2020 All Saxes/Winds Excerpt

Total Page:16

File Type:pdf, Size:1020Kb

2020 All Saxes/Winds Excerpt 2020 All Saxes/Winds Excerpt excerpts must be played once WITH an audible metronome and once WITHOUT a metronome. please record these excerpts as a video and upload to youtube/vimeo OR dropbox/Google Drive. Enter the location of these excerpts into your official online ANJO Youth BB application form. for reference tracks please follow the links on the audition requirements page. any issues contact ANJO education consultant Toshi Clinch e: [email protected] OR t: 0409 562 000 Important Notes on Woodwind Excerpts the following excerpts are required for each chair:- Lead Soprano & Alto Saxophone. Excerpt 1, 2 & 3 on Alto Saxophone plus Excerpt 1 on Soprano Saxophone plus the improvised excerpt on Alto Saxophone Alto Saxophone 2, Flute and/or Clarinet Excerpt 1, 2 & 3 on Alto Saxophone plus one of the following:- a) excerpt 4 (flute) b) excerpt 5 (clarinet) c) both excerpt 4 (flute) & excerpt 5 (clarinet) Tenor Saxophone 1 Excerpt 1, 2, & 3 on Tenor Saxophone plus the improvised excerpt on Tenor Saxophone Tenor Saxophone 2 Excerpt 1, 2 & 3 on Tenor Saxophone plus one of the following:- a) excerpt 4 (flute) b) excerpt 5 (clarinet) c) both excerpt 4 (flute) & excerpt 5 (clarinet) Baritone Saxophone & Bass Clarinet Excerpt 1, 2 & 3 on Baritone Saxophone Excerpt 6 on Bass Clarinet plus the improvised excerpt on Baritone Saxophone Multiple Saxophones if you are auditioning on multiple saxophones eg alto & tenor, alto & bari, tenor & bari you must repeat excerpts 1 on your alternate sax. In the event of auditioning on alto, tenor & bari repeat excerpt 1 using a different sax each time. You should improvise on your preferred sax for the improvised excerpt. Colorful Alto sax1 / Flute 2 Alto Saxophone #w w w w 4 & 63 64 65 66 67 71 75 (P and Gt) ° 4 ü° 4 ü Colorful ™ ™ ™ Transposed Score ™ Migiwa Miyajima & ¢™ ™†¢™ ™† q = 220 1 Saxophone Excerpt SWING 79 To Fl. >œ œ#œ œ ^ (piano) > ° #œ2œ œ œ œ œ œ œ >e U #˙ ˙ #˙ ˙ > w Awlto 1 3 œ 4 3 œ œ #œ œ 4 # Ó w #w & 4 œ#œ 4 œ œ#œ #œ œ 4 4 Œ Œ ∑ & 80 3 81 82 83 84 85 œ#œ œ mf f œ To Cl. (piano) mp mf >œ#œ œ #œ œ œ œ #œ œ œ œ œ #œ^ >e U Alto 2 3 œ œ#œ 4 œ œ#œ œ 3 œ œ 4 Œ Œ ∑ 3 & 4 4 œ#œ œ#œ 4 4 - #>œ fw To Cl. >e #˙ œ #œ œ œ œ. #œ #œ- - œ >œ œ œ œ œ^ U J œ Tenor 1 3 #œ œ 4 œ œ#œ œ 3 œ œ œ œ 4 & Ó J Œ œ œ œ œ#œ œ œ œ œ œ Œ Œ (piano) ∑ 3 & 4 œ#œ 4 4 4 87 mf 88 89 9f0 Tenor Sax œ >œ #œ œ œ#œ œ œ œ œ œ ^ #>e U ™ Tenor 2 3 œ 4 œ œ#œ 3 œ œ œ œ œ 4 Œ Œ (piano∑) ˙ œ œ 2 & 4 œ bœœ œ#œ 4 œ 4 œ œ 4 œ Ó bœ œf & >œ To B. Cl. (piano) 