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Transcribing String Music For Saxophone - A Presentation of Claude
Transcribing String Music For Saxophone - A Presentation of Claude
Spring 2013
Recommended Citation
Bogert, Nathan Bancroft. "Transcribing string music for saxophone: a presentation of Claude Debussy's Cello Sonata for baritone
saxophone." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2013.
http://ir.uiowa.edu/etd/2442.
by
Nathan Bancroft Bogert
May 2013
CERTIFICATE OF APPROVAL
_______________________
D.M.A. ESSAY
_______________
ii
ACKNOWLEDGEMENTS
my career in music has been the catalyst for any successes I have had. I have
learned so much from a set of mentors who have provided me with the tools to
teachers. Many thanks to Mr. Ron Jones, Dr. George Wolfe, Dr. Kenneth Tse, and
performer, colleague, and teacher, and I will always cherish their contributions to
my career. Finally, I would like to thank Dr. Anthony Arnone, professor of cello at
the University of Iowa and Dr. Taimur Sullivan, professor of saxophone at the
University of North Carolina School of the Arts. The knowledge and expertise that
these men contributed to my research was enormous, and I am indebted to them for
their generosity.
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TABLE OF CONTENTS
INTRODUCTION ................................................................................................. 1
CONCLUSION ................................................................................................... 57
iv
APPENDIX B: EDITORIAL NOTES ................................................................. 62
Prologue ................................................................................................... 62
Srnade .................................................................................................. 62
Finale ...................................................................................................... 63
BIBLIOGRAPHY ............................................................................................... 75
v
LIST OF FIGURES
Figure
vi
24. Measure 115 of Finale from saxophone part ............................................. 35
25. Final two measures of Prologue from original cello part .......................... 36
26. Measures 5-7 of Srnade from saxophone part ....................................... 37
27. Measures 19-22 of Finale from saxophone part ........................................ 38
28. Measures 23-30 of Finale from saxophone part ........................................ 39
29. Measures 33-36 of Finale from saxophone part ........................................ 39
30. Measures 112-114 of Finale from saxophone part .................................... 41
31. Measures 120-123 of Finale from saxophone part .................................... 42
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1
INTRODUCTION
life and have also led me to realize that I enjoy playing music not originally written for
the saxophone and value the pedagogical aspects of studying transcriptions. It also
means a great deal to me that through the performance of transcriptions, I have been
has often led me to seek out transcriptions and/or arrangements of music that was
originally written for other instruments. I am certain that playing the violin sonatas of
compositions that may have been previously believed to be beyond the capabilities of
the saxophone. The most memorable of these experiments was the performance of
Dmitri Shostakovichs String Quartet No. 8 with a saxophone quartet of which I was a
member. The numerous challenges we faced in adapting the original music for
saxophones were not only demanding and exciting, but the rewarding feeling I had
After encountering a great deal of scrutiny and criticism upon performing that
transcription, I began to think of how we might have played the music more
to try to fully understand the music I wished to transcribethinking that this would be
the most effective means of achieving the highest level of performance. I decided that
it would be quite beneficial for saxophonists to identify some of the many issues
involved in transcription and to offer strategies and solutions to help bridge the gap
between the ambitions of saxophonists and the steadfast traditions of (in this case)
string players.
choosing Debussy's cello sonata and completing an unaltered arrangement for baritone
performance, practice, and pedagogy in the cellists world. Finally, I asked two
saxophonists, one with a wealth of experience arranging string music for saxophone
and the other a specialist in the baritone saxophone, for their reactions. With that
input, I was able to refine my arrangement and am now able to explain how I created
it.
With the help of others whose knowledge exceeds that of the arranger, the
arranger can create a transcription that has the potential to provide greater
understanding among musicians of various disciplines. One of the major tenets of this
project is that this kind of collaboration brings great depth and richness to developing
any transcription but especially if it involves arranging for instruments from different
3
families than those for which the music was first written. Those who want to respect
and be as true as possible to the original music should take extra care when
This manuscript will identify key issues that arise when one is arranging string
music for saxophone. It will treat strategies and solutions for resolving them. Finally,
CHAPTER 1
own music for six of Adolphe Saxs new instruments. Berliozs early endorsement of
the saxophone was certain to have aided Sax in procuring the talents of other
Singele, and Joseph Arban to write for saxophones. Nonetheless, the early repertoire
written for other instruments. Along with original saxophone music, they often
incorporated transcriptions of showpieces for violin and flute into their recital
Fred Hemke points out that saxophonists Louis Mayeur, Henry Wuille, and Thomas
Ryan all performed transcriptions that were received with great enthusiasm, often
1 Richard Ingham, The Cambridge Companion to the Saxophone (New York: Cambridge
University Press, 1998), 52.
2 Fred Hemke, The Early History of the Saxophone (PhD diss., University of Wisconsin-
Madison, 1975).
earliest years of the instruments existence, there are many saxophonists who believe
that transcriptions, however effective as teaching tools, should remain solely in the
realm of education and not be programed for public performances. In a 1984 review in
the Saxophone Symposium, Dr. Paul Cohen decries the performance of transcriptions
Along with other saxophonists, some of whom are provoked to vitriol by such
assertions, I vehemently disagree. I believe that transcriptions are not only suitable for
public performance but provide an avenue through which musicians can establish
modern saxophonists can also turn to such arrangements in order to accomplish the
same goals.
Despite the abundance of great original music for the saxophone, the study of
music from periods that predate the saxophone is of the utmost importance for aspiring
4 Paul Cohen, Concert Reviews, Saxophone Symposium 9/2 (Spring 1984): 29.
6
is necessary that they study the music of Beethoven, Mozart, Handel, and Bach,
among others. The majority of saxophonists are more familiar with the music of Berio,
Stockhausen, Boulez, and other major composers of the twentieth and twenty-first
centuries than they are with the music of C. P. E. Bach, Brahms, and Beethoven. It is
nonetheless important for saxophonists to study the music from which so many
If there is a single piece that exemplifies the value of arranging string music
for saxophone, I believe that Debussys cello sonata is a prime candidate. Given that
so much of this sonata is based on imitation (invoking the spirit of the guitar in
numerous places), it is obvious in looking at this piece, and many others that predate
it, that imitating other instruments is a well-founded tradition and a valuable learning
tool. It is also the case that Debussys cello sonata works particularly well when
played on the baritone saxophone. Every year, despite the increasing library of
original compositions for the saxophone, the number of transcriptions has also grown,
saxophonists.5
related to the development of musicianship, Paul Cohen is not alone is arguing that
5 Lee Patrick, Transcriptions, Then and Now, Saxophone Journal 17/6 (May/June 1993):
24.
