is the sax player good at singing ? just joking ...um...yes I guess it would count as a duet.I was thinking I might use this idea 2 times, once as just the sax and voice duet and then the other would have the other wind as the "choral" part and the piano with it as chords and octaves that go along with the chords. a example would be like c octaves in the left and and c major chord in the right ,but with chords from the song. as to were it would take place i was thinking it might work nice to lead into the ending.I am going to have to look at it little more,I realized the other day that the version i have is in the wrong key to be used .....so i will have to look little more at that.thanks for all the thoughts :)
It says "solo part" on top of the sheet - is this a duet, or is the sax player singing? Both are really interesting! All of this is so cool to see; sometimes it seems that when given an ensemble, people are inclined to use everything and the kitchen sink. But this really lets the melody shine through, so both your voice and Ellington's could be thought of as seen clearly.
Thanks for uploading!
The call-and-response idea between alto sax and voice is an interesting one and I think it's certainly in the tradition of "Come Sunday" as a modern-day spiritual. That said, I think having the voice repeat the exact pitches stated by the alto sax might not necessarily be the most effective use of the call-and-response technique. Maybe you want to think about how the response from the singer might use different pitches at certain points (perhaps on the second response, for instance?) that might make this exchange feel more conversational?Also, do you envision any kind of harmonic support also going on here? From the piano, perhaps, or from the other horns? Or did you intend for this to be a very spare exchange between a cappella voice and solo alto sax, with no other instruments involved?
Where in the arrangement do you intend for this moment to take place — is this intended as an introduction, an interlude in the middle of the arrangement, a coda?
Can you tell us a bit about how the melodic ideas you're using here relate to the original melody of "Come Sunday"?
Finally, you may want to have a look at the "Writing For Voice" blog post that just went up yesterday, which has some advice about key selection. You want to make sure you are using the range of Claudette's voice that best matches your creative intent as an arranger.
Would love to see more, please keep posting your ideas!
...um I might have screwed up the key signature for the alto sax ....anyway there both in the key B flat major.
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