The Stylistic Diversity of The Concert Saxophone: Daniel Rubin Off

THE STYLISTIC DIVERSITY OF THE CONCERT SAXOPHONE
DANIEL 1. RUBIN OFF
A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF
MASTER OF ARTS
GRADUATE PROGRAM IN MUSIC
YORK UNIVERSITY
TORONTO, ONTARIO
JULY, 2007
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ABSTRACT
This thesis examines the sonic parameters and musical versatility of the concert
saxophone. Invented in 1840, the instrument failed to become a regular member of the
symphony orchestra, and is thus underrepresented in classical music. This researcher
argues that the saxophone's unique sonic design makes it an effective contemporary
instrument in a wide variety of genres. Specifically, the techniques of subtone, harmonics,
and false fingerings are examined from both a performance and compositional perspective.
Additionally, the instrument's resemblance to the human voice is documented.
An examination of five original saxophone compositions highlights the instrument's
flexibility as a solo instrument or as a member of an ensemble. This work adds to the
number of original compositions for the saxophone and explores the reasons behind the
instrument's success in contemporary music.
IV
ACKNOWLEDGMENTS
I wish to acknowledge three members of the York University Graduate Program in
Music who stimulated my creative thinking and helped strengthen my analytical skills.
Prof. David Mott provided encouragement, guidance and wisdom in his role as supervisor
of this thesis. My two years of private study with him were filled with discoveries and
insights. Prof. William Westcott made invaluable suggestions in his role as thesis
committee member. His Bartok String Quartet Seminar renewed my interest in Bartok's
Quartets and provided some initial inspiration for my work, A Klezmer Colour for
Saxophone Quartet. Prof. Michael Coghlan, Graduate Program Director, gave me key
advice concerning my choral compositions. His Topics in Composition Seminar provided
initial inspiration for my works, Drop Drop Slow Tears, and Kyrie for Tenor Saxophone
and Choir.
I am also grateful to the Social Sciences and Humanities Research Council of Canada
who awarded me a Master's Fellowship to complete this thesis.
A special thanks to my wife Heidi and daughter Rose for their encouragement and
patience.
TABLE OF CONTENTS
Abstract. ............................................................................................................................ iv
List of Figures .................................................................................................................. viii
Introduction.......................................................................................................................... 1
Chapter 1:
Incantation and Dance for Solo Alto Saxophone ............................ ...................................... 3
Chapter 2:
Kyrie for Alto Saxophone, Organ and Choir.................................................................... .. 13
Chapter 3:
Drop, Drop Slow Tearsfor Tenor Saxophone and Choir................................................. 21
Chapter 4:
Three Moods for Soprano Voice, Alto Saxophone and Piano ........................................... .27
Chapter 5:
A Klezmer Colour for Saxophone Quartet........................................................................ .40
Summary ............................................................................................................................ 46
Appendix 1 (Original scores) ............................................................................................. 47
Incantation and Dance ....................................................................................................... 48
Kyrie ................................................................................................................................... 52
Drop Drop Slow Tears ...................................................................................................... 57
Three Moods for Soprano Voice, Alto Saxophone and Piano:
The Villanelle ...................................................................................................................... 62
Autumn Song...................................................................................................................... 66
A Birthday Song ................................................................................................................. 70
A Klezmer Colour for Saxophone Quartet......................................................................... 74
Appendix 2 (Recording Contents) ..................................................................................... 80
VI
Bibliography.. ................................................................................................................. .... 81
vii
LIST OF FIGURES
Figure 1: Flute, Syrinx, m. 1
Figure 2: Flute, Syrinx, m. 13
Figure 3: Alto saxophone,Incantation, mm. 1-2
Figure 4: Ashkenazic Temple Chant
Figure 5: Alto saxophone, Incantation, m. 7
Figure 8: Alto saxophone, Incantation, mm. 10-11
Figure 11: Alto saxophone, Dance, m. 1
Figure 13: Alto saxophone, Dance, mm. 5-6
Figure 14: Alto saxophone, Dance, mm. 71-72
Figure 15: Flute, Danse de fa Chevre, m. 14
Figure 16: Flute, Danse de fa Chevre, mm. 24-25
Figure 19: Gregorian Chant, Kyrie Cunctipotents Genitor
V111
Figure 20: Alto saxophone, Kyrie, mm. 1-5
Figure 21: Organ, Kyrie, mm. 1-5
Figure 22: Choir, Kyrie, mm. 10-13
Figure 23: Bass, Kyrie, mm. 10-12
Figure 24: Soprano and alto, Kyrie, mm. 10-12
Figure 25: Soprano, Kyrie, mm. 10-13
Figure 26: Tenor, Kyrie (Machaut), mm. 1-3
Figure 27: Alto saxophone, Kyrie (Rubinoff), mm. 23-28
Figure 28: Choir, Kyrie (Rubinoff), mm. 29-32
Figure 31: Alto saxophone, Kyrie (Rubinoff), m. 52
Figure 32: Tenor saxophone range
Figure 33: Voice, Drop Drop Slow Tears (Gibbons), mm. 1-4
Figure 35: Choir, Drop Drop Slow Tears (Rubinoff), mm. 2-5
Figure 36: Tenor and soloist, Viderunt Omnes (Leonin), beginning
Figure 37: Tenor saxophone, Drop Drop Slow Tears (Rubinoff), mm. 12-13
Figure 38: Tenor saxophone and choir, Drop Drop Slow Tears (Rubinoff), mm. 25-28
IX
Figure 40: Choir, Drop Drop Slow Tears (Rubinoff), m. 34
Figure 41: Piano, The Villanelle, mm. 1-3
Figure 42: Piano, Fruhlingstraum (Schubert), mm. 1-4
Figure 43: Piano and voice, Fruhlingstraum, mm. 5-8
Figure 44: Saxophone, The Villanelle, mm. 4-7
Figure 45: Voice and piano, The Villanelle, mm. 8-9
Figure 46: Voice, The Villanelle, mm. 10-11
Figure 47: Alto saxophone and piano, The Villanelle, mm. 28-29
Figure 48: Voice and alto saxophone, The Villanelle, mm. 30-31
Figure 49: Alto saxophone, The Villanelle, m. 34
Figure 50: Piano, Autumn Song, mm. 1-2
Figure 51: Piano, Gretchen am Spinnrade (Schubert), mm. 1-2
Figure 52: Voice and alto saxophone, Autumn Song, mm. 3-4
Figure 53: Voice and alto saxophone, Autumn Song, mm. 15
Figure 54: Voice, alto saxophone and piano, Autumn Song, mm. 27-29
Figure 57: Alto saxophone and piano, A Birthday, mm. 1-3
Figure 58: Clarinet, Der Hirt Aufdem Felsen (Schubert), mm. 8-12
Figure 59: Alto saxophone, A Birthday, mm. 24-28
Figure 60: Voice and alto saxophone, A Birthday, mm. 53-55
Figure 62: Ahava Raba Klezmer mode
Figure 63: Full score, A Klezmer Colour for Saxophone Quartet, mm. 1-4
Figure 64: Melody, Varshaver Freylekhs, mm. 1-5
Figure 65: Dance rhythms in a typical bulgar dance
Figure 67: Alto saxophone, A Klezmer Colour for Saxophone Quartet, mm. 53-58
Xl
INTRODUCTION
The saxophone was invented in 1840 by Belgian instrument maker Adolphe Antoine
Sax (1814-1894). As a result of its late arrival, the instrument is underrepresented in
classical music. Several celebrated composers, however, extolled the benefits of the new
instrument when it appeared in mid-nineteenth century Paris. Master French composer
Hector Berlioz (1803-1869) praised the instrument's tonal attributes and affinity with the
human voice in the influential Journal des Debats:
It [the saxophone] cries, sighs and dreams. It possesses a crescendo and can
gradually diminish its sounds until it is only an echo of an echo of an echo -
until its sounds become crepuscular (Berlioz 1851, 2).
Prominent Italian opera composer Gioacchino Rossini proclaimed: "the saxophone
"produce [s] the finest blending of sound that I have met with" (1848, 4). Even with such
praise, only a handful of prominent nineteenth century compositions feature the
saxophone! .
As Berlioz suggested, the saxophone's tone resembles the human voice and is thus
capable of wide variation. Eminent saxophone virtuoso lean-Marie Londeix describes the
sonic design of the instrument in his book, Parameters of the Saxophone:
Its most original expression is found in the variety and the flexibility of its
dynamic possibilities; the variety of its tone quality and the diversity of its
type of attack. Even more notable is the instrument's astonishing
facility in playing extremely wide intervals ... and in playing sounds and
noises unique and peculiar to the saxophone (Londeix 1989, 1).
The "sounds and noises peculiar to the saxophone" include subtone, harmonics, and false
fingerings. These musical idiosyncrasies enable the saxophone to be effective in a variety
1 Arguably the two most important nineteenth century orchestral compositions which feature the saxophone
are Georges Bizet's l'Arlesienne Suite No.1 (1872) and Jules Massanet's Heriodade (1877).
1
of musical genres.
The instrument's sonic design will be examined in the context of an original collection
of saxophone chamber music: I) Incantation and Dance for Solo Alto Saxophone,
2) Drop, Drop Slow Tears/or Choir and Tenor Saxophone, 3) Kyriefor Choir, Alto
Saxophone and Organ, 4) Three Moodsfor Soprano Voice, Alto Saxophone and Piano,
5) A Klezmer Colour for Saxophone Quartet. For each original work, I will discuss other
compositions or musical styles which influenced me. By examining the saxophone in a
diversity of musical settings, I will highlight its stylistic versatility and contribute to the
repertoire of contemporary saxophone compositions.
CHAPTER 1
INCANTATION AND DANCE FOR SOLO ALTO SAXOPHONE
Incantation and Dance for Solo Alto Saxophone (Appendix 1, 48-51) is a work for
unaccompanied saxophone which is organized into two contrasting sections. As the title
suggests, the work begins in a solemn and ceremonial fashion and concludes with a joyous
and energetic dance. The composer's challenge is to keep the listener's interest in the
single melodic line. The saxophone's vocality and timbral flexibility make it an effective
instrument of choice for an unaccompanied work. The composition features extreme
dynamics (louds and softs), frequent changes oftessitura, subtone, and harmonics.
Structurally and aesthetically, Incantation was influenced by Claude Debussy's
(1862-1918) Syrinx (1913), a composition for solo flute. The work musically depicts the
shepherd-god Pan, who unsuccessfully pursues the woodland nymph Syrinx. In his
sadness, Pan fashions a flute made from a nearby bed of reeds and plays a lament
(Heinemann 1994,3). Syrinx is structured around a chromatic motif which is repeated
numerous times in different octaves, and dynamic levels:
Figure 1: Flute, Syrinx (Debussy), m. 1

~~.
&~'M t H"t q~bfiir
mf
From this opening motif, Debussy creates several new ideas which are rhythmically
or melodically similar to the original. For example in measure 13, a motif occurs which is
repeated three times on different pitch levels:
Figure 2: Flute, Syrinx (Debussy), m. 13
This new idea is a variant of the opening motif s dotted eighth and thirty-second note
idea. Debussy distinguishes this new material with the inclusion of an extra thirty-second
note. The intervallic material and melodic contour come directly from the opening idea's
four sixteenth notes which are comprised of two semitones and a falling enharmonic minor
third. This structural unity from idea to idea gives the work a cohesive quality. The subtle
and freely unfolding variations on the original motif add a degree of spontaneity. Syrinx
features varying dynamic levels and frequent changes of register which keep listener
interest. The climax at measures 23-24 consists of a pair of trills which ascend to a high
B-flat. This increase in pitch and volume creates great emotional intensity. Debussy also
chooses to restore a sense of introversion at the end of the work by creating a series of
descending passages which exploit the flute's lowest register. Volume, pitch and tempo
decrease to create a feeling of finality.
Debussy utilizes a number of flute techniques in Syrinx. He employs legato
phrases of varying lengths and tenuto and accent articulations to punctuate
key points in the work. Grace notes and trills are used to call attention to changes in
texture or structurally important places. He also uses a restricted range of dynamics from
p (soft) to nif(medium loud). These parameters of flute performance help to give the
work a particular sonic design, which was an important musical consideration to Debussy
and other twentieth century French composers such as Maurice Ravel (1875-1937), and
Paul Dukas (1865-1935).