7
saxophonist Jean-Marie Londeix is often cited for his belief that saxophonists have a
remain relevant in the global music community.6 Others argue, however, that
Patrick writes, for example, that transcriptions are a common ground where
Despite the existence of original music for the saxophone since that
instruments early days, saxophonists have often supplemented concert programs with
transcriptions. Over time, this fairly standard practice has evolved to exploit the
on a popular belief that the pieces they choose are quality compositions (for instance, a
will discuss the more specific criteria I used in selecting Claude Debussys cello
sonata of 1915, most musicians who do their own arrangements choose certain works
for reasons similar to those of Dr. Kenneth Tse, saxophone professor at the University
of Iowa School of Music. When asked about how he begins his selection process, Dr.
6 James Umble, Jean-Marie Londeix: Master of the Modern Saxophone (Cherry Hill, New
Jersey: Roncorp, 2000), 108.
Tse offered the following comment: Whenever I hear a piece and think it would work
In this document, I will deal primarily with any areas of conflict between the
capabilities of the original instruments and those used in the transcriptions (e.g., string
techniques and range) by offering practical solutions for performance. These strategies
and performance suggestions will aid other saxophonists in arranging string music for
saxophone and are useful to other instrumentalists who wish to arrange music written
transcribe to solutions for musical issues (i.e. range, articulation, etc.), these guidelines
are intended to ensure that future arrangements done by saxophonists and other
musicians work well and help provide a common ground among musicians.9
Arranging string music for the saxophone can be seen, therefore, as an adaptable
model.
8 Thomas Erdmann, Kenneth Tse, Saxophone Journal 31/6 (July/August 2007): 30-32.
9 Erdmann, Kenneth Tse, 30-32.
9
CHAPTER 2
arrange it, it is necessary to compare the most commonly heard members of the
saxophone family (soprano, alto, tenor, and baritone) to their string counterparts
(violin, viola, cello, and double bass). The two predominant factors in this selection
process are range and timbre. Having conducted very basic research into the ranges of
stringed instruments and the four most commonly heard members of the saxophone
family, I believe that the most analogous pairing of instruments from these two
Keeping in mind that the range of the baritone saxophone and the cello are
essentially the same, the issue of timbre is next to be considered. After listening to
many recordings of the cello, I realized that I was most focused on the speed of the
vibrato. I recognized that my ears had honed in on a particular component of the cello
through the use of various vibrato speeds, dynamic ranges, and types of articulations.
Although I cannot achieve the same timbre as that of the cello, the timbral similarities
between the two instruments constituted a key part of my choice of the cello for which
10
professor Anthony Arnone of the University of Iowa School of Music, I became aware
of more ways in which the cello could be imitated, especially when he suggested that I
comparison to the lighter sound of the cello, which is created by the richness of
overtones heard in the cellos tone. Although this comment confirmed my original
belief that the baritone saxophone is incapable of sounding exactly like a cello, it also
convinced me that crucial to approaching that sound would be to pinpoint methods for
accentuating the similarities between the cello and baritone saxophone. In order to
mimic the cello in as many ways as possible, highlighting the innate similarities of the
two instruments became a priority. Just as cellists create various sounds through
many different sounds by altering the air stream, placing more or less pressure on the
reed, experimenting with vibrato, and using the enormous dynamic range of the
saxophone.
reasoning for settling on a particular pair in order to understand why not to choose
Major for baritone saxophone, Todd Oxford dedicates an entire section to the defense
of register changes he deems necessary.10 These types of changes are exactly the kind
own experiences makes clear to me that the kinds of changes made by Dr. Oxford are
exactly those that create disagreement among instrumentalists. With issues like tempo,
phrasing, and dynamics also being the impetus for heated debate among musicians, I
hope to avoid such issues altogether by maintaining the foundational traits of the
retain the integrity of the original music if its range extends both above and below the
range of the instrument for which the music is being transcribed. Given that range
affects timbre so greatly, to change the range (in the case of the Franck Sonata, for
example, by moving the passages down an entire octave) is to alter the timbre a great
deal. Knowing that timbre affects a composer's original choice of instrument for which
to compose, changing the timbre by altering the range is one way, some could argue,
that the original character of the music is diluted. This type of dilution is another issue
that can undermine the validity of a transcription for those who perform the original
In order to avoid this type of conflict, the goal is to find a composition that
meets two key criteria. The first is that the music should have been the focus of
enough research to help the transcriber acquire an in-depth understanding of both the
history of the composition and also the history of its performance practice. In
12
arranging such a piece, a significant work, albeit a transcription, will be added to the
saxophone repertoire. The second criterion is that the piece should contain very few, if
any, techniques that are impossible to duplicate on the saxophone (large numbers of
quadruple stops, for instance). This ensures that it is possible for the arrangement to
Using these criteria, I examined the music of composers for whose work I have
been from the twentieth century, and I thought I might build on the knowledge I have
gathered in those explorations. With this in mind, I began listening to the cello
I also chose this era because the saxophone repertoire lacks very many notable
compositions from the first three decades of the 1900s (and earlier). I wanted to
investigate the music of Debussy because he is one of the more illustrious composers
from that era who actually did compose for the saxophone and because other works of
his have been arranged for the saxophone. The saxophone communitys familiarity
with the music of Debussy is something I hope will make these musicians receptive to
this transcription.
I listened to Debussys cello sonata, which he composed toward the end of his
life. I realized that he had used the cello in a way that highlights the versatility of that
instruments timbre. Looking at the score of Debussy's cello sonata confirmed that the
work not only fits my criteria but that the many sounds extracted from the cello
Given Debussys status as one of the great composers of the early twentieth
century, it is hardly surprising that there exists a large amount of both historical and
concentrate specifically on Debussys cello sonata, there are also many studies of the
correspondence, the First World War, and the unfortunate unfolding of his later years
regularly. Emilio Colon of Indiana Universitys Jacobs School of Music, the renowned
cellist and cello teacher Janos Starker (also of the Jacobs School of Music), Sharon
Robinson of the Cleveland Institute of Music, and Anthony Arnone of the University
of Iowa School of Music all performed the Debussy cello sonata in the two years
The final step in verifying that Debussys cello sonata possessed all three of
the traits needed for this project was to examine the cello part and assess the
practicality of arranging it for the baritone saxophone. After exhaustive study and
Debussy possessed very few musical components that could not be arranged for this
handle the many issues encountered when adapting string music for the saxophone.
