Chaconne n2 J.S. Bach Versión Saxofon

University of Iowa

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A performance edition and technical guide to Johann Sebastian Bach's Chaconne from Partita in D minor, BWV 1004, for alto saxophone Stephen Charles Page Jr. University of Iowa

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A PERFORMANCE EDITION AND TECHNICAL GUIDE TO JOHANN SEBASTIAN BACH’S CHACONNE FROM PARTITA IN D MINOR, BWV 1004, FOR ALTO SAXOPHONE

by Stephen Charles Page Jr

An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa

December 2011 Essay Supervisor: Associate Professor Kenneth Tse

Copyright by STEPHEN CHARLES PAGE JR 2011 All Rights Reserved

Graduate College The University of Iowa Iowa City, Iowa

CERTIFICATE OF APPROVAL _______________________ D.M.A ESSAY _______________ This is to certify that the D.M.A. essay of Stephen Charles Page Jr has been approved by the Examining Committee for the thesis requirement for the Doctor of Musical Arts degree at the December 2011 graduation. Essay Committee: ___________________________________ Kenneth Tse, Essay Supervisor ___________________________________ Benjamin Coelho ___________________________________ Nicole Esposito ___________________________________ Andrew Parker ___________________________________ Fred Skiff

To Mom and Dad.

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ACKNOWLEDGMENTS During my education, I have been very fortunate to have an incredible amount of support and guidance from a number of important individuals. I would first like to thank my former teachers, Dr. Eugene Rousseau and Dr. Otis Murphy, both of whom challenged me to be the very best musician and person I could be. I feel very lucky to have worked with such kind, caring, and inspirational teachers, and I am eternally grateful for their ongoing support. I owe a great deal of thanks to my current major professor, Dr. Kenneth Tse. Dr. Tse has influenced and inspired me in a way I will never be able to fully articulate, and I am very grateful to have such a wonderful mentor. I feel very proud to have been Dr. Tse’s student, and honored to have been a part of the incredible saxophone studio at the University of Iowa. Finally, I am forever indebted to my family. Throughout the years of my education, each of you has been paramount in helping me achieve my goals, and I am always comforted to know that I have such caring people in my life. Without your unwavering support and encouragement, none of this would have been possible.

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TABLE OF CONTENTS LIST OF FIGURES .............................................................................................................v INTRODUCTION ...............................................................................................................1 CHAPTER I.

VARIABLES ....................................................................................................4 Choosing and Edition .......................................................................................4 Choosing a Voice ..............................................................................................5

II.

ADAPTATION METHODS ............................................................................7 General Considerations .....................................................................................7 Special Considerations......................................................................................9

III.

TECHNICAL AND FINGERING SUGGESTIONS .....................................19

IV.

BREATHING .................................................................................................43 Overview .........................................................................................................43 Practical Application ......................................................................................43

APPENDIX A.

CHACONNE FOR ALTO SAXOPHONE, ARR. STEPHEN PAGE ............54

BIBLIOGRAPHY ..............................................................................................................67

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LIST OF FIGURES Figure 1.

Chaconne, Measures 1 – 3 (transposed) .....................................................................8

2.

Chaconne, Measures 1 – 3 (transposed) .....................................................................9

3.

Chaconne, Measures 57 – 63, Melodic Line (transposed) .......................................10

4.

Chaconne, Measures 57 – 63, Accompaniment (transposed) ...................................10

5.

Chaconne, Measures 57 – 63, Undesirable Rolls (transposed) ................................11

6.

Chaconne, Measures 57 – 63, Preferred Rolls (transposed) .....................................12

7.

Chaconne, Measure 85 – 88 (transposed).................................................................13

8.

Chaconne, Measure 89 – 90, Rhythmic Expansion (transposed) .............................14

9.

Chaconne Measure 102, Original and Modified Articulations (transposed) ............14

10. 11.

Chaconne, Measure 165, Incorporation of Overtones (transposed) .........................16

12.

Chaconne, Measure 169 (transposed) .......................................................................18

13.

Chaconne, Measures 229-230, Incorporation of Alternate Fingerings

Chaconne, Measures 169-176, Original Notation (transposed) ...............................17

(transposed)...............................................................................................................18 14.

Saxophone Fingering Chart ......................................................................................20

15.

Chaconne, Measure 16 (transposed), Suggested Fingerings ....................................21

16.

Fingering for “Front E”.............................................................................................21

17.

Chaconne, Measure 16 (transposed), Suggested Fingerings ....................................22

18.

Chaconne, Measure 22 (transposed), Suggested Fingering ......................................23

19.

Chaconne, Measure 85, Beat 3 (transposed), Suggested Fingerings ........................24

20.


21.


22.

Chaconne, Measure 87, Beats 1 and 2 (transposed), Suggested Fingerings ............26

23.


24.

Chaconne, Measure 88, Beats 1 and 2 (transposed), Suggested Fingerings ............27

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25.

Chaconne, Measure 102, Beat 1 (transposed), Suggested Fingerings ......................28

26.


27.


28.


29.


30.


31.


32.


33.


34.


35.


36.

Chaconne, Measure 114 Beats 2 and 3 (transposed), Suggested Fingerings ...........34

37. 38.


39.


40.


41.


42.


43.


44.


45.


46.

Chaconne, Measure 197 (transposed), Suggested Fingerings ..................................40

47.

Chaconne, Measure 198 (transposed), Suggested Fingerings ..................................41

48.


49.


50.


51.

Chaconne, Measures 25 – 32 (transposed) ...............................................................45

Chaconne, Measure 115, Beats 2 and 3 (transposed), Suggested Fingerings ..........36

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52.


53.


54.


55.


56.

Chaconne, Measures 91 – 102 (transposed) .............................................................50

57.

Chaconne, Measures 149 – 152 (transposed) ...........................................................51

58.

Chaconne, M. 153 – 160 (transposed) ......................................................................51

59.

Chaconne, M. 153 – 160 (transposed), Possible Articulation Change Added .........52

60.


61.


