Saxophone History
Saxophone History
Saxophone History
A Supporting Paper
Presented to
University of Houston
In Partial Fulfillment
Master of Music
by
Donald Edward West
August, 1968
454507
A BRIEF HISTORY OF THE SAXOPHONE
Presented to
University of Houston
In Partial Fulfillment
Master of Music
by
Donald Edward West
August, 1968
ABSTRACT
some of the materials available for the technical study of the saxophone;
secondly, to make students of all ages aware of the vast body of fine
CHAPTER
A. Methods ................................................................ 17
B. Solos....................................................................... 22
C. Ensembles , .. ............................... 42
D. Orchestral Music Including Saxophone........... 47
E. Recordings ....................................... 49
BIBLIOGRAPHY 51
CHAPTER ONE
spent much time during his formative years In his father's workshop
of time.
1
2
phone with which he might have worked with were the Alto Fagotto
in 1821, and the bass instrument with a wooden conical tube and a
9
clarinet mouthpiece invented by Desfontenelles of Lisieux in 1807.
It is not certain that Sax had any particular reason for inventing
the instrument. Bate suggested that Sax might have been trying to
2Ibid., p. 431.
The year 1841 marks the date of the first saxophone, and
the year 1846 marks the completion of the entire family and the
tions, Sax moved to Paris from Brussels and set up a new workshop.
position except for the orchestral soprano which was at the unison
the saxophone shortly after it was invented, for in the June 12, 1842,
Kastner’s opera Le dernier Roi de Juda (The Last King of Juda) and
Chant sacre for six of Sax's new instruments. Kastner was the first
composer to write a part for saxophone, however his opera was not
have been equipped with a high E and high F. Modern saxophones may
the automatic leverage system, the mounting of all keys on axles, and
the duplicating of the low B flat key so that the little finger of the left
hand may operate this mechanism from two positions. Those directly
mouthpiece was made of wood. It has since been made of hard rubber,
plastic, metal, and even glass. From mouthpieces made from these
plastic mouthpiece.
are using metal mouthpieces for the tenor and baritone. French
as well as the material, affect the resulting tone quality. For example,
reed will generally produce a dark tone quality similar to that of the
'cello. Other variable factors which affect the tone quality are the
The C tenor (melody) was perhaps the last to disappear from use.
The following chart gives the written notes and the actual sounds of
same for all of the Instruments (B flat to high F) enables the player
system.
Transposition Pitch
from C"
cited in chapter two of this paper. Junior high and high school
for instruments in the middle and lower ranges such as the English
aforementioned instruments.
for some time, but the influence of these schools has not been widely
less, have greatly advanced in this country. And today there are
Leeson, Marcel Mule, Siguard Rascher, and Larry Teal. These men
have given clinics at many of our finest colleges, performed with our
saxophone literature.
C. Introduction to America
A few of the instruments were imported before that time, but these
Europe vho was touring the country with Patrick Gilmore’s band, to
12
the saxophone was made by hand, but, with the increasing demand,
these there are more than sixty small key castings, forty-eight
knobs for holding the key hinges, forty-eight hollow hinges of various
and over sixty large and small screws. The size of the smaller screws
first to feature the solo saxophone in the United States. Tom Brown
and his famous saxophone sextet is credited with selling the saxophone
to the American public with its moans and groans, squeaks, cackles
groan, squeak, and squawk. This use of the instrument did little
by serious-minded musicians.
with John Philip Sousa’s band, Ben Vereecken, soloist with Arthur
Pryour’s band, and H. Beene Henton, also soloist with Sousa’s band.
of these fine players, the saxophone gradually took its place in the
1Ibid., p. 137.
2Ibid., p. 142.
14
The saxophone also found its way into another style of music,
capable of numerous sounds and effects, it fit in well with the so-
called "blues ” and later "dixie land" styles of playing. Here the
performer.
1930's. The alto with its clear, brilliant tone became the lead saxo
phone in ensemble work, (the basic section having two altos and a
tenor). In smaller groups the tenor became the great solo instrument.
Owing to its great versatility and range, the clarinet, rather than the
phone.
each has his own concept of tone suitable to the style of music he
to personal taste.
band should include four alto saxophones, two tenor saxophones, and
world, not only in the concert band and jazz ensemble, but in the
this reason that the saxophone still exists in the symphony orchestra
pointed out to the saxophone student that no matter how much technique
A. Methods
1. Beginning Methods
17
18
2. Standard Methods
B. Solos
Dubois, P. Concertsteck
(wo) Leduc
Elsemnann, W. Concerto Da
Camera (so) Universal
Ibert, J. Concertino Da
Camera (wo) Leduc
Johnson, B. Concerto
(t. sax.) (pf) Regent
Saverino, L. Concertino
Petit (pf) Mills
Composer Publisher
Absil Lemoine
26
Composer Publisher
Bilotti Presser
Childs Tritone
Creston Shawnee
Delden Donemus
Dillon Salabert
Dubois Leduc
Franco Pioneer
Girnatis Sikorski
Guillou Leduc
Hindemith Schott
Jacobi Bourne
Kanitz Fischer, C.
