Ï 200 201 202 203 204 205 206 207
Ð Ñ Ò Ó Ô Õ Ö × 208 209 210 211 212 213 214 215
Ø Ù Ú Û Ü Ý Þ ß 216 217 218 219 220 221 222 223
à á â ã ä å æ ç 224 225 226 227 228 229 230 231
è é ê ë ì í î ï 232 233 234 235 236 237 238 239
ð ñ ò ó ô õ 240 241 242 243 244 245 246 247
ø ù ú û ü ý þ ÿ 248 249 250 251 252 253 254 255
È É Ê Ë Ì Í Î Ï 200 201 202 203 204 205 206 207
Ð Ñ Ò Ó Ô Õ Ö × 208 209 210 211 212 213 214 215
Ø Ù Ú Û Ü Ý Þ ß 216 217 218 219 220 221 222 223
à á â ã ä å æ ç 224 225 226 227 228 229 230 231
è é ê ë ì í î ï 232 233 234 235 236 237 238 239
ð ñ ò ó ô õ 240 241 242 243 244 245 246 247
ø ù ú û ü ý þ ÿ 248 249 250 251 252 253 254 255
È É Ê Ë Ì Í Î Ï 200 201 202 203 204 205 206 207
Ð Ñ Ò Ó Ô Õ Ö × 208 209 210 211 212 213 214 215
Ø Ù Ú Û Ü Ý Þ ß 216 217 218 219 220 221 222 223
à á â ã ä å æ ç 224 225 226 227 228 229 230 231
è é ê ë ì í î ï 232 233 234 235 236 237 238 239
ð ñ ò ó ô õ 240 241 242 243 244 245 246 247
ø ù ú û ü ý þ ÿ 248 249 250 251 252 253 254 255
È É Ê Ë Ì Í Î Ï 200 201 202 203 204 205 206 207
Ð Ñ Ò Ó Ô Õ Ö × 208 209 210 211 212 213 214 215
Ø Ù Ú Û Ü Ý Þ ß 216 217 218 219 220 221 222 223
à á â ã ä å æ ç 224 225 226 227 228 229 230 231
è é ê ë ì í î ï 232 233 234 235 236 237 238 239
ð ñ ò ó ô õ 240 241 242 243 244 245 246 247
ø ù ú û ü ý þ ÿ 248 249 250 251 252 253 254 255
È É Ê Ë Ì Í Î Ï 200 201 202 203 204 205 206 207
Ð Ñ Ò Ó Ô Õ Ö × 208 209 210 211 212 213 214 215
Ø Ù Ú Û Ü Ý Þ ß 216 217 218 219 220 221 222 223
à á â ã ä å æ ç 224 225 226 227 228 229 230 231
è é ê ë ì í î ï 232 233 234 235 236 237 238 239
ð ñ ò ó ô õ 240 241 242 243 244 245 246 247
ø ù ú û ü ý þ ÿ 248 249 250 251 252 253 254 255
& 44 ! ! ! ! Ó Ó
&
6
w w+ wL w- w# w#+ wl w- w
B
&15 ! ! ! !
&19 ! ! ! !
&23 ! ! ! !
&27 ! ! ! !
Score
È É Ê Ë Ì Í Î Ï 200 201 202 203 204 205 206 207
Ð Ñ Ò Ó Ô Õ Ö × 208 209 210 211 212 213 214 215
Ø Ù Ú Û Ü Ý Þ ß 216 217 218 219 220 221 222 223
à á â ã ä å æ ç 224 225 226 227 228 229 230 231
è é ê ë ì í î ï 232 233 234 235 236 237 238 239
ð ñ ò ó ô õ 240 241 242 243 244 245 246 247
ø ù ú û ü ý þ ÿ 248 249 250 251 252 253 254 255
! 5!
the!saxophone!size!(soprano,!alto,!tenor,!&!bari)!and!the!specific!models!(Yamaha,!Selmer,!
Yanagisawa,!etc.).!!The!following!books!contain!detailed!microtonal!fingering!charts!for!
saxophone!stretching!the!full!range!of!the!instrument!along!with!separation!of!the!different!
horns!(soprano,!alto,!etc.):
Hello!**Mr.*Sax,*ou*Paramètres*du*Saxophone!by!JeanJMarie!Londeix!!!The*Techniques*of*Saxophone*Playing!by!Marcus!Weiss!and!Giorgio!Netti!Extended*Technique*for*the*Saxophone!by!J.!Michael!Leonard!
