Arias | Etude Book

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Thirteen Etudes

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for the developing contemporary saxophonist and

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Sonata for Alto Saxophone and Piano

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Spencer Arias 2025

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Thirteen Etudes

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for the developing contemporary saxophonist and

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Sonata for Alto Saxophone and Piano

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Spencer Arias 2025

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TABLE OF CONTENTS

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About this Book ..................................................................................................................................i Fingering Chart ..................................................................................................................................ii Acknowledgements ..........................................................................................................................iv

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I. Sense of Time (for Josh Thomas)..............................................................................................1 II. Forks and Bis (for Jared Waters) ..............................................................................................4 III. Lower, Slower, Softer, Whole-tone (for Crystal Alexander-Duckett) ....................................6 IV. Pulse and Syncopation (for Kevin Arbogast) ..........................................................................8 V. Compound (for Patrick Booth)............................................................................................... 11 VI. Octatonic (for Greg Rife) ....................................................................................................... 14 VII. Dance of the 16ths (for Nick May) ......................................................................................... 16 VIII. Groove (for Elizabeth Rosinbum) .......................................................................................... 18 IX. Angularity (for Matthew Younglove) .....................................................................................20 X. Lyrical 12-Tone (for Sean R. Garde) ....................................................................................... 22 XI. Asymmetry (for Andrew Hosler) ...........................................................................................24 XII. Extended Exploration (for Dr. Jeffrey Leung) .......................................................................26 XIII. Improvisation (for Woody Chenoweth).................................................................................28

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Sonata for Alto Saxophone and Piano ............................................................................................30

i

About this Book

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Throughout my career as a musician, I have worked extensively in spaces where saxophone was present. It was my instrument starting in 7th grade and all through college. It has also been the instrument that has defined my compositional output since college. Throughout this time, what was missing from my studies was a series of learning pieces to help me better understand this instrument so that I could play the music that was exciting me with a little less frustration. A book that was more closely designed for this instrument. While the Ferling Etude book written in 1840 is a fantastic resource, its design does not have the saxophone repertoire in mind since it was designed for the oboe, and the saxophone was not even invented yet (1846 was the first patent). While I did not take the saxophone performance path, I am very familiar with many of the challenges saxophonists face in their studies. This is from personal experience as a player and through conversations with professional saxophonists and saxophone educators. As someone who has written extensively for the instrument, I felt uniquely qualified as a Composer with a background in Pedagogy, with extensive knowledge of this instrument to complete this book, which is why when Elizabeth Rosisbum approached me at a NASA in Hattiesburg, Mississippi in 2023 I knew that this was something that could be important and have an incredibly positive impact on our community.

SC O

One of the most essential parts of creating this book was not what I deemed to be the most important but what we, as a community, deemed most important. Now, with such a diverse community, what we consider essential is incredibly subjective. Hence, we found many individuals to sign onto this project. Elizabeth and I collaborated to curate a group of 6 additional individuals to act as a Pedagogy Team.

Elizabeth Rosinbum Jeffrey Leung Tina Wang Nathan Mertens Crystal Alexander-Duckett Joshua Thomas

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Pedagogy Team

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This book is intended to follow a developing saxophonist's growth. Some of the etudes, particularly the later ones, may be more appropriate after developing specific skills. Alongside the etudes is a companion page with pedagogical tips, as written by saxophonists who not only supported this project but are also people I respect and admire. The book has been designed with the intention that the person learning these etudes adopt a growth mindset, that learning does not happen in a straight line, and that some skills require development with time.

PE

Finally, the included Sonata at the end was designed to be played after working through most of these etudes. The main prompt was to have a new work for alto and piano with accessible piano parts so that finding a pianist who is willing to work with a saxophonist could be a bit more approachable for those less familiar with the repertoire.

Instrumentation Alto Saxophone Piano

First printing, April 2025

Copyright ©2025 Spencer Arias. All Rights Reserved.

Program Note Copyright ©2025 Spencer Arias. All Rights Reserved.

Published by Just a Theory Press | www.justatheorypress.com

JAT-101-067-FS

ii

Fingering Chart

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Throughout this book you will see a few spots with added fingerings that look like this passage from etude number II – Bis and Forks.

