Saxes a Plenty – help!
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Tagged: balance, contest, dominant, Saxes, saxophones
I have a rather unusual situation this year – I have very dominant saxophones in my beginning, middle, and high school groups. I am especially looking for music selections for high school contest (grade 2-3) and the mid-year middle school concert. At the high school level, I have 8 altos, 1-2 tenors, and 1 bari. (No one wants to switch to anything else – I’ve already asked). Our slow selection will be Ye Banks and Braes, which should work nicely. I also have very weak clarinets and flutes, so those parts limit me somewhat.
Thanks for any advice!
What is your french horn situation? Split saxes to cover horn parts…just make sure they blend with horns. What does the rest of your instrumentation look like?
1 flute, 1 clarinet, 8 altos, 2 tenors, 1 bari, 2 trombones, 1 trumpet, 1 euphonium, 3 perc, 1 electric bass.
Take 4 of your altos and have them cover the horn parts. Have 1 of your tenors cover a trombone or baritone part, if not there already. Then you are down to a normal sized sax section: 2 altos, 1 tenor, and a bari.
I would have some of your altos cover the clarinet parts for sure. I was in the same situation the last few years, and having those clarinet parts filled in really helped the sound. I would cover horn parts only if they weren’t doubled in the trumpet/trombone/euphonium parts. Alto and horn have similar ranges, but they have totally different sounds.
Put some altos on Eb clarinet parts if they’re available
Christopher M. Johnson, Professor of Music Education and Music Therapy, is currently the Chair of the Music Education and Music Therapy Department and Director of the Music Research Institute at the University of Kansas. Johnson earned his Ph.D. from the Florida State University.
Since his arrival at The University of Kansas, Johnson has taught courses in Instrumental Conducting, Teaching Instrumental Music, Managing Behaviors in the Music Environment, Psychology and Acoustics of Music, and Research Methods in Music Education and Music Therapy. Johnson served two terms as the editor of the International Journal of Music Education: Research, the research publication of the International Society for Music Education. He is currently serving his second term on the National Association for Music Educations Executive Committee of the Society for Research in Music Education. He also served on the editorial board of the Journal of Research in Music Education, and one earlier term as the Chair for the MENC Executive Committee of the Society for Research in Music Education. Johnson also served as the Chair for the Research Commission of the International Society for Music Education.
Johnson’s research interests include applied research in music education, and basic research in all aspects of the psychology of music. He has published articles in many journals including the Journal of Research in Music Education, the International Journal of Music Education, the Journal of Music Therapy, Journal of Band Research, Contributions to Music Education, and the Bulletin of the Council for Research in Music Education, among others. Johnson has also been an active member and contributor to the Research Seminar of the International Society for Music Education and World Alliance for Arts Education.
Johnson received a university teaching award – the Ned N. Fleming Award for Excellence in Teaching and received the recognition for Graduate Teaching Achievement from the Center for Teaching Excellence. Johnson was also awarded a lecturing & research award as a J. William Fulbright Scholar and recently received the Ella Scoble Opperman Citation for Distinguished Achievement from the Florida State University College of Music.
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