Just!as!it!was!stated!earlier,!some!finger!combinations!work!better!than!others!
based!on!the!saxophone!size,!model,!and!other!possible!variants.!!Therefore,!it!is!
imperative!to!experiment!with!different!fingerings!and!match!the!closest!possible!pitch!
with!the!tuner!that!can!obtain!pitch!in!between!a!half!step!interval.!!When!studying!
quartertones,!it!is!essential!to!have!a!tuner!in!front!of!you!to!ensure!accuracy!of!pitch.!!In!
figure!6,!as!the!quartertone!sound!is!in!between!half!steps.!!The!tuner!needle!should!line!up!
in!between!J50/+50!cents!flat/sharp.!!If!for!some!reason!the!fingerings!used!do!not!match!!!
!
Figure!6!Chromatic*tuner*indicating*proper*tuning*of*quartertones;*
Red*Arrow*=*quartertone*¼*flat;*Yellow*Arrow*=*quartertone*¼*sharp*!
close!to!the!needles!on!the!tuner,!try!using!other!fingerings!and/or!make!additional!
adjustments!to!overall!voicing!and!lip/jaw!just!like!tuning!traditional!tone/semitone!
pitches.!!This!similar!concept!is!used!for!mastering!the!eighthJtones,!but!should!be!worked!
out!once!fluent!in!quartertones!pitches.!!Due!to!the!complication!of!precise!tuning!of!these!
! 6!
notes,!it!is!important!to!have!a!solid!aural!concept!of!the!quartertones.!!The!eighthJtones!
occur!in!between!the!quartertones!and!the!half!steps.!!This!is!what!the!scale!look!like!back!
in!figure!5.!!This!order!should!look!the!same!when!working!through!the!pattern!with!the!
tuner.!!The!eighthJtones!should!be!J25/+25!cents!flat/sharp!as!seen!in!figure!7.!!After!
learning!the!essential!microtonal!fingerings!that!work!for!your!particular!saxophone,!the!
!
Figure!7!Chromatic*tuner*indicating*proper*tuning*of*eighthBtones*and*quartertones;*
Blue*Arrow*=*eighthBtone*flat;*Green*Arrow*=*eighthBtone*sharp*!
next!step!is!to!find!studies!that!aid!in!continual!development!of!this!extended!technique.!!
Here!are!a!few!method!books!that!contain!supplemental!exercises!for!quartertones.!!The!
method!book!by!Steven!Mauk!also!has!timbre!changes/false!fingering!exercises.!!These!are!
most!commonly!used!in!jazz!transcriptions,!which!will!be!covered!later.!!!
Saxophone!Quartertone!Method!Books:!Preliminary*Exercises*&*Etudes*in*Contemporary*Techniques*for*Saxophone!by!Ronald!L.!Caravan!Saxophone*WarmBUps:*Materials*for*the*Contemporary*Saxophonist!by!Steven!Mauk!!! There!is!one!more!aspect!to!the!overall!microtonal!spectrum.!!So!far,!quartertones!
and!eighthJtones!have!been!covered.!!The!next!focus!will!be!the!uses!of!timbral!fingerings!
and!trills.!!The!purpose!of!this!extended!technique!is!to!create!tones!of!many!different!
colors,!which!may!be!used!in!particular!works!for!saxophone.!!In!addition,!these!are!
commonly!used!for!compensating!intonation!issues!with!the!particular!instrument!being!
used,!especially!on!long!notes.!!It!can!also!be!used!for!stylistic!purposes,!such!as!jazz!
3 IV. Selected Works for Saxophone with Microtones
A. The Sonate pour Saxophone Alto et piano by Edison Denisov first of its kind in the avant-‐garde/contemporary realm. 1. Composed in 1970 and premiered by Jean-‐Marie Londeix. 2. The Denisov Sonate sparks future compositions with the uses of microtones.
