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Kōmei Abe's Divertimento for Alto Saxophone was originally written in 1951 for alto saxophone and piano and subsequently orchestrated in 1960. It is a result of his interest in woodwind instruments in the postwar years , which led him to learn to play the clarinet in addition to his previous training as a cellist.
Sonata for Alto Saxophone and Piano, Op. 29 (1970)—Robert Muczynski [38] Variations on a Dorian Theme for alto saxophone and piano (1972)—Gordon Jacob; Four Moods for Alto Saxophone and Piano (1975)—Phil Woods; Sonata for Alto Saxophone and Piano (1979)—John Worley; Albanian Summer (1980)—Dave Smith; Divertimento (1982)—Charles ...
The clarinet and tenor saxophone player Jimmy Giuffre used a clarinet-style embouchure with a tenor saxophone with a specially-modified neck. [4] It is still commonly, and controversially, taught to beginning students as a shortcut to a passable result in lieu of more sustained effort developing embouchure strength and technique.
The project's name also referenced the movie series The Fast And The Furious, particularly one of its sequels, Tokyo Drift. [8] Drift's first video to "Another Silent Way" featured racing at the Rockingham Motor Speedway. [13] The majority of Drift music videos was directed by Taylor, shot "from Shibuya Crossing to the Moroccan desert to rural ...
1996 saw the release of Tokyo Strut (トーキョーストラット), which toned back the pop stylings of Grand Prix. This marked the first appearance on record of new percussionist Hajime Ohmori. During the band's visit to Thailand, Alto Sax/Agitate Man Tatsuyuki Hiyamuta was involved in a motorcycle accident, suffering damage to his legs.
The very small mouthpiece requires a correspondingly small reed and a tightly focused embouchure, making the soprillo difficult to play, particularly in its upper register. There is very little demand for soprillos, reducing the economy of scale and making the soprillo more expensive than more common saxophones like the alto or tenor . [ 4 ]
The saxophone then intertwines the melody with lyrical themes of the strings. This interaction results in tonal color. This part features tempo shifts. The saxophone then plays a cadenza that leads to the Fugato part. Syncopated rhythms are introduced in the orchestra. The saxophone soloist plays the melody which are taken up by the strings.
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