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A PERFORMANCE PROJECT FORSAXOPHONE ORCHESTRA CONSISTINGOF FIVE PERFORMANCE EDITIONS FROMTHE RENAISSANCE, BAROQUE,CLASSICAL, ROMANTIC, AND MODERNERASMarcus Daniel BallardUniversity of Southern Mississippi

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The University of Southern Mississippi

A PERFORMANCE PROJECT FOR SAXOPHONE ORCHESTRA CONSISTING OF

FIVE PERFORMANCE EDITIONS FROM THE RENAISSANCE, BAROQUE,

CLASSICAL, ROMANTIC, AND MODERN ERAS

by

Marcus Daniel Ballard

A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts

Approved:

August 2007

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

COPYRIGHT BY

MARCUS DANIEL BALLARD

2007


The University of Southern Mississippi




by

Marcus Daniel Ballard

Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts

August 2007


ABSTRACT




by Marcus Daniel Ballard

August 2007

The popularity of the saxophone orchestra has spread immensely in recent years.

Many universities and conservatories throughout the United States have founded large

saxophone ensembles of ten or more players, and professional groups are continuing to

emerge across Europe and Asia. With such rapidly growing popularity, it is only natural

that composers have begun to write challenging compositions for the saxophone

orchestra that utilize extended techniques and the highest range of the instrument.

However, many of these modem works are extremely difficult and not accessible to many

younger, less experienced players.

Many saxophone teachers and performers look to the music of the past centuries

to find works that are suitable for transcription that can be played by ensembles of

various sizes and skill levels. These arrangements provide saxophone students with

pieces from musical styles less familiar to them, allowing them to become more versatile

musicians and artists.

ii


Transcriptions can be useful teaching tools for young ensembles of “new”

instruments (e.g., saxophone, euphonium, and tuba) with a sparse repertoire. This project

is designed to provide saxophone ensembles with five new transcriptions, one from each

of five major musical style periods and to encourage others to pursue transcriptions in

performance and teaching.

111


ACKNOWLEDGEMENTS

I would like to thank the dissertation adviser, Dr. Lawrence Gwozdz, for his

suggestions and expertise. I would like to especially thank Dr. Gwozdz for continuing to

keep the bar raised, for challenging me, and for teaching me how to be a better musician

and teacher. Without his input and encouragement, this project would never have come

to fruition. He has been a true inspiration to me, and a wonderful influence on my career.

I would also like to thank Ms. Judith Anne Still, daughter of William Grant Still,

for allowing me to transcribe her father’s wonderful organ music for saxophones. I am

grateful for Ms. Still’s kindness, and her dedication to the continuance of her father’s

musical legacy is truly inspirational.

iv


TABLE OF CONTENTS

ABSTRACT....................................................................................................................... ii

ACKNOWLEDGMENTS........................................................... iv

CHAPTER

INTRODUCTION...................................................................................................1

I. GIOVANNI GABRIELI: CANZONE PRIMI TONI A 10............................ 7

The Transcriptions Process Editorial Changes

II. JEAN-PHILIPPE RAMEAU: LESINDES GALANTES............................ 30

The Transcription Process Editorial Changes Performance Practice Suggestions

III. FRANCOIS-JOSEPH GOSSEC: SINFONIA.............................................98


IV. CARL NIELSEN: LITTLE SUITE FOR STRINGS.................................. 184


V. WILLIAM GRANT STILL: ELEGY....................................................... 282


BIBLIOGRAPHY............................................................................................... 299

v


INTRODUCTION

The saxophone orchestra has become an increasingly popular performance

medium in recent years. Professional touring and recording ensembles exist

internationally, and many universities and conservatories around the globe have

saxophone orchestras in residence, ranging in size from groups of five to twelve members

to massive orchestras with upwards of 100 players. This development is a result of the

efforts of dedicated performers, students, and teachers to perpetuate the vision of the

saxophone’s inventor, Adolphe Sax (1814-1894).

Although the saxophone was not patented until 1846, preliminary work had

already been completed on an early prototype, a bass saxophone in C, for the 1841

Belgian Industrial Exhibition.1 This early version of the saxophone was damaged at the

last moment, however, and was not shown.2 Sax took his new creation with him when he

moved to Paris in 1842, where he began to establish rapport with a number of successful

composers, including Hector Berlioz and Jean-Georges Kastner, key figures in

introducing the saxophone to the public. Berlioz transcribed his Chant Sacre, originally

for voices, to demonstrate six of Sax’s instruments: soprano saxhorn in E-flat, contralto

saxhorn in B-flat, tenor saxhorn in E-flat, bass clarinet (upon which Sax had made many

improvements), baritone saxophone in E-flat, and bass saxophone in C.3 The

performance of this arrangement occurred in 1844, two years before the saxophone was

patented. Also in 1844, Kastner (who had already used the bass saxophone in his opera

‘Leon Kochnitzky, Adolphe Sax and His Saxophone (World Saxophone Congress, 1972), 9-10.

2Wally Horwood, Adolphe Sax 1814-1894 (Bramley, Hampshire, England: Bramley Books, 1979),32.

3Ibid., 175.


Le dernier Roi de Judd) wrote his Methode Complete et Raisonnee de Saxophone which

could be applied to all the members of the family. Kastner’s method book included the

first original solo and ensemble works for the saxophone: Variations faciles et brillantes

and Sextuor. The Sextuor reveals that the concept of the saxophone family was very

much alive well before the instrument’s patent date in 1846, indeed, before the

completion of the entire gamut of saxophones.4

Adolphe Sax envisioned his family of saxophones with multiple purposes in

mind. He felt that, as a member of the symphony orchestra and military band, the

instrument added a new color to the music, blending with the strings and serving as a

medium between the brass and woodwinds.5 The saxophone’s capabilities led Sax to

believe that his instrument could be equally successful en masse. Much like the

Renaissance viol consort, the saxophone family used as a cohesive unit led to even more

possibilities of ensemble sounds and textures.

The concept of the saxophone orchestra led to the “saxophone craze” in America

during the early part of the twentieth century. The saxophone ensemble became a

popular feature on the Vaudeville stage, one of the most famous groups being a costumed

ensemble of professional saxophonists known as The Six Brown Brothers. In Europe,

saxophonist and composer Gustav Bumcke founded the first German saxophone

orchestra in the late 1920s. During the 1930s, the saxophone became associated with

jazz, and the use of the saxophone in symphony orchestras and operas declined. The

4Sigurd Rascher, notes from the preface to his arrangement o f Georges Kastner’s Sextour (Ethos Publications, 1982).

3Hector Berlioz, Orchestration Treatise edited by Hugh Macdonald (Cambridge University Press,2002), 299.


3

saxophone orchestras and ensembles were replaced by the saxophone sections of the

dance bands. The rekindling of performance activity of such ensembles resumed during

the latter half of the century, represented by the efforts of Sigurd M. Rascher (The

Rascher Saxophone Ensemble, U.S.A), David Bilger (The Saxophone Sinfonia, U.S.A.),

Jean-Marie Londeix (Ensemble International de Saxophones de Bordeaux, France), and

Linda Bangs-Urban (Sxiddeutches Saxophon-Kammerorchester, Germany).

Very little original music for the saxophone was composed between 1844 and

1900, therefore teachers rely heavily on transcriptions of works from other style periods

to help their students become more versatile musicians. In the most recent published

bibliography of saxophone repertoire, Repertoire Universel de Musique pour Saxophone,

Jean-Marie Londeix lists 862 published works for saxophone ensembles of more than

four players.6 Roughly 140 of these are transcriptions, mostly from the Baroque period.

The trend in transcribing for the saxophone ensemble has been to adhere to the more

popular composers of the representative style periods. The Medieval and Renaissance

periods have remained relatively untouched, represented by just a few transcriptions of

works by Palestrina. Transcriptions from the Baroque are dominated by Bach, Handel,

and Vivaldi. The Classical and Romantic periods are also rather poorly represented, with

a handful of transcriptions of Mozart, Beethoven, Schubert, Schumann, Brahms, and

Grieg.

Many transcriptions provide the saxophonist with only the music, leaving them to

determine how the piece should be performed. In most cases, the student has had no

experience with music of the particular period, making it especially difficult to render an

6Jean-Marie Londeix, Repertoire Universel de Musique pour Saxophone 1844-2003 (New Jersey: Roncorp, 2003).


accurate performance of the work. This dissertation seeks to remedy this problem by

offering performance editions of five works, each from a different musical era. The

chapters consist of biographical information about each composer, notes about the

composition, an account of the transcription process, suggestions for accurate

performance practice, and scores of each transcription.

Each of the works presented in this project was chosen for the purpose of

strengthening specific musical elements, as well as familiarizing saxophone students with

styles not indigenous to the instrument. These editions will also serve the field of

saxophone performance by representing composers whose oeuvres have been virtually

untapped by transcribers for the saxophone orchestra. They reflect a diversity of

compositional styles ranging from contrapuntal to homophonic and explore a wide

variety of musical languages.

The imitative counterpoint found in Giovanni Gabrieli’s Canzona Primi Toni a 10

requires the performers to be sensitive to the material being passed between voices.

