A Study of Performance Techniques Using Disassembled Saxophone Based on the Theory and Practice of Daniel Kientzy

Abstract

This research examines the innovative saxophone deconstruction techniques developed by Daniel Kientzy, focusing on two primary playing modes: Mouthpiece-less Playing Mode and Body Tube-less Playing Mode. Through systematic analysis of historical documents, correspondence, and musical works, this study investigates the acoustic principles, technical characteristics, and practical applications of these techniques. The research reveals that Mouthpiece-less Playing Mode encompasses multiple interconnected techniques (Saxney, Flutage, Tukusonie, Flattersonie, and Pizz) sharing fundamental acoustic principles while offering distinct timbral possibilities. Similarly, Body Tube-less Playing Mode demonstrates the acoustic potential of isolated saxophone components through three primary techniques: Mouthpiece-only, Neck-only, and Mouthpiece & Neck-only. Through analysis of representative works by composers including Diana Rotaru, Aurel Stroe, Victor Rua, and Riccardo Vagilini, this study establishes the practical implementation and artistic significance of these techniques in contemporary music. The findings contribute to expanding the expressive capabilities of the saxophone while providing a theoretical framework for understanding and applying these innovative performance methods.