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Teaching Extended Techniques on the Saxophone: A Comparison of Methods Matthew J. Taylor
University of Miami, firstname.lastname@example.org
Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Taylor, Matthew J., "Teaching Extended Techniques on the Saxophone: A Comparison of Methods" (2012). Open Access Dissertations. Paper 772.
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UNIVERSITY OF MIAMI
TEACHING EXTENDED TECHNIQUES ON THE SAXOPHONE: A COMPARISON OF METHODS
By Matthew Jeffery Taylor
A DOCTORAL ESSAY
Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
Coral Gables, Florida May 2012
©2012 Matthew Jeffery Taylor All Rights Reserved
UNIVERSITY OF MIAMI
A doctoral essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
TEACHING EXTENDED TECHNIQUES ON THE SAXOPHONE: A COMPARISON OF METHODS Matthew Jeffery Taylor
Approved: ________________ Gary D. Green, M.M. Professor of Instrumental Performance _________________ Terri A. Scandura, Ph.D. Dean of the Graduate School
________________ Dale W. Underwood Lecturer of Instrumental Performance
_________________ Santiago Rodriguez, M.M. Professor of Keyboard Performance
________________ Luciano Magnanini, P.D. Professor of Instrumental Performance
TAYLOR, MATTHEW JEFFERY (D.M.A., Instrumental Performance) Teaching Extended Techniques on the Saxophone: (May 2012) A Comparison of Methods Abstract of a doctoral essay at the University of Miami. Doctoral essay supervised by Professor Gary Green. No. of pages in text. (187)
Through substantial correspondence with eight saxophone professors in the United States and three in France, this project examines the methods used by French and American college-level teachers for teaching extended techniques on the saxophone. The essay also reviews related printed pedagogical and reference materials and provides a brief comparison of all presented methods. Profiled techniques include circular breathing, slap tongue, multiple tonguing, and fingering-based multiphonics. Participants share insights about their teaching procedures, criteria for assessment, ways to promote mastery, suggestions for relevant repertoire, and their own practice and performance philosophies as they relate to these four extended techniques. Participants include Serge Bertocchi, Marie-Bernadette Charrier, David Dees, Geoffrey Deibel, Philippe Geiss, Jeffrey Heisler, Timothy Roberts, James Romain, John Sampen, Rhonda Taylor, Kenneth Tse, and James Umble.
To Jeff and Angie Taylor, who have supported me with their unceasing encouragement, generosity, and love
ACKNOWLEDGEMENTS Foremost, I would like to thank my teacher of five years, Dale Underwood, for his encouragement, trust, patience, and musicality. With him, I am also very grateful to the other members of my committee of virtuosos: Professors Gary Green, Santiago Rodriguez, and Luciano Magnanini. Thank you for your inspiration. You all make me want to “matter.” Immense thanks to the participants of this study: Professors Serge Bertocchi, Marie-Bernadette Charrier, David Dees, Geoffrey Deibel, Philippe Geiss, Jeffrey Heisler, Timothy Roberts, James Romain John Sampen, Rhonda Taylor, Kenneth Tse, and James Umble. Thank you for generously sharing your valuable time and knowledge, and for working to improve our world. I am fortunate to have had many marvelous teachers in my life, and since a public forum...