Three Psalms for Tenor Saxophone and Organ
Edward P. Mascari
About this work:
Three Psalms for Tenor Saxophone and Organ
Commissioned by Friedemann Graef
This piece was inspired by the spiritual themes found in several of the Psalms.
On a musical level, there was a desire to create a composition which combined the lyrical qualities and rhythmic potential of the tenor saxophone with the variety of colors and textures so characteristic of the pipe organ. An additional goal was to compose a work which would bring together the seemingly disparate elements of jazz (so often associated with the saxophone) and church music (traditionally identified with the pipe organ).
I. Praise
Psalms 33, 96, 135, 148, 149 and 150
This first movement is upbeat, energetic and freely composed (i.e. not based on a hymn tune melody). It introduces the technique of having the saxophone and organ present the melodic lines in unison or in harmony. Once this approach to instrumentation identified itself, it quickly became a characteristic element of the entire composition. The dominant seventh sharp nine sonority, a chord often used in jazz, provides contrast to the more linear and rhythmic sections of the movement.
II. Comfort and Assurance
Psalms 3, 5, 10, 23, 42, 46, 91, 126, 139 and 147
The second movement uses the first four notes of the hymn Blessed Assurance, Jesus Is Mine. The first part of this pattern, the descending mi-re-do figure, serves as the foundation for the bass line and harmonic progressions as well as for thematic material of the entire movement. The theme often adds the fourth note of the hymn tune (which ascends a perfect fifth to sol ) and makes use of transposition and inversion of the motive as well. This movement is in ABA form. The central section (B) which is in 3/4 meter, incorporates the hymn tune motive played in sustained notes in the right hand of the organ part while the saxophone plays an improvisatory line. The two A sections are cast in 8/8 meter. This time signature gives rhythmic variation to the hymn tune motive and also inspires the organ's obbligato line.
III. Thanksgiving
Psalms 8, 89, 92, 100, 107 and 136
The final movement is joyful in mood and reflects an obvious jazz influence. The opening bass line is derived in a remote way from the hymn tune Now Thank We All Our God. The harmonic progressions evolved from this bass line, and the thematic material was composed above these sonorities. The ABA form includes a calypso-like middle section (B), while the A sections feature several ensemble passages as well as a few short solo spots (some virtuostic) for the saxophone.
Year composed: 2002
Duration: 00:10:00
Ensemble type: Chamber or Jazz Ensemble, Without Voice:Keyboard plus One Instrument
Instrumentation: 1 Tenor Saxophone, 1 Organ
Instrumentation notes: The organ part lists suggested stops, however, the organist is free to choose stops which suit the particular instrument.