Avec cette Sonatine de trois mouvements, l'étudiant Orff Hermann Regner contribue à nouveau sa part de la littérature moderne d'enseignement et de la concurrence. En trois mouvements (Allegro, Larghetto, Animato), cette Sonatine pour piano et saxophone alto fournit une musique joyeuse et variée qui laisse suffisamment de latitude créative. La partie de piano moyennement difficile permet l'accompagnement par un élève ou étudiant. Ainsi, la Sonatine est également parfaitement adapté pour les soirées de récital. / Saxophone Alto Et Piano

La référence EFM1769 de l'éditeur Billaudot dont l'auteur célèbre est Margoni Alain, qui a pour titre CADENCE ET DANSE, a été écrite et composée pour Saxophone et plus particulièrement pour Saxophone En Mib Et Piano. Cette partition musicale appartient à la catégorie Classique. / Saxophone En Mib Et Piano / Partition

To The French Woman For Alto Saxophone And Piano-French composer Pierre Max Dubois (1930-1995) significantly contributed to the woodwind repertoire particularly for Saxophone. Pieces Caracteristiques En Forme De Suite for Alto Saxophone and Piano was published in 1962 and remains popular in the advanced saxophonist's repertoire. Dubois' music is characteristically light-hearted with unusual harmonic and melodic textures. The second movement of Pieces Caracteristiques En Forme De Suite for Alto Saxophone and Piano To the French Woman reflects Dubois' compositional characteristics as well as elements of Frenchcharacteristics with a typical performance lasting about four minutes and 45 seconds. Pieces Caracteristiques En Forme De Suite is essential to the advanced saxophonist's repertoire. Dubois' most famous work makes for an exciting and enjoyable performance for players and audiences alike.

Suite for Alto Saxophone and Piano by Paul Bonneau was composed in 1944. Written in four short movements: 1. Improvisation 2. Danse des démons 3. Plainte 4. Éspièglerie Suite for Alto Saxophone and Piano is reminiscent of the early 20th century French Neoclassicism. This suite could be played by advanced-intermediate and advanced players as the technicality is not too strong. Paul Bonneau (1918-1995) is a French classical composer. He adapted and wrote 11 ballets/operettas and arranged some pieces by Offenbach.

Nobuya Sugawa presents 9 new pieces with piano accompaniment which are suitable for saxophonists who have been playing for 3 or 4 years and want to become more experienced at playing with a pianist. The piano parts have been written so they can be played by piano students. This way the Recital Album can help the saxophonist and the pianist to a higher level. The accompanying CD contains recordings of the interpretation of the pieces, played by Nobuya Sugawa himself. The second track gives you the opportunity to play with a real grand piano!

French composer Pierre Max Dubois (1930-1995) significantly contributed to the woodwind repertoire particularly for Saxophone. Pieces Caracteristiques En Forme De Suite for Alto Saxophone and Piano was published in 1962 and remains popular in the advanced saxophonist's repertoire. Dubois' music is characteristically light-hearted with unusual harmonic and melodic textures. The last movement of Pieces Caracteristiques En Forme De Suite for Alto Saxophone and Piano To the Parisian Woman reflects Dubois' compositional characteristics as well as elements of Frenchcharacteristics and a typical performance lasts about three and a half minutes. Pieces Caracteristiques En Forme De Suite is essential to the advanced saxophonist's repertoire. Dubois' most famous work makes for an exciting and enjoyable performance for players and audiences alike.

La référence CC3215 de l'éditeur Billaudot dont l'auteur célèbre est Barraine Elsa, qui a pour titre IMPROVISATION, a été écrite et composée pour Saxophone et plus particulièrement pour Saxophone En Mib Et Piano. Cette partition musicale appartient à la catégorie Classique. / Saxophone En Mib Et Piano / Partition

Famous Pieces By G. F. Handel For Eb Alto Saxophone And Piano – Vol. 2 is an anthology of four pieces arranged for Alto Saxophone and Piano by Marcel Mule. This second book features four sonatas all composed initially by G. F. Handel and part of the collection “Saxophone Classics” by Mule. - First sonata: Flute and Piano - Second sonata: Violin and Piano - Fourth sonata: Flute and Piano - Sixth sonata: Violin and Piano  Each sonata should be played separately and their level of difficulty is quite challenging which would match the abilities ofupper intermediate / advanced players who have mastered their breathing. 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 quality of sound and believed it was dependent on the 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 Études' 'Exercices Journaliers d’après Terschack' or '30 Grands Exercices ou Études d’après Soussmann' (in two books) among others.