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1

INTRODUCTION As in his cello suites, Johann Sebastian Bach’s three partitas for solo violin make use of Baroque dance forms. In his Partita in D minor, Bach begins with the traditional suite arrangement, including an allemande, courante, sarabande, and gigue. He includes a final movement, the Chaconne, as an optional dance, as was common beginning in the eighteenth century. The Chaconne from the second Partita is one of the most celebrated crown jewels within the violin repertoire, and the demands of the music pushed the boundaries of recognized violin technique during Bach’s time. In addition to being performed as part of the entire Partita in D minor, the

Chaconne has also earned a place within the violin repertoire as a singular entity, and it is often performed alone. The movement’s length is extreme, being longer than that of the Partita’s

other four movements combined, and unfolds over the course of a quarter-hour. The chaconne, srcinally from Latin America, typically used variation techniques, building upon a primary harmonic progression. Many examples of chaconne, though not all, are in triple meter. The structure of the chaconne consists of smaller units between two and sixteen measures long. Each of these units ends with a cadence, which leads immediately into the next unit.1 This process allows for a seemingly limitless number of variations. In the case of this Chaconne, every four-measure phrase concludes with cadential motion arriving on concert D. It is interesting, however, that Bach chose to write such a long movement using a form of which structural constraints do not allow for significant modulation. While a chaconne allows for limitless variations and continuous momentum, it in turn also

1 Silbiger, Alexander. "Chaconne." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/music/05354 (accessed February 11, 2011).

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eliminates the major compositional tool of tonal contrast, due to its continued use of the primary harmonic progression. As such, the Chaconne is in three sections, A-B-A, in D minor, D Major, and D minor, respectively. The concentrated compositional focus of the Chaconne, which results from formal design, is further compounded by the attention put on the sole performer. Johannes Brahms perhaps best expresses the truly monumental nature of this iconic work: “On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind.” Still today, the Chaconne is considered a pinnacle of violin virtuosity. The technical difficulty of executing this composition is increased by the modern evolution of the instrument itself. The modern violin’s advancements are many ways a detriment in the performance of this work. In order to achieve great projection, the modern violin has been outfitted with a bridge that is considerably more arched than that of the baroque violin, which allows for greater string tension. The baroque violin’s flatter bridge allowed for the sounding of more than two strings at a time. On the modern violin, sounding more than two strings is not possible, and thus, such instances must be arpeggiated. 2 Additionally, the neck of the modern violin has been lengthened, and put at a great angle to the body, which again allows for great string tension and great projection. This alteration meant that the left-hand technique became more difficult as the distance between pitches on the fingerboard became greater. Other improvements were also made to achieve greater projection and brilliance, such as elongating the bass-bar, to give

2 Tretick, Sidney James. “An Analysis of Performance Practices for the Johann Sebastian Bach Chaconne Based Upon the Anna Magdalena Man uscript.” Diss. University of Colorado at Boulder, 1957.

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vibrations a larger traveling area, and also to strengthen the instrument to better handle the increased string tension. Bach’s Chaconne has been arranged in many ways, and continues to undergo transformations as more performers make the music their own. Of the many arrangements available, there are several notable examples. Johannes Brahms’ arrangement of the Chaconne for piano uses only the left-hand, and Ferruccio Busoni uses both hands. The brilliant conductor Leopold Stokowski arranged the Chaconne for full orchestra; Andrés Segovia for the guitar. Arrangements for wind instruments include those for flute by Toke Christensen, for clarinet by Gustave Langenus (though his excludes a number of variations), and most recently for bassoon by Arthur Weisberg, the last of which highlights the new “Weisberg System” for bassoons. Presented here is a new version, for alto saxophone. Just as violinists deal with challenges in performing the Chaconne based on the construction of their instrument, so do other instrumentalists, according to their instrument’s limitations and boundaries. With each new arrangement comes a new set of problems. The following chapters and included performance edition are to serve the saxophonist as a point of departure in their study of this work. As the musician makes the work their own, they may wish to make additional changes and adaptations in order to better suite their own playing.

4 CHAPTER 1 VARIABLES

Choosing an Edition In creating an arrangement of the Chaconne for alto saxophone, it is paramount to me that the point of reference be one that is largely unchanged from the srcinal manuscript. While there are already many editions and arrangements for various instruments, beginning with what the composer srcinally wrote will help avoid insertion of changes made by an editor, or the performance practice opinions of a given arranger. With these ideas in mind, a published urtext edition would serve well as a starting point. An urtext edition is intended to provide a reproduction of the srcinal work at hand, without any added or changed material. An added benefit of these editions is that they are far more legible than the autograph or early publications. While there are many companies that publish urtext, one of the most respected is Bärenreiter. The New Complete Editions are known worldwide as comprehensive urtext publications of composers’ entire compositional catalogues, and for this reason Bärenreiter’s publication of Bach’s Three Sonatas and Three Partitas for Solo Violin

(BWV 1001-1006) was selected as the reference source for this arrangement. In the words of the publisher: “…Bärenreiter ‘urtext’ is more than just a label; it is also a pledge and a guarantee - for sheet music that follows the authentic form of the text and the latest findings of musicological research, enabling readers to get as close to the composer's intentions as the surviving sources will allow. There are no arbitrary editorial additions, and the quality of the musical text is matched by an appearance on the page that will satisfy the most discerning eye.”3

3 “About Bärenreiter.” Bärenreiter-Verlag Publishing. www.baerenreiter.com Accessed December 12th, 2010.

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Choosing a Voice When examining the string quartet as compared to the saxophone quartet, there are a few differences that are immediately apparent. The string quartet contains the three differing voices of the violin family: violin, viola and cello. The saxophone quartet, however, contains four differing voices: soprano, alto, tenor, and baritone. An early saxophone quartet by Jean-Baptiste Singelee, Premier Quatuor, completed in 1857, may be the catalyst for this instrumentation becoming what is now the ‘standard’ for saxophone quartet, having been the earliest known piece to utilize this four-voice formation. Clearly, the two like-voiced violin parts in the string quartet are mirrored in saxophone quartet by two different voices, soprano and alto saxophones. In selecting a saxophone voice for a transcription of violin music, the most obvious choice would be the soprano saxophone, as it is the highest voice of the commonly used saxophone family. The problem, however, is one of range. The range of the violin spans from concert G3 through C8 (though notes above E7 are produced by harmonics), whereas the range of the soprano saxophone spans from concert Ab3 – C7. Clearly, the instruments are close in range capability, though limitations do still exist. Although the uppermost octave (C7 through C8) of the violin cannot be matched by soprano saxophone, it can be compensated for by using octave displacement. In the low register, the two instruments differ by a mere semi-tone, as the soprano saxophone’s lowest note, concert Ab, is a semitone higher than that of the violin’s low concert G. While this difference is not entirely detrimental within the context of the violin repertoire, this concert G3 plays a critical role in the harmonic structure of the Chaconne, and cannot be easily substituted.4 Due to this problem of range, and the prominence of the pitch G3 4 It is pertinent to note that a new trend is emerging in saxophone manufacturing that specifically addresses this issue. German acoustician and saxophone manufacturer Benedikt Eppelsheim has successfully modified the soprano saxophone, manufacturing a new, longer bell with the addition of the pitch G3. This allows for more accurate performance of works for violin by more closely matching the range of the instruments. Performers who have taken to this modification include Markus Weiss, Miha Rogina and Doug O’connor, and the author amongst others.

