Conducteur et parties Saxophone Quartet (SATB) The Three Songs (Trois Chansons) dating from 1914/15 were arranged for four a cappella voices by Ravel immediately after he had written the music of these pieces. The lyrics were penned by the composer himself. The songs represent Ravel’s sole contribution to choral literature. The first song consists of three sections and tells the story of Nicolette, who sets out to pick flowers in the fields. Just like Little Red Ridinghood, she meets a wolf who asks her if she is on her way to her grandmother’s house (M.1-13). Fleeing from him, she meets a page who wonderswhether she would like to have him as her “lover true”. She dismisses his proposition though she finds it hard to do so (M. 14-39). In the third section, she encounters a plump, unhandsome man (lento!). He speaks to her:”Stay, stay, my Nicolette, all this gold I give to thee”, and - “VIVO” - Nicolette takes refuge in his arms. (M.40 to end). The Three Lovely Birds from Paradise are sky-blue, white as fallen snow and bright red - just like the colors of the Tricolore, the national flag of France - which has been interpreted in many reviews as a sign of an increasingly nationalistic attitude becoming apparent in the war year of 1914. This song mourns the loss of the beloved one who went to war. The Ronde is also made up of three sections. The old women are the first to sing (M.1-28). They warn the young maidens against entering the forest since it is inhabited by all kinds of dangerous (male) beasts. Then (M. 29 – 56) the old men warn the young lads against going into the woods because of the numerous (female) demons living there. The irony of the story is to be found in the final answer of the young people (as of M. 57), who conclude: “We will not go into the woods since the old folks have frightened off all the beasts, anyway.”

Une collection unique de quatre-vingt-huit les meilleures chansons jazz jamais rassemblés en un seul volume arrangé pour la ligne de la mélodie et le piano avec boîtes de corde de guitare. Inclut Ain't Misbehavine, fille d'Ipanema du corps et âme, une journée brumeuse, toutes les choses vous êtes, Birdland, que Rainy Day Voici, The Lady est un clochard et beaucoup plus. / Saxophone Et Piano

I Can't Get No Satisfaction' - the release of this international hit of the Rolling Stones was the official birth of rock music which started its loud and hard triumph in the clubs and stadiums of the world. The fact that the Stones and their wild heirs can also write beautiful ballads is proven by our successful author Dirko Juchem with this new volume in the popular 'Saxophone Lounge' series in which he has arranged a selection of the best known rock melodies in a new and surprisingly lounge-like manner. All fresh and easily playable arrangements on the accompanying CD have been performed by the author himself. / Saxophone Tenor Et Piano

100 chansons de pop spéciallement arrangées pour saxophone Eb et Bb par Jack Long paroles et accords. / Saxophone / Partition

Twenty-two classic songs, specially arranged for E flat and B flat saxophones, with chord symbols and lyrics. / Saxophone

66 popular songs, spanning 6 decades, providing a complete pop repertoire for the aspiring tenor saxophonist. Includes classics from pop, jazz, film music, Broadway, and rock and roll / Niveau : Assez Facile / Recueil / Saxophone Ténor et Piano

Par BERTOCCHI SERGE. / Niveau : Elémentaire / classique / Répertoire / Ensemble de Saxophones

