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Oorspronklik

In Bach's Studio. David Liebman. Saxophone sheet music.

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In Bach se Studio. David Liebman. Saksofoon bladmusiek.

Oorspronklik

In Bach's Studio composed by David Liebman. 1946-. Saxophone Quartet. For Saxophone Quartet. SATB. Grade 5. Full Score and Set of Parts. Published by Advance Music. AV.7608. The Inspiration In religion there is Mecca for Muslims, the Wall for Jews, the Holy Sepulchre for Christians and so on. These are places in the world where the vibrations are extremely intense and usually commemorate some historical person or event or special significance to a select population. Whenever possible, it is incumbent upon individuals who believe in something to make a pilgrimage to such a site. For musicians of all styles, one such place is the city of Leipzig, Germany. Specifically, it is the Thomaskirche, the church where Bach spent so many years as the choir master, pouring forth work after work for weekly masses and celebrations. While on tour during the mid-1990s with my group, we performed in Leipzig. The morning after our performance, pianist Phil Markowitz and myself went to that church. Fortuitously, an organist was practicing Bach at that very hour. Sitting there for a while, absorbing the feeling of the very room where so much creativity and beauty took place, was one of the highlights of my travels over the years. This piece was inspired by the master, J.S. Bach. The Composition As befitting a piece dedicated to Bach, I composed a four-part chorale for the standard saxophone quartet. It is not a chorale in the formal sense, only expressively speaking. Using uneven bar lengths, I tried to create an unpredictable flow, since there is a preponderance of block chord movement. In concurrence with some of the ideas expressed in my book A Chromatic Approach to Jazz Melody and Harmony. Advance Music. , I loosely followed along the lines of what I call interval categories. Letter A is built on seconds and thirds. letter B on fourths and fifths. letter C on seconds, thirds and especially sixths. letter D on seventh and ninths. For my aesthetic, each interval category portrays a unique expressive atmosphere. There is no overriding theme or chord progression. The composed solos are optional and will work well with the piece. Although I have provided some phrase and dynamic markings for these sections, those who do use the written material can freely interpret the music. On the other hand, if improvising musicians would like to express their unique talents, they should do so in each section, using the appropriate interval category as the basis for their improvisation. In any case, the short solos towards the end of the piece should be played as written. David Liebman's career has spanned over three decades, beginning with his apprenticeship years in the early 1970s as a member of the Elvin Jones and Miles Davis Groups. Since then he has lead his own groups featuring musicians like John Scofield, Adam Nussbaum, Richie Beirach, Billy Hart and others. His present quartet features guitarist Vic Juris and has been together since 1991. He consistently places in the Top Five Soprano Saxophonists in the Downbeat Critic's Poll. Liebman has recorded nearly 300 albums with nearly 100 under his leadership featuring several hundred original compositions in many different idioms including unusual arrangements of jazz standards, chamber music, big band, fusion and piano. saxophone duos. In jazz education he is a renowned lecturer and author of several milestone books translated into various languages as well as teaching videos and published chamber music. He is the Founder and Artistic Director of the International Association of Schools of Jazz. IASJ. , an organization of jazz schools from over 40 countries. Awards include an Honorary Doctorate from the Sibelius Academy. Helsinki, Finland. Grammy nomination for Best Solo in 1998. induction into the International Association of Jazz Educators Hall of Fame in 2000.