91 92 94 #œ œ œ œ œ œ ^ >e U 95 Bari. Sax. 3 œ œ#œ 4 #œ œ 3 œ œ #œ œ œ #œ œ 4 # ¢& 4 4 œ œ#œ œ œ#œ 4 œ 4 œ Œ Œ ∑ ^ ™ . œ œ #œ f #œ #>˙ ˙ œ œ œ > > > >œ œ^ To Flug. >e Œ Œ Ó œ J ° œ œ>œ œ #œ >œ œ #œ œ U & J Trumpet 1 3 4 3 J 4 f 96 97 98 & 4 Ó 4 Œ Œ 4 ‰ Œ Ó 4 Œ Œ (piano) ∑ f ^ To Flug. >e #œ > #>œ >œ >œ #>œ >œ œ U #œ œ #œ #œ œ w Trumpet 2 ˙ 3 œ Ó 4 Œ Œ 3 ‰ J Œ Ó 4 Œ Œ ∑ w ‰ #œ & 4 Ó 4 4 4 (piano) & f To Flug. 99 100 J 101 102 >e > > > > > < >> œ^ U Trumpet 3 3 œ 4#œ #œ 3 #œ œ n œ 4 > ™ & 4 Ó 4 Œ Œ 4 ‰ J Œ Ó 4 Œ Œ (piano) ∑ ˙ ˙ œ œ™ #œ ™ f œ To Flug. >e Ó Œ Ó J J #œ œ™ > > U & Trumpet 4 3 >J 4 > 3 #œ > œ 4 œ^ 103 104 105 106 ¢& 4 œ Ó 4 œ Œ œ Œ 4 ‰ œ Œ Ó 4 Œ Œ (piano) ∑ f > J (piano) ™ > > b>œ œ^ œ ˙ °. œ œ #>œ >œ >œ >e U > œ #œ œ Coœlorful #œTromœbone# œ1 ?œ 3#œ Ó 4 Œ Œ 3 ‰ Œ Ó 4 Œ Œ ∑ & w ‰ œ œ Alto sax1 / Flute J 4 Ó 4 4 J 4 107 108 J 109 110 fJ (piano) 111 > 3 >œ > > >œ œ^ >e U Trombone 2 3 œ 4 œ 3 œ > 4 #œ^ > ™ œ. œ œ#œ œ œ ? 4 Ó 4 Œ Œ 4 ‰ #œ Œ Ó 4 Œ Œ ∑ #˙ ˙ œ œ œ J (piano) & Œ Œ Ó J J œ#œf w 112 113 114 115 > > ^ >e U f Trombone 3 3 > 4 œ > 3 > > œ 4 œ ? 4 œ Ó 4 Œ œ Œ 4 œ ‰ œ Œ Ó 4 Œ Œ ∑ f J œ #œ > >e U #œ #œ #œ œ w ˙ Bass Trombo˙ne ? 3œ 4 3 4 ^ ‰ #œ Ó Ó ¢ 4 ˙™Ó 4 œ Œ œ Œ 4 ‰ j Œ Ó 4 Œ Œ (piano∑) & J œ > > œ œ œ œ 116 117 118 119 12f0 > > > > > (piano) G9(“4) . ™ > ™ C9(“4) A-11 B-11 D-11 E-11 F9(“4) >e U #œ œ #œ œ œ ˙ j Guitar ™ >3 ™ > 4 > > 3 > > > 4 ^ Œ œ#œ œ J Œ J Œ Ó œ™ œ ˙ #œ&œ4 V˙ Ó œ œ 4 V Œ V Œ 4 V ‰ V Œ V Ó 4 V Œ Œ ∑ & J Jf J 121 122 123 124 > > 125 126 Short free solo G9(“4) mf C9(“4) A-11 B-11 D-11 E-11 F9(“4) #œ>œ wUw ™ 3 V Ó > 4 V> Œ V> Œ 3 V> ‰ V> Œ V> Ó 4 V^ Œ Œ œœ ww ˙™ œ #>œ w ™ #œ ˙ & 4 œ #œ 4 4 J 4 & Ó œ J Piano f p 127 128 129 130 U ? 3 f 4 3 4 131 4 ∑ 4 ∑ 4 ∑ ∑ 4 ∑ ∑ { (piano) 8 ^ >e U Bass ? 3 4 3 > > 4 œ & 4 œ Ó 4 Œ œ Œ 4 œ ‰ œ Œ Ó 4 Œ Œ ∑ & œ > J œ (piano) f > > To BRUSHES >e U Drums 3 4 > > 3 > > > 4 > / 4 V Ó 4 V Œ V Œ 4 V ‰ V Œ V Ó 4 V Œ Œ ∑ & f J 2 3 4 5 6 (c) 2017 Miggy Migiwa Music Colorful Alto sax1 / Flute 4 139 147 7 #>œ w w w w 3 #œ & #œ™ œ œ #œ™ œ œ 146 J 148 149 150 151 154 J 155 mf w w ˙ œ™ #>œ w w 2 #œ & J #œ™ œ œ 156 157 158 159 160 162 J 163 ™ w w œ #>œ ˙ w w œ#œ œ w #œ & J Ó #œ™ œ œ 164 165 166 167 168 3 169 170 J Saxophone Excerpt Colorful Migiwa Miyajima Transposed Score 2171 ˙™ ˙™ œ w w q =w 220 w œ J 5 SWING ‰ & 172 173 174 175 176 4 To Fl. (piano) >œ#1œ77 œ œ#œ œ ^ ° œ œ #œ œ œ œ œ œ #>e U Alto 1 3 ^œ œ#œ 4 > #œ œ 3 œ œœ^ > 4 Œ Œ & 4 5 œ 4 œ#œœ#œ œ 4œ#œ 4 5 #œ 4 4 3 ∑ f>&4 Œ Œ Œ 4 ∑ 4 Œ Œ œ#Œœ 4 To ∑Cl. (p4iano) œ#œ 178 179 œ œ180 œf œ #œ œ œ œ œ #œ^ >e U Alto 2 3 181 œ œ#œ 4 œ œ#œ œ 3 œ œ 4 Œ Œ & 