Extended Techniques for SaxophoneAn Approach Through Musical Examples by Patrick Murphy A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved March 2013 by the Graduate Supervisory Committee: Gary Hill, Chair Robert Spring Timothy McAllister Albie Micklich James DeMars ARIZONA STATE UNIVERSITY May 2013 ABSTRACT The repertoire of the saxophone has advanced significantly since its invention circa 1840. Performers are required to adapt to the demands of composers - many of whom are exploring new and unconventional sounds and techniques. Numerous texts exist to identify and explain these so-called "extended" techniques, but there are very few resources for the initial stages of performance. In order to offer performers a resource, the author of this text composed forty original etudes (or studies) that incorporate extended techniques in a variety of ways. After identifying common extended techniques that a performer might face, the author focused on four different ways each individual technique might appear in actual repertoire. The resulting work is entitled Pushing Boundaries: Forty Etudes on Extended Techniques. Each etude offers a practical approach to what is generally a single extended technique. Although this text is not pedagogical in the sense of identifying the mechanics and anatomical requirements of each technique, it does contain a performance analysis of each etude. This analysis identifies areas where performers might struggle and offers helpful suggestions. To this end, the etudes accompanied by performance analysis provide a paced, systematic approach to the mastery of each technique. i DEDICATION I wish to dedicate this work to my beautiful niece, Nora Grace Estes, born February 9, 2013. Mnohaja y blahaja l’ita! ii ACKNOWLEDGMENTS I would like to give a very special acknowledgement to all of the members of my committee: Gary Hill, Timothy McAllister, Robert Spring, Albie Micklich, and James DeMars. They have been a constant source of support and encouragement, not only during these final stages of my degree, but since my entry into Arizona State University. I would like to give a very special to Gary Hill for having stepped in as my committee chairman and assisting me navigate the complicated waters of the doctorate. I must give a very special thanks to Timothy McAllister. He has served as my mentor and role model and has always believed in me even when I did not necessarily give him good reason. Finally, to my parents, Patrick and Eileen Murphy, without whom I would never have been able to embark upon this journey, my eternal gratitude and love. iii TABLE OF CONTENTS Page LIST OF TABLES ..................................................................................................................... vi LIST OF FIGURES ................................................................................................................. vii CHAPTER 1 INTRODUCTION .................................................................................................. 1 What are Extended Techniques? .................................................................. 4 Justification...................................................................................................... 5 Limitations and Assumptions ........................................................................ 6 2 REVIEW OF RELATED LITERATURE AND REPERTOIRE ............................ 7 Voicing and Altissimo ..................................................................................... 8 Circular Breathing .......................................................................................... 12 Double Tongue ................................................................................................ 13 Microtones ...................................................................................................... 15 Timbre and Bisbigliando ............................................................................... 16 Multiphonics .................................................................................................. 18 Slap Tongue.................................................................................................... 20 Vocalization .................................................................................................... 21 3 A PERFORMANCE ANALYSIS OF PUSHING BOUNDARIES: 40 ETUDES ON EXTENDED TECHNIQUES BY PATRICK MURPHY ......................... 23 Etudes 1-4: Voicing ....................................................................................... 26 Etudes 5-8: Beginning Altissimo ................................................................. 33 Etudes 9-12: Circular Breathing ................................................................... 36 Etudes 13-16: Double Tongue ...................................................................... 39 iv CHAPTER Page Etudes 17-20: Microtones ............................................................................. 41 Etudes 21-24: Timbre and Bisbigliando ...................................................... 44 Etudes 25-28: Multiphonics ......................................................................... 46 Etudes 29-32: Slap Tongue .......................................................................... 48 Etudes 33-36: Furthering Altissimo ............................................................. 51 Etudes 37-40: Vocalizing .............................................................................. 53 4 CONCLUSIONS AND CLOSING REMARKS ................................................... 56 References .............................................................................................................................. 57 Appendix A SAXOPHONE FINGERING CHART ............................................................. 60 B PUSHING BOUNDARIES: FORTY ETUDES IN EXTENDED TECHNIQUES BY PATRICK MURPHY................................................................. 62 Biographical Sketch ............................................................................................................. 223 v LIST OF TABLES Table Page 1. Selected Extended Techniques ............................................................................ 5 2. First Level of Multiphonics ................................................................................ 19 3. Etude Units with Stated Usage(s) .................................................................... 24 4. Tone Row Matrix for Etude #30 ...................................................................... 50 vi LIST OF FIGURES Figure Page 1. Overtone Series ................................................................................................... 27 2. Etude #1: Voicing (mm. 1-8) ............................................................................. 28 3. Etude #1: Voicing (mm. 57-64) ......................................................................... 29 4. Etude #2: Voicing (Czech) (mm. 1-17) .............................................................. 31 5. Etude #4: Voicing (mm. 1-3) ............................................................................. 32 6. Etude #5: Beginning Altissimo (mm. 19-24) .................................................... 34 7. Etude #8: Voicing (mm. 15-17) .......................................................................... 36 8. Etude #9: Circular breathing (mm. 1-9) ........................................................... 38 9. Etude #13: Double Tongue (mm. 1-6)............................................................... 40 10. Etude # 16: Double Tongue (mm. 5-6) ............................................................. 41 11. Microtone Notation System ............................................................................... 41 12. Etude # 17: Microtones (mm. 1-4) ................................................................... 42 13. Etude #19: Voicing (mm. 7-10) ........................................................................ 43 14. Etude # 21: Timbre and Bisbigliando (mm. 3-6) ............................................ 44 15. Etude #23: Timbre and Bisbigliando (mm. 5-8) ............................................ 45 16. Etude #28 (mm. 5-6) ....................................................................................... 48 17. Etude #32: Slap Tongue (mm. 5-14) ................................................................ 51 18. Etude #35: Furthering Altissimo (mm. “14-18”) ............................................ 52 19. Etude #36 (mm. 1-3) ........................................................................................ 53 20. Etude # 37: Vocalizing (mm. 4-9) .................................................................... 54 21. Etude #39: Vocalizing (mm. 12-17) ................................................................. 55 vii Sax or Parameters of the Saxophone (Paris: Alphonse Leduc & Cie. Sax… does not contain any studies for the performer. While the repertoire has certainly advanced to include these so-called extended techniques. He challenges the notion that “conventional” instruments (in this case woodwinds) reached an impasse regarding advanced and unusual sonorities. oboe. and techniques. The current generation of saxophonists encounters repertoire that contains a wide variety of sounds. the saxophone does not appear in Bartolozzi’s text. It is a text that is of equal importance to the performer and composer. the pedagogy is somewhat one-sided: there are several existing texts that describe and document extended techniques.2 This text is a valuable survey of the variety of sounds and styles available on the saxophone.. 2 1 . performers face challenges that simply were not applicable as little as thirty years ago. but few that apply them practically. Reginald Smith Brindle (London: Oxford University Press. 1989). Rather. ed. The earliest useful discussion of the extended capabilities of the saxophone is Jean-Marie Londeix’s Hello! Mr. Sax or Parameters of the Saxophone. Hello! Mr. clarinet. 1967) 1-2.1 Unfortunately. His book New Sounds for Woodwind is a defense of traditional instrumentation. and bassoon. his focus is on flute. it points the performer Bruno Bartolozzi. For all its strengths. timbres. and trans. Hello? Mr. Florentine composer and researcher Bruno Bartolozzi is the author of the earliest work on extended techniques for woodwind instruments. New Sounds for Woodwind. 1 Jean-Marie Londeix.Chapter 1 INTRODUCTION As the repertoire for the saxophone evolves. it is a presentation. these three documents provide excellent discussion of the available advanced techniques for the saxophone. Germany: Bärenreiter. Marcus Weiss and Giorgio Netti. Although this represents only a small portion of Londeix’s text. A common Ibid. 2010). much the Londeix’s. perhaps an exposition. Other differences include basic anatomical diagrams and very simple exercises for the saxophonist. practical advice. Michat’s work differs in a few respects.7 An expository text similar to both Londeix and Weiss and Netti.. In 2010. includes more discussion and helpful. it is a rather fantastic overview of repertoire up to the date of publication. Along with the Bartolozzi. 1-2.5 This document.in the direction of repertoire to examine. 2010). 5 6 Ibid. notably by delving further pedagogical discussion and introducing practicing techniques. Saxophonist Marcus Weiss and composer Giorgio Netti are co-authors of the work The Techniques of Saxophone Playing. saxophonists and composers relied primarily on this document for guidance.4 For twenty-one years..3 This is not to be regarded as a weakness of the text: Londeix makes no claims that it is a complete pedagogical work – it is merely a description of what is available. and advice. The Techniques of Saxophone Playing (Kassel.. they demonstrate a history of extended techniques in the twentieth and twenty-first centuries.6 A third available text is Jean-Denis Michat’s Un Saxophone Contemporain. 7 Jean-Denis Michat. while similar to Londeix’s. a slightly more expansive alternative to Londeix’s work appeared. www. Combined. An unfortunate limitation of this work is the lack of translation: it is currently only available in the original French. Again. instruction.jdmichat. of possibilities available on the saxophone. this text is extremely useful for saxophonists and composers alike though. 7. “Un Saxophone Contemporain” (Paris.com. 3 4 Ibid. 2 . 103-111. vibrato manipulation. Ronald Caravan’s works Paradigms I8 and Paradigms II9. 9 10 Ronald Caravan. and slap tongue amongst other techniques.thread among the works. flutter tongue. Additionally. sub-tone. Caravan considers these works concert etudes. His Neuf Études (with volumes for alto. 11 Christian Lauba. These works are quite broad in their approach to extended techniques – perhaps too broad. tenor. adopt a similarly ! Ronald Caravan. pieces intended for performance. In both cases. Neuf Études. and other sonorities. multiphonics. these works are most useful in combination with “traditional” etudes. however. Ronald Caravan. might be among the first etudes focusing on extended techniques. 1988). including: quarter tones. both written for alto saxophone. PA: Dorn Publications.11 Lauba’s works. 1992-1994). Paradigms II (Medfield. these works combine a number of extended techniques in a single etude: the first etude of Paradigms I includes vibrato manipulation. “Ballad in Color” from Paradigms I. timbre shifts.10 Christian Lauba also composed etudes exploring extended techniques. 1-4 (Paris: Alphonse Leduc & Cie. multiphonics. timbre variations. Paradigms I (Medfield. There are particularly influential collections of etudes available for saxophonists wanting to familiarize themselves with extended techniques. and quartertones. vol. is a general lack of exercises or studies the performer can apply to his or her instrument. also considered concert etudes. key sounds. These spectacular pieces explore numerous techniques. soprano. Surely. PA: Dorn Publications. and baritone saxophones) are landmark works that examine circular breathing. 3 . 1976). slap tongue. A technique nearly identical to voicing. 15 ! Johanna Spector.expansive approach of combining multiple techniques into a single piece: His first etude. 1970). http://www. multiphonics. are relatively new to concert saxophone music. “Balafon” is an exercise in sub tone.” in Scientific American (September 20. Richard Ingram (Cambridge: Cambridge University Press. 1998).12 What are Extended Techniques? At this point. 2004). 1992).” in Ethnomusicology. or performance requirements that explore beyond the standard parameters of the instrument. “Balafon” from Neuf Etudes.com/article..” in The Cambridge Companion to the Saxophone. however. These techniques are not necessarily new to saxophone performance. 64.scientificamerican. many of these techniques pre-date the invention of the saxophone. “Invention and Development.cfm?id= the-throat-singers-of-tuv&page=2 (accessed March 10. vol. for example. no. the inventor of the saxophone himself. vol. ample documentation exists of vaudeville-era artists using exotic styles of playing and tone colors.14 Furthermore. 14.15 Arabic music frequently contains microtonality in the “maqam” or modes of pitches. 13 ! 14!Thomas Liley. A partial listing of available extended techniques is available on the next page. Christian Lauba. 1999). 1 (Paris: Alphonse Leduc & Cie. “Classical ‘Ud Music in Egypt with Special Reference to Maqamat. The Six Brown Brothers and the Dawning of a Musical Craze (Oxford: Oxford University Press. Theodore Levin and Michael E. 15. can be found amongst the Tuvan people of what is modern-day Russia and Mongolia.13 Several extended techniques (including altissimo) date back to Adolphe Sax. 2013). 2 (May. colors. 12 Bruce Vermazen. and circular breathing. “Extended techniques” is a term that refers to any sounds. 4 16 . “The Throat Singers of Tuva. ed. it is perhaps wise to discuss the definition of extended techniques. See Table 1. 243-244.16 Many techniques. Edgerton. This document consists of two parts: exposition and development. As demonstrated above. The texts mentioned above. The exposition is the basic review of available literature on extended techniques. The development is a discussion of original etudes entitled Pushing Boundaries: 40 Etudes 5 . form the core of this section. Furthermore. there is also ample resource for the discussion of extended techniques. in addition to other specialized documents. there are several examples of works that include these techniques.Table 1 Selected Extended Techniques Technique Altissimo Parameter Range Extension Notes above the standard written range (F6) Circular Breathing Breathing Cyclical breathing producing continuous sound Double Tongue Articulation Use of the front and back of the tongue to ostensibly double the available rate of articulation Microtones Pitch Includes tones in between semitones Timbre Shifts Tone color Adds to the available palate of sonorities available on the instrument Multiphonics Pitch Allows for two or more simultaneous pitches to sound on what is otherwise a monophonic instrument Slap Tongue Articulation Adds to the available palate of sonorities available on note-beginnings Vocalizing Breathing/Pitch Allows for polyphony on what is otherwise a monophonic instrument Justification There is no lack of etude books available to saxophonists. The author is entirely unaware of non-concert etudes that are purely pedagogical (yet still musically satisfying) in their approach to extended techniques. A second assumption is that the performer is under the guidance of a competent instructor. A second limitation is that they do not include descriptions on how to accomplish each technique. and vocalization. These etudes tackle selected extended techniques directly. namely: voicing. they are to be attempted as a step in the perfection of each technique. The first assumption is that the performer has had success at a basic level with each extended technique. Limitations and Assumptions Pushing Boundaries: 40 Etudes on Extended Techniques by Patrick Murphy limits itself by focusing on only a few techniques. rather. circular breathing. this is beyond the intended scope of this work. Finally. slap tongue. require significant adjustment before they can be performed on other instruments. Many of the etudes translate well to other instruments in the saxophone family (perhaps even the woodwind family as well). multiphonics. but one will have more success with an instructor experienced in advanced techniques. microtones. this work is one intended for performance on the alto saxophone. furthering altissimo. especially those with special fingerings for specific multiphonics or microtones. In composing these works. timbre shifts and bisbigliando. Some etudes.on Extended Techniques by Patrick Murphy (see appendix C). double tongue. Each technique is approached in four different and unique manners that offer the performer multiple styles and methods to learn these techniques. beginning altissimo. the author consciously assumed several facts. These etudes can be approached without assistance. These are not quite beginning studies. 