14
One of the foundational ideals of this project was to provide saxophonists with
a resource that explains the process of arranging string music for saxophone from
beginning to end. Many of the processes explained here are what I find to be the
necessary steps toward producing an arrangement that captures the spirit of the
original music. Although I do not intend to challenge or dismiss others who have
transcribed string music for the saxophone, I argue that the methods I delineate are the
most effective way to do so. There are indeed many arrangements of string music for
saxophone that employ some of the same methods I have described, but I have found
The most important part of my process is finding a work that meets the second
original music well, one must choose a piece that contains the smallest number of
techniques that are impossible to perform on the saxophone. Despite the tremendous
difficulty of the arrangement I have produced, there are relatively few changes to the
original cello score. Choosing a composition according to the basic principles I lay out
allows one to add to the saxophone repertoire, highlight the versatility of the
unavailable to them.
15
CHAPTER 3
Any transcription involves a series of tasks. The simplest of these are those
requiring no more than the basic copying of the various articulations, phrase markings,
and musical terms as they appear in the original score. Such a transcription of pitches
and other score markings is of great importance, a fundamental step in the process. It
is, however, one of the few steps that does not require targeted research of issues less
familiar to an arranger who does not play the instrument of the original work. In the
case of string compositions, the original scores for stringed instruments include many
markings that one never finds in a score for woodwind instruments. Pizzicato, arco,
sur le chevalet, and harmonique are all examples. They are also all markings that
require special attention from those who are not as familiar with their meaning and the
In delving into these musical issues, it is important to call upon the expertise of
those who specialize in the music being arranged. Transcribing Debussys cello sonata
for baritone saxophone required the counsel of three expertsa cellist, a baritone
saxophone virtuoso and a prolific and masterful saxophone arranger. Dr. Anthony
Arnone, Professor of Cello at the University of Iowa School of Music offered his
16
his help, this arrangement would not have come to include the instructions necessary
to aid a saxophonist in capturing the spirit of the original music. In the same way that
teachers pass along traditions of performance practice to their students, so did Dr.
Arnones input help clarify performance issues related specifically to Debussys cello
sonata.
The second teacher to bring his expertise to bear was Dr. Kenneth Tse,
Professor of Saxophone at The University of Iowa. Dr. Tse ensured that the
arrangement was presented in such a way that other saxophonists could approach the
arrangement with relative ease. As a prolific arranger, he was able to provide a wealth
tune the work saw me through one of the more tedious but critically important stages
in the process.
School of the Arts served as the baritone saxophone specialist for this project. Dr.
saxophone ensured that the performance suggestions offered later in this thesis are
structure and various harmonic events. Mapping the phrase structure within the
Analyzing certain harmonic events aids the choice of specific notes in places where
17
triple and quadruple stops (ones not marked as arpeggiated chords) are found in the
cello score and a performer cannot play so many notes in such a short time span. In the
case of the cello part of the Debussy sonata, there are many practical places to add
breath marks and very few chords that cannot be played as they are marked.
alterations made for the final arrangement. Transcribing Debussys cello sonata, for
example, required extra care due to the frequent fluctuation of clef in the original cello
score. Often alternating between tenor, treble, and bass clefs, the transpositions into
Eb (the key of the baritone saxophone) could not be automatic but had to be reviewed
When arranging string music for saxophone, the use of the saxophones
altissimo register is often required. The increased difficulty of musical passages that
require the altissimo register necessitates discussion of the many different options
sonata poses many challenges related to range and the use of the saxophones
altissimo register. Yet the flexibility of the baritone saxophones altissimo register
offers saxophonists many performance solutions. Despite the difficulties in using the
baritone saxophones altissimo register, the following section will provide practical
performance solutions for the altissimo register that will enable a saxophonist to
In this section, the music will be provided along with a brief discussion of each
passage and of how to better execute the crossing of the break into the altissimo
register. The fingerings provided here are by no means definitive. They were chosen
for reasons of pitch accuracy and ease of execution in the context of the passages
found in Debussys cello sonata. My method for note production in the altissimo range
the back of the tongue should remain very high and that the middle and front of the
tongue ought to be manipulated in order to further stabilize the note being played.
However, to discuss the exact tongue position of each note is beyond the scope of this
document, and to do so would be to some extent irrelevant given that each persons
tongue is shaped differently. Mastery of the altissimo register can only be achieved
The baritone saxophone is unique among the saxophones in that it requires, for
the most part, an entirely separate system of fingerings in the altissimo register. The
soprano, alto, and tenor saxophones all share with one another many fingerings in the
altissimo range; however, the baritone saxophone shares only a select few fingerings
with the other members of the saxophone family. Here, all references are to the
transposed baritone saxophone score. The baritone saxophone sounds an octave and a
major sixth below where written. However, for the sake of clarity, I will refer to the
notes in the saxophone score as written pitches. Figure 1 is a display of this labeling
system.
19
Prologue
The first instance of the baritone saxophone score moving into the altissimo
register occurs in the seventh measure of the first movement (Figure 1). Written as a G
four lines above the staff (G6) in the saxophone score, each occurrence of the
of measure 7 and arriving at the first G6 on beat two, and the second figure being on
beat four of measure 6 and arriving at the next G6 on the downbeat of measure 8. The
difficulty in executing the first altissimo G is a function of the rapid transition from
the E6 that precedes it. Crossing the break from the normal range of the saxophone
into the altissimo range can be extremely difficult. With the proper fingering and
tongue position, however, it is possible to execute this transition smoothly and with
20
good intonation. Knowing this, it is no surprise that the most effective fingering for
the G6 in measure 6 is a very simple one that requires a minimal amount of movement
by the fingers. The most effective fingering for the G6 found in measure 6 can be seen
in Figure 3.
notes that precede G6 in measure 7 offer more time to prepare ones finger technique
than those preceding the first G6, the challenge lies in the jump of nearly an octave
from the A5 (the final note of measure 6) to the G6. The fingers have more time to
move accurately in this instance, but the oral cavity must undergo a much more drastic
concerns in measure 6, it is not the most stable fingering available for the note G6. In
order for the fingering found in Figure 3 to produce the desired sound and pitch, it is
essential that the performer keep the back of the tongue very high in order to keep the
note from cracking. There will also be difficulties involving pitch when using this
fingering. Without adjustments, this fingering will produce a G6 that is very sharp, so
the performer will need to lower the front of the tongue (while keeping the back very
high) in order to bend the pitch downward, placing the note in tune.
A more stable fingering for the note G6 can be used in measure 7. The
is much less prone to crack and is more in tune than the fingering in Figure 3. The
measure 7 (the final note of measure 6) is half the speed of the note that precedes the
first G6 (E6) in measure 6. Although Figures 3 and 4 display the two fingerings for G6
used throughout the sonata, there are multiple instances where the simple fingering is
The rate at which this G6 is approached and departed from requires that the
performer select fingerings that provide less demanding technique. In this instance, I
have found that what Eugene Rousseau refers to as the second mode works
particularly well.11 The second-mode fingerings, while not as stable, require far
fewer keys to be pressed and often require less coordination between the two hands.
