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Concerto for Soprano Sax and Wind Ensemble / John Mackey
Titre : Concerto for Soprano Sax and Wind Ensemble : arranged for soprano saxophone and piano Type de document : partition musicale imprimée Auteurs : John Mackey, Compositeur Importance : 2 partitions (19, 47 p.) Format : 31 cm Prix : 95,90€ Note générale : Difficulty - Really hard
Duration : 25'00"Langues : Anglais (eng) Catégories : Duo
Piano (réduction)
Saxophone
Saxophone sopranoRésumé : From the Composer:
"To me, the saxophone is a kind of hybrid instrument; it’s essentially a brass instrument with a woodwind reed on it. Instead of valves like a brass instrument has, the sax has keys like a woodwind. (Many sax players even switch effortlessly from sax to a woodwind like a clarinet, and back again in the same concert.) So, I had an instrument made of three materials: felt (the pads of the keys), metal (the body), and wood (the reed). In fact, every instrument in the band can be placed into one (or more) of those “categories.” The brass section is made of metal, the harp is made of metal and wood, the wind section has keys, and so on. This realisation gave me the central idea for the piece: a multi-movement work with the inner movements called Felt, Metal, and Wood, and with instrumentation chosen to essentially match those materials for each movement. The outer movements would be scored for the entire ensemble.
The piece starts with “Prelude,” a very brief overture to the concerto, with material that foreshadows each of the movements to come. If you hear something you like in the “Prelude,” you’ll probably hear it more developed in the following movements. (Conversely, if you hear absolutely nothing you like in the “Prelude,” you may be in for a long night.)
Movement two is “Felt.” This movement is a study of the keys of the instrument, so it includes lots of runs (requiring quick fingers), lots of pitch bending (to show what different pitches the sax can produce with minimal movement of the fingers), and a bit of alternate fingering. On the saxophone, the player can play the same pitch by using different combinations of keys, and each fingering combination results in a slightly different colour. In this movement, you’ll hear repeated notes that are accomplished with changing fingerings, so the colour will shift from note to note, even as the pitch stays the same. The other question – besides “what is a sax made of” – that I wanted to consider when writing the concerto was, “what does a sax do?” Movement 2, “Felt,” answers that question with, “well, the sax can play some weird sounds.” With that pitch bending and crazy fingering, it’s a peculiar five minutes.
Movement three, “Metal,” answers that same question with, “the sax can play high and pretty.” This movement, scored primarily for metal percussion and brass, is a calm, lyrical contrast to the weirdness that preceded it.
It seemed silly to write a sax concerto and not deal with the fact that the sax is often heard simply playing a song in an intimate setting – say, at a jazz club. Movement four, “Wood,” is really just that: a simple song. The scoring here is, as you’d expect, woodwinds (including flutes, which aren’t technically made of wood anymore), double bass, harp, piano, marimba, and – as in every movement – the sax section. The piece of mine that led to the commission of the sax concerto was a piece called "Redline Tango," and specifically, the soprano sax solo that anchors that work. To acknowledge that, this movement, yes, is a tango.
Finally we reach the “Finale.” First, just a little background. My teacher in college was a composer named John Corigliano. Before I ever studied with him, one of my favourite pieces was his Clarinet Concerto. It’s not just a spectacular piece, but it’s easily (to me, at least) one of the greatest wind concertos ever written. When I got this commission, Corigliano’s concerto cast a pretty intense shadow over me. How could I possibly write a concerto anywhere near the quality of that work?
Well, I couldn’t – so I stole his. “Finale” starts with a nearly direct quote of John Corigliano’s Clarinet Concerto. In order to make it as meta as possible, my quote is in fact a quote of a quote. I’m quoting the Corigliano, which was, in these 6 bars, quoting a work by 16th century composer Giovanni Gabrieli, “Sonata Pian e Forte.” After my little tribute to my teacher, the solo part takes off for roughly four minutes of non-stop virtuosity. Here my answer to the question “what does a sax do?” was simply, “well, the sax can play some monster-difficult stuff.”Note de contenu : Prelude
Felt
Metal
Wood
FinaleInstruments : 1 saxophone soprano + 1 piano Concerto for Soprano Sax and Wind Ensemble : arranged for soprano saxophone and piano [partition musicale imprimée] / John Mackey, Compositeur . - [s.d.] . - 2 partitions (19, 47 p.) ; 31 cm.
