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Provided to YouTube by NAXOS of America Alto Saxophone Sonata: I. Two-Part Invention · Timothy McAllister In Transit ℗ 2006 Innova Released on: 2006-01-01 Artist: Timothy McAllister Artist: Kathryn Goodson Composer: William Albright Auto-generated by YouTube.

Escapades John Williams The University of Texas Wind Ensemble Jerry Junkin, conductor Dr. Stephen Page, saxophone Live in Lila Cockrell Theater at the TMEA Clinic - San Antonio, Texas February 15, 2018

Nathan Nabb and Chialing Hsieh perform Denisov's Sonate for alto saxophone and piano. Live at Stephen F. Austin State University.

Royal Over-Seas League Annual Music Competition 2018 Gold Medal Final / 4th June 2018 Queen Elizabeth Hall Jonathan Radford / saxophone Mark Anthony-Turnage Two elegies framing a shout for soprano saxophone and piano i. Elegy

Holy Roller by Libby Larsen Live Performance, 2005 Available on CD Recording, "Holy Roller" at www.stephen-page.com Stephen Page - Saxophone Cameron Hofmann - Piano Vandoren Emerging Artist Competition 2022

CONCERTO for Alto Saxophone and Wind Ensemble by David Maslanka Mvt. 1 Song: Fire in the Earth, performed by Otis Murphy, saxophone and The Indiana University Wind Ensemble conducted by Ray Cramer, on the AUR CD "Song." Available NOW on Amazon! http://www.amazon.com/Song/dp/B002UXGZNG/ref=sr_shvl_album_1?ie=UTF8&qid=1258401519&sr=301-1 From ARIZONA UNIVERSITY RECORDINGS, LLC. To purchase a physical CD of Otis Murphy's "Song" "Fantasy" and many other fine saxophone CDs, go to http://arizonarecordings.com

Performed by Wallace Halladay. I - 0:00 Berio wrote the sequenza VII for oboe in 1969 and dedicated it to Heinz Holliguer. From this was born sequenza VIIb for soprano saxophone, in 1993 by Claude Delangle. Berio enjoyed this adaptation more than the original oboe version, and planned to revise the piece, but he was unable to do so before his death in 2003. The sequenzas are a series of works for solo instruments in which the techniques of virtuosity are used to the extreme limit, pulling out the instruments of their tradition, expanding them in extension and technical and musical possibilities. Invent, in a game of manipulations and metamorphosis, new forms, new resources. Its roots are found in serialism, although this style will be noticed in the form of brushstrokes: very pointy, chromatic and rhythmically difficult music. The piece is built around a drone played on a B natural, which typically comes from an offstage source. In his instructions on the score, Berio writes: "a B natural must sound throughout the piece. The sound-source should preferably not be visible. This can be an oscillator, a clarinet, a pre-taped oboe, or something else. The intensity should be kept to a minimum with quite small variations. The B natural should give the impression of lending a slight resonance to the instrument." For much of the piece, Berio notates measures in seconds instead of bars, although there are some sections of the work that use traditional rhythmic notation. The piece calls for various forms of advanced and extended technique, including using five alternate fingerings for one note in a single measure, multiphonics, double tonguing, trills on multiple notes at a time, overblowing, flutter-tonguing, traditional harmonics, and microtonal trills. Jacqueline Leclair breaks down the piece into three sections. The first section goes from measure 1 - 92, and is primarily written in temporal notation, leading it to have a "free or improvisatory" quality. The second section goes from measure 92 - 121, and it alternates between temporal and rhythmic notation. Leclair argues that the beginning and end of the section are "very similar to the beginning and end of the piece" and that the middle part of it is "the most sustained and calmest section of Sequenza VII. The third and final section lasts from measures 121 - 169. According to Leclair, it contains the climax of the work, and the part after the climax "can be thought of as a large-scale ritardando or calming front he first 2 sections' much more frenetic character." Source: https://t.ly/ijWzs To check the score: https://t.ly/c4GTw

Luciano Berio (1925-2003). Sequenza IXb, per sassofono contralto (1981). Dedicata a Claude Delangle. Christian Whirt, sassofono contralto. Cover image: painting by Alberto Burri. **** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.

Provided to YouTube by The Orchard Enterprises Steady Study on the Boogie · Timothy McAllister · Timothy McAllister Scena ℗ 1999 Timothy McCallister Released on: 1999-06-01 Auto-generated by YouTube.

Live performance of Bolcom's "Lilith" on April 27, 2014 on my first DMA Recital. James Barger - Alto Saxophone Natasha Sukhina - Piano 🔔 Subscribe for future videos: https://bit.ly/jbargermusic 🖥 Be sure to visit my website: https://www.james-barger.com ⓕ Follow me on Facebook: https://www.facebook.com/jbargermusic 📸 Follow me on Instagram: https://www.instagram.com/jbargermusic If you enjoy this content, you can help show your support by buying me a coffee: https://www.buymeacoffee.com/jbargermusic