About the Book
During the early 20th century, Western composers such as Alois Hába, Ivan Wyshnegradsky, and Charles Ives began composing quarter tone works for piano, clarinet, and voice. Composers such as Dean Drummond and Easley Blackwood composed microtonal pieces for a variety of unique instruments, including pitched percussion, guitar, and electronic instruments.
Since then, many composers have experimented with the new melodic and harmonic possibilities quarter tonality has to offer. There are hundreds of quarter tone pieces which have been composed for piano, voice, strings, brass, and woodwind instruments, including the saxophone.
Quarter tone compositions are beginning to appear in the saxophone repertoire. The saxophone is highly capable of playing quarter tone notes, with almost the same fluidity and consistency as the normal notes, throughout nearly the entire 2 ½ octave range.
The goal of this book is to encourage saxophonists to learn this technique and to encourage saxophone composers to write for it. Quarter tonality presents new melodic and harmonic possibilities that can bring about previously unexplored textures, colors, and atmospheres to music.
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