B. Microtones are also found in multiphonics, graphical changes of pitch, timbre/key trills, and timbre alterations.
1. Multiphonics with Microtones a. There are some notations of a chord indicating how the chord should sound like. However, some chords contain the microtonal notations (Figure 2).
Figure 2
Multiphonic chord with microtones from Per Bloland’s Of Dust and Sand for Saxophone and Piano with Electromagnets
b. Multiphonics with microtonal accidentals does not mean that the whole chord is considered a microtone.
2. This element is found in François Rossé’s Le Frêne Égaré pour Saxophone Alto. V. Graphical Changes of Pitch
A. Instrumentalist alters the pitch in a similar manner to a glissando or portamento. B. Figure 3 is performed with a combination of false fingerings and voicing.
Figure 3
Graphical pitch change with microtones in Improvisation I pour Saxophone Alto seul by Ryo Noda
C. In Noda’s Maï pour Saxophone Alto seul, the change of pitch is also guided with microtonal accidentals.
VI. Timbre/Key-‐Trills A. Trills between pitches under a half step up/down with false fingerings. B. The trills do not tune to the traditional temperament (Observe Figure 4).
! 15!
O,*Aderyn*Pur*for*Flute*and*Alto*Saxophone*with*Tape*(in*movt.*IV*only)!by!Claire!Polin!Movement!III:!Melospiza;!Top!Staff=Flute;!Bottom!Staff=Alto!Saxophone;!uses!quartertones!
!*Of*Dust*and*Sand*for*Alto*Saxophone*and*Piano*with*Electromagnets*by!Per!Bloland!!Excerpt!uses!quartertones,!which!evolve!into!multiphonics!
*******
4
Figure 4
Graphic IV for Alto Saxophone and Celeste by Paul Goldstaub; uses timbre trills with provided fingerings
C. Even with no symbols, fingerings change pitch, thus helps change the timbre. VII. Timbre Alterations
A. Provides different colors of pitch. This can brighten or darken a note. B. Some of these features can be found in both avant-‐garde and jazz genres. C. The Sequenza VIIb per sassofono soprano by Luciano Berio features the use of
timbre alterations. D. John Coltrane’s solo uses markings (+) for timbral alterations (Figure 5).
Figure 5
Excerpt of Carl Coan’s transcription of John Coltrane’s solo in Impressions at the Konserthuset in Stockholm, Sweden; November 1961
E. May have to experiment with different fingering combinations. F. Timbre also changes with use of different mouthpieces (classical/jazz). G. Impressions use timbral alterations to rearticulate repetitive notes.
VIII. Conclusions A. Since the 1970s, microtones have been important within saxophone works. B. Microtones are found in multiphonics, graphical changes of pitch, timbre/key
trills, and timbre alterations. C. Awareness of inconsistencies of microtonal accidental symbols. D. Understanding the intonation tendencies of microtones. E. Prior study to this extended technique can accelerate learning related
compositions at a faster rate. 1. Mastered by studying fingerings, scales, and etude books. 2. “Individualize your sound”.
5 IX. Appendix List of Saxophone Music Literature With Microtonal Uses Saxophone Solos (with accompaniment) Canto IV for Alto Saxophone by Samuel Adler Digital pour Saxophone Soprano seul by Thierry Alla Three Novelties for Alto Saxophone by Allan Blank Steps Approaching for Alto Saxophone and Percussion Ensemble by Ray Andrews Call to Worship by Ronald L. Caravan Sketch for Alto Saxophone by Ronald L. Caravan Three Pieces for Saxophone by Ronald L. Caravan Sonate pour Saxophone Alto et piano by Jindrich Feld Sonate pour Saxophone Alto et piano by Edison Denisov Dimensions III for Saxophone and Tape by Ed Diemente Music for Saxophone and Percussion by Bruce L. Faulconer Symmetrics for Saxophone and Four Percussion by Karl Korte Neuf Études pour Saxophones en 4 cahiers, Volume 4 by Christian Lauba. Improvisation I pour Saxophone Alto seul