La Verdadera Destreza

& Piet J.SWERTS Zodiac Editions ZEd La Verdadera Destreza for Tenor Saxophone in B-flat and Piano ZESX14

Piet J.SWERTS La Verdadera Destreza for tenor saxophone and piano ZESX014 ZODIACEDITIONS _________________________________________________________________________

The commonly used term for the early modern Spanish fencing tradition is destreza. The precise translation of the term "destreza" is "dexterity" or "skill, ability," making la verdadera destreza the “true skill" or "the true art." Although destreza is primarily a system of swordsmanship, it is intended to be a universal style of combat, applicable to all weapons in theory, but in practice devoted to the rapier specifically, or the rapier combined with a defensive weapon like a cloak, a buckler, or a parrying dagger, in addition to other weapons like the late Renaissance twohanded montante; the flail; and polearms like the pike and halberd. Its principles are based on logic, geometry, and are connected to ideals of thought, philosophy, and morality, embracing a range of Renaissance humanist educational tenets, with a focus on the works of classical writers including Aristotle, Euclid and Plato. It appeared to be a fitting metaphor depicturing the idea behind this music. This virtuosic composition is sort of a sister work to Klonos, which I wrote in 1993 for alto saxophone and piano, but this time I intended to explore more fully the variety of melodic moods and twists. Through the usage of the altissimo register, it obviously highlights the player's technical proficiency among other things, but technique per se was undoubtedly not my intention. I wanted to write a convincing piece with contains above all a lot of passion. OVERALL FORM PART I 1-29 introduction with at 5-6 the announcement theme : 30-45 developing the ostinato in 7/16 as the first key idea : 46-49 a signal-motif in the piano in octaves 50-59 the first key idea in further continuation 60-69 a harmonic progression on ninth and eleventh chords towards 70-75 the first temporary climax or conclusion followed by 76-83 the second key idea in the piano: 84-91 the saxophone comes now to the foreground 92-99 the piano takes over but in a two-part embellishing way 100-111 continuation with staccato elements of the ostinato-figure in the LH 112-116 first conclusion, an open ending, like a question, but at the same time

117-119 transitional to the 120-134 third key idea: 135-136 reminiscence to the announcement theme m.6-7 and transitional to 137-153 continuation of third key idea 154-161 second conclusion PART II 162-169 introduction of the second part, which is more lyrical like a meditation, an intermezzo 170-182 a rather improvisational fourth key idea in 6/8, leading to a 180-183 third conclusion PART III 183-194 introduction with reminiscence to the rhythmical ostinato-idea and the same time transitional to 195-208 6/8 fifth key idea, 197-200 starting in the piano: 201-204 the saxophone takes over 205-208 the piano responds 209-213 transition to PART IV 214-223 starting as an introduction leading to 224-227 serving as the announcement of the recapitulation 228-242 similar to the begin of the 7/16 ostinato idea but with much more interaction between both parts 243-247 the exciting progression starts again, only the piano is now more in the foreground 248-251 the saxophone takes over 252-255 is similar to m.46-49 256-275 more interaction between both parts, sometimes the piano taking the foreground differently from the tenor the very first time 276-281 is similar to 70-75 282-289 tenor sax on the foreground with the second key idea 290-297 piano takes over 298-309 similar to 100-111 310-315 transition to 316-330 simular to m.120-134 331-332 the announcement theme again as transition to the continuation of the third key idea, functioning as CODA 333-348 third key idea 349-353 apogee and final conclusion.

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                                                                                                                                                              5                                             * 1 4 1 4                                                                                                           7                                                                               1 3 2     La Verdadera Destreza Piet J.SWERTS dedicated to prof. Jeffrey E.Vickers = ca.128 * all notes without a slur always have to be played non legato, the actual length of staccato may differ according to the musical context though © ZODIACEDITIONS 2023 for tenor saxophone in B-flat and piano

                               loco  4 10                         3 2 1                          14                   1 3 2                          4        17                          1 2 1 4                    1 2             1 2 1  4                    1 3 2 20         21                       4 1 4 5 3 2                    loco 3 4 1                      4 4 1 4   La Verdadera Destreza ZESX14 2 *all these ostinato figures in the left hand need a non legato approach, not really staccato unless indicated

        24                      loco 1 3 2                       5 3 2 4 1 4 4                      loco 5 3 2 1 3 2                         5 3 2 4 4 1 4        28                       loco 5 3 2 1 3 2                   4  4 1                                 loco  4 2 1 2 4 1 2 3 5 5  30           31                               4 1 5 loco                              3 2 4 1 5                               1 3 2 4 1          34                              poco portato                               2 4 3                               4 2 La Verdadera Destreza ZESX14 3

       85                     loco                    loco                    loco                     loco 4        89                    loco                    loco 90                    loco                   loco        93                   loco  4                   loco                     loco                    loco 4       97                 loco 4                    loco 3                    loco                             leggiero  4 1 100 La Verdadera Destreza ZESX14 8

   123                                                                                                        2 3 3 1 2 3        125                                                                                                          2 3 2 3 1 3        127                                                          3 4 2 1 4                                                    3 1       129                                                 loco 130                                                       La Verdadera Destreza ZESX14 11

   148                                                                                                                                                                          150                                                                 152                                                                                                 3 4 3 2            154                                                  loco                                                                 La Verdadera Destreza ZESX14 14

             156               3 3 3 3 3 3                                                          3 3 3 3 3 3                       158                                160        loco               loco              164                            3                              3       167            5           3                                            poco rall. La Verdadera Destreza ZESX14 15 =

   205                                                                            207                                                                                  209                         3 3 3 3                  2 3 5 1 2 2 3 1                       3 3 3                3       2 3 5 1 2 4 1 210    211                                         3 3 3 3       2 4 5 1                                             3 3 3 3       2 4 3 2 La Verdadera Destreza ZESX14 19