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The hymn was sung to the melody Sarum, by the Victorian composer Joseph Barnby, until the publication of the English Hymnal in 1906. This hymnal used a new setting by Ralph Vaughan Williams which he called Sine Nomine (literally, "without name") in reference to its use on the Feast of All Saints, 1 November (or the first Sunday in November, All Saints Sunday among some Lutheran church bodies ...
Despite being a common grouping in jazz, saxophone, piano and percussion was an extremely rare grouping in classical music until the end of the 20th century, when Trio Accanto started commissioning works to build a repertoire for themselves.
As with most saxophones, the alto's written range is B ♭ 3 to F 6 (or F ♯ 6), [1] with the higher altissimo register starting at F ♯ 6 (or G 6).The saxophone's altissimo register is more difficult to control than that of other woodwinds and is usually only expected from advanced players.
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 ...
James Milton Black (19 August 1856 – 21 December 1938) was an American composer of hymns, choir leader and Sunday school teacher. [1]Black was born in South Hill, New York, but worked, lived and died in Williamsport, Pennsylvania.
[1] [2] Its uplifting melody and repeated "Alleluias" make this a favourite Anglo-Catholic hymn during the Easter season, the Feast of All Saints, and other times of great rejoicing. The hymn was also notably adapted for the final movement of The Company of Heaven (1937), a cantata by Benjamin Britten. [3]
For Alto is a jazz double-LP by composer/multi-reedist Anthony Braxton, recorded in 1969 and released on Delmark Records in 1971. [1] [2] Braxton performs the pieces on this album entirely on alto saxophone, with no additional musicians, instrumentation or overdubbing.
The accompaniment is a skillful and harmonious moto perpetuo in the alto and bass keyboard parts with flowing quavers (eighth notes) in the alto, derived from the first four quaver suspirans figure, played above a walking bass in detached crotchets (quarter notes). The hymn was originally written in duple time but, to facilitate the canonic ...