6 . 1998). it would be a mistake to ignore those dealing jazz or popular music. 1926). Sax-Acrobatix: The Book of Saxophone Stunts and Tricks (New York: Belwin.19 What exists of this book is an invaluable historical and practical resource. and slap tongue.Chapter 2 REVIEW OF RELATED LITERATURE AND REPERTOIRE Literature on the saxophone’s extended techniques can be traced back as early as the publication of Henri Weber’s Sax-Acrobatix in 1926.B. many other texts have become available. 17 18 Ibid. a full copy of Sax-Acrobatix has yet to be found: a few excerpts are available on several web pages. “laughing” into the horn. Some of these texts were intended solely for the sake of the performer (i.20 Topics presented below form the basis of Pushing Boundaries: 40 Etudes in Extended Techniques.18 It is by no stretch of the imagination that Weber found inspiration from vaudeville star Rudy Wiedoeft: topics in the Weber’s book correspond with those identified by Thomas Liley as being key characteristics of Wiedoeft’s technique. The author of this text recalls obtaining a copy of Sax-Acrobatix in 2004. Inc. http://tamingthesaxophone.html (accessed January 12.e.. While this document will focus on texts in the “classical” tradition. pedagogical documents) while some also proved valuable for composers. “The Repertoire Heritage.com/saxophone-effects. (See Appendix B) Although many other techniques exist. Unfortunately. Henri Weber. 54. Weber devoted this text to the jazz and popular saxophonist. Thomas Liley.” in The Cambridge Companion to the Saxophone. but it has since been lost. Richard Ingham (Cambridge: Cambridge University Press. the author of this document chooses to highlight nine specifically because of either their widespread presence in saxophone literature.. 7 20 . or their pedagogical importance.17 Since this publication. ed. 19 N. 2013). These include pitch bends. at the time of writing this document. near the roof of the mouth. “Maintain an arch in the tongue..” with additional steps including. 1992). 3. when performing. Dabney. in and of itself. 21 22 Ibid. “Maintain a large vacant area behind the teeth and in front of the Donald J. and ease in the altissimo register. intonation. Sinta indicates the importance of its study quite succinctly: Voicing study is intended as a training procedure. specifically the soft tissue. voicing appears to be a means to an end. Voicing can simply be described as the manipulation of the oral cavity. It is a technique that is not unique to the saxophone – the pronunciation of vowels in everyday speech requires the use of the same muscles.”21 Sinta’s text. their focuses tend to be in the context of altissimo production. is a preliminary process. -. Donald Sinta states. Virginia: Sintafest. 8 . Voicing: An Approach to the Saxophone’s Third Register.Voicing and Altissimo In his text. and overall control of the instrument. The benefits of a study of this kind are not limited to the acquisition of altissimo and daily practice is recommended for even the most advanced players. While several authors refer to the oral cavity and the manipulation thereof. Rosemary Lang’s recommended techniques for altissimo production include such steps as. 2.22 Thus. “Voicing refers to an awareness and control of the muscles and soft flexible tissue in the oral cavity and vocal tract. Though he acknowledges that voicing. Sinta and Denise C. control of intonation. consists of exercises primarily based on overtone production. Voicing: An Approach to the Saxophone’s Third Register (Radford. not as a technical skill directly applicable to normal saxophone performance. arguably the most complete work for voicing study on the saxophone. Applying voicing to the saxophone allows for manipulation of tone color. The skills acquired through the study of voicing will undoubtedly aid the saxophonist in improving tone quality. but keep the arch high. sopranino and soprano are indicated as having an upper extreme of D6. It is important to note that Berlioz included the range of six saxophones: “high” or sopranino. though there is little mention of tongue position. historical texts and conjecture differ. Berlioz. 233. soprano. 2002). ed.28 Curiously.tongue. 9 28 . baritone. Beginning Studies in the Altissimo Register (Indianapolis: Lang Music Publication. 27 Sigurd Raschèr.” and. Thomas Liley suggests that Berlioz heard Adolphe Sax himself perform notes higher than F6: Rosemary Lang. alto. i. 11-32.. “Think the sound ‘urr’ silently while blowing.24 In spite of this. 2nd ed. makes reference to air-stream direction and air pressure. 23 Eugene Rousseau. and bass. tenor.27 Voicing serves as a good jumping point into the extended range of the saxophone. Inc. first published in 1978 and republished in 2002. 1882). and baritone saxophones. (New York: Carl Fischer. Eugene Rousseau’s Saxophone High Tones. (Saint Louis: MMB Music. indicates the range as a written B3 to F6.”23 Her text does not acknowledge any other use of this technique. Voicing: An Approach to the Saxophone’s Third Register. 1977). Limited. 3rd. Ed. 1-2. Hector Berlioz. 1988). Trans. Saxophone High Tones.26 Sigurd Raschèr’s work.. Bass is defined with a slightly wider range of written B3 to E-flat6. As one searches through the history of the saxophone. 24 25 Ibid. Mary Cowden Clarke (London: Novello and Company. A Treatise on Modern Instrumentation and Orchestration. includes a reference to the importance of overtone study (along with exercises) without a full discussion of oral cavity awareness. 2-7 26 Sinta and Dabney. The range of B3 to F6 corresponds only to the alto. in his seminal work A Treatise on Modern Instrumentation and Orchestration. the exact performance range on the instrument is subject to debate. Joseph Bennett. Rousseau’s “Closed Tube Exercises”25 are quite similar to the introductory exercises presented in Sinta’s text. Top-Tones for Saxophone. Top-Tones for Saxophone. 12. tenor. While B3 is given as the standard written lowest note. Raschèr’s Top Tones Thomas Liley. Not until the third decade of the twentieth century did the topic reappear in method books and pamphlets by writers such as Bolduc. owing to the nature of saxophone construction. there is no evidence of any further range extension. Universal Method for Saxophone (New York: Carl Fischer. Bruce Ronkin. and remained so for several decades. Works. 1998). it is possible that Sax taught altissimo notes to his more advanced student. followed. Being an expert acoustician and clarinetist. 31 10 . is identical.30 yet. DeVille introduces the Auxiliary-F key and includes exercises employing that key. 1908). notably those commissions by Sigurd Raschèr. However. Sax was obviously aware that the saxophone was capable of producing tones above high F [F6]… Although these high notes are not notated in any of the Sax publications.” in The Cambridge Companion to the Saxophone.31 It was not until 1941 that Raschèr published the first edition of Top-Tones for Saxophone – one of the earliest texts devoted to notes above F6 (hereafter referred to as altissimo). “Invention and Development. Sax assisted Kastner in creating his Méthode complete et raisonnée de saxophone. Eby. Several texts. 142 pages in length. 91-92. began to employ notes in the altissimo register.A. called the altissimo register. to the upper register of the flute or clarinet. in theory. but apparently the upper range was infrequently used. “The Music for Saxophone and Piano Published by Adolphe Sax. Liley’s pitch indications of b and f3 correspond to B3 and F6. these upper partials are considerably more challenging to produce than their clarinet or flute equivalents..We have no reason to doubt that Berlioz (and others) heard a three-octave compass from Sax. pedagogies developed. 29 30 Paul DeVille. Richard Ingram (Cambridge: Cambridge University Press. The University of Maryland (1987). presents fingerings for a written range of b to f3. published in 1845… The book. 61-62. already referenced in this document.M. Bruce Ronkin sheds some light on the lack of documentation of high notes: The upper range [of the saxophone].” D. ed.29 A brief review of Paul DeVille’s Universal Method for Saxophone (one of the earlier saxophone methods published in America) confirms a dearth of notes higher than F6. As the altissimo range gained popularity. the first saxophone method book. Lyon. diss. and Winn. 15. Londeix altered the French approach to altissimo from that of relative indifference to compulsory. 42. Ballade (Vienna: Universal Press. 1938). Top-Tones for Saxophone. Thomas Dryer-Beers. Jean-Marie Londeix credits Donald Sinta for providing an introduction to the altissimo range. 19. 37 11 . 1935). ed. perhaps notoriously. 1931).36 It is because of Rascher that altissimo became accepted by composers and saxophonists alike.favored an approach based on the fundamental fingers. NJ: Roncorp Publications. Richard Ingram (Cambridge: Cambridge University Press. 1998).33 In France. Londeix’s pedagogy thrives. Concertino da Camera (Paris: Alphonse Leduc & Cie. Lars-Erik Larsson. Jean-Marie Londeix: Master of the Modern Saxophone (Cherry Hill. and. Concerto by Ingolf Dahl. 1979). and Rousseau 37-46) but Sinta’s text devotes significantly more time to overtone study (47 pages as opposed to Rousseau 4 pages). 33 James Umble. 35 36 Raschèr.” in The Cambridge Companion to the Saxophone. Based largely on his own invented fingering system. Works such as Ballade by Frank Martin. 2000). Both authors include fingering charts of their own inventions (Sinta. 34 Frank Martin. 19. Ingolf Dahl. 123.37 32 Raschèr. Harvey Pittel (New York: European American Music Corporation.32 Sinta and Rousseau’s texts betray an approach based on a combination of fundamental fingerings along with invented altissimo fingerings. ed. Konsert (Stockholm: Carl Gehrmans. “Influential Soloists. 60-65.34 Altissimo began to be explored in significant detail beginning with the commissions by Sigurd Raschèr. Jacques Ibert. Concerto. Concertino da Camera by Jacques Ibert35 delve greatly into the altissimo register largely by Raschèrs request. Konsert by Lars-Erik Larsson. Top-Tones for Saxophone. no.40 The work was published prior to volume one of Christian Lauba’s cycle Neuf Etudes – a works with dedications to Londeix that features circular breathing as a major component. 42 Michat. 38 39 Ibid. Neuf Études. Translation was completed by the author of this paper. La “respiration circulaire” ou “respiration continue” est une technique permettant de prolonger la durée naturelle d'expiration. 82. 12 . vol. Vladimir Machmarchik points to evidence of ancient Greeks using the technique while performing on the aulos. Pendant ce temps. Sax.” The Journal of the International Double Reed Society. 1-4 (Paris: Alphonse Leduc & Cie. 42 “Circular breathing” or “continuous breathing” is a technique that allows for the prolonging of the natural exhalation.41 A second edition might be appropriate. “Some Mysteries of Ancient Greek Aulets. http://www. while brief. “Un Saxophone Contemporain. Sax. 2013). as it applies to the saxophone. is that by Jean-Denis Michat.B.idrs. 1994). Another text with a better definition of circular breather.” 30. At the same time. The cheeks are inflated like balloons to take the place of pulmonary exhalation.html (accessed January 12. une inspiration nasale (ou plusieurs) permet de ravitailler les poumons de l'instrumentiste. 40 Londeix. 43 N.Kachmarchik. 41 Christian Lauba. or Parameters of the Saxophone. breathing in through the nose (nasal inhalation) can provide air to the lungs of the instrumentalist. 22 (July.org/ publications/hcontrolled/DR/JNL22/JNL22. Hello! Mr. is a valuable general resource for instrumentalists.39 Jean-Marie Londeix devotes only a brief space to the discussion of circular breathing – a mere three paragraphs – in his brilliant Hello! Mr.Circular Breathing The art of circular breathing is one that can be traced through many cultures..43 Vladimir Kachmarchik.38 His description of the technique. Elle utilise les joues comme un ballon de baudruche se vidant pour prendre le relais de l'expiration pulmonaire. 1988-1994). folk songs. though he does make that curious assertion that “the wind performer can now approach the musical phrase as do all other instrumentalist. but it does.). Inc. 30-31.” There are many ways to achieve multiple 44 Ibid. Kindle edition.. This is analogous to vocalizing “t-k-t-k” or “d-g-d-g.. Circular breathing can be applied to any music. 1. CA: Alfred Publishing Co. hymn tunes) work well for practicing the technique. Trent Kynaston’s Circular Breathing for the Wind Performer details the art and act of circular breathing and provides numerous exercises for perfecting the technique. four of which are to be done without instrument.44 It is in America that the most detailed text. and not be bound by a single breath. on the surface.g. as it applies to wind instrument performers can be found.. It is in the author’s experience that simple pieces (e.47 Double-Tongue Although the scope of Pushing Boundaries is double-tonguing. appear rather disparaging towards wind instrumentalists and their music. popular tunes. Trent Kynaston.Michat provides five exercises. Multiple tonguing refers to the technique of rapid articulation using both the anterior and posterior of the tongue in alternation.”46 The author of this paper is uncertain of the implications of that sentence.. The first works with the explicit instructions of circular breathing are the compositions of Christian Lauba. 13 . perhaps a better term to use is multiple tonguing. 45 46 Ibid. Circular Breathing for the Wind Performer (Van Nuys. Perhaps it is a poor choice of words. vol.45 Kynaston does not identify works that specifically employ circular breathing. postlude 47 Christian Lauba. Neuf Études. tongue (tah-kah. Hello! Mr. ! Ibid. A performer who lacks the ability to single-tongue at a high speed might find doubletonguing a viable alternative. diss.” D. It should be noted that the muscular movement involved in double tongue is remarkably similar to that of voicing. 33. references it only briefly. 48 Larry Teal. 1963). in The Art of Saxophone Playing.49 Marcus Weiss and Giorgio Netti devote only two passages to it. 51 Londeix. The use of double tongue tends to be at the discretion of the performer in relation to his or her own strengths and weaknesses. 14 53 . The Techniques of Saxophone Playing. 49 50 Marcus Weiss and Giorgio Netti.48 Saxophone literature contains relatively little information regarding this technique. Larry Teal.50 and Londeix doesn’t mention it at all. 52 Michat. Michat’s text emphasizes the importance of multiple styles of double-tongue: “dg-d-g” for the middle range (G4 to C6). “t-k-t-k” for the lower range (below G4). dah-gah.141. and duh-git are among the authors favorites) and Joshua Gardner gives an excellent account and study of efficiency. The Art of Saxophone Playing (Secaucus. Michat points to excessive tongue movement as a risk for tonal stability. Joshua Gardner. Arizona State University (2010). “Un Saxophon Contemporain. tuh-kit.53 The author of this text can find few compositions in which the technique of double/multiple tonguing is mandated. Sax or Parameter of the Saxophone.A.52 Regarding the upper register. “Ultrasonic Investigation of Clarinet Multiple Articulation.51 The most valuable resource is probably Jean-Denis Michat. 8586. and “dy-d-y” for the upper range (above C6).. In such a high range. NJ: Summy-Birchard. excessive tongue will result in a pitch bend or other similar distortion.” 32-33.M.. ” 42-43. they present complete microtonal fingering charts for soprano. 24-30. He offers no advice or discussion but.55 Jean-Denis Michat also includes substantial information on microtones in addition to a very generalized fingering chart. Under this parameter. quarter. a non-essential key. Marcus Weiss and Giorgio Netti offer detailed explanation of the process of producing microtones. One method used for achieving a microtone is performing a pitch and then pressing. but these again are very general. as well. It is fortunate that there is an ample discussion of microtones in several sources. He offers a few exercises. while his charts are limited to quartertones. Interestingly.56 54 Weiss and Netti. Additionally. they include fingerings for bass and sopranino saxophone. Michat employs a notation system similar to that found in Pushing Boundaries. 55 Londeix. or raising. The charts also contain helpful indications of dynamic limitations due to mechanical properties of the instrument. but this is only in regards to the limitations of saxophone construction. These are almost all accompanied by fingering charts. tenor and baritone saxophones.Microtones Although microtonality is a feature of much of today’s world music. “Un Saxophone Contemporain. He makes passing mention of third. 15 . These charts divide into eighth. and half (semi) tones. The Techniques of Saxophone Playing. alto. Their advice applies equally to both performers and composers.54 Londeix devotes a large portion of his text to microtones. 56 Michat.and fifth-tones. Hello! Mar Sax or Parameter of the Saxophone. microtones are pitches that fall acoustically between semitones. 15-32. Accomplishing microtones generally requires the adoption of alternate fingerings for pitches. this discussion will encompass only western classical usage of the twentieth century. no. Alto voltango (Paris: Henri Lemoine. Timbre and Bisbigliando The saxophone displays great capability in generating many different tone colors (timbres). 114. uncertainty exists over whether works prior to the publication of Hába’s use microtonality on the saxophone. 1987). Other times. Xas (Paris: Editions Salabert. Partita (London: Faber Music. 1999). 61 62 Luis Naón. Microphobia (Amsterdam: Donemus.” which exploits microtonality to great effect.62 Historically. 590-592.61 Luis Naón’s Alto Voltango is another fantastic duet with vibraphone that expertly combines the shimmering microtonal intervals between the saxophone and vibes.59 In terms of chamber music.57 Among the saxophone repertoire is a work by Haba. 2005). two of the most notable works employing microtones are Iannis Xenakis’ XAS60 and Martin Bresnick’s Every Thing Must Go. 1564 (June.It is generally accepted that Alois Hába is the first western composer to employ microtones regularly in his works. The first method is similar to microtone production: perform a pitch while lowering. Ltd. there are generally two ways of accomplishing a timbre change on the saxophone.58 In a similar vein. With regards to fingerings. “A Note on Alois Hába. It is not uncommon for Jiri Vyzlouzil. entitled “Partita. Every Thing Must Go (New York: Carl Fischer. ! 