Référence unique par son ISBN 9790043929321 cette partition musique n'est autre que LES CONTEMPORAINS ECRIVENT POUR LES INSTRUMENTS A VENT SAXO 1 qui a été composée pour Saxophone En Mib Et Piano. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Billaudot. La référence catalogue de cette oeuvre est PN6182. / Saxophone En Mib Et Piano / Partition

A terrific new piece from Timothy Bowers written for virtuoso Saxophonist Nick Sorensen. But it doesn't need a virtuoso player to play it!Ideal for Saxophonists from about Grade 6 upwards. A fusion of energy jazz and melody this would make a great piece for a performance at any occasion.

Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996. In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from the composer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development, recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with sonic effects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova)/ Répertoire / Saxophone Alto et Piano

Par SAMITZ NICO. Nico Samitz has been composing for chamber ensembles since his school days. For over ten years he has been writing works in a wide variety of genres for the ?BlechReiz BrassQuintett? ensemble, in which he himself plays trumpet and piano. His field of expertise ranges from classical pieces to jazz and meditative music?and even to pop-oriented compositions. While honing his skills in ear-training and composition at the Mozarteum, Salzburg, Nico became acquainted with a wide repertoire of works as a trumpet player with the Munich Symphony Orchestra, The Munich Philharmonic Orchestra, and the Bavarian State Opera, all of which have influenced his writing style. The driving force behind his creative work is a winning combination of passion, the fun of music-making and a desire to express, through the medium of music, feelings that are difficult to put into words. Like many of his works, Nico composed The Joy of Freedom for the ?BlechReiz BrassQuintet?. The catchy tune is reworked in a variety of styles throughout the entire work, giving it the quality of a true ?earworm?. / Date parution : 2023-07-31/ Répertoire / Saxophone Alto et Piano

The five pieces in this attractive album have been specially written to acquaint players with different styles of music from around the world.

Depuis des siècles, « la lecture à vue » également appelée « déchiffrage » est une épreuve pour les concours de musique. Les compositeurs sont sollicités pour cet exercice et composent un texte court selon un cahier des charges assez précis (minutage, difficulté, modes de jeu instrumental, etc). Depuis la création d'une classe de saxophone confiée à Adolphe Sax en 1857 au Gymnase musical militaire, qui n'est autre qu'une annexe du Conservatoire de Paris, et jusqu'à la nomination de Marcel Mule en 1942, les concours se multiplient partout en France, tant au conservatoire qu'aux orchestres divers et variés, principalement militaires.
Les trois textes anonymes de style purement français (volume 4 de cette série consacrée aux déchiffrages : « andantino » de date inconnue / « morceau à vue » en 1881 / « andantino » en 1890) nous parviennent des Archives Nationales en lien avec le Conservatoire National Supérieur de Musique de Paris. Si ces dates ne correspondent pas à une possible affectation à la classe de saxophone car Adolphe Sax n'était alors plus en service, on pourrait imaginer qu'elles aient été composées pour un concours extérieur.
L'origine de la « lecture à vue » signée par Gabriel Dupont (1878-1914) non datée (volume 2), est également une énigme. Un doute plane sur le fait que ce texte soit bien du compositeur français, même si on en reconnaît la tendresse de cette page délicieuse. En 1922, Guillaume Balay (1871-1943) alors chef de musique de la Garde Républicaine de Paris compose deux « lecture à vue » pour saxophone (alto et ténor) vraisemblablement pour un concours militaire (volume 5) ; rappelons qu'entre 1870 et 1942, le conservatoire de Paris sera dépourvu de classe de saxophone.
La Ville de Reims accueillera deux jeunes compositeurs qui deviendront des personnalités musicales à l'esthétique prononcée ; tout d'abord Georges Migot (1891-1976) qui propose une « lecture à vue » (volume 3) en 1929 pour le concours de l'institut de musique, puis André Jolivet (1905-1974) qui compose son « déchiffrage » en 1938 (volume 1).
Toutes ces courtes pièces ont été étudiées méticuleusement avant de décider de leur redonner vie. Cette publication leur permet à présent de faire partie du patrimoine musical du saxophone classique.
Nicolas Prost
Saxophoniste
Association Saxiana

Durée : 2'15
Collection Nicolas Prost
Nomenclature : saxophone alto et piano / Partitions classique / Bois / Saxophone / KLARTHE