Described by the magazine the Saxophonist Magazine as "in a rarefied air, the possessor of a musicality and world-class technique superhuman", Dan Graser is one of the performers and pedagogues, the most active of his generation. Doctor of Musical Arts from the University of Michigan, Dan was assistant chair of the legendary teacher of saxophone Donald Sinta and completed his university studies in interpretation, and history/theory of music with the virtuoso on the saxophone Timothy McAllister at the Crane School of Music SUNY Potsdam. As a soprano of the world-renowned Quartet Sinta, Dan has performed internationally as a soloist and chamber musician. SQ is located in between the sets, the most successful in the circuit of competitions, chamber music, having received the Gold Medal of the Competition of Camera Fischoff, the 1st Prize of the International Competition of the Guild of Artists Concert (the first ever awarded to a group of saxophones), the 1st Prize in the Competition of the Arts of Camera M-Prize, the Grand Prize Alice Coleman in the Contest Coleman and the 1st Prize in the Competition of string Quartets, of the Alliance's north American Saxophone. SQ have performed all over the world, and were the soloists with the Symphonic Band of Michigan during a historical tour through China. In addition to interpreting major works for string quartet and standards for saxophone, SQ sponsors an annual competition of composition for young composers emerging. This competition has led to the release of dozens of new works for quartet of saxophones. General Arts Touring manages to SQ internationally. His recordings can be heard in the seals CAG and Bright Shiny Things. www.sintaquartet.com
As a soloist, Dan has acted with GVSU Symphony Orchestra, GVSU Concert Band, University of Michigan Symphony Band, Oakland, Wind Symphony, Crane Wind Ensemble, South Oakland Concert Band, and in recital at the Kennedy Center as part of the Millennium Stage. As a performer, orchestral, Dan has performed on numerous occasions with the Symphony Orchestra of Detroit under the direction of Leonard Slatkin. For several years, Dan was a saxophonist of the New World Symphony in Miami under the direction of Michael Tilson Thomas, Teddy Abrams, John Adams, and J. D. Gersen, and played several chamber works, premieres and large orchestral works with this prestigious group. Dan has also worked as a saxophonist with the Grand Rapids Symphony, the Symphony, Kalamazoo, Symphony, Ann Arbor Symphony, Oakland Symphony, Royal Oaks, as well as with the Symphony Orchestra and the Philharmonic Orchestra of the University of Michigan.
As a teacher, as highly requested, Dan is the author of the series of method books Pints, as well as of The Saxophone Manual, which is currently used by thousands of saxophonists from all over the world, both in the field of jazz, as in the classic. Dan has given master classes and clinics at numerous schools around the world, including the Paris Conservatory, the Conservatory of Shanghai, the Central Conservatory of Beijing, the Conservatory of China, the Conservatory of Versailles, the University of Michigan, the University of North Carolina at Greensboro, the University of West Virginia and Oakland University. Dan has also held teaching positions at the University of Oakland, the School of Performing Arts in Ann Arbor and the Academy of Music Expressions. For more information on the study of saxophone of the GVSU, visit: www.gvsu-saxophone.com.
Dan is an artist Selmer Paris and tap exclusively with saxophones Selmer.
For a long time, saxophonists have been developing a wide range of techniques to "extended" and looking for new sounds and skills to add to your skill set. However, the basic pedagogy to play the instrument from a fundamental point of view, and a technician had not changed much until the arrival of several new books of the method of the series Pints, as well as of The Saxophone Manual. These new works present a pedagogy that is genuinely new that is rooted in the fundamental concept that the saxophone is an instrument to play harmonics and for too long we have been teaching it in another way and limiting the abilities of younger students by suggesting that the study of the use of the vocal tract and the oral cavity is limited to a "school" of playing or that it is too "advanced". This lecture/presentation will detail the current research in this field and also how to make a pedagogy consistent and moderna from the above materials.