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Many editions of scores with alternate fingerings for multiphonics, microtones, bisbigliando, pitch colors, or even for technique purposes will include the fingerings directly in the score to quickly refer to the fingering. This can clutter a score and remove the option for the performer to include the information necessary for their success. I have also seen in many recent works (due to the tireless effort of Marcus Weiss and Giorgio Netti) that composers will include what I call Netti numbers instead of providing fingerings, as it gives the performer more agency in building a practice to find the proper fingering that works for them and their particular instruments. With that in mind, I have decided to include a chart of all fingerings essential to this book, as curated by Nick May. Please take the provided fingerings as a starting place, and feel free to include any additional fingering choices in the study of the etude.

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The included fingerings imply that this fingering should be used until said otherwise. Still, marking additional fingerings (such as in the quarter tone section) may be helpful.

iii

14TF

TF

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Bis

2C2

* Multiphonic, with exploration this can be manipulated

1235TF

2TC

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1TC

12356C

* used for color

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5

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* used to set up TF

Bisbi 123 / 56C

(Alt) Bisbi 123 / TF

Bisbi 12 / 456

iv

ACKNOWLEDGEMENTS This book would not be possible without the support of many people. First off, to all members of the consortium, in particular, Elizabeth Rosinbum, for approaching me with this project idea. Who would have thought that 10 years after graduating from ASU, I would get the pleasure and opportunity to collaborate with you on such a special project Consortium Members, as led by Elizabeth Rosinbum AJ Pratt, Joshua Thomas, Sean R. Garde, Zach Arthur, Jack Thorpe, Andrew Hosler, Nick Ortiz, Nathan Mertens, Jared Waters, Crystal Alexander-Duckett, Tina Wang, Jeffrey Leung, Greg Rife, Leo Schlaifer, Joshua Tuttle, Matthew Younglove, Woody Chenoweth, Kevin Arbogast, Patrick Booth, Carly Hood, Austin McFarland, Rick Flores, and Bryan Polacek

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This book required many voices, as we are a large and diverse community. I want to thank the following for agreeing to be early adopters of the book and for helping provide support.

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Early Adopters Lucas Hopkins, Kevin Norton, Henning Schröder, Geoffrey Deibel, Shawna Pennock, Peter Dayton, Nicki Roman

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Pedagogy Team Elizabeth Rosinbum, Jeffrey Leung, Tina Wang, Nathan Mertens, Crystal Alexander-Duckett, Joshua Thomas Nick May for his close friendship as well as his help with fingerings

Another thanks to Kevin Norton for playtesting through these Etudes with his students and sending me recordings.

Also, I want to thank a few people who got me to this place along the way.

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Timothy McAllister and Roshanne Etezady, this book is only possible due to the support you provided me at the beginning of my career and the continued support you lend me to this day.

Woody Chenoweth, Dan Puccio, and Patrick Murphy for being teachers and mentors during those early stages. If you are currently a graduate student, don’t forget to look out for the younger students; you have no clue how it could impact them in the future. I’m here because of you.

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Liz Ames. I learned nearly as much from you as from any saxophonist or composer. Hopefully, this new work for saxophone and piano gives you more students to inspire as you did me.

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A thank you also to Christopher Creviston, Hannah Creviston, Henning Schröder and Yu-Lien The. As the saxophone professors at the two institutions I have taught at and the pianists who play so much of our music (and hopefully mine), I am eternally grateful for how much you have empowered me. Chris, that is why my saxophone music gets played as much as it does. Henning and Yu-Lien provided me with incredible support in my first year and a half of college teaching, and since returning to Arizona State, Chris and Hannah have been incredibly empowering!

Of course, to David Biedenbender and Joe Lulloff. My time at Michigan State University was by far some of the best educational experiences I’ve ever had. The saxophone studio at MSU empowered me to keep going with my passion for saxophone, and Dave never shut me down from it.

And finally, to the entire saxophone community at large. I love you all. You are why I keep doing this. This is for you.

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I. Sense of Time

SC O

This etude offers ample opportunity to hone in on several important techniques, most notably articulation, line direction, and of course time. After an initial read though, it will be important to decide and mark in the Bb fingering that works best for you. The opening measures are a great opportunity to utilize side Bb, while passages such at m.17 that utilize a skip work well with the Bis fingering. Keep in mind the goal tempo when making these decisions.