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within the Chaconne, too many compromises would need to be made in arranging for soprano saxophone. Therefore soprano saxophone is not well suited for this arrangement; instead, the alto saxophone would best serve this specific piece, as its possible range is concert Db3 – Eb7, requiring the arranger to make fewer compromises.

7 CHAPTER 2 ADAPTATION METHODS

General Considerations The most difficult problem encountered when arranging the Chaconne is its frequent use of multiple stopping. The violinist’s ability to play more than one string at a time poses a significant problem in relation to the saxophone. There are several possibilities in arranging these occurrences for saxophone. The use of multiphonics could be incorporated in the place of multiple stopping. Alternately, the instances of multiple stopping could be simplified, excluding pitches that may be extraneous to the melodic line. In this arrangement however, the multiple stops are rolled using grace notes, in order to maintain the chordal structure that is so important to the music. Although the saxophone is capable of producing multiple sounds, it cannot idiomatically reproduce the violin technique of multiple stopping. The technique most commonly used for producing multiple sounds on saxophone is known as multi-phonics. While multiple sounds are produced with this technique, neither pitch nor timbre are the same as those found on string instruments. Multi-phonics are rapid vibrations between two or more notes, rather than actual simultaneous sounds, although this is the perception. Furthermore, due to the acoustical design of the instrument, these multiphonics do not encompass every interval available on the instrument, and as such, their use is much more limited. Some saxophonists have successfully incorporated the use of multi-phonics in transcriptions of violin repertoire. Dutch saxophonist Raaf Hekkema has incorporated this technique within his arrangement of the Caprice No.14 by Nicolo Paganini.5 While this arrangement is certainly interesting aurally, the harmonies are not perfectly intact,

5 Hekkema, Raaf. Paganini Caprices. MDG 619-1379-2.

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due to the somewhat unpredictable nature of multi-phonic sounds. Additionally, in order to use multiphonics within this arrangement, Hekkemma was not able to maintain the srcinal key. Considering these potential problems as well as the aforementioned limitations of using multi-phonics, their application in this arrangement of the Chaconne is not practical. Another possibility in negotiating these multiple stops involves simplification. The idea of simplifying multiple stopping is used by Dr. Michael Ibrahim throughout his recording of the Chaconne, on his CD entitled Bach: For Saxophone. Rather than include each pitch for a given multiple stop, Dr. Ibrahim has chosen to play only the melodic line, and has said that he hears this opening as similar to plainchant. 6 Figure 1 shows the opening three measures, as simplified in this way. While this approach is beautiful, unfortunately, the harmonic progression is lost without the chordal structure provided by the multiple stops.

Figure 1: Chaconne , Measures 1 – 3 (transposed)

A third approach to this opening section is to roll the multiple stops using grace notes, highlighting the melodic line. In his arrangement of Bach’s Suite No. 1 in G major, BWV 1007, and Suite No. 3 in C major, BWV 1009, both of which are for unaccompanied cello, saxophonist Jean-Marie Londeix has approached multiple stopping

6 Ibrahim, Michael. Bach for Saxophone. Omninova-2005.

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in this very way. Given the infrequency of the multiple stops in these examples, this adaptation technique works well, although it is important to note that Londeix changed the rhythm when incorporating these rolls. In his arrangement of the cello suites, Londeix is working towards the same effect in a slightly different manner. Rolling the multiple stops allows for both the chordal structure and harmonic progression to be heard, while still emphasizing the melodic line (Figure 2). For these reasons, I have utilized this technique for the duration of this arrangement, in instances where such alteration would be appropriate.


Special Considerations Several areas throughout the work require much more than a simple addition of grace notes in lieu of multiple stopping. These portions of the music will call for special attention to detail in order to be effectively arranged for saxophone, while also remaining true to the music’s srcinal form. One section that requires more specialized attention in arranging multiple stopping is measures 57 through 76. When studying the srcinal score, it is apparent that these measures consist of a melody, and an accompaniment. Bach has reinforced this structure through his note groupings, which serve as a guide for the present arrangement. To begin the process of arranging, the melodic line must first be identified, as shown in figure 3.

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Figure 3: Chaconne, Measures 57 – 63, Melodic Line (transposed)

The melodic line is paired with a sparse accompaniment, consisting of double and triple-stops. When viewed alone, this accompanying line and its structure become much clearer, as shown in figure 4.

Figure 4: Chaconne , Measures 57 – 63, Accompaniment (transposed)

Finally, accompaniment and melody must be rejoined in a way that is idiomatic to the saxophone. As with previous sections, the multiple stops will be substituted with grace notes, though the incorporation of these grace notes must be carefully examined.

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By first separating the melody and accompaniment, it becomes clear that for the majority of time, the accompaniment occurs above the melody. It would be instinctual to roll the multiple stops upward, from low to high, each time they occur. Because the accompaniment occurs above the melodic line, playing the grace notes from low to high would result in accentuation of the accompaniment. This accentuation detracts from the melodic line, causing it to be heard as a combination of the two separate parts. Below, figure 5 shows this section of music arranged using rolls from low to high.

Figure 5: Chaconne, Measures 57 – 63, Undesirable Rolls (transposed)

Taking the aforementioned issues into account, the accompaniment has been added above the melody in the form of grace notes, where applicable (figure 6) to better retain the srcinality of both lines.

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Figure 6: Chaconne, Measures 57 – 63, Preferred Rolls (transposed)

While I have addressed the general issues of range, there are other, specific areas of concern. In measures 85 through 88, the tessitura is quite high, and so are the resulting technical demands. This section requires incredible fluency of the performer, and regardless of virtuosity, clean sound production is not guaranteed. Given the difficult technique involved, along with the perilous range, an ossia has been added. This ossia (Figure 7) retains the writing of the srcinal line, only lowering its range by one octave in order to avoid the upper altissimo register.