Arcadia is a work for Violin, Soprano Saxophone and Piano, inspired by the painting 'Pastoral for E.W.' by John Craxton. As a painter, John was sometimes dubbed a 'neo-Romantic', but much preferred the term 'Arcadian' - hence the title of the piece. Pastoral for E.W. was painted in 1948 in St John's Wood after one of John's early trips to the island of Crete, and is a homage to Peter Watson, (co-founder of the magazine 'Horizon' and the Institute of Contemporary Arts), who was one of John's early mentors. In a letter in 1986, John recounted that: ''Pastoral for P.W.': was a celebration of the power of music. My sister (the distinguished oboist Janet Craxton) was learning the oboe on the same floor at the time, and the house was full of her scales and exercises coupled with my discovery that goats, which seem to be daemonic, willful and undisciplined, are held in thrall by the sound of a flute - or have I gone a step further and frozen them into my geometry with a paint brush? I suppose the flautist was in origin myself, but a very emblematic me!' Ian Collins in his book 'John Craxton' (2011 Lund Humphries) says of Pastoral for E.W.: 'A pipe-player and a herd of goats are held in a rugged grid of semi-cubist triangles. While references to Dionysus and Orpheus may be noted, it is essentially a fanfare for the ongoing life, light and landscape of Greece'. The music of Arcadia is also Grecian in inspiration. The traditional folk melodies Skaros Epirotikos, Vari Pogonisio, Ouzak To Tragoudhi Tis Xentias and Pentozalis - Pentozalis are present in Arcadia, after I researched the type of music that John would have heard in Crete in the late 1940's. In a letter of 3rd May 1984, John said that he was also listening to Stravinsky's Symphony in 3 Movements 'over and over again at the same time when I first started the painting', and aspects of the beginning of the last section of Arcadia (Allegro Moderato) pay homage to the Stravinsky, in an attempt to create something of the aural landscape that John would have been experiencing during his painting of Pastoral for E.W. As a personal friend, John was always encouraging and colourful in his comments about the music I played at the Craxton house in Hampstead (where I continue to rehearse and teach), and some of the jazzier themes and tonalities in Arcadia are simply the sort of music that would get him enthused, and (almost) dancing. ARCADIA is written for and dedicated to the memory of John Craxton RA (1922 - 2009). JOHN HARLE. The first performance of Arcadia was given by Pavel Spørcl (Violin) John Harle (Soprano Saxophone) and Steve Lodder (Piano) In a concert for The Craxton Trust on September 23rd 2012 at Craxton Studio, Hampstead, London. A recording is available on Sospiro Records. / Violon, Soprano Saxophone Et Piano

Par KULENTY HANNA. I composed Aisthetikos Duo for soprano saxophone and piano immediately after Aisthetikos for soprano saxophone, piano and orchestra. I hit on the idea of preparing a work that could be performed more often. I was approached with a request to write such a version of Aisthetikos by its first performers: Magdalena and Bartlomiej Dus. A composition for two soloists and orchestra is no simple matter, and concert performances need a lot of preparation, while it is just easier for a duet. The soloists’ parts are slightly modified in the area of the orchestra part, but it is essentially the same work, written in the composition technique I call musique surréalistique, which I have been using for several years. It involves the overlapping of several interacting musical worlds, expanding over time. Hanna Kulenty translated by John Comber. / Date parution : 2022-11-08/ Répertoire / Saxophone Soprano et Piano

Eb Baritone Saxophone. Par STEINEL MIKE. Mike Steinel's follow-up book to his popular Essential Elements for Jazz Ensemble features a wealth of instructional material that can be used in a full band setting or individually. After a brief review of style basics, this comprehensive method includes a section of daily warm-ups and workouts for rehearsal, followed by a variety of lessons covering specific styles and improvisation concepts. Each lesson ends with a full band performance piece. Take your students to the next level with this masterful approach! Features · Review of important concepts from Book 1 · Warm-ups and workouts for the start of rehearsals · Lessons covering a variety of jazz styles and improvisation concepts · Nine rewarding full band pieces that reinforce each lesson · Information on the cities, regions, and people influencing the evolution of jazz · Recordings of all exercises, including full band arrangements and sample solos* · Grade/Level 3 * Each book includes an access code for audio files on MyLibrary (internet required.) Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right./ Recueil / Saxophone Baryton

Par MULE. Part of the method for all Saxophones by Marcel Mule, this second volume of Fifty-Three Studies After Bohem, Terschak, Furstenau features the studies 19 to 35. Written for upper intermediate players, this book will help the players to maintain the acquired technique and develop even more their flexibility. This series of three books is a must-have to prepare the upper intermediate players for the change of cycle. Marcel Mule (1901-2001) is one of the greatest French saxophonists, renowned worldwide for his work on the classical Saxophone repertoire. He was teaching his students how to obtain a good qualityof sound and believed it was dependent on embouchure, the emission, the mastery of vibrato and thus, of breathing. He wrote different methods that focus on technique, articulation and tone productions such as 'Dix-huit Exercices ou Etudes', 'Exercices Journaliers d'après Terschack' or '30 Grands Exercices ou Etudes d'après Soussmann' (in two books), among others./ Etude / Saxophone