Piece for solo alto sax in Eb. This three movement’s work combines the influence of the Venezuelan popular music with some new techniques on playing sax (slaps, multiphonics, etc).
III.- Onda Sax
Estimated during: ca. 9 minutes .
Format: PDF (files encrypted – password included)
Work commissioned by the talented Venezuelan saxophonist Víctor Marín. Completed its composition on September 30, 2018, partially premiered on November 22, 2019 at the “Museo del Teclado” (Caracas – Venezuela), having to Marín as soloist.
(Tribute to Luis Laguna)
Luis Laguna (1926-1984) was the genius who gave the «magic spin» to the Venezuelan “merengue” (Venezuelan musical genre with a compound rhythm still under discussion).
For the first movement, the composer has chosen this Venezuelan genre, often misunderstood in its measurement (six?, five? two?). This version incorporates modern elements of the performance of the sax, such as the «slap» (tongue blow that gives a special characteristic to the articulation), the use of multiphonics, and finally, certain rhythmic accompaniment elements. All those modern elements are added within the context of an academic-popular work, at least in its primary conception.
(Waltz in the style of A. Lauro)
During the composition of the work, the elaboration of the second movement was coinciding with the centenary of the birth of the great Venezuelan guitarist Antonio Lauro, so the composer seizes the opportunity. Written in the style of his famous guitar waltzes, the composer wanted to pay tribute to this famous musician, and at the same time, dedicate a piece to his daughter, Samantha Rodríguez, looking for points of coincidence (Lauro dedicated to his daughters some of her waltzes, and highlights among all «Natalia»)
III.- Onda Sax.
To finish this work, the composer uses a Venezuelan musical genre that represents in some way the musical avant-garde of his country: The “Onda Nueva” (the “New Wave”). Created by Mtro. Aldemaro Romero, this genre lends itself enormously to exposing again the modern elements introduced within the first movement, perhaps incorporating a new one, to have a variety of color within the effects of percussion of the saxophone, in a kind of imitation of a colorful rhythmic drum section.