60 Iannis Xenakis. a non-essential key. Sander Germanus’ Microphobia relies entirely on microtones. different timbres can be produced. 1968).! 16 . 59 Sander Germanus. by use of specialized fingerings. vol. Martin Bresnick.. 2007).. Many of these can be accomplished by shifting the embouchure or throat muscles. Bresnick’s use of microtones is to “correct” pitches from equal temperament to just temperament.” The Musical Times. Inc. or raising. 57 58 Alois Haba. 1973). Hello! Mr. Luciano Berio. 17 . for example. Londeix speaks of timbre changes primarily as adjustments of the embouchure. 1995) and Sequenza IXb (Vienna: Universal Editions. Londeix and Netti offer very differing accounts of timbre. 1984). 1980). Michat. Whereas Londeix gives a general discussion of ideal saxophone timbre. 65 66 Ronald Caravan. 64 Willaim Albright. Peters Corporation. Netti on the other hand treats timbre and bisbigliando as a single entity. Sonata (New York: C. He does devote quite some time to bisbigliando (that is. surprisingly. 63 Londeix. Paradigms I. Sax or Parameters of the Saxophone.64 Luciano Berio also uses timbre shifts in both of his saxophone Sequenzas. tight vibrato. François Rossé’s Le Frêne Égaré. F.timbre fingering and microtone fingerings to overlap. William Albright’s Sonata uses this technique is a very limited fashion. His method relies entirely on alternate fingerings. 44 and 46-64. fluttertongue.65 A notable early study (early in both the sense that it is an earlier work and a work appropriate for students early in their studies of extended techniques) in timbre shifts is located in Ronald Caravan’s Paradigms 1.63 His approach in timbre describes the ideal sound of the saxophone and the general capabilities of the instrument. The approach that Netti offers is significantly more technical than Londeix’s. A second method is by voicing overtones off a low fundamental fingering. Netti deals entirely with the mechanics of the instrument. requires the performer to use “breathy” sounds. is silent on the topic.66 It should be noted that several other methods of timbre change are available on the instrument that are not fingering related. Saxophonist’s will encounter several works that employ timbre shifts and bisbigliando. timbre trills) but this is a section of the book distinct from timbre. Sequenza VIIb (Vienna: Universal Editions. though. text on multiphonics with fingerings for sopranino. Each multiphonic must be treated as a separate and unique entity – each individual multiphonic fingering brings with it a set of unique limitations. Multiphonics can consist of anywhere from two to four recognizable pitches.68 Multiphonics Multiphonics refer to the simultaneous performance of multiple pitches. the simultaneous sounds are affected by the mouthpiece or reed used. and entirely timbreless sounds (pure breath). Sax or Parameters of the Saxophone. Alphonse Leduc & Cie. but sometimes also of embouchure (by placing more or less of the mouthpiece in the mouth). soprano. are very similar. 70 Weiss and Netti. 67 François Rossé. Hello! Mr.70 No discussion on multiphonics would be complete without mention of Daniel Kientzy’s contribution to the pedagogy of the instrument. and probably most complete. they can also be accomplished by singing in the instrument while playing a pitch. Londeix states: Requiring a special technique of fingering. though they are on a much smaller scale. dynamic. Le Frêne Égaré (Paris: Gérard Billaudot. and also by the make and model of the instrument itself. The Techniques of Saxophone Playing.69 Weiss and Netti are even more specific. Their discussion of mulitphonics identify embouchure. threshold tones (tones by which the multiphonic may be approached or departed. 1972).67 The works of JapaneseAmerican composer and saxophonist Rio Noda. 57-63. The performer practices and is trained to correct the variables. pitch stability. Of these limitations. Multiphonics are often accomplished by using special fingerings.. 1981). Kientzy created the first.loose vibrato. 18 . “shadow” sounds. 68 69 Londeix. The earliest work of this sort that a student is likely to encounter is Improvisation 1 (Paris. 31. 1993). 1970). Daniel Kientzy. Steady Study on the Boogie (Paris: Gérard Billaudot.73 One work that utilizes multiphonics is Edison Denisov’s Sonata. This text. stable Aggregate of two or more partials over a fundaments Narrow dyad Categories B-E are subdivided in the Second Level of overtones. See Table 2.74 Thanks to the efforts of the composers of these works. 73 Ibid. The Techniques of Saxophone Playing. This text is instrumental for the young saxophonist in providing a guide and fingering method... “Shu Gath Manna. 1987. 60. Steven Galante. Table 2 First Level of Multiphonics72 Category A B C D E Description Layer of natural overtones over a fundamental fingering Sound with strong oscillation Wide dyad.71 Several different categories of multiphonic are available and they have been compiled and identified by Weiss and Netti: Two levels are identified each consisting of several families. 71 72 Weiss and Netti. 19 74 . while an excellent resource. Les Sons Multiples (Paris: Éditions Salabert. and baritone saxophones. Other notable works include Steven Galante’s “Shu Gath Manna. 61. multiphonics appear with greater frequency than in the past.” and Christian Lauba’s Steady Study on the Boogie. The author finds that Londeix and Weiss/Netti offer a more guided approach in comparison to Kientzy. 1982). tenor. is a bit confusingly arranged. Edison Denisov.alto.” score. Sonata (Paris: Alphonse Leduc & Cie. Christian Lauba. and open. The secco and the standard slap are identical except that. It is important to identify the relative lack of discussion regarding slap tongue. it cannot be performed at soft dynamics. While the standard and the secco slaps (referred to as closed slaps) are generated by tongue motion. The sound of the slap is the reed releasing from that vacuum and hitting the tip-rail of the mouthpiece. Londeix mentions it. one rapidly draws the lower jaw away from the mouthpiece resulting in an abrupt percussive effect.76 The sound generated by closed slaps is quite different from that of the open slap – it takes on a pizzicato sound. secco. while the secco slap is performed with lower dynamics. NC: Pecktacular Music. To achieve the open slap. the open slap is created with the embouchure. 77 Londeix. The Techniques of Saxophone Playing. 143. Drastic Measures (Greensboro. for the secco.Slap Tongue Weiss and Netti identify three varieties of slap tongue: standard. This effect can best be described as explosive and powerful. ! 20 . give a detailed description along with a 75 ! Weiss and Netti.77 Michat. Perhaps the most prominent work that uses the open slap is Russell Peck’s Drastic Measures. The standard slap can be performed at almost any dynamic. Sax or Parameters of the Saxophone.75 Though this project deals with the standard variety (and to a very limited extent. 1979). a few words of note must be made of open slap. the performer can draw the reed away from the mouthpiece. 92-94. is minimally blown) into the saxophone. but he doesn’t deal too much with it aside from a simple identification. air is not blown (or. By creating a vacuum between the tongue and the reed. 76 Russell Peck. Hello! Mr. the secco variety). on the other hand. 78 The earliest significant pedagogical approach to slap tongue can be found in Steven Mauk’s article. “Teaching Students to Slap Tongue. 179. 79 Thierry Esciach. Lutte (Montreuil. including a few logical exercises in attempting this technique. 1 (July/Aug. Sonata. and the process around perfecting it in detail. Weiss and Netti discuss it.80 Vocalization Vocalization is refers to any type of simultaneous playing and singing (or vocalizing) into the saxophone. “Jungle. 36. “one must play p to mf and “sing” f.”81 Londeix does not discuss this technique in detail but Michat does. Concertino da Camera. 1. Edison Denisov. The Techniques of Saxophone Playing. “Un Saxophon Contemporain.” from Neuf Etudes. These exercises are scale based and are brief.” Saxophone Journal 14. vol. Ibert incorporated the slap tongue in the cadenza of his Concertino da Camera from 1931.”79 Works using slap tongue are numerous. 21 . Their comments indicate the necessity of proper balance of dynamics between the sung part and the played part.diagram identifying tongue motions. 82 Michat.!Christian Lauba. 1995). 1989): 41. Steven Mauk. Thierry Escaich’s Lutte exploits both the secco and the standard slap. Christian Lauba uses the secco slap it to great effect in Jungle and prior to that. The technique of growling is a category that falls within vocalization. no. The technique is difficult to produce and discussion of it is relatively lacking. Un Saxophone Contemporain. Edison Denisov’s Sonata. Ibert. though they are very helpful and can the transposed in numerous ways.” 28-29. “Teaching Students to Slap Tongue. France: Misterioso.82 Works 78 Michat. specifically. 80 81 Weiss and Netti. !Lilith!(Milwaukee:!Hal!Leonard!Corporation).!1999.employing this technique include William Bolcom’s Lilith83 (specifically the growl) and Fuminori Tanada’s Mysterious Morning III.! ! 84!Fuminori!Tanada.!Mysterious-Morning-III!(Paris:!Editions!Henri!Lemoine).!1989.84 83!William!Bolcom. 22 ! . Though intended for study in a sequential fashion. Individual etudes progress logically from one to the next and each unit behaves in a similar fashion. each unit focuses on one particular extended technique. the third etude changes focus from partials to pitch-bends and the fourth branches into the altissimo register. for example. Stated at the very beginning of each etude is the purpose or "usage" of the extended technique. 85 Francis Lützow. 23 .Chapter 3 A PERFORMANCE ANALYSIS OF “PUSHING BOUNDARIES: FORTY ETUDES ON EXTENDED TECHNIQUES” BY PATRICK MURPHY While not a pedagogical document per se. 1914). many benefits can be gained regardless of order. the etudes of Pushing Boundaries: Forty Etudes on Extended Techniques by Patrick Murphy offer a practical application of extended techniques for saxophonists. M. The second etude takes a preexisting melody85 and. Each etude within a unit employs the chosen extended technique in a unique manner. using similar techniques gained from the first etude. The Hussite Wars (London: J. 30-31. In the case of the first unit. See Table 3. This focus on a single technique per unit is entirely intentional: slow methodical mastery deems combination of multiple techniques inappropriate for the purposes of this project. the first etude focuses on simply mastering the performance of the first and second partials through the use of oral cavity manipulation. Divided into ten units of four etudes. expands into the third and fourth partials. With this further understanding of the oral cavity. Dent & Sons. conjunct and disjunct passages Slow. melodic passage Simultaneous pitch changes on both the instrument and in the voice Simultaneous parallel melodic motion There are three distinct divisions in the entire work. non-repetitive. gradual extension of circular breathing ability Repetitive scalar and arpeggiated passages Rapid. The first unit. and repetitive passages Rapid. disjunct passages Hybrid conjunct and disjunct passages Rapid. quiet passages Study and awareness of the oral muscular mechanism Legato. “microchromatic” passages Slow. repeated passages Rapid. beginning altissimo. melodic passages Repetitive. conjunct. chromatic passages Repeated notes with varying velocity Slow. conjunct passages Expressive. arpeggiated. leads directly into the second unit. This is a logical progression given voicing’s nature as a 24 . The first division is etudes based on tongue and throat control. voicing. melodic passages As a contrapuntal technique Low tessitura in pointillism In the higher tessitura Sustaining a pitch after a slap Rapidly articulated passages Rapid disjunct passages Extending altissimo via cadenza Flexibility Singing pitches both above and below a performed drone Singing a drone while performing a moving. conjunct passages Melodic passages Utilizing multiple fingerings in rapid ostinato passages Repetitive patterns with varying dynamics Timbral “trills” Isolation of individual pitches with a focus on dyads Using threshold tones to precede articulated multiphonics Rapidly shifting multiphonics Rapid. conjunct passages Rapid.TABLE 3 Etude units with stated usage(s) Number Unit 1 Voicing 2 Voicing 3 Voicing 4 Voicing 5 Beginning Altissimo 6 Beginning Altissimo 7 Beginning Altissimo 8 Beginning Altissimo 9 Circular Breathing 10 Circular Breathing 11 Circular Breathing 12 Circular Breathing 13 Double Tonguing 14 Double Tonguing 15 Double Tonguing 16 Double Tonguing 17 Microtones 18 Microtones 19 Microtones 20 Microtones 21 Bisbigliando 22 Bisbigliando 23 Bisbigliando 24 Bisbigliando 25 Multiphonics 26 Multiphonics 27 Multiphonics 28 Multiphonics 29 Slap Tonguing 30 Slap Tonguing 31 Slap Tonguing 32 Slap Tonguing 33 Furthering Altissimo 34 Furthering Altissimo 35 Furthering Altissimo 36 Furthering Altissimo 37 Vocalizing 38 Vocalizing 39 Vocalizing 40 Vocalizing Stated Usage Mastery of the first and second overtones Multiple and mixing overtones melodically Pitch-bends not exceeding a minor third Voicing as a means to achieve altissimo Slow. many fingerings used for microtones can be applied to timbre and bisbigliango fingerings. Circular breathing. is a technique that employs the tongue and palate in conjunction with the cheeks to maintain control of the pitch. in altissimo’s case. It would be remiss to ignore a few of the peculiarities that accompany these etudes. microtones are introduced which serves as an ideal point-of-departure for atypical fingerings. The eleventh etude. the performer is required to accurately use a combination of complex fingerings and voicing to achieve successful multiphonics. Vocalizing expands upon multiphonics with the requirement of two simultaneously sound pitches. but in fact detrimental. Beginning altissimo leads to circular breathing. absent. and Cascading. The final three etudes are those that advance techniques covered in the previous seven. and purposely. timbre and bisbigliando are explored. 25 . Optimistic. and probably most evident. circular breathing leads to double tongue. First. Second. 86 Metronome markings are left entirely. In conjunction with this. exact tempo markings are not simply unnecessary. First. for instance. and Largo are replaced with terms such as Mysteriously. poses different sets of challenges when performed using different tempi. multiphonics are brought in: Instead of dealing with simply one pitch. is the favor of the English language over traditional Italian. the soft tissue of the mouth. Slap tongue and advanced altissimo both require even more control of the tongue and. Finally. Allegro.they simply imply a mood or emotional state to be associated with the piece. Finally. These challenges are legitimate and should not be ignored.preliminary exercise. Eschewed terms such as Andante. For the purposes of this work. the English terms chosen tend not to indicate exact tempos86 . an exercise based on tongue and oral soft-tissue control. The next division is those etudes based upon complex fingerings. though largely based on the lungs. Paramount is the matching of timbre and intonation.89 Etudes 1-4: Voicing Channeled in the first two etudes is the spirit of the initial Sinta exercises: the focus is on the first few overtones available on the lowest pitches of the instrument. Keilworths. Selmers. the author of this text used his own alto saxophone to test each fingering. This is prior to the “Z” and “EX” models of instruments. 26 . The author of this text performs on a Yamaha YAS-875 Custom alto saxophone purchased new in October of 1999. later Yamahas.90 87 A fingering chart may be found at the very beginning of Appendix A.. 10. 89 90 Sinta and Dabney. the notation system indicated is relatively unique to this work. The first etude makes the assumption of success in preliminary exercises of voicing. 88 Weiss and Netti. The Techniques of Saxophone Playing. See Figure 1.g. The author of this text whole-heartedly concurs with Weiss and Netti on the statement “Small variations might occur in certain cases with other makes of saxophone…”88 In all cases. Voicing: An Approach to the Saxophone’s Third Register. and Yanagisawas) should explore their instruments in determining the most accurate and convenient fingerings. In accordance to Sinta’s directive. Students using other models (e. use of a tuning device would be tremendously beneficial.87 The selected fingerings are based on a combination of personal experience and Marcus Weiss and Giorgio Netti’s The Technique of Saxophone Playing.In etudes requiring special fingering notations. 11. Lang. The author of this text believes that beginning on the unvoiced pitch is beneficial to the novice "voicer. sub-dividing works into smaller sub-works is a technique that can be applied to many of the etudes presented. Sinta. See Figure 2. the performer plays a C5. there is no requirement that each etude must be looked at as a single entity. This pattern repeats over the next five measures on different notes. Raschèr. These first twenty-eight measures can be viewed as a sub-etude. 27 . In fact. and Rousseau initially reverse this process. Immediately following.FIGURE 1 Overtone Series Looking at the first measure of the first etude. the performer plays the same C5 while using the fingering for “low” C (C4)." Using a matching-pitch to precede the overtone (the voiced pitch) gives a student a model for intonation and timbre and allows for an easing into the process of oral muscular manipulation. Measures 1 through 28 focus on the first overtone. The second overtone makes its appearance beginning in measure 30. The stability of the fingering pattern allows for the focus to be placed on the actual process of voicing. While the pitches may differ. The fingering pattern presented above is retained but augmented.. the order of overtone fingerings remains identical: Measures 1 and 30 both are both based on an overtone off of the C4 fundamental. Measures 2 and 31 are both based on an overtone off of the B-flat3 fundamental. Measures 30 through 57 can be viewed as a sub-etude similar to measures one through twenty-eight. a preceding pitch leads into each overtone allowing for a relatively smooth transition from one pitch to the next. See Figure 3. etc. Again. 28 . FIGURE 2 Etude #1: Voicing (mm. 1-8) Measure 59 begins the process of combining the first and second overtones... 31.FIGURE 3 Etude #1: Voicing (mm.”91 This piece is often referred to as the “Bohemian Marseillaise. 