Students will learn the important practices of yielding to the melodic material when

playing an accompanying part, recognizing the presence of the melody and bringing it to

the forefront, and matching the style of consecutive entrances. Working to achieve a

homogeneous ensemble sound and good intonation is also a focus of this arrangement.

Music of the French baroque displays a characteristic style that is foreign to most

saxophone students. The three instrumental movements from the opera Les Indes

Galantes by Jean-Philippe Rameau were chosen specifically to teach saxophone students

the proper performance of baroque ornaments, while simultaneously acquainting them

with the uniqueness of the French style. Therefore, included in the score are examples


5

showing the proper method of performing the ornaments, as well as an explanation of

notes inegales. While the correct performance of ornaments and application of notes

inegales are particular areas of focus with this transcription, the ensemble sound is

equally important. Having the students play with a light, relaxed sound will aid in the

execution of ornaments and further capture the style of the music.

Franqois-Joseph Gossec’s Sinfonia also focuses on the importance of the light

ensemble sound characteristic of the Classical period. The more relaxed playing

approach required for this transcription is necessary in maintaining the tempo of the two

faster movements, and helps with expressive playing in the slow middle movement.

Ornamentation and harmony are given less attention, with greater emphasis placed on

melody and the rhythmic drive of the piece.

Melody is also the main concentration in the transcription of Carl Nielsen’s Little

Suite, which aims at teaching students the qualities of expressive playing and sensitivity

to dynamic changes. Harmony is also of great importance in this work, as reflected in the

lush, often chromatically shifting chords found throughout each movement. Because

some students may not be accustomed to the less conventional progressions and

resolutions found in late Romantic music, good intonation is necessary in helping them

gain an understanding of the harmonic language of the period.

Several musical elements are present in the arrangement of the Elegy by William

Grant Still. The importance of both melody and harmony comes from the homophonic

texture of the work. Good intonation and cohesive ensemble playing are traits that can be

learned from this type of transcription. The song-like quality of the melodic writing


teaches students the benefits of confident solo playing and emphasizes the importance of

musical phrasing.

The difficulty of the transcriptions varies from one work to the next, ensuring that

even the most experienced ensembles will be able to benefit from the challenges

presented above. The Canzona and Elegy are the least difficult technically and are

accessible to most ensembles. Rameau’s Les Indes Galantes and the Gossec Sinfonia are

slightly more difficult and are likely more suitable for collegiate rather than high school

level ensembles. The Little Suite is the most difficult of the five, demanding a much

higher level of musical maturity than the others.

The final published versions of these arrangements will include notes for the

conductor and performers addressing the history of the composer, playing style, and

suggestions for the performance of ornaments. It is my goal to provide teachers with a

variety of quality music of contrasting styles for the purpose of improving the

musicianship of their students.


CHAPTER I

GIOVANNI GABRIELI (1554-1612): CANZONA PRIMITONIA 10

Italian organist and composer Giovanni Gabrieli was a key representative of

Renaissance music in Venice. He had a very close relationship with his uncle Andrea,

even following in Andrea’s footsteps to study with Orlande de Lassus at the Court of

Duke Albrecht V in Munich.1 Gabrieli became the organist for the San Marco cathedral

in 1585, and eventually took over the role of principal composer after his unles’s death in

1586. Gabrieli edited a large number of collections of his uncle’s works for publication,

some of which included his own music as well.

Giovanni Gabrieli is known almost entirely for his sacred vocal and instrumental

music. His output consists mainly of motets and other settings for both vocal and

instrumental ensembles, works specifically for instrumental ensembles, and compositions

for the organ. He also composed a large number of secular madrigals and liturgical

motets from the 16th century. His earliest music shows the obvious influences of Orlande

de Lassus and Andrea Gabrieli. Andrea even included five large-scale motets and five

madrigals of Giovanni’s in his collection entitled Concerti of 1587.

The first comprehensive volume of Gabrieli’s works was the Sacrae Symphoniae

of 1597.2 This is not to be confused with a later compilation from 1615, often published

as Symphoniae Sacrae or Sacrae Symphoniae II. The 1615 set contains mostly works for

ensembles of voices with instruments, while the 1597 set contains mostly instrumental

music. Gabrieli used from four to as many as twenty-two voices in his vocal and

‘Denis Arnold, Giovanni Gabrieli and the Music o f the Venetian High Renaissance (London: Oxford University Press 1979), 8.

2Ibid„ 390.


instrumental works. The compositions found in the 1597 Sacrae Symphoniae range in

size from six to sixteen voices, while the 1615 set ranges in size from seven to nineteen

voices. Until the 1597 collection was published, most instrumental canzonas were

written for four voices.3

Most of Gabrieli’s music before 1597 made use of a technique known as “cori

spezzati” or “separated choirs.” These works were scored for multiple choirs of similar

instrumentation to be placed spatially around a cathedral. The musical material in these

works was often developed by means of responsorial playing among the various choirs,

with some changes of mode. In the Sacrae Symphoniae, the works display a style in

which the musical material is developed as more of a dialogue. Rather than having

separate choirs, there is often a single ensemble in which the material is passed between

individual voices or groups of voices.

In the “cori spezzati” works, counterpoint was created through the timbral

differences between the two choirs of instruments or voices. In the Sacrae Symphoniae,

the counterpoint is produced by the trading of melodic material throughout the voices of

one large ensemble. Therefore, the counterpoint relies less on changes in tone color, and

more on register changes and the number of voices imitating each other. The simple

harmonies found in these works are often diatonic, with cadential passages that are

created by the exchanges between these voice groupings. Because Gabrieli was one of

the transitional figures between the Renaissance and Baroque periods, these compositions

show a greater use of dissonance, and a wider range of tonal centers. The textures are

simple, with a greater importance placed on melodic elements and timbral contrasts.

3Egon Kenton, Life and Works o f Giovanni Gabrieli. American Institute of Musicology 1967,469.


Gabrieli often did not indicate specific instrumentation in his scores, therefore

misconceptions regarding performance practice frequently arise. One such

misconception is that Gabrieli had difficulty deciding how his music should be

performed Church payroll records that list the musicians hired for his performances

reveal that he was often careful with scoring, only omitting specific designations of

instruments which he presumed to be obvious.4 Rearranging and rewriting would have

occurred depending on the tastes of the individual and the performing forces on hand.5

Unless the ensemble size was specified, the performing ensemble Gabrieli used

was usually quite small. Eight instrumentalists sufficed for most of his motets, while

twenty singers and twenty instrumentalists were in the ensemble all of the time (seven of

which were simply playing continuo parts).6 The ensembles for the large instrumental

works consisted largely of cometti and trombones, supplemented by either violins or

violas and an occasional bassoon. These were often accompanied by theorboes and

chitarrones, and supported by bass stringed instruments. Recorders and shawms were

never specified, but were used according to some of the pay records.7

The Transcription Process

Gabrieli’s instrumental compositions are effective even in modem settings.

Arrangers must make careful decisions when transcribing Gabrieli’s music for today’s

ensembles. Clifford Bartlett and Peter Holman specified that choirs of equal pitch or

“Clifford Bartlett and Peter Holman, “Giovanni Gabrieli: A Guide to the Performance of His Instrumental Music,” Early Music Vol. 3, No. 1. (January 1975), 25.

5Ibid„ 28.

6Ibid., 26.

7Ibid., 27.


10

range (either instrumental or vocal) should have the same scoring. For example, in a

work made up of multiple antiphonal choirs, a string choir should not be mixed with a

woodwind choir. One should also not assume that voice or instrument parts were ever

doubled.8

While vocal works of the Renaissance have been arranged for instrumental

ensembles, the importance of the text and the use of techniques such as word painting

make it difficult to render an accurate representation of the music. Gabrieli was a

suitable composer for this project based on the large scope of his instrumental

compositions. Upon researching the existing saxophone orchestra repertoire, I found six

works by Gabrieli arranged for various combinations of saxophones. Three of these

works were arranged for saxophone quartet, one for three quartets arranged in the “cori

spezzati” style, and one for two quintets arranged in the same manner. Only one of the

compositions, Canzona XV arranged by Jean-Marie Londeix, was for a large saxophone

orchestra that utilized more than simply the standard voices of the quartet (soprano, alto,

tenor, and baritone).

I chose a work from the Sacrae Symphoniae of 1597 because they were mostly

instrumental and scored for a large number of performers, particularly the Canzona Primi

Toni a 10 which fits within the range of the saxophone orchestra. Also, the work is

technically undemanding, making it feasible for ensembles of all experience levels. The

contrapuntal nature of this composition will be beneficial in teaching young saxophonists

good ensemble playing habits, awareness of intonation tendencies, and playing with a

good tone quality in order to achieve blend.

8Ibid., 28.


For this project, I referred to a performance edition by Paul Winter who, like

Gabrieli, gave no indication of specific instrumentation in the score. Winter changed the

moveable clef symbols used by Gabrieli to the more common treble, alto, and bass clefs

and also included his own indications of tempo, dynamics, and phrasing. Because the

score had no specific instrumentation, this work is easily accessible to any ensemble of

like instruments. Since the ranges of the ten parts matched the ranges of the saxophone

family, there was no arranging necessary in the creation of this performance edition for

saxophones. The parts were simply transposed for the individual members of the

ensemble, as shown in Figure 1.

