PARTITIONS GRATUITES : SAXOPHONE TéNOR
- Labyrinth - Bb Tenor Saxophone

Tenor Saxophone & Piano or CD Play Back / Play Along - Grade 2

SKU: MA.EMR-50416

Composed by Jirka Kadlec. Score and parts. Duration 16'32. Editions Marc Reift #EMR 50416. Published by Editions Marc Reift (MA.EMR-50416).

1. Majestic Place / 2. Winter Story / 3. Secret Agent / 4. Labyrinth Concertino / 5. Music Essence.

Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Euphonium, Flute, Horn, Keyboard, Oboe, Percussion, Piccolo, Timpani, Trumpet, Tuba, alto Saxophone, baritone Saxophone, soprano Saxophone, tenor Saxophone and more.

SKU: PR.11540425S

Composed by Carter Pann. Study Score. 92 pages. Duration 26 minutes. Theodore Presser Company #115-40425S. Published by Theodore Presser Company (PR.11540425S).

UPC: 680160688142.

My� � work Labyrinth for Ithaca College could have easily been titled as my Third Symphony. The work is larger in scope than every other work of mine for winds, save perhaps my first symphony. The piece is cast in two main parts, each consisting of two movements. As it happened I wrote the movements backwards (fitting for something called Labyrinth). The size of the band is on par with that of Karel Husa’s Music for Prague 1968 with one exception, there is an electric keyboard part which lends certain moments in the piece an other-worldly ambience... sounds that are altogether different from anything possible from acoustic instruments. At the risk of sounding obvious or mundane, I had two words floating around my brain during the composing of this work — HUGE and melodic. My predisposition to create inherently melodic music is inescapable at this point in my composing career. This is the kind of music I have gravitated towards since beginning at the piano so long ago. I don’t write ambient or spectral music, nor do I write music replete with extended techniques. The crafting of melodies with gravitas has always made my process of composing the most satisfying. The very last movement of Labyrinth is a gargantuan crescendo the likes of the last movement of Respighi’s The Pines of Rome or Ravel’s Bolero and should leave the audience and players sonically drenched by the end. I’m so honored to have this opportunity to compose for Ithaca College’s 50th Anniversary of that seminal work of Karel Husa’s. I have known Music for Prague 1968 as long as I’ve known serious music for winds. It is my aim that every moment of Labyrinth offers the players as much to bite their teeth on as it leaves the audience in its throng from start to finish. -CP.

Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Euphonium, Flute, Horn, Keyboard, Oboe, Percussion, Piccolo, Timpani, Trumpet, Tuba, alto Saxophone, baritone Saxophone, soprano Saxophone, tenor Saxophone and more.

SKU: PR.11540425L

Composed by Carter Pann. Large Score. 92 pages. Duration 26 minutes. Theodore Presser Company #115-40425L. Published by Theodore Presser Company (PR.11540425L).

UPC: 680160688159.

My� � work Labyrinth for Ithaca College could have easily been titled as my Third Symphony. The work is larger in scope than every other work of mine for winds, save perhaps my first symphony. The piece is cast in two main parts, each consisting of two movements. As it happened I wrote the movements backwards (fitting for something called Labyrinth). The size of the band is on par with that of Karel Husa’s Music for Prague 1968 with one exception, there is an electric keyboard part which lends certain moments in the piece an other-worldly ambience... sounds that are altogether different from anything possible from acoustic instruments. At the risk of sounding obvious or mundane, I had two words floating around my brain during the composing of this work — HUGE and melodic. My predisposition to create inherently melodic music is inescapable at this point in my composing career. This is the kind of music I have gravitated towards since beginning at the piano so long ago. I don’t write ambient or spectral music, nor do I write music replete with extended techniques. The crafting of melodies with gravitas has always made my process of composing the most satisfying. The very last movement of Labyrinth is a gargantuan crescendo the likes of the last movement of Respighi’s The Pines of Rome or Ravel’s Bolero and should leave the audience and players sonically drenched by the end. I’m so honored to have this opportunity to compose for Ithaca College’s 50th Anniversary of that seminal work of Karel Husa’s. I have known Music for Prague 1968 as long as I’ve known serious music for winds. It is my aim that every moment of Labyrinth offers the players as much to bite their teeth on as it leaves the audience in its throng from start to finish. -CP.

Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Euphonium, Flute, Horn, Keyboard, Oboe, Percussion, Piccolo, Timpani, Trumpet, Tuba, alto Saxophone, baritone Saxophone, soprano Saxophone, tenor Saxophone and more.

SKU: PR.115404250

Composed by Carter Pann. Set of Score and Parts. 92+8+12+12+12+12+8+8+12+1 2+12+12+12+12+12+12+8+12+ 12+12+8+8+8+8+8+8+8+8+8+8 +8+8+8+8+8+8+12+8+8+8+8+8 +8 pages. Duration 26 minutes. Theodore Presser Company #115-40425. Published by Theodore Presser Company (PR.115404250).

UPC: 680160688135.

My� � work Labyrinth for Ithaca College could have easily been titled as my Third Symphony. The work is larger in scope than every other work of mine for winds, save perhaps my first symphony. The piece is cast in two main parts, each consisting of two movements. As it happened I wrote the movements backwards (fitting for something called Labyrinth). The size of the band is on par with that of Karel Husa’s Music for Prague 1968 with one exception, there is an electric keyboard part which lends certain moments in the piece an other-worldly ambience... sounds that are altogether different from anything possible from acoustic instruments. At the risk of sounding obvious or mundane, I had two words floating around my brain during the composing of this work — HUGE and melodic. My predisposition to create inherently melodic music is inescapable at this point in my composing career. This is the kind of music I have gravitated towards since beginning at the piano so long ago. I don’t write ambient or spectral music, nor do I write music replete with extended techniques. The crafting of melodies with gravitas has always made my process of composing the most satisfying. The very last movement of Labyrinth is a gargantuan crescendo the likes of the last movement of Respighi’s The Pines of Rome or Ravel’s Bolero and should leave the audience and players sonically drenched by the end. I’m so honored to have this opportunity to compose for Ithaca College’s 50th Anniversary of that seminal work of Karel Husa’s. I have known Music for Prague 1968 as long as I’ve known serious music for winds. It is my aim that every moment of Labyrinth offers the players as much to bite their teeth on as it leaves the audience in its throng from start to finish. -CP.