SA L

Variety of articulation plays an important role in this etude. The challenge is to make a difference between the markings throughout, such as staccato, accented staccato, accent, and tenuto accent. Pick a single note and play each of these articulations back and forth. Try to determine how each are different, and how you can produce that difference through your horn. In general, staccatos should remain on the lighter side, without getting a biting sound.

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It will be helpful to pull out a few of the technical lines to work on separately. Measures 45-53 contain a four-note pattern from the Bb major scale. Work on this scale first, making sure you are comfortable with the key signature. Next, work on the pattern as it is written, breaking it up into four notes at a time if needed. Measure 18 showcases the Bb major scale in a thirds pattern. Again, work on this separately until you are comfortable with the finger pattern and the skip in the pattern between beats 3 and 4.

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Finally, there are many dynamic markings throughout, but opportunities to imbed line direction exist. Some examples are measures 31-37 and 38-44. Both of these are marked at a single dynamic level, but the mature player will want to add nuance by adding in micro crescendos and diminuendos to create a personal interpretation.

-Dr. Joshua Thomas

irteen Etudes

2

for the Developing Contemporary Saxophonist

Spencer Arias

for Joshua omas

I. Sense of Time

                                     cresc.

             

   

8



21



27

 sub.

 

   







   

   

SA L  





 



          

    







                         smiling





   

 on edge

Copyright © 2025 Spencer Arias (ASCAP). All Rights Reserved.

Published by Just a eory Press | www.justatheorypress.com



      



 

 lyrically

beaming







   

       

PE



an outburst



U



17

    



R



12

  

SC O

beaming



R

                   

4

E

with excitement  = 90

JAT-101-067-FS

Spencer Arias: I. Sense of Time

 skipping with joy

          





      





PE

 



 



R



65





 

 















 





   









 growing with excitement

like everything is awesome

with excitement

                     

73



        



     fading away

           

                     

69





but isn't perfect

U

59











SA L







         

49

53





E



   

45





 





R



38





 

SC O



33

3

    

  

           

                         an echo

        

 playfully

        

SC O

R

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4

II. Forks and Bis

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Forks and Bis explores the use of bis B-flat and alternate “fork” F-sharp in a technical context. The majority of my current saxophone students are around the age when these fingerings are introduced, between 5th and 8th grade. I’ve found there are few resources that specifically target and allow students to make use of these newer fingerings outside of their curricular basics (for example, the Pearson Standard of Excellence, which doesn’t introduce bis B-flat until halfway through Book 2 aside from the provided fingering chart). “Forks and Bis” effectively bridges the gap between learning the initial fingerings and applying said fingerings in a more advanced work where the control of said fingerings would be considered commonplace. I appreciate the elevation in difficulty this etude offers while simultaneously serving as a stand-alone, musically interesting composition; a piece that transcends the objective and expectation of such an etude. It is a motivic-driven work one may successfully program and perform as opposed to a finger exercise intended for or most suited to the confines of the practice room.

-Dr. Jared Waters

5

for Jared Waters

II. Forks and Bis

              

           

Bis



           

             

3



1Bis4TF







             TF

    

    

 

       TF

PE

R

             

12



SA L





U



10





N

SC O

           

7

           

Bis till end

5



E



R

Meditative  = 112

 

gently

         

          

            

                        

  

TF



14

17

 dancelike

           TF

                                 N







R

III. Lower, Slower, Softer, Whole-tone

E

6

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Lower, Slower, Softer, Whole-Tone presents itself as a deceptively challenging etude within this collection. The conical shape of the saxophone inherently creates response challenges in the lower register, particularly when striving to maintain a sotto voce, pure, and clear tone at a soft dynamic.

There are a variety of techniques that can help navigate these intimate moments: reducing the amount of mouthpiece in the mouth, slightly lifting the top teeth off the mouthpiece, quickly closing an open right-hand key with the remaining keys depressed (commonly the pointer finger, or 4) to assist with response, and more.

Regardless of the approach, a consistent and supported airstream remains paramount.

SA L

Take the time to explore the extremes of dynamic and rhythmic expression. It may feel uncomfortable or yield inconsistent results at first, but this type of exploratory practice will ultimately expand your palette of colors and sounds, enriching all aspects of your playing.

R

U

-Nick May

Solemnly  = 60

PE

 



WT-C (WT0) Scale











7

for Crystal Alexander-Duckett

III. Lower, Slower, Softer, Whole-tone

 







 sub.

