Composed: 2008 Duration: 5 mins.
Instrumentation: Cello Solo Level D
Exam Grade: HSC Cello
ISMN: 979-0-720129-26-6 Catalogue: RM726
Level: D Country: Australia
The inaugural Australian saxophone retreat will take place at the iconic property ‘Seacroft’ on Victoria’s Great Ocean Road. Visiting artists include Joshua Hyde, Australian saxophonist based in Paris, Joseph Lallo, Australian saxophonist based in Strasbourg and Barry Cockcroft, Melbourne based saxophonist. The residential retreat will feature workshops, performances, ensemble playing, lessons as well the all important time-out for saxophonists to meet, talk music and get to know one another away from their instruments. For full weekend tickets, accommodation, meals and performances are included in the registration fee. Day tickets are available for either the Saturday or Sunday and include some meals and performances without accommodation.
The sessions are geared to all ages and everyone is welcome.
A range of Selmer products will be available to try during the weekend.
7pm Friday 23rd August – 5pm Sunday 25th August
Please visit www.seacroft.com for more details.
The Melbourne Sonata is a major work for soprano saxophone & piano. It is dedicated to Irish saxophonist Gerard McChrystal and is a 12 minute composition in three movements, Go, Slow and Blow.
The effective performance of this piece lies in the ability of the duo to maintian considerable intensity throughout. The two parts are tightly integrated and at times the two instruments should be indistinguiable from one another. With few gaps in the saxophone part, circular breathing essential. The lines weave in and out of each other leaving neither instrument prominent. With the pedal depressed throughout the 2nd movement, some of the saxophone notes should cause the piano to resonate. It was not my intention to have the saxophone playing into the piano but rather a resonant 3rd voice in the distance. The final movement requires clarity of articulation and a hint of a Celtic feel.
This arrangement of the lovely traditional Christmas carol is set in a lush, sometimes romantic style of a quasi-jazz saxophone section. It is packed with interesting harmonic movement and yet always stays true to the original melody that all know and love. The writing is challenging enough to make it interesting and yet it never crosses over into the “too difficult” category that some jazz saxophone section writing can stray in to. The short “Supersax” two thirds the way through is guaranteed to give listeners goose bumps and all in all this chart is sure to be a crowd pleaser no matter where it’s performed.
This piece includes rhythm section parts.
An Andy Firth original written in tribute to the great Australian jazz icon, Don Burrows.
Originally composed and arranged for Andy’s 16 saxophone big band CD “Sax To The Max!” this arrangement has been cleverly scored to work with various combinations of woodwind instruments. Andy has scored simple but authentic sounding jazz flute solos to capture the spirit of Don Burrow’s playing style. But if you think that this makes the chart too hard for your players, you would be wrong. In fact any intermediate level flute ensemble should be able to play this arrangement with ease. The rhythm section is optional as the chart can be performed with or without one. The lively bossa nova feel of the rhythm section combined with the catchy melody and tightly scored parts is sure to be a crowd pleaser where ever it is performed.
Call Me centres around communication and each movement explores a different idea based on this. The movements may be performed separately if desired.
Call Me explores the idea of being rung by different people; sometimes they are people we want to talk to and sometimes they are not. The music represents those phone calls, the interruptions they make in our lives and the different conversations we might have, depending on who the person is. The inspiration behind each movement stems from conversations we may be involved in.
Breaking Up takes a musical line and literally breaks it up – between parts and between pitches. The structure is based on a verse and chorus form, much like a cliched love song that the title seems to imply.
On Hold represents the frustration at being put on hold and having to listen to piped music. The music tries to break free from itself and there are big climaxes, but ultimately they are unsuccessful and return back to the main theme as the listener continues to remain on hold.
Crossed Lines takes its inspiration entirely from the title. The musical lines are constantly intertwined, sometimes fighting with each other, so it is difficult to know which instrument line is the main focus. The instruments also argue as to which key they should be in, resulting in moments of bitonality.
Commissioned by the Rose Trio with funds from the RVW Trust.