4 > 4 œ#œ œ#œ 4 œ4#œ ∑ f œ#œ œ œ To Cœl. >e >œ œ œ œ œ œ#œ œœ œ œœ œ^ œ U Tenor 1 3 #œ3 œ 4 œœ#œ 4 œ#œ œ#œ3 œœ 3 œ œ œ 4 4 & 4 4œ œ œ#œœ #œ 4œ œ œ Œ Œ (p4iano) ∑ & 4 œ œ#œ 4 œ 182 œ#œ 4œœ œ183 184 4 f>Tenor Sax œ œ ^ œ #œ œ œ#œ œ œ œ œ #>e U Tenor 2 3 œ^ 4 œ œ#œ 3 œ œ œ œ œ 4 Œ Œ (piano∑) & 4 œœ œ#œ 4 œ 2 4 œ #>œœ w w w 4 œw f 4 Œ Ó Ó Œ ‰ J >& 4 To B. Cl. (piano) 18œ5 #œ 186 188 189 190 191 192 œ mp œ #œ œ œ œ œ #œ ^ #>e U Bari. Sax. 3 œ œ#œ 4 #œ œ 3 œ œ œ œ 4 Œ Œ ¢& 4 4 œ œ#œ œ œ#œ 4 œ 4 œ ∑ f > > > >œ œ^ To Flug. >e ° >œ >œ œ #œ œ U Trumpet 1 3 4 3 J 4 & 4 Ó 4 Œ Œ 4 ‰ Œ Ó 4 Œ Œ (piano) ∑ f ^ To Flug. >e > > > >œ #>œ >œ œ U Trumpet 2 3 œ 4#œ œ 3 4 & 4 Ó 4 Œ Œ 4 ‰ J Œ Ó 4 Œ Œ (piano) ∑ f To Flug. >e > > < >> œ^ U Trumpet 3 3 > 4 > #>œ 3 #œ œ n œ 4 & 4 œ Ó 4#œ Œ Œ 4 ‰ J Œ Ó 4 Œ Œ (piano) ∑ f To Flug.
Recommended publications
  • New Century Saxophone Quartet Press
    New Century Saxophone Quartet Press KALAMAZOO GAZETTE Thursday, July 12, 2007 Saxophone ensemble shows off versatility By C.J. Gianakaris uesday in South Haven and Precise, synchronized playing Wednesday night at Brook Lodge T in Augusta, Fontana Chamber Arts was matched by a balanced presented the New Century blend … A total winner. Saxophone Quartet. Its playing of a wide range of works, by seven different By the last half of the concert, it composers, initiated the audience in the became clear that certain compositions musical possibilities of such ensembles. lend themselves more to saxophone sound The New Century features Michael than others. The first section of Astor Stephenson on soprano saxophone, Chris- Piazzolla’s marvelous “Histoire du topher Hemingway on alto saxophone, Tango,” arranged by Claude Voirpy, was Stephen Pollock on tenor saxophone and a total winner. Infectious tango rhythms Connie Frigo on baritone saxophone. worked well for saxes, as did tapping of After marching in while playing Bob the instrument’s body — a technique Mintzer’s invigorating “Contraption,” the heard often in Piazzolla’s music. ensemble turned to five selections from George Gershwin’s great American J.S. Bach’s “Art of the Fugue,” BMV opera “Porgy and Bess” also sounded 1080. Immediately impressive was the especially fine. Our ears are accustomed velvety aura emanating from different to hearing Gershwin played with soaring saxophones possessing varying ranges. reed instruments, clarinet or sax, Precise, synchronized playing was deliberately scored. So the sounds were matched by a balanced blend, suggesting warm and familiar. saxophones could present Bach’s works as well as other instruments.
