Saxophone Without Mouthpiece

Acknowledgements

Introduction

Chapter 1 – Contextualization of Saxophone Without Mouthpiece

1.1 – 1920s-1930s Novelty Techniques

1.2 – A Turn to the Sonic

1.3 – Daniel Kientzy and His Saxologie

1.4 – Jean-Marie Londeix’s Hello! Mr. Sax, Marcus Weiss and Giorgio Netti’s The Techniques of Saxophone Playing, and Others

1.5 – An Historical Outlier: Saxo-Flute Hybridity

1.6 – Innovation through Improvisation

1.7 – Composers and their Contributions

1.8 – Performers and their Contributions

1.9 – Analyses of Two Major Works using Saxophone Without Mouthpiece

1.9.1 – For Felipe M. (2021) – Stratis Minakakis

1.9.2 – Go Within (2020) – Eleni Ralli

1.10 – Summary

Chapter 2 – Air Pitch

2.1 – Description of the Technique

2.2 – Technical Parameters

2.3 – Performance & Practice

2.4 – Personal Development

2.5 – Pedagogy

2.6 – Transposition Charts for Air Pitch

2.7 – Demonstration Videos for Air Pitch

2.7 – Pitch Manual for Air Pitch

Chapter 3 – Tongue Ram

3.1 – Description of the Technique

3.2 – Technical Parameters

3.3 – Performance & Practice

3.4 – Personal Development

3.5 – Pedagogy

3.6 – Transposition Charts for Tongue Ram

3.7 – Demonstration Videos for Tongue Ram

3.7 – Pitch Manual for Tongue Ram

Chapter 4 – Trumpet Sounds

4.1 – Description of the Technique

4.2 – Technical Parameters

4.3 – Performance & Practice

4.4 -Personal Development

4.5 – Pedagogy

4.7 – Transposition Charts for Trumpet Sounds

4.7 – Demonstration Videos for Trumpet Sounds

4.8 – Pitch Manual for Trumpet Sounds

Chapter 5 – Saxo-Flute Hybridity

5.1 – Description of the Technique

5.2 – Technical Parameters

5.3 – Performance & Practice

5.4 – Personal Development

5.5 – Pedagogy

5.6 – Transposition Charts for Saxo-Flute Hybridity

5.7 – Demonstration Videos for Saxo-Flute Hybridity

5.8 – Pitch Manual for Saxo-Flute Hybridity

Chapter 6 – Notation for Saxophone Without Mouthpiece

6.1 – Individualism in Notation

6.2 – Notational Practices in the 20th and 21st Century

6.3 – The Purpose of Notation for the Contemporary Performer

6.4 – The Notation for Saxophone Without Mouthpiece Techniques

6.4.1 – Notational Practice of Trumpet Sounds

6.4.2 – Notational Practices of Air Pitch

6.4.3 – Notational Practices of Tongue Ram Technique

6.4.4 – Notational Practices of Saxo-Flute Hybridity

6.5 – Reinvention and Reexamination of Notation

6.6 – Practice-led Possibilities for Notation of Saxophone Without Mouthpiece Techniques

6.7 – General Notational Guidelines for Saxophone Without Mouthpiece Techniques

6.7.1 – Air Pitch

6.7.2 – Tongue Ram

6.7.3 – Trumpet Sounds

6.7.4 – Saxo-Flute Hybridity

6.8 – Notational Synthesis

Conclusion

Works Cited

Personal Audio and Video Performance Repository

Pitch Manual

Repertoire

Interviews

Summary

Sammenvatting

Biography