Par FOCCROULLE BERNARD. This piece is part of a composition cycle for ancient organs. It is meant for a soprano voice and a cornetto (cornet à bouquin), favorite instrument of the Renaissance music and of the early baroque period, often considered the closest to human voice. This piece was written for a meantone temperament (eight perfect thirds), which is also the temperament in which the cornetto naturally sounds the best. A slightly modified meantone temperament can also be suitable. Ideally, the organ should have two keyboards. However, a version for one keyboard should not be excluded. The indication of dynamics and registration are to be interpreted freely depending on the instrument, and of the balance with the voice. The organ switches between the resonance and soloist functions, almost always in duo with the cornetto. The organist will make sure not to cover the voice and instead will look to merge with it. The text comes from the Song of Songs. Music was often made from it and Monteverdi used it in a famous motet for tenor and basso continuo in Il Vespro della Beata Vergine. The premiere of Nigra Sum took place on September 16, 2012, on Thomas d'Orp-le-Grand's organ, an instrument inspired by the 17th Century Franco-Flemish craftsmanship. The artists were Alice Foccroulle, soprano, Lambert Colson, cornetto, and the composer at keyboards. / contemporain / Répertoire / Soprano, Cor et Orgue

This is the most in-depth approach to playing the saxophone ever published. In this two-volume boxed set, master saxophonist John Harle reveals his ground-breaking techniques for fluent and natural playing ' transforming the musical and learning experience of students and professionals alike. Practical, clear and universally relevant, The Saxophone discloses John Harle's secrets to playing with individuality, fluent technique and a powerful musical presence by: - introducing revolutionary new concepts such as the Reed Fan, the Power Lines and the Cathedral of Resonance - exploring every aspect of playing and performing, from breathing, resonant tone production and fluent articulation through to techniques for building ease and flow in performance - featuring unique anatomical diagrams, stunning visualisations and colour-coded musical examples throughout - offering expert advice on all aspects of performance: dealing with fear, nerves and adrenalin, developing a strong psychological approach and setting goalposts for success - including practice wheels that help develop a structured and relaxed practice routine.

Buzzing on the mouthpiece has many benefits if done with a systematic and observant approach. Because the mouthpiece offers less resistance than does the instrument, buzzing helps accustom the player to using more air. This greater airflow helps let the lips relax and vibrate more freely, producing a more resonant sound. It also makes the player more reliant on his ear to place pitches, just as a singer does. Further, it aids in developing the most efficient and consistent mouthpiece placement. Finally, perhaps most importantly, mouthpiece buzzing allows the player to develop new and more refined aural/physical habits more easily.