1919). The Music of Bohemia (Boston: The Merrymount Press. The wars were a pre-cursor to the Protestant Reformation and resulted in a fracturing of the church in Bohemia: The Church of Bohemian (Moravian) Brethren developed into a powerful influence.57-64) Etude #2 (Czech). Ladislav Urban. Minor alterations including key and a few pitches in the melody were utilized to better suit the purposes of this project.” or “All Ye Warriors of God. assaulting. 11. takes its melody from the tune of an ancient Bohemian battle hymn “Ktož jsú boží bojovníci. deeply religious. 93 29 . the second. The chorale contains two motifs: The first. 30. the hymn was a source of national pride. with its characteristic hammering rhythm. expressing in its restrained but sweet melodic form absolute faith in the final victory of truth. It is from this text that the author derived the hymn tune. The Hussite Wars.. The 91 Lütsow. 92 Ibid.93 Sung frequently during the Hussite Wars in Bohemia (in what is now the modern-day Czech Republic). like repeated blows of weapons.”92 According to Ladislav Urban: The great battle hymn of the Czechs was a spiritual folk-song… Whenever this was sung in a charge it sowed terror and confusion broadcast among their enemies. Voicing: An Approach to the Saxophone’s Third register. Perhaps most notable is Karel Husa’s Music for Prague. To aide the performer. 8-10. While these two etudes function as a single unit. Following this initial presentation.95 The oral muscles used are the same. 30 95 . The specific fingerings are always indicated in the music.94 Etude #2 can ultimately be defined as a theme with “hidden” variations. Etude #3 employs voicing in a different manner. third. This doesn't simply provide the “theme. This is similar to the manner to the first etude. With regards to the hidden nature of the variations. the performer will utilize different fingerings to perform the same pitches. 1968). The melody appears plainly in the opening seventeen measures. the work branches out to include the second. 94 Karel Husa. Though the works are somewhat pedantic.hymn tune features heavily into many works. just to different affect. and fourth overtones. The aim of this etude is to gain flexibility and fluidity of the oral muscles. then a major second. When looking at Etudes #1 and 2. the melody repeats with fingering alterations that require the performer to voice in a similar manner to the first etude. Inc.” it reinforces the melody for the performer. emphasis must be placed on musical expression. This etude focuses on bending pitches initially by an interval of a minor second. Music for Prague (New York: G. Sinta and Dabney. See Figure 4. while the melody remains unchanged throughout the course of the entire etude. Soon after. Schirmer. the pitch bends extend no further than a minor third. The focus with this first repetition is entirely on the first overtones. This section of the book introduces exercises in pitch bending on a high F (F6). and finally a minor third. the performer must not abandon any sense of musicality. Etude #3 changes focus from overtones to pitch bending. a low B-flat (B-flat3). See Figure 5. 1-17) The final etude of this unit combines overtone study with oral flexibility.FIGURE 4 Etude #2: Voicing (Czech) (mm. 31 . The technical requirements of this etude are rather straightforward: the performer uses the oral muscles to attain different pitches in the overtone series (creating a melody) all-thewhile fingering nothing but the fundamental. A performer should start by articulating each pitch (either with only air or with a “kuh” attached) and then. Repetition is not shunned. rather. For those new to this technique. Given the preliminary nature of voicing study. it is used in order to improve comfort. work to “slur” between pitches. the overtones can be adjusted the proper interval. 32 . the gentle approach of the first etude gradually yields to increasing aggressiveness. combining techniques is appropriate. If that decision is made. When viewed as a unit. Voicing is used in multiple ways to give the performer multiple perspectives. the first four etudes provide a pedagogically and musically sound performance experience. 1-3) This etude can easily be transposed such that the fundamental is a low B (B3). low C (C3) and further up to an E-flat or E (E-flat4 and E4).FIGURE 5 Etude #4: Voicing (mm. This relates to the earlier discussion of tempo assignments: a student should be encouraged to feel free to perform etudes in different ways. slowly and meticulously. Initial study will prove difficult: creating a seamless transition from overtone to overtone is a skill that eludes many in the beginning. Perhaps the use of the “Ktož jsú boží bojovníci” melody is appropriate. This etude is one of the few that combines two different extended techniques: voicing and altissimo. tend to favor fingers based on lower fundamentals. fingerings in disjunct passages (in the case of these etudes. 96 Eugene Rousseau. A-key. See Figure 6. the depression of fewer keys results in a lighter. Saxophone High Tones. Etude #5 sets forth a straightforward melody in the upper tessitura of the instrument. and G-key.Etudes 5-8: Beginning Altissimo The most vital parameter of the next grouping of etudes is limited range: the melodic line at no point exceeds a B6. and 3 for example correspond to the B-key. and Tf) indicate trill/alternate keys. 2. Saxophonists must have a veritable “arsenal” of altissimo fingerings dependent on context. The presence of more depressed keys results in greater resistance causing a stable leap between intervals. Under these circumstances. faster technique. Tc. Rousseau hints at this in his text with a discussion of the modes (or fundamental fingerings) of overtones. Disjunct passages. fingerings based on lower fundamentals with more keys depressed) in order to provide stability. 33 . suggests relatively closed fingerings (that is. isolated pitches approached and/or departed by a leap into the standard range) are likely to be rather distinct. Another prominent feature is the use of altissimo in two ways: conjunct and disjunct. This etude combines both conjunct and disjunct passages and. Etude #5 introduces a number-and-letter shorthand to indicate depressed keys. Compared to fingerings used in conjunct passages (where the melodic line is relative scalar and altissimo pitches are located together). in the case of the latter. A full reference to this notation system can be found in Appendix A. on the other hand. Numbers 1.96 In the author’s experience. conjunct passages benefit from modes based on higher fundamentals. “T” notations (Ta. 22. however. This etude. Fingerings do not appear in this movement. should be avoided. Etude #2 takes a similar approach to the first etude: areas of conjunct music contrast with areas of disjunct. 19-24) This etude should be approached at a relaxed pace especially when confronting the disjunct passages. Melody should be approached naturally without being over-emotive. many different approaches can yield success. This etude divides into three sections (scales that 34 . Care should be taken that to avoid “cracks” (that an incorrect overtone) in between larger intervals. takes a similar approach to the first two etudes. perhaps. Vibrato might be a challenge in the early stages and. The music is scale-based and deals with bringing the so-called “standard” range with the altissimo range.FIGURE 6 Etude #5: Beginning Altissimo (mm. The left-hand index finger can be placed on the auxiliary F key. Furthermore. In contrast to the first three etudes of this unit. The previous three etudes provide the performer with the skills necessary to achieve these leaps. Etude #7 takes its lead from #6. This etude enforces fluidity in fast. The performer will find ample opportunity to switch back to “standard” hand-placement beginning at measure 17. Students should feel free to divide this work into sub-etudes as in Etude #1. Using the bis as a trill key provides a perfectly acceptable G6. and the middle finger can be placed on the bis key. 35 . In this case. almost exhausted tempo. scalar passages. Etude #8 presents octave leaps into the altissimo range almost immediately. wide intervals disappear in favor of almost scalar passages. harmonically speaking. Etude #8 should be treated as a cadenza or improvisation with a fluid. notation of fingerings do not appear.bridge the standard and altissimo range – expanding intervals that bridge the standard and altissimo ranges – scales that promote fluidity entirely within the altissimo range) indicated by double bars at measures 39 and 63. Again. using the ring finger on “2” (that is. The trill from F-sharp6 to G6 will pose a challenge to the performer: alternative hand-placements are a practical suggestion. Afforded to the performer is a degree of flexibility regarding dynamics: one should exploit the dynamics as deemed appropriate. This etude differs from the others in its exploitation of altissimo trills at a halfstep. See Figure 7. though it is significantly more advanced. the A key) will allow for a seamless trill from F6 to F-sharp6. this etude is a graduale in its stepwise approach to perfecting circular breathing..). Etudes 9-12: Circular Breathing At the time of writing this document. 15-17) Etudes 5 through 8 offer a study of altissimo that is of considerable use to the young saxophonist. Inc.97 but there are not currently any etudes devoted solely to a progressive approach to the technique. A thoughtful. ed. there are numerous guides and suggestions.. Undoubtedly.98 From the Latin word gradus. Belgium & New York: Desclée. numbers of pitches are See Trent Kynaston. Dómine. 97 Benedictines of Solesmes. Alfred Publishing Co. with Introduction and Rubrics in English (Tournai. 335. Etude #9 is (very) loosely based on the chant for the graduale Qui sédes.FIGURE 7 Etude #8: Voicing (mm. meaning steps. 98 36 . In this case. 1950). Circular Breathing for the Wind Performer (Van Nuys: CA. the author can find no non-concert etudes of circular breathing on the saxophone. systematic approach allows for a paced process to extending one’s abilities in the range. The author hopes to remedy that situation. The Liber Usualis. In this case. The breath mark is to be taken at face value. employ circular breathing instead. 37 99 . During initial studies. breathe naturally.99 The pitch repeats. The elimination of rhythmic markings allows for focus on the circular breathing technique. As the performer gains more comfort with the piece. The sequence continues… See Figure 8. the tempo should be slowed down. followed by the same breath mark. Then three. when necessary. rendered moot is a source of added difficulty. Then eight. The performer should pause. one pitch sounds followed by a breath mark. Then five. The performer should not breathe (in a conventional style) under a slur. Next are two notes ending with a breath mark. The author cannot identify a minimum tempo but only suggest the performer goes as slow as he or she is capable (each duration could be as slow as 20-30 BPM.indicated (entire absent of duration) based on the Fibonacci sequence. perhaps more or less…). the performer should be at a relatively fast tempo (perhaps each note duration being as high as 100 BPM). rather. and then continue to the next measure. Under no circumstances should these breaths be rushed – they are natural points of rest and rest must be taken. arpeggiated in the mid-register. It would be advisable to treat each section as its own subetude. Not simply limited to durations. The entire work repeats in reverse after going through the sequence of durations of 1-1-23-5-8-13-21-34-55-89. The work is to be entirely circular-breathed. Etude #10 is an etude in the most basic of senses: a study. In a return to scale-based music.and chant-based. the palindrome also applies to the pitches themselves. and finally scalar in the upper register. 38 . 1-9) In addition to being Fibonacci. There are no remarkable composition techniques or secrets from which to gain insight. Etude #9 is also a palindrome. before combining the work into a single piece. This etude is in three sections: entirely scalar in the mid-register.FIGURE 8 Etude #9: Circular breathing (mm. 102 Christian Lauba. without any sudden changes. though. then sextuplets. See Figure 9. 1. 1. the performer simply finds instructions to create a percussive sound (into the mouthpiece). then sixteenthnotes. Dynamics vary. then quintuplets. broken chords present themselves in eighth-notes for two measures. The performer must attempt this using only a “proper” embouchure.” Neuf Etudes. Whereas Etudes 9-11 are all pattern-based. and finally returning to thirty-second-notes. first to eighth-note triplets.102 The performer should carefully observe the single dynamic marking (pp) as this will ease the circular breathing process. At the performer’s discretion. Walls of sounds suddenly change with no preparation. using complicated pitch patterns. this can be treated as a sub-tone. is unmeasured. vol. Conjunct and chromatic.Entirely arpeggiated. vol. this etude finds its inspiration in another Lauba etude: Jungle. “Jungle. The goal of this etude is to challenge the performer with rapid.100 This is especially true in the concluding sections. After a held D6. to a hypothetical audience. Etude #11 in many ways owes its inception to Christian Lauba’s Balafon. 101 Lauba accomplishes this effect. though. “Balafon. 100 Lauba. Broken chords continue.” Neuf Etudes. Etude #12 is relatively free. non-repetitive pitch patterns. The effect should be one that. 39 . but the rhythmic durations change. Etudes 13-16: Double Tongue Etude #13 is a preliminary exercise that deals only with the mechanism of the double tongue. Rather than double-tonguing on pitches. The intent is to prepare the performer to apply double-tongue to actual pitches.101 Relatively simple and repetitive pitch patterns prevail. In the case of a beat consisting of four sixteenth notes. Op. “g-d-g” or “k-t-k” should be considered a viable option. Another straightforward piece. Foundation Studies for Saxophone: Scales. recommended syllables include “d-g-d-g” or “t-k-t-k.Figure 9 Etude #13: Double Tongue (mm. chords and intervals for daily practice patterned after Carl Baermann.” This should be consistent: where a beat begins with a sixteenth rest. 92. 63 (San Antonio: Southern Music Company). The performer should adopt a technique similar to that used in the previous 2 etudes: consistent air stream flowing through the instrument. Etude #15 poses more challenges than the previous etude. the articulation style in staccato. The choice of legato articulation is purposeful – a means to the end of constant airstream. Little needs to be said of Etude #14 aside from its influence from Carl Baermann. David Hite. In this case. The work is a rapid piece that progresses chromatically throughout the upper and middle range of the instrument. 1-6) It is the author’s recommendation that the performer assign syllables to the subdivision of each beat.103 The performer must be certain to keep the airstream constant as the tempo increases. 40 103 . an effect. this intent of this etude is that the music be performed exactly as intended.e. The performer should follow direction clearly. See Figure 10. i. and eighth tones. these etudes concern themselves solely with quartertones. Hello! Mister Sax or Parameters of the Saxophone. Weiss and Netti.! 41 . Figure 10 Etude # 16: Double Tongue (mm.. 5-6) Etudes 17-20: Microtones Prior to discussion of these etudes. It is easy to treat the effect as just that.Etude #16 employs articulations of increasing and decreasing tempos. 15-32. However. Figure 11 Microtone Notation System Londeix. 104 105 Michat. While Londeix and Weiss and Netti identify fifth tones.104 The notation system chosen is similar to that identified by Jean-Denis Michat. perform the number of notes as they appear. The Techniques of Saxophone Playing. 42-43. the method of notation must be identified. third tones.105 See Figure 11. 24. Un Saxophone Contemporain. This etude should be described as a hybrid of isolated and non-isolated microtones: microchromaticism.The stated goal of Etude #17 is performance of “microtones in slow microchromatic. in this etude. By combining this with the slow. The integration of microtones into chromatic passages allows the application of microtone fingerings in relation to semitones. At no point. meditative tempo of #17. is a microtone isolated out of the context of either appearing as a passing tone or a neighbor tone. the level of difficulty increases. Figure 12 Etude # 17: Microtones (mm. The effect should be that of a detuned hymn. 1-4) In contrast. See Figure 13. provides a greater challenge when compared to the previous etude.” The term microchromatic relates to the term "chromatic" in that each microtone is approached and departed by a semi tone. 42 . conjunct passages. The pedal tone appears both above and below the moving quartertone line. #19 is likely to pose the most challenge. Of all the Microtone etudes. interspersed with pedal tones. Etude #18 takes the approach of almost entirely isolating quarter tones. See Figure 12. This has the dual effect of allowing the performer to hear the difference between a semitone and a quarter tone. and 2) work with complex intervals while still at a novice level. The relative slowness of the first two etudes allows for 1) gaining comfort with new and ostensibly difficult fingerings. Rests allow the performer to “reset. 7-10) A point of note is that the second two etudes in this unit are fairly static – especially when compared to the first two etudes. 43 . To this end. Given the complex nature of all four of these etudes.” Figure 13 Etude #19: Voicing (mm.Etude #20 is simply returns entirely to microchromaticism without and interference. this is quite appropriate. microtones group into either four or eight sixteenth notes. This etude is the fastest of the four with the pedagogical goal of fluidity with microtones. Figure 14 Etude # 21: Timbre and Bisbigliando (mm. 44 106 . rather he chose to create works that were entirely new. while not directly quoted. The work alternates between subject areas of non-retrograde rhythms (palindromes) and a mode of limited transposition with areas of free composition. “channeled.Etudes 21-24: Timbre and Bisbigliando Etudes 21-24 see a change in the complexity of compositional technique.” The author was not interested in creating works based on musical quotations. 3-6) Olivier Messiaen. The Techniques of My Musical Language (Paris: Alphonse Leduc & Cie.106 This etude adds to Messiaen’s musical language by including timbre changes. See Figure 14. Etude #21 draws its inspiration from the compositional techniques of Olivier Messiaen. It is at this point that composers and works are recalled and. 20-21 and 62. 