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What year in school are you?
How long is the recital?
What other pieces are you planning to play?
 

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how about Renewing the Myth (Shrude), or Devil's Rag perhaps? Smith's Fantasia and Tomasi's Ballade could work too ;o
 

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I agree with Devil's Rag closing. The of us in our studio are giving recitals next semester (mine is junior, the other two are senior) and one of the other two is closing his recital with it. I think it works very nicely as a closer. Otis Murphy played it here as an encore two years ago and flew.
 

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Klonos is awesome as a closer. Leaves jaws on the floor. The thing is that you have to really own it. A year or two lead-time is preferable.

Angel
 

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Something different might be a Noda piece. I've performed Improv I and Mai and they could both be the right kind of piece to round out your recital (although I wouldn't recommend playing them last).

Something a little less "modern" but that could still be a good piece to undertake is the Bozza Improv and Caprice. (or one of the two...its fairly common to play just one). The Improv is a more challenging rhythmic and artistic selection while the Caprice is all about dazzling the audience with fingers. The Caprice could be a great way to end your recital.
 

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If you are going to do a Bach piece "as filler".... don't. You won't do it justice. Way too many people play Bach without understanding, internalizing and owning it, and we saxophonists are some of the worst about it....
 

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Bach is the sh*t!
You can do so much with his Cello Suites, but you can also NOT DO ENOUGH!!
 

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Discussion Starter #16
I must aplogies I did not mean to belittle bach. I do not think of him as anything less than serious, I have been studying his works for quite sometime. Its just that his saxophone transcribed pieces tend to be shorter than some of our rep. out there, so it would make a nice transition between some of the longer pieces.
 

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That certainly sounds reasonable.

My post was not about "respecting" Bach, but rather about taking it seriously enough to work through the layers of complexity in the figures (cadences that are also beginnings, etc.) and the frequently misguided articulations and dynamic markings in many arrangements that have nothing to do with exposing the actual melodic lines and sequences.
 
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