Partitions Numériques de up pour Saxophone Tenor et Piano

Piano,Tenor Saxophone - Level 5 - SKU: A0.1201702 Composed by Brandon Nelson. 20th Century,Classical,Contemporary,Contest,Festival,Multicultural,World. ...(+)

Piano,Tenor Saxophone - Level 5 - SKU: A0.1201702 Composed by Brandon Nelson. 20th Century,Classical,Contemporary,Contest,Festival,Multicultural,World. Score and part. 24 pages. Brandon Nelson #800317. Published by Brandon Nelson (A0.1201702). Jogo de Cartas is Portuguese for â€œcard game.â€ I opted for the Portuguese to honor my patron for this piece, tenor saxophonist Philippe TrovÃ£o of Lisbon.In this work, I celebrate four favorite card games.War is a relatively simple game in which each player is dealt half of the deck. The players play one card and the player with the larger card value wins the â€œbattle.â€ If both players play an identical value, a â€œwarâ€ is started. There are variations on the game at this point, but in one popular version, each player places three cards face down then play another card face upâ€”whichever player has the highest card takes all the cards. The object is to win all of the cards in the deck. In this musical setting, the sax and piano are each a â€œplayer,â€ and each plays cards (translated into rhythmic values) with the conflict and victory painted in dynamic, sometimes dissonant vitality.In Solitaire, the sax plays alone as one plays this game alone. And, just as in the game, each phrase (or suit-based pile) becomes longer, more complex, and ends in an excited flurry of activity as â€œvictory â€œ is achieved!The third movement, Blackjack, illustrates the deceptively-simple game of chance, with gradually ebbing and flowing tension until, in this case, the (sax) player takes the hand. The number 21 features prominently in the construction principles of the movement as a hand totaling 21 is considered the best in the game.The finale is a wild ride portraying a newer card game called Egyptian Rat Screw. In this colorful and fast-paced game, players flip one card up in turn, continuing to do so until one player puts down a face card. The next player then has several chances (based on the specific face card played) to match or beat that card. In a interesting quirk, if two players play cards of equal rank, the player who â€œslapsâ€ the card pile first wins all of the cards in the pile. This unique game was fertile ground for musical interplay, illustrating both the back-and-forth and the more aggressive aspects of play!

$10.99 ≈ 10.14€

Making the Darkness Conscious

Making the Darkness Conscious #Saxophone Tenor et Piano #AVANCÉ #the end of the piece, the solo #Brett L #Making the Darkness Conscious #Sonata Grendel Publishing #SheetMusicPlus

Instrumental Duet Instrumental Duet,Piano,Tenor Saxophone - Level 5 - SKU: A0.837493 Composed by Brett L. Wery. Concert,Contemporary. Score and parts. 3...(+)

Instrumental Duet Instrumental Duet,Piano,Tenor Saxophone - Level 5 - SKU: A0.837493 Composed by Brett L. Wery. Concert,Contemporary. Score and parts. 38 pages. Sonata Grendel Publishing #5741825. Published by Sonata Grendel Publishing (A0.837493). Making the Darkness Conscious was commissioned by my friend, Jonathan Hulting-Cohen. Jonathan is the Professor of Saxophone at the University of Massachusetts, Amherst. He is an amazing artist and a technical wizard. The piece was premiered in its original version as a solo for tenor saxophone and wind ensemble. The present version for piano is not intended to be a reduction of the wind ensemble accompaniment but is a reworking of the piece as an addition to the saxophone/piano duo repertoire. The anti-heroes in film, TV, and literature who feel themselves pushed to do very bad things for very noble reasons inspired this sonata in one movement. These characters often are themselves corrupted by their efforts. One trope of scripted television anti-hero vehicles like Breaking Bad is the cold opening presented out of sequence. The main character is shown in the moment of highest tension or deepest desperation then the story backs up to explain the events that led to that moment. Making the Darkness Conscious uses the same device by starting with a mysterious, disoriented setting full of strange groans and weird echoes. The scene ends in a terrified scream and cuts directly to a happier, jolly portrayal of the solo tenor saxophoneâ€™s character. By the end of the piece, the soloistâ€™s character is transformed into something more ruthless and tortured. One does not become enlightened by imagining figures of light, but by making the darkness conscious. The latter procedure, however, is disagreeable and therefore not popular. C.G. Jung

$14.95 ≈ 13.80€

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