Search results for: 'bariton'

In 2 movements evocative of nighttime inspired moods. The Turning Mind is a colorful chaconne that commences with ominous chords and builds to a brisk climax. Disquietude is up-tempo, fiercely rhythmic, and maintains a state of excitement and suspense throughout. Learn More

SATB: This well-known African American spiritual (the foot bone's connected to the leg bone, the leg bone's connected to the...), arranged by Howard Buss, makes a memorable concert feature as well as a rousing musical offering in church. Multiple players may be used on each part to expand the ensemble. This arrangement is hugely influenced by jazz. The extended two-part introduction begins hymn-like and then breaks out in a jubilant jazzy section. This is followed by a more traditional rendering of the spiritual; however, as the music reaches its climax, the jazz "licks" from the introduction are brought back as counterpoint against the main melody of the spiritual. The result is exhilarating, and for a bit of humor, just as the work ends, there is a "tongue-in-cheek" plagal cadence. Learn More

Scored for trumpet quartet - 3 Bb and one Bb bass (or baritone or trombone). A bass clef part is included for the 4th part in case a bass trumpet is not available. This well-known African American spiritual (the foot bone's connected to the leg bone, the leg bone's connected to the...), arranged by Howard Buss, makes a memorable concert feature as well as a rousing musical offering in church. Multiple players may be used on each part to expand the ensemble. This arrangement is hugely influenced by jazz. The extended two-part introduction begins hymn-like and then breaks out in a jubilant jazzy section. This is followed by a more traditional rendering of the spiritual; however, as the music reaches its climax, the jazz "licks" from the introduction are brought back as counterpoint against the main melody of the spiritual. The result is exhilarating, and for a bit of humor, just as the work ends, there is a "tongue-in-cheek" plagal cadence. Learn More

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FANFARE FOR THE EMPIRE, an original composition for Saxophone Quartet (SATB), was written for the EMPIRE SAXOPHONE QUARTET whose “home base” is Ithaca, New York. The work was conceived as a brief, energetic “concert opener” with ample opportunity for each player to be “showcased” at one time or another. 

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with Piano

Giuseppe Cappelli composed Fantasia di Ruy Blas after Filippo Marchetti’s (1831-1902) opera Ruy Blas, in 1886. The opera was a four-act dramma lirico set to a libretto by Carlo d’Ormeville after Victor Hugo’s 1838 historical drama of the same name. It premiered at Teatro alla Scala, Milan, on April 3, 1869, and was Marchetti’s most notable opera. Forced into exile by Regina, the Queen of Spain (soprano) for rejecting her lady-in waiting, the wicked Don Sallustrio (baritone) plots revenge. He presents to the queen his valet, Ruy Blas (tenor), who is secretly in love with the queen, as the noble Don Cesare. Ruy Blas gains the queen’s favor and is promoted to prime minister and made a member of the Order of the Golden Fleece. When Don Sallustrio reveals to the queen that she has fallen in love with a mere servant, Ruy Blas kills Don Sallustrio in a duel and then kills himself by drinking poison, an act that earns him the forgiveness of the queen. Giuseppe Cappelli’s Fantasia di Ruy Blas begins with a dramatic opening for e-flat clarinet and piano taken from the Preludio of Marchetti’s Ruy Blas. This leads into the first andantino, the Duetto for soprano and tenor of Act 3, Scene 3, “Dietro quell’uscio.” Music in the Andante sostenuto section is lifted from Marchetti’s most famous aria of the opera (and his career)—“O dolce volutta!” Here an impassioned Ruy Blas shares his joy at the news the queen is in love with him. Though out of order from the opera, the queen’s light-hearted love song, “Che t’amo,” follows and Cappelli affords the e-flat clarinet an opportunity for embellishment of the original aria. One final lyrical passage, taken from Regina’s somber aria, “O madre mia,” of Act 2, Scene 1, concludes the fantasy before Cappelli’s energetic finale of original material.

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with Piano

Arranger Jack Adler-McKean writes, “What better way of displaying the tuba’s remarkably beautiful singing tone than through the medium of Romantic song itself? Written between the ages of seventeen and twenty-three, these songs exemplify Rachmaninoff’s prodigious talent for combining timeless melodies with his unique style of piano writing, and now can demonstrate the tuba’s exceptional ability at replicating a Russian bass-baritone voice. Without texts to rely on from such luminary poets as Aleksei Tolstoy and Nikolai Minsky, the performer is presented with challenges that go far beyond the notes themselves. The final reward, however, of being able to create music of such exceptional beauty will inevitably justify all the work that is put in.”

