Rock Me!

solo saxophone

Barry Cockcroft

reedmusi c .com
              written   
  
117
     forKenn
    p                       
B





Performance notes

 exploration

    ofanextensive

   range

rock music. A rapid andunwavering tempo,
 a gradual
  ofcolourful
 
  dynamics
97

 increaseof the
121
‘Rock Me!’ captures the relentless driving energy, rhythms and  beats

   is vital
 
p
forms
 density
 musical
 in the performance
 and
  found in many
     of this
 
 the
    
of 

  piece.
 
   
          
Rock
At times the saxophonist must simulate various other instruments including didgeridoo, electric    
solo saxoph

  A                   

125
 add    q = 132
 Lively
saxophone.
bass, drum kit, distorted guitar and occasionally even acoustic101 harmonics
    
 
               

    low  played
 quasi slap
  
      A   The   repeated  Bb notes   are to be    short    and  
            percussively
     reminiscent      ofapicked     guitar.          130           
    pp          sim.    
E grad. cresc. 5 7
   9

                                132 105             

mp
      
molto cresc.
add harmonics and growl
 
C4 C2 C1

                 
     
B B B B

       
                                        
C3
5
p C C C C
 
         B  The
 
     suggested   
    multiphonic  
     fingerings 
     may 
  need    133                  
  some      

adjustment depending on the saxophone being used.   
           
                  
      sim.
p 9

         
                  pp                     
                  
2 types of slap tonguing imitate the snare and bass    
109

    
                    
C 77The
has been  notational
drum. The unpitched slap can be played with any fingering
         written    on the   middle
    Bb for
   suggested
   notes
pp    Bracketed
      are the
   fingerings

  to  F            
but
         clarity.
 7       7                
are used and all notes should be played short.                              

  

give maximum resonance. As is common in drum music,
 
grad. 13137
5 dim. 81


 mp
7


 molto cresc. few rests 9 6
        
6

                 3            

               
       
    of harmonics
        113         
 invslap   introduction
    is achieved by                   
           
The gradual
p grad. cresc. D gently over-blowing p

the low Bb. 17

f molto dim.    
4 
85 fade unpitched slap
C     unpitched slap141  grad. addgrowl              
     
            E                                  
 
          

 
RM55
        117Connect   sim.this section smoothly  
 E 89by keeping   semiquaver  (16th constant.                      
 cross fade key      
       
    the
hits and inv 21 slap www.reedmu
      
with the preceding notes
pp mf
                  mp       
         7             
notes) The

  121  p    154                         
  
rapid blues passages should remain exactly in time.

            
     
      
      
6  
     
F  sim.     93 D                   6              
                  
          
6 25
mf

                  

145

        
F 
 the 
 low        
 the multiphonic    
 
a                  
                                      w
                  
125
  effect. low 
keymay   
Hit C key to create both and
                The  
     
    
      mf
         
    cresc.
     the subsequent p   F notes 158but the  C must   be
p    97          6  
percussive Bb be left down for
   
 
removed.
   
hit
6 C key

6 6

                   GSlowly and freelyq9=66      
 29             
                    149    Distortion
130
  
    (growl and playharmonics)
grad. add growl


       G  and                   3    
       over-blowing   mp   molto
  cresc.
  harmonics.
   The   resultant
   sound
   simulates
   
 
         is achieved

5160     
   7    
  
    
     
The distortion
addharmonics
effect Livelyby simultaneously

q =

132
   
singing
 9   9 6
 
6
   7
  
7
  
      bisbligiando
             sim. 
            3
  guitar.    
           poco  rall.
 33   fff molto espressivo
101
a wild and distorted
mp
    
132

              
      
                    pp                                   


sim.

       133        163             accel.
growl

 k ft molto
 sim.dim. 

                    
RM55
t k 6 www.reedmu
        H      section
This     and the
   
    bars
 2transitional
        it                 
 preceding
 harmonics
use ofanddouble
growl
  tonguing
  for  boththe
 speed
             Rock  Me!
 ©2009
Reed

should make

add
 
and a difference in attack. 
               
105
 
RM556 sim.
p cresc. f  www.reedmusic.com

RM556 ISMN 979-0-
mf cresc.