Saxophone Orchestra Instrumentation Instrumentation of Gabrieli’s Canzona Primi Toni a 10

Soprano 1 Part 1Soprano 2 Part 2Altos 1-4 Parts 3-6

Tenors 1 and 2 Parts 7 and 8Baritone Part 9

Bass Part 10Figure 1. The scoring o f Gabrieli’s Canzona Primi Toni a 10 for saxophone orchestra.

Many high school and early college students do not own a soprano saxophone. I have

included optional alto saxophone parts to replace the two soprano parts in the event that

soprano saxophones are not available. Likewise, bass saxophones are very expensive and

not many public school and collegiate music programs own them. An optional part for a

second baritone has been included to replace the bass saxophone part.

Editorial Changes

Dynamic markings indicated in the piece have been retained from Paul Winter’s

performance edition of the original. Because neither of the two editions of the Canzona

gave indications of tempo and articulation, it was necessary to provide these for the

benefit of less experienced ensembles in which the members might not be familiar with


12

the style of Renaissance music. In order to maintain the majestic spirit of Gabrieli’s

music, I have indicated a tempo of seventy beats per minute (to the half note). In the

triple-meter section beginning at measure 75,1 have followed Paul Winter’s suggestion

that the tempo of the half note in the duple portion become the tempo of the dotted half

note. Likewise, when the duple section returns in measure 88, the dotted half-note tempo

becomes the half note tempo. A gradual ritard has been added at the return of the duple

meter, and a heavier articulation style is suggested as an interpretive gesture to end the

piece.

The style of articulation in Gabrieli’s instrumental music (particularly for brass)

varies frequently depending on the performing ensemble. For this edition, I have given

articulation suggestions that I believe capture the style of the work, and can be executed

easily on the saxophone. In general, softer sections are to be played more legato, but

with a crisp articulation to the eighth notes. Louder sections should be played with more

separation, especially following dotted notes.

This arrangement of Gabrieli’s Canzona Primi Toni a 10 was designed to teach

saxophone students the benefits of good ensemble playing. The imitative counterpoint

present in this work requires everyone in the saxophone orchestra to play in the same

style, maintain a constant tempo, yield to other players’ entrances, and play with good

intonation and tone quality. All of these traits create the homogeneous sound that is

characteristic of the saxophone orchestra and ensures that individual sounds will not

overpower the ensemble. One great benefit of transcriptions is that they are suitable for

any type of performance and are received well by all varieties of audiences. The


Canzona can be used at any point in a concert program, but especially as an opener

fanfare.


14

Canzona primi toni a 10

Giovanni Gabrieli (1554-1612) arr. by Marcus Ballard

= 7 0

Soprano Sax. 1

Soprano Sax. 2

Alto Sax. 1

Alto Sax. 2

Alto Sax. 3

Alto Sax. 4

Tenor Sax. 1

- © -

Tenor Sax. 2

Baritone Sax.

Bass Sax

2006


Canzone primi toni a 10 15

7

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m

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mm

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43

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61

mSop. Sx. 13DC

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J = J .Sop. Sx. 1

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x

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rit.

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Bass Sax


30

CHAPTER II

JEAN-PHILIPPE RAMEAU (1683-1764): INSTRUMENTAL MUSIC FROM LESINDES GALANTES

French composer and theorist Jean-Philippe Rameau was bom into a very musical

family. His father was an organist who served in two churches in the Dijon region, and

was mostly responsible for the music education of his children. Since Rameau did not

become known as a theorist or a composer until after the age of forty, details about his

early life are quite sketchy. He was also very secretive about the first half of his life,

even with close friends and acquaintances.1

In 1722, he moved to Paris to oversee the publication of his Traite de I ’harmonie'y

(Treatise on Harmony). Rameau wrote several treatises on harmony, counterpoint, and

the art of accompanying, making him as notable a theorist as he was a composer. It was

in Paris that he would write his treatises as well as his first compositions, consisting of

incidental music for the theatre, and cantatas and motets for his various church

appointments. Throughout the middle 1720s, more of his music was published, including

several cantatas and collections of keyboard works.

Above all, Rameau favored operas.3 His first opera, Hippolyte etAricie, was

received with mixed reactions of praise and disgust. The critics despised the almost

“Italian” character of many of his operas, preferring the more traditional French style of

‘Graham Sadler and Thomas Christensen, “Jean-Philippe Rameau,” The New Grove Dictionary o f Music and Musicians 2nd Edition, edited by Stanley Sadie (New York: Grove, 2001). Vol. 20, 778.

2Cuthbert Girdlestone, Jean-Philippe Rameau: His Life and Work (New York: Dover Publishing,1969), 1.

3Sadler and Christensen, 781.


31

Lully.4 Some of Rameau’s operas, however, achieved some success with the public and

critics. One of the most successful was Les Indes Galantes, an “opera-ballet” composed

in 1735.

Les Indes Galantes or “The Gallant Indies” comes from Rameau’s earliest period

of operas. Its popularity is reflected in the 64 performances between 1735 and 1737.5

The exotic locations portrayed in Les Indes Galantes are divided into four “entrees” set

respectively in a Turkish garden, a desert in the Peruvian mountains, a Persian market,

and a village in the North American forests.6 Three of the “entrees” culminate in some

sort of ritual: the adoration of the sun in “Les Incas de Peru,” a Persian flower festival in

“Les fleurs,” and the ceremony of the Great Pipe of Peace in “Les sauvages.” The latter

of the three was likely inspired when Rameau attended a performance given by two

Louisiana Indians at the Theatre Italien in 1725.7

The librettist was Louis Fuzelier, who used ethnic settings to develop

Enlightenment themes involving the interactions and conflicts between European and

foreign cultures.8 The main “entrees” are interspersed with short dance movements. The

music chosen for this project consists of the overture, a Musette in the form of a rondeau,

and the Chaconne finale.

Cuthbert Girdlestone describes the overture as “reflecting the readiness of

Rameau to get away from the tradition of Lully” and “much more melodic than earlier


Tbid.,781.

6Girdlestone, 323.


8Ibid., 791.


32

French overtures.”9 The introduction is almost fugal in nature, giving way to a “Vite”

section with a theme of wide leaps of sevenths and octaves, and a counter-subject of

running scales. It is a rather lengthy overture which Girdlestone considers suitable for

concert performance.10

The Musette en Rondeau is a very lyrical, lilting dance. The form follows the

structure ABACA. The absence of the flute, coupled with the addition of a musette (a

French instrument similar to the accordion) gives the movement a very “reedy” sound,

reflecting its pastoral nature. The Chaconne begins in D minor with a very heavy quality.

The proceeding section in D major is much lighter with the addition of majestic trumpets

and timpani. Girdlestone cites a statement from a 1777 article in the Journal de Paris

which suggests that the Chaconne was originally composed for Rameau’s opera

Sams on.n Its purpose in that opera was to “call the people to worship at the feet of the

True God.”12


The Baroque period is represented in the saxophone orchestra repertoire mostly

by the works of Bach, Handel, and Vivaldi. The music of French Baroque composers has

remained relatively untouched except for an arrangement of the overture to Lully’s opera

Armide. For this reason, I decided to arrange a composition by a French composer in an

attempt to encourage saxophonists to further explore French Baroque music. The ornate

compositional style of the French Baroque can be used to teach saxophone ensembles the

9Girdlestone, 324.

10Ibid., 324.

"ibid., 347.

"ibid., 348.


33

important traits of delicate ensemble playing, and proper performance of Baroque

ornaments.

I was drawn to Les Indes Galantes and these particular movements because they

represented the French style of the period, and because the use of ornamentation was not

so excessive as to be too difficult for the saxophone. These instrumental movements

were also scored for a small orchestra, making it possible for all of the parts to be covered

in the arrangement.

In order to transcribe a work such as this for a saxophone ensemble, a few aspects

of the original score needed to be changed. Since the three movements chosen for the

transcription were in keys that would hinder the ability of the performers to execute the

ornaments and technical passages, each movement was transposed up a minor second.

The figure below shows Rameau’s orchestration for the overture, the

corresponding scoring for saxophone orchestra, and any special treatments of parts

necessary for the arrangement.

Flute 1 and 2 Soprano 1 and 2 Second soprano covers the trumpet part in the Chaconne.

Oboe 1 and 2 Soprano 1 and 2 Oboes omitted unless independent from the flute. Sopranos cover oboe parts in the Musette.

Bassoon 1 and 2 Baritone 1 and 2Violins Altos 1-4Violas Tenor 1 and 2 Occasionally covering a

bassoon part that is too high for the baritone.

Continuo Bass Harpsichord omitted.Figure 1. An explanation o f the saxophone orchestra scoring.

The assignment of the string parts was based on the timbre and range of the instruments

available in the saxophone orchestra. The violin parts fit well within the range of the alto

saxophone, and the timbre of the alto adds a richness to the overall sound of the piece. In


34

its middle and high tessitura, the tenor saxophone can assimilate a viola-like timbre,

making it perfect for covering the viola parts. The string bass part is best suited for the

E-flat contrabass saxophone; however, because of limited production and extremely high

cost, there are very few ensembles that have a contrabass at their disposal. Therefore,

some of the notes of the string bass were taken up an octave to fit within the range of the

bass saxophone.