1944). The main challenge that a performer will have in this etude is the alternation between standard and timbral fingerings for D5 and D-sharp5. As these will alternate between a very “closed fingering” (8-1-2-3-4-5-6 for the former, 8-1-2-3-4-5-6-Eb for the latter) and side-key-based fingerings (c2 for the former, c1-c2-c3 for the later), initial practice must be extremely slow. In order to aid the performer, these are the only two examples of such an alternation in the work. This etude features only two sets of fingerings per pitch: the standard fingering, and the timbral fingering. Etude #22 expands into three different fingerings per pitch: a standard fingering, and two timbral fingerings. This etude is extremely static with only one pitch per measure and a seldom-ceasing ostinato. This simplicity counteracts the difficulty when combined with increased tempo. This etude uses the samba rhythm as its inspiration. Etude #23 finds inspiration in Sequenza VIIb by Luciano Berio and even goes so far as adopting his notation style for timbral fingerings.107 See Figure 15. A keyfollows the conclusion of this etude. Figure 15 Etude #23: Timbre and Bisbigliando (mm. 5-8) 107 Luciano Berio, Sequenza VIIb (Vienna: Universal Editions, 1969). 45 This etude expands the difficulty level by exploring four different possible timbral fingerings per pitch. Only 3 pitches (C-sharp5, C5, and B4) have timbral fingerings and, like the previous etude, the piece features an ostinato, offsetting the complexity of the fingerings. In common with the Berio, this etude features “hyper-notation” of a sort: Dynamic changes are frequent and erratic.108 The final etude of this unit features timbre trills (bisbigliando) exclusively. The performer is free to choose his or her own fingerings using as many timbral fingerings as desired. The author suggests limiting the selection or two possibilities. A special note must be made with the bisbigliando trill for D5 and E-flat5. Though the first etude alternates between open and closed fingerings, it is inappropriate to employ that option here. The speed of the trill proves daunting. Instead, simply adding the B or B-flat key would serve the purpose in a better manner. Etudes 25-28: Multiphonics Although not uncommon today, multiphonics are a fairly recent development in saxophone literature. Londeix points to Edison Denisov’s “Sonata”109 as the first work to use multiphonics in a significant way.110 Since that time, several works have exploited multiphonics to varying degrees of success. Achieving the proper combination of tongue placement, embouchure tension, and fingering is one of the greatest challenges to achieving a proper multiphonic. Etude #25 takes this challenge head-on. This etude focuses on multiphonics that are dyads (consisting of only two pitches). The performer finds a fingering that will span three 108 Ibid. 109 Denisov, Sonata. 110 Londeix, Hello! Mr. Sax or Parameters of the Saxophone, 31.! 46 measures. The initial measure of the fingering is a single pitch. This pitch is the highest pitch available for the multiphonic fingering.111 The next measure requires the performer to, using the physical combinations mentioned above, sound the actual multiphonic. The final measure requires the performer to isolate the lower pitch in the multiphonic. This isolation-based approach allows the performer to experiment with the necessary physical combinations to achieve the proper sound. This approach can be adopted for multiphonics of three or more pitches but, given the limited scope of this project, is a suggestion rather than a written etude. Weiss and Netti identify threshold tones: “partials of the multiphonic with which one can enter or exit that mulitphonic.”112 Etude #25 requires the performer to enter the multiphonic from a high threshold tone. This allows for the construction of the multiphonic from the top down by use of voicing and soft-tissue manipulation. Etude #26 takes the opposite approach by requiring the performing to approach multiphonics from a low pitch and build the sound from the bottom up (there are only two circumstances when the chosen threshold tone is a mid-level pitch). A challenge added to this etude is the requirement of continuous articulations during multiphonics: multiphonics present as four successive eighth notes. Etude #27 adopts an approach separate from the previous etudes. Rather than integrating the multiphonic into the melodic content, this etude focuses on the use of the multiphonic as merely a sound effect. In this case, multiphonics are brash, percussive exclamations performed at relatively strong dynamic levels. They appear isolated and The several of these fingerings can result in multiphonics of more than two pitches. The dynamics, being relatively soft (not exceeding mezzo forte), limit the pitch possibilities available. This allows for multiphonics of only two pitches. 111 112 Weiss and Netti, The Techniques of Saxophone Playing, 62.! 47 distinct from the swirling sixteenth-note runs that they proceed; threshold tones are of little consequence. The final etude of this unit reintegrates the multiphonic into the melody. It also requires the swift transition from multiphonic to standard single pitch in a short amount of time. By far the fastest etude of this unit, Etude #28 strikes a similar path as the previous etude in the removal of threshold tones from importance. The performer can feel free to adopt “alternative” hand positions. This is most notable in measure 5 where, on the first multiphonic, the performer can remove the right-hand thumb from the thumb rest and use it to strike the c3 key. See Figure 16. Figure 16 Etude #28 (mm. 5-6) Etudes #29-32: Slap Tongue The slap tongue technique offers yet another sound to the color palette available on the saxophone. The variety of slap used here (the so-called closed slap) is ultimately the sonic equivalent to the pizzicato effect on a string instrument. The first two etudes focus on slap in the lower register while the second two focus on the higher range. Etude #29 is presented in the style of a slow tango. In the case of this etude, slap pitches bring out the counterpoint. Slapped pitches serve as the harmonic basis for the 48 op. favoring a serialized approach. This section’s serialism only dictates the pitches. Slapped pitches initially stay a fair distance away from each other. Initially. Slaps remain in the low range purposefully: novice performers of the slap tongue will find ease in the lower range.piece. moves forward to include slaps at the end of each run. the performer should eliminate some elements: perhaps the final two pitches in each measure. At no point are three pitches in a row slapped. A satisfactory and resonant tone can be produced in the lowest octave of the instrument. This etude differs dramatically in harmonic language. The tone row selected is identical to Webern’s choice for the Quartet. selected for the slapped pitches in the lower range. 21. followed to two repeated pitch in the lower range. these elements can be reincorporated. (Vienna: Universal Editions: 1930). one can find the tango melody. 22. Quartet. contrast with I5.113 This tone row determines not only pitch. though that distance decreases with time. while beginning slurred. Above. Etude #30 is similar to #29 in the sense that slaps both stay in the lower range and feature as a contrapuntal technique. rhythm and repetition are now independent elements. See Table 4. After attaining comfort. The third etude in this unit exploits slap tongue in the upper range. 113 Anton Webern. op. P1. The middle section uses only P0 and. For the opening section. The third section is similar to the opening featuring rows P1 and RI2. selected for those notes in the upper range. The added challenge of slapped articulation incorporated in the melodic line will prove difficult at first. 49 . These two rows exhibit hexachordal combinatoriality. but also pitch repetitions in the upper register. Each measure features a nearly identical articulation pattern: two slurred pitches followed by either a “normally” articulated or a slapped pitch (these two elements alternate). 50 . See Figure 17. the slapped pitches are unimpeded – isolated from quickly moving lines.Table 4 Tone Row Matrix for Etude #30 P/I 0 9 8 11 10 2 3 4 5 7 1 6 R 0 C# A# A C B D# E F F# G# D G 0 3 E C# C D# D F# G G# A B F A# 3 4 F D C# E D# G G# A A# C F# B 4 1 D B A# C# C E F F# G A D# G# 1 2 D# C B D C# F F# G G# A# E A 2 10 B G# G A# A C# D D# E F# C F 10 9 A# G F# A G# C C# D D# F B E 9 8 A F# F G# G B C C# D E A# D# 8 7 G# F E G F# A# B C C# D# A D 7 5 F# D# D F E G# A A# B C# G C 5 11 C A G# B A# D D# E F G C# F# 11 6 G E D# F# F A A# B C D G# C# 6 RI 0 9 8 11 10 2 3 4 5 7 1 6 The final etude in this unit reintroduces slap tongue in the lower register in addition to the higher. In all cases. The primary goal of this etude is the performance of a sustained pitch following the slap tongue. The student must maintain a stable and unmoving embouchure in addition to a constant air stream. These etudes examine different parameters of altissimo. 5-14) Sustaining a pitch following a slap is a challenge. Etudes #33-36: Furthering Altissimo The next unit of etudes considered an extension of the previous unit (Beginning Altissimo). The tempo should be brisk. Etude #33 focuses on the parameter of rapid articulation in the altissimo register. Many novices attempt to move the jaw or shift the embouchure when attempting a slap tongue: This will cause a distortion in the tone.Figure 17 Etude #32: Slap Tongue (mm. The tempo should be quick but comfortable. yet comfortable. of which range is only one. Extension of range. Articulation is at different dynamic levels 51 . is not the primary goal of the etudes of this unit. while a noble goal. the required extension is up to G7. altissimo pitches are in the context of octave intervals. scalar passages. suggested fingerings are notated. In this case. Altissimo extends through chromatic. Figure 18 Etude #35: Furthering Altissimo (mm. The performer should feel free to use rubato in this etude given its label as a Cadenza. Etude #34 picks up where Etude #8 left off: altissimo in disjunct passages. See Figure 18. Just as before. The dynamic level increases as the tessitura raises: this will make the performance of the altissimo-extremes easier for the performer. The tempo is quicker than Etude #8 and nimble technique is required.requiring a stable embouchure and constant air stream. relatively “closed” fingerings will provide the resistance needed to perform these pitches. similar to the previous slap tongue etude. “14-18”) 52 . In all cases. Etude #35 is the first of which that extends the range. A lower female voice can accomplish this as well. cannot be dismissed. the performer should do what ever is necessary to sing the pitches. Figure 19 Etude #36 (mm. though a higher voice might find difficulty. Etude #37 takes the initial steps of performing a drone on the saxophone while simultaneously singing a moving melodic line. It should be noted that. The rhythms are relatively constant (eighth notes) which perhaps adds to the difficulty. followed by the sung pitch two beats later. of course. In all cases. the range indicated will be the result. Bridge the standard range and the altissimo range. 1-3) Etudes # 37-40: Vocalizing This final unit of etudes focuses on simultaneously singing and performing on the instrument. Human limitations. broken chords appear. The performer must sing both above a drone and below a drone. the drone appears first. in cases where exact pitches appear in the music. See Figure 19. As stated above. Ideally. even if it means taking them up an octave. 53 .The final Etude of this unit the author considers the most difficult in the entire collection. See Figure 20. the performer should sing those pitches in a range that is comfortable. This work requires extreme flexibility and finger-versatility. A male voice (especially a tenor) should be able to accommodate each sing pitch. Ranges are approached both from above and below. Etude # 39 (Obvious Evening) is an inversion of the title of the work Mysterious Morning by Fuminori Tanada. 54 . these are merely suggestions. especially the vocalizing technique. The melodic line is simple enough so as not to bog the performer down with additional requirements.Figure 20 Etude # 37: Vocalizing Etude # 38 takes the opposite approach: singing a drone while performing a moving melodic line on the saxophone. This technique requires a gradually ascending (or descending) sung pitch while performing oscillating pitches on the instrument. It should be noted that while exact sung pitches are indicated. See Figure 21. This etude borrows techniques that Tanada uses in his work. Low pitches should be sung as low as is comfortable and gradually rise. Higher pitches should be sung in a relatively comfortable range and then descend. Shifting octaves should not be necessary for any voice types. The challenges are similar to the previous etude though now the performer must begin the sound at the same time. In this case. Thus ends Pushing Boundaries. simply and quietly on a major third.Figure 21 Etude # 39: Vocalizing (mm. the performer sings and plays the instrument in parallel thirds. 12-17) The final etude of this unit is much easier when compared to the difficulty number 40. Higher female voices might encounter difficulty with the low range and should take the melodic line up an octave (inverting the thirds into sixths). 55 . It is with extreme happiness and hopefulness that the author humbly introduces these works into the pedagogy of the saxophone. the real world is actual repertoire. Eventually. the performer should not feel restricted to any timelines. The development of these techniques is a slow process and the performer should relish in the joy of slow progression with a goal of mastery. but also added a newfound appreciation for the compositional technique.Chapter 4 CONCLUSIONS AND CLOSING REMARKS The composition of Pushing Boundaries: 40 Etudes on Extended Techniques. The playground is the place where are child learns how to use his or her body in conjunction with large and fanciful toys (jungle gyms. allowing for a sense of accomplishment. the success or failure of these works is dependent on their usefulness. the child is required to leave the boundaries of the playground for the “real world. it is the author’s hope that a niche is filled. slides. Ultimately. 56 . swing sets. Because these are not concert etudes. Writings these works not only challenged the author/composer. These etudes are not by any means exhaustive. As this type of etude book is not yet widely available to young saxophonists. monkey bars. The performer is encouraged to seek out other works or methods that exploits these sounds. The author likens these etudes to a playground. etc…). purposeful practice when attempting these etudes. The author cannot overstate the importance of slow. was an absolute joy. The child learns how to use each toy. The author/composer hopes that these etudes provide newcomers to extended techniques with a logical and progressive approach to these wonderful sounds and methods. Multiple approaches to these ideas will only serve his or her benefit.” In the case of Pushing Boundaries. 2010. Every Thing Must Go. Luciano. Inc. Ingolf. with Introduction and Rubrics in English. Paul. 1984. “Ultrasonic Investigation of Clarinet Multiple Articulation. Ronald. 2007. Medfield. Vienna: Universal Editions. F.” D. Dahl. William.M.REFERENCES Albright. ed. Joseph Bennett (ed. Mary Cowden Clarke (trans. “Shu Gath Manna. DeVille. Berlioz. Sequenza IXb. Thomas. Arizona State University. 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Marcus and Giorgio Netti. Xenakis. Johanna. 1564 (June. 1999. Straus and Giroux. 243-257. Segell. “Classical ‘Ud Music in Egypt with Special Reference to Maqamat. vol. Sax-Acrobatix: The Book of Saxophone Stunts and Tricks. 1981.” D. Sinta. Cherry Hill.A.” Paris: www. “Un Saxophone Contemporain. Ladislav. op. Iannis. Noda. Voicing: An Approach to the Saxophone’s Third Register. Top-Tones for Saxophone. Peck. 1970). 2000. Germany: Bärenreiter. NJ: Summy-Birchard. 1987. Paris: Gérard Billaudot. Russell. and Denise C. 1972.jdmichat. 59 . 1999. James C. 1977 Ronkin. Mysterious Morning III. New York: Farrar. Greensboro. Inc. University of Maryland. Inc. 14.M. diss. 1979. Paris: Henri Lemoine. Luis. Paris: Editions Salabert. “A Note on Alois Haba. The Techniques of Saxophone Playing. François.proquest. Dabney. Bruce Edward. Teal.asu. Donald J. Weber. Ryo. 2010. Boston: The Merrymount Press. Le Frêne Égaré. Rossé. Drastic Measures. Vyzlouzil. 114. Saint Louis: MMB Music. 2002.lib. Secaucus. 1963. http://search. Inc. Anton. Paris: Alphonse Leduc & Cie. vol. 3rd ed. Rousseau. no. Henri. 2010. Kassel. The Music of Bohemia. Alto voltango. 1987. Larry. APPENDIX A SAXOPHONE FINGERING CHART 60 . APPENDIX B PUSHING BOUNDARIES: FORTY ETUDES IN EXTENDED TECHNIQUES 62 . ETUDE # 1: Voicing Mastery of the First and Second Overtones Mysteriously & 43 œ F œ œ œ œ œ &œ œ œ œ 9 bœ bœ &œ œ œ œ bœ œ bœ &œ œ œ œ œ œ œ &œ œ œ œ 21 25 œ bœ œ bœ F œ œ œ bœ œ bœ œ œ œ bœ œ bœ œ œ œ bœ œ œ œ œ bœ œ bœ 63 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ! œ ! œ œ F œ bœ ! 17 bœ œ ! & 13 œ bœ * While fingering the lower pitch. use the oral muscles to perform the higher pitch &œ 5 œ nœ œ nœ œ bœ œ bœ œ œ œ œ P œ œ œ . œ ! 29 & œ œ f œ œ œ œ œ œ œ bœ œ œ 41 œ œ œ œ 45 œ œ œ œ #œ œ nœ œ œ bœ œ bœ œ #œ 33 & 37 & & & 49 & 53 & ƒ œ œ œ œ œ œ œ œ ! bœ œ œ ! œ œ bœ œ bœ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ #œ œ œ œ 64 œ œ œ œ œ bœ œ œ œ œ œ bœ ! œ œ œ œ bœ œ ! œ œ œ œ œ œ bœ œ . œ œ œ & bœ œ bœ bœ œ bœ œ œ bœ œ œ œ œ & œ œ œ œ & nœ œ nœ #œ 57 & œ 61 65 & 69 73 œ ! œ œ œ f bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ bœ œ œ bœ œ bœ œ ! 65 œ œ nœ #œ œ nœ œ œ Œ ! œ œ œ Œ . 32 .ETUDE # 2: Voicing (Czech) Multiple and Mixing Overtones Melodically Triumphant ¯ ¯ & 32 b œ œ ˙ ! & 32 œ b œ< ˙< 5 9 & b˙ - 13 & b˙ - œ < œ œ< < ˙- œ < b ˙- ˙ b ˙- & 32 œ b œ< ˙< ˙- 22 ˙- b œ¯ b œ ˙< œ bœ ˙ < < - b ˙- ¯ ¯ & 32 b œ œ ˙ p 18 ˙- ˙- ˙- ˙- bœ < 22 œ¯ b œ œ œ < < < ˙- ˙- ¯ ¯ ¯ 22 œ bœ œ œ < b ˙- b ˙- œ b œ< < œ < b œ¯ œ¯ œ¯ b œ¯ b œ¯ b œ ˙< œ bœ ˙ < < - ˙- 66 ˙- ˙- b ˙- w bw 22 œ b œ œ œ œ < < < < ˙- 22 b œ¯ œ œ¯ œ bœ < < b˙ b ˙- .3 2 32 ˙- b ˙- . . ˙- b ˙- b œ b œ ˙bœ < < ˙ ˙- œ bœ ˙ - ˙- ˙- bœ < ˙- œ b œ< < œ < b œ¯ œ¯ œ b œ¯ bœ < ˙- b ˙- œ < bœ < b ˙- w w bw bw 22 œ b œ œ œ œ < < < < ˙- 22 b œ œ œ œ bœ œ œ < < < < œ < b œ œ œ b œ¯ bœ œ œ < < < 67 ˙- œ b œ< < w w b˙ b ˙- ˙- 32 32 ˙- b ˙- b ˙bw bw 3 2 . œ.26 & b˙ - 30 & b˙ - œ < b ˙- œ < b ˙- œ œ< < & 32 b œ œ ˙ b œ œ ˙P< < ˙ ˙- & 32 œ b œ< ˙< ˙- 35 39 43 & b˙ - 47 & b˙ - œ < œ. œ- .b œ˙ ˙ â ˙ ˙ â œ b œ.b œ.b œ.