by Ryo Noda Maï pour Saxophone Alto seul by Ryo Noda Two Pieces for Tenor Saxophone and Piano by Allyn Reilly Le Frêne Egaré by François Rossé Three Movements for Saxophone Alone by Faye-‐Ellen Silverman Lamentation for Alto Saxophone and Piano by Richard Alan Strawser Divertimento No. 6 for Alto Saxophone and Strings by John Weinzweig Duets With Saxophone(s) or Various Instruments Of Dust and Sand for Alto Saxophone and Piano with Electromagnets by Per Bloland Graphic IV for Alto Saxophone and Celeste by Paul B. Goldstaub Saxoclone for Alto and Tenor Saxophones by Geoge Heussenstamm Dialogue for Saxophone and Two Channel Tape by Karl Korte Périples for Saxophone and Electronics by Paul Méfano O, Aderyn Pur for Flute and Alto Saxophone with Tape (in movt. IV only) by Claire Polin Saxophone in Ensemble Literature Scherzoid for Saxophone Quartet by Philip Ahern The Flight of Icarus for Saxophone Quartet by Stacy Garrop Sinfonia No. 6 for Two Orchestras by Hans Werner Henze Apotheosis of this Earth for Concert Band by Karel Husa Music for Prague 1968 for Concert Band by Karel Husa Five Situations for Four Saxophones by Frank McCarty Strong Song for Saxophone Quartet and Chamber Wind Ensemble by Ralph Carl Verdi Jazz Solo Transcriptions The Michael Brecker Collection transcribed by Carl Coan Michael Brecker transcribed by Carl Coan John Coltrane Solos transcribed by Carl Coan
6 Saxophone Microtonal Resources Comprehensive Saxophone Microtonal Fingering Charts Hello! Mr. Sax, ou Paramètres du Saxophone by Jean-‐Marie Londeix The Techniques of Saxophone Playing by Marcus Weiss and Giorgio Netti Extended Technique for the Saxophone by J. Michael Leonard Saxophone Quartertone Method Books Preliminary Exercises & Etudes in Contemporary Techniques for Saxophone by Ronald L. Caravan Saxophone Warm-‐Ups: Materials for the Contemporary Saxophonist by Steven Mauk Microtonal Scales Quartertone Scale with the Ronald Caravan accidental notation system (Refer to Figure 1 for accidental key)
Eighth-‐Tone Scale (Marcus Weiss System-‐Top Scale, Phillip Rehfeldt System-‐Bottom)
Eighth-‐Tone Accidental Key
! 3!
practicing!the!music.!!Therefore,!can!produce!a!timeJconsuming!learning!curve.!!After!
comparing!repertoire!and!reference!sources,!there!is!a!consistency!of!microtonal!notation!
with!both!sharped!quartertones!(1/4!&!3/4).!!These!symbols!in!figure!1!are!the!most!
common!found!in!today’s!musical!literature!in!all!wind!instruments.!!Figure!2!below!
demonstrates!a!traditional!quartertone!scale!ascending!and!descending!using!the!
appropriate!common!microtonal!accidental!notations.!!!
!Figure!2!
Quartertone*scale*ascending*and*descending*between*F*and*B*natural;*notation*accidentals*based*on*Ronald*Caravan*
*Considering!that!the!previous!accidentals!in!figures!1!and!2!are!the!most!common!in!
the!saxophone!repertoire,!there!are!several!more!quartertone!accidentals!that!can!take!
some!time!to!decipher.!!In!most!compositions,!the!composer!includes!a!key!to!aid!the!
performer.!!The!fourth!movement!of!Jindrich!Feld’s!Sonata*for*Alto*Saxophone*and*Piano!
uses!a!completely!different!system!of!quartertone!accidentals!as!seen!in!figure!3.!!!!!!!!!!!!!
!!!!!!!!!!!!! !!!!!!!!!!!! !!!!!!!!!!!!!!!!! !
Quartertone!!!!!!!!!!!!!!!!!!!!!!Quartertone!!!!!!!!!!!!!!!!!!!!!!Quartertone!!!!!!!!!!!!!!!!!!!!!!!!!!Quartertone!¼!Sharp!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!¾!Sharp!!!!!!!!!!!!!!!!!!!!!!!!!!!!!¼!Flat!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!¾!Flat!
!Figure!3!
From*“Explanation*of*Notation*Symbols”*key*for*Sonata*for*Alto*Saxophone*and*Piano*by*Jindrich*Feld*
Even!though!this!not!widely!used,!there!are!also!microtones!in!which!the!performer!
is!asked!to!play!pitch!that!is!sharped!by!an!eighthJtone.!!There!is!a!similar!scenario!as!the!
