Much of the contemporary concert (i.e. “classical”) saxophone literature has
connections to compositional styles found in other genres like jazz, rock, or pop.
Although improvisation exists as a dominant compositional device in jazz,
improvisation as a performance technique is not confined to a single genre. This study
looks at twelve concert saxophone pieces that are grouped into three primary
categories of compositional techniques: 1) those containing unmeasured phrases, 2)
those containing limited relation to improvisation but a close relationship to jazz
styles, and 3) those containing jazz improvisation. In concert saxophone music,
specific crossover pieces use the compositional technique of jazz improvisation. Four
examples of such jazz works were composed by Dexter Morrill, Phil Woods, Bill
Dobbins, and Ramon Ricker, all of which provide a foundation for this study.
In addition, pieces containing varying degrees of unmeasured phrases are
highlighted. As this dissertation project is based in performance, the twelve pieces
were divided into three recitals that summarize a pedagogical sequence. Any concert
saxophonist interested in developing jazz improvisational skills can use the pieces in
this study as a method to progress toward the performance of pieces that merge jazz
improvisation with the concert format. The three compositional techniques examined
here will provide the performer with the necessary material to develop this
individualized approach to improvisation. Specific compositional and performance
techniques vary depending on the stylistic content: this study examines improvisation
in the context of concert saxophone repertoire