R

PE

      

16

 contemplatative

  

20

 





 

U

13









   













SA L

 

9





























 

     





E

 





R



5





SC O

  











       

 





IV. Pulse and Syncopation

R

I have to admit something: I have a love-hate relationship with my metronome.

E

8

SC O

Most days I love practicing with a metronome. It helps improve my timing by providing a steady pulse. It helps me slow down tricky passages, accurately learn them at a more manageable speed, and slowly build them up to tempo without learning bad habits. It helps me keep track of tempo goals when I’m working on technique.

Overall, my metronome is the most important practice tool I’ve ever bought.

BUT, sometimes practicing with a metronome is frustrating. It’s always pointing out when I’m rushing, dragging, or playing rhythms incorrectly. Sometimes, it shatters my ego when I have to slow down a passage to half speed (or slower) just to learn the notes. Sometimes, playing with a metronome feels like a punishment. But it doesn’t have to feel that way…

SA L

In this etude, the metronome isn’t just a tool; it’s a percussion part. The steady metronome beats combine with the syncopated saxophone rhythms to create a funky groove. It drives the music forward and makes me want to dance! I recommend exploring all the different metronome sound options (my personal favorite is a clave tone) and having fun making it your own.

U

The next most important aspect of this etude are the variety of articulations. They are: · Tenuto – held, sustained full note value · Tenuto+staccato – stressed and moderately short, separated from the next note · Staccato – separated, detached · Accent – emphasis, stress, or a stronger start of the note

PE

R

Work to differentiate between these different articulations, and pay close attention as the markings change from measure to measure.

My first music teacher once said the difference between a good performance and a great performance is articulation. Let’s strive for greatness!

-Kevin Arbogast

9

for Kevin Arbogast

IV. Pulse and Syncopation







*



         

*quarter note metronome throughout

           

             

                  

          

SA L

7

10





           

          

          

               



PE 19

          

           

U





16

             

          

R





13





R

        

              

SC O

           

4

        

E

    

Funky Groove  = 128

 

 

   

 

  

 

  

    

 

 

Fine







28



31

                              

    





                         sub.

                 

E



25



R



22

Spencer Arias: IV. Pulse and Syncopation

           

cresc. poco a poco

SC O

10

 

                                





45

         



49

   

     







U

      

PE

41

    

R



37

SA L

34

   



  

   

             



 



                     

 

 

          

 





 



    



    

D.S. al Fine

SC O

R

E

11

V. Compound

SA L

I remember when I heard my favorite saxophonist, Rich Perry, warming up on scales while I waited nervously outside of his New York apartment for a lesson. The fluidity was astounding, as was the precision of mechanical movement. When I asked him how he articulated to get such a crisp sound, he responded with "I tongue the first note."

PE

R

U

This etude showcases how proper airflow and mechanical movement can lead to a highly articulate sound without needing to articulate the start of fast notes. This helps developing saxophonists' understand how the specific movement of fingers is a direct result in how fluid our scales and technique feels and sounds. Listen carefully for any unnecessary notes when playing between notes while moving quickly. Our fingers act as pistons, moving seamlessly and connecting to our hands as machines, our brain and ears as fuel.

-Patrick Booth

12

for Patrick Booth

V. Compound

                               like a machine  = 70

                     

 lyrically





   

 

 

 

E

   



with passion

R



3



     

SC O

                                 

5



SA L

                                         

7



U

                           

PE

R

9

                            

10

 sub.

                             

11





                        

Spencer Arias: V. Compound 13

   

  



                         



E



15





R





13

SC O

                                         

17



         

                      

SA L



19





U

            

PE

R

21

       

23





    



   











 

                        



                             

25



    



14

VI. Octatonic

E

This etude provides students with an effective yet approachable introduction to music that is built on scales other than those with which they are likely familiar, namely the major and minor scales. As the name suggests, the etude consists entirely of pitch material from a single octatonic scale comprised of eight tones arranged in an alternating half-step and whole-step fashion. Although this collection of notes may seem unusual or disorienting at first, its symmetrical construction empowers young players to quickly grasp both its unique sound and familiar fingering patterns.

R

As players work on this etude, there are several considerations to be made in addition to increased familiarity with the octatonic scale:

SC O

Simple vs. compound vs complex meter

How should the music feel differently when the beats are divided into groups of 2 than when divided into groups of 3? What about the asymmetrical meters of 7/8 and 5/8? How can careful attention to the meter enhance the “slow dance” feeling indicated in the score?

