Carson Cooman: Goggles (1999-2001) for saxophone and piano by Carson Cooman Alto Saxophone - Digital Sheet Music

By Carson Cooman

Goggles (1999-2001) for saxophone and piano is dedicated to saxophonist Yoshiro Fujita. Itis a short "concert romp" -- with piano and saxophone locked in a pounding drive forwardsthroughout.The material is based on the saxophone's opening melodic gesture, presented (after theintroduction), over a pounding ostinato in the piano which runs throughout the piece. Suddenchanges of dynamics and material occur throughout until finally a sudden change of tonalityoccurs at the very end of the work.PERFORMANCE NOTES: This piece is ideally suited as an encore piece after a recitalprogram. If this is the case, it is suggested that, if possible, the saxophonist and pianist put onpairs of goggles (swimming or aviation-style are best) from out of their pockets beforeplaying the work. (It is also possible to do this even if the work is not played as an encore.)

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Alto Saxophone,Piano - Level 4 - Digital Download

SKU: A0.533579

Composed by Carson Cooman. Concert,Contemporary,Standards. Score and part. 11 pages. Musik Fabrik Music Publishing #3028549. Published by Musik Fabrik Music Publishing (A0.533579).

Goggles (1999-2001) for saxophone and piano is dedicated to saxophonist Yoshiro Fujita. It
is a short "concert romp" -- with piano and saxophone locked in a pounding drive forwards
throughout.
The material is based on the saxophone's opening melodic gesture, presented (after the
introduction), over a pounding ostinato in the piano which runs throughout the piece. Sudden
changes of dynamics and material occur throughout until finally a sudden change of tonality
occurs at the very end of the work.
PERFORMANCE NOTES: This piece is ideally suited as an encore piece after a recital
program. If this is the case, it is suggested that, if possible, the saxophonist and pianist put on
pairs of goggles (swimming or aviation-style are best) from out of their pockets before
playing the work. (It is also possible to do this even if the work is not played as an encore.)

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