4
Like Syrinx, Incantation's opening motif appears numerous times at different pitch
and dynamic levels:

3
'till ~I~ p
The motif s ascending perfect fifth interval evokes a mystical quality. The sound of the
fifth is associated with the earliest Western music, as well as the music of other cultures.
Yehudi Menuhin sheds light on the universality ofthis interval in The Music ofMan:
Our scale system was probably derived from the circle of fifths ... So
far as we know, the Chinese were the first to examine the relationship between
fifths. Surviving documents, predating 3000 BC, show the importance
to them of these relationships. .. The discovery of the circle of fifths was a
great one to the Chinese, for they honour the number as sacred (1986, 29).
The ensuing semitone from D-C# creates a melodic ambiguity by transforming the sound
of the opening fifth (G-D) into the tritone (G-C#). The motifs chromatic aspect
resembles the melodic language of Syrinx's opening motif which consists of several
semitones.
Incantation's sixteenth note triplet in its opening motif creates a rhythmic interest
often associated with the melismatic style of ancient synagogue chant. In his recent book,
What to Listen for In Jewish Music, musicologist Charles Heller defines melisma in the
context of Jewish cantillation as "a melodic flourish, with many notes sung to a single
syllable" (Heller 2006, 100). The following fragment of Jewish chant, which also outlines
the perfect fifth interval, influenced the creation of Incantation:
Figure 4: Ashkenazic Temple Chant (Idelsohn 1948, 85)
~
J. js J p jj2g3J J 3
va - ye-kad- desh 0 - so
As in Debussy's Syrinx, the treatment of the chant motif plays an important role
in Incantation's continuity. The motif is inverted, transposed to the saxophone's high
register, and marked forte. These three permutations of the original idea transform the
mood from one of introspection to emotional fervour:

000
,-# 'fqfr1:[~ ffrE;!"

r-3-, ,3,
The triplet sixteenth idea becomes the basis of a new motif at measures 19-20. This
melodic strand, which is based on the whole tone scale, serves to restore the
contemplative mood, and creates a spontaneous atmosphere resembling Debussy's work:

3 }reery 3
'til m wnlE k 3 3 3
IT EU #J Q§N
3
Incantation's climax occurs at measure 32 with a descending sixteenth note passage.
The energetic descent resembles the improvisation of a synagogue cantor:
freely with great energy
'1# hef cErFr bEOr EFFPr FE

After the descent, the chant concludes with a passage framed by the movement's opening
motif. The return to the opening helps to define the movement's ternary (A-B-A)
structure. The further descent into the saxophone's bottom register is a contrast to the
boisterous quality of the forthcoming Dance.
Incantation also uses a distinctive set of parameters for the saxophone. Like Syrinx,
the melodic texture is primarily legato, with articulations such as tenuto and accent. There
are, however, timbral variations which serve to increase the saxophone's sound palette
and highlight important musical events. For example, the frequent use of subtone
contributes to the mystical quality of Incantation. Subtone obfuscates the saxophone
tone, creating a sense of mystery. French saxophonists Claude Delangle and Jean-Denis
Michat describe the subtone technique in their essay, The Contemporary Saxophone:
A surprisingly soft sound can be obtained in the low register with the use
of subtone; lower jaw pressure is replaced by the tongue ... the tongue lightly
touching the reed ... the reed is partially prevented from vibrating and the
upper partials are subdued (Delangle and Michat 1998, 175).
The use of subtone in Incantation occurs in the saxophone's lowest register. In order to
provide tonal contrast, the subtone technique often echoes material first played with
conventional saxophone tone. In measures 9-10, melodic repetition is enhanced by
timbral variation:
Figure 8: Alto saxophone, Incantation, mm. 9-10
mp pp (sub tone)
The subtone technique gives the saxophone sound an amorphous quality which
contributes to the effect of an incantation.
The technique of harmonic fingerings also adds timbral variation and helps to pinpoint
areas of structural importance within the work. Harmonics occur naturally above the
saxophone's fundamental pitches. The saxophonist can produce harmonics by
overblowing the instrument and using alternate fingerings - rather than utilizing the
saxophone's octave key and standard fingering set. According to Don Ashton, the
saxophone's shape enables the player to easily produce the harmonics:
The use of a conical tube renders the sound wave richly harmonic, yet the
fingering system rivals that of flute in simplicity. In common with other
large bore instruments the fundamentals [harmonics] are easily formed,
yet the reduction in bore towards the mouthpiece facilitates an evenness
of timbre throughout the instrument (Ashton 1998,24).
Harmonic fingerings tend to sound richer and produce intonational discrepancies
(Liebman 1989, 19). Thus, like subtone, harmonic fingerings provide timbral contrast
when they echo conventionally produced melodic material. A good example of this
timbral "echo" occurs at measure 6:

o 0 0
r-3---, ,3,
,~# 7 eqEru~~ eErEt

8
These tonal contrasts occur in isolation in Incantation when they are created to
pinpoint important events in the work. The listener is aware of the sudden timbre change
and thus focusses on specific pitches which have structural significance. The harmonic
"B" in measure 12 highlights an area of intensity at the end of a rhythmically vibrant
section:

o
,-Dr-We mf
The use of timbra1 variation is much less varied in Dance, the work's second
movement. The movement begins with an energized rhythmic idea which is repeated and
transposed several times:
~I~llli U -
eLk
- I
mf
leggiero
After a direct repetition of this figure in measure 2 (which is performed as an echo), the
two sixteenth, eighth note idea is inverted in measure 4:
In addition to borrowing compositional practices from Debussy's Syrinx, I also was
influenced by Danse de fa Chevre (1921), Arthur Honegger's (1892-1955) work for solo
flute. Honegger's composition begins with a meditative opening and gives way to a quick
motif which is repeated throughout:
Figure 13: Flute, Danse de la Chevre, m. 14
4o http p
Honegger's rhythmic figure is similar to my Dance's opening motif. In both pieces, the
use of short, quick rhythms provides a contrast to the works' meditative beginnings
which consist of phrases with long note values.
Unlike my Dance's opening idea, Honegger's opening motif is often repeated on
exactly the same pitches. Throughout Danse de la Chevre, Honegger alternates between
the original motif and contrasting melodic material. For example, in measure 24, a
chromatic sixteenth note flourish is followed immediately by the opening motif. Thus
Honegger balances melodic freedom with melodic repetition:
Figure 14: Flute, Danse de la Chevre, mm. 24-25
4j.~J~]J JPJ.SJClbCftSC"Cr
>-
Similarly, my Dance contains varied rhythms which provide a contrast to the opening
motif. For example at measure 5, a contrasting idea appears which is related melodically
to the opening motif:
Figure 15: Alto saxophone, Dance (Rubinoff), mm. 5-6
This figure is rhythmically more static than the opening motif and thus provides some
10
relief to the vigorous dance rhythms which pervade the movement. Dance's middle
section (measures 30-91) is filled with brief silences which also provide contrast to the
virtually steady stream of melodic figures which predominate in the first section
(measures 1-29).
In the middle section (measures 30-91), the fragmentation of Dance's melodic themes
contributes to a sense of chaos and abandonment which further heighten the contrast to
Incantation:
Figure 16: Alto saxophone, Dance (Rubinoff), mm. 71-72
'~I'b ?P?bp?~gl rrr~.?

=
Toward the end of Danse de fa Chevre, Honneger also permutates the opening motif
to create a change in mood. Honegger utilizes the flute's high register to bring attention to
his treatment of the melodic material:
Figure 17: Flute, Danse de fa Chevre, mm.45-46
The high range and accompanying forte dynamic level increase the energy of this work,
and provide contrast to Honegger's meditative opening, which is set in the flute's
mellow bottom register:
Figure 18: Flute, Danse de la Chevre, mm. 1-2
11
By contrast, Dance concludes with a modified return to the opening material and finishes
with an aggressive flourish. Both works are characterized by contrasts of mood, tempo
and texture. Incantation and Dance also features timbral variation - in order to highlight
the saxophone's sonic design.
12
CHAPTER 2
KYRIE FOR ALTO SAXOPHONE, ORGAN AND CHOIR
Kyrie for Alto Saxophone, Choir and Organ (Appendix 1,52-56) stems from the
musical tradition of the Catholic mass, which is the main worship service of the Catholic
faith. The Kyrie comes from the Ordinari section of the mass, which also includes the
Gloria, Credo, Sanctus and Agnus Dei. The text of the Kyrie is short and repetitive:
Kyrie eleison (Lord have mercy)

Christe eleison (Christ have mercy)
Kyrie eleison (Lord have mercy)
The work explores the relationship between the solo voice (the saxophone) and the
choral ensemble. Like many Kyries, it is set in a slow triple meter which reflects the
tripartite nature of the text and helps to create a meditative mood. The saxophone is
musically depicted as a solo voice. The saxophone's simple melodies are a contrast to the
more complex polyphonic responses of the choral section which is scored in three parts
(soprano, alto and bass). The tonal resemblance ofthe saxophone to the human voice is
scientifically argued by French saxophonists Claude Delangle and lean-Denis Michat:
"with its concentration of harmonics around 2000 Hz, it [the saxophone] is very similar
to the human voice" (Delangle and Michat 1998, 164). In addition to giving a scientific
explanation for this affinity, these saxophonists chronicle the historical practice of using
the saxophone in vocal music:
It is significant that the saxophone was introduced into vocal music in

such a natural way. One of the first notable examples is the use of the
alto saxophone to unite, sustain and guide the children's choir in Puccini's
Turandot. The timbre obtained is highly effective, the flexibility of the
instrument being so close to the purity of the children's voices (1998, 164).
2 The mass is divided into two parts: the Ordinary and the Proper. The Proper contains the Introit,
Alleluia, Offertory and Communion.

13
Thus the saxophone is an ideal instrument to play the role of the soloist in
the context of Kyrie.
The alternation of soloist and choir has a long-standing tradition in Kyries, due to its
association with the Catholic Mass. Claude Palisca and Peter Burkholder describe the
musical traditions of the Kyrie in The Norton Anthology o/Western Music:
After the Introit, the choir sings the Kyrie ... The Kyrie was originally sung
in processions and took the form of a litany, in which the whole group repeats
a short prayer in response to a leader ... A similar practice was often used for
polyphonic settings, with alternation between soloists ... and the choir (2006, 132).
The Kyrie from Guillaume de Machaut's (ca. 1300-1377) La Messe de Nostre Dame
(ca. 1364) illustrates the relationship between soloist and chorus. Scholars agree that this
mass is one of the finest early examples of a polyphonic mass (Grout 1980, and Palisca &
Burkholder 2006). In a typical performance of Machaut's Kyrie, choirs and soloists
alternate between singing the polyphony (a three voice texture) and a single line chant
melody upon which the Kyrie is based. 3 Machaut has the tenor intone Kyrie Cunctipotents
Genitor, an ancient Gregorian chant melody:
Figure 19: Gregorian Chant, Kyrie Cunctipotents Genitor

(Burkholder & Palisca 2006, 56)
2:e Ii 2~
Ky
. /'
• •/~
.
-~
ri
•
e
,.---. ... ... ,- •
.--.........
~
e
. , --c;?; ~
• I-
lei .
•
son
Similarly, in my Kyrie, the alto saxophone's opening phrase utilizes the first three
notes from Kyrie Cunctipotents Genitor. The entire saxophone solo consists of phrases
which resemble the melodic rhythm of the text. The short phrases, punctuated by silence,
create an improvisatory effect akin to the manner in which an improvising jazz