95,90€
Difficulty - Really hard
Duration : 25'00"
Langues : Anglais (eng)
Catégories : Duo
Piano (réduction)
Saxophone
Saxophone sopranoRésumé : From the Composer:
"To me, the saxophone is a kind of hybrid instrument; it’s essentially a brass instrument with a woodwind reed on it. Instead of valves like a brass instrument has, the sax has keys like a woodwind. (Many sax players even switch effortlessly from sax to a woodwind like a clarinet, and back again in the same concert.) So, I had an instrument made of three materials: felt (the pads of the keys), metal (the body), and wood (the reed). In fact, every instrument in the band can be placed into one (or more) of those “categories.” The brass section is made of metal, the harp is made of metal and wood, the wind section has keys, and so on. This realisation gave me the central idea for the piece: a multi-movement work with the inner movements called Felt, Metal, and Wood, and with instrumentation chosen to essentially match those materials for each movement. The outer movements would be scored for the entire ensemble.
The piece starts with “Prelude,” a very brief overture to the concerto, with material that foreshadows each of the movements to come. If you hear something you like in the “Prelude,” you’ll probably hear it more developed in the following movements. (Conversely, if you hear absolutely nothing you like in the “Prelude,” you may be in for a long night.)
Movement two is “Felt.” This movement is a study of the keys of the instrument, so it includes lots of runs (requiring quick fingers), lots of pitch bending (to show what different pitches the sax can produce with minimal movement of the fingers), and a bit of alternate fingering. On the saxophone, the player can play the same pitch by using different combinations of keys, and each fingering combination results in a slightly different colour. In this movement, you’ll hear repeated notes that are accomplished with changing fingerings, so the colour will shift from note to note, even as the pitch stays the same. The other question – besides “what is a sax made of” – that I wanted to consider when writing the concerto was, “what does a sax do?” Movement 2, “Felt,” answers that question with, “well, the sax can play some weird sounds.” With that pitch bending and crazy fingering, it’s a peculiar five minutes.
Movement three, “Metal,” answers that same question with, “the sax can play high and pretty.” This movement, scored primarily for metal percussion and brass, is a calm, lyrical contrast to the weirdness that preceded it.
It seemed silly to write a sax concerto and not deal with the fact that the sax is often heard simply playing a song in an intimate setting – say, at a jazz club. Movement four, “Wood,” is really just that: a simple song. The scoring here is, as you’d expect, woodwinds (including flutes, which aren’t technically made of wood anymore), double bass, harp, piano, marimba, and – as in every movement – the sax section. The piece of mine that led to the commission of the sax concerto was a piece called "Redline Tango," and specifically, the soprano sax solo that anchors that work. To acknowledge that, this movement, yes, is a tango.
Finally we reach the “Finale.” First, just a little background. My teacher in college was a composer named John Corigliano. Before I ever studied with him, one of my favourite pieces was his Clarinet Concerto. It’s not just a spectacular piece, but it’s easily (to me, at least) one of the greatest wind concertos ever written. When I got this commission, Corigliano’s concerto cast a pretty intense shadow over me. How could I possibly write a concerto anywhere near the quality of that work?
Well, I couldn’t – so I stole his. “Finale” starts with a nearly direct quote of John Corigliano’s Clarinet Concerto. In order to make it as meta as possible, my quote is in fact a quote of a quote. I’m quoting the Corigliano, which was, in these 6 bars, quoting a work by 16th century composer Giovanni Gabrieli, “Sonata Pian e Forte.” After my little tribute to my teacher, the solo part takes off for roughly four minutes of non-stop virtuosity. Here my answer to the question “what does a sax do?” was simply, “well, the sax can play some monster-difficult stuff.”Note de contenu : Prelude
Felt
Metal
Wood
FinaleInstruments : 1 saxophone soprano + 1 piano Réservation
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Exemplaires
Code-barres Cote Support Localisation Section Disponibilité 1014977 8-SAX MAC CON Partition musicale Bibliothèque ARTS². Musique Partitions musicales Disponible Concerto en Mib pour saxophone alto avec accompagnement piano / Alexandre Glazunov
Titre : Concerto en Mib pour saxophone alto avec accompagnement piano Type de document : partition musicale imprimée Auteurs : Alexandre Glazunov, Compositeur ; A. Petiot, Compositeur Editeur : Paris : Alphonse Leduc Année de publication : cop. 1936 Importance : 2 partitions (7, 19 p.) Format : 34 cm ISBN/ISSN/EAN : A.L.19256 Langues : Français (fre) Catégories : Piano (accompagnement)
Saxophone
Saxophone altoConcerto en Mib pour saxophone alto avec accompagnement piano [partition musicale imprimée] / Alexandre Glazunov, Compositeur ; A. Petiot, Compositeur . - Paris : Alphonse Leduc, cop. 1936 . - 2 partitions (7, 19 p.) ; 34 cm.
