SKU: AP.1-ADV7064
UPC: 805095070644. English. Traditional.
This collection of pieces for saxophone and organ or piano, Spirituals for Saxophone arranged by Friedemann Graef, is designed for use in concert performances as well as for church services and other ceremonies. This traditional American spiritual, Swing Low, Sweet Chariot, has been extended by composed introductions and endings, or interludes and written solos. The notated solos here are the results of more than ten years of the arranger's personal experience with these tunes and chord changes. The organ part may also be played on acoustic piano if the bass voice is played one octave lower in respective passages---these passages are marked. There is a transposed part for B-flat and E-flat saxophones. Due to the different register of the tenor and alto saxophone, a few notes of the alto saxophone parts have been changed for a more effective sound.
SKU: AP.1-ADV7061
UPC: 805095070613. English. Traditional.
This collection of pieces for saxophone and organ or piano, Spirituals for Saxophone arranged by Friedemann Graef, is designed for use in concert performances as well as for church services and other ceremonies. This traditional American spiritual, Lord I Want to Be a Christian, has been extended by composed introductions and endings, or interludes and written solos. The notated solos here are the results of more than ten years of the arranger's personal experience with these tunes and chord changes. The organ part may also be played on acoustic piano if the bass voice is played one octave lower in respective passages---these passages are marked. There is a transposed part for B-flat and E-flat saxophones. Due to the different register of the tenor and alto saxophone, a few notes of the alto saxophone parts have been changed for a more effective sound.
SKU: AP.1-ADV7062
UPC: 805095070620. English. Traditional.
This collection of pieces for saxophone and organ or piano, Spirituals for Saxophone arranged by Friedemann Graef, is designed for use in concert performances as well as for church services and other ceremonies. This traditional American spiritual, Sometimes I Feel Like a Motherless Child, has been extended by composed introductions and endings, or interludes and written solos. The notated solos here are the results of more than ten years of the arranger's personal experience with these tunes and chord changes. The organ part may also be played on acoustic piano if the bass voice is played one octave lower in respective passages---these passages are marked. There is a transposed part for B-flat and E-flat saxophones. Due to the different register of the tenor and alto saxophone, a few notes of the alto saxophone parts have been changed for a more effective sound.
SKU: AP.1-ADV7063
UPC: 805095070637. English. Traditional.
This collection of pieces for saxophone and organ or piano, Spirituals for Saxophone arranged by Friedemann Graef, is designed for use in concert performances as well as for church services and other ceremonies. This traditional American spiritual, Oh Freedom, has been extended by composed introductions and endings, or interludes and written solos. The notated solos here are the results of more than ten years of the arranger's personal experience with these tunes and chord changes. The organ part may also be played on acoustic piano if the bass voice is played one octave lower in respective passages---these passages are marked. There is a transposed part for B-flat and E-flat saxophones. Due to the different register of the tenor and alto saxophone, a few notes of the alto saxophone parts have been changed for a more effective sound.
SKU: AP.1-ADV7060
UPC: 805095070606. English. Traditional.
This collection of pieces for saxophone and organ or piano, Spirituals for Saxophone arranged by Friedemann Graef, is designed for use in concert performances as well as for church services and other ceremonies. This traditional American spiritual, O Happy Day, has been extended by composed introductions and endings, or interludes and written solos. The notated solos here are the results of more than ten years of the arranger's personal experience with these tunes and chord changes. The organ part may also be played on acoustic piano if the bass voice is played one octave lower in respective passages---these passages are marked. There is a transposed part for B-flat and E-flat saxophones. Due to the different register of the tenor and alto saxophone, a few notes of the alto saxophone parts have been changed for a more effective sound.
SKU: AP.1-ADV7069
UPC: 805095070699. English. Traditional.
SKU: AP.1-ADV7068
UPC: 805095070682. English. Traditional.
SKU: AP.1-ADV7066
UPC: 805095070668. English. Traditional.
SKU: AP.1-ADV7067
UPC: 805095070675. English. Traditional.
SKU: AP.1-ADV7065
UPC: 805095070651. English. Traditional.
SKU: MN.12-128
UPC: 688670121289.
The three movements that make up Nocturnes, Book I are programmatic pieces that take as their points of departure a painting, the rhythms of a great city, and a poem. 1. The Starry Night is a written down improvisation based on Vincent van Goghs famous picture of the same name. The tonal material is a quite literal transformation of the visual elements of the painting: the melismatic cadenzas mirror van Goghs swirling starlight, and the powerful chords were suggested by the sinister trees that shoot upward to puncture the skys patterns. 2. Stovers Rag is a product of the ragtime revival of the early 1970s, when many composers tried their hand at writing concert rags. The New York night, which was not without its sinister element in those days, is expressed in an updating of the classic ragtime format. The piece looks backward as well, with the old French Baroque basse de trompette making an appearance in the trio section. 3. The Song of Shadows taps the nostalgic mood typical of the poetry of Walter de la Mare. The poem of the same name pictures a lone musician on a winter night, an dog sleeping before a sinking fire, and, at the end, the spirits that are summoned by music. The opening melody, played on an 8 flute with tremulant, suggests the blues-tinged sound of an alto saxophone, and throughout the movement the organs capacity for sustained tone is used to suggest and atmosphere of dreamy timelessness. The pieces were written in 1971 and first performed on July 2, 1972 at the National Shrine of the Immaculate Conception in Washington, DC, with the composer at the console.
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