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Figure 7: Chaconne , Measure 85 – 88 (transposed)

Following this ossia, begins what is perhaps the most challenging aspect of the work. The next 32 measures contain relentless arpeggiations, played across the strings of the violin, utilizing its vast range. In arranging for saxophone, the first adaptation made is one of convenience. In its srcinal form, these measures are written as blocked chords, and marked as ‘arpeggio’. While it is common practice for violinist to read music in this

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way, it is not so for saxophonists. Therefore, these measures have been rhythmically expanded in the manner seen in the below figure.

Figure 8: Chaconne , Measure 89 – 90, Rhythmic Expansion (transposed)

The next adaptation made has to do with articulations. Within this portion of the music, articulations have been altered slightly to account for extension into the altissimo register. If the articulations were to remain the same as written for violin, the saxophonist would encounter problems of response. While it is certainly possible to slur into the altissimo register, the tempo of this section makes execution more difficult. Figure 9 below contains measure 102 in its srcinal form, followed by the same measure with this articulation change. Though this change is minor, it allows for less strenuous execution.

Figure 9: Chaconne Measure 102, Original and Modified Articulations (transposed)

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Within measures 133 -140, there is a clear melodic line, and a clear accompaniment occurring beneath it. In effect, the violin truly plays a duo with itself. While the multiple stopping found in this section could be arranged in the same way as previous sections, there is another possibility worth entertaining. Due to the clear two-part writing in this section, it would be possible to utilize simultaneous singing and playing. That is to say, the performer would play the melodic line, and sing the accompaniment. Saxophonist Raaf Hekkema, in his recording of the Paganini Caprices, effectively uses this technique, bringing the arrangements closer to that of the srcinal. 7 However, the downfall of this simultaneous singing technique is one of range limitations. Performers’ singing ranges can often become an issue, and if their ranges were too narrow, they would need to make further alterations. Taking into account this inherent problem, its use in publication could be problematic. Within the context of this arrangement, the potential application of this technique would occur only once, in the eight measures from 133 -140. As such, this single incorporation may seem out of place, and unnecessary on the whole, as its application does not relate to any other portion of the Chaconne. For these reasons, and the purpose of continuity within the arrangement, I have decided against the use of simultaneous singing. In lieu of simultaneous singing, I have arranged these measures using grace notes for the accompanying line, as in the preceding sections. Measures 165 through 168 require an additional point of arrangement, for instances of a single pitch played in unison across two strings. This technique, of course, works very well and idiomatically on violin, however, recreating such an effect on the

7 Hekkema, Raaf. Paganini Caprices. MDG 619-1379-2.

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saxophone can prove to be quite challenging. In this instance, the pitch involved is a concert A (written F#), which allows for several possibilities in arranging. The first possibility is the incorporation of overtones, which are imitative of the technique on violin. In the case of the written middle F#, and as such, the second overtone on the saxophone’s low B could be used. This alternate sound is less focused and more strident than, though somewhat similar in color to, that of its two-stringed violin counterpart. This method is a viable option; however, the pitch produced risks containing too much of the fundamental low B, in addition to being difficult to control. The second possibility is to use alternate fingerings, which would give a different timbre to the repeated notes. This technique has been used in saxophonist Jean-Marie Londeix’s arrangement of the Bach Suite No. 1 in G major, BWV 1007.8 Within the

Chaconne, the pitches in question occur in multiple bowed groups of three notes, and as such, the second note of each grouping could utilize a different fingering. While the change in timbre is apparent, this technique results in a sound more akin to a string crossing than a true unison of two strings, thus rendering it a less viable option. For these reasons, I have incorporated the use of overtones in measures 165 through 168 (figure 10).

Figure 10: Chaconne, Measure 165, Incorporation of Overtones (transposed)

8 Londeix Cello Suite 1

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Thus far within this arrangement, nothing from the srcinal scoring has been left out altogether, and solutions for problems encountered have used addition rather than omission. Unfortunately, there is one portion of the music in which exclusion cannot be avoided. Measures 169 through 176 (figure 11) involve multiple stopping, but in a more intricate rhythm.

Figure 11: Chaconne , Measures 169-176, Original Notation (transposed)

The constant sixteenth notes in this section make adaptation nearly impossible, as grace notes cannot be practically incorporated in such rapid succession. Thus, this portion of music has been simplified, favoring the higher melodic line. Additionally, the contrary motion within the intended multiple stopping is included in the simplification on the fourth beat of each measure as shown in measure 169 in figure 12 below. This adaptation allows the contrary motion to be clearly heard, rather than excluding it altogether.

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Figure 12: Chaconne , Measure 169 (transposed)

The final major portion of adaptation comes between measures 229 and 240. Earlier, the idea of using alternate fingerings to imitate playing a single pitch in unison over multiple strings was introduced. This approach in fact resulted in a sound more akin to a string crossing than a true unison of two strings, and ultimately, I opted to use a different technique. This alternate fingering technique is, however, applicable to measures 230 through 234. The repeated concert A’s are to be played over two strings, so the technique of using alternate fingerings on saxophone to imitate a string crossing can be applied very well. These repeated notes occur in groups of three sixteenth notes, on written F#. As such, the second note of each grouping can be played using the alternate F# fingering (figure 13). This sequence allows for a change in timbre similar to that of a string crossing, and does not impact surrounding technical demands in any way.

Figure 13: Chaconne , Measures 229-230, Incorporation of Alternate Fingerings (transposed)

19 CHAPTER 3 TECHNICAL AND FINGERING SUGGESTIONS

Within this arrangement of the Chaconne, there are significant technical demands on the performer. Due to the use of the lower alto saxophone voice, much of the work is in the upper part of the instrument’s range. The areas of greatest concern are those that involve the altissimo register. The issues associated with the altissimo register are those of technique and sound. When a performer examines a piece of music from the standpoint of technique, they always try to find the simplest execution. In doing so, however, one will undoubtedly encounter instances where the easiest technical solution does not yield the best sound. Finding the best combination of simple technique and optimal sound is a matter of compromise. Before discussing the technical demands of the music, I wish to make clear the system used to discuss fingering options. Within the confines of this document, the system used to reference the saxophone’s keyboard is that shown in figure 14. This system is widely used, and simple to understand. In this layout, the left-hand palm keys are referred to as C1, C2 and C4 respectively, in ascending chromatic order. The righthand side keys are referred to as Ta (trill-A), Tc (trill-C), C3 and C5, the latter two of which correspond to the chromatic tones immediately preceding and following C4. In the fingering charts, a filled circle denotes a key that is depressed; an open circle denotes one that is not.

