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Solo de concert No. 4, Opus 84 for Tenor Saxophone and Piano (1862)—Jean-Baptiste Singelée; Solo de concert No. 6, Opus 92 for Tenor Saxophone and Piano (1863)—Jean-Baptiste Singelée; Premier Solo andante et bolero for tenor saxophone and piano (1866)—Jules Demersseman; Brasiliana No. 7 for Tenor Saxophone and Piano (1956)—Radamés ...
Caprice No. 5 is one of 24 caprices for solo violin composed by virtuoso violinist Niccolò Paganini in the early 19th century. The piece is known for its fast tempo and technical difficulty. Paganini is said to have been able to play it on one string, but there is no evidence to support or refute this. [1]
The "sheets of sound" approach can be heard as early as the 1957 collaboration with Monk in solos like the one on "Trinkle, Tinkle" from the album Thelonious Monk with John Coltrane. [4] Coltrane's live performance of "If I Were a Bell" with the Miles Davis sextet on September 9, 1958, well exemplifies his use of the "sheets of sound" during ...
Bucharest Radio, Contemporary Music Festival: Claude Delangle: Bakla, Petr: First comes the obvious opening gesture, but then the plot thickens, and the sweet background music is not what really matters here: 2010: 6' alto: with tape: 2010-06-12, Basel: Polaris Trio [3] Barath, Eva...und begriff, dass es ein Traum gewesen: 1994: 12' 1994-12-07 ...
The genre of solo saxophone has a rich, but largely unmapped history in contemporary music, particularly jazz. [1] Many, but not all, musicians who play and record solo saxophone use extended techniques, a vocabulary of the saxophone beyond its normal range.
A baritone saxophone overlays the sounds, played by Dick Parry. The saxophone changes from a baritone to a tenor saxophone, as a time signature switch from 6 8 to 12 8 creates the feeling that the tempo doubles up. The sax solo is accompanied by a Solina string synthesizer keyboard sound.
Rhapsodie for saxophone and orchestra, L.98, also known as Rhapsodie mauresque or Rhapsodie orientale, is a piece for alto saxophone and accompaniment by Claude Debussy. Completed in solo and piano form in 1911, the piece is most well known through its 1919 orchestration of the accompaniment by Jean Roger-Ducasse .
Newman was born in Corsicana, Texas, United States, on February 24, 1933, but grew up in Dallas, where he studied first the piano and then the saxophone. [1] According to one account, he got his nickname "Fathead" in school when "an outraged music instructor used it as an epithet after catching Newman playing a Sousa march from memory rather than from reading the sheet music, which rested ...
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