This allows for the saxophonist to move between these fingerings with better fluency
and frees up space to further consider intonation and tone quality. Since F#6 is within
the normal range of the saxophone, the standard fingering for it is of a different mode
than the fingering found in Figure 3consequently I suggest the fingering found in
Figure 3 for the G6 in measure 19. The fingering found in Figure 6 for F#6 offers
technical ease, timbral similarity, and accuracy of pitchall from lifting one finger
11 Eugene Rousseau, High Tones For Saxophone (Saint Louis: MMB Music, 2002).
23
first appearance of the note A6for which the fingering can be found in Figure 7. The
G6 and F#6 that follow the A6 in measure 19 are once again played by using the
contain the same progression of notes in the saxophone part. Given that the difference
in rhythm between measures 19 and 29 is only slight, the fingerings used in measure
measure 37 (Figure 8). The difficulty associated with this passage is the speed at
which the notes are played. In order to execute this passage with technical proficiency,
the performer is required to use a fingering for the A6 that is somewhat unorthodox.
The fingerings in Figures 6 and 3 are suggested for the F#6 and G6 that precede the
A6. In this instance, however, the A6 can be played by simply lifting all the fingers
The final four measures of the first movement contain a very difficult altissimo
passage (Figure 10). This passage contains an F#7, one of the highest notes possible
on the baritone saxophone, and in addition, the altissimo notes are separated by rather
large intervals.
25
The first altissimo note in Figure 10, the A6, can be played using the same
fingering shown in Figure 7. The following note, a C#7, can be played using the
fingering shown in Figure 14. It is difficult to move between A6 and C#7 because
there can be very little, if any, movement inside the oral cavity. Rather than
overcompensating for a higher note in the altissimo register by adding more pressure
to the embouchure, it is important that the proper tongue position be obtained and held
in order to properly execute the jump from A6 to C#7. The final note of the first
movement is possibly the most difficult altissimo note in the entire piece. The only
option for producing this note is to use a standard fingering for another note while
producing a higher overtone. In this case, the fingering for E6 produces the F#7 with
the most ease. The biggest challenges are playing this F#7 with excellent pitch and
with a ppp dynamic marking . With the proper tongue position and embouchure
pressure, it is certainly possible to effectively produce the note F#7 (fingering shown
in Figure 11).
26
Srnade
The Srnade does not pose as many challenges involving altissimo as do the
surrounding movements. The most difficult aspect of the altissimo in the Srnade is
that nearly half of the altissimo notes are surrounded by very quick changes in register.
One other challenging element involving altissimo in the Srnade is the incorporation
of various articulations. In the following text, the altissimo is not discussed in the
order that it appears but is treated in two categories: altissimo with registral concerns
The first example below (Figure 12) is taken from measures 7 and 8 of the
Srnade. After the arpeggiated chord (written as grace notes due to the unfamiliarity
jump of an octave to the note C#7. Such a quick octave jump requires a keen sense of
where to position the tongue in order to play the note both with good pitch and at a
piano dynamic. The fingering used for C#7 in this instance is the same as that shown
27
in Figure 14. Measure 9 also contains the note C#7 and is also made difficult by a very
large interval preceding the C#7. Figure 14s fingering is again the most effective
juxtaposed with figures in different registers. With the G5 at the end of measure 47
being nearly two octaves lower than the D7 on the downbeat of measure 48, the
fingerings used for the altissimo notes require stability and pitch accuracy more than
technical perfection. Fortunately, the tempo at which these notes are played makes this
a possibility. The following diagrams seen in Figure 14 show each of the altissimo
notes found in this excerpt and the fingerings used in both measures 48 and 50.
28
There are other passages containing altissimo that are made difficult by the
articulations and speed at which the altissimo notes are played. Unfortunately, there is
not much in the way of fingerings that can be altered. For the most part, the fingerings
used in these moments have been discussed previously. The final seven measures do
pose a new challenge in that they require a bit of experimentation with the fingerings
in order to facilitate proper execution of the notes written. While I have provided
fingerings for each of the individual notes, there are some that may be altered (by
leaving off a particular key for instance and depending on instrument model) in order
Figure 15 shows measures 23 and 24 from the Srnade. In measure 21, the
sempre pizzicato marking has led cellists to play these measures as though they were
imitating the guitar. The imitation of the guitar stems from the programmatic elements
29
on the cello, the imitation of a plucked guitar creates notes that have a distinct attack at
the beginning but a certain amount of decay thereafter. In order to achieve this effect
in the upper register of the baritone saxophone, the saxophonist must maintain a high
back of the tongue in order to produce the notes without cracking and losing the pitch.
measures 23 and 24, as there are altissimo notes to be played in the same style as the
staccato sixteenth notes that precede them. The difficulty in articulating the G6 in
measure 23 is coupled with the glissando down to D6. After articulating the G6, the
back of the tongue must remain high while the front and middle are lowered in order
to produce the glissando effect. The fingering for the G6 found in measure 23 is the
fingerings beginning on the third beatstarting, that is, with the F#6 on the second
sixteenth note of the third beat. For the F#6 and the G6, the fingerings seen in Figures
6 and 3 can be used. The G#6 fingering from Figure 14 works well in this case.
same figure appears in measure 61). For the F#6 and G6, as before, the second-mode
fingerings from Figures 6 and 3 can be used. The G#6 in this case poses a new
challenge in that the fingering for G#6 from Figure 14 is not technically feasible given
the speed at which it must be played. Figure 16 shows the excerpt for which this new
fingering for G#6 must be used, and Figure 16 offers a fingering that will effectively
Finale
Measure 7 of the final movement of Debussys cello part of the sonata offers
the most difficult altissimo passage of the entire composition. Not only do measures 7-
17 contain notes from the upper end of the baritone saxophones highest register, but
these measures also feature a very fast sequence of notes that require the performer to
The longer note values in measures 9-13 highlight the saxophonists execution of the
altissimo notes and make poorer playing more obvious. This exposure places proper
tongue position among the most important factors for the saxophonist to consider.
Aside from the notes E7 and D#7 introduced in measure 14, the fingerings
used for the other altissimo notes in measures 7-17 can be found in earlier fingering
diagrams. The fingerings for E7 and D#7 offered in Figure 19 are not ideal in terms of
stability, but the extreme register increases the likelihood that the notes will crack and
movement from affecting note production. These same problems occur when this
E7 D#7
Shortly after measures 7-17, the same melodic ideas appear in measures 39-45,
only in this case the music is written a whole step down. This passage, seen in Figure
20, does not contain any new fingerings or notes that have not yet been discussed. I
recommend that the saxophonist choose the more stable fingerings offered for the
notes G6 and A6 in this passage given that there is ample time for both fingerings to
be established.