˙ œâ 68 w w ˙ ˙ â ˙- ˙- b ˙- ˙ b ˙- ˙- ˙w bw 22 œ b œ œ.œ¯ œ¯ ˙ 3 &2 F b ˙- ˙ ˙- œ¯ b œ¯ ˙- ˙ ˙- b œ¯ ˙3 œ &2 œ < ˙- œ b œ ˙œ < < ˙- ¯ ¯ 22 œ œ œ œ œ bœ < < b œ< œ< 52 56 & b ˙- œ¯ & b ˙- œ¯ œ¯ 60 64 œ 3 &2 b œf œ œ- 69 & ˙˙ â 72 ˙ ˙ â b ˙- œ¯ b ˙- ˙ ˙ â ˙- 32 œ b œ ˙ œ.â˙ œ< b œ¯ b œ¯ œ¯ œ¯ b œ¯ bœ ˙ ˙˙ ˙ â 22 œ b œ¯ œ¯ œ¯ œ < œ bœ b œ.œ.b œ˙ ˙ â 32 32 œ œ- œ œ- 22 œ œ œ œ œ. œ.œ.b œ b œ- œ- w bw > ˙ ˙ 32 ˙ b˙ b˙ b˙ ˙ ˙ 32 b˙ b˙ b˙ b˙ bw bw 32 .œ- b˙ b˙ â b˙ â ˙ â b˙ b˙ â œ œ- b˙ â ˙ ˙ â b œ- b œ.œ.˙ & b˙ â b˙ b˙ â 76 80 & ˙ â œ œ- œ œ œ.b œbœ œ œ bœ ˙ ˙ â w w > b œ.˙- ˙- bœ bœ ˙ b˙ ˙ œ bœ œ œ 22 œ bœ œ bœ ˙ 3 &2 b˙ ˙ œ bœ ˙ b˙ bœ ˙ bœ œ œ 22 œ bœ œ & 32 86 F bœ ˙ 90 & bb ˙˙ œ & bb ˙˙ œ œ bœ œ 94 98 b˙ b˙ œ b˙ b˙ ˙ b˙ ˙ b˙ bœ œ bœ bœ œ œ bœ bœ œ œ bœ 69 œ bœ w w œ. b äœ äœ ä˙ ä˙ ˙ bœ bœ ˙ bœ bœ ˙ ˙ ˙ œ 2 bœ œ œ 2 œ bœ œ œ œ bœ ˙ 3 &2 bœ bœ ˙ ˙ ˙ œ bœ ˙ bœ bœ ˙ ˙ ˙ bœ œ œ 22 œ bœ œ œ œ 3 &2 103 bœ œ ˙ ƒ 107 & bb ˙˙ œ bœ & bb ˙˙ œ œ bœ œ 111 115 b˙ b˙ œ œ b˙ b˙ ˙ b˙ ˙ b˙ bœ bœ œ œ bœ œ œ bœ bœ œ œ bœ 70 œ bœ œ bœ w w ˙ ˙ ˙ b˙ b˙ b˙ ˙ ˙ 3 2 b˙ b˙ b˙ b˙ bw bw . œ nœ #œ œ # œ. . œ #œ œ bœ œ œ nœ #œ œ œ œ #œ œ œ #œ œ bœ f œ #œ œ #œ œ œ #œ œ bœ œ œ nœ #œ œ œ #œ œ œ #œ œ nœ nœ œ F œ. F œ #œ œ #œ œ bœ œ œ œ œ œ ! ! ! Œ. # œ œ ‹ œ. Œ. Œ. # œ œ œ œ. œ 71 Œ. # œ œ ‹ œ. # œ œ œ œ . F Œ.ETUDE # 3: Voicing Pitch Bends Not Exceeding a Minor Third & 12 8 3 & 5 & 7 & 9 & 11 & œ #œ œ bœ œ œ f œ #œ œ œ #œ œ œ œ œ F Ó. #œ ‹œ #œ œ œ œ œ œ œ œ œ œ bœ bœ œ nœ œ œ œ œ œ #œ œ œ œ nœ œ & Œ. Œ. Œ. 25 . Œ. #œ œ #œ œ # œ. œ #œ œ ! Ó.13 & 15 & 17 œ bœ œ #œ œ œ œ #œ œ bœ œ œ œ . œ œ œ bœ bœ œ nœ nœ œ Œ. # œ # œ œ. œ b œ œ b œ œ . Œ. œ nœ #œ œ œ œ bœ bœ œ nœ nœ œ Œ. Œ. . œ œ # œ œ # œ œ P œ œ œ bœ œ œ nœ œ œ œ bœ œ 72 Œ. œ. . n œ œ œ œ #œ œ œ œ œ œ œ œ & P 19 & 21 & 23 & œ œ œ bœ bœ œ Ó. # œ œ # œ. Œ. # œ œ #œ P œ œ. œ #œ œ œ # œ. # œ œ œ. œ . œ # œ œ # œ # œ œ œ œ œ n œ n œ œ œ # œ œ œ # œ œ. & 37 œ œ œ #œ œ œ œ œ bœ #œ #œ . Œ. œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ J ‰ ‰ Œ. œ # œ # œ œ œ œ œ œ #œ #œ œ f œ œ œ #œ #œ œ œ #œ œ œ nœ œ 73 . # œ # œ # œ. œ # œ œ. œ # œ. # œ œ #œ œ œ œ œ œ œ œ œ œ œ & #œ 33 œ œ œ #œ œ œ # œ œ #œ P Œ. œ œ. œ.27 & œ bœ œ & Œ. Œ. . 29 31 & 35 & Œ. œ œ. w 74 ˙ w w œ ˙ ˙. w bw bw œ œ œ . bœ œ w bw w w w œ w bw œ œ w ˙ bœ œ b˙.ETUDE # 4: Voicing Voicing as a Means to Achieve Altissimo ˙ Nebulous & 44 4 & 7 & 10 & 13 & bw f ˙ ˙ w bœ œ œ œ bœ œ œ œ œ bw œ b˙. w bœ ˙ œ œ œ ˙. 16 & 19 & 22 & œ bw bœ œ œ œ bœ w bœ bœ w œ œ bœ œ œ œ ˙ b˙ œ œ bœ bœ ˙ w œ œ ˙ w œ w œ œ œ 75 w w w w bw bw . . #˙. #˙ œ œ ˙ #œ . melodic passages. #œ f œ œ #œ 76 ˙. ˙ ˙ f .ETUDE # 5: Beginning Altissimo .. #˙ ˙ #œ œ œ œ œ œ #œ ˙ œ œ #œ œ œ #œ ˙ ˙ w œ #˙ #˙. Relaxed..for the performance of altissimo in slow. expressive but restrained & 74 4 & 7 œ #œ œ œ œ ˙ F #˙. œ œ # ˙ . all E 6's and F-sharp 6's should be performed using the auxiliary key. ˙ œ œ ˙ #œ œ œ œ œ F #œ œ œ ˙ #˙ ˙. 8* 8* x x 2 3 Ta2 P #œ œ œ #œ #˙ œ #œ œ & P 10 & 13 & ˙ #˙ ˙ f *For the purposes of this etude. #˙ #˙.16 & œ #œ ˙ ˙. 8 2 3 Tc 4 Ta ˙ #œ œ œ #˙ 8 8 2 1 3 2 (B) 4 3 5 Tc 4 6 Ta ˙ ˙ F #˙ 77 œ P #˙ ˙ f #œ nœ ˙. #˙ F #œ œ ˙ ˙ ˙ F P œ #œ #˙ œ #˙ œ œ ˙ P ˙ #˙. ˙. 8 c1 2 3 4B 5 6 #˙ #˙ p #˙. œ #œ #œ . P #œ #œ ˙. 8 1 2 Tc 3 Ta 4 19 #˙ & F 22 & 25 & #˙. œ #œ œ œ œ œ œ p œ #œ œ œ œ # œ œ 78 #˙ #˙ w U œ ! . ˙. n˙. & P 34 & P œ #œ œ œ œ œ œ #˙ rit. 31 #˙ #˙ ˙ .28 & ˙ #˙ ˙. . #˙ œ #œ #œ ˙ F ˙ . ˙. yet joyful. Conjunct Passages bb 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œJ ‰ Œ & 4 4 f 44 b 4 # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ 2 # œJ ‰ Œ b & 4 4 44 bb 4 œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ 2 œ 4 J ‰ Œ 44 œ œ œ œ œ œ bb 4 œ œ & 4 œ œ œ œ œ œ œ œ 2 œ 4 J ‰ Œ 44 œ œ œ œ œ œ œ bb 4 œ & 4 œ œ œ œ œ œ œ œ œ 2 J ‰ Œ 4 4 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 42 J ‰ Œ 44 A patient.ETUDE # 6: Beginning Altissimo Repetitive. drudgery 4 7 10 13 b & b 44 16 79 . b & b 44 19 b & b 44 22 b 4 &b 4 25 b 4 &b 4 28 b 4 &b 4 31 b & b 44 34 œ nœ #œ œ œ œ œ œ œ nœ #œ œ œ œ œ œ œ 42 J ‰ Œ 44 œ #œ nœ œ œ œ œ œ œ #œ nœ œ œ œ œ œ œ 42 J ‰ Œ 44 œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ 2 J 4 ‰ Œ 4 4 #œ œ nœ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ 2 J ‰ Œ 4 4 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 J 4 ‰ Œ 4 4 #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ 42 J ‰ Œ 44 80 . b & b 44 37 b 4 &b 4 40 b 4 &b 4 43 b & b 44 46 b & b 44 49 b 4 &b 4 52 œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ 42 J ‰ Œ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 J ‰ Œ 4 4 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 J ‰ Œ 4 4 4 œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ 42 J ‰ Œ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 42 J ‰ Œ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 J 4 ‰ Œ 4 4 81 . b & b 44 55 b 4 &b 4 58 b 4 &b 4 61 b 4 &b 4 64 b & b 44 67 b 4 &b 4 70 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 42 J ‰ Œ 44 #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ 2 J ‰ Œ 4 4 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 J 4 ‰ Œ 4 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 J 4 ‰ Œ 4 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 42 J ‰ Œ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 82 œ 2 J 4 ‰ Œ 4 4 . b 4 &b 4 73 b & b 44 76 b 4 &b 4 79 b 4 &b 4 82 œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ nœ œ œ œ œ œ œ #œ nœ œ œ œ 83 œ 2 J 4 ‰ Œ œ 4 4 42 J ‰ Œ 44 œ 2 J 4 ‰ Œ 4 4 œ 2 J 4 ‰ Œ . Conjunct Passages ˘œ ˘œ ˘œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 15 &8 ƒ Exhuberant 2 & 3 & 4 & ˘ ˘ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ ˘œ #œ œ œ #œ œ œ œ œ œ œ œ œ œ ˘œ ˘œ ˘œ ˘œ œ œ œ œ œ œ œ œ œ f œ # œ œ œ ˘œ ˘œ ˘œ ˘œ ˘œ œ œ œ œ œ œ # œ œ œ œ œ ˘œ ˘œ ƒ œ # œ œ œ œ œ œ œ œ œ œ ˘œ ˘œ œ # œ œ œ œ œ ˘œ ˘œ ˘œ J & 5 œ # œ œ œ # œ œ œ œ œ œ œ œ œ¨ n œ¨ œ¨ œ¨ ¨ ¨ J J J J # œJ n œJ œ # œ œ œ œ & J 6 84 .ETUDE # 7: Beginning Altissimo Rapid. 7 & 8 & 9 & 10 & 11 & ˘œ # ˘œ ˘œ ˘œ ˘œ ˘œ ˘œ œ œ ˘ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ ˘ ˘œ ˘œ œ œ œ œ œ # œ œ œ œ œ œ œ œ ƒ œ œ œ œ œ œ œ œ œ œ œ œ ˘ ˘ ˘ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ ˘œ # ˘œ ˘œ ˘œ # ˘œ ˘œ ˘œ œ #œ #œ œ œ ˘œ ˘ #œ ˘œ # ˘œ ˘œ # œ # œ # œ œ œ œ # œ œ œ # œ # œ œ œ œ œ œ œ œ œ ˘œ ˘œ ˘œ # ˘œ ˘œ J J J J J J & P 12 85 . œ.œ.œ.¨ œ¨ œ¨ ¨ # œ œ œ œ œ # œ œ nœ œ 14 œ œ J J J J & 15 & œ œ œ œ œ œ œ œ œ œ.œ..œ.# œ # œ œ œ œ œ .œ.œ œ œ œ œ œ œ œ #œ œ œ œ- œ #œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œœœœœœœ #œ œ & 16 17 & œ # œ œ œ œ œ œ œ ˘œ ƒ ˘œ 86 ˘œ w .¨ ¨ #œ #œ œ œ œ #œ œ œ œ # œ¨ n œ¨ œ œ œ œ J J J J & F 13 œ œ œ œ œ œ œ œ. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ #œ nœ œ #œ œ œ œ œ œ a tempo U &Œ 13 U œœ Œ œ œ bœ Ï F 87 . 12 & œ #œ œ œŸ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ #œ nœ œ œ #œ nœ œ F accel.ETUDE # 8: Beginning Altissimo Expressive Passage (Both Conjunct and Disjunct) Improvisation: Languid #w œ œ œ œ œ œ &w ! 4 & #œ 7 & 10 & ! 3 #œ #œ œ ˙ œ #œ #œ œ #œ nœ œ #œ #œ œ ˙ #œ ƒ œ #œ œ #œ œ œ F œ F #œ #œ #œ œ #œ #œ #œ œ ˙ U Œ U Œ U " ^ U œœ Œ œ œ bœ Ï ^ œ œ œ œ bœ Ï U Œ *All trills throughout this etude are to be to a half-step above the indicated pitch accel. U œœ œ œ bœ Ï &Œ 15 U Œ f Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ #œ œ œ œ œ œ œ bœ œ œ œ œ œ a tempo accel.Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #œ #œ œ œ œ œ accel. 17 & ƒ a tempo " & 21 œ U 18 œ & P œ #œ #œ œ #œ F nœ nœ #w œ œ œ œ œ œ 3 88 #œ U " U Œ U œœ Œ œ œ bœ Ï . . . Gradual Extension of Circular Breathing Ability . . . œ œ œ œ œ Œ œ œ œ œ œ œ œ & F throughout Chanting &œ 8 œ œ #œ œ #œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ & 9 œ œ #œ . # œ œ œ œ #œ œ #œ œ . œ #œ œ nœ œ . œœœœ œ # œ n œ œ b œ œ n œ œ œ œ nœ œ œ #œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ n œ œ œ & 10 œ #œ œ nœ œ œ œ œ bœ œ # œ nœ œ œ œ œ nœ #œ œ #œ œœœ œ œ œ œ œ n œ œœœ œ &œ 11 12 & œ œ œ œ œ œ œ #œ œ œ #œ #œ 89 #œ œ œ œ œ nœ nœ œ œ . . .ETUDE # 9: Circular Breathing Slow. œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ # œ œ œ œ œ #œ & œœ œ #œ œ 16 17 & œ #œ œ 18 & œ #œ œ œ œ #œ œœœœœœ œ #œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ nœ #œ œ œ #œ #œ œ œ .œ œ œ œ bœ œ # œ n œ œ œ #œ œ œ œ nœ œ œ œ œ nœ # œ œ œ œ œ œ # œ œ n œ œœœ œ &œ 13 14 & œ œ œ œ œ œ œ #œ œ œ #œ #œ œ œ œ œ œ œ œ œ #œ #œ œ # œ œ œ œ & œ #œ #œ œ 15 #œ œ œ œ œ nœ nœ œ œ œ œ œ nœ œ œœœœœœœœœœ. œ œ œ œ œ œ œ # œ œ œ œœœ œ 90 . œ œ œ œ # œ œ œ œ œ œ & 20 œœœœœœ bœ œ œ œ œ œ nœ #œ œ #œ #œ œ œ #œ œ œ œ œ œ œ œ œ œ . #œ œ œ œ œ œ #œ œ œ œ . œ œ . œ #œ œ œ . . œ œœ œ œ & 21 22 & 23 & œ œ œ #œ œ #œ œ œ œ œ # œ # œ œ œ # œ œ œ œ œ œ œ œ œ œ. œ . . # œ œ œ œ # œ œ œ œ œ œ œ Œ &œ œ 24 91 . .19 & œ #œ œ œ #œ œ œ œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œœœœœœ bœ œ œ œ œ œ nœ #œ œ œ #œ #œ œ œ œ œ œ œ. ETUDE # 10: Circular Breathing Repetitive Scalar and Arpeggiated Passages Optimistic ### 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ & 4 œ œ œ œ f 5 & ### œ œ œ n## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœœœœœ œ œ œ f ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 9 f œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n# & 13 f 17 & 21 & œ œœœœœœœœ œœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ f œ œ œ # œœœœœœœœ œœœœœœœœ œ œ œ œœ œœœœœœœœ n f 92 . 93 .œœœœœœœœ œœœœœœœœ œœœœœœœœ œ œ œ œ œ œ œ œ & f 25 œœœœœœœœ œœœœœœœ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ f 29 œœœ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ & œœœœœœœœ œ œ œ œœ f 33 œ œœœœœœœœ œœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n &b f 37 œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ n œ œ œ œ & P 41 œœ œœœ œ œœ œœœ œ œœœœœœœœ œœœœœœœœ œ œ œ œ & 45 cresc. œ œ #œ nœ œ œ œ œ œ œœœœœœœ œœœœœœœœ œ œ œ # œ œ b n œ œ œ & F P 69 94 . 53 & 57 & œœ #œ œœœ cresc. dim. œœ œœœ œ œœ œœœ œ œœ œœœ œ œœ œœœ œ œ œ œ œ #œ œ #œ œ b & 65 dim. dim.#œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 49 cresc. œ œ œ œ œ œ œœ œ œ œ #œ #œ œœœ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ œœœ œœ œœœ œ œœ œœœ œ œ œ œ œ ƒ œ œ œ œœ œœœ œ œœ œœœ œ # œ œ œ œ # œ œ œ œ œ œ œ œ & #œ œ #œ œ 61 œ dim. œ œ #œ cresc. &b 73 œœœœœœœœ œ œœœœœœ œœœœœœœœ œœœœœœœœ #œ F œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ # œ b & f 77 œœ œœœ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ b & 81 &b 85 &b 89 œ œ œ œœ œ œœ œ œ œ œœœœœœœœ œœ œœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 95 œ œ ˙ . ETUDE # 11: Circular Breathing Rapid. Arpeggiated. brilliant & 44 bœ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p cresc. 5 6 & œ nœ œ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œ #œ œ œ œ 96 . 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ # œ œ œ œ & 4 bœ œ œ œ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œ œ # œ & p cresc. and Repetitive Passages Taking flight. nœ œ œ œ œœ œ œœ œœ œœ œ œœ œœ œœ œœ œ œœ œœ œœ œ œ # œ & 2 bœ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ & f dim. 7 8 & 9 & œ œœ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œœœœ œœœœ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ P œ œœ œœ œœœ œœœœ œœœ œ œœœœ œœ œ œœ œ b œ œ œ œ œ œ & 10 11 & œ œ bœ œ œœœœ œœœœ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ ! 12 97 .bœ œ œ œ œœ œœœ œœœ œœ œœœ œœœ œœœ œœ œœœ œ œ œ # œ & f dim. œ œ œ œ bœ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 16 cresc. 14 15 & bœ bœ cresc.13 & œ œ bœ œ œœœœ œœœœ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p œ œ œ œ & nœ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ P cresc. œœ œœ œœ œœ œ œ œ b œ œ œ œ œ œ œœ œ œœœ & œ#œ œ œ œ œ œ œ œ 17 f bœ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 18 98 . nœ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œœœœ #œ œ œ & 19 œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ƒ 20 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 21 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 22 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 23 24 & œ#œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 99 . 25 & œ#œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 26 œ#œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 27 œ#œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & & 28 & 29 & 30 & œ œ#œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œœ ! œ œœœœ œ nœ œ œ b œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ 3 cresc. 100 3 3 3 3 3 3 3 . 6 6 6 6 œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 41 cresc.34 & œœ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ cresc. 6 6 6 101 6 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ & 38 cresc. 5 5 5 5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ & 39 cresc. œ œ nœ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ #œ œ #œ & 36 cresc. 5 5 5 5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ & 40 cresc. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ & ƒ 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ & 43 œ œ œ œ œ œœ œ œœ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ # œ œ œ œ & 44 102 . and Quiet Passages Seething & œ œ bœ œ nœ bœ œ œ nœ bœ œ nœ bœ œ #œ œ #œ #œ œ nœ œ œ #œ ! & #œ #œ nœ œ #œ nœ #œ œ #œ nœ œ #œ nœ œ œ #œ #œ ‹œ #œ œ #œ œ #œ 3 & #œ nœ œ #œ nœ œ bœ #œ nœ nœ #œ nœ œ bœ œ œ bœ œ nœ bœ œ œ nœ bœ œ nœ bœ œ 5 7 & #œ nœ #œ #œ nœ œ nœ #œ nœ #œ #œ nœ œ nœ œ #œ #œ œ œ ‹œ ‹œ œ #œ œ œ bœ nœ & œ #œ nœ œ #œ nœ #œ œ #œ nœ œ #œ nœ œ ‹œ #œ œ #œ œ #œ bœ nœ nœ bœ bœ 9 œ œ bœ œ nœ bœ œ œ b œ œ # œ # œ #œ œ #œ œ bœ œ œ #œ œ nœ œ œ œ # œ # œ # œ & 11 103 . Non-Repetitive.ETUDE # 12: Circular Breathing Rapid. #œ #œ #œ œ œ œ œ # œ #œ nœ œ #œ nœ #œ œ #œ ‹œ #œ nœ #œ œ bœ nœ nœ œ #œ œ #œ œ #œ & 13 15 œ œ bœ bœ œ bœ œ nœ œ œ œ bœ œ œ bœ #œ œ nœ #œ œ œ œ œ œ œ œ œ œ œœ 17 œ œ bœ œ nœ bœ œ œ nœ bœ œ nœ bœ œ bœ œ bœ œ nœ bœ œ nœ bœ & & œ #œ nœ œ #œ nœ œ œ #œ nœ œ #œ nœ œ #œ nœ œ œ œ bœ œ nœ bœ œ œ œ bœ œ & 19 & œ #œ #œ nœ #œ œ œ nœ #œ œ nœ #œ œ œ 21 #œ #œ nœ œ #œ nœ #œ œ #œ nœ œ #œ nœ œ & 23 104 bœ œ œ œ nœ œ œ #œ œ œ #œ œ œ œ œ bœ œ œ . 25 & œ #œ œ #œ œ #œ #œ œ nœ bœ œ bœ œ œ bœ #œ œ œ bœ bœ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ # œ & #œ ‹œ #œ œ œ œ 27 #œ œ œ nœ œ œ œ #œ œ # œ # œ œ œ œ nœ œœ œ & œ #œ #œ œ #œ œ œ œ œ nœ #œ œ #œ 28 29 & œ œ #œ œ œ œ œ œ œ #œ ‹œ œ nœ bœ œ nœ nœ œ œ œ œ bœ œ #œ #œ #œ #œ nœ #œ œ œ œ œ #œ œ œ & #œ #œ #œ nœ œ œ nœ œ œ nœ œ bœ bœ œ œ #œ #œ œ œ œ nœ œ œ œ #œ #œ #œ ‹œ 30 ¯ ¯ ¯ # œ # œ ‹ œ # œ n œ n œ œ n œ œ œ œ œ œ œ # œR œR œR # œ œ œ œ œ¯ œ¯ œ¯ & R R R #œ #œ œ œ 32 105 . œ œ # œ ‹ œ ‹ œ œ # œ œ & #œ 34 36 & 38 & œ #œ œ #œ œ œ œ œ #œ œ œ bœ bœ b œ œ # œ ‹ œ œ ‹œ ‹œ #œ #œ ‹œ ‹œ #œ #œ #œ #œ œ #œ #œ #œ œ nœ œ œ #œ œ #œ #œ #œ œ nœ œ œ œ #œ œ œ #œ œ œ ‹œ #œ #œ ‹œ #œ #œ œ #œ nœ nœ #œ # œ n œ œ & #œ 40 œ œ œ œ & #œ nœ #œ nœ #œ #œ nœ #œ nœ œ œ #œ nœ œ #œ nœ œ œ #œ nœ œ #œ nœ œ 41 bœ œ œ œ nœ œ #œ œ #œ nœ œ #œ nœ œ œ #œ nœ œ #œ nœ œ œ œ & 43 106 . 45 & 47 & #œ nœ #œ #œ nœ œ nœ #œ nœ #œ #œ nœ œ nœ œ bœ œ #œ nœ #œ nœ œ bœ œ #œ nœ œ #œ œ œ œ œ #œ nœ œ œ œ #œ œ b œ œ b œ œ œ œ # œ #œ nœ nœ bœ œ bœ bœ #œ œ #œ #œ œ œ œ # œ œ bœ bœ bœ ‹ œ # œ n œ œ œ b œ # œ n œ œ # œ œ œ œ bœ & 49 œ œ œ œ # œ # œ œ œ nœ œ œ œ #œ œ #œ #œ œ #œ œ œ nœ #œ œ œ œ œ & 51 53 & #œ œ #œ œ œ # œ œ # œ # œ # œ ‹ œ #œ nœ 107 #œ #œ #œ ‹ œ # œ # œ # œ #œ . guh or kuh) &¿¿¿¿Œ 4 (d-g-d-g) Ó &¿¿¿¿ j ‰ Ó bœ 7 &¿¿¿¿ 10 &¿¿¿¿ bœ 13 & ¿¿¿¿ 16 bœ œ Ó œ œJ ‰ Œ ¿¿¿¿ j ‰ Ó bœ ¿¿¿¿ j ‰ Ó bœ ¿¿¿¿ j ‰ Ó bœ ¿¿¿¿ œ Ó ¿¿¿¿ ¿¿¿¿ ¿¿¿¿ bœ bœ œ œJ ‰ Œ ¿¿¿¿ bœ bœ bœ œ Ó œ Ó œ œJ ‰ Œ œ œJ ‰ ‰ # ¿ ¿ ¿ ¿ ¿ ¿ œ œJ ‰ ‰ # ¿ ¿ ¿ ¿ ¿ ¿ œ œJ ‰ ‰ # ¿ ¿ bœ bœ bœ P 108 . percussive (d-g) Ó ¿¿¿ !Œ (d-g-d) Ó d .artigulation with the back of the tongue (i.e. neurotic ¿¿‰ Œ & 44 ¿R ! ‰ Œ Ó f * Pitchless.ETUDE # 13: Double tonguing Study and Awareness of the Oral Muscular Mechanism Brisk.articulation with the tip of the tongue g . & ¿¿¿¿ 19 & ¿¿¿¿ bœ 22 & ¿¿¿¿ bœ 25 & ¿¿¿¿ bœ 28 bœ &¿¿¿¿ œ œJ ‰ ‰ # ¿ ¿ ¿ ¿ ¿ ¿ œ œJ ‰ ! # ¿ ¿ ¿ ¿ ¿ ¿ ¿ nœ œ œ ! #¿ ¿ ¿ ¿ ¿ ¿ ¿ nœ œ œ #¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 31 bœ &!¿ ¿¿Œ 34 bœ bœ bœ bœ œ œJ ‰ ! # ¿ ¿ ¿ ¿ ¿ ¿ ¿ œ œJ ‰ ! # ¿ ¿ ¿ ¿ ¿ ¿ ¿ nœ œ œ ! #¿ ¿ ¿ ¿ ¿ ¿ ¿ nœ œ œ #¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ nœ œ œ #¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Ó bœ bœ !¿ ¿¿Œ 109 bœ bœ bœ œ œJ ‰ ! # ¿ ¿ ¿ œ œJ ‰ ! # ¿ ¿ ¿ nœ œ œ ! #¿ ¿ ¿ nœ œ œ #¿ ¿ ¿ ¿ (g-d-g) nœ œ œ #¿ ¿ ¿ ¿ ! ¿ ¿ ¿ Œ Ó f Ó !¿ ¿¿Œ Ó . & !¿¿¿ !¿¿¿Ó !¿¿¿ !¿¿¿Ó 37 & !¿ ¿ ¿ !¿ ¿ ¿ Ó !¿ ¿ ¿ !¿ ¿ ¿ 40 & !¿ ¿ ¿ !¿ ¿ ¿ œ ‰ 43 P œ œ ‰ ‰ !¿ ¿ ¿ !¿ ¿ ¿ œ ‰ !¿¿¿!¿¿¿Ó œ œ ‰ !¿ ¿ ¿ !¿ ¿ ¿ ‰ œ œ ‰ œ #¿ ¿ ‰ ¿¿¿ ¿¿¿œ ‰ ‰ ¿ ¿ ¿ ¿ #¿ ¿ ¿ ¿ ‰ œ ‰ ¿ ¿ ¿ ¿ #¿ ¿ ¿ ¿ ‰ œ ‰ ¿ ¿ ¿ ¿ #¿ ¿ ¿ ¿ ‰ œ ‰ & œ œ œ 46 & ¿R ! ‰ Œ f Ó 49 & ¿R ! ‰ Œ 52 Ó ¿ !‰ Œ R Ó ¿ ! ‰ ¿R ! ‰ Ó R 110 ¿ !‰ Œ R Ó ¿ ! ‰ ¿R ! ‰ Ó R . ¿ ¿ ! ‰ R!‰ Ó &R 55 ¿ ! ‰ ¿R ! ‰ Ó R œ ‰ œ ‰ ¿ ! ‰ ¿R ! ‰ R œ œ œ ¿ ¿ ¿ ‰ œ ‰ œ ¿ ¿ ¿ ‰ !‰ R!‰ ‰ !‰ R!‰ ‰ œ ‰ & R!‰ R!‰ R R 58 œ œ œ ¿ ¿ ¿ ¿ ¿ ¿ ‰ œ ‰ œ ‰ ‰ ¿¿‰ ‰ ‰ ¿¿‰ ‰ ‰ œ ‰ &¿¿‰ " 61 ¿¿ œ ‰ œ ¿¿¿ œ ‰ œ ¿¿¿ œ ‰ œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ! ! ‰ ! ! ‰ & ‰ ‰ 64 ¿¿¿! ¿ ¿ ¿ ! & œ ‰ œ ‰ ¿ ¿ ¿ !¿ ¿ ¿ ! œ ‰ œ ‰ ¿¿¿¿¿¿¿¿ œ ¿¿¿¿ ¿ ¿ ¿ ¿ & œ ‰ œ ‰ ¿¿¿¿¿¿¿¿ œ ‰ œ ‰ ¿¿¿¿¿¿¿¿ œ 67 70 111 f ‰ œ ‰ ‰ œ ‰ . ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿R ! ‰ ¿ ¿ ¿ ¿ & ƒ ¿ ¿ ¿ ¿ ¿ R!‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ R!‰ &¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ R!‰ ¿ ¿ ¿ ¿ 73 75 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ & 77 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ &¿ ¿ ¿ ¿ 79 112 . œ.œ.ETUDE # 14: Double Tonguing Legato.œ.œ.œ. Repeated Passages Intent.œ.œ.œ.œ.œ.œ.œ.œ.œ.simile 2 œœœ œœœ œœ œ œœœ œœœ œœœ œœ &4 F & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ 4 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ 7 f 10 & œ œœœ œœœ œœœ œœ œ œœœ œœœ œœœ œœ œ œœœ œœœ œœœ œœ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ 13 & œ œœœ œœœ œœœ œœ œ œœœ œœœ œœœ œœ ƒ 113 16 bœ œ œ œ œ œ œ œ œ œ œ œ . driving œ.œ. 19 & 22 & 25 & 28 & œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ œœ œ œœœ œœœ œœœ œœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ & P 31 34 & #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ 114 . 37 & 40 & 43 & #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ F œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ ƒ bœ œ œ œ œ œ œ œ œ œ œ œ & œ œœœ œœœ œœœ œœ œ œœœ œœœ œœœ œœ 46 49 & 52 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ f œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ƒ 115 . 