1 This practice of using a Gregorian chant melody in a mass was common practice during this period.
14
saxophonist might paraphrase a popular song:

prayet:fully
$ltQnJ}J
The simple organ accompaniment reflects the homophonic nature of the texture and
provides a lush harmonic bedrock for the saxophone's rhapsodic melodies:
Figure 21: Organ, Kyrie (Rubinoff), mm. 1-5

f'l
t.J ~.
p r~ fi'- 'f~ ~i r'- ~i~ -rr,- .'
1./ I I I I I 1--
··
:
I I I-I r--T r--r~ -r
..
I
·
I ~
---
.. ~ y'
""---" ----- ~
-
~
Further, the organ's registration is limited to flute stops which evoke a meditative and
religious mood - thus supporting the reflective tone of the text. Instrumental homophony
gives way to pure vocal polyphony when the choir enters. The diverging musical textures
throughout the work help to sustain listener interest and provide a contrast to the relative
simplicity of the text.
The a cappella polyphonic choral texture provides a contrast to the saxophone's
simple texture. Each of the three voices fulfill different roles. The soprano voice begins
with a sostenuto melody which closely resembles the saxophone's melody:
15
Figure 22: Soprano, Kyrie (Rubinoft), lllffi. 10-13
mp • ~,
~ J:5D¥]JIJ l£g1{JJ JaPE; I

Ky - ri - e e lei - son Chri ste
This melody is accompanied by an arching bass line which provides contrast to the
soprano and alto voice above it:
Figure 23: Bass, Kyrie (Rubinoft), lllffi. 10-12

mp
.--, ~j ,
9: J j F lerr F I F
Ky - ri - e e - lei - son
The combination of moving quarter notes and an ascending line contrasts to the more
static soprano melody. The alto melody provides rhythmic interest by both interrupting
and extending the soprano melody:
Figure 24: Soprano and Alto, Kyrie (Rubinoft), lllffi. 10-12
'W2fl491J lBlU J' *

Ky - n - e e lei - son
:>
Ky - ri-c - e-lei-son Chri-ste Chri - ste
Thus the dynamic interplay between the three voices creates a complete musical texture
which does not require any participation from the saxophone or organ.
Throughout this opening choral section (measures 10-22), the soprano voice intones a
repeating rhythmic idea which is transposed to various registers. The repetition of this
two measure motif (consisting of a quarter note tied to an eighth, which is followed by
three more eighth notes and a quarter note) contributes to the structural unity of the entire
16
work:
Figure 25: Soprano, Kyrie (Rubinoff), nun. 10-13
Ky - ri - e e lei - son Chri ste
This repetition of a rhythmic idea, (technically referred to as an isorhythm) was an
important principle in 14th century choral composition. Musicologists David and Susan
Ward-Steinman explain the concept of the isorhythm in their Comparative Anthology of
Musical Forms:
The term isorhythm was originally applied to certain fourteenth century

motets and masses organized structurally around a recurring pattern of
time values. Though the term is not often applied to music past the
fourteenth century, it embodies the concept of rhythmic ostinato ...
In a mass or motet section, one part, usually the tenor, repeats a
rhythmic pattern called the talea throughout (1976, 27).
In Machaut's Kyrie, the isorhythm in the tenor voice is repeated six times. The
tenor's melody is the plainsong chant, Kyrie Cunctipotents Genitor. Thus the isorhythmic
technique helps to distinguish this original chant from the other voices' melodies:
Figure 26: Tenor, Kyrie (Machaut), mm. 1-3
$IJ
Ky ri e
In contrast to Machaut's tenor isorhythm, the soprano isorhythm in Kyrie for
Saxophone, Choir and Organ is also intoned by the alto and bass voices. The distribution
of the isorhythm throughout the entire choral texture diminishes its distinctiveness, but
creates a cohesive structure.

17
The saxophone's melody in the second section (measures 23-36) of Kyrie is more
active than the opening solo. This increase in energy also affects the subsequent choral
texture and thus creates a unity between the saxophone and chorus. The consecutive
eighth notes and upbeat syncopated phrases are a contrast to the prevailing reflective
mood:
The work's second choral section (measures 29-35) sustains the rhythmic energy
created by the saxophone's preceding melody:
Ky - ri- e e - lei - son
Ky- ri - e e - lei - son
The use of crescendo and forte also helps intensify the mood in this section. In measures
33-34, the syncopation introduced in the saxophone part is developed in the choral
texture. The alternation of the agogic accent in the bass, with the upbeat accents in
the soprano and alto voices, disrupts the legato choral quality present in measures 29-32:
18
Figure 29: Choir, Kyrie (Rubinoff), mnl. 33-34
>-~, ~ >-~
~7 f1: r r: rI I f 1 r r: rI
Coo ste e lei-son
Coo - ste e lei-son

f
9: j
>-
J IJ a I
Chri ste e lei-son
The saxophone begins the third section (measures 37-51) with a series of high register
eighth notes which serve to sustain the vocal energy of the previous choral section. From
measures 37-40, the saxophone intones pairs of eighth notes which become the basis of
the choral texture at measure 42:
Figure 30: Alto saxophone, Kyrie (Rubinoff), mnl. 37-39
'ifuSlipOGI@&
Although the choral section utilizes the saxophone's eighth note motifs, the fugue-like
treatment of the material signals a new development in the work. The three pairs of eighth
notes in the soprano and alto parts consist of ascending and descending stepwise
intervals. The parts enter at different points in time, creating a rich linear design which
serves as the climax of the work.
The saxophone's final solo resembles the work's opening music. The first phrase
at measure 52 is almost an exact inversion of the saxophone solo which begins the
work:
19
The choral section which follows is a recapitulation of the opening material, and serves as
a return to a mood of reflection. Although the saxophone's sonic language is less idiomatic
than in Incantation, the purity of sound present in Kyrie contributes to the religious
atmosphere. The vocal qualities of the instrument are paramount, and its melodies form
the basis of the chorus's polyphonic material.
20
CHAPTER 3
DROP DROP SLOW TEARS FOR TENOR SAXOPHONE AND CHOIR
In Drop Drop Slow Tearsfor Tenor Saxophone and Choir (Appendix 1, 57-6l), the
saxophone becomes a part of the choral polyphony. The tenor saxophone was chosen
because it has a lower range than the alto, and is thus capable of providing both harmonic
and melodic interest:
Figure 32: Tenor saxophone range
;l'1'po 1
~
0
The bottom register of the instrument supplies some of the bass register normally
associated with the church organ. By contrast, there are several cadenza-like passages
which feature the saxophone in the more traditional solo role. The varied use of the
saxophone helps sustain listener interest and produces an interesting counterpoint to the
four voice choir.
The text for the work is a three-verse poem by Phineas Fletcher (1523-1547), an
important 16th century religious poet. The poem presents a sinner who weeps over past
sins, and begs Christ for mercy. The "cry for vengeance" is a cry for redemption by the
sinner for his/her sin (McNeil, 2007):
Drop drop slow tears and bathe those beauteous feet

which carne from Heaven the news and Prince of Peace
Cease not wet eyes, His mercies to entreat
To cry for vengeance sin doth never cease
In your deep floods drop all my thoughts and fears
nor let his eyes see sin but through my tears.
English composer and organist Orlando Gibbons (1583-1625) was the first composer
21
to set the text to original music. He creates a meditative atmosphere by using long notes
in structurally important parts in the text:
&j J Drop,
J J IV-
drop slow tears, And
J IJ
bathe
if
~
J J IJ
those beau -teous feet
The half and dotted notes on "drop," "tears," and "feet," enable the listener to picture the
image of the weeping sinner and feel his contrition. The use of long notes (half and dotted
half notes) on these words gives them emphasis. By contrast, the second half of the
setting consists of quarter notes. This section balances the heaviness of the opening:
,~ J IJ J J J IJ J J J I..
which brought from heav'n The news and Prince of Peace
Gibbons' setting is a strophic hymn which utilizes the above melody for all three verses
of the text. The music is thus suitable for congregational singing: the presence of
consonant intervals and rhythmic symmetry creates a meditative atmosphere which
allows worshippers to focus on the text's powerful imagery.
My setting of the text differs from Gibbons's treatment in many respects. First, I
have conveyed the image of the falling "tears" with quicker eighth notes which are heard
in each voice and on the saxophone. The significance of the word "drop" is highlighted by
using melismas, whereas Gibbons often uses the syllabic approach in which each word
receives a separate note. The open "aw" vowel contained in the word "drop" allows for
easy vocal production:
22
Figure 35: Choir, Drop Drop Slow Tears (Rubinoff), mm. 2-5
Ii DlflJJIJ
'~ '--'
Drop slow- tears Drop - slow - tears
pp
Drop slow '---

'--' - tears ~ Drop slow - tears
laura tflP iQ IJ
Drop Drop slow tears
Drop slow
Ir
tears
The saxophone part in the first section (measures 1-17) is a combination of a drone
and a continuation of the melismatic choral texture. The work opens with the saxophone
intoning a sustained note over which the choir begins its melismas. The use of the drone is
an ancient practice which became prevalent in the Notre Dame school of polyphony.
(Grout 1980, 84) Leonin (1150-1201), the chief exponent of this early form of
polyphony, used the drone technique in the tenor voice in his two part vocal work
Viderunt Omnes:
Figure 36: Tenor and soloist, Viderunt Omnes (Leonin), beginning

(Burkholder and Palisca 2006, 93)
~ n
Soloist
tJ
"l Vi-
Tenor
.U
----
Vi
In Drop Drop Slow Tears the saxophone drone serves as a contrast to the high
pitched melismas occurring in the choral parts. The saxophone's sustained "A" also
23
helps the singers find their opening pitches and gives them a fixed reference for intonation
purposes. Thus the drone offers a combination of aesthetics and pragmatics. In measure
6, a saxophone solo passage begins which lasts for 12 measures. This section serves as a
variation on the melismatic choral texture which precedes it. Comprised of a mixture of
eighth, sixteenth and triplet notes, the solo increases the intensity of the work and is a
contrast to the repetition of the work's opening choral material at measure 18. The
saxophone part in measures 12-13 features the technique of augmentation (a quickening of
the original theme) in order to increase the dramatic tension:
Figure 37: Tenor saxophone part, Drop Drop Slow Tears (Rubinoff), mm. 12-13
".--: ~~ ~
!}=p ~ L! Itkttu I L!
=
After a short solo passage which develops the choir's dotted eighth sixteenth note
idea from measure 20, the saxophone ushers in an imitative choral section featuring
anacrusic phrases which culminate in a cadence in the key ofB-flat major:
i J J311JJJ J Bl
, which brought from heaven the news and Prince of Peace -
IJ j' Jl f J IJ J J I; J.
which brought from heaven the Prince of Peace
It ;\
L1 r r II J ] J 3 £1 J
which brou,l!ht from heaven the news and Prince of Peace
f3IJ iF r liB J
ten. sax brought from heaven the Prince o£_ Peace
&~JS D;1lF a IT ;IA F F IIEr EEr Etl
24
The consonant resolution of this section on the words "Prince of Peace" is meant to
provide relief from the sadness portrayed by the preceding D minor section. Once again,
at measure 29, the tenor saxophone intones a drone underneath an imitative choral part.
The short fugal section beginning at measure 29 provides contrast to the mellifluous
preceding section. The quarta1 harmonies in the choral part combined with the tenor
saxophone's low register drone create an ominous effect for the text, "Cease not, wet
eyes:"
~~I - Jeria- r
mf Cease not, wet eyes Cease
IPJ J
1& mf Cease not,wet eyes Cease not, wet eyes his
,~I J J 3@I J i I -
Cease not, wet eyes Cease
IF eor• L J•
2:~1
mf
r C
rr
Cease not, wet eyes his
The quartallquinta1 colour of this passage quickly dissolves into more tertian sounds
in the following section. The climax of the entire work occurs at measure 34, when the
soprano voice sustains a "D" against moving eighth notes in the other three voices:
25
Figure 40: Choir, Drop Drop Slow Tears (Rubinoff), m. 34
fl.lP_ :
...,
fl
Cry _
to
./ mf ~'ry_ for ven-gean""

