CONGRATULATIONS PLENES, CHER JOEL, POUR TON MARVEILLEUSE TRAVAIL SUR L' OUVRE DU LE MAITRE DES MAITRES AVEC LA RESPIRATION CONTINUÉ. TON COMPAGNON DE SAXOPHONE. BIEN PLUS AGÉ, ROBERTO SION. BRÉSIL! JE AI LA INTENTION DE METTRE UNE DE LES PIÈCES DE TON VIDEO DANS UN PROGRAME QUE JE FAIT SEULEMENT SUR NOTRE INSTRUMENTE DANS UNE RADIO PUBLIQUE ICI A SAO PAULO. BISES.
Qui a dit qu'ile ne foutent rien dans le sud? En tout cas, depuis son départ d'Alençon, tu n'as pas perdu de temps. Quelle maturité et sonorité8 magnifique travail de phrasé et souplesse. C'est un bien beau cadeau de Noël qui arrive...
La technique de respiration circulaire est très pratique pour ces pièces où les sax n'était à l'époque pas encore inventés. Si Bach avait connu cet instrument, il aurait surement composé mais on ne le saura jamais ! Néanmoins on peut profiter du plaisir que les partitions existent et sont appréciés de musiciens talentueux tel Joel Versavaud! Je cours acheter ce disque et vais me renseigner si l'on peut l'écouter en concert car rien ne remplace le direct, toujours différent et jamais figé!!
Tout est beau ici, le film, la prise de son, la musique, l'interprète... Le lieu est superbe aussi, je suis allé voir le site de ce studio où il doit faire bon travailler. Quant à Joël Versavaud, il dit sobrement "La technique est simple"... Quel talent. Bach et le saxophone, bien sûr, surtout respiré comme ça, ça galope, c'est beau. Et puis le sourire de la fin en dit long sur la beauté intérieure de ce musicien que je découvre. Merci Marion pour ce partage.
Bravo, my friend! I love your Preludio in E Major. You appear to be playing it in the original key (F# for you), and I know what that requires! I began playing this piece in 1979, and it consumed me for years, along with the rest of the Partitas, Sonatas, and Suites. Of the recordings I've heard of people attempting these, few, if any, are getting them as close as you are. I'd like to hear the entire pieces uninterrupted. By the end of the E-Major, in concert, I would be nearly ready to pass out, despite circular breathing. There is a certain kind of training these give you that you cannot get anywhere else, and it touches all parts of performance: endurance and concentration (even when oxygen is inadequate), contrapuntal thinking and expression, voicing, emphasis, and myriad other things, many of which involve a sort of dialog with the master, Bach, who becomes the teacher. You try the lines one way, then another, maybe doing syncopation or hemiola where before it looked like straight notes, and suddenly it springs to life. Incredible works. My congratulations to you for very fine excerpts. If you have any complete versions, please let us hear them!
Bach, transcendance métaphysique! Je voudrais bien jouer avec vous le double concerto pour violon, un jour, avec votre technique époustouflante. Force et lumière, je vous souhaite un Joyeux Noël, et qui sait, à bientôt...
Two years later, and I’m back. Let me tell you a hint that I used. In Partita #2, I transcribed it in the written key of F#minor. That put it closest to the range of the soprano. There was just one problem, and it’s also a problem in the E Major Partita #3. The altissimo F# requires moving your whole right hand to hit the F# key. You can do it with harmonics, but it’s not as reliable, and these things have to happen lightning fast. In the Giga it requires a series of leaps to those high F#’s happening so fast that there isn’t time for your hands to make that leap. So... I added a key to all my saxes. It’s an F# key, connected to the actual high F# key, but it runs down to my little finger, poised right above the Eb/C keys for the right hand. This opens up a world of altissimo fingerings that were not easily available. Using the High F# key as an “octave vent,” you can play scales in the altissimo almost as easily as any other part of the horn. They came in handy when playing the Prokofiev Sonata for Flute on soprano, including all the high notes. Not a problem. The High F# key should have been originally located in that position above those low keys of the right hand, because it just makes sense. Thus, you can play the entire right and left hand stacks without moving your hand away from them, while having full use of the high F# key as needed. Just a tip. I hope it does you some good. The drawback: you become dependent on it, and no other sax will do until you perform the surgery! Most horn technicians can do it for you, but it takes ingenuity to locate the rods so that they don’t hit other keys or the body of the horn. Nice playing, and good luck!
Bon, moi, je suis admirative du son bien sûr... mais aussi fascinée par la technique !!! je veux un cours de cette technique qui fait travailler le voile du palais de façon anti-naturelle...
What a credit to Bach and the sax. I love your sound on Soprano. May I ask your set up? M/Piece - reed combination? Thanks again for your contribution to music!
