Quartet for Saxophones Robert Myers

By John Horgeshimer
Quartet for Saxophones (1987) is a little-known piece composed by former Berklee College of
Music professor and administrator Dr. Robert Myers. The quartet is a 532 single movement
work that was recorded by the Wytko Saxophone Quartet in 2006. There are five distinct sections
in this piece, giving it an A B C B A arch form with an interlude between the first B and
C section. The goal of this paper is to increase visibility of this haunting work with hopes that:
A) composers will be inspired to create music utilizing pitch class sets, and B) saxophonists will
be moved to perform this wonderful quartet.

In Quartet for Saxophones, Myers displays mastery of creating interesting textures and colors
with varying chord combinations. There are eight distinct solo lines that are passed between the
upper three voices. Myers changes time signatures, (common time, 4/8, 3/4, and cut-time), and is
very specific in describing his desired effect for the performers.

The opening A section is in common time and the tempo is quarter note = 52 b.p.m. The first set,
(Ex. 1), is a G, Ab, A, Bb, B prime form hexachord [0, 1, 2, 3, 4]. In mm. 5 7, the form adds
one note [0, 1, 2, 3, 4, 5], and in mm. 8, there is the complete 12-tone row. The A section prime
form returns in mm. 8 9 in the baritone line, while prime form [0, 1, 2, 3, 4, 5, 6] is in the alto,
and mm. 10 11 adds another pitch to bring the prime form set to [0, 1, 2, 3, 4, 5, 6, 7]. Myers
makes use of a trill with a descending (0, 1, 2, 3) set to heighten the anxious state before the
trichord in mm. 11. Myers fashions another dissonant trichord, (Ab, A, Bb), in mm. 12 to create

tension before the return of the opening G, Ab, A, Bb tetrachord, (0, 1, 2, 3) in mm. 13, which
concludes the first A section.

Ex. 1 Opening two measures of Quartet for Saxophones

The tempo increases significantly (eighth-note = 120 b.p.m.), In the B section, and is in 4/8 time.
The mood of the piece changes after a few measures of the B section. The prime form in mm. 14
is [0, 1, 2, 3, 4, 5, 6], [0, 1, 2, 3] in mm. 15 and a complete 12-tone row in mm. 16 and 17 and
again in mm. 18 19. Myers employs a motor rhythm, which begins in mm. 18, (Ex. 2), to
support the melody that is passed between the alto and soprano. The next few measures have
different combinations of pitch classes, which include [0, 1, 2], [0, 1, 3], [0, 1, 4], [0, 1, 2, 3], [0,
1, 3, 4], [0, 2, 3, 4] and culminates in the return of the [0, 1, 2, 3, 4, 5] in mm. 23 in the tenor.

There are linear complete 12-tone rows in the soprano, (mm. 24 29), and baritone, (mm. 23
27). The alto and tenor consist of [0, 1, 2, 3], [0, 1, 2, 4], and [0, 1, 2, 3, 4]. In mm. 29-32, the
alto rests for three full measures while the tenor has a complete 12-tone row in its line. That is
the first instance in which one voice has a complete 12-tone row. That complete linear 12-tone
row is followed by two composite 12-tone rows in the soprano and alto in mm. 32 33 and 34
35, while the tenor and baritone are at rest. There are two iterations of [0, 1, 2, 3, 4, 5, 6] in mm.
31 32 and 37 38. Another [0, 1, 2, 3, 4] is in mm. 39 40, which generates three voices
having a complete 12-tone row in mm. 41-42. To conclude the first B section there are two
complete 12-tone rows in all voices in mm. 41-44.

Ex. 2 Motor rhythm beginning in mm. 18

The interlude begins in mm. 46 and is in common time, (quarter note = 60 b.p.m.). At the onset
of the Interlude, the alto and tenor are unison, while the baritone and soprano sneak in on the
3

same pitch, (pitch class 8), a few beats later. That culminates in a tutti crescendo and decrescendo
in all four voices. The alto has an ascending pattern that is supported by a quarter note triplet in
the baritone in mm. 49 and a quintuplet in the tenor, leading into a trill. There is a complete 12tone row in all voices in mm. 48 49. The soprano, completing its solo section, arrives on a
unison pitch with the tenor, (pitch class 3). This mirrors beginning of the Interlude in mm. 46 as
the voices enter on unison pitch class 3, build in volume and create tension. Prime form [0, 1, 2,
3, 4] is in all voices in mm. 53, [0, 1, 2, 3, 4, 5, 6] in the soprano voice mm. 54 55 while [0, 1,
2, 3, 4, 5] in the alto in the same measures.

