Cristal de temps, pour saxophone soprano et orgue (2009), n'est pas tout à fait un duo : les deux instruments n'y sont ni entièrement différents, ni entièrement semblables. L'oeuvre explore la rencontre de ces deux timbres et toutes les nuances possibles de leurs relations, jusqu'au point où le saxophone se fait orgue, et réciproquement, et en en déduisant également la conduite dramatique de la pièce et toute une poétique particulière. N'est-ce pas là l'idéal de toute musique de chambre ? L'orgue y prend un visage très spécifique (même un tout petit instrument de quelques jeux est suffisant), restant entièrement inclus dans la tessiture du saxophone. La virtuosité des deux protagonistes n'est pas mise de côté, mais elle semble d'abord au service de l'expansion polyphonique et du son spécifique qui en résulte. Cette pièce est conçue comme un prolongement d'Agencement-Rhizome, pour orgue seul (2004). Elle peut également être interprétée séparément.Dédiée au saxophoniste Lars Mlekusch et à l'organiste Tobias Willi, elle est le fruit d'une commande du Festival de Feldkirch (Autriche), réalisée avec le soutien de l'Institut Français de Vienne. / Saxophone Sib Et Piano

Traditional. Par GRAEF FRIEDEMANN. This collection of pieces for saxophone and organ or piano is designed for use in concert performances as well as for church services and other ceremonies. It contains the traditional American spirituals extended by composed introductions and endings, or interludes and written solos. The notated solos here are the results of more than ten years of personal experience with these tunes and chord changes, from a saxophonist to other saxophonists. 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./ Recueil / Saxophone Alto et Orgue

Edition no.: BA 7479 ISMN: 9790006503520 Volume / Series: Contemporary Music for Saxophon Editor: Ernst Johannes Product format: Score, Part(s) Includes the following individual parts: Soprano saxophone, Organ Binding: Stapled Pages / Format: 32,8 x 26,0 cm

Par HENRY JEAN-CLAUDE. Jean-Claude Henry studied at the Paris Conservatoire, notably with Olivier Messiaen for analysis, Tony Aubin for composition, and Rolande Falcinelli for organ and improvisation. Winner of the Munich International Organ Competition in 1959, Organist at the church of Saint-Pierre in Neuilly-sur-Seine from 1970 to 1990, he gave concerts in France and Europe. Awarded the Prix de Rome for composition in 1960 and appointed to teach writing at the Paris Conservatoire in 1967, he is the author of works for organ, chamber music and for various instrumental ensembles./ RĂ©pertoire / Saxophone TĂ©nor

Composed by Jeanine Rueff Chanson Et Passepied for Saxophone is a piece for advanced players written in two parts. The first part “Chanson” (Song) is a lyrical part written in Andantino Tempo starting with a very simple yet beautiful melody and organised in the format of a Question/Answer. It is then followed by a second melody with the same organisation and by the first melody that is played by the piano. The second part “Passepied” which refers to a Baroque dance is composed in Allegretto and has an A/B/A structure. A is quite melodic while B is more like a Valse. Wonderfully composed verytechnical yet also lyrical this piece is really enjoyable and can be used for recital or contests. Jeanine Rueff composed numerous pieces for Saxophones often used in contests as well as many pieces for Saxhorn Clarinet Horn and Cornet.

All Levels. Nothing beats the thumpin' sound and feel of the Hammond B3 Organ. People from the great Jimmy Smith to the young and exciting Joey DeFrancesco have demonstrated its unique ability to swing hard! Now, for the first time, you can take advantage of the opportunity to play along with two of Jazz's finest. Once you try it, you'll be hooked! The song selection is perfect for the organ, as many have an inherent bluesy sound. You'll find playing lyrically much easier and you'll love the heavy blues flavoring. Don't miss this one! For more outstanding B-3 Play-a-alongs, see Related Items below. Titles Sugar Misty Sunny Blues In F Flamingo Georgia On My Mind Stranger In Paradise When Sunny Gets Blue On The Sunny Side Of The Street Back At The Chicken Shack

Standards with the Joey DeFrancesco Trio, Play-a-long With B3 Organ! Another super-groove play-a-long featuring Joey with his trio accompanying you on Blues and some of the greatest standards ever written. Rhythm Section: Joey DeFrancesco (Organ); Paul Bollenback (Guitar); Byron Langham (Drums)Now's The Time - Four On Six - The More I See You - Mercy, Mercy, Mercy - Luch Portion - I Fall In Love Too Easily - Bye, Bye, Blackbird - Gee, Baby Ain't I Good To You - Indiana - February 14th - Anthropology - Summertime - I'm Getting Sentimental Over You - Slow Blues in Bb - Obama Nation Support média : Compact disc

