The Star Spangled Banner arranged for Saxophone Trio (SAB) by Robert E. Stanton. Performance by the University of Arizona Saxophone Trio. Published by Keepe Publishing House www.keepepublishinghouse.com

The Star Spangled Banner UA Saxophone Trio

Notes from the Composer: Flying Rats, completed in 2010, was written for the exceptional performing gifts of saxophonist Kim Reese. All of the pitch material is derived from the twelve-tone row used by John Coltrane in his piece "Miles' Mode". I thought the title of the piece captured the music's sense of barely-contained chaos.

Flying Rats for Soprano Saxophone and Computer-Generated Sound, by Drew Krause

Notes from the Composer: Chat Farm was written in 2008 for the Presidio Quartet, to whom it is dedicated. The piece is comprised of several non-repeating sections of contrasting texture and varying, but related, tempi. Here I continue using several favorite compositional methods, including rewriting systems, difference equations, filtered randomness, non-modulo-12 modes, frequency-exponent harmony, and formalized contour. The sound portion of the tape was realized with Csound and processed with Snd and several handmade command-line phase-vocoder scripts.

Chat Farm for Saxophone Quartet and Recorded Sound, by Drew Krause (Begin, Middle, End)

Notes from the Composer: Duo for Soprano Saxophone and Violin was written for Mary Joy Patchett and Florence Cooke. It was premiered by them on June 6th, 2009 at the Etchings Festival in Auvillar, France. The work is loosely based on the four-note chord sounded at the beginning of the work. This chord generates a harmonic palette as well as a basis for the melodic lines. The work culminates in a short cadenza for the saxophone and the emergence of a new texture, perhaps signaling the music still to come forth.

DUO for Soprano Saxophone and Violin by John Aylward

Saxophone Quartet No. 1, by Wes Matthews

The Clinging Fire for saxophone quartet (1998)
(For the Presidio Saxophone Quartet)
I.   Gathering
II.  The Gentle
III. Deliverance
 
One of my favorite scales can be represented by the pitches C, Db, E, F, G#, and A. This particular collection of notes possesses a unique kind of musical symmetry that evenly distributes minor seconds and minor thirds through the octave. Because of this symmetry melodies and harmonies that sound good forward also tend to sound good upside down or backwards. This feature is exploited in various ways in the piece. 
 
The titles for the piece and each movement come from the I Ching. The Clinging Fire - hexagram 30 (9-6-9-9-6-9) This hexagram has a symmetrical quality not unlike the scale mentioned above. And the symbol is an apt one for the piece. A fire has no form (or a very complex form) but “clings” to the burning object and consumes it. Gathering – hexagram 45 (6-9-9-6-6-6) In this sense the gathering is like water flowing into lakes or the gathering together of mental clarity from a confused state. The Gentle – hexagram 57 (9-9-6-9-9-6) This hexagram implies something of great potency but with a gentle affect like wind dispersing clouds leaving the sky clear and serene. Deliverance – hexagram 40 (6-6-9-6-9-6) A symbol of growth through effort or perseverance. A reflection of the notion that tensions and complications tend to be relieved after struggle or effort.

America's Millennium Tribute To Adolphe Sax, Volume XIV

The Clinging Fire, III. Deliverance

The Clinging Fire, II. The Gentle

The Clinging Fire, I. Gathering

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