A Pedagogical Approach to Ronald Binge’s Concerto for Alto Saxophone and Orchestra:

for Developing Saxophonists

By

Tyler Walker
D.M.A., University of Kansas, 2022
M.M., University of Kansas, 2019
B.M.E., University of Nebraska at Kearney, 2016

© 2022

Submitted to the graduate degree program in the School of Music and the Graduate Faculty of
the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of
Musical Arts.

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Co-Chair: Professor Vince Gnojek
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Co-Chair: Dr. Brad Osborn

Dr. Daniel Velasco

Dr. Ingrid Stölzel

Dr. Martin Bergee

Date Defended: June 9th, 2022
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The dissertation committee for Tyler Walker certified that this is the approved version of the
following dissertation:

A Pedagogical Approach to Ronald Binge’s Concerto for Alto Saxophone and Orchestra:
for Developing Saxophonists

Co-Chair: Professor Vince Gnojek

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Co-Chair: Dr. Brad Osborn

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Acknowledgments

I would like to acknowledge the people who supported me through my education. First,

thank you to the members of my committee Brad Osborn, Ingrid Stölzel, Daniel Velasco, and

Martin Bergee for your assistance in writing this document and during my time at the University

of Kansas. A special thank you goes to Professor Vince Gnojek. Without your guidance and

support, I would not be the teacher, performer, or person that I am today. I would also like to

acknowledge all my former teachers who helped develop my love of performing and teaching.

Thank you to the friends that I have made during my time at the University of Kansas. Lastly, I

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would like to thank my family who support and encourage me to follow my passion.

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Abstract

Ronald Binge’s Concerto for Alto Saxophone and Orchestra bridges the gap between

intermediate works and the more advanced standard repertoire. This document provides

supplemental material for developing saxophonists to increase the depth of their interpretation of

the composition. Developing musicians often overlook the historical background of a composer

and analysis of the formal structure and harmonic syntax of the composition. This document

introduces developing saxophonists to a background of the composer and presents an analysis of

the formal structure and harmonic function of the concerto. The pedagogy presented in the

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document is based on my experience studying the concerto with professor Vince Gnojek at the

University of Kansas. This document provides a greater understanding of this work through
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chapters pertaining to historical background, analysis of the formal structure and harmonic
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function, and pedagogy. Saxophonists should use this document to aid their practice efficiency

and performance of the concerto while instructors should use this to develop their lesson plans

when teaching the concerto.

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TABLE OF CONTENTS

INTRODUCTION 1

CHAPTER ONE: HISTORICAL BACKGROUND 3

CHAPTER TWO: ANALYSIS 10

Figure 2.1: Motive X 11
Figure 2.2: Motive Y 11
Movement One 12
Figure 2.3: Concerto Form in mvt. I
Movement Two 14
Figure 2.4: Small Ternary in mvt. II
Movement Three 16

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Figure 2.5: Sonata–rondo form in mvt. III

CHAPTER THREE: PEDAGOGY 19

Technique
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Figure 3.1 20
Figure 3.2 21
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Figure 3.3 22
Articulation 23
Figure 3.4 24
Figure 3.5 25
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Figure 3.6 25
Figure 3.7 26
Figure 3.8 27
Figure 3.9 28
Vibrato 28
Figure 3.10 30
Figure 3.11 32
Figure 3.12 33
Intonation 31
Figure 3.13 34
Figure 3.14 35
Melodic Line. 36
Figure 3.15 37
Figure 3.16 37
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INTRODUCTION

Ronald Binge's Concerto for Alto Saxophone and Orchestra is an accessible piece for

developing saxophonists that is not represented as part of the canon for classical saxophone.

Through the composer’s historical background and analysis and pedagogical approach to the

concerto, the document aims to bring awareness to this composition for saxophonists looking for

a medium-difficult work that is more accessible than the advanced repertoire. The pedagogy

section provides a basic review of fundamentals and how to incorporate these aspects into the

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concerto. The document provides the information and methods needed to prepare this concerto;
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however, the intention is not to replace in-person instruction.

Adolph Sax invented the saxophone in 1842; however, only composers close to Sax
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wrote for the instrument.1 In the 1930s, saxophonists' demand for original works encouraged

composers to write more pieces. French saxophonist Marcel Mule and American saxophonist
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Sigrud Rascher were the two most influential advocates for original classical saxophone

repertoire. Their commissioned works include Concerto for Alto Saxophone and Orchestra by

Alexander Glazunov, Tableaux de Provence by Paul Maurice, and Concertino da Camera by

Jacque Ibert.

These compositions contain difficult technical passages, complex rhythms, and 20th

century harmonic progressions. Many of the piano parts in the standard repertoire are technically

demanding making it difficult to find a pianist to perform and demand more attention for

1 Stephen Cottrell, The Saxophone (Yale University Press, 2012), 17

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ensemble alignment. Saxophonists require repertoire that matches their current ability level while

building technical facility and musicianship; however, these standard works are not accessible to

everyone. Expanding the standard repertoire allows instructors to create a bridge between

intermediate and advanced works for developing saxophonists.

