I have written this book of Duo pieces for two equal saxophones, to meet the rising demand for challenging, modern repertoire that can be performed by two saxophonists, or student and teacher. Performing with other players is the very best way to push your own playing to new levels, and learn from and inspire each other along the way.
The standard of Saxophone playing in the UK now is at it’s highest ever level, and still rising. Players now have a much broader taste and understanding of musical styles from across the globe, in classical, jazz, funk, pop, world music, folk styles and so on, and real traditions in both jazz and classical fields to aspire to. This selection of ten new pieces is designed to reflect many of these influences, with a strong emphasis on the superimposition of style onto the pieces by the performers - some require a real dynamic energy, some a definite musical style, some a more reflective approach - there are some notes at the end of each piece to set you on the right path. The pieces use the whole standard range of the saxophone, without regard to “difficult” or unfamiliar notes. Although I have intentionally not written into the altissimo register, there are some other “extended techniques” employed in some of the pieces - I wanted to include these to help familiarise the players with these effects, which are becoming much more commonplace in our ever growing repertoire, and can add real colour and expression when used intelligently.
I hope you enjoy playing these pieces as much as I have enjoyed writing them.
Rob Buckland
A samba feel, but not too heavy...use the false fingerings to create a gentle rippling energy for the tune to sit on top of. Always “laid back” in feel, this should never feel hurried. Really commit to the dynamic shape of the piece, and be as rhythmic as possible throughout!
Bosh
Hard, driving accents and energy throughout - a real competitive edge between the players gives this the right feel - keep each other honest with the tempo and this will really sparkle!
Denial
A slow, dark piece, which requires the players to be really focussed on INTONATION! - something we can always work on as saxophonists! Take care to real listen to the intervals/harmony throughout - you may have to settle each chord to make this really work. Follow the build in the middle section, and superimpose a dark mood onto this piece to really bring out it’s colour - the dynamics should give this long piece some structure too. If you feel yourself moving away from this one, then you are in denial - long, slow pieces are hard, so we tend to ignore them - until one day we have to play something like this......often the simple things are the hardest!
Flam
A bluesy chart with a real swagger - add lots of colour, scoops, glisses, bends, anything you can think of to enhance the “down & dirty” feel of this tune. A good, steady, dug in tempo adds the right touch...
Turning
A floating, relaxed feel is needed here - this piece should have a soft, warm feeling throughout. Keep the tempo really relaxed, and don’t push, and you’ll get the right contemplative feel. Enjoy taking turns at the tune and accompaniment - try to balance accordingly.
Chaos
Lots of accents, lots of dynamics, high energy - really push the instrument to it’s limits, and don’t be afraid of the extremes of register - go for it!
Beyond
Designed to create a soundworld unlike anything else in this book, this piece uses many of the saxophonic tricks that fall under the umbrella of “extended technique” - multiphonics, false fingerings, slap tonguing, extreme dynamics. A high level of communication between performers is needed to keep the piece flowing, and to line up the events so that the structure holds up.
Continuum
In the spirit of those oh-so-famous 2 part inventions! - keep the tempo rock solid - the semi-quavers are always more important, but should sound like one player has them throughout, despite being passed back and forth. The quaver movement should act like a metronome, pushing the music on.
Phase 1
A four bar phrase that repeats, with the second part phasing out by a quaver each time - a simple enough device, but a real test of concentration for the performers. Bring out the quirky half phrases that appear as different accents line up with each other. Phase 1 is a “half phase” version, but for the brave amongst you, 9a (Phase 2) is a short notational version of the full version - if you manage to stay exact in the right place, and count exactly the right number of repeats, then the phrases should line up again exactly, after the 32nd rpt of part 1/31st repeat of the 2nd - phasing - part... before moving onto the coda. Good luck!
Fjord
Inspired by the distinctive open feel of the haunting folk melodies from Scandinavia, this slow piece again relies on perfect intonation and control across the range, and a sensitive approach to ensemble to allow the tune through without it feeling forced.
