Piano part available separately. Contents: The Great Gate of Kiev, All Beautiful the March of Days, Adagio in G Minor, Theme from Pathétique, Pomp and Circumstance, The Swan, Traumerai, Golliwog’s Cake Walk, Air on the G String, Chanson de Matin, The Liberty Bell, Farandole, Gavotte, Habañera, Minuet, In the Hall of the Mountain King, Minuet in G, Overture to Carmen, Clair de lune, Concerto, Pavane, Meditation
Performed by the Gilmour Ensemble
Also available for Tenor sax solo with Big-band I wanted to write a difficult, complex tune (as I always seemed to end up writing simple melodies) and this is what resulted. Meredith was my first student to try it and she articulated it to suit how she played. I have adopted many of her articulations in this version. In certain circumstances, I highly recommend improvising in the optional section. The biggest challenge, other than the technical difficulty, is to swap between the fusion feel with the appropriate intense sound and the jazz feel with a lighter sound, and then lead gradually back towards the fusion feel and sound towards the end. The accompanist should be sure not to slow down in the swing section. Even push ahead a little.
Contents: Shuffle Over Here, We Don't Tango Here, The Minor Issue, The Boogie Woogie Woogie, Funkability, Be Bopaphobia
Contents: Aries , Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricorn, Aquarius, Pisces
Performed by Rompduo
Performed by Rompduo (alto sax version)
As I was warming up my sax while Kath was getting hers out for a lesson, I played a few random notes which caught my ear. They were the first six notes of this piece. Later that day, after some exploration, I recorded a semi-improvised piano part and then semi-improvised the sax part. What you see on the page is a cleaned up version of what I did that day. This is the only time I've ever composed this way. Kath is a great Listener and reminded me of it's importance. You should allow your performance to build gradually through the first page and then really soar through the second page before settling down fairly quickly at the end. See if you can make it sound like you improvised it. Get together with the pianist early or play with the midi version of it from the website. It will help you understand the pace and intensity. If you add any jazz inflections, make sure they sound good and that you stay in tune. The beginning is very difficult in that regard so don't try to play any softer than you are able but do work on dropping your dynamic as far as possible and bringing it up as high as you can at the climax.