Fingering choice for F#

SA L

When is it most pertinent to use the alternate F# (Tf) fingering? For example, it isn’t practical in measure 8 because of the preceding D or in measure 12 because of the preceding Eb. The slow tempo should allow for a clean “flip” between the conventional F# and F-natural fingerings. However, the alternate F# fingering is appropriate for the scalar passage in measure 16.

Articulation

R

Interpretation

U

Players should not only carefully observe the different articulation markings and their placements in the music, but should also consider the stylistic implications of each. Staccato markings in particular should be interpreted as separated and light rather than short and aggressive. Take care to avoid tongue-stopping the ends of each staccato note.

PE

Create a thoughtful interpretation of the music. A quality interpretation adheres to the markings indicated in the score while at the same time infusing the performer's musical voice. Students should be encouraged to explore how phrasing, vibrato, and rubato can help them communicate their artistry through their playing.

-Dr. Greg Rife

OCT 23 (OctDEb) Scale

 















15

for Greg Rife

VI. Octatonic

  

3





 sub. sneaky









 



 



















 

SC O

                           

6

 sub. sneaky  growing

dramatic





dramatic



 

=

extra dramatic

                      

SA L

        

10

 

=

E

  

R

a slow dance  = 72 OCT23

dancing

U

                                      

PE

R

13

                  



16

   

20

 

 sub. pulling back



   





      

 







most dramatic

 

SC O

R

E

16

VII. Dance of the 16ths

SA L

Dance of the 16ths challenges the saxophonist to combine crisp articulation, light finger action, and long, constantly shifting dynamic lines—similar to the staple in our repertoire, Tableaux de Provence. Achieving an ‘epic dance’-like sensation requires creating a sense of lilting by emphasizing the first note in sixteenth-note groupings throughout the entire study. Experiment with different variations in volume and articulation intensity to achieve agogic accents. Allowing space between larger beats and phrases will further enhance dynamic shaping. Most importantly—enjoy the dance!

PE

R

U

-Nick May

17

for Nick May

VII. Dance of the 16ths

                                             An epic dance  = 128



                         

E

                  

5



R



SC O

                                                     dream like 

11

SA L

                                                  

16

U

                                             a call to action

PE

R

23



29

 

     

dim.

                                

                                  

35





18

VIII. Groove Like the name implies, Groove is a fun exploration in rhythm and articulation. In addition to practicing the E major and c# minor scales and thirds for uid technique, be sure to bring out the varying articulation styles. Contrasting articulations and precise timing really bring this etude to life!

SC O

R

E

As a practice technique, try subdividing every rhythm into 16th notes at 50bpm. is will ensure all notes stay perfectly in time, and avoid the tendency to clip 8th notes short before and after rests (like in measures 4, 8, 9, etc.) or turn dotted 8th rhythms into triplets (like in measures 12, 14, 17, etc.). Additionally, subdividing everything into 16th notes will allow the rests to really shine through, since they are equally important to making this etude feel energized.

Lastly, pay attention to your breath. Although a rest is an opportunity to breathe, not every rest should warrant an inhale. Breathe only when you're out of air, and be sure to keep the airstream continuous throughout.

SA L

-Elizabeth Rosinbum

for Elizabeth Rosinbum

VIII. Groove

                                          Groove  = 112

U



PE

R

                        

4

             

                                         

7

     

10

                                        

 

 

Spencer Arias: VIII. Groove

   

14









 

 



  



   

19



                                   

             

PE

R

      

28



32



35









SA L



U



25

R





22

                                

SC O



    

19

E

16

  





       

                 



      

   



 

  

     



   

    

  

     

20

IX. Angularity

Angularity is an etude that challenges the saxophonist to maintain a stable groove in 6/8 time while exploring accent patterns that shift to all parts of the meter. The technical expectations are appropriate for a developing saxophonist while providing the challenge of staccato notes that leap around the horn, requiring facility and coordination between the tongue and fingers. It also challenges the performer to musically interpret instructions like “sneaky” and “with sadness” that provide opportunities for discussing musical concepts between teacher and student.