fl >,-
"!f Cry_ for ven-geance
Following the intensity of the climax, the work concludes with a homophonic, chorale-like
texture which resembles Orlando Gibbons's setting.
Despite its relatively short length (approximately four minutes), Drop Drop Slow
Tears for Tenor Saxophone and Choir exposes the listener to a wide variety of musical
textures: melismatic imitation, drone with fugal writing, quartallquintal harmonies, solo
passages and chorale-style homophony. The work is a deliberate contrast to Orlando
Gibbons's classic setting, and the tenor saxophone proves to be a versatile musical
instrument which interacts fluidly with the changing musical landscapes.
26
CHAPTER 4
THREE MOODS FOR SOPRANO VOICE, ALTO SAXOPHONE AND PIANO
The use of the saxophone in a song cycle presents a twofold challenge to the
composer: the saxophone must not intrude upon the voice, yet it must assert a distinctive
personality to contribute to the overall effect. The saxophone's innate vocality and wide
variety of timbres makes it a suitable complement to the voice and piano.
Three Moodsfor Soprano Voice, Alto Saxophone and Piano (Appendix 1,62-73)
explores three contrasting moods which are reflected in the three poems set to music: a
comical mood is created by W.E. Henley's The Villanelle; a tragic mood is evoked by
W.H. Auden's Autumn Song; and a joyous mood is created in Christina Rossetti's A
Birthday. This cycle of original songs is influenced by the songs of Franz Schubert (1797-
1828), the famous 19th century Romantic composer. Like many of Schubert's songs, my
song cycle features dynamic interplay between the voice and the instrumental textures.
Song No. 1: The Villanelle (W.E. Henley, 1849-1903)
The poem negatively assesses the literary value of the villanelle in a series of
humorous vignettes. According to critic James Fenton, the poem's conclusion is that the
villanelle is a minor and archaic literary form:
The poem consciously advises you not to be too ambitious with the form, which it
suggests is no longer in its prime, but which will perhaps, produce something sweet
(2002, 18).
The villanelle is a nineteen line poem organized in five tercets and a concluding
quatrain. The first and third lines of the tercets rhyme throughout, creating a high degree
of repetition. In the musical setting of The Villanelle, only four of the tercets were set to
27
music. Thus, the truncated text of the W.E. Henley's poem is as follows:
A dainty thing's the Villanelle.

Sly, musical, a jewel in rhyme,
It serves its purpose passing well.
A double-clappered silver bell

That must be made to clink in chime,
A dainty thing's the Villanelle;
You must not ask of it the swell

Of organs grandiose and sublime -
A dainty thing's the Villanelle;
And filled with sweetness, as a shell

Is filled with sound, and launched in time,
It serves its purpose passing well.
The song's introduction supports the humorous tone of the poem. A "rollicking"
piano entry in duple meter creates a circus-like effect:
Figure 41: Piano, The Villanelle, mm. 1-3

rollicking J.·;50
'I.. ~I I l ~
t
mp
r. r. r. .,.
-- •• •• •• • --
- - - - --
The piano texture resembles the opening of Schubert's song, Friihlingstraum (Spring's
Dream) Op. 89, No. 11 from the song cycle, Wintereise. Schubert's eighth note piano
rolling pattern creates a cheerful backdrop for the description of the spring dream by the
VOIce:
28
Figure 42: Piano, Friihlingstraum (Schubert), mm. 1-4
,------.,
#.
The repetitive accompaniment in the piano's lower register is transferred to the right
hand when the voice enters. Further, the original upper register piano theme in fig. 37 is
intoned by the voice one octave lower:
Figure 43: Piano and voice, Friihlingstraum (Schubert), mm. 5-8
Ich triium -tevon bun - ten Blu - men so wie siewohl blu-hen im Mai;
Thus Schubert creates a feeling of unity and a variety of textures. The transference of
texture from one voice to another also figures prominently in The Villanelle. The
saxophone intones the song's main thematic material - a jerky eighth note/quarter note
rhythm which adds another layer of humour:
Figure 44: Saxophone, The Villanelle, rnrn. 4-7
,- ~Ir tr Or 1r ow tA ;gf~
The transfer of texture occurs when the voice enters, paraphrasing the saxophone's
melody:
29
Figure 45: Voice and piano, The Villanelle, mm. 8-9
4ti ~ I J ~) ~J ). I J D F'
fJ .. A dain - tything's the ViIl - \:nelle
r
_... --
r _ ..
- - -
At measure 10, the voice presents a new motif which resembles the piano accompaniment
figure in measure 1:
Figure 46: Voice, The Villanelle, mm. 10-11
'~EifiJoIJ
dain ty thing
The above rhythm is the very opposite of "dainty" and the increased rhythmic activity
in both the saxophone and piano contributes to the humorous tone of the text.
There are important melismatic exchanges between the voice and the saxophone
beginning at measure 16. These legato eighth note groups engender an unexpected legato
vocal colour on the words "sly" and "musical." The saxophone answers with its own
legato phrasing and then is featured in a solo beginning at measure 21. The effect
approximates a vocal duet - either singer is trying to outdo the other. Thus, the opening
material explores a variety of comic touches and the beginnings of a rich dialogue between
the three parts.
The setting of the poem's second tercet makes use of the sounds of the language. The
"double-clappered bell" is explored in all parts in an attempt to fill the soundscape with
30
metallic ringing. At measure 28, the sustained chords in the piano's melody combined
with a staccato bass line introduce the ringing of the bell:
Figure 47: Alto saxophone and piano, The Villanelle, mm. 28-29
~-Ig~ ~fJ~ Ilf ~ ~f j
staccato
The practice of word painting4 is prevalent in this section (measures 28-38). Word
painting is a musical device in which the composer creates melodic ideas which convey
the meaning of the text. The voice and saxophone again engage in a dialogue based on the
repetition of the word "double." The voice chants: "a double-double-double dappered
silver bell" which is echoed by the saxophone:
Figure 48: Voice and alto saxophone, The Villanelle, mm. 30-31
~I~J D D J J qfl r ~~ ~
dou-ble dou-ble dou-ble dap-pered sil - ver bell
, ~~ I JJJJJJJ
The song's sonic climax, however, is the saxophone solo at measures 34-35. The use
of the saxophone's harmonic fingerings creates a compelling bell quality - not only does
the saxophone timbre imitate the sound of the bell, but the saxophone's melody resembles
4Word painting is an established compositional technique. For example, Renaissance composers John
Dowland (1563-1626) and Claudio Monteverdi (1567-1643) used the technique in many of their vocal
works.
31
a church bell tune:
Figure 49: Alto saxophone, The Villanelle, m. 34

o 0 0 0 ~o 0 0 0 0
'U~jG err r sH I
The piano and saxophone also imitate a "grandiose organ" with octaves in the piano's
bass register and forte saxophone quarter notes. Word painting is quite prevalent in this
song, because so much of this text is suggestive of sounds. The work ends "sweetly" with
an appropriate cessation of energy from all three parts. There is a return to the sixteenth
note "double-double dappered" rhythm in the piano and the saxophone, which creates a
sense of unity with the earlier comic mood.
Thus The Villanelle is a composition which displays the saxophone's sonic versatility
as a partner for both the voice and the piano. Because of the saxophone's extensive sonic
palette, it is also effective at word painting.
Autumn Song (W.H. Auden, 1907-1973)
In contrast to The Villanelle, W.H. Auden's poem Autumn Song portrays a tragic
world filled with one disturbing image after another:
Now the leaves are falling fast,

Nurse's flowers will not last;
Nurses to the graves are gone,
And the prams go rolling on.
Whispering neighbours, left and right,

Pluck us from the real delight;
And the active hands must freeze
Lonely on the separate knees.
32
Starving through the leafless wood
Trolls run scolding for their food;
And the nightingale is dumb,
And the angel will not come.
Cold, impossible, ahead

Lifts the mountain's lovely head
Whose white waterfall could bless
Travelers in their last distress
The musical texture of the song reflects the different energies which are present in the
poem. Each instrument contributes to the vividness of Auden's imagery. For example, the
impetuous motion of the falling leaves, rolling prams and running trolls are sonically
represented by the piano's driving sixteenth note bass lines:
Figure 50: Piano, Autumn Song, mm. 1-2

tJ I
.. ml"$J
r;.,J "$J '1.,J
:
.. • .. ..
The dramatic piano texture in Schubert's famous 1814 song, Gretchen am Spinnrade
(Gretchen at the Spinning Wheel) is an important influence on Autumn Song. Schubert's
ominously rolling piano 16th note passages, musically represent the continuous
movement of the spinning wheel:
Figure 51: Piano, Gretchen am Spinnrade (Schubert), mm. 1-2

'1
I I
sempre stacc.
33
In my Autumn Song, the piano's dynamic quality is contrasted by the vocal melody
which consists of sustained descending notes. The voice part is also set in the singer's
low register in order to reflect the poem's themes of sadness and loss. The agogic
accents in the opening voice entry are a contrast to the saxophone's upbeat eighth note
jabs:
,~V F ~) r p) IJ ) J j
Although the three parts contain different musical textures, they come together in the
song's opening measures to evoke the poem's despairing mood.
Certain poetic images give rise to colouristic effects in all three parts. In the second
stanza, we are warned of neighbours "who pluck us from the real delight." This eery
image receives a corresponding staccato articulation from both the voice and the
saxophone in measure 15. Thus, the sonic effect ofthe word "pluck" is intensified:
Figure 53: Voice and alto saxophone, Autumn Song, m. 15
&~'~q~ ;1] If I
pluck us from the
&~I'11~ "inJ nJY) I

staccato
Later in the song, when the "trolls run scolding through the wood," the song's meter
34
changes from 6/8 to the asymmetrical 5/8 meter to reflect the macabre image of
supernatural trolls running through the forest in search of food. The unsettled rhythms in
all three parts embody the poem's disturbing images:
Figure 54: Voice, alto saxophone and piano, Autumn Song, mm. 27-29
,~.~ J. J I J. J IJ J
Star - ving through the leaf less
,~~ j~ ¥ .p I J W Q-r IJJJ)$

.
.. .. .....
..
The relationship of the saxophone to the voice is an important aspect of this song.
Often the saxophone harmonizes in thirds or sixths below the voice. This texture creates
an illusion oftwo singers blending with the piano:
'~IVB J ) J ;ill J ~ J.
Lone - lyon their sepa - rate knees
==~IIII~g~J J') J J'i I~J J~ J.

'
On other occasions the saxophone supplies a melodic commentary to the voice. This
commentary occurs at the end of each stanza, or at the beginning of new sections of
the poem. For example, when we learn about the "rolling prams," the voice sings an eery
melisma, and the saxophone comments with an outpouring of 16th notes:
35
,~V W ;ji oJ ;ji I m CU r" I
Thus, the changing role of the saxophone in relation to the voice, creates a dramatic
tension which contributes to the mood of anxiety and tragedy.
A Birthday (Christina Rossetti, 1830-1894)
This two stanza love poem presents a passionate lover who is bursting with the
joyous knowledge of knowing that his/her lover is near. A beautiful series of arresting
images leaves the reader with the conclusion that love is the greatest and most joyous
human emotion:
My heart is like a singing bird

Whose nest is in a watered shoot:
My heart is like an apple tree
Whose boughs are bent with thickset fruit;
My heart is like a rainbow shell
That paddles in a halcyon sea;
My heart is gladder than all these
Because my love is come to me.
Raise me a dais of silk and down;

Hang it with vair and purple dyes;
Carve it in doves and pomegranates,
And peacocks with a hundred eyes;
Work it in gold and silver grapes,
In leaves and silver £leurs-de-Iys;
Because the birthday of my life
Is come, my love is come to me.
36
The use of saxophone subtone at the outset of the song creates a romantic
atmosphere, which complements the poem's sensuous imagery. Saxophonist David
Roach describes the subtone technique in his essay, Jazz and Rock Techniques: "This
[subtone] gives a very warm tone with much less definition than normal." (1998, 90)
The subtone technique was championed by the jazz tenor saxophonist Ben Webster
(1909-1973), who often featured the breathy, dark colour as a vehicle for slow
ballads. (1957) The opening subtone solo in The Birthday is supported by quiet piano
accompaniment which enables the saxophone's unique colour to predominate:
Figure 57: Alto saxophone and piano, A Birthday, mm. 1-3
'~'I-
:)
JJJIIJ=J1JJ Ifin J~
mp ..r::r:J
The saxophone also musically conveys the meaning of the text in important places in
the song. For example, the poem speaks of a "water shoot" and the saxophone solo at
measures 13-15 consists of flowing triplets which are meant to be played as if they are
cascading:
Figure 58: Alto saxophone part, A Birthday, mm. 13-15