Editorial Changes

While I have attempted to remain as true to the original composition as possible,

there were some editorial changes made to the transcription in order to make it playable

for saxophones. Very few of the slur markings found in the arrangement existed in the

original score. The slurs and phrase markings were added to give the music an elegant

character and to eliminate the heaviness caused by over-articulation on the saxophone. In

following suggestions by Robert Donington, the slurs were restricted to groups of two to

four notes, except in the more virtuosic sweeping runs in the Chaconne.13 I retained the

dynamic markings indicated in the original score as suggestions for balance. In an

attempt to capture the abrupt “terraced” dynamic changes, no indications of crescendo

and decrescendo were added.

Performance Practice Suggestions

One of the truly unique characteristics of Baroque music lies in the

ornamentation. There are many helpful books and treatises available to students and

performers that cite various performers, composers, and theorists of the time regarding

the correct performance of Baroque music. In order to perform this transcription as

13Robert Donington, A Performer's Guide to Baroque Music (New York: Charles Scribner’s Sons, 1973), 286.


35

accurately as possible, the performance practices of the French Baroque must be applied

strictly. The three movements of Les Indes Galantes present the saxophonist with three

main performance practice considerations: the trill, the appoggiatura, and the application

of notes inegales (unequal notes).

Trills

As a general rule, all standard Baroque trills begin on their upper note (“prepared”

if the upper note is prolonged, “unprepared” if the upper note is shorter).14 In the three

movements of this arrangement, the trill (tremblement in French) is notated in two ways

(see Figure 2). The first is a brief trill (two or three repercussions) which begins on the

upper note and leaves a small amount of length at the end of the note that is being trilled.

The second is a much longer trill which continues to the next note. Figure 3 shows how

each type of trill should be performed.

'-4* t (*m

a.Figure 2. The two types of trills found in Les Indes Galantes.

r fr ma. b.

Figure 3. Proper performance o f the two types of trill found in Les Indes Galantes.

The Appoggiatura

The appoggiatura (coule or port-de-voix in French) is commonly referred to as a

grace note in modem terms, and appears frequently in the Chaconne in two forms:

preceding a quarter note (passing appoggiatura), and preceding a dotted half or half note

14Robert Donington, The Interpretation o f Early Music (New York: St. Martin’s Press, 1974), 241.


36

(accented appoggiatura). The performance style of each appoggiatura shown in Figure 4

was suggested by Johann Joachim Quantz in his treatise On Playing the Flute.

L td .m ■> - o

a.

b.Figure 4. Suggested performance style of appoggiatura.15

In the case of the accented appoggiatura preceding a dotted quarter note (the second

example of Figure 4), Quantz’s suggested method of performance results in an

unnecessary prolonging of dissonance on the downbeat. For this reason, I have suggested

the method shown in Figure 5.

J 9 — M n -fe ’ T J* #UJ—JE-h)----

Figure 5. Alternative method o f performing appoggiatura preceding a dotted quarter note.

Notes Inegales

The French practice of notes inegales (unequal notes) should be applied

throughout the arrangement. The overture should be performed as a typical French

overture, with over-dotting occurring on dotted rhythms, and passages of stepwise eighth

and sixteenth notes given an uneven lilting motion.16 An example from the overture

displaying both applications is shown in Figure 6.

15Johann Joachim Quantz, On Playing the Flute translated by Edward R. Reilly (New York: Schirmer Books, 1966), 95

6Donington, 453.


b. *-Figure 6. The application of notes inegales in the overture.

This lilting character should also be applied in the Minuet en Rondeau as

• 17indicated by the slurs written over pairs of eighth notes in Rameau’s original scoring.

The exception to the application of inegales is the Chaconne. In this movement, the fast

tempo hinders the use of inequality, which would cause the lilting motion of the lines to

become burdensome.

A lack of understanding of Baroque style is the most common problem for

saxophonists performing transcriptions from this period. Being familiar with the

differences between types of ornaments and how they should be performed is only a

small step in the direction of an accurate performance. Though many Baroque composers

were influenced by composers from different countries, each nationality has its own style.

Saxophonists must also be aware of how Baroque music sounds. Instruments of the

period were not built to the same specifications as they are today. The saxophone

performer must be able to adapt to play with a more transparent sound, and a lighter style

of articulation.

For saxophone students, knowing the music of Bach and Handel is not sufficient

to becoming familiar with Baroque style. There is a need for more variety in the body of

Baroque transcriptions and arrangements for the saxophone. It is my hope that this

project will encourage others to explore more of the French and English Baroque

composers. The pathway to a better understanding of Baroque style for saxophonists is

through exposure. Encouraging saxophone students to listen to Baroque music and

17Ibid., 458.


38

perform transcriptions will ultimately make them better teachers for future generations of

students.


39

Les Indes Galantes Ouverture

Jean-Philippe Rameau (1683-1764)arr. by Marcus Ballard

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56

Les Indes Galantes M usette en Rondeau

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Les hides Galantes Chaconne

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98

CHAPTER III

FRAN£OIS-JOSEPH GOSSEC (1734-1829): SINFONIA IN G MAJOR OP. 12, NO. 2

Fran^ois-Joseph Gossec, a Flemish composer of the Classical period, was very

active in France. Gossec displayed musical talent from early childhood and reputedly

possessed a beautiful voice. He sang in the collegiate church of Walcourt from age 6,

and received training on the violin, harpsichord, harmony, and composition from Jean

Vanderbelen at the chapel of St. Pierre in Mauberge. Further studies as a chorister came

from the Antwerp Cathedral with Andre-Joseph Blavier. In 1751, Gossec went to Paris

and became a violinist and bassist in the private orchestra of the fermier general of Paris.

In 1755, he succeeded Johann Stamitz as the director of the orchestra until the patron’s

death in 1762.

His earliest music consisted of solo sonatas for violin and bass, duos for flutes or

violins, and 24 symphonies, the earliest of which were for strings only. The chamber

works reflect Italian influences, while the symphonies are heavily steeped in the German

tradition, particularly of the Mannheim school. Influenced by Stamitz, he added a Minuet

and Trio movement to his three-movement form, and included separate parts for winds.

Also from this early period is the Symphonie periodique in D, which was one of the first

orchestral works in France to use clarinets.1

Gossec eventually turned to stage works and large-scale vocal works. He

continued to write instrumental chamber works and symphonies, making use of the

growing number of wind players coming to Paris from Germany. He developed a quality

of richness in sonority that was not found in the works of other French composers of the

'Barry Brooks, “Fran^ois-Joseph Gossec,” The New Grove Dictionary o f Music and Musicians 2nd Edition, edited by Stanley Sadie (New York: Grove, 2001). Vol. 10,186.


99

time. He founded his own orchestra in 1769, which commissioned new works and

introduced guest artists. Gossec composed many symphonies for this orchestra which

feature harmonic progressions through remote keys. He also wrote twelve string quartets

and became the first person to conduct a Haydn symphony in France.2

He continued to compose symphonies, operas, and ballets until the ascension of

Napoleon Bonaparte in 1799. He eventually gave up writing operas after the failure of

his Le double deguisement and devoted his life to teaching.3 He wrote solfege and

singing methods, as well as treatises on harmony and counterpoint. When Louis XVIII

dissolved the Conservatoire in 1816, Gossec lost his teaching position and spent his final

years in the Paris suburb of Passy.

The Sinfonia was first published in 1769 as the second of Six Simphonies a

grande orchestre dediees d Son Altesse Monseigneur le prince Louis de Rohan

coadjuteur de I ’eveche de Strasbourg par F. J. Gossec dAnvers. oeuvre XII. a Paris chez

M. Venier editeur etc. It appeared in London the next year as No. XXXIII of The

Periodical Overtures in 8 parts. Printed and Sold by R. Bremmer, at the Harp and

Hautboy opposite Somerset-House in the Strand.

The work, from the same year that Gossec founded his own orchestra, displays

many of the characteristics of the Mannheim School, including several examples of

“rocket” themes. There is no Minuet and Trio movement: the three-movement scheme

consists of Allegro molto, Andante moderato, and Presto. The relationship between tonic

and dominant is used as a pivot point through which Gossec modulates to different keys.

2Ibid., 187.

3 Jean-Louis Jam, “Marie-Joseph Chenier and Fran?ois-Joseph Gossec: Two Artists in the Service o f Revolutionary Propaganda,” in Music and the French Revolution, ed. by Malcolm Boyd (Cambridge University Press, 1992).


100

For example, the development section of the first movement begins in D major, and

eventually modulates to A and E. A chromatic sequence then leads to a pedal D before

the recapitulation. The slower second movement begins in C major, and has a short

development which functions in a similar way to the first movement. The final Presto is

in a fast duple meter which remains mostly within the keys of G major and D major.


The Classical period is represented by transcriptions for saxophone and piano.

