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12 Etudes Melodiques
12 Etudes Melodiques (Saxophon Solo) - Noten Download PDF
Jules Demersseman
12 Etudes Melodiques (Saxophon Solo) - Noten Download PDF
Jules Demersseman
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Details
| Produktnummer: | MFJDM010 pdf |
|---|---|
| Arrangement: | Solo |
| Instrumente: | Saxophon |
| Genre: | Etüden Studien |
| Autoren: | Demersseman, Jules (1833-1866) |
| Seiten: | 44 |
| Spieldauer: | 30:00 |
| Verlag: | Musik Fabrik Music Publishing |
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Produktinformationen "12 Etudes Melodiques "
Zwölf Melodische Etüden für Saxophon Solo
Die 12 Etüden sind in unterschiedlichen Stilen komponiert worden (u.a. Lied, Arie, Tarantella, Rondo, Valse).
Alle Etüden sind stark chromatisch geprägt, welches ein typisches Merkmal zur Mitte der Romantik und besonders unter den Opernkomponsiten dieser Zeit war.
Schwierigkeitsgrad:
advanced intermediate (fortgeschritten)
Anmerkung des Herausgebers
Jules Demersseman was born on January 9, 1833 in Hondschoote, a small town in the north of France now near the border of Belgium. He entered the Paris Conservatory in 1844 in the class of Jean-Louis Tulou and won a first prize in flute in 1845. Demersseman had a career as a pedogogue and soloist, often performing his own compositions. A close friend of Adolphe Sax, he wrote some of the first works ever written for the saxophone, as well as for the saxhorn and for Sax?s valved trombone, most of which were published by Sax himself.. Demersseman died in Paris on December 1, 1866 at the age of 33.
The twelve études were first published by Adolphe Sax's publishing house and also used in his saxophone class at the Paris Conservatory. The twelve études are in a number of styles (lied, aria, tarantella, rondo, valse etc), but all share an extremely chromatic tonal idiom that is characteristic of the middle romantic period, especially among the Opera composers of the time. In working through these études, it is important to try to hear the underlying harmonic context of each modulation, which constitues the principle quality of these études.
In the first édition published by Sax, there were a large number of key signature changes, including several where the key signature changed in the middle of a measure. The editor made the decision to use more modern chromatic notation in a great many of these cases, as this has become the norm today. However, the initial key signatures have been added. Some editorial breath marks, articulations and expressive marks have also been added. The performer is encouraged to change these if he feels that another solution might be more suitable to his vision of the pieces.
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