Conducteur et parties Saxophone Quartet (SATB) The Three Songs (Trois Chansons) dating from 1914/15 were arranged for four a cappella voices by Ravel immediately after he had written the music of these pieces. The lyrics were penned by the composer himself. The songs represent Ravel’s sole contribution to choral literature. The first song consists of three sections and tells the story of Nicolette, who sets out to pick flowers in the fields. Just like Little Red Ridinghood, she meets a wolf who asks her if she is on her way to her grandmother’s house (M.1-13). Fleeing from him, she meets a page who wonderswhether she would like to have him as her “lover true”. She dismisses his proposition though she finds it hard to do so (M. 14-39). In the third section, she encounters a plump, unhandsome man (lento!). He speaks to her:”Stay, stay, my Nicolette, all this gold I give to thee”, and - “VIVO” - Nicolette takes refuge in his arms. (M.40 to end). The Three Lovely Birds from Paradise are sky-blue, white as fallen snow and bright red - just like the colors of the Tricolore, the national flag of France - which has been interpreted in many reviews as a sign of an increasingly nationalistic attitude becoming apparent in the war year of 1914. This song mourns the loss of the beloved one who went to war. The Ronde is also made up of three sections. The old women are the first to sing (M.1-28). They warn the young maidens against entering the forest since it is inhabited by all kinds of dangerous (male) beasts. Then (M. 29 – 56) the old men warn the young lads against going into the woods because of the numerous (female) demons living there. The irony of the story is to be found in the final answer of the young people (as of M. 57), who conclude: “We will not go into the woods since the old folks have frightened off all the beasts, anyway.”

Soprano, Alto, Tenor, Baryton. Par THIERCELIN DANIEL. Grâce au compositeur Jean-Claude Soldano, les éditions du même nom ont pu voir le jour dans les années 2000 et ainsi publier des oeuvres de petits compositeurs essentiellement français. C'est le cas du recueil dénommé Sous tonnerre et éclairs [soprano, alto, ténor, baryton] de Thiercelin Daniel qui a été composé pour Saxophone / Niveau : 2ème Cycle / Répertoire / 4 Saxophones

Soprano, Alto, Tenor, Baryton. Par THIERCELIN DANIEL. Grâce au compositeur Jean-Claude Soldano, les éditions du même nom ont pu voir le jour dans les années 2000 et ainsi publier des oeuvres de petits compositeurs essentiellement français. C'est le cas du recueil dénommé Le beau Danube bleu [soprano, alto, ténor, baryton] de Thiercelin Daniel qui a été composé pour Saxophone / Niveau : 2ème Cycle / Répertoire / 4 Saxophones

Par FRANC M.L.. Grâce au compositeur Jean-Claude Soldano, les éditions du même nom ont pu voir le jour dans les années 2000 et ainsi publier des oeuvres de petits compositeurs essentiellement français. C'est le cas du recueil dénommé Minimales [soprano, alto, ténor, baryton] de Franc M.L. qui a été composé pour Saxophone / Niveau : 2ème Cycle / Répertoire / 4 Saxophones

Arrangeur: D. Thiercelin. Par THIERCELIN DANIEL. Grâce au compositeur Jean-Claude Soldano, les éditions du même nom ont pu voir le jour dans les années 2000 et ainsi publier des oeuvres de petits compositeurs essentiellement français. C'est le cas du recueil dénommé Voix du printemps [soprano, alto, ténor, baryton] de Thiercelin Daniel qui a été composé pour Saxophone / Niveau : 2ème Cycle / Répertoire / 4 Saxophones