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In Studio Bach se gekomponeer deur David Liebman. 1946 -. Kwartet. Vir saxofoon kwartet. SATB. Graad 5. Volle telling en 'n stel Parts. Gepubliseer deur Advance Musiek. AV.7608. Die Inspirasie In godsdiens is daar mekka vir die Moslems, die muur vir die Jode, die Heilige Graf vir Christene en so aan. Dit is plekke in die wêreld waar die vibrasies is uiters intense en gewoonlik herdenk paar historiese persoon of gebeurtenis of 'n spesiale betekenis aan 'n uitgesoekte bevolking. Waar moontlik, is dit die plig van individue wat in iets glo 'n pelgrimstog na so 'n webwerf te maak. Vir musici van alle style, een so 'n plek is die stad van Leipzig, Duitsland. Spesifiek, is dit die Thomaskirche, die kerk waar Bach spandeer so baie jare as die koorleier, skink werk na werk vir weeklikse massas en vieringe. Terwyl hy op toer in die middel-1990's met my groep, het ons uitgevoer in Leipzig. Die oggend na ons vertoning, pianis Phil Markowitz en myself na daardie kerk. Toevallig, is 'n orrelis oefen Bach op daardie selfde uur. Sit daar vir 'n rukkie, absorbeer die gevoel van die baie kamer waar soveel kreatiwiteit en skoonheid plaasgevind het, was een van die hoogtepunte van my reis oor die jare. Hierdie stuk is geïnspireer deur die meester, J.S. Bach. Die samestelling betaamlik is 'n stuk toegewy aan Bach, ek saamgestel uit 'n vier-deel koraal vir die standaard saksofoon kwartet. Dit is nie 'n koraal in die formele sin, net ekspressief praat. Die gebruik van ongelyke bar lengtes, het ek probeer om 'n onvoorspelbare vloei te skep, aangesien daar 'n oorwig van blokakkoord beweging. In ooreenstemming met 'n paar van die idees wat in my boek 'n chromatiese te Jazz Melody en Harmony. Advance Musiek. Ek losweg gevolg langs die lyne van wat ek noem interval kategorieë. Letter A is gebou op sekondes en derdes. letter B op vierdes en vyfdes. letter C op sekondes, derdes en sesdes veral. letter D op die sewende en neëndes. Vir my estetiese, elke interval kategorie beeld 'n unieke ekspressiewe atmosfeer. Daar is geen oorheersende tema of akkoordprogressie. Die bestaan ​​solo's is opsioneel en sal goed werk met die stuk. Alhoewel ek het 'n paar frase en dinamiese merke vir hierdie afdelings, diegene wat gebruik maak van die geskrewe materiaal vrylik kan die musiek te interpreteer. Aan die ander kant, as improviseer musikante wil graag hul unieke talente uit te druk, moet hulle dit doen in elke afdeling, met behulp van die toepaslike interval kategorie as die grondslag vir hul improvisasie. In elk geval, moet die kort solo teen die einde van die stuk gespeel word soos dit geskryf. David Liebman se loopbaan het gestrek het meer as drie dekades, begin met sy vakleerlingskap jaar in die vroeë 1970's as 'n lid van die Elvin Jones en Miles Davis Groepe. Sedertdien het hy sy eie groepe te lei met musikante soos John Scofield, Adam Nussbaum, Richie Beirach, Billy Hart en ander. Sy huidige kwartet funksies kitaarspeler Vic Juris en het al saam sedert 1991. Hy plaas konsekwent in die top vyf Donna saxofonisten in die pessimistiese kritikus se Poll. Liebman het aangeteken byna 300 albums met byna 100 onder sy leiding met 'n paar honderd oorspronklike komposisies in baie verskillende idiome insluitend ongewone verwerkings van jazz standaarde, kamermusiek, big band, samesmelting en klavier. saksofoon duo. In jazz onderwys het hy is 'n bekende dosent en skrywer van verskeie boeke mylpaal vertaal in verskeie tale sowel as onderrig video's en gepubliseer kamermusiek. Hy is die stigter en artistieke direkteur van die Internasionale Vereniging van Skole van Jazz. IASJ. , 'N organisasie van jazz skole uit meer as 40 lande. Toekennings sluit in 'n Eredoktorsgraad van die Sibelius Akademie. Helsinki, Finland. Grammy-nominasie vir Beste Solo in 1998. induksie in die Internasionale Vereniging van Jazz Opvoeders Hall of Fame in 2000.