20 Figure 14: Saxophone Fingering Chart

One such issue found frequently within the work is the occurrence of altissimo G, which brings with it a number of potential problems. Altissimo G is the lowest note considered to be in the altissimo register. 9 A number of possible fingerings can be used in these instances. When considering the possible fingerings for the altissimo G, there are two areas of concern. The first is ease of technique; can a given fingering be practically applied to a given passage? The second is tonal balance; does the fingering match in sound the pitches preceding, and following it? As an example, in measure 16, there is a simple diatonic, ascending motion to altissimo G. It is instinctual for most saxophonists to play E, F# and G using front fingerings in this instance, as shown below in figure 15. This sequence allows for a simple, linear, technical line.

Figure 15: Chaconne , Measure 16 (transposed), Suggested Fingerings

9 It is important to note that, typically, modern saxophones have a high F# key, whereas older instruments do not. If the instrument does not have such a key, then the F# would be the first altissimo note, since it is the first note outside the keyed range of the instrument.

21

The front fingerings utilize a longer tube, vented by means of the C4 key. For instance, the front E fingering uses the fundamental G fingering, vented by the C4 key, as shown in figure 16.

Figure 16: Fingering for

“Front E”

With these front fingerings comes the problem of tonal balance. Due to the different tube lengths involved in each fingering, these alternate front fingerings do not match the timbre of the same pitches played using the left hand palm keys (C2, C3, C4 and C5) alone. For instance, high E; when played with the left hand palm keys, it has a relatively short tube length, being near the top of the instrument’s keyed range. The front E fingering, which is built on the fundamental G, has a significantly longer tube length, resulting in a different timbre. The sound of these front fingerings can be controlled by an experienced saxophonist, and made to closely match its natural counterpart, but it is important to entertain other possibilities for such passages. In the same measure, it is possible to use the left hand palm key fingerings leading to the altissimo G. This means that the E and F# will easily match the tone of the preceding notes. The altissimo G can be played alternatively using the high F# key as a vent, as indicated below in figure 17. This

22

fingering for altissimo G, though slightly more difficult in execution, allows for better tonal blend between the normal keyed range of the saxophone and the altissimo register.

Figure 17: Chaconne, Measure 16 (transposed), Suggested Fingerings

One final possibility exists for sequences including altissimo G. This fingering also uses the high F# key as a vent, again allowing for better tonal blend. Although it has a slightly more difficult position for the right hand, which will depress three keys using two fingers, the fingering requires less motion, making it ideal for certain passages. One such example is measure 22, shown below in Figure 18. The A preceding the altissimo G changes which fingering is best applied. The front G fingering requires significant movement by both hands, as does the vented fingering from the previous example. Here, the new fingering allows for the least amount of movement, very quick response, and good tonal balance.

23

Figure 18: Chaconne , Measure 22 (transposed), Suggested Fingering

These three fingering possibilities can be applied to the Chaconne in its entirety. For each instance of an altissimo G, a number of variables will influence the choice between these three options. The notes immediately preceding and following the altissimo G will affect the technical feasibility of each, and in certain instances this will dictate which fingering must be used. Rhythm, dynamic and articulation will also influence fingering selection. Ultimately it is up to the performer to decide which they find most comfortable, and yields the best result. Another area deserving additional focus is measures 85 through 88. For those not wishing to take the ossia, these measures will require careful examination to find the best possible fingering sequence. The final eighth-note count of measure 85 descends diatonically from altissimo G in thirty-second notes. The preceding high C# allows for complete freedom when choosing a fingering. It would be simplest to play front fingerings for this sequence, as these fingerings are the most linear and least complex (Figure 19).

24

Figure 19: Chaconne , Measure 85, Beat 3 (transposed), Suggested Fingerings

The second beat of measure 86 through measure 88 is one of the most challenging sections thus far. The altissimo range within these measures is exceptionally high, and made more difficult by thirty-second note rhythm. The second beat of measure 86 (figure 20) includes the note sequence A-G#-F#-E-F#-G#-A-B. Within this beat, the altissimo notes can all be played using their most stable fingerings. The areas of potential problem are the notes F# and E, which are below the altissimo register. The simplest fingering sequence for this beat utilizes the front fingerings for both the F# and E, which allows for the easiest transition between the altissimo and keyed register.


25

The third beat of measure 86 contains an additional set of challenges, as the tessitura reaches ever higher. The altissimo C# on beat three is best played using the fingering indicated below (Figure 21). Using the front F key and the index finger of the right hand allows for the least movement from the preceding altissimo G#, and then allows the player to again utilize the best, most stable fingerings for the remainder of the descending diatonic line. The final half beat of this measure poses similar challenges, and a similar solution can be incorporated. The altissimo D can be easily played using the front F key alone, again enabling the use of stable fingerings for subsequent notes.


The technique in measure 87 can be navigated easily by over blowing the left hand palm keys. On the saxophone, the notes played with these palm keys, D, Eb, E, F and F# (when applicable), over blow at a major sixth, resulting in the altissimo notes B, C, Db/C#, D, and Eb/D#. Oftentimes, these are the first altissimo notes a student learns, as they are easier to play than many others. Furthermore, the most stable fingerings for these altissimo notes involve over blowing these palm keys, with only slight modifications by means of adding a key, in order to improve the note’s stability.

26

The first two beats of measure 87 can be played entirely using these fingerings (Figure 22). The technique involved in this passage is quite simple, as these over blown fingerings are just as linear as their fundamental counterparts.

Figure 22: Chaconne , Measure 87, Beats 1 and 2 (transposed), Suggested Fingerings

Beat three of this measure does, however, pose a slight challenge, as it extends further into the altissimo register, reaching the highest point of the entire work. The interval from altissimo B to E will require the performer to move away from the palm keys for this single note, as indicated below (Figure 23), before returning to them for the descending diatonic line, and continuing on into the front fingerings for the final two notes of the measure.