E

-Dr. Matthew Younglove

for Matthew Younglove

IX. Angularity

  

            



 sneaky

 



                          

   

        

17

      

21

SC O

SA L

 

PE

13

              

        

U

 

9



groove

      

R

 

5

R

                               an angular groove  = 90



       

     

     

      

            

      

  



  

      dim.

        

  

 



forcefully

       

50

  

54





 



 

    rit

     

        

a tempo



                                  

PE

44

  

      

SA L



38



     

 

U



33





SC O

          

R



29

                 

E

      

       

25

21

R

Spencer Arias: IX. Angularity





  



        

         

angular

    





 with sadness



  





 with sadness

 

       

  

dancing

 

     

   



 a whisper

22

X. Lyrical 12-Tone Lyrical 12-Tone stands out as a compelling example of how the rigorous structure of twelve-tone composition can coexist with expressive, voice-like writing. In a genre often characterized by intellectual abstraction, this etude is crafted in such a way as to be both methodically grounded and emotionally resonant. The carefully organized tone rows never overshadows the music’s innate character—instead, it enhances the melodic line, weaving a sense of coherence and direction through what might otherwise seem unfamiliar territory. The result is a work that feels simultaneously modern and inviting, a rare combination in the realm of post-tonal music.

SC O

R

E

What makes Lyrical 12-Tone particularly effective is its accessibility for developing saxophonists, especially those encountering twelve-tone technique for the first time. It avoids the dense textures and disjunct gestures often associated with serialism, opting instead for a clear, singable line that naturally draws students into the music’s structure. This approachable lyricism serves as a valuable pedagogical tool, helping to demystify post-tonal practices while still honoring their complexity. In this way, Lyrical 12-Tone functions as both an artistic statement and an educational bridge, opening the door to deeper engagement with twentieth- and twenty-first-century compositional languages.

-Sean Garde

SA L

Performance Note

PE

R

U

12-Tone is a technique developed by Arnold Schoenberg during the early 20th century when the saxophone became popularized. This led to several important works in the saxophone repertoire that engage with this technique and its variations. The basic premise of this technique involves using a series of 12 pitches (a 12-tone row) in a specific order and transforming those 12 pitches by transposing them, playing them backward (in retrograde), while also considering inverting them (if the series involved 3 half steps rising, those 3 half steps would fall), and also playing that inversion in retrograde. It is important to note that 12-tone is not a sound or genre but a technique. Lyrical 12Tone is an example of 12-tone that relies primarily on consonant intervals as the basis for the composition. In other examples from the repertoire, you may discover many more dissonant intervals. Both can be beautiful, but neither of them is wrong. As an exercise, see which version of the 12-tone row is utilized throughout the piece. The First 12 pitches of the piece serve as the 12-tone row.

1





2



3



-Dr. Spencer Arias

4

5





6



7

8

9

10

11

    



12

23

for Sean R. Garde

  

X. Lyrical 12-Tone

         









 gently





PE  

23





29







U

Tempo 1  = 66

rit

       sub.

Rit





 

  

 

      





 







      

     

SA L



R



19

with haste  = 92





        

16

playfully



with strength

accel.









  

  





with a sadness





rit.





       

a tempo







  

E

 

5

  



    

R





10

      

SC O

     Lyrical  = 66

  



 with re ection



 



    

SC O

R

E

24

XI. Asymmetry

SA L

Subdivision, subdivision, subdivision! That is the key to etude Asymmetry. To successfully prepare this etude, you will need to think a constant eight note pulse but feel and phrase the etude at the quarter/dotted quarter level to give a dance like feel (as seen in m.11). Additionally, this etude quickly shifts from forte to piano, be sure these are the extreme dynamic throughout the piece!

A few other smaller things to keep in mind with this etude: m.1 do not slap tongue the written D4! The note is staccato and separated but does not need a harsh articulation. mm.8-9 this is the first moment in the etude you can focus on the lyrical side of playing – lyrical does not mean slower! But it is a place to implement vibrato.

PE

R

U

Overall, this is a fantastic etude to focus on subdivision and pulse while getting comfortable with different compound and mixed time signatures!

-Drew Hosler

25

for Andrew Hosler

XI. Asymmetry

                                          With Excitement  = 84



6





             

 

 

 sub. singing

   

         

dance like





R



  

18

jolly

SC O



E

2+2+3                                      

14

         

 





   



                                 

28

SA L

23

                                       

1st: f 2nd p

U

               

                 

PE 

36



39



43



           sub.