55 & œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ œœ œ œœœ œœœ œœœ œœ f bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 58 61 & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ P 64 & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F 67 &œ 70 œ œ œ œ œ œ œ œ œ 116 œ œ r œ ! ‰ Œ . # œ n œ œ. # œ œ œ. b œ. œ # œ # œ #œ ‹œ ƒ ˙ œ # œ. b œ œ # œ. œ b œ. b œ. # œ. # œ. œ # œ n œ. n œ. œ. œ # œ n œ. œ # œ n œ. # œ. œ. #œ œ # œ n œ. œ. # ˙ #œ œ n œ. œ # œ n œ. b œ. . n œ. . # œ. b œ œ . œ.ETUDE # 15: Double Tonguing Rapid. b œ. n œ . œ. ˙ f ˙ œ # œ. œ # œ . . œ. œ n œ # œ. n œ œ b œ œ. n œ. n œ. . n œ œ b œ. œ # œ n œ. . . . œ b œ. #œ # œ n œ œ. œ. Chromatic Passages #˙ Cascading & 44 3 & 5 & 7 & 9 & 11 & F œ n œ. œ œ # œ n œ # œ. œ œ bœ œ 117 . œ. # œ n œ n œ. œ b œ œ. n œ. # œ. # œ. . . œ b œ œ. n œ œ b œ. n œ œ b œ. Conjunct. œ. # œ n œ # œ. . œ b œ œ. n œ. œ # œ n œ. b œ œ # œ. b œ œ . n œ. n œ. b œ. œ # œ n œ. b œ œ . #œ nœ #œ nœ #œ nœ . œ. ˙ . . # œ. œ. 17 # œ # œ œ. œ œ. n œ # œ # œ. # œ n œ n œ. # œ n œ n œ. n œ. . œ . œ . œ. . # œ . œ # œ œ œ. # œ # œ œ # œ f 13 15 & #˙ œ œ. n œ. œ. n œ. œ. F 19 21 & #˙ œ n œ. . 23 118 . œ. œ. œ. . œ œ œ. œ n œ. # œ # œ. œ œ œ œ. b œ. œ. # œ # œ # œ. # œ. œ. œ. n œ. . œ # œ n œ. œ. # œ ‹ œ œ # œ & # œ œ # œ. œ n œ b œ. & #œ #œ œ œ œ œ œ œ œ œ œ . n œ # œ # œ œ œ œ.œ # œ. # œ œ œ œ œ #˙ # œ & # œ. œ. # œ. . œ. # ˙ . œ. n œ œ œ. œ # œ # œ. b œ. œ.œ œ. œ. . œ. . # œ n œ n œ. œ # œ n œ. œ œ œ. œ. b œ. œ. œ. . . œ # œ n œ. œ. œ. œ n œ b œ. b œ. b œ. œ œ œ # œ # œ & . œ œ œ. # œ n œ œ. œ œ œ. œ œ. œ. b œ. œ # œ n œ. b œ. b œ. # œ. . ƒ 29 &˙ P 31 . œ n œ # œ. œ. œ # œ. . . œ # œ n œ. œ. # œ. œ. . œ œ b œ. œ. . . œ # œ n œ # œ # œ œ œ # œ n œ # œ n œ # œ n œ # œ n œ # œ # œ & . œ # œ n œ. b œ. œ # œ n œ. # œ # œ œ . œ. .. œ œ œ. # œ œ # œ # œ # œ. œ # œ. . # œ. # œ. . # œ. # œ. . œ. n œ . . # œ. . n œ. œ # œ œ. # ˙ f œ n œ. . œ. œ. . # œ. œ. # œ œ ‹ œ. . # œ œ # œ œ œ œ œ œ œ œœœ & œ # œ # œ. # œ n œ # œ n œ & . # œ œ # œ œ . # œ. 33 # œ n œ œ. 35 119 . n œ # œ n œ. 25 27 & #˙ F œ n œ. # œ. œ. œ# œ n œ# œ n œ œ n œ b œ. b œ. # œ œ # œ œ n ˙ . œ # œ n œ. # œ. œ & # œ n œ. œ. # œ n œ n œ. # œ. # œ. . b œ. b œ. b œ. œ # œ n œ. œ # œ n œ. b œ. œ. # œ n œ n œ. # œ n œ n œ. œ. œ b œ œ # œ n œ œ. . n œ. # œ n œ œ. # œ n œ œ. # œ. b œ. œ. . n œ. # œ. 45 n œ œ b œ. b œ. n œ. œ n œ. . œ b œ œ. œ. n œ. . # œ . # œ œ # œ. n œ. œ. œ. ‹ œ. œ # œ œ # œ & # œ œ # œ. œ # œ n œ. # œ. b œ œ œ. # œ ‹ œ # œ ‹ œ œ #œ # œ œ # œ. # œ. œ. . # œ # œ œ # œ 39 41 & 43 & ˙ F ˙ ƒ œ # œ. n œ. # ˙ 47 #˙ & & œ n œ. . # œ # œ # œ ‹ œ # œ. # œ. # œ. b œ. œ. # œ . n œ.. . œ. œ. . # œ. . . œ. œ # œ œ # œ #œ & œ # œ # œ. J ‰ Œ 120 . # œ. # œ œ # œ. n œ b œ œ. # œ œ # œ 37 . b œ œ # œ. . # œ. œ. n œ b œ œ. # ˙ f œ b œ. œ # œ œ # œ . b œ œ œ. # œ. œ n œ. œ. # œ n œ œ. # œ n œ œ. n œ. n œ œ b œ. . œ # œ n œ. b œ. ‹ œ. # œ # œ ‹ œ œ # œ œ # œ . # œ n œ # œ. Fluctuating. œ. œ.ETUDE # 16: Double Tonguing Repeated Notes with Varying Velocity œ œ œ œ œ œ œ œ œ œ œ #˙. œ. œ. #˙. " œœœœœœ w P " . œ. with measured anger & f & œ œ œ œ œ œ #˙ 7 ! & 15 & " " # œ. œ. œœœœœœœœœœœœœœœ 121 n œ. Œ bw #œ œ œ œ œ œ œ œ œ œ œ #w " # œ. œ. œ. œ. œ. œ. Ï œ œœœœœœœœœœœœ ˙ # œ œ œ œ œ œ œ œ œ œ œ œ & F 5 9 œ #œ œ ˙. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . " f " œ. œ. œ. œ. f b œ. œ. œ.19 & 22 & œ œ œ œ # œ œœœb œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ # œ œ œ œ œœœœ " œ. œ. # " & œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F 29 31 & 33 & 37 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ ˙. # œ. " # œ. œ. œ. œ. œ. " œ. w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ " ƒ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ #œ 122 " œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. "Microchromatic" Passages 1 2 3 5 6 Meditatively & 44 œ .# œ. p j Lœ # œ bœ 123 Œ 1 2 3 5 6 j Lœ # œ œ. 9 8 c1 2 13 & œ. L œj # œ ! n œ & 5 Œ Œ &j ˙.. " #œ Œ œ œ- L ˙. 1 2 4 5 j ˙. L ˙- 8 1 Tc 2 ˙- # ˙- œ 44 # ˙- 1p 3 j˙ 8 1 2 3 5 6 ä˙ 34 Œ ä˙ F #œ œ œ jœ œ ! #œ j ˙.ETUDE # 17: Microtones Slow. 1 2 Tc œ 1 2 4 5 œ 1 2 4 5 1 2 3 4 5 6 Eb7 n ä˙ .J œ- Œ œ- Ta j œ- F 1 2 3 5 6 œ. f 3 4 . j œ. l˙ 8 1 2 4 4 43 3 #œ 8 1 2 4 5 34 L ˙ .# ˙.j œ.# œ3 &4 17 8 1p 3 8p 1 œ. & œ. 44 . P & nœ ƒ ˙ ˙ ˙ 1 2 3 5 6 j Lœ # œ #˙ j ˙.L ˙- 3 ˙. #˙ w f 8 c1 2 3 4 œ.# œ3 &4 25 & # ä˙ . 44 f œ.8 1 2 3 Tf 5 ä˙ . # ˙- Î 29 33 # ä˙ 4 4 21 # äœ L˙ # ˙- #œ p 8 1 2 3 Tf 5 124 L ˙- Tc ä˙ 8 1 2 Tc #˙ n ˙- # ˙- Ï L˙ 8 1 2 Ta 3 5 8 1p Ta3 j ˙.# œ- 8 2 Tc #˙ 1 2 4 5 œ äœ ˙.j œ. 1p Ta 3 ä 3 & 4 ˙. F & #˙. ä j ˙. n w125 bœ Ó ˙ ä b˙. 4 &4 w â j Lœ #œ œ. - j ˙. 1 2 3 5 6 49 Œ ˙. œ œ # ˙- 3 4 1 2 3 Ta 5 ä J ˙. P j ˙. f # œ- ˙- ˙. 1 2 4 5 j ˙. œ 45 53 1 2 4 5 1 2 3 4 5 7 #œ 44 Ó # ˙" w- .& 44 œ . F 37 41 & ˙ 1 2 3 5 6 j Lœ # œ 1 2 3 4 5 Eb 6 7 J˙ œ #œ ˙. 57 &˙ 1 2 3 5 6 L˙ #˙ 1 2 3 Tf 5 1 2 4 5 j˙ l˙ 126 #˙ ˙ Ó . P 8 1 2 3 n˙ 127 3 2 Tc œ #œ œ œ ˙ l˙ F 8 1 2 3 Tf 5 8 2 3 ¯ j œ¯ œ¯ # œ œ œ l œ¯ œ¯ œ Tc p . Disjunct Passages 8 1 2 3 4 C# Liquid 5 Eb 6 j ˙ œ¯ # œ¯ ˙ 4 &2 ˙ P 8 1 2 3 5 6 8 1 2 3 4 5 6 1 2 4 5 .ETUDE # 18: Microtones Slow.j œ 4 ˙ &2 . ˙ w ˙ p 32 .B 3 # œ œ.2 P f 4 7 & 10 & ˙ ## ˙ ˙ ˙ 8 2 L˙ Tc j˙ ˙ ˙ ˙ Ó 8 1 2 3 4 6 œ¯ œ¯ L ˙ 8 1 2 3 4 5 6 Eb 7 ˙ Ta #w.œ L œ j œ.32 L œ œ # œ œ œ œ #˙ ˙ 8 1 2 3 4 6 ## 4 ˙ 2 F Tf 8 1 2 3 5 j w.L. ## 3 œ œ œ jœ & 2 p w ˙ 42 w ¯ # # 3 œ œ œ j œ L œ¯ j œ¯ 4 w . & 2 2 ˙ nn ˙ 13 8 1 2 4 5 16 & 42 ˙ 22 8 1 2 3 B 4 5 6 1 2 3 4 5 Eb 6 7 19 & #w 8 1 2 3 5 6 F ˙ Eb J˙ œ œ ˙ L˙ ˙ œ œ< j ˙ < ˙ 8 1 2 3 4 6 1 2 3 C# 4 5 6 #˙ w 128 8 1 2 Ta 3 L˙ w 32 œ¯ œ¯ ˙ 8 1 2 3 4 5 6 Eb 7 32 w f 8 2 3 œ L˙ ˙ L˙ 8 2 Tc 8 c2 L˙ L˙ 42 œ 32 .8 1 2 3 B 4 1p 5 3 6 8 1 2 3 5 6 L œ.j œ. & 32 25 #w. ƒ 42 œ ˙ 2 3 L˙ Tc #˙ 129 œ w #˙ Ó . foreboding 12 & 8 œj ƒ & œj ƒ 3 & b œj ƒ 5 œ #œ 8 1 Tc 2 j œ jœ j œ jœ j œ œ & J #œ p œ J Lœ & œj ƒ 9 8 2 j œ 8 c1 2 œ 7 Tc 2 œ j œ Lœ Tc j œ j œ nœ #œ œ J nœ j œ 8 1p Ta 3 jœ j œ j œ jœ j œ 8 2 Lœ Tc j œ j bœ j œ 1 2 œ Jjœ Tc nœ œ J œ 130 œ jœ j œ 8 1 P 3 bœ 8 1 Tc 2 8 1 2 4 5 Jœ j œ œ 8 1p Ta 3 j œ jœ j œ jœ j œ 1p 3 œ Jjœ Ta œ j œ j œ 8 1 Tc 2 j œ bœ bœ œ œ J bœ œ j œ 8 1 2 4 5 j œ jœ 8 1P 3 Jœ j œ j ‰ ‰ œ œ J Jœ 1p 3 .ETUDE # 19: Microtones Hybrid-Conjunct and -DIsjunct Passages 8 1 p Ta 3 œ jœ j œ 8 1p 3 bœ Jœ j œ Dangerous. #œ &J œ 11 p nœ bœ &J 13 p 15 & œ J œ p & œj Ï 17 œ 8 1 2 3 4 5 6B œ Jjœ 8 1 2 3 4 5 Eb 6 7 œ JJ œ 8 1 2 3 4 5 7 œj J œ 8 1 P Ta 3 jœ j œ œ J bœ œ J œ œ J bœ j œ bœ 2 œ JJœ Tc 8 1 2 3 4 5 6B œ Jjœ 8 1 2 3 4 5 Eb 6 7 œJ J œ #œ J œ œ J jœ œ J bœ 2 Tc œ J œ 8 1p 3 Jœ j œ j bœ 131 1 2 Tc œ œ J Jœ 8 1 2 3 4 5 6B œ Jj œ j œ 8 1 2 4 5 jœ œ J œ 1p 3 œ Jjœ Ta 1 2 œ J œ œ Tc Jj œ œ J bœ œ J ‰ ‰ j œ bœ j œ œ . & œj ƒ 19 j & #œ f 21 œ #œ 8 1 2 Tc jœ j œ 8 2 Lœ j œ Tc 8 c1 2 œ jœ j œ œ & J #œ ! œ J Lœ #œ & J œ p œ B J jœ j &œ F 23 25 27 Tc œ j œ 2 8 1 2 3 4 5 6 j œ j œ nœ #œ œ J nœ œ J bœ 8 1p 3 Ta jœ j œ j œ jœ j nœ 8 Tc2 j œ Lœ j #œ 1 2 œ Jjœ Tc bœ j œ 8 1 Tc 2 Jœ j œ œ nœ #œ J œ œ J Jœ Tc 8 1 3 5 2 132 œ J œ 8 1p Tc 3 jœ j œ j œ 8 1 2 jœ j œ Tc œ j œ j œ 1p Ta3 œ J jœ 1 2 œ Tc Jjœ bœ œ œ J bœ œ J œ j œ 8 1 2 4 5 jœ 8 1p 3 Jœ j œ j œ ‰ ‰ œ J Jœ 1p 3 1p 3 œ Ta Jjœ . nœ bœ & J P 29 31 & œ J œ F j œ & P 33 j &œ 35 œ bœ 8 1 2 3 4 5 Eb 6 7 œ J Jœ 8 1 2 3 4 5 7 œj J œ j œ 8 c1 2 jœ 8 1 3 5 Jœ j œ œ J œ œ J bœ j bœ j œ bœ œ 8 1 2 3B 4 5 6 œ Jjœ 8 1 2 3 4 5 Eb 6 7 œ JJœ j œ œ J bœ bœ J œ 8 2 Jœ Tc j œ 8 1 2 4 5 jœ j œ j bœ 133 œ bœ œ J Jœ 2 Tc 8 1 2 3 4 5 6B œ Jj œ j œ j œ 8 1 Tc 2 jœ œ œ J œ œ J bœ j bœ j œ 2 3 œ Tc J jœ œ J ‰ ‰ œ œ 8 1p Ta 3 œ jj œ 8 1 2 3 5 jœ j œ Tf . œ bœ Ï .& # œj 37 bœ 8 1 2 3 5 6 Jœ j œ j nœ œ 8 1 2 3 4 6 jœ j œ j œ 134 œ 8 1 2 3 4 5 7 jœ j j ‰ ‰ Œ. Conjunct Passages 8 1 2 4 6 Tf 8 1 2 3 5 Mechanical 5 œ L œ # œ l œ œj &4 f 2 & 3 & 4 & 5 & nœ Lœ #œ l œ j œ ‰ nœ L œ #œ l œ j #œ ‰ œ L œ #œ l œ j #œ #œ l œ œ L œ j œ ‰ ‰ ‰ nœ Lœ #œ l œ j œ ‰ nœ Lœ #œ l œ 8 1 2 3 4 6 8 1 2 3 5 6 nœ Lœ #œ l œ j œ ‰ œ L œ #œ l œ nœ L œ #œ l œ j œ ‰ nœ L œ #œ l œ nœ L œ #œ l œ j œ #œ l œ œ L œ j œ 135 8 1 2 4 5 ‰ ‰ 8 1 3 5 #œ l œ œ L œ œ lœ œ Lœ .ETUDE # 20: Microtones Rapid. 6 #œ l œ œ L œ j œ 7 nœ L œ #œ l œ j #œ & & 8 & 9 & 10 & ‰ ‰ nœ L œ #œ l œ j #œ ‰ nœ Lœ #œ l œ j œ ‰ œ Lœ #œ l œ j œ ‰ #œ l œ œ L œ j œ nœ L œ #œ l œ j œ 8 1 3 5 ‰ ‰ nœ L œ #œ l œ j œ ‰ nœ Lœ #œ l œ j œ ‰ nœ Lœ #œ l œ 136 j œ ‰ 8 1p Tc nœ L œ #œ l œ nœ L œ #œ l œ 8 1 2 4 6 8 1 2 3 Tf 5 œ Lœ #œ l œ nœ Lœ #œ l œ 8 1 2 3 4 6 8 1 2 3 5 6 œ L œ #œ l œ . 11 & 12 & 13 & œ L œ #œ l œ œ L œ #œ l œ #œ l œ œ L œ 14 #œ l œ œ L œ 15 nœ L œ #œ l œ & & j bœ j bœ j œ j œ j bœ ‰ ‰ ‰ ‰ ‰ nœ L œ #œ l œ nœ L œ #œ l œ œ lœ œ Lœ œ lœ œ Lœ nœ L œ #œ l œ 137 j œ ‰ nœ L œ #œ l œ 8 1 2 4 5 j œ j œ ‰ ‰ #œ l œ œ L œ œ lœ œ Lœ 8 1 3 5 j œ j œ ‰ ‰ 8 1 3 5 8 1p Ta nœ L œ #œ l œ nœ L œ #œ l œ . 16 & nœ L œ #œ l œ Tf 17 & 8 1 2 3 5 œ jœ 2 Tc & œ L œ œ L œ œj f 18 & n œ L œ œ L œ œj 19 ‰ 8 1 2 3 4 6 8 1 2 3 5 6 j œ bœ J œ 1 Tc2 j bœ nœ L œ #œ l œ 8 1 2 3B 4 5 8 1 2 3 4 5 Eb 6 7 œ j œ bœ J œ ‰ ‰ œ 8 1 2 4 5 j œ n œ L œ œ L œ œj 138 ‰ ‰ nœ L œ œ L œ j œ nœ jœ bœ œ Ó ‰ ‰ nœ L œ œ L œ 2 Tc c1 3 Tc nœ L œ #œ l œ . j & nœ L œ #œ l œ œ 20 ‰ n œ L œ # œ l œ œj nœ L œ #œ l œ ‰ 8 1 2 3 4 5 Eb6 7 8 1 2 3 C# 4 5 Eb 6 j & nœ L œ #œ l œ œ ‰ n œ L œ # œ l œ œj ‰ nœ L œ #œ l œ n œ L œ # œ l œ œj ‰ n œ L œ # œ l œ œj ‰ nœ L œ #œ l œ 21 22 & j n œ œ # œ œ l L œ & 23 8 1 2 3 5 6 24 & 8 1 2 3 Tf 5 œ L œ #œ l œ œ ‰ œ bœ n œ L œ # œ l œ œj œ bœ nœ 139 œ 8 1 2 3 4 6 #œ l œ œ L œ ‰ ! Ó . œo . #œ. œ . œo .ETUDE # 21: Timbre and Bisbigliando Melodic Passages 8 1 2 3 5 6 7 (12+5+12) b œ œ œo œ œo œ œ #˙ ˙ LevEl & & œ. œ . œo . # œ . 1 2 3 Tc c1 c2 c3 2 3 4 5 6 Eb 2 3 4 5 6 Eb 8 1 2 3 5 6 7 œ œo œ œo œ œ # ˙ 2 3 4 5 6 Eb c1 1 2 Tc3 o o o o o o #œ #œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ F 140 . F 3 & # œ . œ . œo .. 5 7 & #˙ ƒ 2 3 4 5 6 Eb c1 1 2 3 Tc c1 c2 c3 o o # œ œo œ œo # œ œ œ œ œ œ œo œ œo ˙ #˙ c1 1 2 3 G# 7 c1 c2 c3 # œ œo œ œo b œ œo œ œo œ .. ˙ bœ ƒ c1 c1 c2 c3 1 2 Tc3 1 2 3 Tc # œ œo œ œo # œ œo œ œo œ œ œo œ œo ˙ 1 2 3 Tc # œ œo œ œo œ œo œ œo œ . œ . œo . 9 2 c1 3 4 5 6 Eb 1 2 3 Tc œ . œ .& #œ. œo . # œ . 1 2 3 G# 7 & # œ œo œ œo ˙ 11 13 & bœ œ ƒ c1 c2 c3 o œ œo # œ œo œ œo # œ # œ œ & 15 8 1 2 3 5 6 7 8 1 2 3 4 6 Eb # œ œo œ œo # œ œo œ œo 8 1 2 3 4 6 Eb œ œo œ œo o o b œ œo œ œo œ œo œ œo œ œ œ œ # œ #œ c1 c2 c3 ˙ ˙ #˙ f 8 1 2 3 4 6 Eb c1 c2 c3 1 2 5 6 œ ˙ œ ƒ 141 #œ œ œ œ # œ ‹ œ œo œ œo œ œ # ˙ . œ . œo . œ . œo . œ . œ . œ . # œ . œ . œo . œo . 2 3 4 5 6 Eb 1 2 5 6 1 2 3 Tc c1 o œ œo œ œo œ œo n œ œo œ œo œ œ œo œ œo œ œ œ œ # œ œo œ œo œ # œ œ & o o subito p 21 c2 c1 c2 c3 o œ œo œ œo œ œo # œ œo œ œo œ # œ œo œ œo n œ œo œ œo œ œo œ œo œ # œ œ & 23 25 & œ Ï œ œ 8 4 5 # œ œo œ œo 142 œ #œ œ nœ .. œo . 2 c1 3 4 5 6 Eb 1 2 Tc3 œ. # œ .17 & o o # œ œo œ œo # œ œ œ œ œ œ œo œ œo ˙ #˙ & #œ. œ . 19 # œ œo œ œo œ œo œ œo œ .. œ . œo . # œ . œo . œ . F # œ œo œ œo # œ œ œ œ ‹ œ o o . œo . œ . œo .27 & œ & #œ 29 31 & ˙ ƒ 8 1 2 Tc3 8 1 2 4 5 8 4 5 œ œ œ œ b œ œ œo œ œo œ œ # ˙ 1 2 3 G# 7 œ #˙ # œ œo œ œo # œ œ œ œ ‹ œ o o . œ . œo . bœ œ œo œ œo œ œ # ˙ ƒ . 35 8 1 2 3 4 5 6 7 œ œo œ œo # œ œo œ œo œ œo œ œo b œ œo œ œo œ œo œ œo #œ & œ. # œ .. œ .. œ . œo . œo . & # œ . 143 #œ ˙ # œ œo œ œo œ œo œ œo œ . œ . F 33 8 1 2 3 C# 4 5 6 7 1 2 3 7 œ # œ œo œ œo ‹ œ œ œ œ o o # œ œo œ œo # œ œo œ œo œ œ œo œ œo ˙ #œ. ETUDE # 22: Timbre and Bisbigliando Utilizing Multiple Fingerings in Rapid Ostinato Passages 8 1 2 8 4 1 5 2 6 4 Frenetic 7 o œoo œ œo œoo œ œo œ œo œoo œ œo œoo œ œo œ œ 4 &4 ƒ 2 & 3 & œ œ & œ 4 8 8 1 1 2 2 3 Bb 3 4 4 5 Eb 5 œo o œo 8 8 1 1 2 2 3 3 4 4 6 Eb 6 œo o œo 1 2 4 1 2 5 6 œo œo o œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo œo o œ œo œ œo œo o œ œo œo o œ œo 144 . 8 1 2 3 4 5 6 7 8 1 2 3 (7) 5 & 6 œ & P 7 & 8 & œo œ œ #œ 8 1 8 2 1 3 2 4 3 4 Bb 5 5 Eb œo o œo 8 1 2 3 4 6 8 1 2 3 4 Eb6 œo 8 1 2 3 5 6 Eb œo œo œ o œo 8 1 2 3 5 Bb o œo œo œ œ œo œ R ! ‰ Œ œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo o œo œ œo œ œo o œo œ œo o œo œ œo 145 . 9 & œ f 8 1 2 3 (7) œo 8 1 2 3 4 5 6 7 œ œo œ œo œ œo œ R ! ‰ Œ œ œo œ œo œ œo œ R ! ‰ Œ 8 1 2 8 3 C# 1 4 2 5 3 C# 6 (7) 7 10 & 11 & 12 & œo #œ ƒ 8 1 2 4 8 1 2 4 5 6 7 œ œo o œo 8 1p 8 1p 4 5 6 8 1 p 3 4 5 6 #œ œo o œo œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo o œo œ œo œ œo o œo œ œo o œo œ œo 146 . 1 p 4 1 5 p 4 6 5 7 1p & #œ 13 14 & 15 & 16 & œ œ œ & #œ 17 œo œo o 8 2 c1 3 8 c1 4 5 2 o œo œo 8 1 2 3 4 Eb 6 8 1 2 3 4 6 o œo œo 8 1 2 3 Bb 4 5 œo 8 1 2 3 4 5 Eb 6 7 œo œ œo œo o œ œo œ œo œo o œ œo œo o œ œo œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo œ œo œ œo œ R ! ‰ Œ œ œo œ œo œ œo œ R ! ‰ Œ 147 . 18 & 19 & #œ 8 2 c1 3 c2 8 2 c1 4 c2 5 œo o œo 8 c1 2 8 c1 2 3 4 5 & 21 & œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ R ! ‰ œo o œo œ œ œo F nœ œo 8 1 2 3 (7) 20 œ œ #œ ƒ œo 1 2 3 5 6 Eb œo o œo 8 1 2 3 4 5 6 7 œ 1 2 3 Bb 5 o œo œo œ œo œ œo o œo œo œ œ œo 148 œ Œ œo o œo . 22 & 23 & nœ œ 24 &œ 25 & #œ & œ 26 8 8 1 1 2 2 3 3 4 4 6 6 Eb œo o œo 8 8 1 1 2 2 3Bb 3 4 4 5 Eb5 œo 1 2 3 Bb 4 5 œo 1 2 3 5 6 Eb œo 1 2 5 œo o œo Eb œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo œo o œ œo œ œo œo o œ œo œo o œ œo œ œo œo o œ œo œ œo œo o œ œo œo o œ œo œ œo œo o œ œo œ œo œo o œ œo œo o œ œo 1 2 3 4 5 œo o 1 2 3 Bb 5 œo o 1 2 5 6 œo o 149 . 1 (B) (7) &œ 27 &œ F 28 29 & œ 8 1 2 3 (7) 30 & œ 1 2 3B 4 5 6 7 œo œ 2 4 5 2 3 B 4 5 6 7 œo o œo 8 8 1 1 2 2 3 3 Bb 4 4 5 Eb5 œo 8 1 2 3 4 5 6 7 œo o œo œ œo œo œ œ œo œ R ! ‰ Œ œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œo œ R ! œo œ œo œ 150 ‰ Œ . 31 & œ ƒ 8 1p 32 & 33 & 34 & 35 & #œ œ #œ nœ 8 1 2 3 4 6 Eb 8 1 2 3 4 6 o œo œo 8 1p 4 5 6 œo 8 1p 3 4 5 6 o œo 8 c1 2 3 8 c1 4 2 5 o œo œo 8 4 œo 8 2 4 5 6 Eb œo 8 4 5 6 o œo œ œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œ œo o œo œ œo œ œo o œo œ œo o œo œ œo œo œ R ! ‰ œo œ œo œ 151 Œ . 8 1 2 4 36 & 8 1 2 4 5 6 7 o o o o œ œo œo œ œo œo œ œo œ œo œo œ œo œo œ œo 152 œ R!‰ Œ Ó . ETUDE # 23: Timbre and Bisbigliando Repetitive Patterns with Varying Dynamics Authoritative 1 & 68 # œJ ƒ 3 & # œJ Ï œ J & # œJ f 1 œ J & # œJ 3 3 5 7 & # œJ 9 & # œJ 11 œ J œ J ƒ 3 3 œ J œ J œ J P 2 œ œ J J ƒ " 1 œ J œ J œ œœœ J " œ J 1 œ J œ J p 3 3 œ J p 1 2 2 œ œ œ œ œ œ œ #œ J œ œ œ #œ J ƒ 3 4 œ J #œ œ J ! œ J f 3 œ œ œ #œ J 153 œ J œ J ƒ 2 œ J p 2 œ œœ ! 4 4 4 3 2 3 œ J P 1 œ J 2 œ J 2 œ œ œ œœ J J p P F œ J œ œ œ #œ œ J J P F 3 2 œ J œ J 4 œ œ œ #œ J F 1 œ J f 4 œ œ œ #œ J ƒ #œ f 4 2 œ J œ J 3 1 œ J P œ J Ï 4 1 œ J œ J œ œœ 4 œ J P 4 œ J œ J p œ J 1 œ J œ œ #œ œ J 2 4 œ œœ Ï 2 œ œ œ #œ J P . 1 2 3 4 & # œJ œ œ œ œJ F 13 & # œJ œ œ œ œJ ƒ 15 1 & n œJ ƒ œ J 17 & œJ P 3 & œJ 1 & œJ 3 19 21 23 œ J œ J œ J " œ œ œ œ 1 œ J œ J 3 œ J œ J F œ J " 2 œ J œ J f 4 œ J #œ œ J f #œ 3 3 1 1 œ œ œ #œ J 2 œ œœœ J ƒ 1 œ œ œ œ #œ œ œ œ œ J J J ƒ P p 1 œ J P 1 œ œœ œ J œ œ J J f F œ J 3 œ œœ œ J œ J p œ J F 1 œ œœ œ J ƒ 2 3 4 œ J 3 2 2 4 œ œœ œ J F 154 4 œ J œ J f 3 œ œ 2 œ œ 2 œ J 4 œ J œ J ! œ J 3 œ J 1 œ J œ J P #œ 4 4 œ œ œ #œ J P #œ œ J Ï œ J Ï œ J 3 œ œ #œ 2 2 œ œœ 4 œ œœ ƒ œ J f 2 œ J 4 3 œ œœ œ œœ . & œJ Î 25 & œJ 27 & œJ 29 & œJ ! 31 1 œ J 3 œ J ƒ œ J 3 œ J Ï œ œ J J f Ï 1 2 œ J P 3 œ J œ J œ J œ J 4 œ J F 3 4 1 2 & # œJ œ œ œ œJ ƒ 33 & # œJ œ œ œ œJ F 35 1 œ œ œ œ œ J F 1 œ œœ œ J Ï 3 œ J p 1 3 œ œœ œ J œ J Ï œ J #œ 1 2 2 œ J 4 œ J " 2 œ œœ œ J œ J 3 4 œ œœ œ J 4 œ J f 1 1 1 3 3 2 œ J f œ J œ J F œ J œ œ œ œ #œ œ œ œ œ J J J ƒ P p #œ œ J f œ œ œ #œ J 155 œ œœœ J ƒ 2 œ J 4 œ J ƒ 3 œ J 1 œ J F 2 œ œ 3 œ œ œ J P œ J 2 2 œ œœ 4 œ œ #œ F 2 3 œ œ œœ J ! F œ J #œ œ J Ï #œ 4 œ œœ 3 œ œ #œ 4 4 œ œ œ #œ J P . & # œJ 37 3 œ œœœ J " 1 & # œJ œ J ƒ & # œJ 3 39 41 1 œ J & # œJ Ï 3 œ J & # œJ ƒ 1 45 47 œ J œ œ 3 œ J œ œ J J ƒ " & # œJ f 43 4 œ œ #œ f 4 œ J œ J 2 œ J P œ J œ J 3 œ J œ J 1 œ J P #œ œ J Ï œ J p œ J 3 œ J ! œ œ œ #œ J œ J p 3 2 1 œ J 2 œ œ œ #œ œ J J P F 3 4 œ œ œ #œ J F 4 œ J f œ J 1 2 œ œ œ #œ J ƒ œ J 3 3 4 œ J p 1 1 2 œ œ œ #œ J ƒ œ œ œ #œ J 156 2 œ J f 1 œ J œ J œ J 4 2 œ œ œ #œ J P œ J p 1 œ J 3 œ J œ J P 4 œ œœ Ï 4 œ œ #œ 2 3 4 4 œ J œ J P œ J ƒ 4 œ œ œ œœ J J p P F œ J 2 œ J œ J 2 œ J œ œœ 2 2 œ œœ ! . Suggested Fingerings 1 & # œJ 49 1 & œJ 53 1 & œJ 57 Tc Ta 2 4 5 1 2 3 Tc4 5 6 2 #œ J 2 œ J 2 3 4 5 6 7 3 #œ J 1 2 3 4 5 6 7 3 œ J 1 2 Tc3 3 œ J œ J 157 2 3 4 C# 5 6 7 2 3 B 4 5 6 7 1 2 3 G# Tc 5 4 #œ J 4 œ J 4 œ J 2 3 4 5 6 Eb c1 2 3 4 Tc5 6 1 2 3B 4 5 6 7 . bœ .ETUDE # 24: Timbre and Bisbigliando Timbral "Trills" & 44 3 & 5 & b tœ œt ~~~~~~ œt ~~~~~~# œt ~~~~~~ b œt ~~~~~~ Ó p œ nœ 9 bœ & œ #œ bœ œ #œ F œ bœ ƒ Œ 158 t ~~~~~~ t ~~~~~~ Ó # œt œ t ~~~~~~~ #œ Œ ~~~~~~~ t ~~~~~~~ t ~~~~~~~ t ~~~~~~~ nœ œ bœ Œ & 7 Œ ~~~~~~~ t ~~~~~~ t ~~~~~~ t ~~~~~~ #œ œ bœ Ó t ~~~~~~~ t ~~~~~~~ t ~~~~~~~ t ~~~~~~~ #œ tœ ~~~~~~ ˙. 159 nœ Œ #œ bœ œ bœ œt Œ Œ Œ ~~~~~~~ #tœ ~~~~~~~ P #œ ƒ .11 & #œ œ &Œ 13 15 & 17 & 19 & nœ œ bœ F #œ œ œ bœ t ~~~~~~ t ~~~~~~ t ~~~~~~ t ~~~~~~ œ p #œ œ #œ œt œ #œ #œ t ~~~~~~ ‹œ t ~~~~~~~ t ~~~~~~~ t ~~~~~~~ t ~~~~~~~ #œ bœ Œ ~~~~~~~ t ~~~~~~~ t ~~~~~~~ ~~~~~~~ œ bœ bœ Ó. 21 & 23 & 25 ˙. b œt ~~~~~~~ œt ~~~~~~~# œt ~~~~~~~b œ p œ 160 œ Ó ~~~~~~~~~ . œ # œt œ #œ ~~~~~~~~ t ~~~~~~~ t ~~~~~~~ t ~~~~~~~ nœ œ #œ œ nœ & ˙ t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & w 27 t ~~~~~~~~~~~~~ t ~~~~~~~~~~~~~ #˙ œt Ó. for the isolation of individual pitches using multiphonic fingerings with a focus on dyads 8 1 2 3 c34 5 Crystalline 4 w &4 P 4 & 1 2 3 Bb 4 5 7 w 8 1 2 c33 4 5 7 & 10 & w 1 2 3 4 6 7 w p # ww #w w w w # ww #w w w w 161 .ETUDE # 25: Multiphonics ... 8 1 2 c3 3 4 5 w & P 13 16 & 8 1 2 3 Bb 5 6 w 1 2 3 4 6 7 w & F 19 22 & 8 1 2 3 Bb 5 6 w # ww #w w #w #w w w w w #w #w 162 . 25 & #˙ ! 8 1 2 c33 4 5 w & F 28 1 2 3 Bb 4 5 7 w & P 31 8 1 2 3 c3 4 5 34 & w œ œ œ œ 1 2 3 Bb 4 5 7 ˙ w w # ww #w w w w # ww #w 163 . Sx.ETUDE # 26: Multiphonics Using Threshold Tones to Precede Articulated Multiphonics l œ¯ l œ œ jœ < With great patience 3 &2 œ < P Alto Sax 2 A. Sx. œ œ œ 1 2 3 Bb 4 5 6 Lœ œ p œ¯ œ œ œ¯ œ œ œ¯ œ œ œ < œ < bœ < œ< œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ 164 . Sx. simile & #œ œ œ < œ < 1 2 4B 5 6 7 œ L l œœ œ Ll œœ F 1 2 3 Bb 4 5 6 3 A. &œ P œ œ lœ l œ œ jœ 1 2 3 4 Tc 5 7 &œ 4 A. & œ œ œ œ œ L L œœ œ jœ œ 8 1 2 3 Bb 4 5 L œœ Lœ F œ œ œ œ œ œ œ œ œ bœ œ œ œœ œ œœ œ œœ œ œ œœ œ œœ œ œœ œ œ œœ œ œœ œ œœ œ œ 165 œ œ œ œ œ #œ œ œ œ #œ . Sx. Sx. &œ P œ œ lœ l œ œ jœ c1 2 3 4 Bb 5 6 & #œ 6 A. Sx. œ œ Jœ œ L œœ p 1 2 3 Bb 4 5 7 7 A.1 2 3 Bb 4 5 6 5 A. &œ P 8 A. Sx. &œ P œ œ lœ l œ œ jœ œœ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ 166 œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ . œ œ &œ œœ œ 1 2 3 Bb 4 5 6 10 A. Sx. &œ œ œ L L œœ œ jœ F 1 2 3 Bb 4 5 6 12 A.&œ P 9 A. Sx. œ 1 2 3 Bb 4 5 Eb 6 7 œ œ lœ l œ œ jœ 1 2 3 4 Bb 5 7 11 A. Sx. Sx. Sx. œ œ œ œ lœ l œ œ jœ œ œ œ œ œ œ œ œ œ #œ œ œ œ 2 œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ l œœ Lœ F 1 2 3 Bb 4 5 6 15 A. &œ &œ 14 A. Sx. œ œ lœ l œ œ jœ 1 2 3 4 Tc 5 7 œ œ œ Lœ œ p 167 . Sx. Sx.1 2 3 4 Bb 5 6 13 A. &œ P &œ 16 A. Sx. œ œ œ Lœ œ p 1 2 3 4 Bb 5 6 20 A. Sx.1 2 B 4 5 6 7 17 A. & #œ P œ œ 1 2 3 Bb 4 5 6 18 A. &œ P œ œ lœ l œ œ jœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 168 œ œ œ œ œ œ œ œ œ œ œ . Sx. Sx. &œ L l œœ œ Ll œœ œ œ lœ l œ œ jœ 1 2 3 4 Tc 5 7 &œ 19 A. Sx. &œ œ œ lœ l œ œ jœ 1 2 3 Tc 4 5 7 &œ 22 A. Sx. &œ œ œ lœ l œ œ jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ 169 bœ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ j œ ‰ Œ . Sx.1 2 3 Bb 4 5 6 21 A. &œ P œ œ L L œœ œ jœ 1 2 3 Bb 4 5 6 24 A. Sx. œ œ œ Lœ œ p 1 2 3 Bb 4 5 7 23 A. & # œj L œ œ L œ # œj L œ œ L œ œ F P 3 1 2 3 4 6 7 L ww L w & Lw ƒ 6 œ #œ œ #œ œ œ œ nœ #œ œ œ œ nœ #œ œ œ œ œ r ‰. œ 1 2 3 4 6 7 L ww L w Lw bœ œ #œ œ nœ nœ #œ ‹œ #œ #œ œ #œ œ #œ œ œ bœ nœ œ œ bœ nœ œ œ & 9 170 .ETUDE # 27: Multiphonics 1 2 3 4 6 7 Rapidly Shifted Multiphonics With arrogance & œ ƒ 1 2 3 4 6 7 œ #œ œ #œ œ œ œ bœ 1 2 3 5 6 7 1 2 3 4 6 7 r ‰. œ L ww L w Lw 1 2 3 5 6 7 L œœ L œœ L œ j œ L œ j œ œ #œ œ #œ œ œ œ œ nœ #œ œ œ r ‰. R ƒ œ #œ #œ #œ nœ œ œ nœ #œ #œ #œ œ œ œ 171 œ œ #œ œ œ œ nœ #œ œ œ nœ œ œ œ . & R 11 13 & 15 & 16 & œ 1 2 3 5 C# 6 7 l l www Lw œ #œ #œ #œ nœ œ œ œ œ ‰.1 2 3 C# 5 6 7 l l www Lw œ œ #œ #œ œ œ #œ ‹œ œ œ œ #œ nœ œ œ œ œ ‰. 