A CHILLIDA (1997), Mercè Capdevila
Live electronics modulated with SPX90 II. There is also a version in live electronics by the sound artist and composer Joan Bagés (joanbir@hotmail.com)
Publisher: Contact the composer (mercecapdevilagaya@gmail.com)
Duration: 16:10 long
Range (written): A2 – F6 (or as treble as possible)
TECHNIQUES: Diversity of articulations, slaps, glissandi, trills and tremolos, flatter, extreme altissimo register, tonguing accuracy, key sounds, air sounds, overtones, use of voice, trumpet sounds.
COMMENT: Each one of its five parts is an absolutely amazing sample of advanced techniques on the baritone and colouring on the electronics part. Simply spectacular!
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STAN (2001), Christian Lauba
Tape (there is also the possibility to play it with piano instead of electronics)
Publisher: Editions Alphonse Leduc, Paris (FRA)
Duration: Around 8:00
Range (written): A2 – C#6
TECHNIQUES: Circular breathing required, intonation, multiphonics, quality of legatos in wide intervals, altissimo register, extreme dynamics (ffff-pppp), tonguing accuracy, diversity of articulations, bisbigliandi, very fast excerpts.
COMMENT: A beautiful electronics part (simple but very efficient) for a very demanding work in terms of techniques, especially for the use of the circular breath and a final full of fast and rhythmic excerpts.
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MYRRH (2012), Timothy Harenda
Live electronics (there is also the possibility to play it with a tape version)
Publisher: Contact the composer (tmh0166@unt.edu)
Duration: Around 8:00
Range (written): B2 – C6
TECHNIQUES: Very fast excerpts, intonation, glissandi, trills and tremolos, altissimo register, tonguing accuracy, diversity of articulations, slaps, ¼ tones, multiphonics, flatter, growl, stability of pulse.
COMMENT: Originally composed for the alto saxophone, the version for the baritone rests also demanding, especially in its fast excerpts.
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motherFUNK! (2012), Ian Wilson
RC-300 Loop Station
Publisher: Contact the composer (tullynascreen@gmail.com)
Duration: Around 9:00
Range (written): B2 – F6
TECHNIQUES: Diversity of articulations, tonguing accuracy, altissimo register, very fast excerpts, stability of pulse, intonation, funk feeling performance.
COMMENT: Although you control this device very well, it is a very difficult piece for the pulse and rhythms. Anyway, it is worth the effort.
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SONATE (2000), Alain Margoni
Publisher: Gérard Billaudot Editeur, Paris (FRA)
Duration: Around 8:30
Range (written): A2 – A6
TECHNIQUES: Tonguing accuracy, diversity of articulations, stability of pulse, very fast excerpts, intonation, flatter, trills and tremolos, overtones, multiphonics, extreme altissimo register.
COMMENT: It is a brilliant work, with many advanced techniques on the baritone that requires a good work on chamber music, as well.
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CAUSA SUI SONATA (ed. 2002), Carl Fischer
Publisher: Notissimo Editeur (Alphonse Leduc), Paris (FRA)
Duration: Around 6:30
Range (written): A2 – Bb5
TECHNIQUES: Overtones, multiphonics, altissimo register, ¼ tones, glissandi, very fast excerpts, quality of legatos in wide intervals, trills and tremolos, tonguing accuracy, intonation, slap, ghost notes.
COMMENT: It is quite similar to the precedent work but it is composed in some styles of modern music.

DOPPELGESANG (2015), Alan Theisen
Publisher: Self-edited (https://alantheisen.com/store/doppelgesang).
Duration: Around 12:00
Range (written): Bb2 – C6 (D6, optional)
TECHNIQUES: Intonation, diversity of articulations, tonguing accuracy, bisbigliandi, trills and tremolos, ¼ tones, multiphonics, altissimo register, very fast excerpts, stability of pulse, quality of legatos in wide intervals, improvised parts.
COMMENT: It is a fantastic piece for chamber music. It is technically demanding, with lots of advanced techniques, and very resolutive in terms of interpretation.
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DUO-SONATE (1977), Sofia Gubaidulina
For two Baritone Saxophones (original for two Bassoons)
Publisher: Musikverlag Hans Sikorski, Hamburg (GER)
Duration: Around 9:00
Range (written): Bb2 – D6 (1^st baritone) / G2 (or A2) – B5 (2^nd baritone)
TECHNIQUES: Tonguing accuracy, diversity of articulations, intonation, altissimo register, overtones, trills and tremolos, ¼ tones, flatter, glissandi, multiphonics.
COMMENT: Although it was no composed for our instrument, the sonority of the baritone saxophone gives a captivating atmosphere to the work. A great piece by one of the great women composers of the 20^th-21^st Centuries.
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JMDC (2010), Dominique Soulat
For Baritone Saxophone Quartet
Publisher: Editions Bar&Co, Ambazac (FRA)
Duration: Around 9:00
Range (written): B2 – E6 (1^st Baritone) / C#3 – E5 (2^nd Baritone) / C#3 – F#5 (3^rd Baritone) / A2 – D5 (4^th Baritone)
TECHNIQUES: Intonation, very fast excerpts, tonguing accuracy, stability of pulse, jazz improvisation optional, diversity of articulations, altissimo register.
COMMENT: One of the very first pieces originally written for baritone quartet, it is a tribute of the composer to John Coltrane, Michael Brecker and Charlie Parker. If you like jazz, this is your work.

QUARKS BLAUS (2010-11), Joan Bagés i Rubí
For Baritone Saxophone, three Snare Drums and Electronics
Publisher: Contact the composer (joanbir@hotmail.com)
Duration: Around 13:30
Range (written): A2 – G5 (the more treble possible)
TECHNIQUES: All kind of air sounds and transitions, flatter, glissandi, key sounds, multiphonics, tonguing accuracy, diversity of articulations, slaps, trills and tremolos, altissimo register, very fast excerpts, bisbigliandi, use of voice, kiss sounds, improvised parts, overtones, teeth on reed.
COMMENT: The constantly search of timbres in the electronics as well as the instrumental parts, push the limits of the baritone saxophone. It is also interesting for the work on the chamber music skills.
Listen to the audio!