MUSIC MINUS ONE ADVANCED ser by Allin Onteee RHAPSODY rezatee Bae rrofor refur’s one FAREWELL mola legal od expresso PERFORMANCE GUIDE by Paul Brodieon! ‘AAUSIC MINUS ONE ful Advanced ALTO SAXOPHONE SOLOS VOL. | PO CONTENTS wwe 5 ‘Paring Notes aga VIVALDI: Concerto in A minor = HE AB6gF 0 ecennnminrncinnnrne a (slow-tempo version) ao JACOB: Rhapsody... Oo BENSON: Fare ap WHITNEY: Rumba sooo 62004 MMO Music Group, Ine. AM rights reserved Pea.No 9005 wmo ats‘ CONCERTO IN A MINOR Side A - Band 6 J= 92 @'57") ANTONIO VIVALDI Side B- Band 2 d= 82 (9'15") Arr. by Allen Ostrander Allegro ae art rf P 8005 Copyright © 1958 by Baition Musicus, 333 West S2nd Strect, Now Youk, N.Y. 10019 Intemational Copyright Secured "Made in U.S.A. All Rights Reserved Used by Permlssion Copies of the plano part are available from the publisher110 ee eft 5, 116 rot tor allargando poco a poco 5 Peep ae fl te fettere ES She —__=——— 5025 f : f ' r Tole Fa tcttteceetitiet tte etestet, 2 =] —= allargando molto 9 icy ppg tere emer resRHAPSODY Side B- Bands J=58 (6'19") GORDON JACOB Pogo adagio Sentpiice an Piano eo 4 co _# = + ae 2 == 7 = eos 5 SS SS SSS PF pe P wercrorr Perfor’ r creer s£—~ s—, mfg —! wos CE Ert cof clerr cor dim. Copyright© 1950 ty Joseph Williams, Ltd,,29 Enford Street, Marylebone, London, W. 1 International Copyfight Secured Made in U.S.A. All Rights Reserved” Used by Permission Copies of the plano part ate available from the publisherPiano Solo Dab Cl tp ee ty o = mf [= => = roheerr fp oor im. amSolo molto espress. oe‘ FAREWELL Side B- Band 4 d= 60 (1'40") WARREN BENSON Slowly, gently > ? oP OP PW mollo legate ed espressivo — 7 ——~_, P ——— = f r ese Peace Cee Copyright© 1970 by MCA Music, «division of MCA Ine, 445 Patk Avenue, New You, N.Y. 10022 Intemational Copyright Secured” Made in U.S.A." All Rights Reserved Used by Permission Copier of the piano part are available from the publisher ‘Side B- Band 5 d= 160 (3'02") RU A Side B- Band 6 = 126 (4'09") MAURICE C, WHITNEY ‘Tempo di Rumba Plano _ + dey nos, —_ 3 pcr ight ® 1040 by Bourne, Inc, 136 W. 52nd Strat, Naw York, N.Y. 10019 International Copyright Secured Made in U.S.A. All Rights Reserved Used by Permission Copies af the piano part are available from the publisher802540 dole 3, =a ie ne yt p °12 PERFORMANCE GUIDE COMMENTARY BY PAUL BRODIE ‘VIVALDI ‘Goncertoin A Minor 3rd Movement: Allegro This piece needs to be played in a very grand manner. | interpret it as ¢ festive processional. If the articula- ‘tions suggested by the editor do not suit you, feel free to alter them, This movement offers opportunities for ‘side F sharp” fingering: This fingering should be much easier than the regular F sharp fingering. JACOB Rhapsody This isa transcription of a solo for English horn. (An or- chestral accompaniment is available from the publish er.) You will need to play this music with deep expres sion, Be careful to observe all the accants, especially those in the Allegro vivace section. Notice how these heavily accented notes are tied over into the next mea- sur These accents will need a strong push with your tongue! The most difficult section begins in measure 107, Be careful to play the sixteenth note triplets clearly. You will want a warm, rich tone in the section marked “Mol- toespress.” After several recapitulations of earlier ma- terial, the “Meno mosso tranquilo” leads into a gentle ending. This is a fine opportunity to play a smooth, floating pianissimo! BENSON Farewell This is an original piece for the saxophone. Although it is elementary inits technical demands, itwas placed in ‘an acvanced level album because of the interpretive ‘and tonal difficulties it presents. Its simplicity is de- ceptive! ‘You should make full use of the side E flat key in the fourth bar. The fingering for the side E flatis the C fing- er and ths high D sharp finger with the high E finger. This fingering gives anice, soft effect. The high F sharp in measure 12 will be easier if your instrument has a high F sharp key. (Alternate fingering is not always practical.) You can achieve a lovely, soit effect by inserting a ‘small mute, This could be a piece of tissue folded light- ly and placed halfway down the bell of the instrument. This will give a distant, muffled sound, compatible with the moodof the musi ‘There are several places where you must move from D. natural to C sharp. You can use either the regular or the ong C sharp fingering. The choice will depend upon the tuning of your instrument and the color of the sound, When you choose a fingering, you must take into account the type of music you are playing! The ac- ‘companiment is transparent in texture, so you will have tolisten carefully in order to blend. WHITNEY Rumba You will achieve success in this piece if you learn itina slow four, As you gain facility, you can gradually play it faster. Itis not necessary to take it at a breath-te!.ing clip; it can be very effective at a moderate tempo. Re- member, this is dance music, not just a technical exhi- bition! The accents and dynamics are very important. The trill in measure 34 and again in measure 104 should be from 3 to C natural. The use of the side C fingering will be most helpful. These trills should quicken as you play them. If the high G at the end is difficult, you may substitute the following ossi 47 Many students are guilty of spending too much time trying to obtain altissimo notes for a sensational, rather than a musical effect. It is better to play lower notes than to struggle (and perhaps fail) with these extremes. Always try to preserve your musical integrity. TUNING Bofore the piano accompaniment begins you will hear four tuning notes, followed by a short scale and an- other tuning note. This will enable you to tune your instrument to the record. 4x MUSIC MINUS ONE 50 Executive Boulevard Elmsford, N.Y. 10523-1325