The next appearance of altissimo is one of the more difficult passages in the
sonata in that it not only requires altissimo but that the altissimo note comes amid a
technique that makes playing the D#7 in measures 82 and 84 (seen in Figure 22) more
difficult. But triple tonguing cannot actually be used on the D#7 because it is
physically impossible to maintain the proper tongue position while triple tonguing a
note in the altissimo register. The general rule of altissimo playing on the baritone
saxophone is that the back of the tongue must remain very high in the back of the
mouth. The syllables required for triple tonguing alter the position of the tongue too
drastically to maintain a high back of the tongue. Quite simply, triple tonguing in the
measures 82 and 84, the air speed must be very fast; and only the tip of the tongue can
touch the reed in a single-tongue execution. The D#7 fingering from Figure 19 can be
The final two occurrences of altissimo notes in the transposed saxophone part
are in measures 106-112 and measure 115. As seen in Figure 23, there are no new
notes for which to offer fingerings, and the concerns associated with Figure 23 echo
Figure 24 shows the final instance of altissimo in the piece. Found in measure
115, it is up to the saxophonist whether or not to use second-mode fingering for the
F#6 that precedes the G#6. Using the second mode in this case makes the transition to
the G#6 easier from a technical standpoint. I recommend, however, that the performer
consider the presence of the F#6 both before and after the G#6. In order to maintain a
One of the many issues encountered when transcribing string music for
referred to as multiple stopping, the instances in which string instruments are asked to
play multiple notes at once can create an insurmountable physical obstacle for
sounding of multiple notes), the ability to choose which pitches are heard is fairly
limited. Often, multiple stopping merely outlines conventional tertian chords. This
further limits the saxophones ability to recreate multiple stops, as the instruments
transcriptions of string music for saxophone, the performer deals with this issue by
for a saxophonist due to the arpeggiato markings. Although Debussy may not actually
have been invoking the Pierrot story, the arpeggiato marking is traditionally taught as
imitating the plucked guitar. Using that model, cellists strum the chords as quickly as
36
possible given the tempo markings. These instances require saxophonists to choose
one note when a chord cannot be arpeggiated due to a tempo or other marking. In this
section, I discuss all occurrences of multiple stops in Debussys cello sonata, explain
Prologue
Figure 25. Final two measures of Prologue from original cello part
The final two measures of the cello version of the Prologue (seen above in
Figure 25) contain the only instance of playing multiple notes simultaneously. Cellist
Anthony Arnone confirms that the A should be the more pronounced of the two. Not
only is the A the higher of the two pitches (causing it to emerge from the texture more
than does the D below it), but I also believe that the octave interval between the final
A and the note that precedes it (another A, only an octave lower) provides the best
closure for the movement. Hence, the part I have arranged for baritone saxophone
shows the final two measures with only the upper note. Written as an F#7, the final
note of the Prologue offers an extraordinary challenge for the saxophonist with regard
Srnade
Measures 5-7 of the Srnade are an excerpt that may seem self-explanatory to
a cellist in terms of how to perform the music, but after listening to many different
interpretations and considering Arnones observations, I found that this excerpt poses
arpeggiated chords in the original cello part is very clear, the articulation atop the
highest notes in these chords and the emulation of the guitar are not self-evident to
In order to emulate the guitar, the saxophonist must play the first two notes of
the chord very short and then emphasize the top note on which there is a tenuto
marking. This gives the desired effect of a guitarist rolling a chord upward, naturally
causing the top notes to have the most length and resonance due to the natural decay
of the notes that are articulated before the final note (in this case, the highest note) of
the arpeggiated chord. My method of dealing with these arpeggiated chords is to write
the lower members of the chord as grace notes. Figure 26 is an example of how these
arpeggiated chords have been adapted in the saxophone part. Rather than leave the
original chords in the saxophone part, I have chosen to indicate the same pitch content
38
same chords appear and are adapted in the same way as those seen in Figure 26.
Finale
The final movement of Debussys cello sonata is where the saxophonist again
contain chords that are all marked arpeggiato. The tempo of the Finale makes rolling
chords in a pizzicato style very difficult. Although this passage is quite difficult,
playing the chords as written can be made easier by playing the lower members of the
chords found in measures 19-22 as grace notes (as seen in the saxophone part). If
unable to play the chords as written, I suggest that a saxophonist omit the grace notes
Figure 28 is taken from the rubato section from measures 23-36. Once again
the marking on each of the chords in the original cello part indicates that they are to be
played as arpeggiated chords. Here, they are played differently than previous instances
because the arpeggiato is effected over the course of a quarter note rather than only an
eighth note. This difference in style is made possible by using the rubato marking in
measure 23. These accompanimental chords are to be played as though a guitar were
being plucked in a more relaxed fashion than the quickly plucked style found earlier in
the Finale. After the appearance of the poco stretto marking in measure 27, there
chords are plucked (or in the case of saxophonists, articulated) more quickly.
Measures 33-36, shown in Figure 29, present another demanding excerpt that
includes multiple stopping (in the original cello part). Again, the fact that these chords
plays them. The rubato and poco a poco stretto markings before them indicate that
these two measures begin slowly and accelerate toward an ending (the caesura found
after measure 36). If a saxophonist deems it too difficult to play every note in each
chord, there is another option. Measure 33, played at a slower tempo than measure 34,
offers enough time for the chord on beat two to be arpeggiated, but the accelerated
tempo in measure 34 compels a saxophonist to choose one note from the chord. I
recommend choosing the note C#6. The C#6 is not only the most pronounced of the
chord tones, it is the destination of the upward motion created by arpeggiating the
chord from bottom to top. The rubato and poco a poco stretto markings directly before
measures 33 and 34 give the performer a bit of flexibility, but it makes the most sense
to play these chords in the same style since measure 34 is a repetition of measure 33.
