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Sonata "Funtasies" for Tenor Saxophone and Piano
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Sonata "Funtasies" for Tenor Saxophone and Piano

#Sonata "Funtasies" f

Sonata "Funtasies" for Tenor Saxophone and Piano #Saxophone Tenor et Piano #INTERMÉDIAIRE/AVANCÉ #Contemporain #Sy Brandon #Sonata "Funtasies" f #Sy Brandon #SheetMusicPlus

Piano,Tenor Saxophone - Level 4 - SKU: A0.754959 Composed by Sy Brandon. 20th Century,Contemporary. Score and part. 50 pages. Sy Brandon #3225729. Publi...(+)

Piano,Tenor Saxophone - Level 4 - SKU: A0.754959 Composed by Sy Brandon. 20th Century,Contemporary. Score and part. 50 pages. Sy Brandon #3225729. Published by Sy Brandon (A0.754959). This composition was composed for Jeffrey Kyle Hutchins, saxophone and EunHye Grace Choi, piano. It is in four movements. The first movement Boisterous is not in the classical sonata form, however, it does reflect sonata-like qualities with contrasting themes. It is very rhythmic and uses the interval of the fourth for its melodic and harmonic material. The second movement Whimsicalâ€™ is in a moderate tempo with five beats per measure. It is very playful as it alternates diatonic with chromatic passages with outbursts of musical laughter. Movement 3 Witty is in a scherzo style. The melody and harmony are based on thirds but are not in any clear key because the thirds will freely vary between major and minor creating an atonal quality. Contrast between staccato and legato is another way the movement is witty. The last movement is called Teasing and is in a modified Rondo form ABACBA. The teasing occurs in many different ways. The first appearance is the way the movement seems to stop and start as if promising a longer line, but not delivering. In the B section, the left hand of the piano plays a syncopated idea consisting of wide intervals and frequent rests. The right hand inserts a jeering four-note motive. The saxophone plays a melodic idea centered around a descending minor third, the universal teasing chant interval. The C section is in 7/8 and acts as a chase scene, as if a game of tag is being played. The ending continues the teasing by avoiding a strong cadence with deceptive chords and melodic lines of vague tonality/modality.