27

In measure 88 the player is again confronted with a passage that continually alternates between the keyed and altissimo register. Examining the measure more closely, one finds that the first two beats span only a minor third, from high E to altissimo G. Due to this narrow range, the beats are perfectly suited to utilize the front fingerings for high E, F# and altissimo G (figure 24).

Figure 24: Chaconne, Measure 88, Beats 1 and 2 (transposed), Suggested Fingerings

The next portion of music, from measure 89 through 120, contains many technically difficult passages. The sweeping arpeggios often extend well into the altissimo register, requiring extreme control by the performer. As discussed in the previous chapter, some slight modifications to the articulation of these arpeggios have been added, in order to accommodate these large intervals across registers. The first technical challenge comes in second beat of measure 99. This diminished arpeggio peaks on an altissimo G. The preceding A# allows for a number of possible options, though this particular case has a clear optimal choice. In keeping with economy of motion, a fingering sequence exists in which the performer can easily move from the A# to altissimo G. By first playing the A# using the bis fingering, the player can then simply add the high F# and Ta keys to play the altissimo G.

28

Measure 102 contains a number of challenges itself, none of which are easily overcome. Examining the arpeggios on a macro scale, one notices that each begins on G#, and has a high point of altissimo B# (figure 25). The transitional note between these two, however, causes the most concern in terms of technique. Due to the G# preceding the high F#, E, and D# within each arpeggio, front fingerings are not practical, as they require cumbersome hand motion. Instead, it is perhaps best to simply use the typical palm key fingerings. In turn, using these palm key fingerings for high F#, E and D# allows for easy access to the altissimo B# fingering. This high B# can be played by simply over blowing the high D# fingering, or the modified fingering which adds stability.


The second beat of measure 107 contains a challenge similar to that of measure 99. Again, this arpeggio extends upward to altissimo G. The preceding note, high B, however, helps dictate the easiest fingering sequence. To move smoothly from the high B to altissimo G, the performer can simply add the high F# and Ta keys, along with the first finger of the right hand (Figure 26). This fingering responds very well, with excellent intonation, and can be very rapidly executed in this specific situation.

29


Beat one of measure 109 is similar to that of measure 102, and can use a similar technique. The difference in measure 109 is the altissimo B in the arpeggio. Again, in this case, the G#-E-B can be played using standard fingerings for each (figure 27). Additionally, the third beat of this measure can use this same technique, incorporating the standard fingerings for each note, G#, F# and altissimo B.

Figure 27: Chaconne, Measure 109, Beat 1 (transposed), Suggested Fingerings

The second beat of this same measure is also a challenge. The altissimo G# and B# within this arpeggio are of most concern. The preceding D# allows for easy access to a number of altissimo fingerings for G#. In this case, the altissimo G# can be played with

30

the standard fingering, which in turn allows for the altissimo B# to also be played with a stable fingering (figure 28).


The technique required in the altissimo register in measure 111 is not overly complicated, though some explanation is warranted. The second beat of this measure consists of arpeggios of D#, C and altissimo A. The high C allows for an easy transition to and from the best possible altissimo A fingering (figure 29). This fingering allows for rapid technique, and easy response.


Beat three of measure 111 also allows for simple technical execution. This arpeggio consists of E, B, and altissimo G#. As with the previous example, the fingering choice for altissimo G# is easily made due to the subsequent high B. This G# can be

31

played using the high F# key as a vent, and adding the Ta key, which allows the left hand to remain in place after the high B (figure 30).


The arpeggiations in measure 112 prove to be fortuitous, as their construction allows for a generally uncomplicated technique. The first beat of this measure contains the notes E#, D and altissimo B. The technique between D and altissimo B is simplified based again on the idea of over blowing the palm keys. As explained earlier, high D can be over-blown to produce altissimo B. Here, it is also possible to add the ring finger of the left hand to gain stability on the altissimo B, without hindering technique (Figure 31).


32

The second beat of measure 112 is altered slightly, consisting of notes F#, C#, and altissimo B. Again, the technique within this beat is not overly cumbersome. High C#, which is played without any fingers depressed, provides the player freedom of technique in moving to altissimo B (figure 32).


Beat three of this measure can be dealt with in the same way, as the high C# again allows the player to easily access the most stable fingering option for the subsequent altissimo A# (figure 33).


33

The next measure, 113, can also benefit from the use of overblown palm key fingerings. Throughout the measure the altissimo Bs within the arpeggio are preceded by a high D. This high D can be overblown to achieve the altissimo B, and thus, this technique can be applied to the entire measure (figure 34). As in previous instances, the player may wish to add the ring finger of the left hand on the altissimo B, for added stability.


The arpeggios in measure 114 offer greater flexibility in fingering selection. This flexibility is due to the high C# which precedes each altissimo note within the arpeggio. In the case of the first beat of the measure, the altissimo B can be played using the most stable fingering (figure 35).


34

The second and third beats of this measure can also be played using the most optimal fingering for the altissimo A# (figure 36), which will not impede the technique due to the freedom of motion offered by the preceding C#.

Figure 36: Chaconne , Measure 114 Beats 2 and 3 (transposed), Suggested Fingerings

The first beat of measure 115, consisting of the arpeggio D#, B and altissimo A, is difficult due to the need to use a cross fingering (figure 37). Previously, such fingering sequences have been avoided in the interest of economy of motion. In this case, the cross fingerings is unavoidable, but does allow the player to use the best possible fingering for altissimo A.


35

In beats two and three of the same measure, the performer may repeat the fingering sequence used previously in measure 111 (figure 38). The arpeggio E, B, and altissimo G# can be played with an altissimo G# fingering using the high F# key as a vent. This fingering also allows the left hand index finger to remain on the B key. This sequence is the simplest technically, but on some instruments, the G# may play low in pitch. Alternately, the more common G# fingering can be used, though slightly more difficult.

Figure 38: Chaconne , Measure 115, Beats 2 and 3 (transposed), Suggested Fingerings

The altissimo in the first beat of measure 116 can use the same fingerings as in measure 99. Again, the fingering used for the altissimo G in the arpeggio C#-A#-G is technically simplest, and offers exceptional note stability (Figure 39).

36


Measure 158 continues to climb higher in the altissimo register. The second beat of this measure contains the note sequence F#-C#-altissimo A#-F#, which poses some challenge technically. The movement between C# and altissimo A# is not overly difficult, as the C# does not impede fingering selection for the following A#. For this sequence, the altissimo A# can be played by using the ring finger of the left hand, then returning to the standard palm key fingering for the high F# (figure 40). The player will then in position to execute the following beat.