17 œ #œ #œ #œ nœ œ œ #œ œ nœ œ œ #œ œ nœ œ œ œ 18 œ #œ #œ #œ nœ œ #œ nœ nœ œ nœ bœ œ #œ #œ nœ bœ œ œ nœ bœ œ œ bœ & & 1 2 3 4 6 7 1 2 3 4 6 7 1 2 3 5 6 7 1 2 3 5 6 7 L œœ L œœ œ #œ #œ #œ nœ œ #œ nœ œ œ #œ nœ #œ nœ bœ bœ œ L L œ j œ œ # œ œ bœ # œ & J Lœ J L œ L œ J Lœ ƒ 19 1 2 3 6 7 1 2 3 C# 5 6 7 1 2 3 4 6 7 L œœ œœ l l œœ j œ j œ jLœ œ & #œ #œ L œ nœ L œ 21 œ #œ œ #œ œ œ nœ #œ œ œ nœ #œ œ œ nœ #œ œ #œ œ #œ nœ œ œ #œ œ œ #œ #œ nœ œ #œ nœ nœ ! ‰ & R 23 172 1 2 3 5 6 7 ll www Lw f . r & œ #œ #œ œ nœ œ œ bœ œ œ œ œ œ ! ‰ 25 1 2 3 5 6 7 w Lw ƒ r œ & œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ nœ œ œ bœ œ œ œ œ œ ! ‰ 27 1 2 3 5 6 7 l l www & Lw ƒ 29 œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ " & bœ bœ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ bœ œ œ œ œ œ œ œ œ F 31 173 . J .bœ œ #œ nœ œ œ #œ nœ œ œ #œ nœ œ œ #œ nœ œ œ œ & #œ nœ œ #œ nœ œ #œ nœ œ 33 œ bœ œ #œ nœ bœ œ œ & 35 37 & 39 & œ œ bœ œ #œ nœ nœ bœ œ #œ nœ nœ œ bœ œ nœ #œ bœ œ nœ #œ œ œ #œ #œ œ #œ nœ bœ œ #œ nœ bœ œ nœ bœ #œ #œ œ #œ ‹œ #œ nœ œ #œ œ nœ #œ 174 ‹œ ‰ ‰ Œ. Melodic Passages 8 1 2 3 4 c3 5 With patience 1 2 3B 4 6 7 #œ œ œ œ & 13 16 œ # œ # œ œ œ œ œ œ œ œ œ # œ # œ f c1 1 c2 2 3 4 C# 5 7 1 2 3 Tc 4 6 7 3 & #œ œ #œ # œœ 8 1 2 3 c3 4 5 œ & œ #œ #œ 5 #œ œ œ & Ï 7 œ œ œ # œœ œ œ 1 2 3B 4 6 7 #œ œ œ œ œ œ œ œ œ œ œ #œ # œœ œ œ œ #œ œ œ œ œ #œ #œ œ œ nœ œ œ 175 #œ œ #œ #œ œ œ œ œ œ œ # œœ #œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ #œ nœ œ œ #œ œ œ œ #œ œ œ nœ .ETUDE # 28: Multiphonics Rapid. #œ &œ 9 œ 8 1 2 3 5 6 Eb 7 #œ & #œ œ #œ 11 f 1 2 3 4 c3 5 œ & œ #œ #œ 13 8 1 2 3 5 Eb 6 7 #œ & #œ œ #œ 15 œ œ œ 1 2 3 5 6 7 œ œ nœ œ œ œ #œ # œ œ œ œ œ #œ œ #œ œ œ nœ œ œ œ #œ œ nœ œ #œ #œ #œ œ œ œ œ nœ #œ œ œ œ #œ #œ œ œ nœ œ #œ œ œ œ #œ 1 2 3B 4 6 7 #œ œ œ œ œ nœ 1 2 3 5 6 7 œ œ nœ œ œ œ œ œ œ #œ nœ œ #œ œ œ œ #œ œ œ œ 176 œ #œ œ œ œ œ œ #œ . #œ œ œ & Ï 17 œ # œ œ & 19 1 2 3 c3 4 5 œ & œ #œ #œ f 21 œ œ & #œ œ #œ # œœ œ œ œ œ œ œ œ #œ nœ œ #œ 1 2 3B 4 6 7 #œ œ œ œ œ œ c1 1 c2 2 3 C# 4 5 7 1 2 3 Tc 4 6 7 23 œ œ nœ œ #œ œ #œ œ œ œ œ œ # œœ œ œ œ # œœ œ # œ œ œ œ œ œ 177 œ #œ #œ # œœ œ œ #œ œ œ œ œ #œ œ œ œ œ œ œ # œœ œ œ œ nœ œ œ œ #œ œ œ œ œ œ œ #œ nœ œ œ #œ . 8 1 2 3 4 c35 # œœ 25 & œ #œ 1 2 3 B 4 6 7 #œ œ œ œ & œ #œ #œ # œœ 8 1 2 3 c3 4 5 29 & œ #œ # œœ œ œ œ #œ œ œ œ # œœ œ œ 1 2 3 B 4 6 7 #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ 178 #œ œ œ œ # œœ c1 1 c2 2 3 4 C# 5 7 1 2 3 4 Tc 6 7 27 œ œ œ #œ # œœ # œœ œ œ œ # œœ #œ œ œ œ œ œ œ œ œ #œ nœ œ œ #œ Kr ® Œ œ . ETUDE # 29: Slap Tonguing As a Conrapuntal Technique Tango. mournful j & 44 œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ F j &œ œ œ œ œ ‰ Œ 4 œ œ œ œ œ œ œ œ œ œ œj ‰ Œ œ œ œ œ œ œ ‰ Œ œ œ & #œ œ œ œ œ œ J œ 7 10 &œ 13 &œ œ œ œ œ ‰ Œ J œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ P œ œ œ œ œ œ œ œ œ œ œ ‰ Œ #œ J œ œ œ œ œ œ œ œ 179 w ƒ . 16 & ˙. 19 &œ 22 & #œ 25 & #œ 28 &œ Œ #œ P œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ ‰ #œ œ œ œ œ œ ‰ œ ‰ #œ ‰ #œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ F 180 . #œ œ œ œ œ & #œ œ 43 œ œ J ‰ œ ƒ 181 œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ F . & œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ 40 cresc.œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ &œ œ œ œ œ œ œ œ œ œ 31 & œ œ œ œ œ ‰ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ ‰ œ œ 34 37 & œ p œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ cresc. 56 &œ œ œ #œ œ œ œ œ cresc. œ œ œ œœœœœ œ œœœœœœ œœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ 182 .& œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ 46 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ 49 & œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ p 52 54 &œ œ œœœœœ œ cresc. œ & #œ œ #œ œ œ 58 œ œœœœœœœ œ œ œ œ & #œ œ œ œ œ œ 60 œ &œ 62 œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 183 œ œ œ œ œ œ œ œ œ œ œ œ œ w ƒ œ œ . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. f & ! #œ ! 4 7 & 13 & ! #œ ! ! œ ! œ. œ. œ. œ. ‹œ œ ! . œ. œ. œ. ! œ ! ! #œ ! #œ ! ! #œ ! #œ ! . œ. F 184 ! ! #œ #œ ‹ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. ! œ ! #œ œ. œ. . # œ.ETUDE # 30: Slap Tongue Low Tessitura in Pointillism Intent & 42 œ ! # œ. œ. œ. # œ. œ. œ. œ. . # œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. #œ ! # œ. œ. &! œ ! 10 # œ. œ. œ. ! œ ! ! # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ! #œ ! #œ œ. œ. # œ. # œ. n œ. œ. œ. œ. œ. œ. œ. œ. &! œ ! 19 &! œ ! ! #œ ! nœ ! & # œ. œ. œ. p 22 25 œ ! # œ. œ. œ. œ. œ. œ. #œ ‰ Œ ! #œ ! #œ " œ. œ. œ. œ. # œ. œ. œ. P 28 185 œ œ œ #œ ! #œ œ #œ . œ. œ. œ. œ. œ. P # œ. œ. œ. œ. œ. œ. œ. œ. œ.16 & œ. œ. œ. œ. œ œ #œ ! #œ œ #œ #œ ! nœ #œ & #œ #œ ! œ œ cresc. " ‹œ #œ œ ! œ œ œ #œ ! #œ œ #œ #œ ! #œ cresc. œ. œ. œ. œ. œ. # œ ! œ. œ. œ. œ. œ. . œ. œ. # œ. œ. œ. œ. œ. # œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . œ. œ. œ.& ! #œ œ f 31 & ! ‹œ 34 œ #œ #œ œ #œ Ï &! 37 40 & 43 & #œ œ #œ #œ ‹œ ! #œ œ #œ œ œ ‹œ cresc. œ. œ 186 . œ. œ. œ. œ. ! #œ œ #œ #œ ! œ #œ #œ œ #œ ! œ œ ! œ #œ œ œ œ #œ ! œ ! œ ! #œ ! #œ ! nœ ! œ #œ ! #œ ! œ ! #œ ! ! #œ œ F œ . œ œ # œ. #œ ‹œ #œ œ #œ œ œ #œ #œ . # œ. œ. œ. œ. # œ. œ. 187 # œ. œ. œ. œ. œ. # œ. œ. œ. œ.46 & 49 & œ. œ. œ. ! ! ! #œ ! œ ! œ #œ f œ. œ. œ. œ. œ. . œ. # œ. œ. ETUDE # 31: Slap Tongue In the Higher Tessitura # œ # œ œJ 5 &8 œ œ f Bright. optimistic œ #œ #œ J & #œ 4 7 & 10 & #œ #œ œ J #œ #œ œ J #œ #œ #œ #œ #œ & J #œ œ œ œ #œ #œ #œ J #œ & œ œ #œ nœ œ J #œ #œ #œ œ J œ #œ #œ J #œ œ #œ #œ #œ J #œ 13 16 # œ # œ œJ œ œ #œ #œ F 188 œ J œ œ œ œ œ œ œ #œ #œ J #œ œ #œ nœ œ J #œ œ #œ #œ œ J œ œ œ œ #œ #œ #œ J #œ œ P œ #œ #œ J #œ #œ œ J œ œ . #œ #œ #œ J & #œ 19 œ nœ #œ J & 22 œ œ #œ #œ #œ J #œ & 28 & #œ #œ œ J #œ #œ œ 25 #œ #œ #œ nœ J & #œ & # œ # œ œJ œ œ œ J #œ œ œ œ œ #œ #œ J #œ œ #œ #œ nœ J œ #œ #œ J 189 #œ œ œ œ œ œ J #œ #œ œ J œ # œ # œ œJ œ œ œ f œ #œ #œ J œ #œ œ œ #œ #œ J #œ œ #œ nœ œ #œ J œ œ #œ #œ œ #œ #œ #œ J #œ 31 34 #œ #œ #œ J #œ œ . #œ #œ #œ J #œ & 37 40 & #œ œ #œ J #œ œ #œ #œ #œ & J 43 & #œ 46 œ j œ #œ œ œ #œ j #œ #œ & œ 49 œ #œ œ nœ #œ 6 & 8 #œ #œ 52 #œ œ #œ J œ # œ # œj œ #œ #œ 190 œ #œ #œ #œ œ #œ œ #œ j #œ #œ #œ œ #œ #œ œ J œ œ œ #œ #œ #œ J œ #œ #œ #œ #œ J #œ œ œ #œ œ œ #œ J œ # œj œ # œ # œj #œ #œ œ œ #œ œ #œ œ œ #œ œ ! #œ œ #œ œ œ #œ 68 5 8 . œ #œ 5 & 8 #œ 55 œ #œ #œ J & #œ 58 61 & 64 & #œ nœ œ J #œ #œ #œ œ J œ #œ #œ J & œ nœ #œ ƒ œ #œ #œ J œ œ œ œ #œ #œ J & #œ #œ #œ œ J #œ #œ œ J œ #œ #œ J 67 œ # œ # œ œJ œ 70 œ #œ œ #œ œ #œ #œ nœ œ J #œ #œ #œ œ J œ #œ #œ J œ #œ œ œ œ œ #œ œ œ œ #œ œ œ #œ #œ J œ #œ œ #œ #œ J 191 œ œ # œ # œ œJ #œ J ‰ Œ ‰ . Œ b˙. Œ b˙. Œ Œ b˙. & ˙. F Œ b˙. Œ Œ œ œ œ bœ œ œ œ œ œ œ œ #œ œ œ œ bœ œ œ bœ œ œ œ œ œ ! ! ! ! ! ! ! ! & 9 & ˙. Œ b˙. Œ F Œ b˙.ETUDE # 32: Slap Tonguing Sustaining a Pitch After a Slap & 44 5 & ˙. Œ ˙. Œ ˙. Œ œ œ œ #œ ! œ œ œ ! bœ œ œ ! bœ œ œ ! œ œ œ ! & œ œ ! bœ œ œ ! œ œ ! œ 19 192 . ˙. b˙. 11 15 Œ Œ ˙. Œ b˙. ˙. b˙. ˙. Œ Œ #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ bœ œ œ bœ œ œ #œ #œ #œ ! ! ! ! ! ! ! ! & 29 & ˙. Œ b˙. #˙. F Œ ˙. Œ ˙. Œ Œ ˙. F ˙. Œ ˙. Œ b˙.21 & 25 & ˙. Œ 31 35 œ ! œ œ #œ ! œ œ #œ ! œ œ œ ! œ œ œ ! bœ œ œ ! œ œ ! œ œ bœ & #œ #œ #œ ! 39 193 . Œ Œ Œ ˙. Œ & ˙. Œ #˙. Œ b˙. Œ ˙. ˙. Œ ˙. Œ #˙. b˙. ˙. Œ Œ #˙. Œ b˙. Œ Œ b˙. Œ œ & œ œ ! bœ œ œ ! bœ œ œ ! #œ #œ #œ ! œ #œ #œ ! œ œ œ ! œ œ œ ! œ œ #œ ! 49 & ˙. F 51 55 & . Œ #˙.& ˙. ˙ Œ Œ b˙. F 41 45 & ˙. Œ Œ œ œ ! bœ bœ œ ! &œ #œ #œ #œ ! œ œ œ ! œ œ œ ! bœ œ œ ! œ œ œ ! œ œ #œ ! 59 194 . Œ Œ ˙. Œ Œ œ œ œ œ œ œ ! ! ! ! œ œ #œ œ œ œ œ œ œ ! œ œ #œ ! œ œ œ ! ! œ œ œ œ œ œ ! œ œ #œ ! œ œ œ ! œ œ œ ! œ œ œ ! œ œ #œ ! œ œ œ ! œ œ œ ! 195 œ Œ Ó . Œ ˙. F Œ & ˙. F Œ 64 67 & ˙. ˙. F 70 Œ Œ ˙.Œ 61 & ˙. F & ˙. ˙. n œ œ œ œ œ. œ. œ œ. œ œ œ. # œj # œ. œ œ. & f 5 . n œ œ œ œ œ œ œ. #œ p . œ. œ œ œ. œ œ. j n œ. j . œ œ œ œ œ & ƒ 196 œ. œ œ œ ### ‹ œ œ # œ # œ # œj n œ. #œ & 4 f Wildy. # œj n œ. œ œ œ œ œ. œ. œ. ‹ œj # œ. œ. œ œ œ œ œ œ. j . n œ œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ œ œ ### ‹ œ œ # œ # œ # œj n œ. j ‹ œ # œj . œ œ œ. œ. œ œ œ. œ œ œ # œ # œ œ ‹œ #œ 11 # # # œ œ œ œ œ œ œ œ. n œ œ œ œ œ. œ. œ œ œ. œ œ œ. & p 7 œ # # # œ œ œ. œ œ œ. œ œ œ. ‹ œj # œ. œ œ. # œj # œ. j n œ. ‹ œj # œ. œ œ œ. œ. j . # œ. œ. œ œ œ. œ. œ. œ œ œ. œ.ETUDE #33: Furthering Altissimo Rapidly Articulated Passages œœ # # # 4 œ œ œ. œ. œ. œ. œ. #œ & 9 f . # œj # œ. œ. œ œ. œ. œ. œ. œ. œ. œ. j n œ. j . œ. crisp and light 3 & œ #œ œ œ # # # œ œ œ. ### ‰ & ƒ # œ. œ. œ. # œ œ. ‰ J ‰ & J P 21 œ # œ œ. œ. œ. j œ œ œ ### ‹ œ œ # œ # œ. #œ f œ œ. œ œ œ. œ. œ œ œ. œ. & p 15 17 & ### œ œ œ. ‰ & ƒ 23 197 . œ. # œj n œ. œ. œ œ œ. # œj # œ. j . œ. œ œ œ. # œ œ œ. œ œ œ œ œ œ n œ œ œ œ œ. œ. œ œ œ œ œ. œ. œ. # œ œ œ. œ. ‹ œj # œ. œ œ œ. œ. œ œ œ. œ. # œ œ œ. œ œ œ. œ œ œ ### ‹ œ œ # œj # œ # œj n œ. œ. œ. œ œ œ. œ œ œ.. œ œ œ. œ 19 ‰ œ. n œ œ œ œ œ œ œ œ œ œ n œ œ # œ œ œ œ œ. œ. œ. œ œ œ. œ. # œ œ. ‹ œ ### ‰ # œ. œ œ œ. œ œ œ. œ. œ. # œ œ œ. œ. œ. & f 13 . œ. œ œ œ. œ. œ œ œ. œ. . j . œ. œ. œ œ œ. j n œ. œ. œ. œ. œ # # # ‹ œ # œ œ. œ. œ. œ. œ œ. œ. # œ œ œ. J ‰ J ‰ ! œ œ œ. œ. ‰ ‹ œ œ œ. œ. œ œ. œ. œ œ œ. ‰ œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. n œ œ œ. ‰ . # ### ‹ œ œ œ. œ. œ. œ œ œ. 33 ### J ‰ J ‰ & ƒ & ### œ œœ ! œ #œ œ ! œ œœ ! œ œ œ 198 œ. œ. œ. œ. œ.# œ œ œ. # œ œ œ. œ. 31 ‰ ### & f 35 œ. œ. P œ œ # œ œ# œ œ œ œ. œ œ œ.# œ œ œ. n œ œ œ. œ. œ. œ. œ. œ.25 & 27 & 29 & ### ## œ œ # œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ. F œ. n œ œ œ. œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œ œ œ œ œ œ. œ œ œ. œ. ‰ œ b œ œ. ‰ # œ œ œ. œ. # œ œ œ. œ œ œ. œ. œ. œ. # œ œ œ. œ. œ œ 39 #œ nœ # œ. œ œ œ. œ. œ œ. œ œ œ. œ œ œ œ œ. œ œ œ. œ. œ. œ. œ. œ. œ. œ 41 ### J ‰ & 43 & ### œ œ œ. # œ œ œ. œ œ. œ. # œ œ œ. œ. œ œ œ. ‰ œ. # œ œ œ. œ œ. œ. œ. œ. œ. œ œ œ. # œ œ œ. œ. ‰ . œ. n œ œ œ. œ œ œ. œ. n œ œ œ. ### & œ œ.œ œ œ. œ. œ. œ œ œ. ### J ‰ & ƒ 37 œ œ. œ. œ. 199 œ œ œ. œ œ œ. œ œ œ. œ. œ. œ. œ. œ. œ. œ œ œ. œ œ œ. œ. ETUDE # 34: Furthering Altissimo Flexibility > œ > œ > œ > œ 5 > #œ œ #œ ‹œ 4 >#œ > œ > œ > nœ 5 4 &4 œ œ œ œ 8 #œ 4 #œ œ œ nœ 8 f Adamant > #œ œ œ #œ 4 > #œ > œ > œ > nœ 5 & 8 #œ 4 #œ œ œ nœ 4 85 œ œ œ œ # œ > œ bœ œ #œ #œ œ œ œ œ & #œ #œ œ#œ œ #œ œ bœ œ œ #œ œ #œ œ #œ ‹œ > > > p 7 8 1 2 3 (B) 4 5 6 &#œ ‹œ œ œ #œ 12 8 1 3 4 6 8 2 3 (B) 4 5 6 > œ >œ œ > œ > œ # œ œ œ œ #œ œ œ 4 œ 4 f 200 Eb 85 . > #œ œ #œ ‹œ # œ 5 &8 15 8 1 2 Tc3 Ta4 8 2 3 4 (B) 5 6 8 1 3 Ta 46 > #œ > œ > œ > nœ > #œ œ œ #œ œ # œ œ n œ #œ 44 44 85 8 1 3 Ta4 6 > #œ > œ > œ > nœ œ #œ œ œ œ œ #œ #œ #œ #œ #œ œ œ > œ #œ œ œ nœ œ 4 &4 85 18 22 & œ œ bœ œ œ #œ œ #œ œ œ P > œ 27 & 12 8 œ f 8 1 2 3B 4 5 6 œ #œ œ œ bœ œ bœ œ œ œ #œ œ# œ œ 12 #œ 8 8 2 3 (B) 4 5 6 8 1 3 4 6 Eb œ œ > œ œ > > œ œ œ œ œ œ 201 œ #œ ‹œ 85 # œ # œ 12 8 . > #œ 12 & 8 #œ 29 > #œ 12 & 8 #œ 31 33 &œ 8 1 3 4 Ta 5 8 1 2 3 Ta 4 #œ œ #œ > œ nœ > > œ œ nœ œ œ nœ œ #œ > œ nœ > > œ œ nœ œ œ nœ œ œ 8 c1 2 3 4 5 6 bœ 4 > bœ &2 bœ 35 f œ #œ 85 # œ # œ œ bœ > nœ nœ nœ #œ nœ #œ #œ > œ œ œ œ 202 85 œ œ œ œ # œ œ bœ nœ j‰ Œ Ó œ ! 8 x 4 > #œ #œ #œ #œ 12 8 42 . ETUDE # 35: Furthering Altissimo Extending Altissimo via Cadenza Cadenza œ œ ˙ & ˙ ! 5 & ˙ 7 & œ œ #œ ƒ Ó & n˙ &œ ˙ p œ œ œ œ ˙ œ œ œ œ œ ˙ œ œ œ œ œ œ # œ # œ. . 8 12 b˙ #œ œ œ cantabile ˙ F Ó œ œ œ ˙ P #œ œ 203 ‰ " œr #œ p Œ œ #œ œ w nw . œ œ . œ #œ œ # œ. œ œ . œ œ #œ œ # œ. œ œ . œ #œ œ # œ. . œ œ. œ œ œ. # œ. # #œ #œ œ #œ ‹œ œ & F 17 & f (#) ˙ #˙ 21 & (#) #œ ‹œ 24 & 3 b˙ œ ˙ œ ˙ œ #˙ ˙ #˙ #œ ‹œ œ œ œ œ œ œ œ #œ œ œ œ 3 œ œ œ #œ #œ œ #œ ‹œ œ #œ ‹œ œ œ œ œ œ œ œ #œ œ œ #œ #œ 3 3 204 bœ œ œ ˙ œ w .14 œ ˙ #˙. comfortable & 44 4 & 7 & 10 & 13 & 16 & ƒ œ #œ œ œ œ œ œ bœ œ bœ œ œ œ œ œ bœ œ bœ œ œ œ œ œ #œ œ #œ œ œ #œ œ œ œ œ #œ œ #œ œ œ œ œ œ #œ œ œ #œ J ‰Œ œ œ #œ nœ œ œ #œ nœ œ #œ œ #œ œ œ œ œ f œ œ #œ nœ œ œ #œ nœ #œ nœ œ #œ #œ nœ œ œ #œ nœ œ #œ #œ nœ œ œ ˙ Ó ƒ œ bœ #œ œ œ œ bœ #œ ƒ bœ œ œ #œ 205 œ œ œ œ bœ œ œ #œ œ œ œ œ .ETUDE # 36: Furthering Altissimo Flexibility bœ œ œ #œ œ œ bœ œ œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œ #œ Dreamlike. J œ #œ œ œ œ œ œ œ bœ œ œ bœ nœ #œ œ nœ œ œ #œ nœ œ œ #œ nœ œ #œ œ œ œ œ #œ nœ #œ nœ œ #œ #œ nœ œ œ œ œ #œ nœ #œ nœ œ #œ & F 28 œ œ œ œ œ #œ bœ œ #œ ‹œ nœ #œ bœ œ œ #œ œ J ‰Œ œ œ #œ œ œ bœ J ‰ Œ #œ œ œ bœ J ‰ Œ 206 œ ƒ œ œ # œ œ bœ J ‰ Œ œ œ #œ #œ J ‰Œ .19 & 22 & 25 œ #œ bœ œ #œ nœ œ #œ #œ œ #œ bœ œ œ œ œ œ #œ œ œ œ œ œ #œ nœ œ #œ #œ œ œ #œ nœ œ œ #œ #œ & 31 & 34 & œ œ #œ nœ œ Œ. œ # œ œ œ J ‰ Œ œ œ œ bœ bœ J ‰ Œ œ # œ œ bœ J ‰ Œ bœ œ œ #œ œ J ‰ Œ œ # œ œ bœ J ‰ Œ œ œ œ #œ #œ J ‰ Œ œ œ # œ œ bœ J ‰ Œ œ # œ œ œ J ‰ Œ #œ œ # œ œ œ J ‰ Œ œ œ œ œ bœ J ‰ Œ 37 œ œ # œ œ bœ J ‰ Œ 40 #œ œ # œ œ œ J ‰Œ 43 œ 46 #œ & & & & 49 & 52 & œ œ #œ #œ w #œ œ w œ J ‰ Œ bœ œ œ #œ œ œ œ #œ 207 œ J ‰ Œ bw bœ J ‰ Œ . 55 & 58 & 61 & 64 & 67 & 70 & œ #œ bœ œ œ #œ œ #œ œ œ #œ nœ bœ œ #œ nœ bœ œ œ #œ œ F bœ œ œ #œ bœ œ bœ œ œ #œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ bœ œ bœ œ #œ J ‰ Œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ #œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ ‹œ œ #œ nœ #œ bœ nœ #œ nœ œ œ œ #œ œ nœ œ #œ œ œ œ ‹œ œ #œ #œ ‹œ œ #œ nœ #œ bœ nœ bœ œ bœ œ œ #œ œ œ œ #œ bœ œ œ nœ œ #œ œ #œ œ #œ œ œ #œ nœ #œ nœ œ #œ œ 208 Œ . ETUDE 37: Vocalizing Singing Pitches Both Above and Below a Performed Drone Ó 4 &4 w Placid, religious · F play · ·w Sing · ·w Ó & w F · ·w #· ·w · Ó & w P · ·w · ·w · 4 7 Ó & w · # ·w · ·w · Ó & w F · · w · · w · Ó & w F · · w · ·w · 10 13 16 209 Ó & w 19 · w · · · ·w Ó & w · w &Ó P · w· · w· · w & Ó · w · #· w · · &w Ó · w· · w· · w · · 22 25 Play 28 31 w & Ó p 34 Sing · ·w · w #· · 210 ·w · w &Ó F · w· w Ó · w· & wÓ f · w· 37 40 & 43 w & Ó 46 49 & w Ó · w · · w · w· · · w · · · w· · · · · 211 w · · w · ETUDE # 38: Vocalizing Singing a Drone While Performing a Moving, Melodic Passage Dramatic œ· . 4 &4 ƒ œ· . & . œ œ œ 4 œ· b & 7 œ œ œ. . Œ œ œ œ· .. œ œ œ. œœ Œ Œ œ œ œ Œ œ. · œ œ œ. œœ œ. · œ œ œ. œœ œ. ·. œ œ œ œ œ œ œ. · œ œ œ. œ. œ œ ·. œ œ œ œ. ·. œ. & · œ œ œ. œœ œ. ·. œ. & ·. œ œ œ Œ . b œ· 13 16 Œ œœ œ œ œ œ œ œ Œ Œ œ œ œ. œ. ·. œ œ œ. œ. & ·. 10 œ· . œœ . b œ· Œ Œ œ œ œ œ œ œ. 212 Œ Œ Œ Œ Œ Œ œœ Œ Œ 213 œ œ œ. œœ œ Œ œ œ œ. œœœ œœ Œ Œ Œ œ œ œ.œ. œœ œ. 22 œ œ œ. œ œ œ· . . œœ œ œ Œ F Œ Œ œ œ œ. Œ Œ œ œ Œ Œ œ· . œ œ œ œ. œœœ œ.. # & œ œ œ. & œ. œ· . . œ œ œ Œ œ· . œœ Œ Œ œ· . œ œ œ· . ƒ œœ œ· . œ œ œ· . & ·. œ œ œ 25 28 31 34 & . œ œœ œ· . ·. . œ. n· œ. œ œ œ œ· . · œ œ œ. & ·. Œ Œ œ· . œ #· . œœ œ œ œ Œ Œ . . b & · 19 œ. œ œ œ. œ· . œ œ œ. œ· . & ·. œ· . œ œ œ 37 40 43 46 œ œ œ· . œ œ œ œ· . b & · œ œ œ. œ. œ œ œ œ· . œ œ œ. . œ· . œ œ œ œ· . . b· œ œ œ. œ œ œ œ· . & œ œ œ.. œ œ œ œœ Œ Œ œœ Œ Œ . Œ Œ œœ Œ Œ 214 Œ Œ œœ Œ Œ œœ œ.œ. & . . ETUDE # 39: Vocalizing (Obvious Evening) Simultaneous Pitch Changes on Both the Instrument and in the Voice Electrifying 9 & 16 2 & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ !œ œ œ œ œ œ œ œ œ œ œ œ 4 bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6 bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & & 8 & 10 & " f bœ œ œ œ œ œ !œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ !œ œ œ œ œ œ œ œ œ œ œ œ 215 " . J 16 18 & 20 & " !œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ !œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. J f bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ.12 & 14 & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. J 22 216 " . J f bœ œ œ œ œ œ !œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ. J " 26 & " bœ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ & œ. œ. J F œ. J J P " 28 30 & 32 & 34 & bœ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ p " œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 217 .24 bœ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ & œ. J f bœ œ œ œ œ œ !œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ !œ œ œ œ œ œ œ œ œ œ œ œ & œ.36 & 38 & 40 & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. J 42 44 & 46 & " " bœ œ œ œ œ œ nœ #œ œ œ œ œ bœ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ p œ #œ œ œ œ œbœ œ œ œ œ œ nœ #œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ nœ #œ œ œ œ œ 218 . J 56 58 & " " 219 . J J 54 bœ œ œ œ œ œ nœ #œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ nœ #œ œ œ œ œ bœ œ œ œ œ œ & œJ . œ. œ. œ.48 & 50 & bœ œ œ œ œ œ nœ #œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ nœ#œ œ œ œ œ bœ œ œ œ œ œ " " bœ œ œ œ œ œ nœ #œ œ œ œ œ bœ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ & œ. J J f 52 œ #œ œ œ œ œbœ œ œ œ œ œ nœ #œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ nœ #œ œ œ œ œ & œ. 60 & 62 & 64 & 66 & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # bœ œ œ œ œ œ !œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ !œ œ œ œ œ œ œ œ œ œ œ œ " bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ƒ 220 . ETUDE # 40: Vocalizing Simultaneous Parallel Melodic Motion Simple. reflective & 44 #˙ #œ #œ F & Œ #œ #œ œ 5 & #˙ Ó & # ˙· # # ˙· 9 13 Œ #œ #œ # ˙· # œ‚ # œ‚ ˙ #˙ œ Ó #˙ ˙ Œ # œ‚ # # œ‚ # œ‚ &w & #œ #œ #œ #œ # # ˙· 17 21 Œ #œ #œ œ w #œ #œ Ó ˙· ˙ œ #œ #˙ 221 œ #œ #˙ Œ # œ‚ # # œ‚ # œ‚ # # ˙· # # œ‚ # œ‚ ˙ #œ #œ #˙ #œ #œ Œ #œ #œ #˙ œ Ó . & # œ‚ œ‚ # œ‚ ˙ & #· # ˙· 25 29 & #œ #œ 33 ˙ &œ #œ & # œ‚ # # œ‚ 37 39 œ‚ # ˙· Œ ˙· ˙· #œ #œ #œ Œ #œ #œ œ #˙ œ‚ w #œ #œ # ˙· 222 œ‚ # œ‚ œ‚ Œ #œ #œ œ # œ‚ #˙ ˙ Ó #˙ ˙· Œ # ˙· Ó . and The State University of New York. currently serves as Artist Coordinator at the ground-breaking Musical Instrument Museum in Phoenix. 223 . He has studied saxophone with Timothy McAllister. NY. Previously. He has performed throughout North and South America. College at Potsdam.BIOGRAPHICAL SKETCH Patrick Murphy. He was the last saxophonist to perform with the New World Symphony in their previous residence – The Lincoln Theater – and the first saxophonist to perform in their new Frank Gehry-designed New World Center. State University of New York. The Estrella Consort. and holds degrees from The University of Michigan. College at Potsdam. Donald Sinta. He will complete his doctorate from Arizona State University. and Eric Lau and composition with David Heinick. most recently having completed a three-city tour of Ecuador with his quartet. he has served on the faculty of the Crane School of Music. AZ. a native of Wappingers Falls.