Historical information about Händel's Water Music Suites is limited, but certainly these works were intended for two, possibly three, parties given by King George I on the Thames River, London, between 1715 and 1736. Händel and his orchestra played on a barge. Since then the some twenty-two separate original pieces have been organized into three Suites and nicknamed 'Water Music?, each having a separate key and likely corresponding to these river parties. This transcription of Water Music Suite II for saxophone quartet has two purposes: to make this music available to saxophonists for performance and education, and to provide in one volume the entire Suite II. The exception to the latter, because of the limits of endurance, is the exclusion of the short Adagio, a brief interlude between the fi rst two movements. Included though are the Allegro, Hornpipe, Minuet, Lentement, and Bourree. These works were originally meant for an outdoor performance, and one of the original intentions of the saxophone was to play in French military bands, also an open-air purpose. The original scoring of brass, woodwind, and string instruments (but no continuo) transcribe well for saxophones. Matching the ranges of instruments of the original to the saxophone quartet was a primary objective. In addition, this arrangement strives to disperse melodic material to all four saxophones so as to make the arrangement pleasing to all the members of the quartet while providing variety to an audience. Any dynamic, articulation, and tempo markings are to be taken only as suggestions so as to allow interpretation by the performers. The musical study and performance of all styles while using examples of composition and performance that represent excellence is necessary for saxophonists who wish to be well-rounded musicians. For the above reasons saxophonists are urged to listen to recordings of the original orchestration in order to learn and imitate proper interpretation of Baroque style. There are currently a number of excellent recordings of Handel's Suites on period instruments, such as (but not limited to) those by conductors John Eliot Gardiner, Christopher Hogwood, and the ensemble Tafelmusik. The Lewis-Clark State College Saxophone Quartet has for many years enjoyed performing Suite II for concerts, ceremonies and social settings, and I thank Advance Music for the opportunity to bring these great works to the profession. / 4 Saxophones (SATBar)

Suite De Valses [Soprano, Alto, Tenor, Baryton]. Par THIERCELIN DANIEL. Suite de valses. Transcription : Daniel Thiercelin / Niveau : 2ème Cycle / Répertoire / 4 Saxophones

Par WILSON DANA. Ce quatuor de saxophones de sombre et expressive fusibles musique suggestive de différentes traditions, de Taiko japonais tambours au chant de l'Evangile afro-américaine. Titre de le oeuvre est saisissante dépeint dans le premier mouvement, qui appelle à la saxes faire quelques gémissements réel !/ Répertoire / 4 Saxophones

A naughty pastiche of 'big band' sounds. Includes a fifth part for another alto sax to replace the soprano if necessary. '..worth investigating as an encore piece for the unsuspecting audience!' - Clarinet and Saxophone Magazine.

Par BURNETTE SONNY. This Ain't Your Grandfather's Stinkin' Rondo was composed for the Osland Saxophone Quartet, based out of Lexington, Kentucky. It features the predictable return of the 'A' section sandwiched between contrasting sections... perhaps in a slightly more jazzy setting than grandfather was expecting, not to mention the improv section in the middle. Scored for SATB quartet./ Répertoire / 4 Saxophones

Ce sont les éditions françaises Robert Martin qui ont eu le privilège d'éditer la partition Eclats d'azur (quatuor de sax solo) de Boutry Roger . Idéale pour les musiciens pratiquant Saxophone et ayant un niveau proche de Or:5, cette pièce se classe dans la catégorie Classique sous la référence BOUT04440-CO. / 4 Saxophones / niveau : Or:5 / Partition

Ce sont les éditions françaises Robert Martin qui ont eu le privilège d'éditer la partition Eclats d'azur (quatuor de sax solo) de Boutry Roger . Idéale pour les musiciens pratiquant Saxophone et ayant un niveau proche de Or:5, cette pièce se classe dans la catégorie Classique sous la référence BOUT04440-BA. / 4 Saxophones / niveau : Or:5 / Partition

for Saxophone Quartet. Par WOLF FRANCK. Ces quatuors de saxophone ont la particularité d’être proposés avec un CD d’accompagnement, afin que chaque musicien du quatuor puisse travailler sa partie à la maison, ceci en complément des répétitions collectives. Les improvisations ont ététranscrites sans phrasé, afin d’encourager les élèves à imiter le phrasé de l’enregistrement. Cette phase d’imitation est essentielle pour apprendre à phraser en Jazz. Les solos écrits ne sont pas obligatoires, les accords sont indiqués pour lesmusiciens souhaitant réaliser leurs propres improvisations./ Recueil / 4 Saxophones

for Four Saxophones and Percussion-Dedicated to the first worldwide hit in 5/4 - Take Five Gimme Five! uses a rhythm that is identical to the classic jazz hit. It also reflects the semi-modal approached used by saxophonist Paul Desmond when he performed one of the few jazz melodies that is instantly recognisable. This swinging piece will bring back memories of the Dave Brubeck Quartet and will be extremely popular with both players and audiences.