Arrangements of pieces by Mozart and Beethoven can be found in the literature for

saxophone quartet, but little exists for the saxophone orchestra with the exception of three

works by Mozart {Turkish March, Rondo-Serenade No. 10, and Titus Overture), and one

by Haydn {Oxford Symphony). Jean-Marie Londeix’s Repertoire Universel de Musique

pour Saxophone lists transcriptions of four works by Gossec: a Rondo Tarantelle from La

fete du village and a Gavotte for alto saxophone and piano, an Ouverture for two alto

saxophones, and a Sonata for saxophone in B-flat and piano. I wanted to arrange a piece

that would emphasize the same lightness of ensemble playing as the Rameau

arrangement, but slightly more difficult than the Gabrieli and Rameau transcriptions.

I also wanted to implement the sopranino saxophone, which is pitched in E-flat

and sounds an octave higher than the alto. The sopranino adds a unique color to the

saxophone orchestra and can have quite a dramatic effect, especially when doubled an

octave lower by either the soprano or alto. The sopranino can be difficult to play in tune

due to its extremely small size. The slightest imperfection in the construction of the

mouthpiece and any minute variations in the size of the tone holes can have a drastic


101

effect on the intonation tendencies. However, an experienced player with a good sense of

pitch and tone control can manage these tendencies with relatively little difficulty.

The original orchestration of the symphony lent itself well to the saxophone

orchestra as shown in Figure 1 below.

Oboes Soprano 1 and 2Homs Altos 3 and 4

First Violins Sopranino/Alto 1 The sopranino is used for the higher of the first violin parts. When the violins are in unison, the alto doubles the sopranino an octave lower.

Second Violin Alto 2Violas Tenor 1 and 2

Cello/String Bass Baritone/Bass Certain tones were taken up an octave in order to accommodate the range of the baritone and bass.

Figure 1. An explanation o f the saxophone orchestra scoring.

Editorial Changes

The original key of G major was lowered a major second in order to

accommodate the key-range of the saxophone. All of Gossec’s phrase markings,

dynamic indications, and articulations were retained. Fast tremolos, which are not

idiomatic on the saxophone, were rewritten as shown in Figure 2.

a. b. *-Figure 2. The rewriting o f tremolos in the saxophone orchestra arrangement.

Slurs were also added to long passages of sixteenth notes in the third movement to

promote an elegant approach to certain passages in the strings.

g ffCfCTi


102


Because Gossec was influenced by the Mannheim School, the common

characteristics of French music during the seventeenth and eighteenth centuries

(especially notes inegales) do not apply to this symphony. All rhythms should be played

precisely as they appear on the page, with the exception of a grace note preceding an

eighth note that is followed by two sixteenths. This type of figure is commonly found in

the Classical period (especially in the music of Mozart and Haydn), and should be

performed as four sixteenth notes as shown in Figure 3.

f . - B - 0

V 1 i • y

A? - t

4 t ma. " b. «-

Figure 3. The proper performance of grace note figures.

This work has much less ornamentation than the Rameau transcription in the

previous chapter. As indicated in the original score, trills should be performed beginning

on the written note unless preceded by a written upper grace note (see Figure 4).

r i -J ^ « f—= f = B -

*_ 1Figure 4. Example of a trill beginning on the upper note.

The performers should strive to achieve a light ensemble sound with a lively

character. Crisp articulation and careful attention to dynamic contrasts will keep the

arrangement from sounding too heavy. Also, the use of faster, narrow vibrato on longer

tones will contribute a lightness of sound and ensure a more accurate representation of

the style.

The saxophone is an instrument known for its ability to project its sound and

power, especially in large numbers. It is possible, however, for a saxophone orchestra to


103

obtain a more transparent character through control of dynamics, and by utilizing the

saxophonist’s ability to change the color of his or her sound. It is important for every

member of the ensemble to remain aware of this and work together to play with a more

relaxed, lighter sound.

The music of the Classical period is a great avenue through which saxophonists

can practice and master these techniques. The ability to perform works of varying styles

widens the spectrum of sounds that the saxophone orchestra is capable of producing. The

Classical period represents a serious void in the body of transcribed literature for the

saxophone orchestra. It is my hope that this transcription will encourage other arrangers

to explore the wonderful music of this era and help fill the gap in the repertoire.


104

Sinfonia Op. 12, No. 2I. Allegro molto

Francois-Joseph Gossec (1734-1829) arr. by Marcus Ballard

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I. Allegro molto126

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127I. Allegro molto

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128

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131

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132

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135

Sopranino Sax.

Soprano Sax.

Alto Sax.

Tenor Sax.

Baritone Sax.

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Sinfonia Op. 12, No. 2II. Andante moderato

Francis-Joseph Gossec (1734-1829) arr. by Marcus Ballard

Andante moderato • ' = 92

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II. Andante moderato136

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II. Andante moderate143

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II. Andante moderate144

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61

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R eproduced with perm ission o f the copyright owner. Further reproduction prohibited without perm ission.

148

Sinfonia Op. 12, No. 2 III. Presto

Franfois-Joseph Gossec (1734-1829) arr. by Marcus Ballard

Presto J -1 4 4

Sopranino Sax.T7

Soprano Sax.

Alto Sax. 1

Alto Sax. 2

Tenor Sax.

Baritone Sax.

Bass Sax.


III. Presto 149

mSno. Sax.

S. Sx.

mA. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

/


III. Presto 150

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.m

Bass Sax.


III. Presto

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

/


III. Presto 152

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

4 "H f j f

H r r r-— -=--*--- M f , g g '

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j LJ

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Mi

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III. Presto 153

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

/


Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

III. Presto

j /

p

h ^ =

S P= f =

p p ^ p p *

n .................

I -

I • — *--------

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^ ............. - T --------------8 ........ .. -0 ---------------- S — *-------

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a m m m

r r i* i*

h m ~ m ....— P h m 0 ---- p r # f f - f —i* —

l f c M . d— w p r f j j


III. Presto

Sno. Sax.

S. Sx.

A. Sx. 1

zzA. Sx. 2

T. Sx.

B. Sx.

Bass Sax.


III. Presto 156

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

P


III. Presto 157

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

cresc.

cresc.

cresc

cresc.

cresc.

cresc.


III. Presto 158

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

- J T y . ., tti» r * t —fm

i

m

h = z


S. Sx.

A. Sx. 2

III. Presto 159

67

Sno. Sax.■ til* *-f-

A. Sx. 1 P P

T. Sx. # e e #

B. Sx.

Bass Sax.• ~ • 2—


Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

III. Presto

JLS fiv.Jr-ff ...................{m f.'..

p w 1 ~m--1— CLr-gF P

T f f f f fp

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a a

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j j WWW w

p - L J

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= —

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J J *.


III. Presto 161

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

&

r

'--p

4 ^ =

3 T r ' r r \

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p

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i i.

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?—

b s -a ----a — h - *

4 — *—

p

m

4 --------1—

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P


III. Presto

Sno. Sax.

cresc.

S. Sx.

cresc.

A. Sx. 1

cresc.

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.


III. Presto 163

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.


III. Presto 164

97

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

p p m4 4 4

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v C k ' '

9 9 9 9 J •• •

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III. Presto 165

105

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.


Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

III. Presto 166

m

im


Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

III. Presto 167

115

i

im


III. Presto

121

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

JEB. Sx.

Bass Sax.

P


Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

III. Presto 169

mm m m

ih r ,h


III. Presto 170

133

Sno. Sax.

S. Sx.

T. Sx.

A. Sx. 1

A. Sx. 2

B. Sx.

Bass Sax.

Ft=r=lJ3:j!3qfH=^N=n bam • m

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III. Presto 171

139

Sno. Sax.j SL

S. Sx.

A. Sx. 1 J1J3- mmmm 4 ,

mp

A. Sx. 2

T. Sx.

B. Sx.

P

Bass Sax.

P


III. Presto 172

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

145

fi cresc.

Icresc.

£ £

cresc.

i p

J :

p i £

pm f

mw m

mm . 0 . •.■m—m-cresc.

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M 0-p


Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

III. Presto

f r r i rf—«—

£ # ■ '-*—»—

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f (•.. 1 ■a f u --/ ^

m. i.W itf

rn.J

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III. Presto 174

157

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.


in. Presto

g p ipoco dim.

Sno. Sax.

S. Sx.

A. Sx. 1poco dim.

A. Sx. 2

T. Sx.

poco dim.

B. Sx.

poco dim.

Bass Sax.

poco dim.


III. Presto 176

169

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

J p J,, p —1...t a n — 7 — r r F f W j ] n J~J J ~ -

i j

1 8 ..... ................. - -------------■--------------

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9 9 9 9

r f - f - p -

9 9 9. 9 ...

f - p - r " f * — F t

§ ....

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p e H

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p

H = 1 ...................... = t =

9 9 9 9

i ...-.........H

p ............" ............. - f k -

rJ rJ

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184

CHAPTER IV

CARL NIELSEN (1865-1931): LITTLE SUITE FOR STRINGS, OP. 1

Danish composer Carl Nielsen was one of the most important of the generation of

composers who were active in both the nineteenth and twentieth centuries. He composed

in all the main genres of the time but is best known for his six symphonies. He is revered

in Denmark for his large output of popular strophic songs. His activities as a conductor

and teacher made him the most influential Danish musician of his time. Nielsen’s

international popularity was sporadic during his lifetime, and has grown steadily since the

1950s, particularly in Britain and the United States.