Composer Publisher
Koechlin Eschig
KroU Hofmeister
Moritz Shawnee
Pascal Durand
Saguet Leduc
Schulhoff Schott
Tcherepnine Leduc
Tuthill Interlochen
Composer Publisher
Berthomieu Lemoine
Bonneau Leduc
/
Brancour Evette - Schaeffer
Breard Leduc
Brindel Weaner
Camelleri Waterloo
28
Composer Publisher
Creston Shawnee
Ostransky Rubank
Planel Leduc
Young Bandland
Selmer - Fantasie -
Collery Caprice Eschig
Stekke ^aptaisie
Elegiaque Gervan
Bigot, E. Prelude et
Danse Leduc
Bozza, E. Impromptu et
Danse Leduc
Bozza, E. Prelude et
Divertissement Leduc
Calliet, L. Theme et
Variations Chart
Chailleux, A. Andante et
Allegro Leduc
Clerisse Chanson a
Bercer Buffet - Crampton
Combelle Solo de
Consours Alfred
Damais Esquissa
Symphonique Costallat
34
Dautremer, M. Reverie
Interrompue Leduc
Dautremer, M. Tango et
Tarantelle Leduc
Depelsenaire Prelude et
Tarantelle Leduc
Depelsenaire Prelude et
Divertissement Choudens
Gallaher Impressions of
Summer Southern
Gretchaninoff Deux
Miniatures Leduc
Grofe, F. Gallodoros
Serenade Robbins
Grovlez Sarabande et
Allegro Leduc
Hoffman, A. Serenade
Basque Belwin
Jollvet, A. Fantasie -
Impromptu Leduc
Joly, D. Candlene et
Danse Leduc
Leleux Danse
Nostalgique Lemoine
Marc, E. Pierrot et
Colombine Costallat
Mareczk Sommerband
am Berg Zimmerman
38
Martell! Trois
Esquisses Eschig
Mazellier, J. Fantasie -
Ballet Leduc
Moreau Evocations
Rhythmiques Costallat
Oubradous, F. Recit et
Variations Leduc
Petite, M. Andante et
Fileuse Leduc
Planel, R. Suite
(6 Pieces) Leduc
Planel, R. Prelude et
Saltarello Leduc
Rueff, J. Chanson et
Passepied Leduc
Sauter, J. Chanson
Joyeuse Kjos
Tcherepnine Sonatine
Sportive Leduc
Thomasl, H. Introduction
et Danse Leduc
Tournier Prelude et
Scherzo Lemoine
41
Vandelle, R. Prelude et
Gigue Leduc
Whitney, M. Introduction
& Samba Bourne
Zambarond Neopolitan
Tarantella Shawnee
7. Unaccompanied Saxophone
Bonneau Caprice en
Forme de Valse Leduc
Bozza, E. Improvisation
and Caprice Leduc
Bozza, E. Etude -
Caprices Leduc
Couf, H. Introduction,
Danse &
Furioso Bandland
42
Damais Cinq
Divert! ssements Costallat
Dubois, P. Suite
Francaise Leduc
C. Ensembles
1. Duets
Gurewich, J. Seventeen
Classic Duets Fischer, C.
lasilli, G. Thirty
Progressive
Duets Fischer, C.
Singelee Allegro de
Concert Fischer, C.
3. Other Quartets
Composer Title
Composer Title
Bozza Nuages
Ibert Histories
Schmitt Quartet
Dubois, P. Sinfonia Da
Camera (6 winds) Leduc
45
Flothius, M. Sinfonletta
Concertante
(cl. & sm. or.) Donemus
Ives, C. Scherzo
(chmb. orch.) Peer
Kanitz, E. Serenade
(Sax & win.) Univ, of S. CaL
Maganini, Q. La Romanesca
(T. sax., hrp.,
guitar) Ed. Musicus
Mayusumi, T. Metamusic
(Pf., v., sax.,
& cond.) Peters
Stein, L. Trio
Concertante (v.
sax., &pf.) Comp. Facs. Ed.
Tomasi, H. Printemps
(6 wds.) Lemoine
47
Composer Title
Composer Title
Composer Title
E. Recordings
SELECTED BIBLIOGRAPHY
ARTICLES