Subtitle: Deux Pièces en Forme Canonique Composer: Théodore Dubois Arranger: R. Stevens Ensemble: Soprano/Alto and Tenor Duet with piano Format: Score (8 pp), 1st part for S or A, 2nd part for T Length: 5 Minutes (both movements) Difficulty: 4 (moderate difficulty)
Two Pieces in Canonic Form (1900)
Théodore Dubois (1837 –1924)
Soprano and Tenor Saxophone Duet
Two Pieces in Canonic Form by Théodore Dubois for Soprano and Tenor Saxophone Duet with piano. This arrangement includes a first part for soprano or alto sax and second part for tenor sax as well as the piano accompaniment.
The first piece is a lyrical adagio; the second is a graceful allegretto. True to the title, both pieces are written in strict canonic form with the second part repeating the first at an octave below. A few adjustments were made to this scheme for the alto sax first part.
French composer and organist, and teacher Théodore Dubois wrote a wide variety of music, including orchestral, and chamber music, ballets, operas and other vocal music. Most of it is forgotten today.
The range for each saxophone part is shown below.
Audio and score excerpts are available above.
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François-Clément Théodore Dubois (24 August 1837 – 11 June 1924) was a French composer and organist. He studied first under Louis Fanart (the choirmaster at Reims Cathedral) and later at the Paris Conservatoire under Ambroise Thomas. He won the Prix de Rome in 1861. In 1868, he became choirmaster at the Church of the Madeleine, and in 1871 took over from César Franck as choirmaster at the Basilica of Sainte-Clotilde. In 1877, Dubois returned to the Church of the Madeleine, succeeding Camille Saint-Saëns as organist there. From 1871 he taught at the Paris Conservatoire, where he had many illustrious students including Paul Dukas, Florent Schmitt, and Guy Ropartz.
The music of Dubois includes chamber works, ballets, oratorios and three symphonies. His best-known work is the oratorio “Les sept paroles du Christ” (“The Seven Last Words of Christ” ), which is occasionally performed. His Toccata in G (1889) is popular with organists. The rest of his large output is almost completely forgotten. He has had a more lasting influence in teaching, with his theoretical works Traité de contrepoint et de fugue (on counterpoint and fugue) and Traité d’harmonie théorique et pratique (on harmony) still being used today.
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