Exam: AMEB Saxophone Alto Grade LMusA

Crazy Logic CD

RM333 Crazy Logic CD Romp Duo SAX CD
RM333 Crazy Logic CD Romp Duo SAX CD
Compact Disc.
Composer:
Composed: 2006 Duration: 70 mins.
Instrumentation: CD Albums
Exam Grade: AMEB Saxophone Alto Grade 7,
AMEB Saxophone Alto Grade AMusA,
AMEB Saxophone Alto Grade Certificate of Performance,
AMEB Saxophone Alto Grade LMusA,
HSC Saxophone Alto
ISMN: M-720071-04-6 Catalogue: RM333
Level: C, D, E Country: Australia

Tracks:

  1. Crazy Logic - Matthew Orlovich
  2. Heaven - Perry Goldstein
  3. Time Transfixed - Maria Grenfell
  4. Not too near....not too far - Brenton Broadstock
  5. Murphy's Law - Philip Norman
  6. Digressioni Modali - Andrián Pertout
  7. Three Places for a New Millenium - Stuart Greenbaum

Crazy Logic

RM224 Crazy Logic Orlovich ALTO SAX/PNO
RM224 Crazy Logic Orlovich ALTO SAX/PNO

Printed Book

RM224e Crazy Logic Orlovich ALTO SAX/PNO
RM224e Crazy Logic Orlovich ALTO SAX/PNO

Digital Download eScore

Composer: Matthew Orlovich
Composed: 2006 Duration: 13 mins.
Instrumentation: Featured, Sax Alto & Piano Level E
Exam Grade: AMEB Saxophone Alto Grade LMusA
ISMN: M-720067-31-5 Catalogue: RM224
Level: E Country: Australia

Performed by Rompduo

Crazy Logic (for alto saxophone and piano, 2006) was composed at the invitation of saxophonist Barry Cockcroft and pianist Adam Pinto (RompDuo) for premiere performance at the 2006 Port Fairy Spring Music Festival, VIC, Australia.

Subsequent performances of the work include:
• Gerard McChrystal (saxophone) & Mary Dullea (pianist) @ Wigmore Hall, London, UK;
• Barry Cockcroft (saxophone) & Darrell Partin (piano) @ the 34th International Saxophone Symposium, Fairfax, VA, USA;
• Anhinga PianoSAX Duo @ 2011 North American Saxophone Alliance Region 4 Conference, Huntsville, Texas, USA;
• Jabra Latham (saxophone) & Karen Smithies (pianist) at The Ballroom, Epsom House, Pontville, Tasmania, Australia;
• RompDuo @ 2011 Australian Clarinet and Saxophone Symposium, Melbourne, Australia;
• Tim Roberts (sax) & Renate Rohlfing (piano) @ Selmer Paris Dragon Bird Event, Steinway Hall, NYC, NY, USA.

In composing the work, I have chosen to use musical ideas of a mostly intense and driving nature. My melodic lines comprise semiquavers which twist, scurry, and traverse up, down and around the musical staves at a great pace.

Furthermore, the two instrumentalists often play in unison or at the octave, lending added urgency and directness to the music.

While a softer, more reflective mood is revealed at the heart of the work, it is the energetic music with its chromatic kinks, jagged contours and wide leaps that elicits, for me, the ‘crazy’ mood alluded to in the work’s title.

In stitching my ‘crazy’ music together, I have aimed to afford the work a certain logic by virtue of balanced phrasing and fluent transitions between sections of the work.

I thank Barry and Adam for inviting me to compose this work and for giving the work its premiere performance. M.O.

Sonata

RM088 Sonata Greenbaum ALTO SAX/PNO
RM088 Sonata Greenbaum ALTO SAX/PNO

Printed Book

RM088e Sonata Greenbaum ALTO SAX/PNO
RM088e Sonata Greenbaum ALTO SAX/PNO

Digital Download eScore

Composer: Stuart Greenbaum
Composed: 2002 Duration: 23 mins.
Instrumentation: Sax Alto & Piano Level E
Exam Grade: AMEB Saxophone Alto Grade Certificate of Performance,
AMEB Saxophone Alto Grade LMusA
ISMN: M-720019-87-1 Catalogue: RM088
Level: E Country: Australia

A CD recording is also available.

Advanced Studies (20 pieces)

RM009 Advanced Studies (20 pieces) Cockcroft Editor SAX
RM009 Advanced Studies (20 pieces) Cockcroft Editor SAX

Printed Book

RM009e Advanced Studies (20 pieces) Cockcroft Editor SAX
RM009e Advanced Studies (20 pieces) Cockcroft Editor SAX

Digital Download eScore

These pieces have been chosen to give the advanced saxophonist a melodic selection of traditional studies and caprices. The works were adapted from the violin music of Kreuzter, Rode and Paganini and offer saxophonists the chance to play virtuosic studies that are immensely enjoyable - both to play and to listen to.

Mastering one study at a time is a proven technique for learning these demanding pieces. Precision is vital. Detailed observation of pitch, rhythm and nuance is an effective way to begin the 20 pieces. Careful consideration of each fingering will help to develop fl uent integration of the altissimo register. Meticulous study now will save time and frustration later.

No breath marks are given and often no rests are present to indicate where to breathe. Given the wide variety of tempi that these studies are likely to performed at, each saxophonist must choose their own breathing points. Remember though that breathing is decided by the musical phrase, rather than the phrase being decided by the breathing. It is suggested that the occasional note be ommited to occomodate breathing rather than adjusting the tempo.

Given that most of the studies are intended to be played at a fast tempo, the exact metronome marking is left to the discretion of the player. However, several pieces are quite effective at a slower tempo and it is important to place accuracy above speed.

In most of the pieces, the articulations are taken directly from the violin. Use these original markings or explore additional patterns of your own choosing. Whatever the choice, a clear and consistent approach to articulation is recommended. All octave markings throughout this book are optional. These works are not intended solely for technical development but rather for the musical application of an already advanced technique.

For complimentary further study, Reed Music also publishes Barry Cockcroft’s book ‘Saxophone Technique’.