 

















     

        



                

 gently 

R

32





       

       















26

XII. Extended Exploration

The thoughtful exploration of sonic possibilities is one of the most informative (and fun) components of our practice and craft as contemporary musicians. Etude 12 invites us to do this in several ways, experimenting with timbre, fingerings, gestures, and everything in between!

In contemporary repertoire, you will be asked to do all sorts of crazy things, so embrace both the fun and odd things the saxophone can do! Below are some tips and suggestions for exploring this etude: M. 2 What are the possibilities for accessing the upper register? Take your time here because we’re learning to embrace the “mistakes” to empower a multi-faceted approach for high-register playing

E

Key clicks: how does the texture differ when using fewer or more keys? How about the rate of the key clicks? Are there different possibilities between regular and side keys?

R

Multiphonics exploration: This multiphonic is particularly potent, but can you also target one or the other? How can we highlight different characteristics of the multiphonic to create a unique gesture?

SC O

M 11: alternate fingering for bisbigliando on G: trill with 456C to access second harmonic over low C (rather than risking a rogue multiphonic with 56C only) Air sounds: experiment with the rate of exhalation, colours within the wind sounds, how you’re sealing around the mouthpiece Celebrate when things go according to plan, be curious when things don’t, and treat each performance as an opportunity to tell a new story with this piece – HAVE FUN!

SA L

-Dr. Jeffrey Leung

Performance Note

PE

R

U

is gesture involves a technique that goes by a few names but, in simplest terms, explore the harmonic overtone series. Mastering this technique can be incredibly helpful in developing the altissimo register (above high F). Starting on low Bb, explore the shape of your oral cavity, air speed and jaw pressure (voicing), and see if you can nd the Bb an octave higher. en the F above that, then the Bb above that. As you voice higher, see how high you can reach. is technique takes time to develop, so do not feel discouraged if you cannot reach the highest harmonics at rst!

for Dr. Jeffrey Leung

XII. Extended Exploration

Slow like a cold and snowy day  = 42

 

 

4

2C2









accel as fast as possible Key Clicks

   



  

As high as you can, go until it cracks





      





   















 





improvise chaotic noisy key clicks for as long as you like out of time

Spencer Arias: XII. Extended Exploration

 







 

explore venting keys and changing embouchure, and dynamics. how can you make this musical? breath as necessary for as long as you like

 

7



12356C





        like falling snow

          

 

E

     

a tempo

6

27

SC O

how fast and clean can you get this sound, embracing cracks, repeat as many times as you like

                            

12



       

PE





16



17

   5

1235TF

R

2TC

      

     

U





SA L

9

14

R

                                    

8

 

   

 

 





 

 

bisbi 56C

TF

 cresc. a whisp hold TC-------->

        like falling snow

         

1TC

bisbi 45

 

bisbi 45

                         2C2 for all d's m16

 

 

     



  gloomy

bisbi 56C

5

 

hold TC---------->

 

To air sound, explore dyanmic contrast, like blowing wind during a blizard







 

28

XIII. Improvisation

SC O

-Dr. Spencer Arias

R

E

This etude is one of great importance to me. As a composer, much of my musical practice comes by taking an improvisational mindset. This type of mindset provides a sense of resiliency, while teaching you stronger active listening skills. Improvisation gives you the ability to pivot upon any and all choices. The first step to mastering this skill is to remove from your mind that there is such a thing as a mistake while improvising. While of course, aesthetic taste plays an important role in the choices you make, this is only one component of improvisation. I love to take the mindset of the happy accident, treating every move I make as an improviser as a learning opportunity. With improvisation, the more you do it, the easier it gets, and the more you believe in yourself, the more you present yourself as the great musician you are, regardless of where you are at from a skill level perspective. There is without a doubt no wrong answer here. Read the words carefully, own them, believe them, embody them, and most important, believe the last two lines.

for Woody Chenoweth

XIII. Improvisation

SA L

Directions: Have someone Read this poem out loud while you act out the sequence of events. While practicing you may prewrite some of these gestures out, but the eventual goal is to play without the that, and just use the poem. This piece can NEVER be wrong. Throughout don’t be afraid to explore articulation and dynamics.