.;:.cascadin~ 3 ~ (-3-, 3
~ *mp Er!r ID 1l!!2t&R§

3 mf
tiP I: J J JJmp *
:::
37
At measure 17, the speaker compares hislher loving heart to an apple tree "whose boughs
are bent with thickset fruit." The saxophone melody crescendos, ascends and climaxes
with a forte dotted quarter note and a half note. The combined effect of an ascending
melody, an increase in loudness and the presence of accents of duration evokes a
passionate mood:

~
mf 8 cresco f ==::::==- mp
The saxophone also harmonizes with the voice's melody to create the musical effect
of two lovers singing together. The innate vocality of the saxophone is effective in its duet
role from measures 53-55:
Figure 60: Voice and alto saxophone, A Birthday, mm. 53-55
~ ~bU ;oQ I~ d 1OJ J OJ

J Carve_ it in doves and po-me -nates gra.
a
-e
~ 4L)J 1&:9 J2J I, ~J J ¥1J
The saxophone also provides a transition from the tranquil romantic atmosphere of the
song's first section (measures 1-39) to the passionate middle section (measures 40-59).
The use of a crescendo and a series of continuous eighth notes helps to usher in the
dramatic voice entry at measure 43:
~ mfrCJR:r 1§aU
= 168 6FIU fl±9 mp mf rit.
38
Thus, the saxophone fulfills a variety of roles in A Birthday which contribute
atmospherically and vocally to the song's romantic and passionate mood.
39
CHAPTER 5
A KLEZMER COLOUR FOR SAXOPHONE QUARTET
A Klezmer Colour for Saxophone Quartet (Appendix 1, 74-79) is inspired by the
rhythmic energy of the traditional Klezmer band. Klezmer musician Peter Sokolow
explains the European sources of the music in The Compleat Klezmer:
Klezmer music was originally an eastern European folk genre, heavily

influenced by other existing native folk genres endemic to that area,
i.e. Roumanian, Russian, Polish Ukrainian, Hungarian Bulgarian, with
a strong dose of Gypsy. What makes this music particularly individual
is that is was filtered through Jewish ears and consciousness (1987, 19).
Sokolow also lists some of the important elements of Klezmer music which include:
dance forms, melodic modes, articulation, and instrumentation (1987,20-21).
Each one of these musical elements plays a significant role in A Klezmer Colour for
Saxophone Quartet.
The work is scored for a quartet of saxophones: soprano, alto, tenor and baritone.
The genre is well established due to the early works of French composer Jean-Baptiste
Singelee (1812-1875) who wrote his Quatour No.1 in 1875. Other prominent composers
including Alexander Glazunov (1865-1936) and Gabriel Pierne (1863-1937) composed
works for saxophone quartet. As Richard Ingham explains in his essay, The Saxophone
Quartet, the ensemble is perceived to be unique among woodwind ensembles because it
possesses a "well-balanced tessitura like a string quartet, and [is] homogenous in texture"
(1998, 65). Arguably no other woodwind ensembles possesses this degree of
homogeneity (Delangle and Michat 1998, 173).
A Klezmer Colour is based upon the Ahava Raba Klezmer mode which has affinities
40
with the phrygian mode. Indeed, according to Peter Sokolow, some oftoday's Klezmer
performers refer to this mode as the "altered Phrygian" (1987, 21). This scale is
also synonymous with the fifth mode of the Western European harmonic minor scale:
Figure 62: Ahava Raba Klezmer mode
The A-D-Bb pitch set (derived from the Ahava Raba Mode) is an important melodic
structure in the work and is the basis of the introductory section:
h r"' .,.
~
«.!
mp
h
«.!
h
mp- -
«.! r
inp
: . ..
mp
The rising fourth and falling third motif is fragmented, inverted and expanded by each
member of the ensemble. The opening section's (measures 1-48) fragmentary texture
conveys a rhythmic energy rather than a traditionally melodic approach. The fast tempo
and strong articulations from each of the saxophones give the atmosphere of a duple
Klezrner dance called a bulgar or freylekhs. The prominence of eighth note subdivisions
in the typical bulgar distinguishes this dance from other Klezmer styles. Varshaver
Freylekhs (Warsaw Freylekhs), recorded in 1920 by the Abe Schwartz orchestra,
41
conveys a lively duple meter and eighth note syncopated style (Schwartz, 1920):
Figure 64: Melody, Varshaver Freylekhs, mm. 1-5
'~ii; )ltgf:Jlm J Ii; Jiang

A Klezmer Colour for Saxophone Quartet shares many characteristics with the
traditional Klezmer bulgar dance. For example, my work moves freely between duple and
triple meters in a similar fashion to the bulgar's classic additive rhythm:
Figure 65: Dance rhythms in a typical bulgar dance (Sokolow 1987, 19)
;> ;> ;>
JJJJJJJJI
The shift from 3/8 to 2/4 meter creates an exciting rhythmic ambiguity at measures
15-20:
fl
:> :>
.fII- ... .fII- ... t:f!:.:.. ..."
- --
.....
u
:> 1"""...
f
=: ----- mp
•
fj
f ~V - mp
U f .. ." - ~ --.I ""!' mp

;>
:
r ;>
.....,.; •• "- y
mp
f
Time signatures of 6/16, and 4/16 occur later in the work (measures 115-191). Although
these time signatures are unusual in Klezmer music, they still embrace the concept of a
duple and triple metrical mixture.
42
The fragmentary nature of the phrasing gives the work a contemporary quality but
also places it in a traditional context. The saxophone is often used as a melodic instrument
in the modem Klezmer ensemble, but its role, according to Peter Sokolow, is a rhythmic
rather than melodic one: "The saxophone is purely a section hom - [it] fits between
trumpet and trombone" (1991, 15). Many Klezmer musicians and scholars assert that the
clarinet is the main melodic woodwind instrument in the ensemble (Netsky, 2002 and
Sapoznik, 1987). This fact does not preclude the saxophone from creating the rhapsodic
free melodies normally associated with the clarinet, voice or violin.
The middle section of the Quartet (measures 49-84) features an extended melodic
passage in which all four instruments intone a melody based in the Ahava Raba mode.
Beginning at measure 52, the alto saxophone intones a melody which is then paraphrased
by each of the other saxophones:
$H;iP
Figure 67: Alto saxophone, A Klezmer Colour for Saxophone Quartet, mm. 53-58
r-.-, ~ "'""' '-'-' ,-3-,
r- ~ ImfF" ~ IIF7W
IJ2r Icresco I#J~
J4
mp espressivo dim.
This shift from rhythmic excitement to melodic expression creates contrast in the
composition and gives the members of the ensemble the opportunity to demonstrate the
saxophone's unique vocal qualities.
The concluding section of the work (measures 85-193) marks a return to the
fragmented rhythms of the opening. The development of a motif based on the minor sixth
interval predominates:
43
~ b.
.
• p == cresco
".l I::s • . .
U
P ;t..... '"-"
~resc.
fl l
. .
If}
p~-r =i1- ;t..... • •
.. .
1:::1
== .. . -
cresco
The section also contains rhythmic tuttis which act as a contrast to the fragmented
counterpoint. Beginning at measure 191, a motif which consists of two sixteenth
notes, creates a heavy texture:
!'"'
r-:.
"-'
m/
This technique of rhythmic tutti, where the entire ensemble performs the same rhythmic
figure, often occurs at the end of a Klezmer tune (Curtis 2002,5). The chorale-like
section (measures 164-174) which follows exploits the colouristic homogeneity of the
ensemble and provides a moment of relaxation before the finale:
44
fl 0/
--------.# P- f~ ~0
?- ,-,;..., ~0
4t)
pp cresco
fl /,-
- mp
---
cresco
.-C::::::::-
mf
;---- (':\,
mp
c~esc.
IV
pp bresc. mf
--- - -1'-., (':\,

~
• c;;
'~; ' - .{,.esc.
c;;_ _
f.--"" -
..
pp
--
cresco
r:..I'
-
-9- c7
,
.~ ~
---
mf
-
(:\
pp cresco mp cresco mf
The work concludes with a series of staccato flourishes which punctuate the return to the
opening material. Thus the varying textures of the work coexist to serve as a contrast to
the traditional Klezmer melodic material.
45
SUMMARY
The saxophone's well-documented success in jazz and popular music (Ingham 1998,
125 and Segell2002, 283) ensures its strong presence in contemporary musical life. The
collection of music composed for my thesis and discussed in this paper demonstrates that
the saxophone deserves a strong presence in the area of contemporary classical music.
Furthermore, important contemporary composers such as Luciano Berio (1925-2003),
Philip Glass (b. 1937) and Karhheinz Stockhausen (b. 1928) have used the saxophone in
recent works, thus giving weight to Berlioz's early positive assessment of the saxophone
as a compelling new sound in concert music circles. The instrument's strength lies in its
unique sonic design, which includes subtone, harmonics, false fingerings and innate
vocality. My compositions highlight the instrument's strengths and add further weight to
the argument that the saxophone is a serious contemporary musical instrument.
46
APPENDIXl
A COLLECTION OF MUSIC FEATURING THE SAXOPHONE
The following works are included in this collection: 1) Incantation and Dance for Solo
Alto Saxophone, 2) Drop, Drop Slow Tears for Choir and Tenor Saxophone, 3) Kyrie for
Choir, Alto Saxophone and Organ, 4) Three Moodsfor Soprano Voice, Alto Saxophone
and Piano, 5) A Klezmer Colour for Saxophone Quartet.
47
Incantation and Dance
Freely ~=68 Daniel RubinotI
10
6#jf19 4JJl
19
======--p
3
_=====
3 3
mp
3 3 8 3 3 3
8 aeed
~~J J#~ E"~~ I
i{.'!2006
48
49
Allegro energico ~ = 104 Dance
/eggiero
9 cresco
f
19 ~ ~ ~, ~ '"" ;::-..,
&,11. eWEr-rEI errffprucor IU!!tI'FII!lF~rltn ieal

mp mf = p mp mp
25
:mJ
--======= mJ
©2006
50
n ~
&,1\ fpflpr,@jl rcrrttPl Y~lrdtIQQ •• 1 n~ ~~~ 1 1
--======:: ml P
78
'~Izl> r{UCfflY;' r1rjjj~Si:tJt 1.,17 1f#P r ~Y.I r(}~ 71

~ P W
m~~JJI.DI=bit refl crr 2fT

84 ,""'
'~Il" fatEd I a~1

mp mf mp
I
90 (echo)
'~Iz" f.';fl fJ~" t IU at IU at I~Ucrr I~U ctr II#JJI,l{J I

mf mp mf mp
51
Kyrie Daniel Rubinoff
Sostenuto ~ = 60
" fl
SOPRANO
~
,..
ALTO
~
BASS :
t;prayerfully
_ ~.
::
Alto Saxophone
~
,..
p.J ',-,
Sostenuto ~ = 60
-- ~~.3 'J~~ ~y -.J:..:j':iJy-*J
Organ
(soft flutes)
{~ r·~ P
I
·fF- rF'
I
ri f-- r~ --fr-
.l==
f·r:
I I I 1,
I I I-I r'----~r r'-'r~ -·r
'-- '- ------- -