    [Show full text]
  • Faculty Recital, Ronald L. Caravan, Clarinet, Soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano
    Syracuse University SURFACE Setnor School of Music - Performance Programs Setnor School of Music 2-24-2008 Faculty Recital, Ronald L. Caravan, Clarinet, soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano Ronald L. Caravan Syracuse University Sar Shalom Strong Follow this and additional works at: https://surface.syr.edu/setnor_performances Part of the Music Performance Commons Recommended Citation Setnor School of Music, Syracuse University. Faculty Recital, Ronald L. Caravan, Clarinet, soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano. 2-24-2008 https://surface.syr.edu/ setnor_performances/7 This Performance Program is brought to you for free and open access by the Setnor School of Music at SURFACE. It has been accepted for inclusion in Setnor School of Music - Performance Programs by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY SETNOR SCHOOL OF MUSIC Faculty Recital Ronald L. Caravan Clarinet, Soprano Saxophone, Alto Saxophone Assisted by Sar Shalom Strong Piano SETNOR AUDITORIUM SUNDAY, FEB. 24, 2008 2:00 P.M. Program Rondo Capriccioso . Anton Stamitz adapted for C clarinet & piano by Ronald Caravan (1750-c.1809) Soliloquy & Scherzo (2000) ........ ................ Walters. Hartley for Eb clarinet & piano Four Episodes (2006) ................................ Fred Cohen for Bb clarinet & piano 1. Flash 2. Breath 3. Arioso 4. Pure -Intermission - Sonata (1969) .............................. ..... Erwin Chandler for alto saxophone & piano 1. Allegro 2. Con moto 3. With drive Sonata (1976) . ... ............................. Brian Bevelander for alto saxophone & piano (in one movement) Soliloquy & Celebration (1996) ................... Ronald L. Caravan A tribute to the classic jazz saxophonist Paul Desmond for soprano saxophone & piano About the Performers ..
    [Show full text]
  • The Early Evolution of the Saxophone Mouthpiece 263
    THE EARLY EVOLUTION OF THE SAXOPHONE MOUTHPIECE 263 The Early Evolution of the Saxophone Mouthpiece The Early Saxophone Mouthpiece TIMOTHY R. ROSE The early saxophone mouthpiece design, predominating during half of the instrument’s entire history, represents an important component of the or nine decades after the saxophone’s invention in the 1840s, clas- saxophone’s initial period of development. To be sure, any attempt to re- Fsical saxophone players throughout the world sought to maintain a construct the early history of the mouthpiece must be constrained by gaps soft, rounded timbre—a relatively subdued quality praised in more recent in evidence, particularly the scarcity of the oldest mouthpieces, from the years by the eminent classical saxophonist Sigurd Rascher (1930–1977) nineteenth century. Although more than 300 original Adolphe Sax saxo- as a “smooth, velvety, rich tone.”1 Although that distinct but subtle tone phones are thought to survive today,2 fewer than twenty original mouth- color was a far cry from the louder, more penetrating sound later adopted pieces are known.3 Despite this gap in the historical record, this study is by most contemporary saxophonists, Rascher’s wish was to preserve the intended to document the early evolution of the saxophone mouthpiece original sound of the instrument as intended by the instrument’s creator, through scientific analysis of existing vintage mouthpieces, together with Antoine-Joseph “Adolphe” Sax. And that velvety sound, the hallmark of a review of patents and promotional materials from the late nineteenth the original instrument, was attributed by musicians, including Rascher, and early twentieth centuries.
