Performed live by Lachlan Davidson
Sonata for Soprano Saxophone and Piano consists of three movements and is a long sustained chamber work for a duo. While I have termed this 29-minute work a sonata the individual movements of the work do not fit into sonata form in the traditional sense with an exposition, development and recapitulation. Note also that while the work has three movements, I have not followed the traditional fast - slow - fast tempos of the classical sonata, in fact all the movements tend to remain at fairly moderate speeds. The sonata here represents a major contribution in terms
of my compositional output.
In the past, stretching material over a long structure was difficult for me, thus this particular project served to develop my concept of structure. The sonata is therefore one of the longer works I have written. Subjects are stated by one instrument, then answered by the other. The opening of the third movement in particular makes use of the call and response technique. Overall, the work is heavily
influenced by modern jazz styles and modes.
Movement One was originally entered in the Allan Zavod classical/jazz fusion competition in May 2002. While my entry was not successful it was the impetus to writing the other two movements. The piece begins with a Dbmaj#11 chord and enters into a simple swung chord pattern that sets up the basic harmonic content for this movement. At bar 60 an important 12/8 and 2/4 pattern is established and minimalist techniques consisting of addition and subtraction of notes build the structure. It is interesting to note that the combined 12/8 and 2/4 bars equal 16 quavers, which in turn could be notated as two bars of 4/4. Even though the patterns fit into the common 4/4 pattern, it is the groupings that ultimately create the propulsion for this movement.
Milder than the first, Movement Two opens over a G pedal point in its second inversion. The movement is designed to be a ‘sweeter song’ than the first and similarly uses half and whole tone lateral steps as its primary movement between chords. At bar 99 a pattern reminiscent of the first
movement appears, though this pattern in C melodic minor is perhaps a little more ‘optimistic’ sounding than the first movement. Note that throughout the entire sonata there are concepts and ideas that cross all three movements.
Movement Three is much more energetic and is sustained by imitation and rapid movement contrasted with appropriate space. Attempts to explore colour are evident in the use of register transfer techniques and eventually the piece works itself towards a groove loosely based on funk rhythmic patterns beginning at bar 186. As with the other movements the opening statements return to complete the piece.
Performed live by Rompduo
Contents: Rain In Spain , Coal Train, Mostly Mist , Papapap, Blues for Ma
Performed by James Nightingale
The term “variations” in this work is used somewhat loosely and does not conform to the strict connotation of the classical “Theme and Variations” form. Rather, it is used in the sense that the presented themes are decorated and varied over a repeated ground bass in much the same way as in a Chaconne. Material for this work was drawn from an earlier work Phospherics. This title came from a series of word associations:
Phosphorous: phosphorescent, luminous, green, nature. Spherics: spherical, circular, cyclical, cycles.
Versions of phosphoric Variations were originally composed for alto saxophone and piano, then later for clarinet and piano and flute and piano.
Contents: Swing Thing, Jewell in a Stone , Cathy's Dream , A Lane in Wales, One Step at a Time, A Good Time Was Had By All , Duddles Chuckles , Heritage
Swing Thing: This piece began life as an easy saxophone quartet but translates well to sax and piano. Be sure to play the longs and shorts accurately as it really helps it swing. Accent beat 2 and 4 for the same reason. When there is a quaver on the second half of a beat followed by a rest, it should always be short (staccato as marked) it is good to imagine that there is a note on the following beat to help place the last quaver.
Jewel in a Stone: Written for Julia, this is the most recently written of the tunes in Lokked in. Julia decided that she didn't feel like playing the C naturals that I had written so she played C sharps instead. I liked them so much that I changed the tune. There is much potential for some rubato and a very emotional performance of this piece. Some music turns out that way. Don't play it too slowly but don't hurry from one phrase to the next.
Cathy's Dream: Cathy had Chronic Fatigue syndrome at school and bravely fought through it. Her dream was to be healthy. I played this at her wedding recently where she seemed extremely well. The feel is Latin American influenced and the syncopations can be tricky. Very slow practice with the metronome, thinking in quavers and leaving the ties out can help gain an understanding of the rhythms. This is a good one to practise with the piano part slowly from the early stages of its preparation.
A Lane in Wales: In 1993, on a “round the world walkabout,” I visited my relatives in Wales and went on some long, solitary walks. This tune seems to capture the spirit of some of the lanes I walked along. I enjoy playing this tune and love the more classical feel of it. It suits a more classical sound and a softer dynamic. I love the sound of this piece at a slower tempo too. Be gentle but firm with it. Be aware of when the phrases are one, two or four bars long and be careful not to break it up too much.
One Step at a Time: Named for Steph, to motivate her to practise. Well it didn't work for her but it is a really fun piece to play with elements of rock in the eighties and a touch of David Sanborn. Thanks Dave.
Dig hard into the groove, the accents and the staccatos to really make it rock. A brighter sound and a generally stronger dynamic will suit this piece. The metronome is your best friend on this one.
A Good Time was Had by All: After a tour to Queensland with the school Stage Band, Yuki, a trombonist, asked me to write a piece for her VCE. I was honoured to do so and this was named as a celebration of the good time everyone had on the trip. It suits the saxophone just as well as the trombone and should be approached with a simple, not over-jazzy (or too cool) swing feel, emphasising the off-beat quavers and enjoying the fun in the music. The piano part really adds to the party so check it out as soon as you can.
Duddles Chuckles: I conceived this tune on the way home from a gig, named it after the unique laugh of one of my students, “Duddles” and arranged it for sax quartet before converting it to sax and piano. Play it with a bouncy swing feel in two, but emphasise (accent) the off-beats where quavers are slurred across the beat. There are some unusual staccatos which add to the character of the tune and make it less groovy or jazzy but more fun.
Heritage: I first took this tune (then un-named) to a gig at Bennetts Lane with unLokked (my jazz quartet) and subsequently recorded it on “A hot night in Burwood” released through Newmarket music. I consider it one of my best tunes. It has an obvious celtic influence but I know that Jan Garbarek and the Disney song, “Colours of the wind” were in the mix here too. This version is a simplified version of the original with far fewer ornaments than I would normally play but it still maintains its integrity and emotion. Play it with strength, commitment and honesty.