Imagine you are stuck Unable to move your fingers and toes The reason doesn't matter why, but the feeling inside still leaves you unable to groove

U

But suddenly, bit by bit, you move right to the left foot And then the right, You are able to stand

PE

R

Standing higher than you ever knew before With sheer confidence, your arms begin to work You pick up your horn, ready to play But for some reason, your fingers do not move The sheer aggravation of the fear, the rejection What if you're wrong What if they hate it What if you hate it But suddenly something happens!

One finger starts to work, Which finger is it? Play that note

As you repeat that note, find a rhythmic groove, Anything and everything is correct. How are you feeling about it?

All your feelings are valid, but be kind to yourself.

I promise you; no one knows but you.

29 What if a 2nd finger worked And then a 3rd A 4th

But suddenly, one pulls back And then another Down to 1 and that same rhythmic groove

E

Adding one by one till your full hand is working

SC O

R

Express your frustration, and find a multi-phonic It's okay to cry. Did you know that a descent of a half step has been used for hundreds of years to express this emotion. Even to this day No one else will know but you.

Fear is only one emotion involved here.

Rejection and shame that others will judge you

One of the best parts of growing up is the ability to decide what those things mean.

And some adults never quite get there.

SA L

But I promise you, on the other side is a glorious place.

A place where shame and rejection don't hurt so much A place where people treat each other with genuine kindness

R

U

And all of a sudden All your fingers and toes work, and there is no holding back Anything and everything is welcome A melody A groove A Sound A cry A stomp

PE

You can be whoever you want to be You might not be the best right now But you are capable of being the best you, you can be Are you feeling like the big saxman at home The cool busker downtown In a combo The polished member invited to play the solo in the orchestra The esteemed soloist playing the next signi cant work by the new prominent composer Or the lover of all things old and playing a Bach transcription They are all fantastic choices You are a fantastic choice Bet on you You've got my bet.

30

for Hannah Creviston, Yu-Lien e, and Liz Ames

Sonata for Alto Saxophone and Piano I. With Rage

                                 With Rage  = 90







 rit



26





 aimlessly



Pno







 

    

    







  

Solemly  = 72

  

 

         

       

  





    

         

          

31

R

SC O



        15

PE

20

                       

SA L



13



U



9

 sub.

E

                                   7

R



5



   

   

tearful

    

    

    



 

 

Spencer Arias: Sonata for Alto Saxophone and Piano

31

                  36

accelerando





Pno

 with realization



with excitement

                               

E

                          

R

         

45

44



SC O

41

With Conviction  = 104

                                               

47









PE

R

  56                                 

60

  

64



















   

 

 

                                

U



54

 

SA L

   50

    



57



    







 

   

rallentando

  

  

      

 





 

32

II. Gentle





 

  



a bit more







               

18





PE 

 



 

21

24







15



   

R

U

 a whisp



 

23







SA L

     12              



  



 



 









E

   7

       

  





R





SC O

    

Gentle  = 66







 



               Pno







            with convinction  



  

  



 

Spencer Arias: Sonata for Alto Saxophone and Piano

 sadly





 contemplate





 









                        semi-cadenza 

                a tempo

R

U

38

     

PE 

    

42





   



  

with strength



 

 





like sunshine

      

          



 

                

SA L

36

40

       

   

SC O

   

31



E

     

28

R



29 Contemplative

33

        

 

 



with joy



 



34

III. On Alert

      







8



 







  



           tango like

       

                      



R 

   

   

       

PE 

16





    

19

18





U

12



7

SA L

4



E





 

R



                        

SC O

         On Alert  = 112

 





  





 



                 frantic

               





rallentando               22                                 

Spencer Arias: Sonata for Alto Saxophone and Piano



35

 with relief

 

     =                             A bit slower  = 84

U

              

PE

             

37

      

40

R

        =

R

 

35

      

SA L

   

33

     

     

SC O

              

31

with a growing joy

E

29

  



           

 

  

        

36

  

a sigh of relief

                       





 



 

36

Spencer Arias: Sonata for Alto Saxophone and Piano



                              



      

49

re ective

                        

 sub.

55                         

R

      

      

       

 

U

60



PE

R

      



61

 



 

                    68



             

SA L

      

 

57



         

SC O

53

64

         

E



45







  



  

                              





          

73











  



    

 

E R SC O SA L U R PE

Arias: Thirteen Etudes JAT-101-067-FS

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