The final five instances of multiple stopping in the Finale may be approached
in the same manor as the double stops that precede them. With the pizzicato marking
accompanying each of these five chords, the saxophonist can articulate the lower notes
of each chord quickly, before landing on the top note of each chord and before
arriving at the top note on either the off beat or the down beat (measures 114 and 120
contain chords on the off beats). If the saxophonist wishes to play only one note of
each of these chords, I recommend omitting the grace notes and playing the top note
of each chord (D6) in both cases. The primary reason for choosing the top note is that
41
it is the most audible note when played on the cello. An example of my adaptation of
Measures 120 and 121 (seen in Figure 31) are reminiscent of measures 112-
114 in that they echo the chords played on the piano. These two excerpts are also
similar in that they are heavily accented. The same approach of playing the lower
notes quickly before arriving at the top note is reflected through grace notes preceding
the top note of each chord in measures 120 and 121. Again, if a saxophonist were to
choose to play only one note, I recommend simply omitting the grace notes. The top
notes in these chords are more similar in range to the top notes of the chords played by
the piano, and it also creates a larger interval between the notes that precede the final
note of the piece. The larger interval created by choosing the top note of each chord
has a more dramatic effect and brings better closure to the piece.
42
Multiple Tonguing
tonguing when they played. Although many of them were not classical musicians, they
established that saxophonists could effectively use multiple tonguing in all kinds of
performances. As early as 1935, Jimmy Dorsey used triple tonguing in the song
Tailspin on his album Stop, Look, and Listen. Other saxophonists who were known for
their skill with multiple tonguing in the early twentieth century include Frankie
Method books from the early twentieth century often included sections that
explained various methods for multiple tonguing. Walter Ebys 1922 Scientific
Method for Saxophone, Henry Webers 1926 Sax Acrobatix, and Jimmy Dorseys
1940 A School of Modern Rhythmic Saxophone Playing all contain sections dedicated
to teaching multiple tonguing on the saxophone. In 1963, Larry Teals The Art of
Saxophone Playing, a method book that continues is still used in the second decade of
the twenty-first century, also discusses double tonguing. There has been a consistent
extended technique. This may be due in part to the difficulty of developing this skill.
Then, too, it could be because of the relative scarcity of compositions that require
multiple tonguing along with the concert repertoires being large enough for
tonguing into performance, and it is not surprising that this has led to a new emphasis
on developing this skill. It is entirely possible that multiple tonguing will stop being
regarded as an extended technique. And if double and triple tonguing become less
daunting for a greater number of saxophonists, then more composers may begin to use
Even now, there is a divergence in the use of double and triple tonguing. The
latter has not been incorporated into the saxophone repertoire nearly to the extent of
the former. Many believe that triple tonguing is more difficult, and it is certainly much
more difficult to sustain given the increased physical demands of using it. Some may
argue that expecting a saxophonist to triple tongue a long passage is unreasonable. Yet
tonguing into their performances to suggest that there is room for works that demand
this skill. As the standards of performance rise within the saxophone community, more
contain a very long passage of sixteenth-note triplets that require the saxophonist to
use triple tonguing. Altissimo is also required in the passage found in Figure 32. The
duration of this passage is perhaps the most demanding component for the performer,
44
as multiple tonguing results in increased activity of the tongue and more rapid muscle
technique, tongue position, and a very fast air stream all make it possible to play this
passage effectively.
such as tu-ku or du-gu. In order to have the flexibility needed to make such large
interval leaps, the back of the tongue must remain very high. With this tongue
position, multiple tonguing is effectively made easier by using a syllable ending with
In the earliest stages of learning the particular multiple tonguing needed to play
articulation. After gaining more comfort with the physical action of multiple tonguing,
a softer dee-gee syllable combination allows for faster speed of articulation, for the
harder t sound tends to slow the motion of the tongue. Combining tongue position
and proper multiple tonguing technique will allow a saxophonist to triple tongue with
As in any piece originally written for strings, there are various markings that
refer to techniques specific to that family of instruments. Sur la touche, pizzicato, and
sur le chevalet are all critically important examples here. For each occurrence of these
markings in string music, there is, in most cases, a viable solution for any saxophonist
trying to emulate a string instrument and represent the original music as accurately as
possible, to produce a sound that is not an exact replication but that nonetheless
specific markings and the effects they call upon the musician to produce is crucial to
One marking often found in string music that can create confusion for
The challenge in dealing with the passages that contain pizzicato markings is to
develop techniques that will produce the various styles of pizzicato. In many
transcriptions of string music for saxophone, the pizzicato technique is equated to the
slap tongue technique. Creating suction on the reed with the tongue leads the reed to
slap the mouthpiece, creating a sound comparable to that of a string slapping the
pizzicato, but as is the case in Debussys cello sonata, the cellist often uses pizzicato
with a more graceful touch, and the pizzicato produced possesses no slapping sound.
various saxophone techniques. This has been done in order to most accurately mimic
the various articulations of the cello. Transcribing articulations from the strings to the
saxophone is not straightforward and requires great care. Although certain markings
may implicitly tell string players to use particular techniques, the transposer must
investigate those techniques and alter those markings if necessary to suit the
have chosen to represent the various saxophone techniques necessary to recreate the
characteristics of the various types of pizzicato. The first appears above the staves and
should employ a technique I have named the faux-slap (to be explained shortly).
The second mark also appears together with that for a traditional staccato. The term
Staccatissimo indicates that the saxophonist should play the notes as short as possible.
This type of articulation is reminiscent of the pointed, dry sound created by a guitar
being plucked quickly. The third mark is a tenuto along with the staccato. This
marking indicates that the saxophonist should employ an anchor tongue (also to be
explained later). Examples of these markings can be seen below in Figure 33. In
instances where the saxophonist can employ a traditional staccato articulation, the
score will read normally, using a traditional staccato marking with no additional
labeling.
47
There are some correlations between the particular articulations found in the
score and certain musical elements that accompany them. At any point where there are
pizzicato sixteenth notes below the staff, for instance, the faux-slap marking will also
be found because to produce an extremely short, dry sound in the lowest register of the
The faux-slap works well here because it produces a light plucking sound without the
Where there are longer pizzicato notes, the anchor-tongue technique is used.
Anchor tonguing creates a strong articulation on the front of the note while allowing
the note to ring beyond the articulationall without the slap sound. This also helps to
mimic the sound of a guitar string being plucked with an instant decay following the
initial articulation. Finally, the staccatissimo marking appears in places where the note
lengths are shorter, most often sixteenth notes, and are not in the lowest register of the
saxophone.
