Assignment 5


As in previous assignments, I followed the basic structure I developed in my plan.  I think this mostly worked well, although it ended up being slightly longer than I intended (3′, 30”) due to quite a few rits and pauses at various points, which I will bear in mind for future work if I need it to fit exact timings.


I decided early on in the planning of this piece that I wanted each cycle of the chord progression to have a slightly different mood or character.  I think I have managed to achieve this through varying dynamics and melodic lines, and by changing the emphasis between the instruments.

Cycle 1

After a short piano introduction which sets the overall tempo and key of the piece, the first section introduces the chord progression with the alto saxophone playing a calm, fairly subdued melody, joined by the tenor saxophone half way through.  The piano part plays arpeggiated  chords; mostly in root position, but I chose to use first inversion in bars 14-16 because I think the repeated bass note (G#) makes the chord progression more effective as it is less anticipated (similarly in bars 22-24 with B as the bass note).

As this is the very first time we hear the full cycle of the chord progression, I felt that the music needed some breathing space before going straight onto the next, and so I decided to re-use four bars of the piano part from the introductory material to prepare the next cycle.

Cycle 2

The second cycle sets  a more energetic mood using both saxophones from the beginning; the alto saxophone plays in a higher register which creates a brighter, louder sound, and the tenor saxophone plays a repeated rising quaver phrase.  There is a crescendo and sudden caesura at the ‘resting point’ in bar 12 of the cycle, and so it seemed natural to use the remaining four bars as a piano only transition to the next cycle.

Cycle 3

As planned, the melodies used in this cycle are quite chromatic and wandering, and the dynamics come down a level to reflect the change in mood.  It ends with a ritardando and a pause, preparing the next section.

Cycle 4

This is a lengthened version of the cycle; instead of making each chord last for two bars as planned I decided to switch to a 6/4 time signature which I think fits better as the second chord falls on a weak beat instead of a strong one.  This is the piano’s turn to have the melody, with the left hand playing an accompanying bass-chord-chord pattern – this time using first inversion in bar two as well as later on.  I initially intended this section to contain the main climax of the piece, but as there is a whole cycle still left to be played I decided it worked best to delay the climax until the last one.

Cycle 5

Since the final section is a change in time signature to 12/8, it needed a couple of bars introduction, and this also served well as an accelerando phrase to take us from the slower tempo of the end of the previous section to the new tempo.  This time the tenor saxophone has the main melody, and the alto saxophone gradually increases in dynamic to join it, with a running quaver melody leading up to the climax.


To anticipate the ending of the piece, I delayed the final cadence by extending both the penultimate chord (II) as well as the final dominant chord, both by an additional bar.  Rather than end on a single tonic chord, I decided to return to the introductory phrase based on I-VI-I, and also moved the piano part back up to the top of the keyboard where the piece started, bringing it full circle.


Performance and Presentation Notes

I experimented with the saxophone’s glissando effect in Sibelius whilst working on this assignment but felt in the end that it wasn’t in keeping with the style of the piece.  I did however use some trills, and a combination of long notes and fast passages which I think make good use of the capabilities of the instrument.  The alto saxophone part goes as high as concert G# 5  which is at the top of its range, but as it is in a loud section of the music I believe it should be playable by a competent performer.  I think the phrasing is generally a clear indicator of where the players should breathe, and I have added some explicit breath marks in particular sections where I feel they might need guidance, such as in the alto part from bar 81.

In the piano part I put pedalling in for the play-back (as I have indicated it to be played ‘con pedale’), but have hidden the marks from the printed score as this is more usual for piano music where the pedal is used throughout the piece in a fairly obvious, consistent way.  The piano part uses a good range of the piano, particularly at the treble end, and so I have used a combination of 8va notations and clef changes to avoid large numbers of ledger lines.  I also sometimes indicated different dynamics in the right and left hand; this is something that a good pianist will usually do without prompting (e.g. to bring out the melody) but I thought it was worth being explicit in some cases.

Finally, I tried to take on board my tutor’s comments from previous assignments about presentation, in particular with respect to staff size, spacing and dynamics.


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