101 Movie Hits for Tenor Sax. Composed by Various. Instrumental Folio. Softcover. Published by Hal Leonard

Composed by Various. Instrumental Folio. Softcover. Published by Hal Leonard

For Alto Sax. By Various. Instrumental Folio. Softcover. 160 pages. Published by Hal Leonard

For Tenor Sax. By Various. Instrumental Folio. Softcover. 160 pages. Published by Hal Leonard

For Alto Saxophine in Eb. Composed by Johann Sebastian Bach (1685-1750), Muzio Clementi (1752-1832), Wolfgang Amadeus Mozart (1756-1791), Larry Clark, Jacques Fereol Mazas (1782-1849), Giuseppe Gariboldi, and Ernesto Kohler (1849-1907). SWS. Back To School. Softcover. With Standard notation. Carl Fischer Music #WF106. Published by Carl Fischer Music

Composed by Walt Weiskopf. Play along. Book and CD. 36 pages. Published by Jamey Aebersold Jazz (JA.MCJS-AS).

Composed by Walt Weiskopf. Play along. Book and CD. 36 pages. Published by Jamey Aebersold Jazz (JA.MCJS-TS).

For E-flat Saxophone and Piano. By Zdenek Fibich. Arranged by Wolfgang Birtel. (Saxophone). Misc. 6 pages. Published by Schott.

Composed by Andrew Lloyd Webber. For alto saxophone. Format: alto saxophone solo book (no piano accompaniment is available for this title). Broadway and broadway. 16 pages. 9x12 inches. Published by Hal Leonard.

Composed by Various. Instrumental Solo. Softcover. 104 pages. Published by Hal Leonard

Composed by Various. Instrumental Solo. Softcover. 112 pages. Published by Hal Leonard

Composed by Various. Instrumental Solo. Softcover. 112 pages. Published by Hal Leonard

Composed by Various. Instrumental Solo. Softcover. 104 pages. Published by Hal Leonard

Alto Saxophone

SKU: BT.MUSAM1006489

By Jenni Norey. Playalong 50-50. Pop & Rock. Book with Online Audio. Composed 2013. 136 pages. Wise Publications #MUSAM1006489. Published by Wise Publications (BT.MUSAM1006489).

ISBN 9781783050987.

< strong>Playalong 50/50: Alto Sax includes 50 pop hits arranged for Alto Saxophone. Step into the spotlight and play these 50 pop hits with specially recorded backing tracks (available online). Includes fullperformanceversions of all the songs - the instrumental part is then omitted so you can play along with the recorded accompaniments.

Composed by Katherine Hoover (1937-). For Soprano Saxophone, Piano. Papagena Press #PP188. Published by Papagena Press

Artist Transcriptions - Saxophone. Performed by Wayne Shorter. Artist Transcriptions (Authentic note-for-note transcriptions). Size 9x12 inches. 122 pages. Published by Hal Leonard.

By Johann Cruger. Arranged by Lynn S. Lund. Text: Catherine Winkworth. For SATB Choir. Level: Medium / Medium-Difficult (accompaniment). Duration 2:00. Published by Jackman Music Corporation.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Flute 1, Flute 2, Oboe 1, Oboe 2, Piccolo, alto Saxophone, soprano Saxophone, tenor Saxophone

SKU: PR.165001000

Hymns for Wind Ensemble. Composed by Dan Welcher. Folio. Set of Score and Parts. 4+24+24+16+8+4+4+24+12+12 +8+4+4+4+4+8+8+8+8+4+4+4+ 4+8+8+8+8+8+8+8+8+4+16+4+ 8+4+8+8+4+4+4+48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100. Published by Theodore Presser Company (PR.165001000).

ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.

Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry Clark. Arranged by Larry Clark. For Clarinet / Trumpet / Euphonium T.C. / Tenor Saxophone in Bb. Compatible Trios for Winds. Part book. 48 pages. Published by Carl Fischer

A Study Guide with Amy Porter. Composed by Georg Philipp Telemann (1681-1767). DVD. Theodore Presser Company #PO-DVD2. Published by Theodore Presser Company (PR.PODVD20).

Saxophone Quartet (Score)

SKU: HL.48025253

Saxophone Quartet Score. Composed by Martin Christoph Redel. Boosey & Hawkes Chamber Music. Classical. Softcover. Duration 540 seconds. Bote & Bock #M202537862. Published by Bote & Bock (HL.48025253).

UPC: 196288142973.

The title is a combination of the terms saxophone and collage, which already gives a hint to the essential design of the piece: Several different compositional aspects such as sound layers, melodic sections, aleatoric elements and, last but not least, jazz-like moments are placed in always different relations with each other, collaged as it were. This original composition is a valuable addition to the repertoire for the classical and modern instrumentation of the saxophone quartet.