ISSN : A.L.19256
Langues : Français (fre)
Catégories : Piano (accompagnement)
Saxophone
Saxophone altoExemplaires
Code-barres Cote Support Localisation Section Disponibilité 1008147 8-SAX GLA CON Partition musicale Bibliothèque ARTS². Musique Partitions musicales Exclu du prêt Concerto Op.8 No.12 pour violon et orchestre à cordes / Antonio Vivaldi
Titre : Concerto Op.8 No.12 pour violon et orchestre à cordes : Arrangement pour 7 (ou plus) saxophones Type de document : partition musicale imprimée Auteurs : Antonio Vivaldi (1678-1741), Compositeur ; Armando Ghidoni, Arrangeur Mention d'édition : B.G. 00016 Editeur : Bg Editions Année de publication : cop. 1997 Importance : 8 partitions (1 directrice + 7 parties) Format : 31 cm ISBN/ISSN/EAN : 979-0-04-629692-5 Prix : 53,70€ Note générale : Vivaldi: Concerto pour violon, op. 8 n ° 12 en do majeur, RV178 Langues : Français (fre) Catégories : Saxophone
Saxophone alto
Saxophone baryton
Saxophone soprano
Saxophone ténor
SeptuorNote de contenu : Le concerto op.8 n ° 12 en do majeur d 'Antonio Vivaldi est arrangé ici pour 7 saxophones (SSSATBarB) de Armando Ghidoni. Instruments : 7 saxophones Concerto Op.8 No.12 pour violon et orchestre à cordes : Arrangement pour 7 (ou plus) saxophones [partition musicale imprimée] / Antonio Vivaldi (1678-1741), Compositeur ; Armando Ghidoni, Arrangeur . - B.G. 00016 . - [S.l.] : Bg Editions, cop. 1997 . - 8 partitions (1 directrice + 7 parties) ; 31 cm.
ISBN : 979-0-04-629692-5 : 53,70€
Vivaldi: Concerto pour violon, op. 8 n ° 12 en do majeur, RV178
Langues : Français (fre)
Catégories : Saxophone
Saxophone alto
Saxophone baryton
Saxophone soprano
Saxophone ténor
SeptuorNote de contenu : Le concerto op.8 n ° 12 en do majeur d 'Antonio Vivaldi est arrangé ici pour 7 saxophones (SSSATBarB) de Armando Ghidoni. Instruments : 7 saxophones Réservation
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Code-barres Cote Support Localisation Section Disponibilité 1013790 MC-7 BOI / VIV CON Partition musicale Bibliothèque ARTS². Musique Musique de chambre Disponible Concerto pour saxophone alto et orchestre / Franz Constant
Titre : Concerto pour saxophone alto et orchestre Type de document : partition musicale imprimée Auteurs : Franz Constant (1910-1996), Compositeur Mention d'édition : Réduction pour saxophone et piano Editeur : Anvers : Editions Metropolis Année de publication : 1963 Importance : 2 partitions (11, 20 p.) Format : 32 cm ISBN/ISSN/EAN : EM 4531 Catégories : Piano (réduction)
SaxophoneConcerto pour saxophone alto et orchestre [partition musicale imprimée] / Franz Constant (1910-1996), Compositeur . - Réduction pour saxophone et piano . - Anvers : Editions Metropolis, 1963 . - 2 partitions (11, 20 p.) ; 32 cm.
ISSN : EM 4531
Catégories : Piano (réduction)
SaxophoneRéservation
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Code-barres Cote Support Localisation Section Disponibilité 1003368 8-SAX CON CON Partition musicale Bibliothèque ARTS². Musique Partitions musicales Disponible 1007646 8-SAX CON CON Partition musicale Bibliothèque ARTS². Musique Partitions musicales Disponible Concerto pour saxophone alto et orchestre / Henri Tomasi
Titre : Concerto pour saxophone alto et orchestre Type de document : partition musicale imprimée Auteurs : Henri Tomasi (1901-1971), Compositeur Editeur : Paris : Alphonse Leduc Année de publication : 1949 Importance : 2 partitions (7, 25 p.) Format : 34 cm ISBN/ISSN/EAN : AL 20705 Note générale : Réduction saxophone et piano
Concours du Conservatoire National de MusiqueCatégories : Piano (réduction)
SaxophoneConcerto pour saxophone alto et orchestre [partition musicale imprimée] / Henri Tomasi (1901-1971), Compositeur . - Paris : Alphonse Leduc, 1949 . - 2 partitions (7, 25 p.) ; 34 cm.
ISSN : AL 20705
Réduction saxophone et piano
Concours du Conservatoire National de Musique
Catégories : Piano (réduction)
SaxophoneRéservation
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Exemplaires
Code-barres Cote Support Localisation Section Disponibilité 1000175 8-SAX TOM CON Partition musicale Bibliothèque ARTS². Musique Partitions musicales Disponible 1009680 8-SAX TOM CON Partition musicale Bibliothèque ARTS². Musique Partitions musicales Disponible Concerto pour saxophone alto et orchestre de chambre Op. 41 / Robert Muczynski
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