Piano, [Keyboard / Organ], Percussion optional. Par NAULAIS JEROME. / Niveau : Elémentaire / Répertoire / 4 Saxophones (Soprano, Alto, Ténor, Baryton)

Written by Jacques Charpentier for Alto Saxophone and Piano Gavambodi 2 is a piece lasting 9 minutes dedicated to Georges Gourdet. Ideal for advanced players it features the Carnatic mode (n°43) and is a great work to play for a recital. We can distinguish three parts in this piece: a slow beginning starting with the Saxophone solo which quickly develops into a faster chromatic section which is much more technical. The Finale is reminiscent of the beginning ending with two very slow measures. Widely influenced by his travel especially India this music is also reminiscent of the techniques used by his teachers suchas Olivier Messiaen. Jacques Charpentier (b. 1933) is a French musician who lived in India and wrote numerous pieces from Piano and Organ music to Chamber stage and orchestra works among others.

This album offers a varied selection of solos from the Baroque period. Robert van Beringen has made a careful selection of the main repertoire from this period of composers including works by Purcell Handel Bach Hasse Rameau Tartini Lully and especially George Philipp Telemann. This publication comes with a play-along CD featuring complete performances together with organ accompaniments.

Canzonetta Op. 19 is a piece for Alto Saxophone and Piano accompaniment composed by Gabriel Pierné and arranged by Marcel Mule. Initially written for Clarinet and Piano the piece was written in 1888 and can be played by advanced players with a fairly high difficulty level. Composed in a single movement the piece features some different sections linked together. It starts with dotted rhythms that are slightly reminiscent of a siciliano and is followed by a part that sounds like a Scherzando. The dotted rhythms disappear in the Piu Vivo section but the opening theme soon comes back before a grandiose finale.Gabriel Pierné (1863-1937) was a French composer conductor and Organ player. He won the French Prix de Rome 1882.

Historical information about Händel's Water Music Suites is limited, but certainly these works were intended for two, possibly three, parties given by King George I on the Thames River, London, between 1715 and 1736. Händel and his orchestra played on a barge. Since then the some twenty-two separate original pieces have been organized into three Suites and nicknamed 'Water Music?, each having a separate key and likely corresponding to these river parties. This transcription of Water Music Suite II for saxophone quartet has two purposes: to make this music available to saxophonists for performance and education, and to provide in one volume the entire Suite II. The exception to the latter, because of the limits of endurance, is the exclusion of the short Adagio, a brief interlude between the fi rst two movements. Included though are the Allegro, Hornpipe, Minuet, Lentement, and Bourree. These works were originally meant for an outdoor performance, and one of the original intentions of the saxophone was to play in French military bands, also an open-air purpose. The original scoring of brass, woodwind, and string instruments (but no continuo) transcribe well for saxophones. Matching the ranges of instruments of the original to the saxophone quartet was a primary objective. In addition, this arrangement strives to disperse melodic material to all four saxophones so as to make the arrangement pleasing to all the members of the quartet while providing variety to an audience. Any dynamic, articulation, and tempo markings are to be taken only as suggestions so as to allow interpretation by the performers. The musical study and performance of all styles while using examples of composition and performance that represent excellence is necessary for saxophonists who wish to be well-rounded musicians. For the above reasons saxophonists are urged to listen to recordings of the original orchestration in order to learn and imitate proper interpretation of Baroque style. There are currently a number of excellent recordings of Handel's Suites on period instruments, such as (but not limited to) those by conductors John Eliot Gardiner, Christopher Hogwood, and the ensemble Tafelmusik. The Lewis-Clark State College Saxophone Quartet has for many years enjoyed performing Suite II for concerts, ceremonies and social settings, and I thank Advance Music for the opportunity to bring these great works to the profession. / 4 Saxophones (SATBar)

Piano / Keyboard / Organ optional. Par GLUCK CHRISTOPH WILLIBALD. / Niveau : Elémentaire / Répertoire / 3 Saxophones (Alto, Ténor) et Piano ou Clavier

Piano / Keyboard / Organ optional. Par HAENDEL GEORG FRIEDRICH. / Niveau : Elémentaire / Répertoire / 2 Saxophones Ténor et Piano ou Orgue

This book and CD package is solely devoted to providing you with a complete overview of the techniques and styles popularized by the greatest blues saxophonists of all time. Includes lessons music historical analysis and rare photos. All the best are here: from the rough-hewn Chicago Blues of Eddie Shaw and A.C. Reed to the organ combo soul/jazz of Stanley Turrentine and Willis 'Gator' Jackson.