Pedal (8', 16') :
I I Y', ' -6!-'
,
8
fl
mp
~
, ~,
S.
.J
Ky -
'-'
ri - c e
~
-
'--'
lei - son
.. -Chri - sic e
""'lei" -
mp
fl ~
A.
tJ ~ 'J-......:" ---"f'I:--- • ---1t"!'--- ... ~ ~
Ky - ri-c - c-lci-son
Coo -ste Chri - stc e - lei-so'il" Ky-
mp
,~ ~
, ,.-.,
:
I
'""
B.
,.. 111/: mp
Ky - ri - e c - lei - son Chri - - stc e - lei -
Alto Sax.
~ .. ---.,: ',J'-Y
,..
Man.
{~~~ J.
.r:
PI
Ped. :
"'"
©2007
52
m! dim.
15
,;t:. I' ~ , ~- • I·
~ r:. , ~. ,--. • ~
s.
tJ
son Ky -
......
ri - e e -
10'"
lei - son Ky - ri - e e -
..
lei - son Chri - ste e-
t:. ' "If
.- "
A.
-
--.
tJ·~
- ricresco
- e e- lei - son Ky - ri - e e - lei - son Chri - ste e-
, r_
: dim.
, I1!f
.' :;;.-... - .l1!f ~
: .----- "" -~
B.
...... ............ ......
son Ky- ri -e e - lei - son- Ky - ri - e e - lei - son- Chri- ste - e -
Il
Alto Sax.
tJ
t:.
Man. {~,
Ped. :
22 =--p
,;Il .-. 1*:"1'
s.
tJ
lei - son
t:. r.-.
A.
tJ ..
lei - son
PI r.-. •
B. :
lei - son
m!
;..
mp cresco -!~
t:. :>
Alto Sax.
tJ '-" ~ -.!' .~.-../ ~.J .... -.-or -.-or .-..-/
t:. I I I I I~I I
tJ
r r' I I
~! I I I I
:
"5 j= I~~ .d J £ 1- :.I. J - oJ -J
}
Ped. :
,-' .. c;;1
53
29 -::: if:>
fl ,.;;;;;-...,. ,-, ~~ :>~ .~
,.-'
""'
s.
IV
r.
- --
Ky - ri- e --
e lei - so{
== f
Chri - ste
,"-"",,--=
e -
lei-son
~-= jf>~
Ky-ri-e e -
A.
IV
f,.;:;;;.,
'..:' ~~
Ky - ri e '- .~===-mf
e - -
lei - son
f
::-
Chri - ste - >-
e
1-====
-
'""-'oj
lei-son
if
-
~
Ky-ri-e e -
B.
fl
;
Ky - '-
ri -e e -lei - son - .~"-----" Chri
>-
- ste e - -
lei-son Ky
Alto Sax.
IV
,.,
Man.
{~,
Ped. :
36 :
-fl m~ ~ ,-.
'"'
s.
II) .....
-lei - son Ky - ri - e e - lei -
fl m~ -=
"""'
A.
-.;
;
-lei - son
mf
-
Ky - ri -
,
B.
>-
ri - e Ky - ri - e e -
fl ~ .
,-
--- f,....,
'"'" ---
Alto Sax.
.
"""'
IV
fl I I I, I I
-{
: :
IV I r I r I I
~p
mf I I I J ;. J.
:
I I I I
Ped. :
77 ~ '" 4' "".
54
44 mf -= f mp cresc.~f
fl > ,;;;;.. :>-
""'
S.
t)
son-
fl ---,:;mf
ehri - stc -
c - lei - son Ky - ri - e
-= f mp
e -
cresco
lei
--= son
i;"
..
:>- ~.
A.
, t) '-' ~
. . son
-e e - lei-son Chri
stc - e-Id-son Ky - ri -f e e - lei
f
mf.~ .-., > -= me... cresco ~--""::'<>;,
-
r----I I r--
;
B.
lei - son Chri - ste e-lei-son Ky - ri - e e - lei - son

fl
Alto Sax.
t)
fl
Man.
{~,
;
Ped.
52
fl
S.
.)
fl
A.
t)
;
B.
fl
mp =mf =- ...... p mp -=== mf = -mp
Alto Sax.
, t)
~:" ~ ':;):.f"-../ '-" ~. '-- ..~ .....j'" ..... ~ ~---~ .
fl I I I I I I I I I I
Man. {~ I
mp
j
r
.J J.
I
~r
I
I
p
J
I
I
1
J
l~
1,.
:'\r
hi.
I
mp
I I
:
I
r I
Ped. :
..,.}. c;.
55
6()
,.. mp
~
, /' , ,-
s.
lV
fl
Ky
mp
. ri
'-'
. e e
'~
. '---"
lei . -
son Chri .
,..-
ste e - -
lei - son Ky
......
-
A,
*'!": * •• , *~
'" - ri-e~~ c~-:thl:e
~
-"--
:
mp
Ky - e-lei-son
"'"'. ~, , ,/
e
- ". - leI-son
,---.
Ky - ri .
cresco
, -::--.....,
B.
fl
Ky . ri . e e . lei - . son Chri - - ste - e - lei - son Ky -
Alto Sax.
lV
fl
Man,
{~:
Ped,
dim.
, ======~=======---p
66
;tfl
--- ' ~ I.~ ;;;, 11Ip , ~. r' • - !":'\ , .-"
s.
'"
fl
ri . e e -
~r
-
lei - son
_I
Ky - ri . e
mp
e - lei - son Chri .
:
ste e - lei - son
p!,,:,\
A
'" e e· lei· son Ky . ri - c c - lei· son Chri - stc
- .
c - lei - son
: .'~'
m1 :::
r-.,
mp,
----.
-
• r~ ~
:
1
p
!":'\
B.
fl
ri -c e - lei - son- Ky -- - ri - c e - ......
lei - -
son Chri- ste - e - lei - son
Alto Sax.
lV
fl
Man,
{~:
Pod, :
56
Phineas Fletcher Drop, Drop Slow Tears Daniel Rubinoff
(1582-1650)
Devotional J = 64 =======--pp
fl P,~
SOPRANO
.., ...... '~ '",-,
'"
Drop - slow- tears Drop - slow- tears
ALTO
II
.., p
-- '-' ..
-
.... ...... ..". ;;t
pp
Drop - slow-tears Drop - slow - tears