The third beat of measure 158 consists of the altissimo note sequence C#-A#-D#A#. The player can easily play the altissimo C# and D# of this beat by over-blowing the

37

palm keys. The A#s can again be played using the ring finger of the left hand alone, which minimizes motion between notes (figure 41).


Measure 159 continues this altissimo line with the notes B-D#-B-G#, and is again suited to the use of over-blown palm keys, with optional use of the left hand ring finger for stabilization. This fingering sequence uses the most linear technique. The final altissimo G# of the measure can then be played using the most stable fingering (figure 42).


38

In measure 163, the final beat is difficult in that there is no simple way around its technical demands. The sequence B-E#-altissimo G#-E# is challenging due to the movement from B to E#, which can be played one of two ways. First, the E# can be played using the palm key fingering, however, doing so requires considerable motion of the player in reaching one of the available fingerings for the subsequent G#. Second, the E# may be played using the front fingering. The motion from high B to front E# is slightly cumbersome, yet still manageable, and allows easy access to the standard altissimo G# fingering (figure 43). In this case, I find the second option to be more viable.


Measure 180 contains a minor challenge, due to its grace notes. Here, an altissimo G# is preceded by a grace note F#. In this instance, the altissimo G# can be played using the standard fingering, though doing so necessitates the use of a cross fingering between the middle and index finger of the right hand (figure 44).

39


The second beat of measure 183 poses a similar challenge, again due to the preceding grace note. In this case, however, the preceding B grace note allows for a simple fingering. To achieve the altissimo B, the player need only add the high F# key and Ta to the high B fingering (figure 45).


The altissimo Bs in measure 197 are preceded by a high D#. In this instance, it is simplest to incorporate the altissimo fingering based on over-blown palm keys (figure 46). Though the technique involved in this fingering sequence is slightly uncomfortable, no simpler option is available.

40


Measure 198 continues in the altissimo register, moving from altissimo A# to A. Again, grace notes determine the simplest fingering. The high C# preceding the first beat of this measure allows the performer to easily move to the best A# fingering (Figure 47). The high D# preceding the second beat of the measure limits the possible options for the following altissimo A, though using the standard fingering is not, in this instance, overly cumbersome.


The first beat of measure 200 calls for an unorthodox fingering. The altissimo G# in this beat is preceded by octave Es. Moving from middle E to front high E would allow for easy access to the best G# fingering, but the motion is technically difficult. Alternately, one could play the octave Es using standard fingerings, however, it would then be difficult to move from high E to an altissimo G#. A simple solution to this problem is to use the C4 key alone to play the high E. The player may then easily access

41

the altissimo G# fingering (figure 48). Though rare, this high E fingering is fitting in this instance.


The arpeggio E#-C#-B-altissimo G# in both measure in measure 204 and 209 can use the same sequence from measure 111. Again, this sequence allows for economy of motion and easy response. Measure 207 contains the arpeggio D#-A#-altissimo G#-altissimo A#. If the A# is played using the Bis fingering, the player may easily transition to the most common altissimo G# fingering, which in turn leads to the most common A# fingering (figure 49).


42

The final triplet in measure 241 consists of the notes E-B-altissimo G. The technique used in measure 107 can be used again here. The high B leads well to this alternate altissimo G fingering, and is the simplest technical option (figure 50). This same altissimo G can be used in the first triplet of measures 242 and 244.


43 CHAPTER 4 BREATHING

Overview The breathing problems encountered within this arrangement are substantial due to the saxophonist’s need to take in air, thus creating abrupt breaks in the music. While violinists may have concerns as to pacing of bow strokes, the number of stokes available to them is limitless. Within the context of the Chaconne it is possible to overcome this breathing issue by using what many consider to be an extended technique on the saxophone. This technique is called circular breathing and has been used on a wide range of instruments, from the Australian didgeridoo to modern Western instruments. Its use allows for continuous sound by expelling stored air in the cheeks while inhaling through the nose. Circular breathing has been well used in contemporary literature for the saxophone, as well as other instruments. French composer Christian Lauba has successfully used this technique within his Neuf Etudes for solo saxophone, among other works in his catalogue. The now frequent use of this technique by modern composers has turned this once ‘extended’ technique into one that is more common. Generally, circular breathing is most commonly incorporated over passages that are slurred. In doing so, articulation, another variable that causes the technique to be considerably more difficult, is left out of the equation. While still largely uncommon, the use of articulation while circular breathing has become more frequent in recent years. Though its use has yet to become standardized as an essential technique, it appears to be moving in that direction. Practical Application Circular breathing can be applied to the Chaconne in a number of sections throughout the work. One such section is measures 25 through 32. By incorporating

44

circular breathing here, the forward motion of the music is not interrupted by the need to stop and take a breath. Figure 51 shows the first opportunity for a circular breath, occurring on the second beat of measure 28, over the three-note slur. The most opportune place to take a circular breath, however, is measure 29, over the long slur between beats two and three. This longer figure allows the performer to take a longer breath, ensuring they will have the necessary quantity of air to reach the next point where they may breathe. Depending on the performer’s lung capacity, they may decide to take one or both of these possible breaths.


Measures 36 through 55 also offer an opportunity to use circular breathing. The constant sixteenth-note rhythm in this section, shown below in Figure 52, makes conventional breaths problematic.

45

Figure 52: Chaconne, Measures 36 – 55 (transposed)

Within this portion of music, air management is the main problem. While there are indicated slurs, many of these are very short, encompassing only three sixteenth notes. Though circular breaths may be possible, the performer will need to take multiple small breaths instead of fewer large ones. Furthermore, these short, slurred groupings often consist of larger intervals, which can make it more difficult to circular breathe effectively. In the event that the performer finds these groupings either too short or too difficult, given the intervals, to accommodate circular breathing, they make slight changes to the indicated articulations by adding longer slurs.

46

Another section that is perfectly suited for circular breathing begins in measure 65, continuing through measure 72 (Figure 53). These diatonic, slurred lines allow for easy incorporation of the technique, and enough time to gain more substantial breaths. This is perhaps one of the most ideal sections within the piece to apply circular breathing.


