How Did Iguana Blue Begin and What Inspired It?
Iguana Blue was originally conceived as a song with Latin influences for voice and piano, inspired by a trip to Tulum, Mexico. The name pays tribute to an eco hut nestled directly on one of the Caribbean’s most beautiful beaches, where iguanas roam. A year after this trip, although the song remained incomplete, a saxophone ensemble version emerged. Taking the piece in a different musical direction.
Iguanas come in different colours and can even change their hues for various reasons. Making it fitting to use this concept to name this particular collection of pieces.
What Musical Styles Influence My Work?
The work, like many of my works, combines influences from many styles and genres. There are latin influences displayed in some of the syncopated rhythms in both the melody and accompaniment. The rich harmony includes many extended chords commonly found in jazz.
It could also very well be described as pop, with vocal-like melody lines. Yet it feels classical, with its balanced phrasing and full use of the saxophone register. Try to define at your peril!
How Should Performers Approach This Piece Musically?
As mentioned the melody is very vocal-like, so imagine you are singing a wordless melody. This will help with phrase shape, breathing and also dynamic contrast.
The dynamics although marked should be felt naturally, as if you were singing. At bar 27 the saxophone moves to playing a counter-melody type motif. You can bounce off the syncopated piano melody at this point.
When you arrive at letter E a few bars later, then try to fit within the piano accompaniment, adding that extra harmony to the texture. At letter F a triumphant almost fanfare-like motif announces itself. Again the saxophone adds sparkle and light to this moment – sing it out!
At letter G the saxophone part changed significantly. The long legato phrases are replaced by staccato semiquavers. Keep these light, and take note of the syncopated tenuto accents. The semiquavers should of course be very rhythmic and full of motion. Imagine a Bach concerto with its moto-perpetuo semiquavers often found in both the solo parts and continuo.
When the melody returns at J, we are now in the upper range of the saxophone. Watch your tuning here, don’t tighten the embouchure, it’ll just pinch your sound! This is especially important as we enter the final phrases of “Iguana Blue”, with an mp marking on a top E, you need to keep the reed vibrating.
Why are there different versions of “Iguana,” and who is it for?
More variations developed and are still developing, but since I was unable to settle on one definitive title, I decided to create a variant for each arrangement. Thus, the saxophone ensemble version is titled Iguana Rouge, while the original song, now completed with voice as a single instrument, is Iguana Blue. Additional versions, such as Iguana Noir (for clarinet ensemble) and Iguana Verde, will follow.
“Iguana Blue” is an ideal piece for advancing and professional saxophonists in many settings. Whether it be a recital at school or college, or a public performance as part of a larger programme, “Iguana Blue” is a work that has wide appeal, and is guaranteed a warm reception.
“Iguana” in all its guises, is dedicated to Vincent Griffith.
From the composer, Nigel Wood