       166  H Fast
pp  
www.reedmusic.com
 and 
 furious   q =160       All

G Slowly and freely q = 66    
 
     
 
 written for Kenneth Tse

Rock Me! solo saxophone

Barry Cockcroft
2007
A Lively q = 132
  
quasi slap

  
       
            sim.
pp

Bb

    
C


5

      
           

                                

9

     


Bb

                                           
C


13

                                              


17

 
       
21
       
         
           
       

25

        
           
B Bb
ta

           
C C

                                                
                            
29


  

33
                                         

                                           
  

Rock Me! © 2009 Reed Music Pty Ltd

don’t steal music
RM556 ISMN 979-0-720083-57-5
www.reedmusic.com All Rights Reserved
 C1

2 B

B
C

       
    
37

      
               
C4
C2
B
B B

                                                        
C3
C

                                          
C

                
C


41

grad. cresc.
C4 C2 C1

B B B B
B C3

                                                       
C5
C C C C
C

    
                                                      
45

 
49

   
       
pp


53
grad. dim.
 
        
 inv slap   
   
p grad. cresc.

C

57 unpitched slap

          
         
mf

      
61

   
7

              
 sim.          
6

65
         
                  
            
       9
69
      
           
                   9


 
bisbligiando


73

        


                           

RM556
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 3


77

  
                
       
         


81

  
             
          
        
  


85 fade unpitched slap

        
       
cross fade key hits and inv slap

           

89


                   
mf
D

93
       
                  
               
p


97

                 

               
       
          
  sim.
 
add harmonics

    
101
        
          
               

      

add harmonics and growl
105
    
         
                   
               

       
     
 
          
109
  
        
        
    
                 

      

    
  
        
113

    
            
                 

RM556
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4

E

117

                                                  
p

121

                                                  


125

                                                                  

                
                       
130

   
5 7 9 6 6 7 7
mp molto cresc.

                        
             
132
 
3

       

f molto dim.

133


       
            sim.
pp
B

          
C

F
      
    
137

                   
                                     
                    
          
p hit C key

      
    
141

grad. add growl

                   
                                     
                    
mp

                                
poco rall.

growl

                
                  
    
     
145

                                                          
6

f
mf cresc.
B

G 
  
Slowly and freely q = 66 wail
E

 

149

  
Distortion (growl and play harmonics)
3

                 
fff molto espressivo

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 5

154
    
         

6 6 6

                       


 
wail

 
158

                                 


6 6 6 6 6

         

Lively q = 132

160


           
            sim.
pp accel.

163
t k t k sim.
  
                                            
       
p cresc.
H
    
Fast and furious q = 160

166

 
                                      
mp cresc.
               
 
            
             
170

  
                                        
mf cresc.
                       
growl ad lib until end

                
                    

174

  

                                               
f cresc.


178

                          
                       
ff
                       
  

   
                   
181

                                                 

 
cresc.


norm.
    
wail

  
      
184
   
3

            
fff ff  Banff, Canada
October 2007
RM556
www.reedmusic.com
Music by Barry Cockcroft
Saxophone
Ku Ku (soprano)
Foreign
Black & Blue
Gorge
Salamanca
Beat Me (tenor)
BO (tenor)
Zodiac (12 original compositions)
Reflections (alto saxophone & piano)
Rock Me

Clarinet
Tango (with piano)
Zodiac (12 original compositions)
Blue Tongue

Clarinet study books

Advanced Studies (20 pieces)

Flute study books

Advanced Studies (20 pieces)

Cello
Kir

Saxophone quartet
p (SATB)

Saxophone study books

Saxophone Technique (develop fluent technique)
Advanced Studies (20 pieces)

Duets
Slap Me (concert duet for two same pitched saxophones)

Collections for wind instruments

60 Celtic Dances (with concert pitch chord symbols)
50 More Celtic Dances (with concert pitch chord symbols)
My Favourite Tutor Books (over 150 well-known tunes)
My Favourite Concert Pieces (22 graded classical pieces with piano accompaniment)
My Favourite Duets (180 easy flexible duets in 3 volumes)

Published by reedmusic.com