Measures 77 through 84 (Figure 54) also offer an opportunity to employ circular breathing. As in previous instances, measures 77 through 84 contain slurred grouping of sixteenth-notes over which one can take a circular breath. The first four measures contain groups of three notes, to which the technique is more easily applied.

47


Measures 81 through 83 pose a more significant challenge in using circular breathing. If the performer is able to circular breathe while articulating, it may be possible to take a circular breath during the second beats of these three measures. Alternatively, one can simply breathe conventionally after the downbeat of measure 81. By taking one conventional breath here the performer can easily play until the next ideal opportunity to circular breathe in measure 85. The application of circular breathing in measures 85 to 88 may appear uncomplicated initially, but the challenge becomes apparent when one accounts for the range of the passage. If played as written, the overall tessitura renders circular breathing nearly impossible, due to the necessity of embouchure, air, and voicing control when playing in the altissimo register, all of which are impacted by the circular breathing process. In this range, the performer can take a circular breath in the first two beats of measure 85 (Figure 55), before entering the extremity of the instrument’s range. Alternatively, the ossia may be taken, at which point the tessitura becomes much less of a problem, as there are ample opportunities to circular breathe.

48


For most performers, measures 89 through 120 are perhaps the most technically demanding within the entire work. Sweeping arpeggios (Figure 56) encompass a very wide range on the saxophone, often entering the upper altissimo range. Adding to this difficulty is the need to circular breathe within these measures, as otherwise, the arpeggiated figures would become abruptly broken. Furthermore, the articulations in this section are also of concern as articulating while circular breathing is unavoidable in this instance if the articulations are to be observed. As discussed in the previous chapter, the articulations have been altered slightly in order to accommodate the saxophone’s response in the altissimo range.

49


Similar to measures 28 through 32, measures 149 though 152 (figure 57) contain the preferred slurred-note groupings for easy circular breathing. These groups are small, consisting of just three notes, but occur with enough frequency to be effectively incorporated.

50


Although the four short measures seen above in Figure 56 are simple enough to manage, the measures thereafter become increasingly more difficult. This particular segment is challenging due to both the rhythmic and articulation activity. In measures 153 through 160, shown in Figure 58, breathing within the constant sixteenth notes would be significantly more manageable if not for the articulation.

Figure 58: Chaconne , M. 153

–

160 (transposed)

Again, The necessity of articulating through the arpeggios would require the performer to articulate through the circular breath. At the discretion of the performer, it

51

would be possible to slightly alter the articulation, adding a slurred grouping across the end of each bar as shown below in Figure 59.

Figure 59: Chaconne , M. 153

–

160 (transposed), Possible Articulation Change Added

In selecting sections in which to circular breathe, the criterion has previously been to identify passages that will not need alteration. While the aforementioned articulation change is not included in this arrangement, should the performer opt to make this change, it will allow for a simpler circular breathing option in this particular instance. In doing so, there is greater opportunity to take a circular breath without being impeded by articulation. An additional area that is well suited for the inclusion of circular breathing is measure 217 through 226, shown below in Figure 60. Clearly, the multitude of slurred figures presents many opportunities for circular breathing. Furthermore, the contour of the lines includes many lower neighbor motions as well as diatonic figures, which impact circular breathing less than figures containing wider intervals.

52


Although articulating while circular breathing is not optimal, it is unavoidable at times, and several instances have appeared thus far in this arrangement of the Chaconne. There is one final such occurrence between measures 229 and 240 (Figure 61).


53

These measures are not overly demanding technically, though larger intervals do occur with some frequency. Circular breathing within this section is perhaps best reserved for the areas involving fingered timbre changes over repeated notes (as explained in the previous chapter, Adaptations), such as beats three and four of measure 232. Since circular breathing is already hindered by the added articulation, it is best to apply the technique over areas that remain close in pitch. While it is not necessary to circular breathe the Chaconne in its entirety, there are many sections that will benefit from its application. The segments I have examined in this chapter are merely recommendations. As each performer makes the work their own, they may too decide when, if at all, the technique may be applied.

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APPENDIX A– CHACONNE FOR ALTO SAXOPHONE ARR. STEPHEN PAGE

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67 BIBLIOGRAPHY Bach, Johann Sebastian. Drei Sonaten und drei Partiten für Violine solo ; herausgegeben von Günter Hausswald . Kassel ; New York, N.Y. : Bärenreiter, 2001. Bärenreiter. www.baerenreiter.com Accessed December 12th, 2010. Hahn, Hillary. Hillary Hahn Plays Bach. Sony Classical - SK 62793. Hekkema, Raaf. Paganini Caprices. MDG 619-1379-2. Ibrahim, Michael. Bach for Saxophone. Omninova-2005. Kyung, Sandra Eun Joo. “Chaconne from Johann Sebastian Bach's Partita No. 2: Linear analysis.” Diss. California State University, Long Beach, 1999. Lawrence, Michael. Bach and Friends. Michael Lawrence Films, 2010. Lester, Joel. Bach's Works for Solo Violin : Style, Structure, Performance. New York ; Oxford : Oxford University Press, 1999. Londeix, Jean-Marie. A Comprehensive Guide to the Saxophone Repertoire, 1844 2003/Répertoire universel de musique pour saxophone, 1844-2003 . Cherry Hill, NJ: Roncorp, c2003. Mueller, Julia Wilkinson. “A study of the unaccompanied works for violin by Johann Sebstian Bach.” M.A. Thesis, University of Iowa School of Music, 1942. Oh, Hea-Seung. "Interpreting J. S. Bach's Solo Violin Sonatas and Partitas through Leopold Mozart, Joachim Moser, and Galamian."The University of Texas at Austin, 2005. Silbiger, Alexander. "Chaconne." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/ grove/music/05354 (accessed February 11, 2011). Tretick, Sidney James. “An Analysis of Performance Practices for the Johann Sebastian Bach Chaconne Based Upon the Anna Magdalena Manuscript.” Diss. University of Colorado at Boulder, 1957. Umble, James. Jean-Marie Londeix : Maître du Saxophone Moderne. Cherry Hill, NJ : Roncorp Publications ; Glenmoore, PA : Distributed exclusively by Northeastern Music Publication, c2000. Wang, Yu-Chi. A survey of the unaccompanied violin repertoire, centering on works

68 by J. S. Bach and Eugene Ysaye. Diss. University of Maryland, College Park, 2005.

Chaconne n2 J.S. Bach Versión Saxofon

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