    [Show full text]
  • Writing for Saxophones
    WRITING MUSIC FOR SAXOPHONES This is a short information sheet for musicians who wish to create clear, easy to read music for the saxophone. It is based upon my experiences as a jazz saxophone player and the common mistakes that people make when setting out their parts. It covers the basics such as range, transposition, blending, use of altissimo etc. TRANSPOSITION This section is a brief introduction to the concept of transposition. If you already understand how transposing instruments work in principal then please skip to the section entitled 'range' where you can see how to put this information in to practice for particular saxophones. Most saxophones are transposing instruments. This means that the note 'C' on the saxophone does not sound at the same pitch as 'C' on the piano. The common keys which saxophones are made in are B flat (which includes tenor and soprano as well as less common bass and soprillo saxophones) and E flat (alto and baritone, as well as contra bass and sopranino). There are also 'C melody' saxophones, which are made at concert pitch and do not require transposition, however these are less common. When a saxophonist plays a C on a B flat saxophone such as the tenor, the note that comes out sounds at the same pitch as concert B flat (B flat on the piano). Similarly, on an E flat saxophone such as the alto, a C comes out at the same pitch as concert E flat. On a B flat saxophone all the note letter names are one tone higher than they would be on the piano (i.e.
    [Show full text]
  • The Missing Saxophone Recovered(Updated)
    THE MISSING SAXOPHONE: Why the Saxophone Is Not a Permanent Member of the Orchestra by Mathew C. Ferraro Submitted to The Dana School of Music in Partial Fulfillment of the Requirements for the Degree of Master of Music in History and Literature YOUNGSTOWN STATE UNIVERSITY May 2012 The Missing Saxophone Mathew C. Ferraro I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: ____________________________________________________________ Mathew C. Ferraro, Student Date Approvals: ____________________________________________________________ Ewelina Boczkowska, Thesis Advisor Date ____________________________________________________________ Kent Engelhardt, Committee Member Date ____________________________________________________________ Stephen L. Gage, Committee Member Date ____________________________________________________________ Randall Goldberg, Committee Member Date ____________________________________________________________ James C. Umble, Committee Member Date ____________________________________________________________ Peter J. Kasvinsky, Dean of School of Graduate Studies Date Abstract From the time Adolphe Sax took out his first patent in 1846, the saxophone has found its way into nearly every style of music with one notable exception: the orchestra. Composers of serious orchestral music have not only disregarded the saxophone but have actually developed an aversion to the instrument, despite the fact that it was created at a time when the orchestra was expanding at its most rapid pace. This thesis is intended to identify historical reasons why the saxophone never became a permanent member of the orchestra or acquired a reputation as a serious classical instrument in the twentieth century. iii Dedicated to Isabella, Olivia & Sophia And to my father Michael C.
    [Show full text]
  • Writing for Saxophones: a Guide to the Tonal Palette of the Saxophone Family for Composers, Arrangers and Performers by Jay C
    Excerpt from Writing for Saxophones: A Guide to the Tonal Palette of the Saxophone Family for Composers, Arrangers and Performers by Jay C. Easton, D.M.A. (for further excerpts and ordering information, please visit http://baxtermusicpublishing.com) TABLE OF CONTENTS Page List of Figures............................................................................................................... iv List of Printed Musical Examples and CD Track List.................................................. vi Explanation of Notational Conventions and Abbreviations ......................................... xi Part I: The Saxophone Family – Past and Present ....................................................1 An Introduction to the Life and Work of Adolphe Sax (1814-1894) .........................1 Physical Development of the Saxophone Family .....................................................13 A Comparison of Original Saxophones with Modern Saxophones..........................20 Changes in Saxophone Design and Production ........................................................26 Historical Overview of the Spread of the Saxophone Family ..................................32 Part II: Writing for the Saxophone as a Solo Voice ................................................57 The “Sound-of-Sax”..................................................................................................57 General Information on Writing for Saxophone.......................................................61 Saxophone Vibrato....................................................................................................63
    [Show full text]
  • Establishment of the Classical Saxophone: the Evolution of Instrumental Design and Performance Into the 20Th Century
    DU Undergraduate Research Journal Archive Volume 1 Issue 2 Article 10 4-20-2020 Establishment of the Classical Saxophone: The Evolution of Instrumental Design and Performance into the 20th Century Emily Nicol University of Denver Art Bouton University of Denver - Advisor Follow this and additional works at: https://digitalcommons.du.edu/duurj Part of the Music Performance Commons, Other History Commons, and the Other Music Commons Recommended Citation Nicol, Emily and Bouton, Art (2020) "Establishment of the Classical Saxophone: The Evolution of Instrumental Design and Performance into the 20th Century," DU Undergraduate Research Journal Archive: Vol. 1 : Iss. 2 , Article 10. Available at: https://digitalcommons.du.edu/duurj/vol1/iss2/10 This Article is brought to you for free and open access by Digital Commons @ DU. It has been accepted for inclusion in DU Undergraduate Research Journal Archive by an authorized editor of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Establishment of the Classical Saxophone: The Evolution of Instrumental Design and Performance into the 20th Century Abstract The instrumental design of the saxophone has evolved dramatically from its original patent in 1846. Referencing instruments from the St. Cecilia’s Hall Music Museum at the University of Edinburgh, this article explores the historical origins of the saxophone and traces the evolution of its design into the 20th century. Original research was completed through analysis of unique antique saxophones at St. Cecilia’s Hall and historical source materials in order to determine how, despite its intention to be used as a classical instrument, many factors such as politics, instrument structure, finances, and musician attitude at the time of the saxophone’s invention resulted in limited classical saxophone performance in the modern day.