Nielsen’s family lived on the island of Funen, and Nielsen often said that he had

the sights and sounds of the island in front of him when he composed.1 His music is

influenced by song and dance that he learned from his mother, and by the underlying

forces of nature and human character, which became constant sources of inspiration for

his compositions.2

The Suite for Strings, op. 1, also called the Little Suite was completed in 1888,

before Nielsen became a violinist at the Royal Chapel. It was probably not the first work

he had ever composed, but it was the first to make a major impression on the public at its

performance at Tivoli on September 8, 1888. It was for this reason that he gave it the

label “op. 1”, with a dedication to Orla Rosenhoff, his teacher at the conservatory.

'Jack Lawson, Carl Nielsen (London: Phaidon Press, 1997), 15.

2David Fanning, “Carl Nielsen,” The New Grove Dictionary o f Music and Musicians 2d Ed., edited by Stanley Sadie (New York: Grove, 2001), Vol 17, 888.


185

Rosenhoff was the only teacher Nielsen respected, and the only one to whom he felt

indebted.

The Little Suite is a serenade-like piece in three movements, reminiscent of the

string serenades of Grieg and Mozart. The middle movement features a waltz which is a

reflection of his ability to write tuneful melodies. Like Grieg’s Serenade, the main theme

of the first movement returns in the “Finale.” The work displays many similarities to the

music of Brahms and Wagner. The presence of hemiolas in the Intermezzo, and the

haunting melodies in the outer two movements bear a striking resemblance to the

symphonies of Brahms. Wagner’s influence can be heard in the chromatically shifting

harmonies and lengthy phrases.

The melodic content of the Little Suite shows influences from the folk songs and

dances of his childhood, especially in the first two movements. The use of folk music as

an inspirational source was a common trend in the late nineteenth and early twentieth

centuries. As a stark contrast, the Finale is reminiscent of the soaring “rocket” themes

and driving rhythms of the Classical period. This mixture of Classical, Romantic, and

folk influences is present throughout his later works as well.


Works for string orchestra are a common resource for saxophonists and arrangers

of works for saxophone orchestra. Both ensembles are made up of different voices of the

same instrument family; however, great care must be taken when choosing a work for

strings to ensure a successful transcription without sacrificing the musical integrity of the

original piece.

3Ibid., 41.


186

For Nielsen’s Little Suite, many decisions were made regarding instrumentation

and voice doubling. The romantic nature of this piece is well-suited to the expressive

potential of the saxophone; however, the wide instrument range of the string family poses

a problem in the transfer process. Changing the range of a musical line from the original

work can often ruin the total effect of the transcription. In the Little Suite, it was

impossible to avoid having to place certain lines in a lower octave, even after transposing

the arrangement to a lower key (down a major second from the original). However, the

only notes that had to be altered were the string harmonics on the chords at the end of the

Intermezzo, which were written down an octave.

Another common problem with transcribing string orchestra music for

saxophones is the issue of doubling parts. In a string orchestra, several players will be

performing the same part. This is essential to a string orchestra in order to make the

ensemble sound full. In the saxophone orchestra, one or two players together can sound

as full as an entire section of violins.

Additionally, whereas having multiple string players on one part helps mask bad

intonation, doing so in a saxophone orchestra only magnifies the tuning problems.

Therefore, it is best to avoid unison doublings in the saxophone orchestra, unless it occurs

in a section where more strength is needed. In most cases (especially when involving the

sopranino saxophone), an octave doubling is much stronger.

Having the alto saxophone double the sopranino part an octave lower allows the

sopranino player the freedom to play the part comfortably above the reinforcement. It

also provides the sopranino player with a strong pitch reference, which is helpful,

considering the intonation tendencies of the instrument. For this transcription, unison


187

doubling was used only to keep important lines from being overpowered when the full

ensemble is playing.

Figure 1 shows how the original string orchestration was arranged for the

saxophone orchestra.

Violin I Sopranino/Soprano 1 Occasionally used alternately for changes in timbre. Soprano 1 also covers the higher of the second violin parts when they divide.

Violin II Soprano 2/Altos 1-3 Also doubles the sopranino part at a lower octave for support in its higher range.

Viola Alto 3/Tenor 1 and 2 Alto 3 covers higher viola parts during triple-stops; otherwise it covers the second violin.

Cello Baritone 1 and 2 Baritone 2 occasionally doubles the bass part for strength.

String Bass BassFigure 1. An explanation o f the saxophone orchestra scoring.

Editorial Changes

Nielsen’s phrase markings were all maintained for this arrangement.

Articulations were left mostly intact with the exception of the pizzicato markings.

Though the saxophone technique known as “slap-tonguing” produces a pizzicato-like

effect, the result is not as delicate as true string pizzicato. Therefore, any pizzicato

markings in the string orchestra score were marked as staccato in the saxophone parts,

and should be played with a light, crisp articulation. Tremolos were either omitted or re

written at larger note values, with the exception of the eighth note triplet tremolos in the

Intermezzo and Finale.


188


Though the Little Suite poses no specific performance practice concerns in the

way of ornaments, there are certain issues of dynamics and phrasing of which

saxophonists should be aware. Members of each section of the saxophone orchestra

should be conscious of the role of their particular part. For example, if a part being

played by two or more people is marked fortissimo, it is not necessary for each person to

play at that exact dynamic level. If everyone involved plays at half the dynamic level, the

same effect is produced without overpowering the ensemble. The melodic material

should be audible at all times, and dynamic levels can be adjusted to ensure that the

melody is never covered.

String music of the Romantic period often presents the problem of breathing for

saxophonists. Romantic music often contains long phrases, and saxophonists must make

careful decisions regarding where to take a breath. Suggestions for appropriate places to

breathe have been indicated in the score of this arrangement. These markings are only

suggestions, and can be changed if needed, providing that doing so does not severely

interrupt the musical line.

For saxophonists, arrangements of string orchestra music from the Romantic

period can be extremely beneficial for learning qualities of expressive ensemble playing.

Good musical phrasing, careful control of dynamics, and communication between

ensemble members are essential skills needed for the development of musical maturity.

Proficient arranging through careful use of voice doubling, and a knowledge of the

saxophone’s tendencies can result in a challenging yet rewarding transcription that

remains as true as possible to the original composition.


189

Little Suite Op. 1 I. Praludium

Andante con moto J= 56

Carl Nielsen (1865-1931) arr. by Marcus Ballard

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Little Suite Op. 1 II. Intermezzo

Carl Nielsen (1865-1931) arr. by Marcus Ballard

Allegro moderato J= 176

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A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.

m m

f - >i t o

m

i

m

m

m

m

m


231

II. Intermezzo

205

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


232

II. Intermezzo

211 r f n r i f r r - L f . ir r f n rSno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.

f i


233

II. Intermezzo

217

Sno. Sax.

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


234

II. Intermezzo

223

Sno. Sax.

f t PPP

S. Sx. I

S. Sx. 2

A. Sx. 1

PP

A. Sx. 2

PP

A. Sx. 3

T. Sx. 1

PP

T. Sx. 2

B. Sx. 1

PP

B. Sx. 2

PP

Bass Sax.

PP


235

II. Intermezzo

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

f tr.trirT. Sx. I

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


236

II. Intermezzo

235

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


237

II. Intermezzo

241

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


238

II. Intermezzo

247

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


239

II. Intermezzo

253

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx.2

B. Sx. 1

B. Sx. 2

Bass Sax.


240

II. Intermezzo

259

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


241

II. Intermezzo

265

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


242

Little Suite Op. 1 III. Finale

Carl Nielsen (1865-1931) arr. Marcus Ballard

Andante con moto

Sopranino Sax.

Soprano Sax. 1

Soprano Sax. 2

Alto Sax. 1

Alto Sax. 2

Alto Sax. 3

Tenor Sax. 1

Tenor Sax. 2

Baritone Sax. 1

feP

Baritone Sax. 2

Bass Sax.

fiP


243III. F inale

Sno. Sax.

S. Sx. 1

S. Sx. 2

g§Hi/

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.

/


244III. F inale

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx.2

B. Sx. 1

B. Sx. 2

Bass Sax.


Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


III. Finale

246

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


III. F inale

Mu f P f ff M m m

I m m m

I *i

*A

IA

e s s = rrrrrrrr

p * s

u

M W

247III. Finale

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.

P


248III. Finale

Sno. Sax.

mS. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

mT. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.

/


249III. Finale

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


250III. Finale

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.

P


251III. Finale

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


252III. Finale

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.

~ m f


III. Finale

67 r m f iSno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


III. Finale

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


255III. F inale

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2.

B. Sx. 1

B. Sx. 2

Bass Sax.

P


256III. Finale

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


257III. Finale

Sno. Sax.

VP

S. Sx. 1

VP

S. Sx. 2

VP

A. Sx. 1

VP

A. Sx. 2

VP

A. Sx. 3

VP

T. Sx. 1

VP

T. Sx. 2

VP

B. Sx. 1

B. Sx. 2

Bass Sax.

JVP f


III. Finale

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


259III. Finale

Sno. Sax.

PP

S. Sx. 1

PP

S. Sx. 2

PP

A. Sx. 1

PP

A. Sx. 2

PP

A. Sx. 3

PP

T. Sx. 1

PP

T. Sx. 2

PP

B. Sx. 1

PP

H HB. Sx. 2

PP

Bass Sax.

