Search results for: 'Quartet for brass'

SATB:

Fort Worth Funk was written to provide a light-hearted, engaging selection for Saxophone Quartet.  It begins with a dramatic statement from the Baritone Saxophone, who lays down the opening groove.  The other members of the quartet enter one at a time, while the composition builds to a virtuostic moment for the full quartet.  The staggered entrances also provide an opportunity to stage theatrics as well.  Appropriate rhythms and articulations are meticulously notated to help players achieve an authentic “funk” style in their performance.  The piece is loosely based on the chord changes to the jazz standard “Well You Needn’t”, which appears briefly in swing style at the end of the piece.  Chord changes and written solos are provided during the improvised sections, to bring the piece within the grasp of a wide spectrum of players. 

In eleven movements, this work can for Saxophone Quartet be played by Soprano Sax, Alto Sax, Tenor Sax and Baritone Sax or 2 Alto Saxes, Tenor Sax and Baritone Sax.

Each works presents various challenges, but more than anything else the movements force the group to work together as a unit. It is highly recommended for a High School ensemble and beyond.

For Saxophone Quartet (AAAT) in three movements:

Cats! The creatures are an enigma. They sit around, sleep too much and ignore you - most of the time. When they decide to wake, they stare at you. What are they thinking? This composition reflects three moods. However, you will have to decide what the meaning of Kara’s moods are, or for any feline - for that matter.

I. Allegro Spiritoso

II. One-Minute Waltz

III. Yuletide Chorale

IV. Fughetta Learn More

SATB

Composed for Saxophone Quartet (SATB), this piece is in 3 movements:

I. Billy Boy

II. A Story That Has No End...

III. A Frog Went a-Courtin'

Many of the immigrants who settled in the Appalachian Mountains of the American southeast came from the British Isles.  They brought with them folksongs that evolved, over long periods of time, into favorite American songs.  John Jay Hilfiger has used three of these songs as the basis for the three movements of this work.  The settings are not in typical folksong style.  Instead, each tune is treated in a unique way, expanded upon, and shaped in an idiomatic way for the instruments.  The result is a work in which the superposition of familiar tunes with unexpected contrasts offers a new perspective on well-known melodies that are shared among all the players.