DOS DANZAS LATINAS Eric Richards (BMI) Music or Solo Soprano Saxophone and Concert Band. TIME: ca. minutes U & # w Cl? w g u Eric Richards musical services 755 Elberta Lane Huntingtown MD 2094201 =========== ericrich@olg.com (410) 41459
DOS DANZAS LATINAS was composed or my riend and colleague, Nan Raphael or her solo perormance with The United States Army ield Band at the National lute Association Convention in Washington, DC. Our musical riendship harkens back to when Nan premiered another o my works, DANCE O THE SOUTHERN LIGHTS. As a Third Stream composer, I enoy combining elements o the contemporary tonal vocabulary o Art music with the language o American azz and then, stirring in sounds and traditions o other cultures. I have a particular ondness or the music o Latin America, especially that o Brazil and Cuba. These musical predilections are quite evident in this work. DOS DANZAS LATINAS is set in two contrasting sections, which I think o as a Dance o Introspection leading into a Dance o Optimism. The opening section is a Bossa Nova and is ramed by two solo cadenzas. The second cadenza serves to provide some closure to the irst section and also creates a transition into the second. This Dance o Optimism is quite rhythmic and alternates between a Salsa and Samba eel. I hope you enoy this piece! Eric Richards Huntingtown MD uly
INSTRUMENTATION Solo Soprano Saxophone lutes & Oboes & E b Clarinet B b Clarinet B b Clarinet B b Clarinet E b Alto Clarinet B b Bass Clarinet Bassoons & Alto & Soprano Saxophone Alto Saxophone Trumpet in B b Trumpet in B b Trumpet in B b Trumpet in B b Horns & in Horns & in Trombone Trombone Trombone Bass Trombone Euphonium Tuba Tenor Saxophone Baritone Saxophone String Bass (ampliied) Keyboard (Synthesizer or Piano) Vibraphone Auxiliary Percussion ( players) Drum Set
COMPOSER S NOTES The irst section o the piece was written under the assumption that high quality sound reinorcement will be available or the soloist. This is the only way the correct balance will be achieved between the soloist and the density and complexity o the accompaniment in the band and rhythm section. The solo cadenzas that serve to rame the irst section o the piece should be played very reely relax and take your time! All trills and tremolos in the irst section o the piece should be rather gentle and should corroborate any dynamic changes over time (i.e., speed up during crescendos and vice versa.) The general approach to the irst section o the piece should be light and loating. Be sure to keep the rhythm section sensitive to this! At {48}, all attacks in the woodwind ostinato should be slightly pointed, in contrast to the more relaxed nature o the previous material. At {52}, the soloist begins to play over the developing ostinato. This entire passage should build toward mm., which should sound almost renetic or angry in the solo part. Good, musical sound reinorcement will be critical here. The climax o the irst section is {}. ROAR! At {84}, all instruments must enter decisively to set up the correct eel. The conductor may want to conduct one measure o the new tempo to achieve this rhythmic clarity. At {92}, Oboes, Clarinets &, and Alto Clarinet must bring out their igure. Think o the dynamic as + The soloist should take care to smoothly articulate the th notes in the second section o the piece. Perhaps a semilegato azz attack ( Doo ) is the best approach. The piano igures at {1 00} (beats & ) and m. must synchronize with the soloist and should be very aggressive. Simile @ {1 72}. There can be a tendency to rush the th based igures in the second section o the piece. Everyone should lock in to the percussion section and bass part. At this point (with apologies to the Conductor), LISTENING trumps WATCHING!
Solo Soprano Saxophone Eric Richards (BMI) Cadenza Molto Rubato e Expr. & 4 U Ÿ~ U n n DOS DANZAS LATINAS or my riend and colleague, Nan Raphael. b lipped pitch drop b Æ 4 å = 72 4 7 U U 4 cadenza " 4 2 4 Œ.. poco. accel. U å = 72 U Ÿ~~ Ÿ ~~~ Ó........ n n ~ U π # b U ". " n SOLOIST sets tempo; ca. M.M. å = 120 U Œ p 5 U Ÿ~~ b b # " ( 4 4 7 + ) > > > Ÿ~~~~~~~~~~ 4 b w w 5 π
& 4 4 5 4 7 Ó Œ b w w n 2 n b 21 n b A Solo Sop. Sax DOS DANZAS 2 b w w 4 ens. w Œ Ÿ~~~~~~~~~~~~~~~~~~ 2 w w π Œ A. 41 n n b b 4 4 w Œ b w. 4 48 building gradually Ÿ~~~~~~~~~~ w 2 GÈ Ó Ó Ó π {S o lo}
& E b. n D Œ 5 GÈ E Ÿ~~~ Ÿ~~~~ b n Œ Œ b. GÈ D b n Œ n b n n ƒ Ÿ~ ~ ~ n b E b Œ b As written!, 4 4 7 w n. ƒ Solo Sop. Sax DOS DANZAS Œ Ó Œ Con uego! 4 4 7 4 4 4 7 4 4 4 2 4 7
& 4 7 Œ 75 n b A 4 5 b n Solo Sop. Sax DOS DANZAS 4 w. 4 5 2 4 cadenza 4 4 Ÿ~ ~............... ƒ # # # # # # 7 b n # n b b n # n U Ÿ~~~ # n U " 4 U 84 4 SALSA!: ~~~~~~~~~~~~~~~~~~~~ m.m. å = 11 120 MAX.!. 5 π
Solo Sop. Sax DOS DANZAS 5 & # 92 8 # 100 > n > n # > n n # n n n n b. 108 n > n b b > # n > n n n b n n n. n n n 11 Samba ( å = å ) n n Œ n b n b b n # b # 4 4 n 124 Con uego! n n. æ 4 2
B b /A & # b # n b n b n # n 12 optional repeat or improvisation; 1st X: Soloist + Rhythm; 2nd X: + Band winds Solo Sop. Sax DOS DANZAS b. D\ n. Œ n > Cÿ/D > > n. n n # B b ÿ/c n n b Gÿ/A Œ n A n 140 B b /C Ÿ~~~~~ # # n # n # n n p n Ÿ~~~~~ # # apple # B b /C n n apple Œ B b ÿ/c n b n Gÿ/A Aß n n n n 148 Samba (å = å) Ÿ~~~~~~~~~~~~~~~~~~~~~~~ DÍ/G. # n. G;. DÍ/G n n n G;. n > # > > È/B b > b n. b #
& ƒ B b n ; b b 15 Salsa C/D n.. n b D9 EÈ/A Ÿ~~~~~. n. # A Œ Solo Sop. Sax DOS DANZAS 7 n b n b n C/D n > > D9 n > ƒ n B b ÿ/c n b > > # n. Gÿ/A > > A n n D\ n # n n # 14 # Ÿ~~~~~~~~~~~~~ #.
172 & > n > n # > n n Solo Sop. Sax DOS DANZAS 8 # n n n n b. 180 n > n b b > # n > n n n b n n n. n Ÿ~~~~~~~~. 188 4 D\ n Œ æ æ n B b ÿ/c n b Gÿ/A A 19 D\ # Ÿ ~~~ # n n n n n.. B n b ÿ/c. n A n B n b ÿ/c n. D\ n Gÿ/A > A n > n > > Œ Œ
Solo Sop. Sax DOS DANZAS 9 5 & 4 4 > > n n > n b > > n 4 Œ Œ > > Œ Œ n > ƒ