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Just in time for your spooky celebrations, I have posted the completed (reference recording, score and all parts, and Encore 4.5 files) Night on Bald Mountain, scored for six saxophones (sopranino to bass) and two percussionists. You can get the reference recording here, or everything (including the recording) here.
The sopranino part tops out at high F#/Gb, and I changed many of the scale-wise grace note approaches to this high note into arpeggio approaches, to make it much easier to reach. Eb clarinet may be subbed for this part if sopranino is not available, but there is no other compelling reason to make this substitution. The other parts (except the bass sax) are also expected to reach up to but not beyond high F#. As with the other pieces, a low A is not required on the bari part (unlike my quartets and trios, where low A is a necessity). Due to some exceptionally ugly key signatures throughout the piece which in turn necessitated the use of double flats and/or double sharps, I have opted to write the parts with no key signature at all. The score is transposed.
This is considerably easier than Pictures At An Exhibition, though it's much more 'dense', lacking much in the way of rest time in any part. It's pretty much a continuous eleven-minute blow. It's much easier than The Planets, both because of range and because of a lack of extended technique (no altissimo, no superhuman circular-breathing demands). That doesn't mean it's easy, just that it's not exceptionally difficult.
The sopranino part tops out at high F#/Gb, and I changed many of the scale-wise grace note approaches to this high note into arpeggio approaches, to make it much easier to reach. Eb clarinet may be subbed for this part if sopranino is not available, but there is no other compelling reason to make this substitution. The other parts (except the bass sax) are also expected to reach up to but not beyond high F#. As with the other pieces, a low A is not required on the bari part (unlike my quartets and trios, where low A is a necessity). Due to some exceptionally ugly key signatures throughout the piece which in turn necessitated the use of double flats and/or double sharps, I have opted to write the parts with no key signature at all. The score is transposed.
This is considerably easier than Pictures At An Exhibition, though it's much more 'dense', lacking much in the way of rest time in any part. It's pretty much a continuous eleven-minute blow. It's much easier than The Planets, both because of range and because of a lack of extended technique (no altissimo, no superhuman circular-breathing demands). That doesn't mean it's easy, just that it's not exceptionally difficult.