& 44 ! ! ! ! !
&
6
˙ ˙µ ˙# ˙Â ˙ ˙µ ˙# ˙Â ˙ ˙µ ˙# ˙Â b˙ ˙
&
13
˙b ˙ B ˙ ˙b ˙b ˙ B ˙ ˙b ˙b ˙ B w
&19 ! ! ! !
&23 ! ! ! !
&27 ! ! ! !
Score
! 4!
quartertone!accidental!notation.!Observe!the!eighthJtone!variants!between!The*Techniques*
of*Saxophone*Playing!(Weiss/Netti)!and!New*Directions*for*Clarinet!(Rehfeldt)!in!figure!4.!!
!! Weiss!Netti! Rehfeldt!!
EighthJtone!!Sharped!
} +!!
EighthJtone!!Flat!
{ J!!
Quartertone!plus!EighthJtone!Sharped!
L J!!
Semitone!(HalfJstep)!plus!EighthJtone!Sharped!
l! +!Figure!4!
It!is!also!important!to!understand!the!differences!between!the!specific!eighthJtone!
notations.!!Since!this!is!a!complicated!system!of!accidentals,!here!is!an!example!of!an!
eighthJtone!scale!ascending!using!the!notation!concepts!of!Weiss/Netti!and!Rehfeldt.!!!This!
is!shown!in!figure!5.!!!
!Figure!5!
EighthBTone*Scales*Ascending*between*F*and*G*natural;*Top*Scale*symbols*based*on*Marcus*Weiss*&*Giorgio*Netti;*Bottom*Scale*symbols*based*on*Phillip*Rehfeldt**
!The!performance!of!saxophone!microtones!is!applied!with!the!use!of!false!
fingerings.!!!There!are!several!fingering!combinations!that!can!be!used!to!execute!the!sound!
effects!as!desired.!!Some!saxophone!fingerings!will!work!better!than!others!depending!on!
& 44 ! ! ! ! Ó Ó
&
6
w wU wµ wL w# wl w wX w
&15 ! ! ! !
&19 ! ! ! !
&23 ! ! ! !
&27 ! ! ! !
Score
& 44 ! ! ! ! Ó Ó
&
6
w w+ wL w- w# w#+ wl w- w
&15 ! ! ! !
&19 ! ! ! !
&23 ! ! ! !
&27 ! ! ! !
Score
! 4!
quartertone!accidental!notation.!Observe!the!eighthJtone!variants!between!The*Techniques*
of*Saxophone*Playing!(Weiss/Netti)!and!New*Directions*for*Clarinet!(Rehfeldt)!in!figure!4.!!
!! Weiss!Netti! Rehfeldt!!
EighthJtone!!Sharped!
} +!!
EighthJtone!!Flat!
{ J!!
Quartertone!plus!EighthJtone!Sharped!
L J!!
Semitone!(HalfJstep)!plus!EighthJtone!Sharped!
l! +!Figure!4!
It!is!also!important!to!understand!the!differences!between!the!specific!eighthJtone!
notations.!!Since!this!is!a!complicated!system!of!accidentals,!here!is!an!example!of!an!
eighthJtone!scale!ascending!using!the!notation!concepts!of!Weiss/Netti!and!Rehfeldt.!!!This!
is!shown!in!figure!5.!!!
!Figure!5!
EighthBTone*Scales*Ascending*between*F*and*G*natural;*Top*Scale*symbols*based*on*Marcus*Weiss*&*Giorgio*Netti;*Bottom*Scale*symbols*based*on*Phillip*Rehfeldt**
!The!performance!of!saxophone!microtones!is!applied!with!the!use!of!false!
fingerings.!!!There!are!several!fingering!combinations!that!can!be!used!to!execute!the!sound!
effects!as!desired.!!Some!saxophone!fingerings!will!work!better!than!others!depending!on!
& 44 ! ! ! ! Ó Ó
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6
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&19 ! ! ! !
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&27 ! ! ! !
Score
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&
6
w w+ wL w- w# w#+ wl w- w
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Score
7 Bibliography
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