PP


260III. F inale

109

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


III. Finale261

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


262III. Finale

121

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1 o

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B.Sx.2

Bass Sax. IP


263III. Finale

117

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


264III. Finale

133

Sno. Sax.

mS. Sx. 1

mS. Sx. 2

mA. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


265

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


III. Finale

u

f t f t f t

mmmmm i£ m

I *m m

p H m

P w f t

f t m

t i l m p m

f t f t

III. Finale266

f flS fi f iy ; ^145

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


III. Finale267

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. I

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.

ir) ¥ « r r # f f r r :r M « = H I§ ................— T O

r / ---------fct............-

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1 Hull j f - p f T p

*” /i /r E

l _ _

§ ” r r H E r ^ ? ! eeee=

r p

j j t A w r f r r r "■f'Tf'ffl - * * f rr r r r

#■¥>■>»_____ - • • i n h r r r r

s=y=u=-

; w m nt\ n f ■

= = i3 = = —

#====¥==== trrnrriT ■i i o t i i i i

■f rrrrr *f -fff Kli_i_K_M_4 p = B 3 J E E L r

U ^ - w w l d m i r r r r ::eevz:ezxiM J I D

llu LLJ

-£H JT n

±y^=====^=

i]T lr r r r| <g) tt [ [ [ f 'j j j j

i ¥ n - ------------- ■ - - f t r

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268III. F inale

157

Sno. Sax.

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B. Sx. 1

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Bass Sax.

P


269

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

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III. Finale

n ------ f f r t f V - — I]0- frfff r r — P r p — spd

§ " r ..

l * § f i f . r r f ------ - f ...

IT

- f — t f9 * r r

>

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l p m , p

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1 r r n

-tip, p_§ 1 1 m

1 = ^ - - .....

r * -T .? p .. r ..f..r-..£

=f gT T fffI P 1— ..........

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f f i r n i r -1--U-I.11.

...

l l ¥ » r nrr .apj...

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- f 5F = J

1 " r u

tN»H" -r— w -

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M r u = E b - f

270

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


III. Finale

crPJr i ef-rff

w

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*4=

u u m

g ig :

.. i i i iii i E m

1f\■4L

271

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


III. F inale

175

■to

t o

H

P/

p/

£ = # =

/i f

P

± p f — r f

f P

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/

272

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


III. F inale

m

m m

f ir. r r^-r

f T fT t

273

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


III. Finale

i t V» . ■ if "

_

% ” i r pmfI V ,

f . P—P- - - - ft — r_

mf r p

=4*ri#ftrS=N=j=

r -f r err crrlmf c r r p r [err cN' # t= 4 t= r err by N N ; .

r * imf

\&hh 7--,,Arcfr t fJ # # t = t H

r « if - 1- err bymf cJr EJr m-J ----ffj----J ■■ » ”k

r o r err M 4 4 J = H

—ftv*--- ft@ = 5 = ^ = p f c = Smf£ ¥ " - T p f ^ J

= ± = # = f

J i* * " *

I * M ‘

-M ^ f tJ - Jf ...VM\

«. Kit »1 * J - p r pmf

U a r f H f l ..l ^ f l

------ P x z ft- r f P r p mo

# = * = — =— mfL O A f f t ^ ftT~p

V.

,«... £ = # = jo JL. rccq

mfU sa r r r r i ift v i f t ...f 7»..* m > ^ . . r di f f — i—imf : r f f - i -----------------

274

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.

= = = = = = = f f


III. Fmale

193

CX- f f £41^ ;

w f mi SXf f

f f

w mw

mmiI *

f f

N

P f P P S P I P Pp s I

f f

Pff — g * T f f

f f

§ m = # = £ = ?

f ■ f* r ff I I Pj*T

#*fe M M 1 y i-8 [»

275III. Finale

199

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


276III. Finale

205

Sno. Sax.

VP

S. Sx. 1

VP

S. Sx. 2

VP

A. Sx. 1

VP

A. Sx. 2

VP

A. Sx. 3

VP

T. Sx. 1

VP

T. Sx. 2

VP

B. Sx. 1

B. Sx. 2

VP

Bass Sax.

PP


277III. Finale

211

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


III. Finale278

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.

£ »,» 'T . T -M e r M

J—_—— Q"

n f i r\ ^ .

J i.

§ ' * '

£ M J > f toe r f f f .r f l r k M

j— — y~ r r

$ " !

^ t ' fff = k |f—pr— ^r £ f r J f * *

■ ■ f - f f

I f ' p f = j r pf' ■ __

r Pf

—-■-d -y

^ ^ f ' p p . Pf E r f , I f pr r t f r >

r f f —

$ 11

Jp Hu** rrrrrrrr = ■pfff—f f f f □OIICIEXRI

/r pf...-

; ! 5 5 ! F§ " - S g f f l L

L & ¥ J i D J m

£ i - ; ± - T4-,y...1414"±ttz===ha- = £ £ = = -

^ ^ ^__ ^

mmmd mmmm

k r

___ ^

H f f m

§ ’ n r r r

.......^

r M rr ^ H

r r r r

r r r r k r r r r- r r- r - k f # H


279ITT. F inale

323

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


280III. F inale

229

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. I

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


281III. Finale

235

Sno. Sax.

S. Sx. 1

S. Sx. 2

A. Sx. 1

A. Sx. 2

A. Sx. 3

T. Sx. 1

T. Sx. 2

B. Sx. 1

B. Sx. 2

Bass Sax.


282

CHAPTER V

WILLIAM GRANT STILL (1895-1978): ELEGY FOR ORGAN

William Grant Still is considered to be the most important and highly influential

African-American composer to date. He was active during a time when racial tension in

the United States was rampant, frequently resulting in deadly outbursts of violence

against the black community. The persistent hatred and racial bigotry made it difficult

for African-Americans to make respectable livings for themselves and their families, but

Still would not be denied. Despite everything, he became the first black American to

have a symphony performed by a major orchestra (the Rochester Philharmonic under

Howard Hanson, 1931), to conduct a white radio orchestra (“Deep River Hour”, 1932), to

conduct a major orchestra (Los Angeles Philharmonic, 1936), to have an opera produced

by a major company (Troubled Island, City Opera of New York, 1949), and the first to

receive a series of commissions and performances from major orchestras.1 His

compositions and arrangements have stood the test of time, earning him the nickname

“the Dean of African-American composers” in the press.

Still was bom on May 11, 1895 in Woodville, Mississippi. His music education

included studies at Wilberforce University in Ohio and the Oberlin Conservatory. While

pursuing his career in New York, Still was offered the opportunity to study with avant-

garde composer Edgard Varese in Boston. He would later note that Varese was his most

important teacher because he encouraged him to pursue his expressive nature.2

'David Fanning, “William Grant Still,” The New Grove Dictionary o f Music and Musicians 2d Ed., edited by Stanley Sadie (New York: Grove 2001), Vol. 25, 392.

2 Judith Anne Still, “A Personal Reminiscence o f William Grant Still,” William Grant Still: A Bio- Bibliography, edited by Judith A. Still, Michael Dabrishus, and Carolyn L. Quin, (Westport, Connecticut: Greenwood Press, 1996), 5.


283

William Grant Still’s music reflects the influence of his African-American

heritage. His works often contain the modal inflections of blues music, as well as

African-American spirituals. Blues melodies appear quite frequently in From the Land o f

Dreams (considered to be his first composition) and his Afro-American Symphony.

Irregular phrase lengths and blues-related harmonies are also frequent characteristics of

his works.

William Grant Still was no stranger to the saxophone. In 1954, he composed an

original work entitled Romance for saxophone and piano, which he later scored for a

small orchestra. The work was dedicated to saxophonist Sigurd Rascher, who began

corresponding with Still in January 1951, after discovering that the two shared a mutual

friend in New York.3 Still also arranged his piano work Quit Dat Fool ’nish for Rascher,

to be paired in performance with the Romance.


Although William Grant Still is considered an influential composer, his music is

rarely heard by audiences; and with the exception of the Afro-American Symphony, it is

rarely studied by music students. Because Still’s name should be familiar to most

saxophonists, I believed that a saxophone orchestra arrangement would attract the

attention of teachers and ensemble conductors. This arrangement will be a useful tool for

teaching saxophone orchestra members how to achieve a blended ensemble sound.

My transcription of the Elegy for organ was done with permission from Still’s

daughter, Judith Anne Still, who operates William Grant Still Music, Inc. in Flagstaff,

Arizona. She remains very active in continuing to reach current audiences with her late

3Letter from Sigurd M. Rascher to William Grant Still, January 1951, The William Grant Still and Verna Arvey Papers, University o f Arkansas Libraries.


284

father’s music, permitting transcriptions of works that she feels will be successful when

arranged for another medium. When I contacted Ms. Still about the possibility of

transcribing her father’s Elegy for saxophone orchestra, she quickly responded to express

her interest in the project and her willingness to publish the arrangement.