pp
fl ~ ~
TENOR
f p .....
Drop - Drop - slow tcars
BASS :
,-----, pp
p
-
Tenor Saxophone
fl
4IJ
Devotional
~~~~
J ~ 64
_?i-' ~ ~
:
Drop
- slow tears
P
'?~.
P
fl !"""I
PIANO
(for rehearsal) {~, ---- <'
I
'.
r I....J I...J r.
nnn ~~~ r
I I
7
fl
s.
..,
A. "
14IJ
fl
T.
If
B. :
free~v. with rubato

~ ..:1l.. .,. J, .. "". ~ ..~/~~ ,~ ,~",
Ten, Sax. :
......... ;;;;..,j
-"""""'
mf : mp --==::::::
"
Puo. { ~ jml, w;~"""""
:( .,. .1,. - . ,~,;",
©2006
-
57
13 Tl!f
fl ;;-.., - -
s.
IIJ '-001
Drop drop slow
fllf ::::::
fl
A.
IIJ ,.;..'-" _-..-J _-......J'
Drop drop slow
mf
1\
T.
~
drop drop slow
Tl!f.
B. :
..~ .,a.~~'~
drop drop slow
~ _.,...~. t".~:;t ,. 3 ,.; ~ rot. ,--3' ,'.----,
;
Ten. Sax.
~"'~ ad lib.
'------. ""j if p
fl r'""'11""""1,...,
Pno.
{~, ~,
.~~ ;.._.,...-.~.,...ft:. Ii:.#_~ 3 ~ ~
3
~ ,--!:,
:
7 JW .J[J"
Itt,
_-========f/
19 :=- -=:---=- mp
fl
S.
IIJ
tears and bathe those beau-teous feet _ _
=- =- --=== mp
.. .
1\
A.
IIIJ ..:...--' _'"" ...:.J
drop - drop slow tears
!: .
bathe
-
those beau-tenus feet
f\ ----. == ..... --== mp
T.
~
......
drop - drop slow tears bathe those beau -teous feet
:::::=- --== mf!-.
:
B.
1\
drop
.....,
slow -
tears and bathe those beau-teous feet _ _
r.-.
-""""'-
Ten. Sax.
tJ
=i!-. ~~--t~/ "---=/ .,~ .r.~ ~
mp "-.....:.../
fl -"""""
r.-.
Pno.
{~, liltD...r:J .J I....JWc....r r
XC-{. r--"'1
~p
j
41'"
add sax par/ ad lib.
~ .,~..,
.r.~
- t:;;.....J L-...J L....I I <'
58
25
1\
mf _===:--= f
s.
t!J
which brought from heaven the news and Prince of Peace -
f
..
1\
A.
t!J ~'
which brought from heaven the Prince of Peace
(j f ,.....,
T.
~ -
which brought from heaven the news and Prince of Peace
,.....,= f
~ I
B. :
brought from heaven the Prince of_ Peace
1\
- .. ...... 1/1- .-
Ten. Sax.
t!J ." ~
- mp
:
- .
.
1\ 1""'"'11
Pno. {~ ." ~ ~ i...---J
..r--J
1
......
I
I
r
J
W-
r 1
r'
I .J .J jj
..... --.. I --.. I
29 mf p fP_ =
--
" (j
S.
Cease not. wet eyes Cease mer-cies to en - treat Cry to

-==-p mj ,...,
A.
-
Cease
- ... -'-'"
not, wet: eyes Cease not, wet eyes his mer-cies to en - treat
>
Cry_ for ven-geance
mj >:-______
mj :::-p
T.
Cease not, wet eyes Ceaqe

- ...
mer-cies to en - treat Cry_ for ven-geance
::::::--p
mf;'-ta-1/I-ij,1/I- -ta-
B.
Cease not, wet eyes his m-::ies::en-treat Cry_ for vcn-geanee

dim. -ta-.~-ta-1/I- ~
Ten. Sax.
I I I
- I 1 -
Pno.
~I r
I I
59
35 f =-mp p
11 -
s.
t) -.. -..... ~
cry for ven-geance ne-vercease In yom deep floods drown

=-mp p
fl f
A.
..,
sin doth ne-vercease In your floods
..
drown
fl .r =-mf p
T.
f sin
f
doth never cease
:::=-mp
in your
p
-
floods drown
B. :
:
sin -
doth nc-verccasc
~
,~-~. 1':\
in your floods drown
Ten. Sax.
mp dim. '. ......
::::==-pp
fl fr1 r--'1
~mp
1""11 r11':\ ,......,
{~ I
~ W r.sax part ad rb. dim.
. ==--pp ) I r' p
Pno.
/J: In J mp
.. ..J.d ..J. n
42
- I
•
fl r--.
S.
..,
It
all my faults and tears
•
nor let his eyes see sin, butthrough my- ~
tears
A
.., ........
all my faults and fears nor let his eyes see
.. .
sin. but through my tears
fl ........ I •
T.
f all -
my faults and fears
,.......,. ,
-
nor let his eyes see
- sin. but through my tears
,.......,
:
B.
1L
all my faults fears nor nor
:
let his eyes see - sin,
.....-., +--;;-::-;:"
Ten. Sax .
.., p
......... r---.. ,.-."
Puo.
f r:...r w
-
~n
I
r.
.J •
I
r2
I......J
n n
I
L.r
~
?;
.......
I......J
..r:J J
--..
r
I
~,
60
48 rit dim pp
,...
s.
IV
('j
nor let his eyes see -
sin, but through my
rit. dim. pp
\;.)
tcars
A.
IV
nor
-
let his eyes see sin, but through my
\;.)
tears
('j ......... rit. dim. I'7'l
T.
t' pp
nor let his eyes see sin, through tears
-----""',
rtf. dim.
:
~ 0
B.
pp
nor let his eyes see sin, through tears
,,;/..#' f'- --. I'7'l
: '"
Ten. Sax.
-
"
J
:lim. pp
J
,...
-- I'7'l
Pno.
{~, . / #' f'- ~-- . n.
p W
n
U
j"'j
L......1
J
W
I
I
'7
-
'"
- L.....J i-o-I J
dim.
I
pp
J
61
W.E. Henley (1849-1903) The Villanelle Daniel Rubinoff
rollicking J. = 50
1\,.
Soprano
..,
legato
1\,. ,--...
Alto Saxophone
.., rollicking J = 50 mp
'~I -1 I
II .. ~ I I ~ I I
.., :
r' -r' r. .,.: :
r
- .. -
V' I P
Piano mp_~
- -- -- - .- -- -- --
6
:
..-
- - - ......
- -- ......... -
Sop.
1\ dace
I I ~ I
.
.., mp A dron - ty thing's the Viii - a-nelJe ml
a
A.Sax,
fl ..
.
.., '-' ~
"-I r T -..- \...
mp
fl .. 1 ~
• ,...."."",..
.
.., r r . r' r. r
:
Pno.
.. .. -- -""-- -""-- ~. --- - -- - ..
-
:
- ..-
:
..- ..- ..- = "JOOiii"
-=
111\.. more energy
Sop.
..,
--
A. Sax.
fl .. dain - ty thing
- -
..
.
.., ,~
- =- ~
fl .. =-r--l
.
ml
-
.., • •• "':1I" 1
...
I
ml
-- -- -- ,-- -- -- ml
-- ..,fL..,fL
- - -
-""
:
.....-
:::
15fl ..
~ ~, , -=-
Sop,
..,
fI ..
mp"'-
sly -
- sly - - mu - - -
si-cal so
A.Sax.
.., ~
fl .. I
mp
= I 1
: :
..,
- ..
I
: . .... mp..,fL..,fL ..,fL..,fL ..,fL#f/L #f/L ..,fL -til- !II--tII- .,.#f/L
62
19
1\ '" mp ~fIl~: mp
Sop.
'I)
fl II mu - si-cal a jeweJ - in rhyme ~..
A. Sax.
'I)
1\", I
inp
I
I
r- I
-
: : :
.. '
-'
.
.,; I I
• 1:..... b.... ..... .. .. .. ...
23
fill
:
-
I
- -
I
/
- - - ,
-
Sop.
.,;
flll
it serves its pUT - pose pas
-
- - sing well
A. Sax.
'I)
..-""1 I
.. .. ..
flll ~
pn,{ : : .. .
.. . :
'I)
.... .jILji.jIL . .jIL .....

:
- - -
27
fill
Sop.
.,;
A dou-ble dou-ble dou-ble dap - pered
tu -:c----.... -,--.. - -
A. Sax.
'I) r r r ,
II
1\ I I I I
: : :
.,;
.t ... : Ill'" '" ., Ill·' ·V'" I" P'
'*
.J ~ -"""'I
:
............ .~ .. #.........................
staccato
#..... ' ..... ~4i
~ .. ..........
31
fill I •
Sop.
.,;
fill
sil - ver bell That must be made to clink and chime 1'0oop~o 000
A. Sax.
'*
'I)
fill I I ~ I l- I
.,; II!!...·
:
tI....
Fi1I "- b.
...
•
- ... .....
I
....
:
i4i ~- r ~-.
r
63
35
fI
dolce mp ==:::::=~p
-
Sop.
f)
fI
. ~o 0 00 0
"..
A dain-ty thing's the Vil-a-neUe
---
A. Sax.
f) ...............
fu. I
f) ... 11__
~v:6t:., .--*: ~: -tg~a1j-lik
r..o •
:
I I I
- .
I I 1''' [1'" ~-.~- - 71
40
Sop.
fllil • I..
f)
fI"
You must not ask of it the swell of or - gansgran - di-
A. Sax.
f) I lo...10o.o.ooi
1'1" I.. I I
Pno.
W)
I I ...... r -' *: ... ............ * - ---
:
~.
~~: ~. ~=it. ~. ~~~ ~: =it.
45
Sop.
1'1"
f)
fl iii ose and su-blime , --... A

.. ......
dain - ty thing's the
.. ..
vil-Ia-nene
~~
A. Sax.
f)
~p mp . . . . ~
fllil I
f) .. '
:
.. ' 'It.
~ ~: - 'itt
• rj
..
I I rr1 ~ ~ r"""'1
:
71. ... b~: ~:
~ .. .. ~'It .... ~- ~
.,
50
11111 I I
Sop.
f)
And, filled with sweet - ness, as a shell is

1'1 ..
A. Sax.
II) ... - .... - P - ... - .. .. I
fl .. I
~o{ II) :::

,....,....,
~.
~
:;!i::
.#-
.. '
...:
.
--
:
.. ..... ~,.. ... .. #.. q71 71 #71 ~r
64
54
fl .. I I I
Sop.
U
fj II filled with sound and launched in time
A.Sax.
u
r--
------ ~
-
fl ..
. . I I """ I
r;:=:r=;.
- -'
I .. -' -:
.".. .
:
58
".~ - ~ -' - - - ~
fj .. I
Sop.
A. Sax.
U
fl",
-- It serves its pur - pose pass -- ingwell It serves its pur -pOSL
--
~ I
fj I I !!Ill
~o{ ~
. fL ....
:
•
:
.fL....
:
••
-. •
1J:
••
- -If-
r-r-1
:
- - - - - - '--10-.1
63
Il .. ~ I
Sop.
U
fj 11- pass - ing well
A.Sax.
~ ~.
fj", I
~o{ ~
:
-' ....
--
If-'
~
:;I'" ... r.: r-I
...
67
c...J...-I #... - - ~-
-f! ~
fj ..
Sop.
u
Il .. nt.
A.Sax.
U
fj ..
- '---.
-"
U I I ..,. Ill... · 1J: -51-:
ril- I I
:
.,
-
"I ....,J - ~- #.... .... -d•
65
Autumn Song
W.H. Auden (1907-1973) Daniel RubinofT
Mournful but moving .~= 120 mp =====--p
Soprano
Now the leaves are fall - ing fast

Alto Saxophone
p '~.
Mournful but moving .~ = 120
=
5
tl = - p
n:f~ T mp
Sop.
~
~
Nu~ to~~e graves are gone
Nurse's_ flo - WeTS will not last
A. Sax.
q~~ I
""
~,
p fnp ~ p
:
..
1\ I I
<V
L.C:.J
:
.. :
: .,. ....
:
.;:- ... ..P..... .. b..... =
I q...
9
-
-~======mf =====- mp
Sop. " I
r:~ng
<lJ
1\ and the prdllls go on
A. Sax.
~~ m~'
<lJ ~"~'
tl =1 i l l l
<V
:
r'
.- .-
t· ~ .- --
~
-
,......,......, ===-- " ==--'" l'f~= -" --.=P."",.....,...
13
......-
mp
- ~ ~
, If
q... ...
Sop.
fl
. TIl
IO!)
,_Whis-pcri!~~cigh-bours __________ left and right-. pluck from the
1\ us
.~
.
A. Sax.
IO!)
mp
r r
:
r p mp~
staccato
~ ... ...
1\
:
• <lJ : : -r,.: 1;;- .- ....
:
.. V" .... ifF
staccato
<02006
66
16 mJ
Sop.
fl - 1 1 1
tJ
,.
real de-light; And the ae - tive hands must freeze
A. Sax.
fl
==
q....~~
-
tJ ~ '''-----''
s~ mJ ::----=-:-- mp
..
fl ~ ,.....-,--,
tJ
q1i: ..... r'
r. . • ~ ... .... :
:
;;J -- •
:
- -
20 mp
fl 1
Sop.
tJ
fl staccato Lone - Iy on their sepa - rate knees
~
A. Sax.
tJ
fl
:;:- p~
'------
"-....-/ I'I'(l
......
- ~
-
-. .. ... -
1
Of)
p;~ ~
'.' mp
-' .... .... .........
:
1 ~. P. .. ~.-
.. '
25 mp-===-: ml
fl I' -=====~-p (lcce.
Sop.
-
A. Sax.
4!)
fl
4!)
==-mp
- ,~
1
- Star
p~
- ving through
-=&.p
- the leaf - less
",~",~. \;V '-'

woocL- Trolls
p ,----,,'
run
fl ....
PM {
tJ .. •• ... -- ... - ., .' IJ.: q~ -...... ---
q.... r ~ ..... .. If· '" ~y-. 7tf~~ qy-.
32
fl
-====== mJ1 mp
~
Sop.
tJ ...-
A. Sax.
f1
scolding for their food
-- tranquillo _ And the night- in -gale is
h-tJ ,...., "---"

tJ '---../
mp r
fl ,....., ,...., 1 'I
======-p ,...
PM {
tJ
:
'" ~'. '" I~"''' '"
I'I!l
• mp
tranquillo
- IJ- - ... - • .(/L
~. - '-qY- .... -
67
39 -=--:-:mf
p
Sop.
fl
.
.., -
fl.
dumb And the an-gel :u not come
A. Sax.
w" .. - ..---- -
~
fl.
inp ~ ~",,' ~
} ~
I I
:
..... ..... - ... : :
..... .....
: :
II!) .~ -
-- --
p ~-
.. ...... ...
mf
.. I
.. - ... ..
45
:
I 1.,.....1-'
- ~1,....Joooo' I I I
- ... -
fl
Sop .
..,
fl ,...------.., /
~,
A. Sax.
..,
~
h
mf~---==
I
:
......
:
......
,.....,-, mp
...... -
mf-==
......
.....
-==--mp
:
I~"""
lIrp ..
r -.....
_.. .-
-
:
- ==--- 'L."..J.-o' =-.J....J - - -

Sop.
50
fl
II!)
mf
Cold im-pos -
"-
si - ble a - head
-'- lifts the moun - taints lov~ead_
r--T"""'1 I
mp tranquillo
whose
A. Sax.
fl.
. ..
II!)
p
......., - ~~ -----"!' ~-~ ',,---,-
h
. I
.., .
:
... : :
..
. .. .. .. . ...
~ .~
" ~-'
I
:
...... ...
54 cresco
- -
h mt I
mp
-
Sop.
~ .~
fl
white wa - ter-fall could bless trav-ellers
.
in their last di -stress
.... I!!!!!!!!!!!!!!
A. Sax.
II!)
fl
mp ~"!' ~~
I
P
... ~
""""""'"
mf ----
~
:
mp
:
--
~-
...... .. -- ~- ~-
....., .1""'0.
I~# ,if '-' :~~-i!'"
~
mp
- - ~ ..... - ?:t.. J7 4
68
Sop.
61
t:.
tJ
mp
I
- I I
lra- vellers in their last di-stress misterioso crese.

t:. ..... --"""" - -
A. Sax.
t!) ".,. ~ '- ~
p~
I'l
. .
I
-- ...
-{ ,. : :
. tJ u
u "r I
.- • .. 1-f5J- ~
.- ... ... ...
:
- '~ 1,....1
- """ - ~ ...... ~p
69
t:.
Sop.
A. Sax.
tJ
t:.
tJ I
-~ -, I
.....--'
...........-
/''';'.--,.,
I'l ~
tJ ~"'l!""i!" -~'. '.

: . r'
I .J I
:
q. 'I,.....-" L....J.....J -
I
73 m! mp
I'l -c---.
Sop.
tJ
trav- ellers_ in
-
-------../.--
their last di -stress
A. Sax.
t:. /- ---..... .-,~.----..... "'-',.-~
-'"
- =
tJ
mf p pp
t:. ---""" ~
tJ .,. L...I '--,
" ..h .. I, ...... ... ,- ~- ,,--...,

mp
---- - --
,
:
'liiii"
69
Christina Rossetti (1830-1894) Daniel Rubinoff
A Birthday
freely, as in a dream ~= 68
fl
Tranquil but with movement .-- 100
Soprano
IV mf
My
poco aceel.
.---
fJ 3 ...-'I
Alto Saxophone
......
mp subt~rY' '*,-Y' -:;;YY_"" '* -
-
IV
=mf==-mp
fl
......lI-. ,...., _ I
Ll ~ .. r ;:;
~ ~L..J
IV I ..".
mpm III I I
:
6
fl
~ ~
_.
1 -- *~-6J-'
Sop.
IV
heart is like a sing ing bird Whose ncst is in a
fl
A. Sax
t)
--
fl I I I I
t)
3'" Cfl
~
Pno.
:
P~,
/. ~~F~ .. ~'
