The pedagogical concepts of the saxophonist Jean-Marie Londeix as applied to sonata, op.19, by Paul Creston

Abstract

The aim of this study was to provide practicing guidelines for Sonata, Op. 19, by Paul Creston, based on Londeix’s pedagogy. This study used five textbooks as follows: Jean-Marie Londeix’s Master of the Modern Saxophone, Méthode pour étudier le saxophone, and For a History of the Saxophone and Saxophonists Books I, II, and III; Gail Beth Levinsky’s DM dissertation “An Analysis and Comparison of Early Saxophone Methods Published Between 1846-1946”; and Stephen Cottrell’s The Saxophone. With the support from these books, this study analyzed the Sonata in terms of structures, melody, articulations, rhythms, dynamics, and ensemble. It was found that the first movement of Sonata, Op. 19, is in traditional sonata-allegro form. When playing the saxophone part, players need to think about the rhythms of the piano part. Players can use rhythmic exercises to practice difficult technical measures in the first and third movements. The second movement needs to be more focused on dynamics and intonation. The third movement is in rondo form. Different sections present different characteristics. When players practice rhythms in the third movement, they need to think about eighth notes. Implication of the thematic paper: The results lead to the conclusion that this study can be used as a reference by saxophonists to learn about several topics, such as melody, phrase, rhythm, dynamic, fingering, and articulation of Sonata, Op. 19.