The first movement of this sonata does not make use of the pizzicato
technique; but the second and third contain a great deal of pizzicato articulation. With
the exception of a few measures, the entire first half of the Srnade, part of a section
that undeniably imitates a plucked guitar, is marked as pizzicato. Figure 34 shows the
48
first measure of the original cello part; here a saxophonist can apply a conventional
staccato articulation in which the notes are separated but not overly short in length. It
is important to point out that the notes should have a bit of a ring, so as to imitate the
measure 10 of the Srnade (Figure 35). Using the tip of the tongue to flick the reed in
an upward motion produces the faux-slap sound. The reason for the term faux-slap is
that when the tip of the tongue flicks the reed vigorously enough, it will create a very
soft slapping. The lack of suction and a movement of the tongue different than a
conventional slap tongue together create a different sound and offer more flexibility
regarding how loud the slap is. To best imitate a guitar being plucked, I recommend
that the faux-slap be more on the conservative side of how hard the reed is flicked. If
49
done properly, the faux-slap can effectively recreate the buoyant, bouncy sound of the
Figure 35 shows an example of a passage that has, in the saxophone part, the
additional marking of staccatissimo. One reason for using the staccatissimo marking
rather than using the faux-slap or the anchor tongue is that both techniques are quite
cumbersome for the tongue. In addition, performing at faster speeds can cause the
resulting sound to be much heavier than the intended pizzicato. Another reason for
adding the staccatissimo marking is to indicate that the notes should be played as short
and dry as possible. At the tempo of the Srnade, a saxophonist would need to play
the notes as short as possible to mimic the pizzicato sound of the cello.
I accompany the staccatissimo marking with a carrot over each note rather
than the dot that is usually used to indicate staccato. Figure 33 shows an example of
how this marking appears in the saxophone part. Due to spacing, passages that require
staccatissimo beyond the first appearance of the word will be signified solely by the
In order to achieve the many sounds heard in Debussys cello sonata, cellists
Debussys cello sonata, the demand for this same type of manipulation of the
mind. Then musicians from various disciplines might gain a better understanding of
other instruments and, as a result, forge new pathways for musical collaboration.
Vibrato
While the purpose of this document is not to discuss the various theories of
how to produce vibrato on the saxophone, saxophonists are sure to encounter the issue
of vibrato when performing string music. In my own studies, I have adopted the
practice of jaw vibrato. This means that if I were to hold a note with a straight tone, I
would add vibrato to the note by moving the lower jaw in such a way that the reed
My own approach uses a more rounded syllable (like yo) rather than the
more angular syllable (like ya) heard in some saxophone playing. My belief is that
the speed of the vibrato in classical saxophone playing should rest 330 pulses per
minute. Speed is the more flexible element of vibrato if one always uses the round
intensity of a note, and a slower vibrato can better accompany slower, more placid
melodic lines.
My initial approach to vibrato when playing Debussys cello sonata was to use
and down in order to create vibrato. Although cellists do use arm movement to create
51
vibrato, my overall use of vibrato was excessive. Arnone suggested that I take more
care with my vibrato in the interest of pitch stability and so as not to detract from a
melodic line. If the undulations of the vibrato are too wide or too fast, the listeners ear
is easily taken away from the melody and concentrated on the vibrato, which, in my
approach their own vibrato given that vibrato can be the subject of great controversy.
Having studied Debussys cello sonata with a cellist, the best advice I can offer is, as
Arnone suggests, to take care when adding or subtracting vibrato from the tone. Rather
than viewing vibrato as an inherent trait of the saxophones sound, I believe it is more
effective to consider the musical context (whether or not the vibrato is meant to
increase or diminish the energy of a musical line) when deciding how small, large,
slow, or fast the undulations of the vibrato should be. Depending on a saxophonists
commitment to imitating the sound of the cello, the various elements of vibrato can be
quite different from one saxophonist to another. Careful listening to recordings of the
original music is, I believe, the most valuable tool in developing ones approach to
vibrato, especially in cases where the original music may be less familiar.
In Debussys cello sonata, there are four instances of the vibrato marking. Two
of these markings accompany notes that are plucked vigorously (marked sforzando)
and also marked with a tenuto/staccatto marking. Having already decided that the
marking comes into play after the initial attack on the note. After articulating the note,
a wider, slower vibrato is added as the note decays. For a saxophonist, this means that
52
pronounced, and that the lower jaw is moved at a slower speed. These two occurrences
The other two vibrato markings are at moments when the tempo slows
significantly and the cello lines activity lessens. The first appearance of a vibrato
marking in this context is found in measure 45 of the Prologue. Marked poco vibrato,
the figure over which this marking is found is in what serves as a reprise of earlier
melodic material, only in this instance, the tempo is marked lento. In order to clearly
differentiate this melodic reprise from the largement dclam marking found over the
same figure earlier in the movement (measure 29), I recommend that saxophonists use
a very subtle yo syllable, creating a fine line between a straight tone and one with
vibrato.
Marked dolce vibrato, the longer sustained notes in the cello part of this passage are
clearly meant to diminish the energy of the music in order to make the 1er Mouvt.
a subtler vibrato syllable. While I do not interpret this dolce vibrato marking to relate
directly to speed, it is up to the saxophonist as to what speed they prefer their vibrato
to be in this instance. It is often the case that a dolce vibrato marking is used to
indicate a slower vibrato; however, as mentioned before, I prefer to leave that choice
to the performer.
53
Portando
Portando is a technique string players and saxophonists both use often. While
string players often slide the left hand up or down on the fingerboard to move between
pitches, saxophonists use a change in tongue position and air pressure to produce the
portando technique. Regarding air pressure, saxophonists must increase the air
pressure when beginning to bend the pitch and slide between notes. Increasing the air
pressure enables the saxophonist to slide between notes without losing the sound and
cracking either the starting note or the arrival note. Fortunately for saxophonists, the
majority of the portando markings in Debussys cello sonata occur while the
saxophone is playing in its upper register, where it is much easier to bend the pitch of
the saxophones than in the middle and lower registers; hence, most of the portando
The change in tongue position when playing notes marked portando is directly
means that if the interval is ascending, the saxophonist must raise the back and middle
of the tongue in order to slide upward from the starting note to the arrival note. If the
interval is descending, the back and middle of the tongue must be lowered. The
movement of the tongue can be explained in terms of the human voice articulating
speech. An ascending portando is similar to saying ah and slowly moving the tongue
into place to produce an ee sound, all the while keeping the air moving over the
vocal chords. Using the same exercise but reversing the order of the syllables will
produce a descending portando (ee to ah). The motion of the tongue when doing
54
these vocal exercises is exactly the motion of the tongue that occurs when playing a
keyed glissando, it can be produced on any of the saxophones through tongue position
the tongue to bend the pitch up or down and increasing the pressure of the air stream, a
keyed glissando may be used. Otherwise, I recommend that saxophonists not use
keyed glissandi, as the sound of a keyed glissando is much different than the portando
Sur la Touche
There are certain techniques used by string players that often achieve a sound
more similar to the sound of a saxophone. Arnones observations about timbre note
that the sound of the saxophone is innately duller than that of the cello (with regard to
the presence of overtones). This is due to the wider range of overtones present in the
cellos timbre (when played in position ordinaire). The effect of playing the cello sur
la touche (placing the bow over the fingerboard) is that the overtones are somewhat
dampened, therefore lessening the inherent depth of the cellos sound. The dampening
of the overtones gives a saxophonist the opportunity to more closely imitate the timbre
In Debussys cello sonata, the marking flautando often accompanies that for
sur la touche, and in order to perform the flautando technique, the bow is often placed
closer to the finger board, where the light bowing often adds air-noise to produce a
55
tone more closely related to a flute than the cellos norm. A softer dynamic marking is
often seen in conjunction with the light bowing required of playing flautando. Given
that flautando and sur la touche are relatively synonymous in Debussys cello sonata,
I have chosen to omit the phrase sur la touche from my arrangement. Since there is no
fingerboard on a saxophone and the sur la touche marking is likely unfamiliar to most
that may cause clutter or confusion. I find this alteration to the original score to be
fairly benign given that sur la touche produces a sound similar to the innate timbre of
the saxophone.
