Sax-Klangfarbenmelodien: tras la expresividad tímbrica en el repertorio para saxofón de finales del S. XX
"Tone-color melodies! How acute the senses that would be able to perceive them! How high the development of the spirit that could find pleasure in such subtle things! In such a domain, who dares ask for a theory!" Those were the words that Arnold Schönberg wrote on the last page of his Harmonielehre [Theory of Harmony] in 1922. Many composers have worked in this way since then, therefore if performers want to play this music, they also need to become more sophisticated. The parameters on which expressivity is based could be different in this case. In this article I aim to discuss the principal issues relating to this subject, such as the components of a supposed timbrical expressivity, and the main technical sources that could be used to achieve it.