-- ~. /" .... ~~ r"fll-~
l~?
--...... '-3 ~.~..::..,...-'
qt:J,..J..J-l-'
fl
Sop.
IV
wa
--------.
- tef shoot cascading
fl
: p
/~ 3 ,.l. r-3-, 3
A. Sax
t) '-.,
mp8 '~mr ==--mp
fl I I 1 I
poo{ .)
'-'"
~
'-'
...
-J
~
';;p wr lIr I
mW~ bT "'t'" ~,
:
I I
Sop.
17
IV
fl
mp
r - 3 --,
My heart is
.. -------'
like_the
- ......,
ap-ple tree _ _
I
whose boughs are

cresco
I
--...
bent with
J) ,-3---, .,~ r--.
A. Sax
It)
rit.
p"'; ..,; -.;t ~
.. .. - - ":::::I
fl I I I
t) ~. dim. mp p~ I~'" • ,..!

,.. -:;;,~;."sc.
~y '"" I:.:J
"I
:
?:t ~-:;;. P.... :;j. ..,; .... I
©2007
70
fl -~
Sop.
~
..
fl
thick-set fruit
.. ~, ;.~ - ~,
mp My heart is like a
A.Sax
~
mJ 3 cre-;;:: - I : mp mp
..
~,
() 1 .......
,. ... :
pT~ ~U
~ I,
~.
II
nr
.. ..
mil I I 1 ~ I
:
<J __
~ .. ..,;. '-' l+<J'
-
30 lazi~y
,...--'3--'
..
II .-3---.
Sop.
."fl rain-bow shell that

.---
pad - dies in a hal- cy-on
Ii·
sea m/ My _ _
,~
A. Sax
.J.,J .. --t"-:'J -d. mp
fl mp '-" lazily ,---3--,
... ..
-
~ ~ ~ ..,;
r~
~
- .. ri!.
.l. -~
:
l+- 3 l+- ~ I
34() ,....., mp
I .--
Sop.
~
()
heart is glad-der than all these ,.!!.e-cause my love is come to me ,....,
A. Sax
~
II
..,;. . ~ ~jJ------'~ ~pl+~,~ cr~
~. mp"ri-.J ~--,
'y:::::::~ Iff ......
-
~.
'1J !l!f - 1J
- .ll,..
. .. 11" .. ~
- 3 I
39
() f a empo appasslO. nato
Sop.
A. Sax
tJ
II ~.
......
- appassionato
-.. ~
/-- ,......, Raise
~ .. -
: " ;;p ml po~ ml'---=
.
:
"*:::::::*
= :-; .. "f)9':
mf
- 8 ~ ... ..,;
71
44,.. mp l1if
I
Sop.
II)
,..
-
me a da - is
~-
of silk and down
i"'"'I
Hang itwithvair
I"""'! an~
A. Sax
tJ
,..
.....
~
:
f
4'
p Inp ff1l --
-
LJ jp" II r I~
poo{
- - "WIoo,.j
11)-9-' ~
:
~ m~ ~
.rrT"1
3' II"" "" ,,- -

50 dolce mp
,.. ==--mp ......
Sop.
tJ-
fl pur-pie dyes
,....,--'-.- ,
-
Carve_ _ it in doves and
-----
A. Sax
tJ > mp
,.. mf ;;;;tabile
3
dolce mp --
I
""",-"
I
'---'~
:
p",{ tJ "I'
111"
mf
c;
_'lI,
.
~ j: ..
m;r
.. 1>t1' " v'
:
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55
,.. : p
Sop.
A.Sax
III)
fl
.11)
po-me-
p
gra-nates
'--.':!" -
and
"" ""~
pca-cocks with a thou-sand eyes
... "!"-
---,
mp
fl -----""
tJ '-6/-' '.z;I9-: [':!f': I .g..-: I
h
:
[
60,.. mp misterioso
I
Sop.
A. Sax
tJ
fl work
II)
it in gold and sil-vergrapes
~
--, in ."""
leaves
cresco ...~.
""
and sil-ver
fl'P p.11""'-" "" pp
II) -5"
mp "c:.p -5' ... Ilf -6/-' "" P~ j~1""
y. ~:
:
l!,.., r4..
"r I I I I
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3
72
65 -mf
fl ---:;;;;;
Sop.
~
fleur-de-Iys
1\ ~ -, ~'
A. Sax
~ '-" mp
1\ I
:
"!f
"""-I r
,:;;;;------., ------., mp cantabile
~r
"!f..-
7....., --#.
_.. :1
m{' cantabile
I!!fiT-
r,_
:
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70
1\
mp .
freelv
l
Sop.
ll)
"
be - cause the birth-day of my life is come my love is come to
1\ ....... ,~
A.Sax
.; '-
===-- p p"-~~
1\
m! . "it-
I
:
I
mf allargando
75
fl
, mp
1':\
"
Sop.
llJ
fl
me - my love
......
is come to me my love is come to me
1':\
A. Sax """""
llJ '~/
1I!~
pp ===- ppp ~/
mp pacanl,
1\ I
:
llJ 1,,'0-
allargantio
:
p~
.. dim.
~~ Pf:.
... ... II" .... ~
73
A Klezmer Colour for Saxophone Quartet
Daniel Rubinoff
With intensity J = 120
fl i'"" .."..'\ -ti>:. -
Soprano Saxophone
tJ
fl
mp
= p
Alto Saxophone
tJ
fl
mp- -- - ,;
Tenor Saxophone
tJ
kp r r .. \Jt-*
mf
Baritone Saxophone :
mp -====mj
9
~ fl .., r.."..
:>
tL ... tL
:>
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S
tJ
fl
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19
fl
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58
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fl .... ..-.II -, /0: ' .... ~
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75
78
1'\ ."...".. ."...".. ,..,..it.. :> :> :> . .. ~."..."..
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s
86
11 it."" /',
.,;:; ."..; I"' ... ,..- .....~
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mj energico
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ml nergico e leggiero === ....

T
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mf !energico e leggiero ~ I"'
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91
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100
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76
107
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121
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130
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77
138
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146
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154
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79
APPENDIX 2
CD RECORDING CONTENTS
The accompanying recording contains the entire music collection listed in Appendix 1.
Track Title
1 Incantation
2 Dance
3 Kyrie for Alto Saxophone, Choir and Organ
4 Drop Drop Slow Tears for Tenor Saxophone and Choir
5 Three Moods for Voice, Saxophone and Piano: The

Villanelle
6 Autumn Song
7 A Birthday
8 A Klezmer Colour for Saxophone Quartet
Credits
Marcus Ali, Baritone saxophone (A Klezmer Colour for Saxophone Quartet)

Esteben Cambre, Bass
Vania Chan, Soprano (Three Moods)
Michelle DeBoer, Soprano (Kyrie)
Tristan DeBorba, Tenor saxophone (A Klezmer Colour for Saxophone Quartet)
Ellen Meyer, Piano
Mark Laver, Alto saxophone (A Klezmer Colour for Saxophone Quartet)
Daniel Rubinoff, Conductor, Organ, Soprano, Alto, and Tenor saxophones,
Ben Stein, Tenor
Recording Engineers: Ferenc Szabo (Three Moods); Joseph Resendes (Kyrie, Drop, Drop
Slow Tears, A Klezmer Colour); Daniel Rubinoff (Incantation and Dance)
EditorlProducer: Daniel Rubinoff
80
BmLIOGRAPHY
Books
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2 vols. New York: Norton, 2006.
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Fenton, James. An Introduction to English Poetry. New York: Farar, Straus & Giroux,
2002.
Grout, Donald Jay. A History o/Western Music. 3rd ed. New York: Norton, 1980.
Heller, Charles. What to Listen/or in Jewish Music. Toronto: Ecanthus, 2006.
Horwood, Wally. Adolphe Sax. London: Bramley Books, 1980.
Idelsohn, A.Z. Jewish Music in its Historical Development. New York: Henry Holt, 1929.
Ingham, Richard (ed). The Cambridge Companion to the Saxophone. Cambridge:

Cambridge University, 1998.
Kochnitzky, Leon. Adolphe Sax and his Saxophone. New York: Belgian Government
Information Center, 1949.
Kohs, Ellis. Musical Composition: Projects in Ways and Means. Metuchen: Scarecrow,
1980.
- - - . Musical Form: Studies in Analysis and Synthesis. Boston: Houghton Mifflin,

1976.
Liebman, David. Developing a Personal Saxophone Sound Medfield: Dorn, 1989.
Londeix, Jean-Marie. Saxophone Study. Trans. William Street. Paris: Lemoine, 1997.
81
- - . Parameters oJthe Saxophone. Trans. William Street. Paris: Leduc, 1989.
--.125 Years oJSaxophone Music. Paris: Alphonse Leduc, 1971.
- - . MusicJor Saxophone Vol. II Cherry Hill: Roncorp, 1985.
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California, 2002.
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1852,2-3.
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Cambridge Guide to the Saxophone, edited by Richard Ingham, 161-183.
Cambridge: Cambridge University, 1998.
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82
Rossini, Gioacchino. "Adolphe Sax." L 'illustration, Fevrier, 17, 1864,4.
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83
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84

The Stylistic Diversity of The Concert Saxophone: Daniel Rubin Off

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THE STYLISTIC DIVERSITY OF THE CONCERT SAXOPHONE

DANIEL 1. RUBIN OFF

A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE DEGREE OF

GRADUATE PROGRAM IN MUSIC

Published Heritage Direction du

395 Wellington Street 395, rue Wellington

Your file Votre reference

The author retains copyright L'auteur conserve la propriete du droit d'auteur

In compliance with the Canadian Conformement a la loi canadienne

While these forms may be included Bien que ces formulaires

symphony orchestra, and is thus underrepresented in classical music. This researcher

instrument in a wide variety of genres. Specifically, the techniques of subtone, harmonics,

Additionally, the instrument's resemblance to the human voice is documented.

An examination of five original saxophone compositions highlights the instrument's

flexibility as a solo instrument or as a member of an ensemble. This work adds to the

instrument's success in contemporary music.

I wish to acknowledge three members of the York University Graduate Program in

advice concerning my choral compositions. His Topics in Composition Seminar provided

who awarded me a Master's Fellowship to complete this thesis.

List of Figures .................................................................................................................. viii

Appendix 1 (Original scores) ............................................................................................. 47

Incantation and Dance ....................................................................................................... 48

Drop Drop Slow Tears ...................................................................................................... 57

Three Moods for Soprano Voice, Alto Saxophone and Piano:

The Villanelle ...................................................................................................................... 62

A Birthday Song ................................................................................................................. 70

A Klezmer Colour for Saxophone Quartet......................................................................... 74

Appendix 2 (Recording Contents) ..................................................................................... 80

Figure 1: Flute, Syrinx, m. 1

Figure 2: Flute, Syrinx, m. 13

Figure 3: Alto saxophone,Incantation, mm. 1-2

Figure 4: Ashkenazic Temple Chant

Figure 5: Alto saxophone, Incantation, m. 7

Figure 6: Alto saxophone, Incantation, m. 7

Figure 7: Alto saxophone, Incantation, m. 32

Figure 8: Alto saxophone, Incantation, mm. 10-11

Figure 9: Alto saxophone, Incantation, m. 7

Figure 10: Alto saxophone, Incantation, m. 13

Figure 11: Alto saxophone, Dance, m. 1

Figure 12: Alto saxophone, Dance, m. 5

Figure 13: Alto saxophone, Dance, mm. 5-6

Figure 14: Alto saxophone, Dance, mm. 71-72

Figure 15: Flute, Danse de fa Chevre, m. 14

Figure 16: Flute, Danse de fa Chevre, mm. 24-25

Figure 17: Flute, Danse de fa Chevre, mm. 45-46

Figure 18: Flute, Danse de fa Chevre, mm. 1-2

Figure 19: Gregorian Chant, Kyrie Cunctipotents Genitor

Figure 21: Organ, Kyrie, mm. 1-5

Figure 22: Choir, Kyrie, mm. 10-13

Figure 23: Bass, Kyrie, mm. 10-12

Figure 24: Soprano and alto, Kyrie, mm. 10-12

Figure 25: Soprano, Kyrie, mm. 10-13

Figure 26: Tenor, Kyrie (Machaut), mm. 1-3

Figure 27: Alto saxophone, Kyrie (Rubinoff), mm. 23-28

Figure 28: Choir, Kyrie (Rubinoff), mm. 29-32

Figure 29: Choir, Kyrie (Rubinoff), mm. 33-34

Figure 30: Alto saxophone, Kyrie (Rubinoff), mm. 37-39