Repertoire for solo bassoon is becoming more common as music advances and evolves. There is a vast array of works for solo bassoon; however, only a small percentage of those are by composers from an underrepresented community, with an even smaller percentage written by composers with East Asian or Southeast Asian heritage. Furthermore, these works have little to no high-quality studio recordings. Additionally, these works often include contemporary techniques such as multiphonics, difficult tremolos, flutter tonguing, pitch bends, and glissandi, among others. This adds another layer of inaccessibility for those bassoonists who are unfamiliar with how to perform these techniques and therefore may be afraid to “take the plunge” into contemporary works that utilize them. I have created performance guides for Tilt by Tonia Ko, Legend of the Sea by Xinyan Li, and Jeu des Cinq Éléments II by Tôn-Thât Tiêt, in hopes of promoting and raising the accessibility of works by living composers with East Asian and Southeast Asian backgrounds.

Since at least the Baroque era, all Western classical woodwind instruments have only used Arundo donax for reeds. This preliminary investigation is one of the first inquiries into alternative natural materials for oboe reeds. The first chapter of this document is an overview of what we currently know about the materials used for reeds from the start of historical documentation until today. The second part of this overview surveys double reed instruments outside of Western classical music for reed materials and candidates for oboe reeds. The second chapter is a survey of some plants in the Poaceae familya group of woody grasses and the family Arundo donax is into determine if there are more candidates for oboe reeds. The third chapter consists of Martin Schuring and I making reeds from two experimental materials: Phragmites and Bambusa textilis. Additionally, Dr. Gardner and I conducted a study involving six participants. I processed Phragmites, Arundo donax, and Bambusa textilis into gouged cane and sent the participants three pieces of each material, which were labeled A, B, and C, respectively. The purpose of the study was to test if oboists with diverse backgrounds could scrape the provided cane into a reed that produces a sound on the oboe. The full study responses are in Appendix B. The last chapter of this document is a scope analysis, courtesy of Professor Jeffrey Kleim, of the plant samples I was able to obtain, which includes Phragmites, Bambusa textilis, and a few other plants. Furthermore, Dr. Lindsey Reymore and I tested the Phragmites and Bambusa textilis reeds Martin Schuring and I made by analyzing spectrograms, extracting audio descriptors from MATLAB, and running a few statistical tests to determine any statistically significant differences. Collective results indicate that eight oboists were able to make functional Phragmites and Bambusa textilis reeds, there are many potential candidates, and there were some statistically significant differences in audio descriptors between the Arundo donax, Phragmites, and Bambusa textilis reeds. Since this is preliminary research and no candidates were deemed unsuitable, future and long-term research is required for more thorough and conclusive data collection and analysis.

The reed quintet is an intriguing and innovative chamber ensemble that offers adistinctive soundscape to the genre of chamber music. Through significant efforts to legitimize the ensemble, the reed quintet now exists as a viable option for chamber musicians. However, a significant challenge remains in the limited accessibility of repertoire suitable for developing musicians interested in reed quintets. REED REVOLUTION: A Fundamental Approach to Reed Quintet represents a comprehensive solution, offering aspiring student chamber musicians the essential pedagogical tools and materials needed to excel in a reed quintet setting. This method book encompasses a wide array of strategies aimed at fostering a functional and collaborative ensemble, establishing foundational chamber music skills, and introducing five original compositions commissioned specifically for this project. With REED REVOLUTION, student reed quintets can begin their chamber music journey equipped with tools to become a successful ensemble prepared to explore the existing reed quintet repertoire. Additionally, the method book includes a collection of online resources and recordings, performed by the Arcane Reed Quintet, produced by Dr. Joshua Gardner, and recorded by Jin Studios, LLC. These resources include reference recordings and practice tracks for each instrument and the ensemble, serving as invaluable aids in the learning process.

The purpose of this DMA project is to broaden the bassoon repertoire from Latin American composers with the commission and recording of a new work, Duasteño for bassoon and clarinet, by Arodi Martínez Serrano (Mexico) and to record the existing works Duasteco by Arodi Martínez Serrano, Argenta by Noelia Escalzo (Argentina), and Fagot Pukllay by Daniel Cueto (Peru). In order to provide a better understanding of these works and the composers, this document contains transcripts of interviews with each composer, including their styles, aesthetics, and backgrounds. The interviews with the composers are the primary sources for this document. Additionally, a performance guide is included providing recommendations to the bassoonists preparing these works. It is my hope that the recordings and performance guide included in this project can be a helpful resource for the bassoonist seeking to perform new works by Latin American composers.

For this project, I commissioned and recorded five new works for contrabassclarinet from five different composers. Composition parameters were given to each composer before they started writing which detailed what needed to be included in each work. Four of the composers were asked to utilize a single, difficult aspect of playing the instrument, which included intonation, low note technique and response, phrasing, and articulation. For the fifth work, the composer was asked to incorporate all parameters of the project. Because of the differences between contrabass clarinet designs, I recorded each work three times using the Leblanc Vito, Leblanc “Paperclip”, and Selmer Model 41 contrabass clarinets to demonstrate that the works were adaptable and playable. In this paper, I will outline the parameters of the project, describe the instruments used for recording and provide a performance guide for each work. It is my hope that these works will provide an enjoyable way for future contrabass clarinetists to become more proficient performers of the instrument.

This project includes recordings, composer biographies, and performance guides for four original works commissioned for me. All four compositions were written specifically for the baritone saxophone and piano accompaniment, to contribute and expand the repertoire for baritone saxophone while incorporating pedagogical and performance practices that will aid in the development of a baritone saxophonist. In addition, I will highlight the problems that have become consistent with the limited amount of repertoire for baritone saxophone, and how these commissioned works can be one of many ways to amend these issues. Within these four works, I will discuss and expand on fundamental pedagogical concepts, suitable healthy practice and performance habits to ensure wellness to the performer, as well as my personal approach to each piece. Two of these four original compositions were recorded in Organ Hall at ASU on April 19, while the other two compositions were premiered at the 2023 North American Saxophone Alliance Biennial Conference held in Hattiesburg, Mississippi on Friday, March 31st. Furthermore, all four compositions will be recorded in a recording studio by the Azure Duo, which consists of myself on baritone saxophone, and John Fabius Solari on piano. Recordings will be done at the recording studio Fusion on First, located at Arizona State University Downtown Campus in June 2023. The first piece, On the Hunt (2022) was written by Jorge Machain (b. 1993). The second piece, written by Brooke Herndon (b. 1995), is titled Vignettes (2022). The third piece, Fantasia V (Five) (2023), was written by Kevin Day (b. 1996). The fourth and final piece in the set of commissions is Lonepine (2023), written by Tanner Bayles (b. 1999).

The versatility of the bassoon has always been a signature trait, noticeable both inthe diversity of canonic works conceived for the instrument and in transcriptions. While Russian composer and pianist, Sergei Prokofiev (1891-1953), is well-known for his orchestral and piano compositions, outside from moments in his compositions for orchestra, most woodwind musicians have been unable to experience his solo repertoire and writing style. Prokofiev did not write any solo compositions for the bassoon. In fact, his only solo work for woodwinds is his Sonata for Flute and Piano, Op. 94. The purpose of this project is to transcribe Prokofiev’s Sonata for Flute and Piano, Op. 94 for bassoon and piano as an addition to the bassoon solo literature. The project begins with an historical overview of both composer and composition, then turns into a description of the rationale and process of transcription, followed by the transcription for bassoon and piano itself as well as a complete recording.