Binge's Concerto for Alto saxophone and Orchestra fits the demand for accessible works

for developing saxophonists. The concerto provides diatonic and chromatic passages that build

on students' technical skills. The rhythmic elements contain basic subdivisions, limited tempo

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changes, and a simple accompaniment that fits easily with the solo part. The harmonic language

is conservative compared to other composers of the mid-20th century. This work is a medium-
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difficulty piece that should follow works such as Sonata by Henri Eccles, Aria by Eugene Bozza,
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and Sonata by Burnet Tuthill. In addition, the piano reduction is more accessible than advanced

standard saxophone repertoire and increases the number of pianists that are able to perform the

work. Original standard works for the saxophone require an advanced saxophonist; however,
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these aspects of Binge’s concerto make it an approachable piece for a developing saxophonist

that offers a technical challenge and ample opportunity for musical expression.
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CHAPTER ONE:

HISTORICAL BACKGROUND

Ronald Binge was born to Lawrence and Florence Binge on July 15, 1910, in the

Normanton district of Derby, England. His father was an iron molder by trade, but he was also an

accomplished pianist. The family did not have enough money for music lessons, so Binge began

studying music independently. At age seven, he became a choirboy at St. Andrew’s church and

studied with the choirmaster and organist William James Baker.2 Binge learned a lot from Baker

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and later recalled;

"He was an imaginative and sensitive musician with forthright views, and he
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made a first-rate teacher…I still remember our first meeting. I was a very shy
little boy, and when he asked what I knew about music and could I play at all, I
answered nervously that I could play my own version of Three Blind Mice. I
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cannot, however, remember any details about my "arrangement" of those days.
But I am sure I was not a bit like the one I now have in print - more likely to be a
one-finger version."3

Binge took piano lessons from Baker at the Derby Conservatory of Music, which inspired
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Binge to pursue a career in music. To further his study, he began instruction in organ and music

theory; however, he discontinued instruction to support his family, continuing his musical

training on his own. At 17, he began work as an organist accompanying silent films in the Cosmo

cinema’s orchestra.4 This job had a substantial impact on his musical career. Binge recalled:

"It was a great experience and developed sight reading ability to a high degree. It
also gave me the opportunity for the first time of composing for a real - if small -

2 Mike Carey, Sailing by: The Ronald Binge Story (Tranters, Markeaton, 2000), 11
3 Ibid., 9–11
4 Ibid., 11–13
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orchestra. This was the beginning of my interest in orchestration. Frank criticism

from my colleagues forced me to learn about the instruments of the orchestra and
the different technique and style of the various individuals made me realize how
important it was to study the player as well as his instrument."5

Unfortunately, the development of talking pictures put the other musicians out of work, leaving

Binge alone to play the organ between films.

To supplement his income, Binge played in dance bands and as an accompanist in

concerts around Derby. In an effort to become more marketable, he learned accordion and played

with The Leon Orchestra and his own Allegro Orchestra. Binge needed to leave Derby to make a

career as a musician.6 In 1932, at the age of 21, Binge moved to London and found work as a

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musician at the seaside resorts (as did many musicians during the summer months, since there
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was a decline in concerts in the city). He continued to develop his accordion skills throughout the

summer season of 1932 and began playing with dance bands such as Cecil Mitchell's band, Don
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Sesta's orchestra, and Emilio Colombo's orchestras. He continued performing in these dance

bands until 1935 when he joined the Mantovani orchestra.7

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The founder of the Mantovani Orchestra, Annunzio Paolo Mantovani, was born in Venice,

Italy, on November 15, 1905. He learned violin from his father, Benedetto Paolo Mantovani, a

professor of music at the conservatories in Milan and Venice, Italy. In 1912, they moved to

London when Benedetto took a job as an orchestra leader at a luxury hotel. Annunzio studied at

5 Mike Carey, Sailing by: The Ronald Binge Story (Tranters, Markeaton, 2000), 11
6 Ibid., 15–17
7 Ibid., 24–31
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Trinity College of Music and made his debut at the age of 16, performing the Bruch Violin

Concerto No. 1.8

In the early 1930s, Mantovani formed his Tipica Orchestra, later renamed the Mantovani

Orchestra. This ensemble’s instrumentation included three violins, two cellos, piano, bass,

drums, accordion, and guitar, which played both classical and popular music. Mantovani thought

of the accordion as an asset to any ensemble when used properly; however, when it was played

poorly it overpowered the ensemble. Unable to find an acceptable accordionist, he cycled

through two accordion players before hiring Binge.9

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Binge was the accordion player and arranger for the Mantovani Tipica Orchestra, which

performed in dance halls, restaurants, and theaters. The ensemble performed on radio broadcasts
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that featured Binge's arrangements and original compositions. In 1938, they recorded Binge’s
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arrangements such as “Blue Skies,” “Now it Can Be Told,” “I Let a Song Go out of My Heart,”

“Meet me Down in Sunset Valley,” and “My Heaven in the Pines.” The Mantovani Tipica

Orchestra ceased performing during World War II.10

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In 1940, Binge joined the Royal Air Force and was appointed choir conductor in

Blackpool. In addition, he performed in a military orchestra conducted by Sidney Torch. During

this time, he wrote Spitfire for the Mantovani Orchestra, named after the fighter plane model. He

managed to secure leave from the Royal Air Force to record with the Mantovani Orchestra in

8"Mantovani, (Annuncio Paolo)." Grove Music Online. 2001; Accessed 24 Feb. 2022. https://www-
oxfordmusiconline-com.www2.lib.ku.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/
omo-9781561592630-e-0000017674.
9 Mike Carey, Sailing by: The Ronald Binge Story (Tranters, Markeaton, 2000), 28–31
10 Ibid., 32–36

Reproduced with permission of copyright owner. Further reproduction prohibited without permission.