    [Show full text]
  • Everything You Wanted to Know About Sax but Were Afraid to Ask
    Everything You Wanted To Know About Sax But Were Afraid To Ask Number 25 June 18, 1979 Drum on your drums, batter on your The saxophone is a very important in- banjoes, /sob on the long cool winding strument in recent musical hktory. It saxophones. /Go to it, O ja.zzmerr. “1 was invented by Antoine Joseph (also known as Adolphe) Sax in 1838, al- Some people collect stamps or coins. though a patent was not granted until The more affluent collect paintings or 1846.3 (p. 10) Sax was a prominent antique cars. Me, I collect saxophon- Belgian-born instrument maker who ists. lived in Paris. His father had also been a I’m not particularly compulsive about famous instrument maker. The saxo- it. I would not travel a thousand miles phone he created was a single-reed for just another record by John Coltrane instrument made of metal with a conical or Gerry Mulligan. I’m really a sampler. bore or intenor tube. It combined the But if I hear about a sax player who is softness of woodwind with the strength not in my record collection, I will go out of brass.J (p. 11) of my way to add him. I can say “him” The four most common types of sax- with certainty because I have never en- ophone are the soprano, alto, tenor, countered a recording by a woman sax and baritone, However, both higher player. It is well known, however, that a (smaller) and lower (larger) pitched ver- woman saxophonist, Mrs. Elise Hall, sions also exist.
    [Show full text]
  • John Mackey's Concerto for Soprano Sax and Wind Ensemble
    JOHN MACKEY’S CONCERTO FOR SOPRANO SAX AND WIND ENSEMBLE (2007): AN ANALYSIS AND CONDUCTOR’S GUIDE TO PERFORMANCE by JACOB EDWARD WALLACE (Under the Direction of John P. Lynch) ABSTRACT John Mackey is an important young American composer. A student of Pulitzer Prize– winning American composer John Corigliano, Mackey has written works for groups ranging from small chamber ensembles to symphony orchestra. He has become, recently, an important figure in composing new works for wind band. Of these, one of his most significant works is his 2007 composition Concerto for Soprano Sax and Wind Ensemble. This document serves as a comprehensive guide to the conductor for this work. It contains a historical background about John Mackey and the piece itself, an original and comprehensive musical analysis, and pedagogical advice for performing the work from the perspective of a conductor. Its intent is to provide conductors with the necessary tools to perform the work. These include an understanding of its genesis and commissioning and perception of difficulties presented to the ensemble in performance of the work. A comprehensive analysis of the work allows the reader to see the importance of shared motives and quotations from Corigliano’s Clarinet Concerto as well as understand the modern tonal language used regularly by Mackey. Appendices detail conversations between the author of the document and Mackey, extended techniques for the soloist, the composer’s notes on the piece, and a catalogue of the composer’s works for wind band. INDEX WORDS: John
    [Show full text]
  • Klapparat Text English 03.2020
    Contact: Ivo Prato +41 (0) 79 431 05 81 [email protected] www.ivoprato.ch 1 k l a p p a r a t The Band Daniel Zumofen soprano-, alto saxophone / www.zumofen.ch Charlotte Lang alto-, soprano saxophone Ivo Prato tenor saxophone / www.ivoprato.ch Erwin Brünisholz baritone saxophone Matthias Wenger tubax / www.matwenger.com Philipp Leibundgut drums / www.philippleibundgut.ch 5 sax & drums = 10m pipe + drum With the members Daniel Zumofen, Charlotte Lang, Ivo Prato, Erwin Brünisholz, Matthias Wenger und Philipp Leibundgut the band klapparat was newly formed at the end of 2019. The band is based in Berne, the capitol of Switzerland. Some of the musicians are rooted in Jazz while others are based in classical music. In this special formation they overcome common patterns and create their own identity. From the soprano saxophone to the tubax nearly all saxophone related instruments are included. Together they add up to a pipe length of approximately 10m. Let alone the tubax - a newly constructed contrabass saxophone - measures more than 4m. The Saxophonists Daniel Zumofen, Matthias Wenger, Ivo Prato, Erwin Brünisholz and Michel Duc met each other for a first rehearsal in June 2011. Immediately, a constructive, creative cooperation was called into life. Soon after drummer Philippe Ducommun joined the band. For nine years the band was playing in this setup. In nearly ten years the band can present 100 concerts, CDs, Videos, press releases and radio shows. Schedule Soon, the band Klapparat celebrates its tenth anniversary. In 2020 the band plans its third CD production, a movie and tours in Switzerland and Russia.