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Clarinet, Baritone Saxophone and Piano Learn More

“Danças Para Um Amigo” 2005  (Dances for a Special Friend) was commissioned by and written  for the Portuguese Tuba virtuoso, Sergio Carolino. It is for Solo Tuba, Saxophone Quartet and  Vibraphone (with percussion). There are four contrasting movements. Rapidinho is a fast, odd-meter  romp. Much of the movement is in 5/8 with much rhythmic overlapping between the instruments. It  ends in a vamp and fade. Vagaroso is in a slow 11/8 meter with much contrapuntal interaction between  the tuba and vibraphone. The saxophones play a more accompaniment role. Brincadeiras (scherzo) is a  jazzy alla breve with lots of syncopation. There is an optional improvised section for the solo tuba and  tenor sax with modal and augmented chord changes. The “groove” for this movement was inspired by  the theme music to the US PBS Charlie Rose Show. The finale movement, Correrias (chase), is a fast,  driving virtuoso movement for all the instruments. The rhythm is a constantly changing 3/4- 6/8 feel  propelling to a final double high Bb tuba note. “Danças….. was written with the special talents of Sr.  Carolino in mind. His ability to play technically challenging and improvisational music is very unique. 

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SATB:

Fort Worth Funk was written to provide a light-hearted, engaging selection for Saxophone Quartet.  It begins with a dramatic statement from the Baritone Saxophone, who lays down the opening groove.  The other members of the quartet enter one at a time, while the composition builds to a virtuostic moment for the full quartet.  The staggered entrances also provide an opportunity to stage theatrics as well.  Appropriate rhythms and articulations are meticulously notated to help players achieve an authentic “funk” style in their performance.  The piece is loosely based on the chord changes to the jazz standard “Well You Needn’t”, which appears briefly in swing style at the end of the piece.  Chord changes and written solos are provided during the improvised sections, to bring the piece within the grasp of a wide spectrum of players. 

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Composed for Saxophone Quartet (SATB), this piece is in 3 movements:

I. Billy Boy

II. A Story That Has No End...

III. A Frog Went a-Courtin'

Many of the immigrants who settled in the Appalachian Mountains of the American southeast came from the British Isles.  They brought with them folksongs that evolved, over long periods of time, into favorite American songs.  John Jay Hilfiger has used three of these songs as the basis for the three movements of this work.  The settings are not in typical folksong style.  Instead, each tune is treated in a unique way, expanded upon, and shaped in an idiomatic way for the instruments.  The result is a work in which the superposition of familiar tunes with unexpected contrasts offers a new perspective on well-known melodies that are shared among all the players.  

 

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FUGA VII from the Well-Tempered Clavier, Book 2, BWV 876, by Johann Sebastian Bach for sax quartet (soprano, alto, tenor & baritone) transcribed by Howard J. Buss. Rather than intending to elicit a strong emotional response from listeners, this elegant music is designed to showcase compositional craftmanship and stilulate the intellect. This outstanding transcription makes a wonderful addition to a concert and is especially appropriate for performance in church. Learn More

2 Flts, Ob, Bsn, 3 Clts, Bass Clt, A. Sax, T. Sax and B. Sax Learn More

This is sure to be an audience pleaser and will get them clapping along. For Saxophone Quartet (SATB), this can be played by any level group. Learn More

B-FLAT CLARINET (DOUBLING ON B-FLAT BASS CLARINET)

ALTO SAXOPHONE (DOUBLING ON SOPRANO SAXOPHONE AND BARITONE SAXOPHONE)

Hook, Line, and Sinker was influenced by my abiding interest in three distinct musical styles: contemporary classical, be-bop jazz, and punk rock. However, as my compositional research into these specific genres began to develop and expand, I wanted to take my personal work beyond an imitation of a critical musical study and past the final aural perception of the audience. In an attempt to convey to the performers the underlying extra-musical philosophy or "attitude" I desire in a given musical passage, I included the use of expressive analogues within the written score. Using the aforementioned musical styles, I instruct the trio to perform one passage "Antisocial, a la Sex Pistols," while in another section, I indicate that the music should sound like "a blend of Hendrix and Dolphy." In both cases, the overall "attitude" of the performance is just as important, or even more important, than the immeasurability of a perfect performance. In addition, I hope this use of expressive direction will introduce a few performers to unfamiliar musical territories, and possibly provide them with some insight into my personal influences and musical intentions. Notes by the composer, William Price (wpricecomposer@gmail.com)

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from Der Freischutz Learn More