A Performance Edition and Technical Guide To Johann Sebastian Bac

University of Iowa
Iowa Research Online

Theses and Dissertations
2011
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
Copyright 2011 Stephen Charles Page Jr
This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/5034
Recommended Citation
Page, Stephen Charles Jr.. "A performance edition and technical guide to Johann Sebastian Bach's Chaconne from Partita in D minor,
BWV 1004, for alto saxophone." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2011.
http://ir.uiowa.edu/etd/5034.
Follow this and additional works at: http://ir.uiowa.edu/etd
Part of the Music Commons

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.
ii
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.
iii
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
iv
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. Chaconne, Measure 165, Incorporation of Overtones (transposed) .........................16
11. Chaconne, Measures 169-176, Original Notation (transposed) ...............................17
12. Chaconne, Measure 169 (transposed) .......................................................................18
13. Chaconne, Measures 229-230, Incorporation of Alternate Fingerings

(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
22. Chaconne, Measure 87, Beats 1 and 2 (transposed), Suggested Fingerings ............26
24. Chaconne, Measure 88, Beats 1 and 2 (transposed), Suggested Fingerings ............27
v
25. Chaconne, Measure 102, Beat 1 (transposed), Suggested Fingerings ......................28

36. Chaconne, Measure 114 Beats 2 and 3 (transposed), Suggested Fingerings ...........34
38. Chaconne, Measure 115, Beats 2 and 3 (transposed), Suggested Fingerings ..........36

46. Chaconne, Measure 197 (transposed), Suggested Fingerings ..................................40
47. Chaconne, Measure 198 (transposed), Suggested Fingerings ..................................41

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

vii
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, originally 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).
2
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 Manuscript.” Diss. University of
Colorado at Boulder, 1957.
3
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 original
manuscript. While there are already many editions and arrangements for various
instruments, beginning with what the composer originally 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 original 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.
5
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.
6
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 multi-
phonics 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.

8
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
original 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.

9
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 original form.
One section that requires more specialized attention in arranging multiple
stopping is measures 57 through 76. When studying the original 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.
10
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.
11
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 originality of both lines.

12
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 original line, only lowering its range by one octave in
order to avoid the upper altissimo register.

13
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 original form, these measures are written as blocked chords,
and marked as ‘arpeggio’. While it is common practice for violinist to read music in this
14
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 original 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)

15
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 original.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.

16
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

17
Thus far within this arrangement, nothing from the original 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.
18
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 right-
hand 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.
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.
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
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.

54
APPENDIX A – CHACONNE FOR ALTO SAXOPHONE ARR. STEPHEN PAGE

55
56
57
58
59
60
61
62
63
64
65
66
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.

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Copyright 2011 Stephen Charles Page Jr

This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/5034

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Part of the Music Commons

BACH’S CHACONNE FROM PARTITA IN D MINOR, BWV 1004, FOR ALTO

An essay submitted in partial fulfillment

Essay Supervisor: Associate Professor Kenneth Tse

STEPHEN CHARLES PAGE JR

All Rights Reserved

This is to certify that the D.M.A. essay of

Stephen Charles Page Jr

has been approved by the Examining Committee

Essay Committee: ___________________________________

During my education, I have been very fortunate to have an incredible amount of

grateful for their ongoing support.

Finally, I am forever indebted to my family. Throughout the years of my

LIST OF FIGURES .............................................................................................................v

Choosing and Edition .......................................................................................4

II. ADAPTATION METHODS ............................................................................7

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

IV. BREATHING .................................................................................................43

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

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

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

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

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

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

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

13. Chaconne, Measures 229-230, Incorporation of Alternate Fingerings

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

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

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

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

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

20. Chaconne, Measure 86, Beat 2 (transposed), Suggested Fingerings ........................25

21. Chaconne, Measure 86, Beat 3 (transposed), Suggested Fingerings ........................25

26. Chaconne, Measure 107, Beat 2 (transposed), Suggested Fingerings ......................29

27. Chaconne, Measure 109, Beat 1 (transposed), Suggested Fingerings ......................30

28. Chaconne, Measure 109, Beat 2 (transposed), Suggested Fingerings ......................30

29. Chaconne, Measure 111, Beat 2 (transposed), Suggested Fingerings ......................31

30. Chaconne, Measure 111, Beat 3 (transposed), Suggested Fingerings ......................31

31. Chaconne, Measure 112, Beat 1 (transposed), Suggested Fingerings ......................32

32. Chaconne, Measure 112, Beat 2 (transposed), Suggested Fingerings ......................32

33. Chaconne, Measure 112, Beat 3 (transposed), Suggested Fingerings ......................33

35. Chaconne, Measure 114, Beat 1 (transposed), Suggested Fingerings ......................34

37. Chaconne, Measure 115, Beat 1 (transposed), Suggested Fingerings ......................35

39. Chaconne, Measure 116, Beat 1 (transposed), Suggested Fingerings ......................36

40. Chaconne, Measure 158, Beat 2 (transposed), Suggested Fingerings ......................37

41. Chaconne, Measure 158, Beat 3 (transposed), Suggested Fingerings ......................37

42. Chaconne, Measure 159, Beat 1 (transposed), Suggested Fingerings ......................38

43. Chaconne, Measure 163, Beat 3 (transposed), Suggested Fingerings ......................39

45. Chaconne, Measure 183, Beat 2 (transposed), Suggested Fingerings ......................40

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

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

48. Chaconne, Measure 199, Beat 1 (transposed), Suggested Fingerings ......................41