As the interlude propels toward the next section, Myers juxtaposes beats within the measures. In
measure 54, he uses a quarter note triplet against a quarter note and eighth notes, which lead into
quarter note triplets against eighth notes in the subsequent measure. Myers quickens the pace in
measure 56 as he fashions a quintuplet against a sextuplet and which coalesces in a half-step trill
against a minor 3rd tremolo, (Ex. 3). The interlude concludes in mm. 58 with pitch class set [0, 1,
3, 4, 5, 8, 9].

Ex. 3 Multi-rhythms in each voice at the end of the Interlude

The C section has the most time signature changes, (cut-time and 3/4), the tempo is half-note =
120 b.p.m., and is 56 measures long. The section primarily uses half notes and quarter notes. To
exploit the use of longer notes, Myers uses metric change as a means to create contrast from the
previous sections of the piece. It begins in cut-time, and goes through four measures alternating
between 3/4 time and cut-time, which it repeats ten measures later, and five measures later there
is one measure of 3/4 and cut-time, (Ex. 4). Six measures later the four measure of alternating
time signatures returns. After fourteen measures, there are the two measure time signature
changes, and two measures later the four measure time signature changes until the end of that
section.

Ex. 4 C section metric changes

The C section begins in mm. 60 with prime form [0, 1, 4] horizontally and [0, 1, 2, 3] vertically.
There is a complete 12-tone row in mm. 64 68, [0, 1, 2, 3, 4, 5, 6, 7, 11] in mm. 68 70, and
[0, 1, 2, 3, 4, 5, 6, 7] in mm. 71 74. There are five iterations of [0, 1, 2, 3, 4] in mm. 75 83,
along with an [0, 1, 2, 3, 4, 5, 6, 7, 8, 9] in mm. 78 81. Prime form [0, 1, 2, 3, 4, 5, 6] is stated
in mm. 84 85 and mm. 91 92. There are quite a few [0, 1, 2, 3], [0, 1, 2, 3, 4] and [0, 1, 2, 3,
4, 5] prime forms between mm. 85 103. There is a complete 12-tone row in mm. 103 112. It
is worth noting that Myers builds the number of pitches gathered in measures throughout this
entire section but culminates in two complete 12-tone rows.

The B section returns in mm. 117 in common time and quarter note = 52 b.p.m. The [0, 1, 2, 3,
4] hexachord returns, and blends the larger sets that were created in the previous section. There
are two [0, 1, 2, 3, 4, 5, 6] in mm. 119 and 120 in all four voices, followed by a complete 12-tone
row in mm. 121 122. Myers mixes triplets, quintuplets and trills to create the sense of increased
motion in mm. 119-120. Subsequently, Myers utilizes an octuplet, quintuplet and triplets in the

following measures to further decelerate (Ex. 5). Prime form [0, 1, 2, 3, 4, 5, 6, 7] completes the
section, with the final chord in the B section, (with a trill), is an (0, 2, 4, 6, 7) prime form.

Ex. 5 Slowing toward the end of the second B section

The final A section repeats [0, 1, 2, 3, 4, 5, 6, 7] and is marked a quarter note = 42 b.p.m. In the
final four bars of the piece, Myers creates a memory effect by having the bottom three voices
play various familiar rhythms from the piece while the soprano ends the piece playing a solo M2
trill. The piece closes with a complete 12-tone row, (Ex. 6).

Ex. 6 End of the quartet memory recall

Quartet for Saxophones is significant in both contribution to saxophone repertoire and its
compositional style. It mimics Webern through use of sets and rhythms, even though it was
written in the late 20th Century. The quartet is challenging for the performers, in that each
saxophonist must play their part as a soloist would, while allowing the lines intermingle
seamlessly. Further challenges include performing certain rhythms at the same time, (such as the
quintuplet against sextuplet), and having them line up perfectly. Robert Myers Quartet for
Saxophones has made a case for 21st century composers to consider including the use of set
theory in their compositional arsenal.