Sur le Chevalet
One string marking that has no precedent for being performed on the
saxophone is sur le chevalet. This translates as on the bridge and calls for the bow to
be placed over the bridge, distorting the pitch and timbre through the addition of
look beyond this marking with regard to the goal of achieving a sound similar to that
instances of sur le chevalet in the saxophone part and opted to indicate their location
in the critical notes included in this document. Indeed, although I tried several
chevalet, it became clear that there is no way to capture the true effect as it is played
56
saxophonist add a bit more pressure to the embouchure in order to produce a more
committed a saxophonist is to imitating the cello. One can choose to play the passages
marked sur le chevalet without any consideration of that particular marking. For me, it
is important to mimic the cello as much as possible, but when imitation is not possible,
I believe that the performer should have greater leeway to abandon that goal than I
usually recommend.
57
CONCLUSION
must investigate every detail of the music. If special attention is not given to each
which the composer has written them, the arrangement will contain noticeable
fluctuations in range that deviate from the original music. Just as jazz saxophonists
transcribe with the intent of imitating every nuance of the original music, hoping both
to learn from and have the opportunity to play extant material, so should classical
saxophonists learn as much as possible about and from the music they transcribe. This
kind of attention to understanding the original and replicating as much of its detail as
possible will create a truer transcription instead of a loose interpretation and will lead
to the works being better received by other musicians. Listeners will find such an
emphasis provides more effective recreations, and the pieces will also be better
arrangements of string music for saxophone is growing, we have much to learn. Based
on my work transcribing the Debussy cello sonata, I have been able to provide this
hope is that those who read this document will come away with a better understanding
of the tremendous amount of work that is involved in arranging music for saxophone
and some guidelines for how to do so. I hope, too, that what I have done will
58
details due to our enthusiasm and eagerness to perform certain music. But if we attach
meaning and purpose to our work, it will undeniably be more effective in reaching
others. If saxophonists are to continue arranging music written for other instruments, I
recommend that we do so with care, attention to detail, and respect for the musical
traditions from which we hope to borrow, learn, and create something of beauty.
59
APPENDIX A
This arrangement is based on the first edition of Debussy's Sonate pour violoncelle et
Anchor Tongue [Eng.]. Beginning with the tongue on the reed before
Faux-slap [Eng.]. Flick the reed with the tongue in an upward motion. See
Pi [It.]. More.
Staccatissimo [It.]. Sharp staccato. See Srnade mm. 5-7, 17-18, 21-22, 25.
APPENDIX B
EDITORIAL NOTES
This arrangement is based on the first edition of Debussy's Sonate pour violoncelle et
Prologue
Srnade
1. mm. 1-7; 10-11; 19-24; 26-27; beat 2 of m. 49; beat 2 of m. 51-55: Originally
marked pizzicato.
5. mm. 13-18; 25; 28-beat 1 of m. 49; 50-beat 1 of m. 51; 56-64: Originally marked
arco.
63
Finale
2. mm. 3 -18; 35-beat 2 of 85; 87-111; beat 2 of 114-118: Originally marked arco.
4. mm. 24; 26-28; 30; 32; 112-114: Grace notes originally written as
APPENDIX C
(' ' ' ' ' ' ' ' ' '
## ' ' ' ' ' ' ' ' #'
5
(+ '
Cdez Poco animando
' ' ' )'
' '' ' )'
' ' *'
' ' *' , #' ' ' ' ' '
## ' ' ' '' '
6
"# ' & '. ' ' ' ' ' ' ' ' .& / &- &
' '
pi p
pi dolce
' '' 1
# *' ' ' ' ' '
13
' ''' ''' ' &
Cdez
au Mouvt.
( ( (' ( ( (' ( ( (' ( ( (' ' ' ' ' ' ' ' ' ' '
## #(' ' ' ('# ' ' ('* ' ' ('# ' ' ''' ''''
16
- '
"
p p p p 3
mf dim.
( ( (' (' # (' (' (' (' * (' (' (' (' # (' (' ('
## #(' ' '
18
"
p p p p
#
21 (flautando)
" # ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 '
pp pp
##
23
" ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 '
pp pp sempre animando e crescendo
#
25
" # ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 ' ' '2 '2 '
(' ' (' ' ' ' ' (' ' ' ' (' ' '
'+ ' ' ' '' ' '
# ' - ' '' ' ' ''
30
"# - '
f 3
3
67
1'+
'
Rubato
" # & '''' ! - ' ' ' ' '2#'2 ' ' ' '. ' ' ' ' ' ' ' ' ' '
Cdez - - - - - - -
# ' ' ' '
33 3
' .
3 3
3 3
2 ' ' 3
3 3
dim. pi p lusingando pp
' ' ' ' ' ' *' ' ' ' ' ' ' ' #' ' ' ' ' ' ' ' *' ' ' ' ' ' ' ' #' '
(quazi cadenza)
#
37
"#
p p
En Serrant - - - - - - - - - - - - - - - 1 Retenu - - - - - - - - - - - - - - - - - - 1
' ' *' ' ' #' ' ' *' ' ' ' ' ' ' #' ' ' *' ' ' #' ' ' *' ' ' #' ' ' ' *'
#
38
"#
molto dim.
' & ' ' ' ' ! '- ' ' ' ' ' ' ' '
## ' '''
43 poco vibrato
" / &
'''
pi p 3
p
#" ___________________
' '' + 3 +
# ' '
' ' +
47 flautando
pi p
Srnade et Finale 68
Srnade
)
Modrment anim (72= )
Fantasque et lger
## ! ( *
" ! $ '%& #%& %& #%& %& '% $ '%( #% % % % #%& %& '%&
pp
%*
+ + + + + + + + + + + +
faux-slap
#
3
# *% %. *% !
. . .
%! %. ' % % % %.
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