The Elegy, composed in Los Angeles in 1963, was part of a series of commissions

by the West Coast chapters of the American Guild of Organists. The autograph

manuscript can be found in the William Grant Still and Vema Arvey Papers at the

University of Arkansas in Fayetteville. It is a very serene, reflective work, deeply rooted

in the Negro spirituals that influenced so much of his music. Spirituals were a type of

song that developed during the period of slavery in the United States. They normally

consisted of alternating musical lines with a refrain, and were often sung in unison.4 A

particular characteristic of spirituals is the use of microtonally flatted notes, usually

lowered thirds, fifths, and sevenths. Their frequent melancholy theme of death was

meant to suggest a spirit that has already left this earth.5

The form of the Elegy consists of an opening A section (refrain) in the key of C

minor, a contrasting B section in the key of G minor, and a return of the opening A

section to close the work. The A sections are very melodic with symmetrical phrases,

much like the refrain of a spiritual. The B section is much more agitated, consisting of

leaps rather than step-wise melodic lines. The phrases in the B section are very irregular

in length; a common characteristic of Still’s music. Longer phrases at the beginning and

end of the section are contrasted with very short, two-measure phrases toward the middle.

4Paul Oliver, “Spirituals,” The New Grove Dictionary o f American Music edited by H. Wiley Hitchcock and Stanley Sadie (New York: Macmillan Press, 1986), 286.

5Ibid., 287.


285

The closing A section is the same length as the first, but with a short three-bar coda at the

end.

The sound of the saxophone orchestra has often been compared to that of an organ

with all of the stops pulled. Organ compositions, especially those of this style, work

exceptionally well for saxophone ensembles of any size. Many of the organ works of

Johann Sebastian Bach have been arranged for saxophone orchestra with great success.

Carl Anton Wirth and David Heinick, two composers who have written multiple original

works for the saxophone, have both arranged their own organ works for saxophone

orchestra, having recognized the similarities between the two media.

William Grant Still understood the expressive qualities of the saxophone, as he

was able to hear a recording of Sigurd Rascher which the famous saxophonist had sent to

him in Los Angeles. In the Elegy for organ, the lyrical opening melody is very idiomatic

to the saxophone. The work’s lush sonorities and expressive melodic lines match quite

well with the rich voices and legato playing of which the saxophone orchestra is very

capable. The Elegy is also made up mostly of regular four-bar phrases, which is ideal for

making decisions as to where the players should breathe.

An important feature of the organ is the use of stops to change the sound and tone

color of the instrument. Most organs will have different stops to imitate reed instruments,

brass instruments, bells, and strings. The color palette of the saxophone orchestra is

limited. Assigning melodic lines to different members of the ensemble will produce the

effect of a change of tone color, though not as drastically as the organ. Therefore, it is

important to vary the placement of the melodic line within the ensemble, especially when

a change of stop is indicated in the organ score. For example, in the B section of the


286

Elegy, Still indicates an octave stop to be added. Here, the alto saxophone was added an

octave below the sopranino, which is already playing the melody. The sopranino also

moves into a higher register at this point, producing the effect of an octave stop being

pulled. Eight measures before the end of the B section, the melody is written to be

played on the eight-foot flute stop. Instead of using the soprano or sopranino, the melody

was written in the upper register of the alto, which is very flute-like. In the last two

measures of the B section, the melody is to be played using a clarinet stop. In order to

achieve an effective change of tone color, the melody was written in the low register of

the sopranino.

Editorial Changes

The arrangement adheres very closely to the dynamic markings indicated by the

composer with one exception. The dynamic level at the beginning of the A section is

marked mezzo-piano in the first A, and piano in the second A. In the arrangement, the

melody is played by the first alto in both sections. To be sure that the melody is heard,

the alto part has been marked mezzo-forte in the first A section, and mezzo-piano in the

second. The accompanimental parts were left unchanged. Still’s original phrase

markings were also left unchanged because they enhance the shape of the melodic lines.


Dynamics, phrasing, tempo, vibrato, and ensemble blend are the prominent

performance practice concerns in the arrangement of the Elegy. Each member of the

saxophone orchestra should follow the dynamic markings carefully to ensure that the

melodic material is always heard. The melody is often presented as a solo line which is

passed between different voices to create a change in timbre and should be played with


287

confidence and expression. Vibrato in the ensemble is encouraged; however, it should be

kept to a minimum in the accompanimental parts.

Breathing should occur at the ends of four-bar phrases, especially in the A

sections. Subsequently, the phrases should be played as if sung, with emphasis on the

range of the musical line. Accompanimental figures should be given similar direction in

order to support the melody. This requires a level of communication not only between

the ensemble and conductor, but amongst the ensemble members themselves. This type

of communication will allow the conductor certain freedoms with tempo, eliminating

discrepancies within the ensemble.

The members of the saxophone orchestra must also work together to achieve a

blended sound. To make a successful arrangement of an organ composition, the

ensemble must sound as a single, polyphonic instrument. While careful attention to

dynamics will help this, every person in the ensemble should attempt to produce a similar

tone quality, with warmth and tonal beauty being of utmost importance. Only the person

playing the melodic line should be immediately perceived by the audience.

Though the arrangement of Still’s Elegy for organ is not technically demanding,

the levels of musicianship and ensemble control needed for a successful performance

make it very challenging. Ensembles of varying experience levels can benefit from the

skills that are acquired through the performance of this type of composition. The Elegy is

beautiful when played on the organ. That beauty is retained in the arrangement for

saxophone orchestra; however the expressive qualities of the saxophone give the work its

own unique character.


288

As the saxophone orchestra continues to increase in popularity, there is little

doubt that its body of repertoire will continue to grow as well. Through the efforts of

many dedicated teachers and performers, composers are being presented with a wide

array of new and interesting uses for the saxophone. The resulting compositions have

begun to include the use of extended techniques such as multiphonics, microtonal

writing, and the incorporation of electronics to create new sounds that have never been

heard previously in the saxophone orchestra repertoire.

As more saxophonists turn their attention to these new technically demanding

works, it is important not to ignore the music of our past. Without the innovations

explored by the great composers of the past centuries, the music of today could not exist.

It is through the study and understanding of all musical styles that we learn the

fundamentals of musicianship, and gain the skills necessary to comprehend the ever

evolving music of our present and future. Through transcriptions such as those presented

in this dissertation, saxophonists of varying experience levels can enjoy the opportunity

to grow as musicians, making them more effective teachers for their future students.


289

ElegyScore

William Grant Still (1895-1978) arr. by Marcus Ballard

Slowly J =63

Sopranino Sax.

Soprano Sax.

rnp

0Alto Sax. 1

m

Alto Sax. 2

imp

Tenor Sax.

Baritone Sax.

Bass Sax."XT'

impXT

©2007


E legy 290

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

r i t . a t e m p o

r i t . a t e m p o

XX

r i t . a t e m p o

xx

r i t . a t e m p o

r i t . a t e m p o

TT

a t e m p o

rit. a t e m p o


E legy 291

Sno. Sax.

9S. Sx. at0imp

A. Sx. 1

A. Sx. 2

m p

T. Sx.

Tip

TTB. Sx.

m p

Bass Sax.

m fm p


E legy 292

19

Sno. Sax. i§3:»<r

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx. 2

B.Sx.

Bass Sax. = 5nr

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p

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n ;

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P P

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Elegy 293

Sno. Sax.

S.Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

r i t . a t e m t r i t . a t e m p o

2 5 ^

..= F ^ r S Hr 3 t 1—— r t i 1 — I |J h i I

1

. ^

^ r i t .

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w =a t e m l r i t .

m f' ' a t e m p o

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- > 5 E ^ W

... - —

= S =

r i t a t e m j r i t .

a - ..p ' "

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p r

r i t .

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m 4

ip P1 - .... - — h = ^

f f rit.

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m f" a t e m p o

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f f i J f ™ f


Elegy 294

Sno. Sax.

S. Sx.

m mA. Sx. 1

A. Sx. 2

pepnT. Sx.

aB. Sx.

Bass Sax.

P


E legy 295

dolce

Sno. Sax.

dolceS. Sx.

dolce

A. Sx. 1

m p

dolce

A. Sx. 2

dolce

T. Sx.

dolceo

B. Sx.

dolceBass Sax.

TTP P


Elegy 296

Sno. Sax.

S. Sx.

A. Sx. 1

A. Sx. 2

T. Sx.

B. Sx.

Bass Sax.

r i t .

43

-Jh -k -------- --------

--------■!--------

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------- - r .

r i t .

' i'* .............£-

;J

/i i .........................................

JT.o " ....

P

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f t f t —

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k - - = R £ l

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r i t .

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r 1 [ M

- . T T r r

J r T<

r i t .

.....f 1 p ™ r [ f u 'z=

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-19--------------? = —

... v. O

<r i t .

\


E legy 297

a t e m p o

dolce

Sno. Sax.

a t e m p o dolce

zS. Sx. 3 C

a t e m p o

dolce

A. Sx. 1

irvpa t e m p o

dolce

A. Sx. 2 n

a t e m p o

dolce

T. Sx.X T

TWO a tempo. dolce

B. Sx.

Tttpa t e m p o

dolce

Bass Sax.


Elegy 298

rit.

Sno. Sax.

P P rit.

S. Sx.m

r i t .

A. Sx. 1

PP rit.

A. Sx. 2

P P rit.

T. Sx.

V P rit.

P P

B. Sx.

rit.

Bass Sax.TT

P P


299

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300

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301

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