No offense, but just search for it on YouTube yourself. I have searched it plenty of times and there are plenty of reordings on there.
As to why it costs so much, it is 6 mvts of music so I actually think $50 is a good price. If you need to get it since it sounds you are playing it in the near future, just get it.
I'm assuming this is for CBDA.
I'd recommend that you order it from eble or somewhere similar, as it's great to have music in your rep.
I bought it about 6 weeks ago, and with all 5 movements the saxophone part is 12 pages long.
Actually no. I'm a bit over auditions. I made a state group once and didn't make Southern California which makes no sense so I figured I'd screw auditions for now. I'm a very nervous player. I couldn't play an F# major scale because I was so nervous but I felt more comfortable on the piece given and did surprisingly well above my expectations so they cut me slack in state. I felt I did great in SC too but with 80-300 saxophonists auditioning and 2 1st alto spots you can't expect them to make the perfect choice every time.
I actually just picked it up today (yesterday) at T.I.S. Music here in Bloomington, IN. It was in their discount section for $25, and in perfect condition; I couldn't pass it up!
Leduc folios are usually a bit larger paper than normal, and so are tough to scan.
Why do you think everything should be cheap/free?
It's against the law to do this. French music has always been a little more expensive than non-imports. Of course, wholesale copying just exacerbates the problem.
Yeah I know I was joking on that part (hence the LD face XD). My parents are usually somewhat willing to get me books on music as long as it isn't that $300 song I can't remember >.>
Oh and Lovano, yeah I get what you mean but what I meant was my nervousness is what makes me not do them. I just feel that unless the judge or recorder knows your progress in music, he can't determine if you deserve it. IMHO I don't think I deserved the state group, but I think the SC one might have been possible. In fact I definately don't think I deserve the state group, personally I'm not even that into classical work 0-0 (well at least less than jazz). I just find it annoying how nervousness gets the best of people who deserve certain spots over people who lucked out like I did in State and felt good for once. There are 2 students who ring a bell in my school that match this comparison perfectly. One is a kid who practices the piece 8 hours a day, 6 months before the audition, and usually makes a spot. The other has a gift as a classical player, loves music, does his general practice and play, and is a fine musician but doesn't always get in when he has what groups are looking for.
It costs that much because both the composer and the publisher who makes this wonderful music available to us need to be paid for their talent and their service.
Tableaux is one of the staples of the saxophone canon. Fifty dollars is not much money to ask for a piece of music that will enrich your life forever.
Oh no, I thought I DIDN'T deserve the state spot. The judges are VERY fair knowledgeable people, I was just saying, nervousness can kill it from being the best player in the state to not even getting considered
The ability to perform well under pressure and in public is far more important than the ability to do great things in a practice room but nowhere else. What counts is being able to perform well...WHEN IT COUNTS. The best players are the ones who can do that...not the ones who can only play well behind closed doors where it doesn't count for anything. The inability to conquer one's own nervousness and play well on an audition...(or any other public performance situation)...automatically disqualifies them from being considered "the best player in the state". You have to be able to perform when it counts...period.
the ability to perform well under pressure and in public is far more important than the ability to do great things in a practice room but nowhere else. What counts is being able to perform well...when it counts. The best players are the ones who can do that...not the ones who can only play well behind closed doors where it doesn't count for anything. The inability to conquer one's own nervousness and play well on an audition...(or any other public performance situation)...automatically disqualifies them from being considered "the best player in the state". You have to be able to perform when it counts...period.
When you're finished drinking out of the toilet Mr. Potty mouth, you can try using the search function.
There are many, many threads dealing with overcoming nervousness and performance anxiety.
when you're finished drinking out of the toilet mr. Potty mouth, you can try using the search function.
There are many, many threads dealing with overcoming nervousness and performance anxiety.
For me, the only way I was able to overcome stage fright was to finally realize that performing isn't about playing every little thing on the paper -- it's about portraying the music to an audience. Live performance especially is a very organic thing. You could practice all you wanted, and odds are you're never going to perform anything to your absolute best. This is where it really helps to just play! Of course you need to make sure you have a very firm grasp of a piece before attempting to perform it, but once you do, and you're in front of an audience, let loose!
We had a masterclass with Dr. John Sampen today and that was actually the biggest thing he talked about. The other three guys that played all stood there, played the notes on the page -- albeit they all did a very good job -- but there was no audience communication. It felt to me like they were practicing with piano. Had they just gone for it, it would have made the experience for us, as the audience, that much more enjoyable.
Figure out what helps you overcome being nervous, but for me, it was just realizing this simple factor.
For me, the only way I was able to overcome stage fright was to finally realize that performing isn't about playing every little thing on the paper -- it's about portraying the music to an audience.
This is an important point. As soon as you stop focusing on yourself (how do I sound? did I just play a wrong note? am I sweating? will I beat that other kid out for the spot? etc.), and view yourself as the conduit through which the composer is able to express their music, then your perspective changes entirely, and nerves are replaced with calm control. In classical performance, unlike in jazz performance, the central activity is not self-expression (though each performer inevitably stamps their performance with their own perspective, informed by their unique musical and life experiences), but is rendering someone else's music faithfully, with an appropriate balance of intellect and passion.
I'm generally not a nervous person, so feel free to take this with a grain of salt.
I feel more nervous energy if I give a performance or presentation during a time when I am not in a habit of performing in public. The more "in-the-habit" I am, the less nervous energy I feel. In a way, I view performance-chops as being similar to altissimo-chops. "Chops" being that which goes away if not regularly maintained.
As far as nervousness goes, I find that one thing that helps me is to be completely in the moment with the music. In other words, when I'm about to make an entrance, I forget about everything else around me and just try to become one with the music.
To me, that means thinking about nothing the notes I'm looking at, and to actually feel them in my fingers before I play them. I also listen for them just before I play them. If I can tune everything else out, I find that not only am I not nervous anymore, the music becomes extremely simple to play--and extremely fun and satisfying to play.
I agree with drakesax: In my opinion, classical performance is about humbling yourself to a vastly superior musical spirit, then getting yourself out of the way so that this spirit can do its special work in the world.
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