M. WILLIAM KARLINS SEASONS for Solo Saxophonist REVISIONS OF 2002
I. SPRING
Page 1, 6th line: Beginning at the F-G# tremolo, add poco accel. until the Bb-Ab 16th notes, and change these to 32nd notes (dotting the eighth rest that follows). Add a tempo above the last beat of this line. Page 1, bottom line: In the sextuplet, put an accent mark (>) over the D. Page 2, beginning of 4th line: Change the dynamic to ff and move the tempo I marking to above the first F-E 16th notes after the fermata. Performance Notes: Rests in parentheses represent approximate lengths, but not longer. Each type of rest need not have the same duration (i.e., each eighth rest may be a slightly different duration).
II. SUMMER
Page 3, 7th line: Above the last 3 notes: add Jazzy - lazy rhythm (also see Performance Notes below). Page 4, 4th line: Above the 7th note from the end of the line (D): add swing out. Performance Notes: 1) N.V. = no vibrato,   Vib. = normal vibrato 2) Whenever N.V. is indicated, senza colore is implied (but always with a full sound). 3) Whenever N.V. is indicated, the tempo markings, rests, note values, and articulations should be observed strictly. Whenever Vib. is indicated, a more flexible tempo and a moderate amount of jazz rubato and expressiveness is implied. 4) Note values above a pitch (e.g., the bottom of page 3) indicate the rhythm in which various fingerings for that pitch should be employed in order to change its color. Lip and/or breath emphasis may be added to, or even substituted for, the fingerings. Except when the fingering rhythm is exactly the same as the written (played) rhythm, this may be considered approximate. 5) o = breath attack ("hah") 6) Falloff lines with the word "lip" indicate the kind of lip and/or breath portamento used by jazz musicians.  7) A jazz mouthpiece-reed combination is recommended for Summer. The low notes should speak easily.
III. AUTUMN
Page 5, beginning of 3rd line: add one breath over the dotted slur. Page 5, 5th & 6th lines:   1) On the 5th line, remove don't rush and replace it with accel. to the G-natural right after the 8th-note triplets on the 6th line, and add subito quarter note = 72 over that G. Right after that, add rit. over the quarter-note triplets.  2) After the bar line, change quarter note = 126+ to quarter note = 138+. This may be played faster if a fairly steady tempo is maintained. The f sempre may be interpreted as loud, but with flexibility. Page 5, 6th line: Add cresc. at the beginning of this line, reaching  f  at the G-natural after the 8th-note triplets. Directly after that, add decresc... p under the quarter-note triplet.  Page 6, top line: For the last 3 beats of the top line, add an optional 8va continuing through the first 5 notes of the 2nd line.
IV. WINTER
Page 8, 6th line: 3 beats from the end of the line, add mf subito. Page 8, 7th line: 2 beats from the end of the line, add ff subito. Page 8, 8th line: 4 beats from the end of the line add mf subito. Page 8, 9th line: add cresc. at the beginning of the line, through the 6th beat's f cresc. poco a poco Page 8, bottom line: change the last beat of the piece to 2 beats, by placing an eighth rest after the 2 B's, and placing the 16th-note F on the next downbeat, followed by a dotted eighth rest. Performance Notes: It is important to make noticeable distinctions between staccato dots, staccatissimo wedges, accent (>) and marcato (^). The statement sempre alla misura and the marking ff sempre at the beginning should be taken seriously, but minute musical deviations may be considered.
last updated April 5, 2020 home