The standard of Saxophone playing in the UK now is at it’s highest ever level, and still rising. Players now have a much broader taste and understanding of musical styles from across the globe, in classical, jazz, funk, pop, world music, folk styles and so on, and real traditions in both jazz and classical fields to aspire to. This selection of ten new pieces is designed to reflect many of these influences, with a strong emphasis on the superimposition of style onto the pieces by the performers - some require a real dynamic energy, some a definite musical style, some a more reflective approach - there are some notes at the end of each piece to set you on the right path. The pieces use the whole standard range of the saxophone, without regard to “difficult” or unfamiliar notes. Although I have intentionally not written into the altissimo register, there are some other “extended techniques” employed in some of the pieces - I wanted to include these to help familiarise the players with these effects, which are becoming much more commonplace in our ever growing repertoire, and can add real colour and expression when used intelligently.
I hope you enjoy playing these pieces as much as I have enjoyed writing them.
Rob Buckland
- Mojito
- Bosh
- Denial.
- Flam
- Turning
- Chaos
- Beyond
- Continuum
- Phase 1
- Phase 2
- Fjord
A samba feel, but not too heavy...use the false fingerings to create a gentle rippling energy for the tune to sit on top of. Always “laid back” in feel, this should never feel hurried. Really commit to the dynamic shape of the piece, and be as rhythmic as possible throughout!
Bosh
Hard, driving accents and energy throughout - a real competitive edge between the players gives this the right feel - keep each other honest with the tempo and this will really sparkle!
Denial
A slow, dark piece, which requires the players to be really focussed on INTONATION! - something we can always work on as saxophonists! Take care to real listen to the intervals/harmony throughout - you may have to settle each chord to make this really work. Follow the build in the middle section, and superimpose a dark mood onto this piece to really bring out it’s colour - the dynamics should give this long piece some structure too. If you feel yourself moving away from this one, then you are in denial - long, slow pieces are hard, so we tend to ignore them - until one day we have to play something like this......often the simple things are the hardest!
Flam
A bluesy chart with a real swagger - add lots of colour, scoops, glisses, bends, anything you can think of to enhance the “down & dirty” feel of this tune. A good, steady, dug in tempo adds the right touch...
Turning
A floating, relaxed feel is needed here - this piece should have a soft, warm feeling throughout. Keep the tempo really relaxed, and don’t push, and you’ll get the right contemplative feel. Enjoy taking turns at the tune and accompaniment - try to balance accordingly.
Chaos
Lots of accents, lots of dynamics, high energy - really push the instrument to it’s limits, and don’t be afraid of the extremes of register - go for it!
Beyond
Designed to create a soundworld unlike anything else in this book, this piece uses many of the saxophonic tricks that fall under the umbrella of “extended technique” - multiphonics, false fingerings, slap tonguing, extreme dynamics. A high level of communication between performers is needed to keep the piece flowing, and to line up the events so that the structure holds up.
Continuum
In the spirit of those oh-so-famous 2 part inventions! - keep the tempo rock solid - the semi-quavers are always more important, but should sound like one player has them throughout, despite being passed back and forth. The quaver movement should act like a metronome, pushing the music on.
Phase 1
A four bar phrase that repeats, with the second part phasing out by a quaver each time - a simple enough device, but a real test of concentration for the performers. Bring out the quirky half phrases that appear as different accents line up with each other. Phase 1 is a “half phase” version, but for the brave amongst you, 9a (Phase 2) is a short notational version of the full version - if you manage to stay exact in the right place, and count exactly the right number of repeats, then the phrases should line up again exactly, after the 32nd rpt of part 1/31st repeat of the 2nd - phasing - part... before moving onto the coda. Good luck!
Fjord
Inspired by the distinctive open feel of the haunting folk melodies from Scandinavia, this slow piece again relies on perfect intonation and control across the range, and a sensitive approach to ensemble to allow the tune through without it feeling forced.
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