    [Show full text]
  • PREAMBLE for a SOLEMN OCCASION Aaron Copland
    The United States Army Field Band The Musical Ambassadors of the Army Washington, DC An Educator’s Guide to the Music of Aaron Copland PREAMBLE FOR A SOLEMN OCCASION Aaron Copland PICCOLO • Measures 78–80 (first version) or 76–78 (second version): Leave out the Piccolo part. This part doubles the Flute an octave higher. As a result of thin scoring and distance of players from each other, this passage is very difficult to play quietly enough and be in tune. FLUTE • Measures 78–80 (first version) or 76–78 (second version): Experiment with alternate fingerings to match pitch with the Trumpet CLARINET 1st Clarinet • Cut to half section in all tutti altissimo parts, i.e., measures 15–33 2nd Clarinet • Measures 63–64: Do not play the descending line • Measures 18, 21, 24, and 27: TACET • Measure 69: Delete 3/2 time signature ALTO CLARINET • Measures 69–72: This section is in unison with Bass Clarinet, Alto Saxophone, and 1st Bassoon. It is written high for all three instruments, so intonation can be a problem. This passage needs to be isolated so the players can adjust. It may be wise to leave out the Bassoon, as it is covered in other parts. An Educator’s Guide... 1 Preamble for a Solemn Occasion BASSOON • Measures 69–71: Watch intonation between 1st and 2nd Bassoons SAXOPHONE • Alto Saxophone, measures 69–72: perform with one Alto Saxophone only. Intonation between the Alto Saxophone, Tenor Saxophone, Bassoon, Alto Clarinet, and Bass Clarinet is difficult, but critical to this passage. Isolate and rehearse this section until intonation is satisfactory.
    [Show full text]
  • The Evolution of the Baritone Saxophone in Jazz History
    THE BARITONE CHRONOLOGY a study of the baritone saxophone evolution in jazz history Piersimone Crinelli Degree Project, Master of Fine Arts in Music, Improvisation Spring Semester 2015 Degree Project, 30 higher education credits Master of Fine Arts in Music, Improvisation Academy of Music and Drama, University of Gothenburg Spring Semester 2015 Author: Piersimone Crinelli Title: The baritone chronology – a study of the baritone saxophone evolution in jazz history Supervisor: Per Anders Nilsson Examiner: Anders Tykesson ABSTRACT This project investigates the history of the baritone saxophone. The role of the baritone saxophone as a soloist instrument has historically often been overshadowed by the tenor or the alto saxophone. Even if important innovations have been made by many great baritonists during the years, no extensive literature regarding the baritone saxophone is to be found. My aim with this Masters´ thesis is to trace the history of the baritone saxophone from its invention until the modern era, around the 80´s. My research questions are: which innovations have been done on the baritone saxophone in the previous century regarding sound, phrasing and articulation? Is there a relation between the first baritone players in jazz history and the modern ones? My purpose is to contribute to the literature regarding the baritone saxophone, creating a chronology of the most influential soloists in jazz music. My aim is also to find methods that could be helpful in a correct approach to the instrument. In addition to this, I have analyzed the ways in which the greatest baritonists have influenced my personal musical background, thus creating a link to my own artistic profile.
    [Show full text]